#no other character has impacted me this strongly

[wildsaltair]

This will be my single controversial rant about Gladiator and its sequel (specifically my thoughts on Maximus being retconned as Lucius' father), and then I will be silent on the matter because this blog is meant to be A Good Time and I just enjoy sharing my love for Gladiator with everyone on here :)

KIND OF SPOILERS FOR GLADIATOR AND THE SEQUEL (BUT NOT REALLY) BELOW

As everyone knows, Ridley Scott made the choice to reveal in Gladiator 2 that Lucius is actually the son of Maximus from a secret affair with Lucilla. In G2, it's apparently implied that Lucilla was trapped in a bad marriage, fell in love with Maximus, and kept the truth about Lucius' father a secret. Lots of viewers have been split about this, with some thinking that plot point was implied in Gladiator and others feeling that it contradicts what was established in Gladiator.

I am strongly of the opinion that this choice was a bad one, that it does interfere with the integrity of the original film, and that Gladiator 2 would have been much better without that change. I'll give my reasons below.

1. Yes, rewriting Maximus as a cheater does destroy his entire character arc in Gladiator.

We've all seen Gladiator, right? The one where the hero has everything life can offer but longs only to return home to be with his beloved wife and son? Carries their figurines with him into battle, cares only for them when his own life is threatened, lays down to die by their graves after he finds them dead? Spends the whole movie only wanting to meet them again in the afterlife and only gets peace once he's there.

Yeah. Apparently that guy cheated on his wife with a princess. His son and Lucilla's sons are the same age, which means Maximus would have to have been married to his wife while also sleeping with Lucilla.

Maximus' entire character arc relies on his pure, unconditional, self-sacrificial love for his family. Take that away, and you have a generic action movie about a guy who wants revenge because the Emperor tried to kill him once. Even when Maximus has lost everything inside himself and cares about nothing else, he still honors the memory of his family and fights to avenge them as well as join them. He is shown still talking to his wife in the afterlife through prayer and believing she can hear him. As @streets-in-paradise pointed out, it's the equivalent of having Aragon or Hector of Troy cheat on their wives — it's just painfully out of character for them.

There's also an element of Maximus' love and respect for his Emperor, Marcus Aurelius, another driving force in his characterization. I think Maximus has too much respect for Marcus to have had an affair with Marcus' married daughter, even if he knew Marcus maybe would have wished Maximus had married Lucilla. We never get much insight into that part of the past, but if we go by the virtues Maximus upholds throughout the movie, I just don't think Maximus would have considered sneaking behind Marcus' back to sleep with his daughter.

Either way, the emotional heart of Maximus' character is his love for his family, and retconning that so your sequel has a "bigger emotional impact" is nothing short of undignified and sloppy.

2. All the conversations between Maximus and Lucilla in Gladiator imply that they did have a romantic relationship — but that it was public (not clandestine) and took place before either of them were married.

Yes, Maximus and Lucilla definitely were in love at some point. Russell Crowe and Connie Nielsen have great chemistry, and their conversations (both of them) hold so much weight with "what could have been." Lucilla talks about how she wounded Maximus deeply as he did her, and their conversations are full of things like, "Is it so terrible seeing me again?" The weight of their previous emotional attachment pervades the movie in a way that is inextricable from the plot.

BUT. Maximus and Lucilla had their relationship A LONG TIME AGO. This is very clearly established by the way they talk to each other. Maximus has been in Germania for twelve years (taking breaks only to go home, but NEVER to visit Rome). He and Lucilla presumably met sometime before that, probably while the royal family was visiting some city where Maximus was serving in / commanding the army. The details are never established.

However, Maximus and Lucilla clearly had a public enough relationship that Marcus and Commodus knew about it, but there is never the slightest mention in Gladiator that Lucius might be Maximus' son — something Commodus surely would have exploited had he known it was a possibility.

Maximus and Lucilla were in love, but it was before they married other people. They were probably teenagers or young adults who fell madly in love, wanted to marry, but were stopped for whatever reason (probably Maximus not wanting to play politician's games, as he implies). Maximus met the woman he eventually married, Lucilla married Lucius Verus, and they carried on with their lives until they met again at the beginning of Gladiator.

Also, Maximus talks about the respect he had for Lucilla's husband (a far cry from what Gladiator 2 implies about Lucius Verus), and she talks about how she mourned Maximus' family. Sure, you can read into the script and find stuff about how Maximus could have been Lucius' father, but it explicitly goes against the values and implications of the overall acript.

Connie Nielsen stated that she played her scenes thinking that Maximus was Lucius' father. She's an actress, and she plays Lucilla brilliantly. But she's not the scriptwriter, and no matter what her intentions were, the script implies that their relationship took place much longer ago, before either of them were married. @becomelions made a great post about how Lucilla, too, can wish as much as she wants that Maximus was Lucius' father, but he couldn't have been. Not unless you retcon all of Gladiator as fanfiction.

3. Maximus' relationships with Lucilla and Lucius are not meant to replace those he had with his wife and son — they are meant to be reflections of some of the bigger themes of the film.

With all that said, this is not a hate post about how Gladiator should have been about Maximus and his wife and son, and how I hate Lucilla and Lucius' story and think it contradicts that blah blah blah. NO. The storyline with Lucilla, Lucius, and Maximus is one of the strong points of the whole movie — but not as a replacement for the family he has lost.

In a lot of ways, Lucilla represents Rome as the ideal Maximus always believed in: beautiful, noble, and proud. When he becomes disillusioned with Rome, he becomes disillusioned with Lucilla; when he starts to believe in the hope of Rome again, he starts to believe in Lucilla again. They're always linked. Lucilla is not the woman he wants to start over with and marry now that his wife is gone. She is an old friend and ally whom he eventually learns to trust again.

Lucius, on the other hand, represents what Rome can be again. Lucius is the grandson of Marcus Aurelius, and I think Maximus longs to honor his mentor by preserving the life of his last living heir. Lucius reminds Maximus of his son, yes, and he brings out the protectiveness and the desire to do for Lucius what he couldn't do for his own son. But that doesn't mean Lucius has to be his son for that relationship to have emotional impact, as I will explain further in point 5.

4. Maximus' relationships with Lucilla and Lucius are genuinely integral to the film, but as they are — not as what they could be.

Again, I absolutely love the dynamics between Maximus, Lucilla, and Lucius throughout Gladiator. Russell and Connie play off each other so well with those "I remember how you used to be but that was a long time ago" vibes. Russell and Spencer Treat Clark only share one scene, but it's one of the film's most memorable scenes.

However, we are not meant to question those relationships as "oooooh but what if Lucius is actually Maximus' son????" Maybe Ridley left that door open for the audience to consider, but again, I feel like the film contradicts that by implying that Lucilla and Maximus loved each other much longer ago.

When you make Lucius Maximus' son, Lucilla's seeking out of Maximus as his savior becomes less interesting. It becomes "I'm calling on you to save your son even though you don't know he's your son" instead of "I'm asking you to act out of the goodness inside you to save a boy who doesn't deserve to die any more than your own son did." The version we see in Gladiator is so much more impactful.

It also cheapens what Lucius' journey could have been in Gladiator 2! Again, @streets-in-paradise pointed out how much better the sequel could have been if Lucius had been acting in the shadow of a brilliant man who captivated the city of Rome but also was his friend for a little while. As I'll discuss in point 6, having the reveal of Lucius as Maximus' son is just the laziest possible route for a sequel, and it certainly drags down the dignity of the relationships we see in Gladiator.

5. One of the strengths of Maximus' choice to fight for Lucius' survival in Gladiator lies in the fact that he doesn't have any familial obligation to him.

This is one of my favorite points, because I do love the dynamics between Maximus and little Lucius! Maximus has a bone-deep obligation to save his family — he rides for days and nights to get home and save them, but he misses them by a matter of hours. He wrestles with guilt and misery because he feels like he failed them. He was supposed to be their protector, and he couldn't save them.

BUT. Maximus has no such blood ties to Lucius. This kid is the son of Maximus' ex, the grandson of Maximus' dead mentor, and the nephew of his most hated enemy. Maximus doesn't have an obligation to Lucius as his father: he doesn't even know him until Lucius approaches him in the arena.

And that's what makes his decision to fight for Lucius so powerful. Maximus sees Lucius as the hope of Rome, and he decides that's still worth fighting for — something he had given up on before. Even though he has no obligation to save Lucius as his son, he wants to save him as an innocent young boy caught in political matters over his head.

Again, making Lucius Maximus' son cheapens the impact of that decision. Ridley Scott built up so many amazing plot points and relationships, and it really disappoints me that he just cast them aside to make some easy money by relying on the success of the original.

6. Relying on such a trite, overused plot point to make up the emotional foundation of your sequel can only weaken your sequel and ruin the dignity of your original film.

My final point is simply that Gladiator 2 could have been really well done. They could have done something original with it (or something totally off-the-wall like Russell Crowe's vision LOL). But I think Ridley Scott was banking on that nostalgia factor, and he chose a plot point that he knew would be easily marketable — the hero of the second film is the hero of the first film.

We've seen it done literally hundreds of times, from Star Wars to Superman to Toy Story, and having that be the big reveal of Gladiator 2 is just lazy writing. To have Lucius trying to live up to the legacy of Maximus the hero would have been interesting. To have Lucius discover that he's the son of literally anyone else would have been interesting. To have Lucius discover that he's the son of Maximus is an eye-roll-inducing move that should have been trailer bait and nothing more.

Primarily! Because it can't be the emotional foundation of the movie! Lucius has to have his own journey if it's his movie; he can't just walk in Maximus' footsteps and be like, "Father, speak to me," if he's not going on his own individual emotional journey. We as the audience have to relate to our hero because he's our hero, not because he's the son of our hero.

I'll be honest — I probably wouldn't go see a sequel to Gladiator no matter what it was about because I think Gladiator is a perfect standalone movie and should have stayed that way. I just don't think you can recreate the scale and impact and simplicity of Gladiator in today's film industry.

However, I could at least have had respect for a sequel to Gladiator if Ridley Scott had shown some respect for his own movie. I just hate the fact that Maximus' noble, honorable character is reduced to a cheating husband whose only character trait of note is that he served Rome. Maximus is one of the best characters of the 21st century, and I love him too much to support a movie that trashes that legacy (as well as tries to replicate the beauty of my favorite film of all time).

Final thoughts:

Gladiator is a movie. You can read into it whatever you want, and it doesn't hurt anyone.

I love Gladiator more than I can say, and it's really important to me not just as a cultural icon but on a personal level as well.

Anyone who knows this blog knows how much I love Maximus Decimus Meridius, and Ridley's choice to change Maximus' character so drastically is one that really just ticks me off.

To me personally, Gladiator 2 is not canon, and I will never consider it so on this blog.

[jencsi]

19 years huh? What a wild ride. Despite being off the air since 2015, this show will always be special to me. As evidenced by the entire blog I’ve built around it. I’m forever grateful for the people I’ve been able to meet online from across the globe who share the love for the show the way I do. I will continue to scream into the void about CSI for the rest of my life. And on my deathbed, I hope I have the capability to recall it and all the joy it gave me.

[shadowedresolve]

also. should i make a persona 5 oc. place ur votes now. more details in the tags so if you're interested, i'd appreciate your input!

[vadlings]

Represention of Autistic Frustration in Laios Dungeon Meshi

Like many other autistic people, I related strongly to Laios Touden while reading Dungeon Meshi. This post isn't going to spend time disputing whether he displays autistic traits or not—while I could do that, I want to focus on why specifically his portrayal struck a chord with me in a way the writing of most other autistic-coded characters has not.

Disclaimer: as the above suggests, this post is strongly informed by my own experiences as an autistic person, as well as the experiences of my neurodivergent friends with whom I have spoken about this subject. I want to clarify that in no way am I asserting my personal experience to be some Universal Autistic Experience. This post is about why Laios' character feels distinct and significant to me in regard to autistic representation, and while I'm at it, I do feel that I have interesting things to say about autistic representation in media generally. This also got a bit long, so I'm sticking it under a read more. Spoilers for up to the end of chapter 88 below.

The thing that stands out most to me in regard to Laios' characterisation is the open anger he displays when someone points out his inability to read other people. This comes up prominently in his interactions with "Shuro" (Toshiro Nakamoto):

The frustration pictured above (Laios continuing to physically tussle with Toshiro, using crude language toward him) becomes even more notable when you remember that this is Laios, who, outside of these interactions, is not easily fazed and often exists as a lighthearted contrast to the rest of the cast. Then we get to Laios' nightmare.

In Falin's words: "Nightmares love emotional wounds. Wounds you hold in your heart. Things that give you stress, or things that were traumatic for you. They aggravate memories like that and cause the dreamer to have terrible dreams." (chapter 42, page 10.) (damn. i'm properly citing for this post and everything.)

Thus, Laios' nightmare establishes an important fact: even if he is unable to recognise social blunders while he's making them, he's at least subconsciously aware that other people operate on a different wavelength to him, and that he's an outsider in many of his social circles (both past and present). His dream-father's disparaging words stress the impact this has had upon his ability to live up to the expectations set out for him, and we also get a panel of kids who smirk at him (presumably former bullies to some degree). Toshiro's appearance only hammers home how much Laios is still both humiliated and angered by his misunderstanding of their relationship.

I've thought a lot about anger as concomitant to the autistic experience. When autistic representation portrays ostracization, it's generally from an angle of the autistic character being upset at how conforming to neurotypical norms doesn't come easily to them; as a result, they express a desire to 'get better' at meeting neurotypical standards, a desire to become more 'normal' (whether the writing implies this is a good thing or not). In contrast, not once does Laios go, "I need to perform better in my social interactions, and try to care less about monsters, because that's what other people find weird." His frustration is directed outward rather than inward, and as a result, it's the people around him who are framed as nonsensical.

The Winged Lion starts delineating Laios' anger, and Laios' reaction is to think to himself, "It can sense all my thoughts, huh?" (chapter 88, page 16.) This is the scene that really resonated with me. I'm not saying I have never felt the desire to conform to neurotypical norms that is borne from insecurity, but primarily, I know that I don't want to work toward becoming 'normal'—I don't want to change myself for people who follow rules I find nonsensical. It's the difference between, "Oh god, why can't I get it," and, "WHY CAN'T YOU GET IT?" (phrasing here courtesy of my friend Miles @dogwoodbite). And for me personally, Dungeon Meshi is the first time I've seen this frustration and the resultant voluntary isolation from other people portrayed in media so candidly. Laios' anger is not downplayed or written to be easily palatable, either.

The culmination of Laios' frustrations in this scene wherein we learn that Laios has fantasised about "a pack of monsters attacking a village" drives home just how alienated he really feels. I need not go into his wish to become a monster himself, redolent of how many autistic people identify/have identified with non-humans to some degree as a result of a percieved disconnect from society (when I was younger, I wanted to be a robot. I still kind of do.)

Obviously, wishing death upon other people is a weighty thing, but the unfiltered nature of this page is what deeply resonated with me. The Winged Lion is laying Laios' deepest and most transgressive desires bare, and they are desires that are a product of lifelong ostracization by others (whether intentional or unintentional). This is the brand of anger I'm familiar with, and that my neurodivergent friends express being familiar with, but that I haven't seen portrayed in writing so explicitly before—in fact, it surprised me because most well-meaning autistic representation I've experienced veers toward infantilisation in trying make the autistic character's struggles easy for neurotypicals to sympathise with.

Let's also not neglect the symbolism inherent to Laios' daydream. "A pack of monsters attacking a village". Functionally, monsters are Laios' special interest—he percieves everything first and foremost through his passion for monsters. His daydream of monsters attacking—killing—humans, is fundamentally a daydream of the world he understands (monsters) overthrowing the world that is so illogical to him, that has repeatedly shunned him (other people). I joked to my friends that it's an autistic power fantasy, and it actually sort of is. And in it, his identity is aligned with that of the monsters, while his anger manifests in a palpable dissociation from the rest of humanity. This is one manga page. It's brief. It's also very, very raw to me. I think about it often.

To conclude, I love Laios Dungeon Meshi. This portrayal of open frustration in an autistic character meant a lot to me, and I hope I've sufficiently outlined why. Also, feel free to recommend media with autistic representation in the notes if you've read this far—I would really like to see if there is more of this nature. Thank you for reading. I'm very tired and should probably sleep now.

[gaywineauntsstuff]

Sometimes I feel like us as the bat family fandom forget how starry eyed people get about Nightwing canonically.

Because with the exception of early era Tim most of the Batkids are like. lol that’s my loser older brother or some variation of yeah…he’s some guy I guess? He helps me with homework?

And Nightwing is the canonically a center of multiversal light.

When Heroes meet Nightwing they do the vigorous handshake and the “it’s an honor to meet you sir, I have heard so much about you oh my god”

There are so many character where they are literally shown giggling and kicking their feet whenever Nightwing talks to them.

Even the people who don’t have the celebrity level worship of him respect the hell out of him and call him as soon as they need help.

From raven to Starfire to Superman to Superboy to all or the flashes there is so much respect and awe given to this one dude.

And it is deserved

But imagine you are Damian Wayne and you’ve been working with what 90% of the people you’ve met (all bats) have been calling an embarrassment to your father’s legacy.

Your mother hates him and your Grandfather doesn’t feel that strongly about him.

The red hood calls him an embarrassment and a coward and he couldn’t even keep Red Robin from running away.

Your father tells him that he never should have been Batman

And you’ve worked with him and you know what you think everyone is full of shit about him and you and him the new Batman and Robin are the best no matter what anyone says.

And fuck it the fact he keeps going in a suit that everyone tells him he’s not good enough for is scratching something in your brain that you’re refusing to acknowledge because why would you feel that way? You are the circus freak have nothing in common (shut up)

And then you meet the justice league and all the extended teams.

And people are falling over themselves to listen to a word out of your brothers, your Batman’s mouth. They wait for a nod or headshake and dictate decades worth of planning on it.

Both Drake and Todd’s hero teams ask him for advice with or without their designated bats presence.

The man of steel asks for child rearing advice and wonder woman cracks a joke about a spar

Newer heroes whisper about him in the halls

He’s literally your favorite hero’s favorite hero

And it’s breaking Damian’s Brain

Because well… he kinda gets slapped around in Gotham. He’s the butt of half the jokes the other Batkids make and Dick just smiles and takes it.

The rogues have a bounty on nightwings ass and he gets leered at by goons, rogues, civilians and anti-hero’s alike and he doesn’t say anything.

He lets oracle crack jokes about a pretty face and having to do everything herself

Let’s Jason run the alley despite the fact that apparently he knows how to take it back

Apparently he’s had 12 people tailing Drake since Paris and despite being the man Ra’s Al Ghul calls detective has yet to notice. (Because you can’t tell me Dick was just magically at the right place to catch Tim falling to his death on coincidence)

And necessary to peace talks because he’s the best they have at deescalation

Like imagine you are a child who was raised to believe power is this obvious, all consuming thing. That the ones who control the board are visibly larger than life figures who fought their way to the top and cling to power by even the thinnest hangnail if they had to.

People who ignore simpler morals or an overall greater goal or good

And then you’re taken in by the man who whispers the correct answers into the larger than life figures ear.

Like I feel like that would have such an impact because Dick didn’t take power from anyone to reach his goals, it’s why his siblings don’t really defer to him unless in crisis.

Dick didn’t take power, no people just looked at him and decided he was the best option to give it to.

Everyone basically looked at this kid and went, yeah you’re the future of all heroism.

And if that dude can’t even get Bruce Wayne’s respect what chance does Damian Wayne have

[cy-cyborg]

Toph Beifong doesn’t hold up as disability representation - Disability in the Media

[ID: A screenshot of Toph, a twelve-year-old girl with black hair in a loose, green and tan short-sleeve shirt and shorts, cheering in an arena. Next to text written in a rough, blocky font: "Disability in Media - Toph Beifong Doesn't hold up as disability representation" /End ID]

Avatar the Last Airbender is one of my all-time favourite TV-shows, and Toph is still easily one of my favourite members of Team Avatar. I was a few years younger than Toph when the show first started airing, and being a disabled kid who was into martial arts, constantly being dismissed by my able-bodied opponents and teachers, meant that I connected very strongly with her right from the get-go.

But upon my last couple of rewatches of the series, I began to come to the realisation that my opinions on Toph as a shining example of good disability representation were... well, pretty heavily influenced by my nostalgia for the show and that many aspects of Toph's character just don't hold up today. Which, honestly is fair, the show is nearly 19 years old (if it were a person in my country, it would be old enough to drink) and I think it's pretty ridiculous to expect every part of every character from an 19 year old show to age well. So today I wanted to talk about the things I think Avatar the original Last Airbender did right with Toph, where I think they missed the mark, and what changes I think would need to be made to Toph to make her work for a modern audience.

So let's start with why I think Toph doesn't really hold up as "good disability representation" today, and the elements of her character that just haven't aged as well.

For me, one of the biggest issues I noticed upon rewatching the show, is how often we are told (often by Toph herself) that she is blind, but how infrequently we are actually shown it's impact on her life beyond her bending or outside of jokey contexts. Outside of her bending, we only ever see her blindness impacting her ability to do things like read or write, otherwise, she functionally has full vision -so far as the audience is informed - with the only exceptions being when she's in the air or water (e.g. on Appa or in the submarines) or in loose soil (e.g. the desert). Having places and circumstances where she doesn't have access to her power that allows her to "see" was a step in the right direction, but I do think it would have been better if her seismic sense wasn't quite as accurate, even in the most ideal of circumstances.

But why? Well, I think Suki explains it really well, long before Toph is even introduced. when Sokka says "I should have seen you as a warrior instead of a girl" Suki stops him and says "I am a warrior, but I'm also a girl". Being a warrior and a woman are both important parts of Suki's character, and only recognising her as one or the other means ignoring a big part of who she is, and the same is true for Toph. Being blind is a big part of toph's character that has informed a lot of her life, but so is being a warrior and bending master. Many people see Toph as a warrior or fighter, but ignore her disability, but both are important. She's disabled, and a warrior, and those things don't cancel each other out, the same way being a warrior doesn't diminish Suki's status as a woman.

When the show was still airing though (and even still today) it was very common to see non-disabled fans of the show exclaiming that they honestly forget that Toph is even blind sometimes, with many people going so far as to say that she's not even disabled (and that this was a good thing). While I do think some of that comes from the fact they weren't used to seeing a disabled character as both disabled and an active participant in these kinds of stories, I do think this mostly happened because of the show's lack of, well, showing the impact of her blindness on her daily life and allowing her earthbending and seismic sense to erase the effects of her disability to some extent. It's much harder to forget a character is blind when it impacts their daily life in ways that are shown to the audience. This doesn't have to be in big, showy ways mind you, showing things subtly but consistently works way better than one "very special episode" type setup.

In the show as it is though, the seismic sense functionally gives Toph a perfect image of her surroundings until it's just not available anymore for *plot reasons*.

[ID: A black and white shot of Toph and how she sees the oponent she's fighting, with shockwaves radiating from him towards her to indicate how she's interpreting the scene. Her foe has jumped into the air and now has his hand dug into the ground of an arena, about to launch rocks towards her. /End ID]

In many ways, her picture of the world is better and clearer than what the non-disabled characters can see, leading to this feeling of her disability being erased. It may have been better though if the seismic sense could give her a general idea of big things in her immediate vicinity but she still missed the finer details, functioning at least a little bit more like a tactile/earthy-vibration version of the limited sight some legally-blind people have in real life. Things like a person's position, movement and overall pose would still be "visible" to her in a general sense, as well as big things in the environment (including things underground, since there are a few plot-points that require that), but smaller things like details about objects and creatures, people's facial expressions or what they're doing with parts of their body that have no direct contact with the ground (like their hands) is less clear. On top of this, she may struggle to detect smaller, lighter objects or creatures that realistically wouldn't cause much of a vibration at all. creatures as small and as light as Momo and Hawky for example might be detectable, but "fuzzy" to her, and anything smaller might make enough of a vibration to tell her it's there when it moves, but not enough for her to be able to tell what specifically it is without some other cue (such as sound). There are a few moments in the show that seem to imply this is what they were initially going for, but it's not really consistent, and is directly contradicted in her debut episode, "the blind bandit" when she explains that she can even "see" something as small as the ants off in the distance.

[ID: A shot of Aang, a twelve-year-old bald boy with an arrow tattoo on his head, dressed in a yellow and orange outfit, standing with Toph at night. In the foreground is an anthill will a trail of ants, which Aang is looking for. /End ID]

With an adjustment like what I'm suggesting though, she still serves her narrative purpose of teaching Aang the importance of being able to wait and listen - possibly even more so, as her needing to wait and collect more information in order to get a clearer image before striking, would back-up what Bumi tells Aang that he needs in an earth bending master. It would also still help to illustrate the connectedness of the world, a theme Toph continues to embody heavily in The Legend of Korra, while still showing the ways her disability impacts her more frequently.

When I talked about the "super-crip" trope a while back, I mentioned that one way to avoid the more harmful elements of the trope (where the character's disability is erased by their powers) is to use the ability in question more like a mobility or disability aid than a straight-up cure. The power should help them, but shouldn't make their disability redundant. People are creative and we would find ways to use a superpower or magic to help with our disabilities if it were available in real life, but what's the point of including a disabled character if you're just going to functionally erase their disability? For a character like Toph, I think this is the kind of approach that should be taken with her. Her seismic sense still helps her, but it's not a perfect replacement. (Ironically, I did use Toph as a "good" example of that trope, but I do think after this last rewatch, for the reasons I'm discussing here, I might have to backtrack that a bit).

I considered giving an alternative approach here, to keep the sensitivity of toph's seismic sense as it is in the show as is, but giving it draw-backs such as making her susceptible to sensory overload similar to what autistic people experience. However, while replacing one disability with another can work for some characters and stories, I don't think it's the best adjustment to make for Toph or any blind character, largely thanks to this also being a trope. The "blind (or d/Deaf) person who's other senses become super-human to make up for it" trope is very common in fantasy, sci-fi as well as older martial arts films, and while I'm not really the best person to cover it, I do know that members of both the blind and deaf communities have expressed a lot of frustration with it. Toph already falls into this trope quite a bit, and any suggestions I could make would have just dialled that element up to 11, and fixing one problem with another is never a good idea.

Another thing that actually did bug me for a while, even before my most recent rewatch of the show, is how Toph is treated on the rare occasions she does point out something won't working for her. There are a number of times where Toph advocates for herself and points out that something The Gaang is doing isn't accessible to her or sets a boundary to do with her disability, and she's either left behind, her concerns are brushed off or she's ignored entirely. The three most noticeable examples of this are in the Episodes "The Ember Island Players," "The Library," and Toph and Katara's segment of "Tales of Ba Sing Se."

In the Ember Island Players, Toph complains that the seats they have for the play are too high up and too far away, and she's unable to "see" what's happening on stage. Her friends don't really take any notice of her though except for Katara who tells her not to worry, "I'll tell your feet what's happening."

[ID: A shot of Katara, a fourteen-year-old girl with long brown hair and blue eyes, sitting with Toph, who is sitting with her arms crossed, annoying in a theatre seat. Both Toph and Katara are wearing red and gold, fire-themed outfits. Katara is looking at something off-screen. /End ID]

My problem here is that this particular kind of situation is something that is familiar to a lot of disabled people. Even the least independent disabled people I know get annoyed when their access needs or requests for accommodations, even among friends, are ignored and their pushback is brushed off with "don't worry, I'll just help you!" It's one of the first things that many disabled people tell non-disabled folks wishing to be better allies to us: you offering help instead of actually accommodating us isn't a good thing. We don't want to rely on others if we can avoid it, because honestly, non-disabled people often aren't very good at actually helping or in this case, relaying information to us without training and more often than not, it just results in us being left out. I find it very hard to believe a character as independent as Toph would accept that without any protest, especially considering that is pretty much exactly what ends up happening (even if the show didn't really acknowledge it). Katara never actually conveys anything about the play to Toph, except when she's attempting to throw Toph's words back in her face when she asks for clarification about the actor playing her - which ends up backfiring on her.

[ID: A shot from the same location as before, this time Toph has a huge smile on her face and is leaning on the balcony excitedly while Katara is leaning towards her, annoyed by her reaction. /End ID]

While it would have been better if Toph was actually listened to, it would have been…fine? if a justification was given for why they had to sit there (e.g. to avoid being recognised), if Katara had actually described the play for her. This wouldn't have been ideal, but it would have been better at least. In real life, many movies, TV shows (including this show's sequel series, The Legend of Korra) and other forms of visual media have an Audio Description track that does exactly that. If they weren't going to move for Toph to be able to see better, having Katara describe the play could have introduced kids to the fact this is an option. but instead it's brushed off, and I'll admit, it left a bit of a bad taste in my mouth, even back in 2006.

The Library is a bit more forgivable in my opinion, since Toph is still new to the group, but in this episode, she states that she doesn't want to go inside the spirit library because she isn't able to read and therefor there wouldn't be anything for her to do. However, it still would have been nice to see her friends consider this at all before they actually arrived. They could have (and should have) still gone, but some acknowledgement that they at least thought about the inclusion of their disabled friend would have been nice.

[ID: A shot of Aang, Katara, Sokka and another man are talking while looking down at a map on the table. Meanwhile, Toph is sitting on the other side of the table, completely disinterested as she sips from a large ice cup with her feet up on another chair. /End ID]

Alternatively, I do feel like Wan Shi Tong, a self-proclaimed all-knowing-spirit or his assistants would have been able to point her in the direction of something to interest her, since he does imply books aren't the only form of knowledge he collects.

The reason I mention this though is two-fold. In real life, disabled people are very often left out of "fun" group activities, whether that be in formal settings or in casual ones, like hanging out with friends. If the episode had been framed as "the Gaang learns about the library and decides to track it down," I might have been less critical, but it's specifically framed as something that at least starts out as a kind of break for the team where they all take turns picking out fun things to do so they can rest, and Toph's access needs not being considered at all until they're already there hits a bit close to home, especially since they just end up leaving her outside. Secondly, there's also a stereotype that disabled people (and especially blind people) don't belong in academia and places of learning, such as in this case, libraries. This stereotype is about as old as the concept of organised institutions of learning, and definitely isn't unique to AtLA, but the assumption is often that disabled people wouldn't be interested in more formal methods of learning, so it's not worth accommodating us. With blind people in particular, when I've seen this in media, the premise is often "well I can't read anyway so why bother?" which Toph definitely falls into here with no push-back against the trope.

[ID: A close up of Toph and the rest of the group, Katara, Sokka and Aang standing in a desert. Toph shrugs, looking bored, while the others looks confused and surprised with the exception of Katara, who looks mildly annoyed, standing with her hands on her hips. /End ID]

It does make sense that she would have been resistant to going in, and I'm not saying this episode should have turned Toph into a bookwork akin to Wings of Fire's Starflight (another blind character) or anything. But there was a chance in this episode to push back against some of these assumptions, and I think it's a shame they missed it. How cool would it have been if Toph had mentioned not feeling welcomed in more formal learning spaces because of her disability, which was just reinforced by the way her old earthbending instructor and her parents treated her. She decides to go inside the library anyway as "backup" in case something goes wrong, grumbling about it the whole way down. Wan She Tong starts his introduction mostly the same way, saying humans aren't welcome and Toph makes a snarky comment about it. Wan She Tong, equally offended that this human thinks he, the all-knowing-spirit, wouldn't have considered something, shoots back with an annoyed comment about humans being so self-centred. He explains that spirits come in all shapes and sizes, and not all of them have eyes, but they can still access his library. She's not the first sightless being in his study, and he-who-knows-ten-thousand-things knows this too. Once everyone is permitted entry, one of the knowledge seekers shows her to a series of slates about a lost earthbending form that she can actually read (or at least, "see" the pictures on) because it's carved. Or instead of a slate, it's a series of statues outlining the form, similar to what Aang and Zuko find in the episode "The Firebending Masters". Perhaps this form is something that helps her develop metal bending later on, and lays the groundwork for Toph becoming interested in teaching in the comics.

And finally, Toph and Katara's segment of Tales of Ba Sing Se. Katara convinces Toph to go get a makeover with her as part of a girl's day. Overall, this segment of the episode is pretty nice, and I liked that they showed that a person's gender expression (in this case, being a tom-boy) doesn't mean they can't like things outside of what we usually associate with that. Tom-boys can like girly things on occasion, and vice-versa, and I think this is an example of an episode that would seem a bit ham-fisted today, but honestly, was needed in 2006. However, there's a throw away joke where Toph says "as long as they don't touch my feet," and it immediately cuts to show spa workers filing down the calluses on her feet in a way so painful several staff are required to hold her down.

[ID: An image of Toph in a bath robe being held down in a chair by two spa workers while a third scrubs at her feet so hard that she is sweating. Meanwhile Toph is fighting against the two holding her down and has a facial expression like she is in a great deal of pain. /End ID]

this might be a minor thing in the grand scheme of the show, but it's still another example of Toph's boundaries about her disability and her access needs being disrespected by her friends, which the show just doesn't acknowledge it at all. People ignoring Toph's wishes about a part of her body she depends on in a much more direct way that others do is played off like a joke in a montage of otherwise enjoyable and goofy activities and this is a very, very common experience in disability circles.

There are a number of other, much more minor issues that show up with Toph as well, such as the fact she's the only one of the main cast who never has an on-screen (or on-page) relationship. not in the original show, not in any of the comics and not in The Legend of Korra. Again, it's not a big issue on it's own, especially because in AtLA, she's young enough where it's possible that she was just not interested yet, and she does have kids in The Legend of Korra where she mentions a relationship with a man named Kanto (Lin's father). So it is implied she does have some form of relationship eventually, but the issue is that it's never shown on screen or on the page. This feeds into a wider pattern in media of disabled characters being the only ones in their respective cast not given on-screen romantic relationships in stories, and so I still think it's worth pointing out, especially since the creators have had a lot of opportunities to correct that by now.

Toph is also portrayed, pretty much undeniably, as the best earthbener in a way that, at times, comes across almost like the creators felt like they need to compensate for her being on the team "despite" her being blind. This trope is one that I think Toph, at least partially, helped to popularise with the current generation of story tellers: The Disabled Savant. In this trope, disabled characters aren't really given the same room for growth as other characters; they aren't permitted to be average or still learning, they start good and get better. If they do progress, they often become the best, which is the case for Toph. To be fair, everyone in the The Gaang is the best at their respective skill by the end of the first series, which is why I say this is a minor point. She dose, however, have the least amount of on-screen growth in skill out of the whole team. Katara starts out barely able to lift any water at all, let alone actually bend it. Sokka is skilled with weapons from the start but does get his butt handed to him a number of times by others with more experience than him whom he learns from throughout his story arc. Zuko spends most of the early-to-middle of the show having things "blow up in his face" (to use his own words) and being belittled by his family of prodigies. While Aang is an airbending and, to a lesser extent, waterbending prodigy, he fails at pretty much everything else for a while before he starts to find his confidence - especially earth and firebending, not to mention the entire situation with locking himself out of the Avatar state. Toph is the only one who doesn't seem to fail or struggle all that much from a combat perspective. She does grow and improve in her bending (she invents metal bending after all) but she never has any moments where she really messes up or even struggles in combat all that much compared to the others.

All of these points and criticisms I've mentioned are not necessarily big in and of themselves, but when looked at together, they build up to create some issues with how Toph is depicted and how the people around her treat her disability

So that's it then? Toph is bad disability rep and Avatar should be "cancelled"?

God no. Like I said at the start, I still adore Toph and Avatar as a whole, but the show is a year away from being two decades old, it's bound to have some elements that don't hold up and I think it's worthwhile discussing them, specifically because I love the show and it's characters. Despite all the negativity I've brought up, I do think there are a lot of things AtLA did well with Toph too.

I've mentioned a few times that we rarely see how Toph's blindness impacts her life outside of her bending and combat abilities, and there's a reason I made that specification. Unsurprisingly, if you know much about the show's development, the ways in which Toph’s blindness and seismic sense impacts her bending and fighting style is one area where the show really does shine, and I still think that is worth a mention. The various types of bending are based on different styles of martial arts, specifically, different types of Kung Fu. Most earthbending in the show takes heavy inspiration specifically from Hung Ga, but Toph is different. Her bending heavily references Southern Praying Mantis Kung Fu, something unique to her within this world.

The reason for this (outside of simply wanting her to be visually distinct) was because the show’s creators made sure to consider what limitations Toph might have and what parts of the more common earthbending styles wouldn't work for her. Since her connection to the earth was critical in order for her seismic sense to work, they decided on a style that would keep her feet on the ground more, prioritised strong stances with minimal jumping and put more focus on attacking with her upper body. While not an intentional choice, the style they went with for Toph, according to the show's head martial arts consultant, Sifu Kisu, was supposedly developed by a blind woman in real life, at least according to legend. The creators also made further adjustments to the style with the help of martial arts consultants and just watching Toph fight is evident that a lot of love and care was put into the decisions made on that front.

I also appreciate that Toph's disability wasn't off-limits to joke about.

[ID: A picture of Toph waving her hand in front of her face with an exaggerated smile to remind the others she's blind. /End ID]

As I already mentioned, they didn't land 100% of the time, but lot of shows are afraid to use disability as a source of jokes, which would have felt weird and out of place in a show like Avatar. I see this hesitance in real-life too; people get extremely uncomfortable when I joke about my own disabilities and I've heard several people and even disabled comedians talk about the same observation. My last video on Tik Tok that got outside my usual audience was a joke about my prosthetic leg, and every single stictch and duet I received was people saying some variation of "I'm such a bad person for laughing!" "I'm going to hell!" or just straight up asking if they're aloud to laugh. If I didn't want you to laugh, I wouldn't have posted the joke! But joking about disability does make it more approachable. Despite how often Toph and the others made blind jokes though, outside of the one instance I mentioned earlier, they never felt mean-spirited or like they were punching down. Even when a very sleep-deprived Katara was intentionally trying to be.

I think it's also worth keeping in mind the context of the media landscape when Avatar The Last Airbender was airing. Today, characters like Toph are very common, so much so there's a whole trope about them (super-crips) but at the time, having a character with a major disability be a main character in an action-orientated kids show like Avatar was really rare. She wasn't the first of course, but a lot of the time, if they were included, they were almost certainly sad and depressed, wishing for a cure or they were designated to the roles of "Guy in the chair" (which is a character, usually a tech person, who helps from the background), inspiration, scary villain fake-out (or other variations of "creepy" character) or the actual villain. Having a character that was not only comfortable in her skin as a disabled person, who didn't want or need to be "fixed" or "cured" to be directly involved in the story, and who's main obstacle (at least in season 2) were how the people around her treated her, was pretty ground-breaking at the time (pun not intended) and went against the most prevalent stereotypes of it's day.

And I really want to emphasise that. For many Millennials and older Gen Zers, myself included, Toph was the first character that didn't tell us we were broken and needed to be fixed in order to be part of the group (even if they slipped up with that messaging occasionally). Prior to seeing Avatar, I honestly thought there was something deeply wrong with me for being happy with my life (a reminder, I was 10 years old when this show first started airing), because every other disabled person in the media only ever talked about how much worse their life was because of their disability, how much they hated it and how much they hated themselves. Many outright said that they wished they had died rather than become like me. Toph wasn't the first to go against those tropes, but she was the first example of a disabled character who wasn't like that many people my age saw. Did she do it perfectly? Hell no, but personally, back then, I was happy to have a character who maybe over-corrected and took things a bit too far than another sad character talking about how lives like mine weren't worth living.

I also deeply appreciated that Toph did struggle with her independence, at least initially, and where to draw the line with accepting help. Because of how much she'd been coddled and overprotected as a little kid, she saw any attempt at people being helpful and working as a team as them trying to baby her. It was very on the nose, but I liked that the show gave her an episode just dedicated to realising that it's ok to accept help. Again, this is a bit of a story telling trope today, but having the disabled character realise that it's ok to accept help, and to do it without talking down to them or saying that them wanting independence was bad, was a refreshing change compared to what was around at the time.

[ID: a zoomed out image of Toph, standing before her parents with Aang, Katara and Sokka standing behind her. /End ID]

While I think the show's creators could have benefited from consulting with disabled people and specifically blind people the same way they brought in consultants for the martial arts featured in the show, it's very clear to me that the intention behind Toph's character was good, and that actual effort was put in to make sure they depicted her well, even if some of it was a bit misplaced. It's also worth noting that the groundwork for a lot of my suggestions is already in place, they just didn't follow it all the way through. Overall, I'd say Toph was good for her time, and she's what was needed in the 2000's, even if she doesn't hold up as well today. I also think it speaks to how far we've come in terms of disability representation. When I first started engaging with the online fandom directly, almost no one, even other disabled people, argued that Toph wasn't good representation, because honestly, the bar was on the floor and we were just happy to have something different. But now there are options, and the standards are higher, and that's so, so good. It means that people, even in the media, are starting to listen and be more thoughtful about their depictions of disability than we were in 2006.

And finally, I want to really quickly mention The Netflix adaptation of Avatar. A few people have asked me now what I think they should do with Toph when they get to her, and what my predictions about the show are. I'm not going to talk about my predictions here, because this post is already way too long and that's not what this is about, but I don't think the suggestions I made today would necessarily work in this particular remake, primarily because of the tonal differences. Some adjustments definitely could, such the other characters doing a better job at listening to Toph when she points out inaccessibility and them actually considering her in the first place, but others might be harder to balance. The original show could get quite dark and serious at times, but it was primarily a light-hearted adventure story for kids. From what I've seen of the live action remake though, they're more heavily leaning into those serious elements - for better or for worse, and as such, trying to tone Toph down in the specific ways I mentioned might not balance out as well as it would in the original show. At the very least, the specifics would need to be different. To be honest, I'm not entirely sure what approach they should take, that's not really the point of this post, but I did want to quickly address it to avoid confusion. My suggestions today were specifically on how to approach the cartoon version of Toph for a modern audience, and were not meant to be read as suggestions on how her live-action counterpart should be depicted.

[accirax]

hey! i was wondering about eden’s emotional cg scenes with teruko at the end of ep14; if eden does happen to be the culprit, how would it affect her characterisation? personally, i can’t help but see it in a negative light, one which dampens her impact on arei, teruko and others with her ‘rational optimism’ and general kindness. if eden believed arei wanted to be friends with her, and was willing to reciprocate it, would eden really kill her in cold blood?? if her tears at the end of ep14 were genuine, would it go against her ultimately being the blackened?

tl:dr: how would you justify eden’s last moments at the end of ep14, if she were the culprit? it felt truly genuine to me, but i can’t help but notice her suspicious behaviour and inconsistencies in regards to the ch2 murder :(

(sorry, i’ve never done an ask before!! apologies if this is worded poorly.)

Can Eden Still Be the Culprit (Again)?

Haha, it figures that, even if I didn't choose to cover it in my Episode 14 Dissection, I'd still wind up analyzing what was going on in that scene anyways. Glad you're curious to hear my thoughts! (And don't worry, you phrased everything perfectly!)

The truth is, I didn't initially go over it because I wanted to post my thoughts on the day after the episode aired I, too, am somewhat confused as to how Eden could say all of that and still potentially be the blackened. However, as someone who still believes that Eden could be the blackened, it's probably a good idea if I figure out for myself what the hell this scene means in the context of DRDT at large if votes for Eden are close at hand. And potentially preempt some of the backlash that might arise if they are.

Just know that I, too, think that some of my points might be a bit of a stretch sometimes. We cool? Cool. Let's get analyzing.

SPOILERS for DRDT through Chapter 12 Episode 14, as well as Chapter 2 of THH and Chapter 1 of SDR2, and a WARNING that we will (obviously) be discussing Eden!culprit throughout this post.

For Eden's words and actions to make sense under the preconception that she is the killer, I think there are only three major roads you can take.

NUMBER ONE: EDEN IS A LYING, MANIPULATIVE, SCUMBAGGY PIECE OF SHIT

This option... is not great. Everybody agrees that it is not great. I hesitate to use the word "bad," because I think that people are way too hasty to call things "bad writing" (especially before they've even happened), but... I'm not gonna lie, it's pretty bad.

Basically, what it says on the tin. Just like David, Eden has actually been a liar and a manipulator the whole time. She doesn't actually believe anything she said about optimism or the power of friendship, and was 100% using that attitude the whole time to get everybody's guards down. A character like that would have no problem saying whatever the hell she needed to say in order to get others to pity and therefore not vote for her.

I don't like this one because it fully invalidates everything that we've seen from Eden so far. For someone like David-- or, say, Nagito-- even in the midst of their big heel turn, there are parts of their previous characterization that are still salvageable. Teruko caught David being a hater on literally Day 1, and it was easy to read into his outbursts of anger and insane nosiness to expect that his personality wasn't really as bright as his stars. Similarly, even if Hajime got along with Nagito, he was still sort of a creepy and off-putting guy, and everything about his love of hope stayed as strong as ever. For Eden to suddenly turn to the dark side would truly come out of nowhere. Other than... I don't know, liking to bake?, I don't think there are any aspects of Eden's former characterization that would remain. Not that her character would remain in the story for much longer, but, whatever.

I'm going to discount this option because I have faith in DRDTdev's writing, and I don't think he would suddenly want to abandon the Eden character he's been strongly developing over the past two chapters. Again, I refuse to call anything bad writing until the Chapter at least, if not the story as a whole, is wrapped up, but there's a reason why everyone's first instinct is to hate this idea.

NUMBER TWO: EDEN IS THE BLACKENED BUT DOESN'T KNOW IT

Basically, Eden is able to be so genuine because she either forgot or didn't know that she was the one to kill Arei, but we'll still be able to convict her in the end because all of the evidence points to her. How would this work? Well, sorastar6 came up with a theory that Eden might have killed Arei but blocked it out of her memory. It could also be something where, like, someone else put her up to it and she accidentally let go of the rope or whatever to kill Arei without realizing it. (That idea is loosely based off of a-student-out-of-time's theory of David manipulating Hu to kill J-dressed-as-Arei-- hopefully if they read this, they won't mind me using their theory as a logistical basis off of which to accuse Eden 😅)

However, I don't think either of these cases are particularly likely either. The murder method is so complicated and clearly premeditated that it would be really hard to trick someone into operating it without realizing it at all. And, if Eden killing Arei traumatized her so much that she lost multiple hours of memory then you'd think she'd just... not do it. I respect the hard work and creativity of both of these theorists, but I'll be passing on this option as well.

NUMBER THREE: EDEN FEELS REALLY, REALLY GUILTY ABOUT IT

Okay, so I maybe-sorta-lied: there are probably other ways that you could interpret Eden's emotional reactions to talking about Arei's death other than specifically her being guilty. However, given that guilt was already the justification I reached for the first Eden mini-breakdown in my Episode 13 Dissection, it may not come as a surprise that I'm staying on theme.

Before, I summarized that what Eden was saying to Levi was basically what she wanted to say or already said to herself. She knows that killing Arei was "wrong," so even though she thought it was the right thing to do, she wants to always remember Arei and acknowledge her faults as a form of penance. Also importantly, one facet of why Eden might be breaking down now is because (under the theory) she only learned that Arei truly wanted to change and be her friend in the Trial when David told her. It makes her feel extra guilty now knowing that she killed someone who wasn't just her bully, but someone who wanted to be better than that.

We're going to keep that rationale in mind as we now look through everything that Eden has to say at the end of Episode 14. The only thing of note that I will have to concede is that, even if Eden isn't a liar or a manipulator overall, any time she says anything along the lines of "I'm innocent!" or "I didn't kill Arei!", it has to be a boldface lie. Sorry, I don't like it either, but there's no way around it (outside of something like option 2). I otherwise want to claim that Eden is straight-up lying as little as possible, but this was kind of a gimme. But hey, that's why I have my doubts that any of this will turn out to be true as well.

Since this is its own post and not part of the Episode 14 Dissection, it means that I get 30 images to use on just this subject, hooray!

This is certainly a softball to start this defense off on. Eden can just be confused/upset that her efforts to evade being the blackened aren't working all of a sudden.

Similarly, this is just her rephrasing/challenging everyone's thoughts. Perhaps I should have cut out some of these beginning statements, but I'm always one for being thorough.

Don't worry, this is the last of these three. I will note, though, something that I actually only noticed on this watch-through. I was aware that Teruko and David both had shots that only showed their mouths and torsos with their eyes obscured in this episode, but apparently, Eden has one too. Of course, this could go either way: these shots could be reserved for the "major players" of this chapter-- the protagonist, killer, and someone who's clearly getting extra focus-- or, it could be more of a protag/antag/support thing. Or maybe DRDTdev just decided to start using this for highly emotional scenes.

Well, given that I'm trying to throw Eden under the bus in this post, it's clearly the first of the three. Don't listen to any clowns (<- me) who might tell you otherwise. (/j)

"Hold myself together" isn't as innocent-coded as it might seem on the surface. It seems pretty clear to me that Eden feels genuine sadness over Arei's passing no matter her role in Arei's death. However, being the blackened and having to keep a secret throughout the Trial might make coping with those emotions even more difficult. Fully breaking down in grief would be bad enough as an innocent, but as a blackened, it would basically be game over. Arei's death is the cause of her discomposure, which can still be equally true if she was the one to kill Arei.

This is quite possibly the line that I have the hardest time justifying in the context of Eden being guilty. I could obviously just say that she's lying here, but as I said at the start, I want to call what Eden says lies as minimally as possible. So, what are our other options?

Nico said earlier this episode that attempting to kill Ace was "the worst choice that [they'd] made in [their] life," so it could be fitting for both of our killers this chapter to feel the same way. After seeing what it was like to kill Arei and have everyone suspect you, Eden decides that whatever her motive for killing was wasn't worth it in the end. However, now that she's in this situation, she still has to stick with her initial plan (unless she wants to just die on the spot) because she can't go back, no matter how hard she tries--

For DRDT to enter its third chapter with the cast at their most hostile and downtrodden but also only having one killer who did so accidentally and two killers who deeply regretted it would be very interesting indeed.

Alternatively (or perhaps in combination), this could also be Eden being somewhat of a pessimist. If you're a blackened, you're generally hoping/expecting that everyone other than you will die. However, only one person's death is actually guaranteed-- your victim's. (Or two people's deaths if you kill two people, but that's not important to this case.) In theory, Eden choosing to kill Arei in particular doesn't really matter, because if she won the Class Trial, Arei would die anyways. However, now that Teruko has accused Eden, reality might be setting in for Eden as her dreams of being the one to escape flit away. In that case, she may be regretting her choice to victimize Arei-- if she's going to die for her attempt, she might at least wish that Arei got to live over some others.

I think the first option is probably the best from a thematic perspective, although both options certainly have their counterarguments.

Eden's (stellar) read on the "Why?" line definitely implies that she's frustrated, which could go either way. It's equally possible that she could be mad that people are suspecting her when she's innocent, or that she's upset that everyone is suddenly hounding her when she thought she was putting up a good front.

As for her leading question, if Eden is the killer, we've already seen her subtly mine for information at least once before. The conclusion of her last breakdown was her trying to ask David what really happened between him and Arei in the Relaxation Room. Now, asking this question might be intended to either shore up arguments she hopes to defend herself against, or force other people to "concede" that there are no reasons why Eden would have killed Arei. A bit of a dangerous gambit, but it's arguably more dangerous to have to come up with justifications about unknown arguments on the spot, especially when emotionally struggling.

Not gonna lie, though, the fact that she immediately followed up "why do you think I killed her" with "I cared about her!" also slants towards an innocent read. If you really were the culprit, I feel like you would start trying to argue against some of the solid evidence that people just presented (such as Levi bringing up the information required to write that note) with evidence of your own. Instead, Eden shoots straight for the emotional defense, even though no one was arguing that Eden never cared about Arei leading into this speech. (Arturo brings up her connection to Arei, but he never directly says it was because she didn't care.) It could speak to the fact that she was fully unprepared to be accused (because she didn't do it and had no idea about the tape).

However, Eden has always been a very emotional person, and it's possible that a big part of her intended defense was to say that she cared about Arei. Another interpretation is that Eden brought this up now because it's something she's insecure about. It sort of goes back to my idea that Eden is still desperately trying to cling to the idea that she's a "good person" despite her choice to kill. If that's true, the way that Eden is perceived as the killer might be very important to her. Like, obviously surviving the Trial itself is the most important thing, but Eden doesn't want anyone to misinterpret her as a monster on her path to the finish line.

I already explained why this line was sus as hell to me:

This distinction-- between "Arei was my friend" and "Arei could have been my friend"-- could be very telling down the line. Eden pauses mid-tear-filled rant to distinguish that Arei is not her friend, not because she's dead, but because they hadn't reached that point yet. Arei is not Eden's friend in death. What can that possibly mean other than that Eden killed Arei?

This is one of the lines that makes me most think that she is the blackened in this monologue. Because, seriously, why would she not have just said "Arei was my friend!" if there wasn't any doubt in her mind?

Alright, I think that about now is a good time for me to drop the thesis I've developed whilst reflecting on Eden's behavior and how to put all of the pieces together. Should I have said it earlier? Maybe, but where's the drama in that?

Basically, for starters, I don't think that Eden fully believed that Arei genuinely wanted to be her friend. As I've said before, Arei saving Eden from Arturo happened mere hours after Arei denounced her entire personality. It's super believable that Eden might think that Arei was just using her usual manipulative tricks to make Eden look like the fool again. However, despite all that, I don't think that Eden hated Arei, either. They were just in the exact same state that they were in before-- Arei as the bully and Eden as her target-- which Eden had never hated Arei for before. Eden wanted to help her and wanted to be friends with her, as she says in this screenshot, but that doesn't mean it could actually happen. Tragically, Eden determined that Arei wouldn't be able to change while being trapped in this killing game.

After that, Eden decides that she needs to kill to escape the school. The exact motives of which have puzzled Eden!culprit theorists for months, with current speculations still being that it may either have to do with her secret, the girl she kissed, or her family, who she told Levi she couldn't imagine living without. We've got time to cook on that in the post-Trial, if Eden is the killer. However, I also don't think that we should discount how scary the killing game has become.

Let's run through the events of Day 6 again, because it's a truly terrible day for Eden:

Eden wakes up in the morning and goes to rouse Teruko, who she has to blackmail in order to even get her to consider attending breakfast with the others. She tries to convince Teruko about the value of optimism, but Teruko only tells her that her worldview makes Teruko even less inclined to be her friend. Speaking of lack of friendship, Eden's chances at a peaceful breakfast-- which she had been hoping to use to bring everyone together-- are dashed when there are three separate shouting matches going on in the Dining Hall. Eden tries to assign her associates to break up the fights, but it goes terribly-- all she does is get Arturo and J mad at her, while Veronika only makes the situation between Ace and Nico worse.

After David's plan causes Charles (who has been making some of the most progress so far) to recall his traumatic past, Eden tries to invite Teruko and Arei to a fun event to brighten everyone's moods and right her wrongs of the past. Except that, when she does, Arei rejects her offer outright and brings up some of her biggest insecurities, causing Eden to run out of the room crying. Neither Teruko, who Eden has been trying super hard to befriend, nor David, who has (theoretically) been acting in the name of harmony and cooperation, run after her to offer her any comfort.

Despite David's lack of support, though, she still decides to support him by following his idea to let Arturo know about his secret. Trying to do so nearly costs her her life. She's just one unarmed 5'2" clockmaker against a clearly agitated 6'3" surgeon with a scalpel, and she's only saved by the bully who just said that Eden "utterly disgust[ed] her in every way." Arei now claims that she'd do anything for Eden, but is that just another setup through which Arei can make fun of her trusting nature in the future...? Eden wants to hope, but it's hard to do so when the person who just saved you was the one who told you you shouldn't.

Anyways, even despite a long afternoon of Nico being outed and a long night of being stalked by probably-Arturo, Eden is still trying to help Teruko pick up her clothes when she runs into Teruko in the Dress-Up Room. But since nothing can go right for Eden today, it's then when she and Teruko hear a loud noise, and they stumble upon Ace's body in the Gym-- the second murder attempt Eden has seen today. Nico is standing over Ace, really making it look like they killed him. Gosh, if only someone had been able to talk to the two of them this morning in a productive way, instead of making things worse. Thankfully, Ace is still alive, but less thankfully, he's now a convert to killing and wants to eliminate Nico. The day ends with Ace saying that this place is worse than death and Levi-- who Eden had just been praising for being kind and reliable-- giving up on his former friend.

Are you starting to see why Eden started planning murder and picked up the tape when she did?

Looking at it through that perspective, I don't even know if Eden needs a reason outside of the killing game to want to be the blackened and escape. If we can accept that Ace's motive would be to escape the situation in which he almost died, it feels like we should be able to acknowledge that Eden could be motivated by the exact same thing.

Obviously, it's harder to believe that Eden would kill than Ace, because Eden generally cares about everybody and Ace (other than Levi, once) didn't really like anyone. However, I, at least, don't think it would be totally narratively unsatisfying for Eden's reason for killing to be that her bandwidth for caring for others was overloaded, and with no one supporting her (and at least one party actively attacking her), her fears of the killing game got the better of her, if only just for a moment.

Getting back on track, Eden's terrible awful no good very bad day has inspired her to kill, but who does she take down as her victim? Well, as we've established before, if Eden wins, everyone will die anyways, so it's not like she's really "sparing anyone's life" by not killing them here. She's already made her peace with everyone as she knows them dying. And after that, despite the care she still has for Arei, she chooses Arei as her victim because of what Arei told her after Arturo attacked Eden. But, I'll reiterate, Eden doesn't hate Arei. Instead, Eden chooses Arei because she thinks Arei is the victim that will make her look the least suspicious.

Just because Eden doesn't believe that Arei really wanted to be her friend doesn't mean that other people won't. In fact, I think that Arturo would definitely believe that the two of them had turned over a new leaf. In this situation, Eden is aware that her best path to innocence is to play up her kindhearted personality in order to lead people to believe that she would never hurt a fly. Therefore, she decides to leave the note behind so that people will hear about the story of Arturo attacking her. In my Episode 14 dissection, I was spinning my wheels trying to figure out why Eden would possibly want anyone to find that note. However, this option would create a reason why Eden would want others to read the note. The mere fact that Arei decided to come to the Playground would serve as evidence that Arei really did care about Eden, and therefore make Eden seem more innocent. Maybe she overstepped a bit on revealing so much about Arturo's secret in the note, but given that everyone seems to believe that the killer overhearing the conversation was possible anyways, it's not a huge deal.

However, there is a contradiction here that you may have picked up on. Why would Eden count on using a note to draw Arei out to the Playground if she didn't believe that Arei would actually listen to her? I raise you a new idea: who says that note was actually real?

For those who believe that Eden isn't the killer, the thought that someone falsified writing that note isn't anything revolutionary. However, if other culprits could plant that note as a fake, who's to say that Eden didn't do the same?

I believe it was demodraws606 who recently raised the question of why Eden would even bother writing a note to Arei when she could have just gone up and knocked on her door. (Apologies, I tried to find the post in which they said that but I couldn't track it down 😔) That excellent question set off the domino chain that made me think... well, maybe she did.

Eden works through the night (14 hour shifts, baby) setting up the pieces of her murder contraption in the Playground and writing a fake note that she "sent" to Arei. However, instead of sending that note to Arei, she goes to Arei's room herself and knocks on her door at, like, 7 AM or something. Eden doesn't necessarily believe that Arei will answer, but, if she doesn't-- that's not the worst thing in the world, right? It's not like she's particularly pressed about the secrets deadline, and she left herself with enough time to put away her murder scheme if necessary. Unfortunate, but assuming that she lives another day, she can try again some other time. However, instead, Arei opens the door (because, unbeknownst to Arei, she really did want to be friends with Eden), sealing her fate.

This also opens the opportunity for the scene of knocking Arei out to be in the doorway of Arei's room, instead of in the Playground. I always wondered how the scuffs on the floor would be so contained to one area near the entrance to the Playground. Like, the whole rope setup must have been at least somewhat set up by the time Arei entered the Playground, right? If Arei saw that, why wouldn't she start running away? And, in the case of Eden as the culprit specifically, would she really be able to subdue Arei in such a small area? If Arei was knocked out in her room, we wouldn't be able to see any evidence of that happening, because no one searched her room. That also leaves open the opportunity for Eden to have tossed any items she used to knock out Arei into Arei's room, where no one would be able to find them. And, hell, let's rope the glove into this, too! If Arei was never even intending to get dressed up to the level of leaving her room, maybe she hadn't yet put on her glove when Eden taped her wrists! It's weak reasoning, but it's a reasoning, at least!

(Also, if you're wondering how the scuffs on the ground could have gotten there if Arei wasn't subdued in the Playground, sorastar6 also recently made a theory that the ground was actually scuffed up after the jugs broke and the turf became wet, and it was the killer walking through a puddle that messed up the ground.)

After that, yada yada, ropes and carousel, Arei dies, investigation, Class Trial.

Eden is trying her best to just lay low and survive the Class Trial, but a wrench is thrown her way when David reveals to her that, after she left the Playground, Arei confessed to David and Teruko that she actually wanted to change. This goes against everything that Eden thought. Part of her reason for murder was that no one was willing to work with her, and now she learns that she just killed the one person who actually was? That's terrible! It can't be! David, please tell me the rest of that story!!!

At this point, you might wonder why, if Eden feels horribly guilty about killing Arei and unsure of her former conviction that the best thing she could do would be to get out of here alive, she wouldn't just confess to the crime already. Beyond her desire to survive herself, I think it could be because she wants Arei's death to have meaning.

If Eden gives up, it means that she killed Arei for no reason. She made the huge, irreversible decision to kill Arei, and then decided to throw it away when things got tough. But she won't let herself brush away the deaths she caused just because it was inconvenient for her.

She won't let her emotions take precedence over the harm that she caused.

She has to acknowledge that Arei's death was her fault.

Which means that, just like Min did, she has to fight like a proper blackened would if she wants to prove that she cared about enough Arei to believe that her life had meaning.

And that's why Eden is so insistent that she didn't kill Arei because she hated her. She isn't someone who believed that Arei was fully incapable of change, and she still cared about Arei a lot. And so, she'll honor Arei's legacy by taking to heart what Arei said to her.

Those are my general thoughts on how to justify Eden's breakdown at the end of the episode-- although, obviously, we still have more to go. That awkward middle placement strikes again, huh? But, I do think it has its benefits, which is why I'm keeping it here. We get to balance some buildup before the point with the lens of seeing some of the dialogue after the point. Let's wrap up the rest of this a bit quicker, shall we?

Since we're a while from the start, let me just issue a refresher that this post is assuming that every time Eden says "I didn't kill Arei" she is just lying. Yes, it assumes that Eden is willing to lie in a Class Trial, but I think that any 18 year old would be capable of pulling that off if their life was at stake, no matter how sweet they may seem.

This could also be another instance of Eden assessing the situation via asking a question.

This line would be tying back to the assumption that Eden's main plan for getting away with the crime (other than possibly framing Nico with the murder method) was to pull the emotional defense that others wouldn't believe that she killed. The tears could still absolutely be borne of genuine fear, but the choice to reach for help from Teruko could be her planned fallback if things got dicey. If she is the killer, then the evidence should stack against her, meaning that "belief" is her best way out of receiving votes. This is her hail mary.

"This trial has been cruel to me" is 100% right if she is the blackened who got jumpscared by knowing that Arei cared. After she initially acted against her instincts to kill for the sake of her life, she then has to face consequences that she didn't even think were possible, all while keeping a straight face. For whoever the killer is, can you imagine how stressful it must have been to have David extend the Trial for so much longer with his nonsense? (Mondo with Byakuya vibes in Ch2, honestly. The THH parallels never rest.)

Again, we're saying "I didn't kill her" is a lie, while "I just wanted to help her" was the truth. Something more along the lines of "I just wanted to help Arei, but she seemingly rejected my every effort, so I killed her but without the knowledge that my help was actually getting through to her" is what we're aiming for here.

I decided to combine these two together because I didn't have much to say about the first one on its own. One interesting thing to note here is what thebadjoe pointed out: Eden says that friends are supposed to help each other out, yet in Chapter 2 Episode 3, she was the one telling Teruko that relationships aren't transactional. What changed between now and then?

Well, this is much more in keeping with Arei's "that's what friends do" philosophy, which could either be a further indication that she was taking Arei's words to heart (for better or for worse) or that she's just desperate enough that she needs to count on Teruko in this moment if she wants to survive (again, whether genuinely innocent or guilty). It could mean nothing, but it could also be an indication of Eden's more manipulative side, if she's making an emotional argument that goes against her own philosophy just because she knows it'll strike a chord with Teruko.

(Of course, you can basically counterbalance this "inconsistency" with the one that one post (yet ANOTHER post I cannot fucking re-find) pointed out with Ace saying "I would never commit a murder of my own" with him previously saying that he was "about to commit a murder of his own" on Nico. They can't both be the killer unless something really weird is going on, so at least one of these "inconsistencies" has to mean nothing.)

Also, while I wouldn't go so far as to say that Eden is faking her tears over Arei (because that's clearly not true) there's also room for Eden to be crying here because she feels bad about manipulating Teruko, but as established before, still feels like she has to go through with it. Her acting doesn't have to be impeccable if the crying is covering up the crying she would already be doing.

'Cause sometimes, the breaks you take in between sniffles can conceal the breaks you would be taking as you struggle to lie to Teruko's face! Hypothetically.

"Please trust me, Teruko. You're my only hope."

In this hypothetical, I think we have to assume that Eden is just genuinely surprised that the super-smart Teruko wasn't able to see through her act. It might come as a shock that the same Teruko who said that Eden's kindness made her want to stay farther away would now see Eden's pleading as a sign to protect her. (Another judgment of character that Eden made incorrectly.)

And now, for the other hardest part to justify...

With the combination of the soft music (the same music that plays during the "kindness isn't weakness" scene, mind you) and the bokeh lights and the line deliveries and everything, this does feel like pretty convincing evidence that Eden is not the killer. But, if we're talking about the world in which she is, I do think that she still feels genuinely relieved here. The hug isn't directly manipulative, it's just thanking Teruko for giving her another shot at life.

Furthermore, it's a confirmation that, in Teruko's eyes, Eden still isn't a "bad person"-- at least not yet. Eden needs to continue believing that she's a good person with good ideas if she wants to have any hopes of fighting back against the cold and cruel world she was telling Teruko about. If she's become just as cold and cruel as the rest of them, then there's no way for her to be optimistic or kind, and therefore, no way to escape the grief that's haunting her. Eden has yet to learn that a good person is not gold, so that's the only world that she sees.

And, that's Eden's last line of the episode! Before we wrap up, though, I do want to talk about how Eden being the culprit would affect the story as a whole, as you touched upon that in your ask. Mainly, I want to talk about the big problem that many people have with Eden being the killer: what would happen to Teruko if it's proven that one of her closest allies is the killer again? We don't want a repeat of Chapter 1, but how do you avoid that after that hug?

As is my M.O., I'm here to argue that there are two ways you can make the situation different: by making it better or making it worse. In terms of making it better, I think that thefandomenchantress argued for it well in this post. If Eden's gotten her most desperate moment out of the way now, she might have room to be a bit more accepting in her final moments, and be able to reassure Teruko that just because she killed doesn't mean nobody is worthy of trust. In fact, Eden is so sad now because she didn't have enough trust in Arei, and look where that landed her! We could end Eden off on at least being happy that she and Arei were both able to change in the ways that the other wanted for them (Arei becoming more helpful and Eden becoming more responsible) and her being happy that at least the other students get to live.

On the other hand, you could make it worse. Venus-is-thinking and I have discussed together before how different Min and Eden's situations are, because while Min only really tried getting close to Teruko after her crime was already committed, Eden has been trying to become Teruko's friend for ages, before the idea to murder even crossed her mind. This death would be even more personal, as it can more so be argued that Teruko's lack of trust is part of what drove Eden to kill, whereas with Min, it was just that Teruko initially trusting Min opened her more up to hurt. You might argue that this would just cause Teruko to pull away even more harshly (which is still bad), but that's not necessarily the case. Maybe her breakdown this time drives her to get in people's faces so that they'll die even faster and she can rip the bandage off. Along those lines, maybe she'd even try to get closer to those she least trusts right now (like David) because clearly, her curse will cause those who she spends the most time with to die. The circumstances around Teruko have changed, which means that we can't expect the same sort of pressure to necessarily yield the same result.

As for your concerns about Eden's impact on Arei and genuine-seeming emotions, hopefully my main dissertation answers how I'd explain that ^_^

If you're wondering how I feel... well, despite everything that I wrote, I'm honestly kinda thinking that it's Ace at this point. Don't get me wrong, I think that the Eden read is still out there, but given how seemingly little time we have until the culprit is revealed, there may not be enough time to unpack anything close to this before the gavel comes down. Everyone keeps posting their polls about who people think is the killer, and I keep flip-flopping on whether I choose Eden or Ace as my answer. I wouldn't be surprised if either of them did it, except that--

Well, let's be honest. At this point, I'm going to be flabbergasted by whoever the culprit is, just because it's them.

Thank you for the ask, and see you on Friday!

[butterflydm]

cr103 (but more about ludinus)

The only reason that the god issue and the Predathos issue are so tightly entwined are because Ludinus has wrapped them up together.

Ludinus likes to pretend that this is all about helping people make choices about the gods, giving the people the True Knowledge and having them make a decision... except that he's got an invading army, except that he has his own definitely-not-a-god (definitely a god) in Predathos that he is actively trying to unleash, except that he has been the one causing magic to go haywire across the face of Exandria (including making resurrection magic impossible).

Ludinus could have dived into the ruins of Aeor without creating a massive army on the moon to invade the planet! He could be researching the history of the gods without planning to murder them! And if Ludinus were just doing that, and the gods were reacting as strongly as they currently are, then he would have a point about their character!

But he's not doing that. Instead he's made himself the shadow power behind thrones, he's spent years draining and murdering other people for their power and a longer life, he's created an invading army and a cult that targets the vulnerable.

Ludinus has created an active threat that is time-sensitive. He made that choice, no one else did. He created an army; he created the Bloody Bridge; he made magic go wild (releasing many ancient threats). The consequences of his actions have been destructive on a massive scale and he's still actively making things worse for everyone (hoping to swoop in and take advantage of the despair and chaos caused by his own actions! He creates the problem and then proclaims himself the solution!).

He needs to be stopped before anyone can even begin to assess the god question, because the gods are currently (voluntarily) locked up specifically to keep themselves from having that kind of massive impact on the face of Exandria.

(I will also note that one of the Ruby Vanguard's beliefs, said by Tuldus in 3x44, is that "We have been [the gods] toys since we were given purpose. The minute one of us ascended to their position, they've quaked and feared us. We are not their beautiful children. We are their food. We are their power" -- can't help but notice that Ludinus completely ignored that the Raven Queen was with the Prime deities and actively on their side during his orb recording -- it makes me wonder if the orb won't accidentally shake the faith of some of those in the RV who saw the Matron of Ravens as aspirational. Honestly, a lot of what's in the orb flatly contradicts what the RV believes, but whether or not they see that depends on how deep they are in cult thinking.)

[sweaters-and-silly]

Now that the three-episode pilot is over, I want to take a moment and talk about the storylines set up for our characters in S8E1 and how this will likely inform the rest of the season.

With a major Bobby-Athena opening, I think we’ll see their story take a soft backseat to the other characters. Bobby will be quietly working to be restored to the 118 but I don’t think it’ll dominate our screens.

This is all wild speculation and in no particular order. Please feel free to offer feedback and theories!

Story 1: Hen and Karen’s foster licence & adoption of Mara. I suspect this will be top priority for the writers, not wanting to drag out the discomfort of misplacing a child too long. My hope is that this is resolved or eased in episode 4.

Story 2: Chimney and Maddie have taken on another child and Chimney bonded with her strongly — once Mara is at home with Hen and Karen, will they have a conversation about more kids? I think this will be a later episode — post midseason.

Story 3: Eddie and Chris — how will Eddie get his son home? (I’ve already theorized it’ll be episode 5 but that’s all wild speculation.) furthermore, once Chris is home, how will Eddie ever rebuild the trust?

Story 4: Gerard in the Captain seat — how will the team cope now that Buck is the chosen one? Will that weigh on him or impact his relationship? When will the cryptkeeper be gone? I’m betting mid-season finale for this one.

Story 5: Buck’s new beau! How will this relationship progress? I think, because it was set up in the pilot, it’ll be a major recurring theme this season. We’ll likely see cuteness and strife. Oliver has said he’s excited for Episode 5 and 6 — I think episode 5 will be an Eddie/Chris dominant episode with Episode 6 being a Buck/Tommy dominant episode.

.

I just want to add that I may be a thousand miles off base here. So if you have other theories — you might be way more right than me!!

[incomingalbatross]

Things that make Weirdmageddon a top-tier finale:

Every victory and ally the characters gain is essential to pursuing the next victory.

Dipper needed Wendy to reach the bubble, needed to talk down Gideon to reach Mabel, and needed to reconcile with Mabel to do anything. Then they needed to reach the Shack to get Shacktron, needed Shacktron to reach Ford, needed Ford and all their previous character development to build the Zodiac—oops! not enough character development! REVERSAL! But they still pulled out a win from having all four Pineses in the Fearamid, which wouldn't have been possible except as salvage from their previous victories.

It all builds really nicely—it's easy to get your characters running in circles to fit in enough action and/or screentime (see certain Classic Who serials), but that doesn't happen here.

Personal issues and plot problems were interwoven in a way that genuinely made resolving the former a basic step in resolving the latter.

The big problems at the start of the finale were the rift between Dipper and Mabel, the older, deeper rift between Stan and Ford, and... well, the Rift. And Bill. The finale is able to resolve all of these things together because it is, in fact, crucial that the Pineses all be able to work together; they need each other to defeat Bill. This means that, for instance, Mabel and Dipper's reconciliation is the urgent first step on every level, personal and situational (neither of them will accomplish anything until Mabel's free), and that Stan and Ford's reconciliation is a necessary condition for the last step of beating Bill. It's seamless—no one has to take time out of the plot to talk about their feelings, because the plot can only move if their feelings are being addressed.

Even more, the action works in such a way that Stan and Ford have to show character growth to defeat Bill and the way they defeat Bill then results in healing for both of them (Stan gets to be a hero while Ford gets to let go of his hero complex).

Gave time to addressing the big themes and made them structurally important, too.

This ties in to the point above, but... the fact that Dipper and Mabel's conflict (the manifestation of a much longer-running tension of "is it possible to grow up and still be happy? is it possible to be sure we'll stay in a close and healthy relationship, and not lose each other?") is given its full weight. Dipper and Mabel have the conversation they need to convince themselves, each other, and the audience that this ghost has been expelled from their futures. That's big.

And the themes continue consistently throughout the finale! They answer the questions raised by Stan and Ford's estrangement—first through Dipper and Mabel and then repeatedly through the rest of the cast—with consistent reassurance and hope for the future. It's thematically sound. That's not easy to balance with plot progression in a way that makes sense, but like. The plot can only progress to a happy ending if these themes are tested and found to be true.

Plot development and emotional impacts hinged on information the audience already had.

When the finale revealed new information (the zodiac's function, for instance), it was almost always answering specific questions the show had previously raised for fans (what's that zodiac about??). Not always true—the barrier around the town was not foreshadowed—but a very high percentage of the time.

More, the moments with a big emotional punch hinge on us realizing something at the same time as the characters and sharing their reactions to that thing, rather than reacting to their reactions. That sounds clumsy, but you know what I mean—"Grammar, Stanley." Ford pulling out the memory gun. "Get off me, Waddles!" Ford holding out the picture of the Stan O' War. The finale builds on what we already know so strongly that we can react to good or bad events alongside the characters.

(Well, except for the exact moment revealing the twin switch, I guess. We are not having the same emotional reaction as Bill Cipher there. ;P)

A fully satisfying send-off.

After the plot is resolved, and even after the eucatastrophe moment of Stan getting his memory back, we get to stick around and see for sure that everything's okay. The twins turn thirteen. Stan and Ford plan to go sailing. Soos gets the Mystery Shack. Everyone in Gravity Falls is fine. Everyone gets to say goodbye. We end on repeated reassurances that the thing the story most highlighted as crucial but uncertain will, in fact, happen—that they'll stay a family and they'll all be happy.

I'm not saying every story needs to end with a wrap party, but it was the right move for Gravity Falls, and they nailed it.

[zorlovinghue]

Hiii just discovered your blog (because of TCF/LCF) and just had to ask - where is your profile pic from? And do you have any other recs like ‘The Malicious Member is Back’ because I started reading it after seeing it in your posts and am loving it so far :D

Hallooo! My profile picture is Do Seojoon from [I Became the Youngest Member of Top Idol]/[My Comeback as the Youngest Member]! He is the older brother of the MC, Do SeohanXD

If you're interested with this one, get ready to face how strikingly different the novel and manhwa is, but overall it's all good!

Other recommendations you might want to give a try to:

In This Life, The Greatest Star In The Universe

I'm a Genius Idol But My Passive is a Sunfish

Debut or Die

The Trashy PD has to Survive as an Idol

You might already know Debut or Die since it is the biggest in fandom too, plot-wise all of these have more progression while not very heavy to follow. With [I'm a Genius Idol but My Passive is a Sunfish] and [I Became the Youngest Member of Top Idol] being the lighter ones. I love all of them. Very much. If you're looking for a character with typical krs!Cale or Cale!krs morally grey tendency, then Seo Hoyun from [The Trashy PD has to Survive as an Idol] will be a good start to familiarize yourself. (personal feeling but this one actually got the best of me from how similarly coded he is, even the 'blackmailing'/'scamming' and 'taking advantage of someone but actually cares for them along the way' is strikingly more pronounced:D)

Surprisingly, [Debut or Die], [The Malicious Member is Back], [I Became The Youngest Member of Top Idol] are the three where the group is build up through Idol competition. While the others are making a comeback after trouble or more agency-focus debut-trainee if you did not want to go through another musings for who would likely debut in the end. Which is, fun and engaging either way!

[Debut or Die]'s Park Moondae is literally Kim Rok Soo in some unique ways.... But, hmm, maybe more of a reliable narrator in comparison? As reliable as it can be with his personality.

If you want different characterization, as in cute and adorable MC instead of the genius and cynical characters, [I Became the Youngest Member of Top Idol]'s Do Seohan and [I'm a Genius Idol but My Passive is a Sunfish]'s Han Baekya are remarkably some refreshing change! Where as [In This Life, The Greatest Star In The Universe]'s MC Sun Woo-Joo is more heartwarming. I think these three are actually the most mentally sounds and healthy out of others, which is sparsely seen these days.

Each of these recommendations is refreshing and is impactful in their approaches. And I personally eager to tell you that all of them are worth reading for!

[Debut or Die], [I Became the Youngest Member of Top Idol], and [In This Life, The Greatest Star in the Universe] already got manhwa adaptation, so if you need more visuals feel free to give it a long shot to go!

It's most likely that I'll missed many points considering it's been a while since I catch up, I strongly advised to take my words with a grain of salt and take a look yourself for a better judgement<3

p.s. If you want to have the Coughing Up Blood shenanigans, [The Trashy PD has to Survive as an Idol] and [I'm a Genius Idol but My Passive is a Sunfish] will give you exactly that! I'm not sure about the latter since I haven't read much but the probability is high! >///< if you want a character who's constantly in the danger of death then [Debut or Die] took it seriously with its premise lmaooo

[helslastangel]

Why I've learned to take Goldilocks' approach to interpreting planet & house placements in astrology

Disclaimer: There will be some theory here, some anecdotes, and more than my fair share of yapping, but all I care about is that this makes a positive impact for even one person. Then I'll be glad I didn't leave it in the drafts. :) Also, it's almost 3 AM as I write this, so do with that information what you will LOL.

People tend to over-complicate or oversimplify the planets and houses in astrology. As someone who likes to produce and consume information at the same temperature Goldilocks likes her porridge, I've decided to abandon more pressing matters (my assignment due tomorrow and the 14 asks in my inbox) and talk instead about what approach to astrology I consider to be "just right."

One key thing to remember is that the majority of your natal chart is not actually about you. I know the lions, crabs, water bearers and maidens especially all squirmed a bit, but hear me out. The 1st house and the luminaries (Sun and Moon) are completely about you. YOUR ideals, inner self, core desires, and emotional needs. The way YOU present yourself to the world. These make up your character - the skin you're in, your core personality traits, and your favorite self-imposed customizations. The remaining inner planets (Mercury, Venus, and Mars) and angular houses (4th, 7th, and 10th) still pertain to you, of course, but if you think about it, they extend much further outside of yourself and into various aspects of life and society.

Mercury describes how you think, but also how you communicate those thoughts with others and what kinds of conversations or intellectual environments you thrive in.

Venus shows how you define and express love (or what expressions of love you're drawn to), but also tells you about the kinds of connections you may attract or want to attract (platonic, romantic, etc).

Mars describes how you express emotions like anger and excitement, but also how you move towards (or away from) different people, places and things in life.

The 4th house describes your approach and views on what home and family should look like.

The 7th house reveals what you desire in a spouse, a soulmate or a trusted business partner.

The 10th house describes your attitude towards career and how you "show up" in work environments.

Yes, these are all technically "you," but anything outside of your sun, moon and ascendant placements are less concerned with analyzing and describing you, the lone individual and more concerned with describing the personas you assume to navigate everything else in life. There is a reason why there is one house of "self" and 11 houses meant to guide you through the bigger world outside of you.

I believe fewer people would fly into a panic over things in their natal and synastry charts if they understood that many aspects won't affect them as strongly as they think, especially between outer planets or at weak orbs.

You know, out of curiosity, I looked up the charts of my childhood friends recently. First, the ones born the same year or so as me. Then I broadened my observations outward up to 10 years (I have had a few friends within that many years older or younger than me). If you love astrology as much as I do and haven't tried this yourself yet, you'd be fascinated by how similar charts can be between people all born within certain time periods. With my friend groups, most charts were nearly identical-looking from Uranus to Pluto. The closer in age, the more there were charts that looked nearly the same from as far up as Saturn or Jupiter right on down. Nearly all my age-mates have Uranus and Neptune in Capricorn, Pluto in Scorpio, Saturn in Pisces or Aquarius and Lilith in Taurus or Aries. Half my friend group has Venus in Libra or Scorpio and the other half in Aries or Gemini. I was even surprised by how many of my same-age friends have Lilith in Taurus and Juno in Scorpio like I do. Whenever we all let go of our masks and speak freely and openly, it's quite humbling and also soothing to realize that many of our experiences and struggles really aren't all that unique after all. Perhaps this isn't such good news to an Enneagram 4 (:D) but, generally I think we all do crave that feeling that we're not the only ones going through something.

I share this to illustrate one simple point: the chances are high that the placements/aspects associate with your outer planets will not have the strongest DIRECT impact on you individually. You and others in your peer group are likely in the same big boat or a bunch of matching lifeboats paddling away from the same generational shipwrecks. A similar thing can be said about the succedent (2nd, 5th, 8th, 11th) and cadent houses (3rd, 6th, 9th, 12th). They have more to do with everyTHING and everyONE else in your life and how you relate/react/respond to it all. This is why I'm so against the way many astrology explanations and observations are written. I'm not talking about posts meant to be more entertaining or personal than educational. I'm talking about the posts where you can tell the OP meant for them to be taken 100% seriously, but do little more than spook or scare those who know less than they do.

Last year I met a coworker who asked me to read a synastry chart for her. She wanted a 2nd opinion besides her own, as she had some 12th house synastry with the person and had been in emotional limbo for days because of it. I told her that the direction of the connection was up to her and the person - the charts only show the possibilities - what the beautiful, the good, the bad, and the ugly could look like within that aspect. What did she do? She went to see him, yelled at him for things he hadn't even done yet that she "knew" he was "going to do" because his moon was in her 12th and then blocked him. Came to work as sour as a lime yet excitedly telling me that she had set boundaries with him. Had to bite my tongue; I wanted to say the only thing she set up was an obstacle.

It is so easy to become obsessed with searching for highly specific answers or predictions for day to day life in astrology and that's just not what its for. At least, not in my opinion.

No one is immune to this either.

Let me tell you about the last major time I fell into this trap. This was around 2020. At that time, I noticed 2nd house synastry with my then-partner and immediately sabotage the entire connection. How? Oh, well, because my overstimulated and uninformed pea brain would assume all sorts of things, such as, "Oh they're just with me to eventually try to move in and then get lazy and expect me to pay for everything and drain all my resources." Do these things happen? Of course. Does it make any sense to assume this WILL be the case the moment anyone has their inner planets in my 2nd house? Nope. But I didn't know better and was "too busy" to do my research, so what did I do? Assumed the worst. All the while not really seeing what was going on in front of me. Stumbling over the evidence to pursue a theory instead. And I ended up hurting someone I truly cared about.

Had I slowed down and taken a balanced approach, I would have noticed that while this person had Mercury, Venus and Jupiter in my 2nd house, he also had Mars trine (0°) and Saturn conjunct (4°) my Moon, which to put it simply, would have led me to the bigger, more accurate picture.

So, yes, I had a boyfriend who admired my talents, felt attracted to my generosity and "expensive" looking style (even though I exclusively bargain shop).

Yes, he was very much drawn to the fact that I have an eye for opportunity and manage to be in the right place at the right time to take advantage of them.

However, I failed to notice the part where his Virgo Mars was in harmony with my Capricorn moon. He knew without needing to ask that I really didn't want to be running around handling things all the time the way I've had to for nearly all my adult life. He knew I wanted to feel secure with someone and taken care of at least part of the time, for once. I was too busy panicking over apparent "bad" synastry to notice any of that early on. I didn't notice either that, as the Saturn person, he felt a heavy sense of responsibility for me that cancelled out any reverse gold digging tendencies.

He rarely wanted anything from me and had a hard time accepting gifts or help, yet he offered me both all the time. I didn't always know exactly what things he was stressed about because he spoke another language with his family, friends and business partners, and he usually didn't want to unload it on me, though I told him he could always vent if he needed to and I'd be there to listen. Which I was. But my mistake was getting carried away in misinterpretations and misuse of our astrology information, assuming things like "oh he's saying all this but it's probably future faking," "'he's rarely, if ever affectionate, like on our first dates, I guess it's just a matter of time before probation is over and the money requests are gonna start coming in while he chases someone else" and so on.

Was my ex future-faking? Maybe. Maybe not. I'll never know because I fully assumed that he was. That showed in my behavior which eventually started to reflect in his behavior too, when he got tired of feeling like I would never believe anything he promised to me and that nothing he did would be enough to make me fully trust him. That would break anybody, honestly.

Was he really waiting around to get comfortable and start relying on me for money? Maybe. Maybe not. But he never did. Any money he borrowed, he returned without me having to ask. If I came over, he'd hand me his card for anything I wanted to order. If I used my own card instead, he was actually offended. In fact, he hated when we'd go out and I'd look for the cheapest of everything. The least expensive dish. The dress on sale. If he insisted on paying, I'd try to cover the tip or pay for something else later to keep it even.

But why? Why do that? Oh, well, I had seen that his Saturn was in my 8th house - the house of shared resources - and my overthinking hyper-vigilant ass decided that I needed to "prove" that I wasn't a liability or something. Never mind that the Saturn-Moon conjunction was RIGHT THERE to tell me to relax and not assume the worst outcome for the 8H synastry ...no, no, I just flew right off the deep end and assumed that if I didn't assert (micro) dominance in some way, he'd spoil me long enough for me to get used to it, then start controlling me financially and so on.

Years later, I wonder often if things would have turned out better if I had just calmed the fuck down. If I had let things play out naturally, keeping in mind what COULD happen without acting as if it was BOUND to happen. You know what the worst part about that is? I don't think most of us realize how powerful self-fulfilling prophecies really are sometimes. The negative (and positive) interpretations you can take away from planet and house interpretations are simply possibilities; potential outcomes that will only go that way if fed and watered. I won't step too far into territory I haven't mastered, but I'd like to think it's safe to say the same goes for tarot readings as well.

To sum up this mammoth post

I believe astrology is meant to be only a guide; a helpful resource as you go through the stages of life. It should be your training wheels, not the whole bike. Your driving instructor, not your daily chauffeur. The salt that brings out the flavor in a dish-not the whole dish itself. I think if more of us understood this, there wouldn't be so much fearmongering and generalizations about which aspects and houses are the "villain" in the astrology community.

𓆩♡𓆪

↤ go back to the masterlist

[crystals-cave]

PAC: How will you be remembered? ☁️

Hi Everyone🖤

Welcome to another PAC reading!

Today’s PAC will be about how you’ll be remembered by the people around you. This could be your friends/family/colleagues/peers or even acquaintances.

Pick a pile that sparks a memory in you - it could be a person/place/music/ object etc. If more than 1 pile sparks a memory in you, pick the pile that evokes the strongest emotions in you. However, if you feel strongly for both, you may go ahead and read more than 1 pile.

As this is a general reading, do take what resonates for you and take the rest with a pinch of salt.

⚠️ ⚠️ ⚠️

Just a reminder that this is how people will remember you, it’s not a representation of who you truly are. This is for those who are curious of the impact they have on others and what others think of them.

The reading may be harsh and there will be no sugarcoating at all.

Do not proceed if this is not what you wish to know.

⚠️ ⚠️ ⚠️

Note: all pictures used in this reading are taken by me

Pile 1 | Pile 2

Pile 3 | Pile 4

Pile 1

The Magician (rx)

The Tower

3 of Wands

2 of Wands (rx)

Queen of Wands

Hello Pile 1👑

Some people will remember you as someone quiet and does not know how to approach you without intruding your space. They think that you’re someone who values your space and may tend to get distracted easily.

People who have worked with you will likely remember you as someone unpredictable — you may tend to surprise them with your words and sometimes even the decisions that you make. For example, people maybe think you are someone quiet and calm but you may surprise them by suddenly swearing explicitives in front of them. Or if you’re a manager and your employee expected you to side with a difficult client but you end up standing up for them and giving the client a piece of your mind. Generally, people will remember you as someone who has shocked them.

People will also remember you as someone skilled in their trade. You may not necessarily be the cream of the top, but you definitely know what you’re doing. I feel that some of you may be in the logistics or even maritime industry. Some of you could also be in trade business or in the supply chain department.

You’ll also be remembered as someone who has many troubles to solve at work. Your colleagues/ex-colleagues will also remember you as someone with great problem-solving skills.

Besides being great at your work, people also remember you as someone full of life and passion. And there may also be a portion of people who remember you as someone who loves money.

Summary of how they remember you: quiet and hard to approach, tend to shock others with your words/actions, excel in your choice of career, have great problem-solving skills, you’re full of life and passion, some thinks you love money

Pile 2

The Emperor (rx)

7 of Wands

Knight of Cups (rx)

Judgement (rx)

Queen if Wands (rx)

Hi Pile 2 🌪️

People may remember you as someone confusing, someone contradictory. They remember you as one who has everything they need in life but yet seem so unstable and unsatisfied with life.

Some people whom you work/worked with may remember you as someone as aggressive/controlling. If you’re a leader at work, your employees may think that you may have a more controlling leadership style with a tendency to micro-manage. Others may feel oppressed as they feel that their opinions are constantly being dismissed.

Others you’ve met may remember you having a victim mindset — which can be difficult to deal with. Hence, they find it hard to understand why you are always unsatisfied with life. Though it may be unintentional on your side, some of them think of it as a form of manipulation — maybe you should try to be more aware and observe how you behave around them.

Some people around you may also remember you as someone naive. They think that you’re a bad judge of character as you have a tendency to misjudge people. Your naive outlook may be detrimental as it can escalate small issues into huge ones. It may also be why this group of people think that your lack of good judgement is a lack of common sense as well. This may even snowball to people thinking that you do not have passion and zest for life.

Summary of how they remember you: some think you’re contradicting, unsatisfied with life, tends to be controlling, someone with a victim mindset, manipulative, one with bad judgement, naïve, no passion for life

Pile 3

King of Wands

The Empress (rx)

The Lovers

The Hermit (rx)

6 of Wands (rx)

Hey Pile 3🔥

Your acquaintances will remember you as someone assertive and charismatic. Some may also remember you for how your dress — bold, and with a dramatic flair. Some may also think of you as a leader of some sort, regardless whether you are/were one. Some of them may have viewed you as a potential lover. Those you have dated may have even thought of you as their soulmate at some point in time.

However, some people may remember you as a someone who lacks teamwork — they think that you’re more individualistic and not much of a team player. This makes them feel that it’s difficult to work with you as you’re not empathetic towards your teammates and thus find you manipulative if they are guilt-tripped to meet deadlines. Due to such incidents, they may remember you as someone who does not self-reflect as you also have your own flaws. Deep down, they think you should get your work done on time instead of getting it done perfectly.

*trigger warning*

Some people may have remembered you as a source of trauma. They may have seeked therapy after their interactions with you — regardless if you’re aware or not. They feel that you’re projecting your insecurities onto others which makes them feel inferior. They think that you can get some help seeking therapy too.

Summary of how they remember you: assertive and charismatic, bold dressing, leader-figure, potential soulmate/lover, have bad teamwork, lacks empathy, manipulative, thinks you need therapy, make them feel inferior to you

Pile 4

Queen of Pentacles

Knight of Wands (rx)

Judgement

7 of Wands (rx)

The Moon

The Emperor

Hi Pile 4🌿

People remember you as someone wealthy, nurturing, and stable. They remember you as someone generous and appreciative of the finer things in life. They also remember that you won’t let others take advantage of you despite your generous and nurturing nature.

However, people tend to remember things differently. The first group remember you as someone vain and narcissistic — they feel that they need to walk on eggshells around you due to your short temper and rigidness. The second group instead remembers you as someone who helped them transform into a better version of themselves. After they realize that you’re not being harsh for the sake of it, they reflected and bettered themselves. For that, they remember you advice and is thankful towards you.

There is also a group that remembers you as someone who tends to be anxious and makes them feel protective over you. Some remember you as an insomniac who gives hope and inspires them to be better. People also remember you as someone they go to for advice — you make them feel that everything is under control. They also tend to feel safe and secure around you.

Summary of how they remember you: wealthy, nurturing, stable, vain, narcissistic, you transformed their lives, thinks you’re anxious, insomniac, great adviser

[alexissara]

5 Years Of Three Houses, 5 Years Of Loving Edelgard.

5 Years ago today, I was first able to enter the continent of Fodlan, I meet Edelgard and from there I fell for a character in a way I never had before. I was already a professional writer with published worked and focused on Character driven work but I was still blown away by what an amazing character Edelgard was. 5 years ago, I got Engaged at a queer con, I was playing my 2nd route of three houses having played from Three Houses. The game was with me at this wonderful landing point in my life, it was there during the rough covid era struggles, when I was deeply, deeply sick, I was sicker than I ever been, not with Covid but with stomach issues and was hospitalized multiple times in one month ending in a surgery. I ran a roleplay inspired by Three Houses in Thirsty Sword Lesbians which I played for many years, I dated one of my exes through the whole campaign and grew a lot closer to one of my current girlfriends through it. I refined a version of one of my favorite OCs Ever Lena to do a Three Houses OC AU version of her for a different roleplay and while that fell through she did end up being used for that previously mentioned TSL game.

I reviewed Three Houses after finishing all four routes, I wanted to be really through and experience every route, every story, every FF romance arc, etc before I reviewed it. I gave the game a 7/10, I think now I'd give it an 8/10 maybe but a review score is what I think of the game as an overall package. The life changing power of Crimson Flower was really the big deal for me. That was 10/10, that was peak, it was just that the other routes were nowhere near as good for me. Edelgard the revolutionary who is happy to cast herself as a villain if that's what it takes to change the oppression in the world, something that was so strong, so powerful that it was reflected into our world. She was so good at being a character who impacted a fictional world, the only reason things happen at all that people to this day get angry about people loving her, discourse about her, cast her off, make up shit, show their political asses, etc. What a fucking character to be hated so strongly, for so long by this rabid group. Keeping love from a small fan base over time is hard but maintaining hate as a fictional character, that's harder especially with a 24/7 culture war of new women to hate. However, she also maintained love, Edelgard is the most popular character in all of Fire Emblem, in the 5 years she's got the most fan art, the most votes in CYL, she clearly makes nearly the most money in the gacha given how often they make new versions of her or rerun her, she is the moment.

Of course, it is not just Edelgard I love but the Black Eagles as a whole from the classic roster to the extended family of Mercedes, Lyesthia, Shamir, Leonie, to the Hopes additions of Monica and Shez. Edelgard stands so tall but she doesn't overshadow her amazing allies in changing the world. Even the men, me a famous not man enjoyer, finds at worst like, kinda boring rather than like repulsive. Plus I really love Hubert and Jeritza both as characters and think they are lovely, brilliant characters I wouldn't want to see replaced.

Three Houses hit me in a way "better" games haven't hit me in. I still think about the characters, the world, the politics, the ideas, the lore, the romances, everything so often, daily. I love so much art, most of this little blog is me talking about art I engaged with and I struggle to think of another piece of art that took me by storm in the same ways that Three Houses has. I'd love to have another game sweep me off my feet and have me giggling like someone who just met their idol but even if it doesn't happen again I am glad it happened with Three Houses.

Then there was Three Hopes and I fucking love Three Hopes, it only exists in the context of Houses but Scarlet Blaze and Golden Wildfire blew me the fuck away. Both routes do a ton for the characters in the series, the plots are fantastic, bringing Monica back and making her one of the best characters in the Fire Emblem series was so fucking great, and I adore the Warriors gameplay. Three Houses was a gift that not only gave itself but Hopes which really just furthered helped put Houses in focus, tie in way more lore, way more context, and way more information. I could explore the world of Fodlan even more honestly, I still hope for Hopes DLC because I just love this game.

It was so amazing to see Edeglard freed of Those Who Slither in the dark and the way her revolution works if she could just have saved her lesbian best friend and probably girlfriend. I loved to see the new amazing paralogues, the way the war shakes out, how she operates free of enemies resting in her house, how the nobles react when Edelgard is a free agent, the way the church fights back in this new time line. It really exciting and it is fun to see how the world once again revolves around the actions and moves of Edelgard and how she sets Fodlan Ablaze with change but now with more time to do things more carefully. It is such a great alterative look.

I don't have enough glowing things to say about Three Houses but I do have some things to say for the future of my favorite video game series. I deeply hope the future of Fire Emblem is more like Houses and not like the games around it. Houses was a return to form and the first story that blew me away since Radiant Dawn. I want more games that have the style and budget and scope and ambition of a Houses. I don't really trust intelligent systems to bring me that kind of story, so I hope they work with Koei again in the future and let their writers do their thing,

I love the smaller scale Fire Emblems but I can play indie games and smaller budget SRPGs and get the scope and ambition of a smaller scale Fire Emblem but only Nintendo money can bring the kind of game Houses is to the table. I really want to see the expensive class system brought back hopefully without the sexism and the big roster of characters and so much of the little things that made houses so charming. I don't need multiple routes but I would like a good political message like Crimson Flower to be in the future. I don't know if I'll ever love a character not made by me or my loves ones as much as I love Edelgard again but I want them try and I want them to pull it off.

Happy 5 Years Fire Emblem Three Houses, you are something special. If you want to see more of me gushing about houses you can read my fics here https://archiveofourown.org/users/AlexisSara/works?fandom_id=23985107

[anistarrose]

A while ago I saw a post that started out wishing Lilith's aroace identity got addressed onscreen, and I was like "yeah I totally agree, a voice acted stream reveal is many steps above 'some writer tweeting it after the show ends' but it would've still been far more exuberant and impactful to see it in the show." But then OP continued by saying there's nothing in Lilith's arc that reflects aromantic experiences, and look, I'm biased as the Lilith icon person, but like. Your experiences are not universal.

And... that's okay! My experiences aren't universal either. But as an aroace, I do have to say: Lilith does reflects one type of aroace experience, and that's the chronically ill aroace experience in particular.

It's the way that she's an adult who needs care from others, but first moves back in with her sister, and then moves back in with her parents, instead of moving in with or seeking out a romantic partner.

It's the way she grapples with independence and individualism, struggling to unravel "what she wants" from "what she needs in terms of support" and from "what society revolving around the Emperor's Coven has tricked her into conflating with self-worth".

It's the way she looks at her reflection and asks: "Am I broken?"

Not all aroaces are disabled and chronically ill. Not all aroaces have (or want) intense platonic friendships or close sibling relationships, and not are able to heal from trauma by living with their family. These are all arguments for more variety in aroace representation, to say nothing of a-spec representation as a whole — that just doesn't mean aroace characters with these traits don't represent anyone.

And this is also a chance to touch on a distinction that I feel isn't drawn often enough when talking about queer subtext of any form: I don't think Lilith, if you're only looking at the show itself, is a strongly or undeniably aroace-coded character. But she's absolutely a character whose arc is enhanced upon learning that she's aroace.

So don't get me wrong: I would like more than this. Lilith is like a baby step in terms of a-spec representation in animation — a meaningful step, but a small one. But for a series where each season except the first was heavily impacted (read: compressed) by the cancellation, and the unaffected first season was also the only one Lilith spent as an extremely polarizing villain, you can see how the crew could've gone in with extremely conscientious intentions and wound up having to make a tough call, right?

I don't even necessarily think they made the right call, I'm just willing to give them the benefit of the doubt that they tried. It feels like they put more than just some performative 30 seconds of thought into imagining how a disabled aroace with serious self-worth issues would interact with the world and improve herself — or, at least realized after some experience writing Lilith that being aroace fit her, and let that inform much of her Season 2 arc.

Like, maybe I'm personally extra desperate for disabled a-specs in media, but honestly? Lilith is a well-written one in all aspects but the lack of an onscreen "I've never felt attraction to someone" — and you don't have to agree with me, but I'll die on the hill that that all counts for something.

No hate to OP — if you know what post I'm vagueing about, be chill and normal about it, please. It's fine for some people not to feel represented, and put their thoughts out there — but it also seems that I, as a person who feels very represented, should put out some of my own thoughts for balance.

[squidthusiast]

What’s your favorite fic by theashemarie? I want to read her stuff, but I’m so intimidated by how much there is!! Where do I start?

OH ANON HOW I’VE BEEN DYING TO ANSWER THIS ONE!!!!

You’ve opened up THE can of worms my good fellow…

I am so sorry for the person i’m about to become

I’ve actually spent the last couple days making a simplified compilation of Ashe’s works, to make it easier for new readers to visualize them.

It’s the reason why it has taken me some time to answer this haha.

As for my favourite fic…. That’s such an insanely hard question to answer T_T

I’ll put the compilation & my thoughts under the cut to minimize dashboard noise.

(Disclaimer: i’m not a writer so some of the terms I use are from my loose understanding of literature!)

Warning for rambling ahead!!

I tried to make the fomatting as straightforward as possible! If there are any other questions you can drop a comment :)

As for the fav fic stuff:

I don’t think I can have a hard singular favourite of Ashe’s fics, because they’re all different and encompass different themes and vibes and ideas, and fuck man they’re just so good. Ashe has a masters degree in writing and it SHOWS, but also just her writing style & way of developing stories.. it’s so captivating, rich and thoughtful. I love analyzing their work & being rewarded with the amount of detail and effort that is put into it.

Here’s a couple that fucked me up particularly good though, if you must know:

LDR AU | Meet Me on the Rink | And Take Off Your Mask | Simulacrum | Language Barrier

At least two of these majorly impacted my life & mean a whole lot to me because of the themes, topics and characterization in them.

I think one of my favourite things about Ashe’s works is how visceral and raw and real they feel while you read ‘em. There’s a real strong focus on the plot, which makes for a fantastic build up throughout the story. There’s also emphasis on characterization, and by the gods it’s deliciously crafted. The direct and indirect ways in which Ashe portrays the personalities, flaws and motivations of characters… MAN.

A lot of people read fics for a quick hit of fluff or angst, so plot-heavy, meaty fics with a lot of undertones and somewhat unconventional themes can be very different from typical expectations.

Still, I stand by the fact that it’s exactly because of this that Ashe’s work is so refreshing and fascinating to read through, and I strongly encourage everyone to give it a try, especially if you like Off the Hook.

She also has a lot of oneshots and shorter stories that I listed above, if longer ones feel daunting. They’re just as good!!

I’m really grateful that they share all of this work online; creating entails a lot of work, whether it be art, writing, cosplay, etc.

Posting it for free on top of that??? I think we need to appreciate our fic writers more, honestly. They’re a huge pillar in fandom spaces that often goes unnoticed.

That’s my little ramble on the topic, thank you for reading if you went this far!

I hope this helps Anon, and if you need more pointers or thoughts you can hit me up again.

With all that said, big shout out to @theashemarie , this is my big propaganda post for you all to follow her and/or check out their work, and leave her a comment if you enjoy the fics!! I know they appreciate them a lot :)