#none of that is spoilers under the cut it's just like. basic history everyone knows

[sanctus-ingenium]

Inver - relief map relative to the continent with otherworld territory marked, broad habitat map, detailed local landmarks map, and political map of the northeast atlantic peninsula as of 1862

i was just having map fun for two days lol. i make habitat maps a lot already but the difference with this one is that i can't just download a handy shapefile and do some GIS magic. this was hand drawn (but obviously. somewhat traced over the actual irl map)

for the outline of the north sea coast i used bathymetry data to figure out where the true coastline would occur. the north sea recedes but the atlantic doesn't (to the same extent). because this landmass was formed through some ancient Event, i felt pretty okay about changing the bedrock because like, whatever, we can't be fully realist all the time. so the northern half of inver is mainly limestone, the southern half is silicaceous - so we got the bog/marl divide there, though lough cánamac (in volume slightly larger than any of the north american great lakes) appears to be the remnant of the north sea, it is freshwater with a relatively low pH. the water of the lough is black to dark brown due to the run-off from the southern bogs and swamps.

in the north, the mountain ranges are calcareous. calcareous grassland, scrubland, heaths and fens dominate with a largely alkaline profile. limestone marl lakes which regularly flood due to groundwater input make the region pretty unsuitable for crops other than rice.

the ruad is the name for a stretch of otherworld territory which contains the lough, though generally used to refer to the forested area. it is completely uninhabitable throughout the majority of its range due to the non-euclidian structure of the land making it impossible to navigate consistently, and the strange and frequently hostile creatures living there. the ruad is faery territory and belongs to an entity known as the Red King, who uses the symbol of a stag. so although inver may look like a large country compared to its neighbours, it has a relatively small population concentrated on the west coast.

however, sailing across the lough is the quickest way to trade with countries in the east, far quicker than trekking through the forest and over land. the trade route through the ruad from invergorken to the cánamac town is one of the most valuable in the continent. it consists of an old road with regularly-spaced ranger safehouses and patrols, and a newer pair of railway lines which can cut through the supernatural aura of the ruad due to their iron rails. the first and older line is no longer in regular use. it was constructed before the development of wrought iron and before the build crews learned how to blast through rock, so it takes a very slow and winding route and required a lot of maintenance. safehouses were constructed to board the workers while the tracks were laid. but without this original track, the construction of the second, far more advanced wrought iron track would have been impossible. workers for the second track were able to commute and sleep on the first track's train, keeping them from harm. the second track can fit two trains side by side and is in constant use ferrying cargo and passengers between the two towns

the country of inver, once The Event wiped out all of its original inhabitants a couple thousand years ago, was settled by hibernians and vikings from the north moving south, and aquitanians from the south moving north (thus the place names). the ruad mostly blocked incursions from the east. there was a long history of dispute over who truly owned the land, and that remained sort of up in the air for most of its history until the 1400s when armorican warlords (like Olivier) decided to make it theirs for realsies and waged war against their old hibernian trade partners (like Finbarr) for control of the land. the hibernians lost because finbarr fucked it up at the last second, and this cemented a ruling class of werewolves in inver until the 1860s

inver consists of three large duchies which cover 70% of the population. Moya in the west is the heart of lycanthrope rule, everybody worships a faery known as the immortal hound and the ruad is far enough away that it is not a fact of life as it is for everyone else. Inver duchy covers the capital city and the south-western farmland, the main sites of production in the country. And Cánamac duchy covers the trade port in the lough and surrounding territories, where forest clearing has led to new farmland and a thriving population. There was a fourth duchy in the north, Aber, but it was historically somewhat isolated and cut off from the south of the country and had developed its own customs and traditions, and its own form of the country's currency. In the 1840s, the duchy of Aber was dissolved and reconstituted into the king's lands, and southern customs were enforced in the north to prevent any more divergence. the palaces of the ruling families in each territory are shown in the local map alongside the family names.

Due to The Event causing massive damage in this region of Europe, forbidding the development of britain and france etc as colonial empires, the last great Empire of this continent was the roman empire, and even that didn't manage to overcome the Ruad. technology is rudimentary in Inver and the people living there are largely considered to be weird backwards superstitious barbarians. aquitan has been threatening annexation for decades, led mainly by the church of suzette, which forbids interaction with otherworld entities. the church holds in disregard the nobility of inver and their cultish ways, and as a result has been banned from attempting to convert inver citizens. but the church is still allowed to make minor inroads into inver for one very important reason: penicillin and antibiotics are the sole creation of the church, and the secret of how they are made is unknown outside suzette. so for the sake of good, advanced healthcare, the church is allowed to set up clinics and hospitals, on the condition that nobody is converted, and members of the church are strictly banned from engaging in any business but importing and selling antibiotics

[jibanyans-chocobar]

Watching Naruto Shippuden's first filler arc atm and I uh. Have some questions even though I know none of this is canon

- Why is Asuma denying that he has something going on with Kurenai like DUDE. We know YOUR OLD TEAM KNOWS Kakashi knows EVERYONE KNOWS

- What the heck is wrong with Sora (/gen like what is wrong with him is he okay)

- Why are the bad guys surfing on graves. Just. Why

- Fym Asuma was part of a 12 people (if i remember correctly) squad made to protect the feudal lord or something like that

- Why did Naruto basically say "I'M NOT GAY" to Sai out of nowhere? Like I mean I get why but did he really have to say that "he doesn't go that way" lies lies LIES

- Why did they animate one of the best openings in anime history EVER for a freaking FILLER ARC (and it happens again. And also happens with endings. Like. Diver or Broken Youth or U Can Do It orrrr idk what else)

(Spoiler warning under the cut for the arc that follows this one)

- Is this a filler arc to just say "oh look at Asuma he's so cool he was part of that organization and stuff LOOK AT HIM AND START LIKING HIM because we're about to kill him" or what

[dreamylyfe-x]

Your trevor meta is making me realize how weird it is that the writers and cast were so insistent that mickey wasn't coming back, because I don't think theyve ever really known what to do with ian's story without him. They put him in these lukewarm relationships and tell us they're so much better and healthier, but then have ian straight up admit that he still loves mickey and nobody else has made him feel the same way. How do they set that up and then have him go back to trevor? They set up ian moving on with "I'm not that person anymore" and follow up with season 8. It's like okay...who he is now is gay Jesus? Lmao. He's always been the shows forgotten middle child and after they wrote mickey off "for good" they could have taken him in a million directions but they chose one so shitty it basically made cam leave lmao. Sometimes it feels like fan insistence kind of forced mickey back but in actuality, the seasons where he's gone just hammer home that he was always the inevitable end to ian's story. So bizarre how little the showrunners understand their own story sometimes.

Ok. I’m going to be a little more Doylist here than I usually am, because we’re talking about what the writers are thinking. And I’m also going to take this opportunity to share this fascinating article from the AV Club in 2016: When Fan Engagement Goes Wrong. Everyone beware, it contains significant spoilers for The 100. But it’s also largely about Gallavich, the fact that online promotion of Shameless leaned hard into the popularity of the couple, and were up against it when Noel left. I’ll quote: 

“[Supervising Producer Shelia] Callaghan’s choice to be honest and straightforward when engaging with fans is admirable, and yet also on some level futile. She can’t tell them exactly why Fisher chose to leave, she is (logically) unwilling to spoil future storylines outright, and she can only speak her own mind as part of a collaborative process over which she holds only some influence. So while many fans respect her effort to maintain the connection to this now marginalized community, others attack, reinforcing that attempting to manage these situations is a full-time job that no one has been properly trained for.” 

This article links some tweets and the one I find the most interesting is this one:

“But the actor left.  So...what to do? Have them just break up?? Felt way less true to me than a forced separation!” 

That tweet is from Krista Vernoff, who wanted to convey that they tried really hard to come up with what they do with Ian now that he’d lost Mickey. And I’m sure they did try really hard. And.... People hated it. Mostly. 

Here’s what I think, based on what I’ve read and the interviews I’ve seen, on deleted tweets and Tumblr rumours and YouTube clips: The show didn’t want Mickey to leave the canvas. At all. Noel wanted more money. The show could not come up with both that money and the money they needed for everyone else. The show let him go. And hoped they could solve the creative problem their budgetary problem had dumped in their lap. 

I actually think Ian’s story in season six is decent. I miss Mickey, of course. I find the last scene with him really painful -- but it’s not painful because the show is trying to diminish him. They write and then cut together a scene where Mickey is DEMONSTRATIVELY still deeply in love with Ian. He’s carved his name in his chest. He is looking at Ian like he’s the most beautiful creature ever given breath. And Ian can barely meet his gaze. They tell us Mickey is being sent away for 16 years but when we see the last of Mickey Milkovich in season six I think “God, this is so sad. They love each other so much and this is so fucked up.” 

I do NOT think “We are NEVER EVER EVER getting back together.” 

The show always knew what it had with Ian and Mickey. They leaned into it promotionally. They gave meaty storylines to the characters, particularly given that Ian was the fourth lead on a family dramedy built around six children. John Wells replaced Aaron Sorkin on The West Wing. He knows how hard it is to follow a phenomenon. 

The more I think about it, honestly? I don’t think they tried. I think they knew that they couldn’t bring in Mickey Milkovich, the sequel in season six, so they brought in Caleb. And maybe they meant for him to be a LITTLE more viable than he was... but I think there’s a pretty good chance they were just throwing something at the wall to see if it stuck, while being fully aware that the important storyline in season six was getting Ian from despair to a fulfilling career. Caleb was just there as a catalyst. 

Season seven if more interesting, because Trevor is brought on and it’s very much... “Hey, let’s do something new. Let’s bring on a transmasc character and put him into a relationship with Ian and explore those complications.” 

“Great! Put it up on the board!” 

“Also. Let’s call Noel Fisher’s people and see what we can work out because we can do better with Mickey’s send off and people are yelling at me on the street about it.” 

Quite honestly, these are not equal tasks for his writer’s room. You have one story -- Create a whole ass new character. The only thing we know is that he’s trans. Figure out the romance from there. You have six episodes to get them together as an established couple. 

Then: Bring back the well-established and beloved character for an epic romantic two-episode arc where he reunites with his true love and they run away together and then ultimately realize it cannot be, and say goodbye and it all feels like I Will Always Love You should be playing in the background. They actors worked together for five years. They have a great professional partnership. They like working together. They have a ton of history so there’s lots of juicy subtext. The longing and sexual tension comes pre-established. See what you can do. 

HOW do you make both those things work out so that they are equal? You need lightening to strike. And that already happened on How I Met Your Mother. They squandered their good luck and now there is none left for Shameless. I do not disparage Elliot Fletcher at all when I say that for Trevor and Ian to really work he’d have had to have come with scorching chemistry with Cam, rich material that really gave them a good opportunity to build rapport between the characters, and A wizard standing by to cast spells in the wings. They had SIX episodes, a pretty average connection between the actors, and the “these are the LGBTQ+ people in your neighbourhood” scene. 

I just can’t believe that someone with as many years of TV writing under his belt as John Wells has expected that to work. He hoped the Trevor story might be good, and was certainly going to break some ground in terms of telling trans stories. And the Mickey story was going to be the highlight, because he knew people wanted it and he also knew that they’d had something pretty special to start with. Which is why people were yelling at him at Comic-Con. I DO think he hoped it might placate fans a bit. But... he wasn’t going to completely close the door on Mickey this time, either. 

So... I don’t really think the show every intended to write Mickey off “for good”. I think they wrote him off “for now, and we’ll see what happens...” -- and they did that with Karen, Shelia, Jody, Steve and Fiona, too. They only brought a few of those people back... They brought Mickey back three times. They ended Gallavich FOUR times. Noel is in ever season except eight. I don’t think they wanted Mickey gone -- but I KNOW the fans also made it pretty hard for them not to know his value, so absolutely I think that played a role. But when you create something people love and you get that lightening in a bottle like they did with this story, I think writers are always going to be excited to get that back. They like praise! They like people to be excited about their show. And Gallavich was always one of the things that got people excited about Shameless. 

I think they also wanted Gay Jesus to be a great story. But that’s why the lightening in the bottle is so valuable. You can’t just get it anywhere. 

[bogleech]

Okay so full spoilers for the plot of Kipo but I’m going to do a long review of the villain’s backstory under a cut:

Scarlemagne like I said seems like a very simple, hokey villain; he’s a sadistic and hate-filled baboon who wants to rule the world, he has the power to turn any primate into a mindlessly obedient slave with his disgusting pink pheromone sweat, he makes them dress like British aristocrats and he makes everyone dance while he plays the piano in an old shopping mall he thinks of as a glitzy palace. It’s as hilarious as it is terrifying. But then they tell you why, and it’s done so much better than I’ve seen in almost any other series like this.

So, as we learn not that far into this series, Kipo herself is a mutant, basically a werejaguar, specifically a werejaguar whose full jaguar form is godzilla-sized. What she herself finds out is that her parents made her that way, and I love how that’s never a source of angst for her, she loves it!

Maybe you kind of see where this is going though and it won't sound that shocking to find out this is a Mojo Jojo scenario; that Kipo wasn't the only experiment her parents conducted on animals. Originally, they were tasked by their superiors with developing an anti-mutagen, something that would change all the animal life on the surface back into normal creatures and put humans back on top. As part of this experimentation they attempted giving mutation to some of the last remaining natural specimens they had, including a baby baboon, Hugo. But once Hugo started to actually talk, and started learning from them like a human baby, they couldn’t bear to continue the project as intended. They loved their adoptive mutant ape son, they read to him every day, they played with him, they taught him history and science and they hatched a plan to escape with him. All they wanted and all he wanted was to be a family together. However, this was around the same time they were already working on their personal superhuman child experiment, which put their escape plan on hold for nine months. During this time, the bosses found out about Hugo and put him in a small enclosure for their own harsh experimentation. His human parents still visited him every single chance they could, reading him stories in secret, still promising to escape with him. I think the really saddening part is that Hugo is never actually bitter towards the baby coming. In fact he’s still excited about having a sister and being a family with her too. But then there’s a pretty big incident that’s still not necessary to spoil, the result of which is that the whole facility is seemingly destroyed and the parents have to flee with the newly born Kipo. They assume Hugo is dead, but...they don’t really double check or look for him. There’s enough chaos that it’s unfortunately understandable that they just take their baby and run and that everything would probably be one big blur in that situation, but, Hugo did survive, and wait around, and look for them, attacked by monsters and cold and alone, thinking they were dead. After all that, he just kind of incidentally runs into his father with Kipo, and he realizes at least one parent survived but did not come back to look for him, and that’s about the part where he snaps.

What I think is really excellently done here is that, after everything Hugo has done as "Scarlemange," Kipo immediately wants to love him as a long-lost sibling and she’s PISSED about his abandonment. Meanwhile, her father is never just totally vilified for any of it; the narrative acknowledges that he fucked up in a believable way under incredible pressure, he feels deeply guilty and he wants to make it all right as well. And, in turn, while Hugo/Scarlemange refuses to forgive his father and truly shouldn’t have to if he doesn’t want to, he STILL doesn’t hate Kipo, because she was just a baby! His baby sister! She didn’t know and she’s not the one who hurt him! Holy shit a villain who is reasonable about this kind of thing! This dynamic between all three is something I haven’t really seen executed so well before. You can’t really hate anybody involved but you wish they hadn’t made the choices they did. -ONE MORE LAST CHANCE SPOILER WARNING FOR PEOPLE SPOILING THEMSELVES-

Unfortunately, none of that is ultimately enough to really turn this guy around. He’s willing to call off killing thousands of other mutants for Kipo’s sake, but only under the condition that she help him execute their dad instead. It’s a horrifying extra twist and a moment where we (and Kipo) might have to accept that Hugo is beyond saving, but, we still know that there’s a reason for it, and even if what was done to him wasn’t consciously malicious, it still wasn’t really forgivable. The last we ever see of Scarlemagne is being hauled off as a prisoner, but that’s after Kipo saves his life one more time, and there’s no “YOU WERE A FOOL TO LET ME LIVE! MWAHAHA!” moment, no last shot of him glaring from his cage with scary music or anything, he just keeps looking sadly at Kipo and you know he still wishes they all could’ve just been a happy family. I’ve seen hundreds, hundreds of tragic villain backstories. I’d say a majority of them were interesting and gave the villain a sympathetic streak to some degree or another, but I think this one is executed to a pretty uncommon degree of competency. The villain himself is outrageous, while the explanation is subtler and more real-world, and the way he, Kipo, and their father all feel about one another because of it is completely believable even while nothing anyone did is ever just “excusable.”

[fuckyeahisawthat]

the old guard: loneliness, connection and immortality

APPARENTLY I am writing a thing about The Old Guard today.

(Bear in mind that I haven’t read the graphic novel, although I’m eager to now, so this is solely based on the movie and some things I’ve read about the comic in articles about the movie.)

Under the cut for spoilers, although the discussion is fairly general.

The Old Guard is an interesting take on immortality for a whole bunch of reasons. The immortals aren’t invulnerable. They feel pain; they can be injured and experience dying. They just know they’ll come back. (Until they don’t, which is another interesting twist.) They have super-fast healing and regenerative powers, but they don’t really have any other superpowers, so they still experience all the needs and vulnerabilities of regular humans. Which is a very interesting twist, and made me realize just how often I’d seen fast healing paired with super strength or other superpowers. But these characters, other than not being able to die, are basically just humans with a lot of combat experience--hundreds or thousands of years’ worth. This might make them more skilled than most mortal humans, but in a fight they don’t have any advantages of superhuman strength or speed, which makes the fights feel a lot more interesting and grounded than your standard superhero fare. (I love that the older immortals all fight with bladed weapons as well as guns, and in some cases prefer them, because they’ve been using those weapons way longer than guns, but writing about the action style in The Old Guard is a whole other post.)

A lot of the things The Old Guard is meditating on are about the price of immortality--about watching the whole sweep of human history and not knowing if anything you’re doing has had meaning, in terms of making the world a better place. It manages to be a lot more existentially melancholy than your standard mainstream superhero fare, but without slipping into completely dour grimdark territory, and I think a lot of that has to do with how much it has to say about human connection and loneliness.

There’s the inherent isolation of immortality: any mortal you have a relationship with will eventually realize that you’re not aging, and every time, you know they will eventually grow old and die, while you will not. There’s the isolation of keeping your secret, since the film makes clear the many ways immortality can get you in trouble. And there’s the psychological isolation of just knowing you will live your life on a profoundly different time scale than everyone else around you.

In this context, the few connections that are possible, with other immortals, become desperately important. (They literally dream of each other, even before they know each other’s identities, and even when physically separated for a long time.)

When death is off the table as an option, it’s clear that isolation is the worst punishment an immortal can face. “She was alone for a long time,” another character says of Andy, and it’s clear that that was terrible. Quynh’s fate (alone, trapped, and suffering indefinitely) is a horrific extreme version of this, and it’s clear Andy still feels guilty, hundreds of years later, that she stopped looking for her. Dying together, even painfully, is something they can have a dark laugh about, but being separated is a trauma that haunts the whole group.

It’s notable to me that of all the immortals, Nicky and Joe are the ones who seem most well-adjusted and at peace with their relationship to life, death and humanity. Still in love after something like 900 years, they can banter about relaxing in Malta even while held prisoner in a medical lab, with a confidence in their shared future that doesn’t feel fake. (And boy am I glad the narrative reinforces that confidence.) And it’s notable that in the heat of the moment, none of them is willing to leave Booker behind in the lab, even though he betrayed them and led them into the one thing they’ve said they try to avoid at all costs, captivity. Even Booker’s betrayal comes from a desire to make them less alone, although he certainly picked the absolute worst way to go about it.

Nile’s arc is all about her integration into her new found family of immortals--even more, I think, than it’s about realizing and gaining mastery over her superpower, in the way that most superhero origin stories are. She is given the choice to leave, and chooses to go back because she thinks Andy, specifically, might be in danger. (The whole arc of her relationship with Andy is great and deserves its own post.) But it’s clear that severing her ties with her biological family is painful to her; the other immortals understand this, and the narrative doesn’t treat it lightly. Booker’s loss of his children; Copley’s loss of his wife (which is planted in literally the first scene we see him in)--family and human connection are all over the motives of protagonists and antagonists alike. (Even Merrick--it’s his obsession with profit over human life that distinguishes him as the narrative’s true villain and makes other characters turn against him.)

Given all this, Booker’s punishment at the end of the film seems particularly cruel and like the kind of narrative device set up to backfire. It seems obvious that the final scene is setting up Booker and Quynh as the antagonists of a sequel, which I hope we get to see. Booker is wounded and not handling it well; Quynh, I’d imagine, has an extremely understandable desire for some revenge. Given how much we know of their backstories, they could make an extremely sympathetic pair of antagonists.

I don’t know what a potential sequel would bring and if/how it might diverge from the plot of the comic. But what I would love to see is some ending that re-integrates Quynh and Booker into the family (and probably unites them against some new threat in part 3; it’s purportedly a trilogy). It’s the only ending I can think of that wouldn’t be unimaginably cruel to both Quynh and Andy. Even if they’re never explicitly portrayed as being romantically involved (although...I would certainly not complain if they were), I really want to see a resolution to their relationship arc that doesn’t leave them as the unspoken tragic parallel to Nicky and Joe, and doesn’t involve one of them killing the other. It seems like this would be the most thematically resonant option too. I suppose one can hope. (And if not, that’s what fic is for.)

[haec-est-fides]

“What have you done?” : Why Riordan’s Handling of Triumvirate Holdings Sucks

I put my thoughts under a cut to make it easier to avoid spoilers and to save you all from a long post,,,like a really long post.

Basically, I think it was inevitable that Riordan fumble Triumvirate Holdings. He simply designed a villain network too powerful and too extensive to ever be handled properly by the heroes. He did try to address,,,some of it, but in the end I think he just made it worse.

I. Let’s talk about Triumvirate Holdings.

The way that Riordan established the origins of the Triumvirate and the extent of their power made it too big to handle from the beginning. The emperors have been around for centuries. It’s mentioned countless times how much property they own, how much money they have, and how many businesses are actually under their control. Rachel says it well in Hidden Oracle: “They make my dad’s company look like a kid’s lemonade stand.” Nero brings it up again in Tower of Nero: “What you don’t seem to realize, Apollo, is that you can’t destroy bank accounts with a bow and arrows. All my assets, all the power I’ve built up for centuries -- it’s all safe.” Think of what Caligula did to Piper and her dad, how deep that ran and how many people were involved. Think of how the Triumvirate funded both Luke and Octavian. All of this goes to show how deeply rooted Triumvirate Holdings is, especially -- unlike other villains -- in the mortal world.

This never really gets taken into account. For instance, Apollo does wonder if Meg will inherit Nero’s tower, but it seems as if she doesn’t, nor do any of the other imperials who go with her to Palm Springs. They live off of the Sibyl’s tarot card business, which strongly implies that they took nothing from the tower -- or the company -- at all.

Apollo also mentions Camp Half-Blood getting the weapons and Greek fire from Nero’s tower, but that is so poorly thought out that I want to scream. Nero had designed special holding tanks for the Greek fire, tanks that Rachel pointed out could be mistaken for a water-treatment facility. And we’re transferring it to a summer camp? Yikes.

Beyond the question of the material, there’s the question of personnel. Mortals, demigods / legacies, monsters, Germani, etc. were all involved with Triumvirate Holdings. I’ll address the Germani in a moment, but the sheer numbers involved make the fall of the company either impossible or devastating. It is conceivable that the mortals, business people and mercenaries alike, could move on and the Mist would do its work. Still, that’s thousands of people jobless. The unemployment rate just skyrocketed. Further, the monsters once under Triumvirate control are now presumably free to cause havoc as well.

Before moving on entirely, multiply all of that by three. Commodus and Caligula employed mortals and monsters as well, and who knows what happened to their material possessions. (Besides the fifty yachts in San Francisco Bay, ofc. Millions of dollars, minimum, at the bottom of the ocean.)

What I’m most concerned about, however, are the demigods / legacies, especially those raised by or who spent considerable time with the Triumvirate. An experience like that shapes people, and not for the better.

II. Let’s talk about the Imperial Households.

Starting with Nero’s household, I think it’s clear that Riordan brushed over the imperials to have his wholesome ending, which is entirely understandable. Even so, he creates such a conflicting view of them that his “they all moved to Aeithales and Healed” bit is so shallow. Apollo’s views in particular cause this problem.

Initially, the fact that the imperials are enemies puts them in this strange category where they’re minors and people (like Meg) but them being harmed or even killed,,,isn’t a bad thing? Chiron, directing new campers during the Greek attack on the tower, yells, “Try not to kill enemy demigods or mortals! Okay, well, from now on, then!” It’s given the weight of a throw-away line. Apollo later goes so far as to think, “I wondered where the other three missing adoptees had gone -- if they’d been captured or had fallen in battle to Camp Half-Blood. I tried not to feel any satisfaction at the thought, but it was difficult.” (Emphasis mine. Oh, and if anyone is interested, this is almost an exact parallel to what Apollo says in Tyrant’s Tomb about Octavian’s death.) I’m not saying that Apollo hasn’t really changed or that heroes have to value the lives of their enemies, but this isn’t the best foot to start on.

In Nero’s throne room, when Meg gets her imperial siblings under control, Apollo comments on how close they are to siding with Nero: “[Meg] reminded me of one of Hades’s dog trainers working with a pack of new hellhounds. ...any sign of weakness from her, any change in the temperature of the battle, and they might break ranks and slaughter everyone in sight.” Even after Nero’s death, the imperials break down. Raging, sobbing, catatonic -- whatever the case, not exactly the best candidates for a smooth adjustment to ordinary life.

Apollo and Meg briefly chat about how the household will need support to heal, but Apollo still notes, with some real hesitancy, “There were no guarantees. The imperial demigods had dealt with so much for so long, some of them might never be able to come back from the darkness.” A short while later, at Aeithales, Apollo observes that the imperials “seemed determined to garden, as if their sanity depended on it, which perhaps it did.” While Cassius, at the very least, seems to be adjusting well, who’s to say that the others are? They can’t garden forever. I just can’t picture this ending as well as Riordan leaves it.

All of that is bad enough, but we know that Nero’s “household” is larger than just the twelve demigods he adopted, and it’s likely that Commodus and Caligula had similar households. Remember Marcus, Meg’s escort in Dark Prophecy? Whether he was one of Nero’s twelve (and got replaced) or not, his existence is evidence that there are far more demigods / legacies involved than the series’ focus would make us think at first glance. We do see members of Commodus’ household in Dark Prophecy, in the stands of the stadium and in the battle against the Waystation -- “a few dozen” even. Interestingly, Caligula is the only triumvir who doesn’t seem to have a household at all, as they’re never mentioned aboard his yachts. That may be exactly as it seems, with him preferring not to have a household out of paranoia. However, I still think it’d be more reasonable to assume that he had some kind of household than to assume otherwise.

Nero’s household appears to have been the most imperial and the most like a family, but that doesn’t mean we can brush off the other households as a non-issue. Considering the lack on information on the subject, it’s entirely possible that the other two emperors did adopt kids. In any case, we can’t judge the loyalty of these unknown demigods / legacies, and they certainly seem to have fallen through the cracks. It’s doubtful that Nero’s children will be able to “heal” even with Meg’s help and a place totally removed from their old life. If the others don’t have any kind of support system? If they’re left to their own devices? That’s a recipe for disaster. They’re likely to cling to the system they know in whatever ways they can.

As a bit of a thought experiment to drive this home, consider: what would Octavian do if he were part of Triumvirate Holdings when the news arrived that the emperors were all dead? I think it’s clear than the answer is not “go live a normal life and pretend the Triumvirate never existed.” It would be naive to think that not a single person in the Triumvirate’s sphere is willing to step up and take over.

III. Let’s talk about the Germani.

Riordan actually explained this well, but then proceeded to fuck up.

I had questioned why the Germani -- ordinary legacies / humans -- could be turned to “monster” dust once resurrected and put in an emperor’s service. What kind of afterlife did that mean they had? Thankfully, Riordan touched on this! As @triumvirateds pointed out on my older post, the Germani -- like most ordinary monsters -- did come back in a day or two after being killed. This apparent immortality, we find, is tied to the Triumvirate’s power, symbolized by each emperor’s fasces. When the Germani were revived, however the Triumvirate accomplished that, they became removed from any usual afterlife until released from the Triumvirate’s service and made “regular people” again.

(This does raise some technical questions. Were each group of Germani tied to a specific emperor? Meaning that the troops on the West coast were “released” when Commodus’ and Caligula’s fasces were destroyed? I’m fairly certain that they still turned to dust during the final confrontation with New Rome. That would imply that their loyalty was tied to the Triumvirate as a whole, and their bond transferred to Nero’s fasces with the power of the other two emperors.)

However, I can’t believe Riordan decided that the Germani would simply be regular people after Nero’s death. Throughout the series, Apollo often remarks that the Germani are a threat because of their loyalty. Remember when the Germani were described as “sensitive about insults to the Imperial person” and nearly killed Apollo for looking at Nero wrong? Well, now Apollo says, “I supposed none of them loved the idea of staying loyal to the cause of a dead emperor.” I’m reminded of when, after Commodus and Caligula were defeated in New Rome, the army ran away and was never mentioned again. In both cases, the Germani are brushed off as disloyal / uncaring and no thought is given as to how they’re supposed to integrate into modern society.

“But wait,” you might argue, “They’re mercenaries. Many of them, like Luguselwa, probably don’t care about the emperors.” Sure. There’s definitely a long history of mercenary troops not being the most loyal, especially when there isn’t a clear leader. However, I have to bring up the fact that when Nero died (in actual history) the German guard was disbanded by one of the following emperors due to their perceived loyalty to Nero, even in death. (Also, because the guard was disbanded for their loyalty, which was a major insult, the entire tribe revolted.) That’s a bit of an oversimplification of ancient history, but with the constant reminders we have in the series about the Germani’s loyalty, this ending just seems like a cheap move by Riordan. He might as well have had them all turn to dust one last time with the dissolution of the Triumvirate’s power. Also, if you even entertain the possibility that someone could step forward to take control of Triumvirate Holdings, I feel that the Germani would serve whoever that was.

On the purely practical side of things, please try to imagine thousands of (possibly illiterate) barbarians adjusting to modern life with zero help. I’m not saying it’s impossible, considering the amount of time they’ve been around (and how they seem to legally exist, as evidenced by Luguselwa being Meg’s legal guardian), but it’s still a stretch of the imagination with how Riordan characterized them throughout the series.

TL;DR

To wrap it up, you just can’t make villainy this pervasive, throw out some guesses as to how things will work out fine, and pretend the world can just move on. Triumvirate Holdings isn’t a snake that dies when you cut its head off; it’s a hydra. The life that almost everyone involved in Triumvirate Holdings lived makes them who they are. Not everyone will end up like Meg, especially considering the sheer number of people impacted. I know that all of this isn’t really Riordan’s concern, that he couldn’t have covered even half of this if he wanted to, but gods does it bother me.

[indigoelfinspirit]

all of them for Paris please :D

That was a lot – like hours, and you owe me Tharen x Rayland goodies now or gay werewolves I'm not picky. Also it wouldn’t paste right so the numbers are missing. Oops. Answers under the cut because it really was a lot.

BASICS

What’s their full name? Paris Sonata Royale

What does their name mean? Why were they named that? Paris means “Lover” and it doesn't get more accurate than that, does it? His parent's were going for important prince from legend though. His middle name is just his mom's maiden name – They were those type of rich people. Why I picked it was because I looked at him and said he looks like a Paris and it stuck since it fit the Greco-Roman and/or space themed naming thing I had going on, and more importantly it fit him. Royale was just

Do they have any nicknames? Just the normal coupley stuff like “Babe”.

How old are they? He's about 33 when the story starts, and 40ish as of the latest post

When’s their birthday? July 6th

What’s their zodiac sign/element/birthstone/etc.? Do they believe that holds any significance?

No idea unfortunately (if anybody has an idea drop it in the comments).

What’s their species/subspecies? Do they have any special/magical abilities?

In the Starfall universe berry sims are descendants of the Fae and other mythological creatures. Which is the long was to say he's an Elf. No magical abilities unfortunately.

What “class” do they belong to (for fantasy characters)? If none, what weapon do they favor?

N/A

APPEARANCE

What do they look like? About 5'11”, light purple, curly black hair.

Do they have a face claim? N/A

What’s their style like? Clothes, hair, makeup? Comfortable clothing mostly – lots of t-shirts and sweaters and jeans. Hair is usually mid length, curly, warn down.

How do they carry themselves? What’s their default expression? Paris is normally pretty confident and smiling. Of course some of that has to do with his former career and learning how to act confident even when he isn't.

Do they have any physical ailments or disabilities? Yes, he has a degenerative muscular chronic pain condition. It's hereditary and incurable.

PERSONALITY

What’s their alignment? Just a guessing, but probably something like Lawful Good.

Which one of the 16 Personality Types do they fit into? No idea... he's an introvert though.

What are their hobbies and interests? Do they have any particular “favorites” (food, books, and so on)? He loves music. He plays both piano and guitar. He also loves running when his health is good enough. Oh, and traveling – especially with Callie.

What are they bad at? Do crowds count? He's really bad at keeping on a schedule. Probably has to do with the crazy work schedule he kept for decades.

What kind of things do they dislike/hate? Being patronized/people assuming/deciding he can't do something. Being left out. Crowds.

Do they have any vices/addictions/mental illnesses? He does struggle with anxiety as a result of his medical issues and the way his family treated him after he got sick. Wolfbane helps.

What are their goals and motivations? When he was younger his goals were all music related, and he achieved most of them. Now his goals are all associated with taking care of his family and being there for them as long as he can.

What are their manners like? Any habits?

What are they most afraid of? Dying young. Not being there for his family.

BACKGROUND

Where were they born? What was their childhood like? So Paris is a rich kid. The big multi-generational family company, and he disappointed everyone by becoming a professional musician (right up until he started winning awards and they changed their minds). He actually had a happy childhood. Despite being rich, he had a mostly normal childhood with loving parents and a large extended family. Super rare for one of my main characters. It's mostly just him and Elio on the normal childhood thing.

What’s their family like? Paris' family situation is strained now. For most of his life he had a pretty good relationship with everyone, but after he got sick, particularly after the diagnosis, the situation wasn't so great. They were very overprotective of him and controlling, so he lost his independence. Paris didn't take it well, so he left which strained his relationship with his family. His parents both passed away before he and Callie got together. He's on a “Solstice cards and birthday phone calls” basis with his extended family. So the Aunts and Uncles and cousins on his side know about Callie and the kids even if they never met them.

What factions or organizations are they a part of? What ranks and titles do they hold? He's a platinum record artist and Siren award wining artist and composer.

How do they fit into their “story”? Someone will have to explain this to me, but if I had to guess what was intended: He's the main love interest.

Where do they currently live? What’s their place like? Lorelei Island, Nixieberg. In a small and chaotic little vacation home on a cliff near the beach.

How do they eventually die? SPOILERS! Can't have that.

RELATIONSHIPS

Do they have any friends? Would they consider anyone to be their best friend? Ares Morrigan from his band is his best friend (we'll see him eventually). And Callie, of course.

What’s their friend group like? What role do they play in it? He and Ares are definitely the partners in crime type. They work really well together, but loose track of time easily. They feed of each other's creativity. It's part of what made Sons of Jupiter such a great band.

What’s their love life like? (See also: ship question meme.) Do they have any kids? Love life: Very good, though occasionally hard. He and Callie are very affectionate. Kids: 3 kids together and 1 from Callie's previous relationship.

Who do they look up to? Who do they trust? Not sure about the look up to part, but he trusts Ares and Callie, though Callie's tested that recently.

Who do they hate? Do they have any enemies? Not worth the energy, though he isn't particularly fond of Callie's father or the ex who stalked her (note: the ex that chased her away from home is not Rusty or O).

Do they have any pets? Wolfbane, the Shepherd of Chaos.

Are they good with kids? Animals? He's very good with kids and animals. He loves spending time and playing with them.

FUN FACTS

Which tropes do they fit? Which archetypes? He's very much the hurt guy who has given up on relationships and then finds the right girl and becomes totally sappy.

Do they play any instruments? Sports? Instruments: Piano and Guitar well, dabbles in anything else he can get his hands on. Sports: Running. He swims a bit too, but running is his big thing.

What are some items they always carry? His phone and his faithful dog.

Do they collect anything? Fans from the looks of things – pretty sure he's more popular than Callie is. On a more serious note the only collection he really had in game was pictures of his family (mostly Callie) and sheet musics for songs he wrote.

What position do they sleep in? Cuddled up with Callie.

Which emoji would they use the most? The happy crying face and probably the kissing face.

What languages do they speak? Shoot I never named the languages. Um, so he knows how to say phrases in several languages for work – you know stuff like “hello”, “How do you like the show?” “Thanks for coming out”.

What’s their favorite expletive? Probably fuck since it has so many uses, though he can't really say it now that there are always kids around.

What’s their favorite candle scent? Not really the scented candle type, but whatever Callie buys.

What songs remind you of them? …. I really should create character playlists so I can answer these, huh?

Which animal would you say represents them? A wolf. Everyone associates them with loners, but their really pack animals.

What stereotypical high school clique would they fit into? Oh, he was the guy who was always playing/listening/talking about music. The garage band rocker.

What would their favorite ride at an amusement park be? Okay so if you ask me about amusement park rides I will relate them with Disney attractions. I would imagine Paris loving things like the Three Cabelleros or Small World where he gets to laugh about how they interpreted the different cultures and places he's seen in person.

Do they believe in aliens? Ghosts? Reincarnation or something else? He wouldn't rule them out.

Do they follow any religions/gods? Do they celebrate holidays? Okay, so lore time Berries are mythological creatures and all those myths – Greco-Roman, Celtic, Nordic etc – are their histories. So it gets a bit confusing, but it's definitely a pantheon situation. Paris isn't overly religious though, so he generally believes in the Fates, like most Berries, but doesn't really practice the religion. He does celebrate stuff like Solstice (Winterfest), and Love Day which is of course associated with Aphrodite.

[echodrops]

*Slides in on a office chair* Now that you shared some of your HaaH headcanons for Shiro and Hunk, can you do Lance and Lotor?

Didn’t want to post these until I finally had some time to update them a bit and trim out spoilers, but I got a second last night, so here you are:

HaaH Lance and Lotor headcanons:

(Under the cut to save everyone’s dash)

First, a warning: Neither one of these characters’ backstories or plot event headcanons remotely line up with the show, one because I originally wrote most of this stuff around the time season 2-3 was being released and two, because I stopped watching Voltron after season 6 and have no intention of watching the rest of the show due to my dislike for the directions the writing took. I went back and updated some stuff, such as the names of some of Lance’s siblings, to more closely match what came later in the show… but for the rest… I’m just gonna do my own thing and pretend canon does not exist.

Lance:

- The literal definition of “rich as fuck.” When relaxations on economic policy were passed in Cuba that increased opportunities for private business, Lance’s grandfather made a solid deal for three massive sugar refineries. Today, artisanal coffee houses across the world utilize the sugar refined in Lance’s family’s factories.

- Grew up in a giant villa on the peninsula just outside the town of Varadero, on a sprawling property that included a long stretch of beachfront and individual bungalows for visiting family members and the family’s several live-in staff members.

- The whole family is incredibly down to earth despite this. Lance’s aunt and grandmother insist on having a hand in every family meal, Lance’s parents always make time to be involved in the children’s activities, and Lance was taught from a very young age never to take advantage of people, regardless of their position in the world.

- Lance is the baby of his immediate family by almost ten years. He was an accident that occurred after Lance’s mother believed she was too old to become pregnant. Of course his parents never treated Lance like an accident and loved him, but still, Lance has never been able to shake the idea that he wasn’t planned—and therefore he wasn’t wanted.

- He has four older siblings, two sisters and two brothers.

- All of Lance’s siblings are extremely successful in their careers. Lance’s oldest sibling, his sister Veronica, is a captain of the Cuban Navy and commands the impressive warship Audaz. Lance’s second oldest sibling, his brother Yuniel, is a decorated conservational ecologist working to protect Matanzas’ native forests. Lance’s third sibling, his brother, Marco, is a famous solo folk musician who made it big in Cuba. Rachel, Lance’s closest sibling, runs an immersion-based cultural heritage museum that preserves the rich and complicated history of Cuba and its people.

- In short—Lance grew up surrounded by the rampant success of his older siblings, watching as they excelled at everything they pursued—which just bred a greater and greater sense of insecurity in him, as he feared he would never be able to measure up.

- On Lance’s eighth birthday, in an attempt to cheer up his very depressed youngest son, Lance’s father dragged the family’s telescope down to the beach so that they could watch a space shuttle launching from the cape in Florida. At first Lance couldn’t work up the slightest interest, but when he finally saw the huge plume of the shuttle, arcing off into the unknown depths of space, he had a Moment™. Lance knew, right then and there, exactly what he was going to do with his life, something that none of his siblings had ever achieved: he was going to go into space and explore worlds unknown.

- Lance decided that he had, absolutely HAD, to go to Galaxy Garrison when he grew up. This part worried his parents, who pointed out that Garrison was not only in another country but also a solely English-speaking school and extremely competitive. Nonetheless, Lance was determined that he would not settle for anything less than the absolute best.

- Was totally that space obsessed kid. Still thinks Black Holes are the coolest thing in the universe. His parents bought so much “Astronaut” ice cream that they probably kept that entire industry afloat.

- Lance attended Garrison’s summer Astrocamp in Arizona when he was nine. Quickly made friends with his cabin-mate, Hyrum Tava. The nickname “Hunk” came about from a slip-up when Lance tried to compare his new friend to one of his favorite American cartoon characters, the Incredible Hulk.

- Even after leaving the Astrocamp, Lance and Hunk stayed close friends, exchanging frequent emails and phone calls, which helped Lance stay on top of memes popular trends back in the states.

- Shiro was Lance’s cabin leader at the Astrocamp, and his kindness and exciting stories about actually visiting space(!!) made a huge impression on Lance. Lance… may or may not have had a celebrity shrine to Shiro made of photos and news clippings taped to his wall for several years. Whatever, every kid does it and he took it down eventually, gosh!

- Identifies as bisexual, but has never successfully dated anyone, male or female. Due to several bad experiences and close calls, Lance doesn’t talk about his sexuality or express any attraction to men except around people he is extremely comfortable with. Hunk has known for years, of course. (In fact, it was Lance’s struggle with his feelings that helped Hunk develop strong sympathy for LGBT people, despite the fact that his religion is very against it.)

- Never had a real kiss. Might be just a tiny bit desperate to have a real first kiss.

- Also might buy a bit too much into the idea of needing to be stereotypically attractive to fit in. Although his nightly beauty regime is now a comforting routine, it originally stemmed from Lance being extremely self-conscious about his looks. He’s more comfortable about his body than he used to be, but he still frequently compares himself negatively against others; do you know what kind of hell it is to have to share a locker room with people like Shiro?

- Cries at the drop of a hat. Sad book? Sad movie? Abandoned kitten? Dropped something on his toe? Tears times ten thousand. Lance was never pressured by his family to “man up;” in fact, he was always encouraged to empathize, so Lance is extremely sensitive to others’ feelings. (He and Hunk are a great fit in this regard.) He can perceive even minute changes in people’s emotions and is always ready to cheer up people who are down.

- He can’t read Keith for crap though. Not really his fault. Keith’s a literal alien.

- Lance’s extreme empathy actually backfires on him. Because being sensitive to others is second nature to him, it’s often hard for Lance to remember that not everyone is as perceptive as he is. Lance has, many times, mistaken the other paladins’ obliviousness for indifference. Everyone on the ship cares deeply about Lance and would never want him to feel bad about himself—but not everyone on the ship is perceptive enough to notice when Lance’s insecurities are affecting him.

- Wasn’t put in the cargo pilot classes at Garrison because of his flight test scores—most green cadets have zero flight experience and all do pretty badly at first. Lance was placed in cargo class because he scored too high on a combat sensitivity test, indicating that he was a poor fit mentally for becoming a soldier. Fighting monstrous looking aliens is one thing, but Lance would have coped very, very badly if he’d ever been required to kill another human being.

- Struggled to fit in at Garrison. After the crushing disappointment of ending up in cargo class, Lance also dealt with a lot of people treating him like an outsider because he was an international student. “Why is someone from Cuba trying to join the U.S. military? Are you a spy?”

- Couple that with the complicated student visa process and how his status as an international student might affect his ability to take part in Garrison-sanctioned internships and cross-border activities, and Lance felt utterly alienated at Garrison in his first few months.

- May… or may not have done exactly what his parents taught him not to do by looking for a scapegoat to take out his frustrations on. Keith, the lone wolf, ace pilot pretty boy who was too cool to even talk to the rest of the cadets (really thought he was too good to even make eye contact with Lance, huh?!) was an obvious target. Keith had every single thing that Lance had ever wanted in his whole life—the combat class, the talent, the prestige, the respect, the effortless looks—and he didn’t even seem happy to have it!

- Lance had never hated anyone before in his entire life, but Lance hated Keith—Keith basically came to stand in for every obstacle in Lance’s way, every mocking insult thrown Lance’s way, every harsh reminder from the professors that he’d never even be close to good enough, never measure up when someone like that existed… Lance started to honestly believe that the only way he’d ever be able to achieve his entire life goal was if Keith was taken out of the picture—something that proved unfortunately true when Lance was bumped up to combat class the moment Keith went missing from Garrison.

- Lance never actually said any of this stuff to Keith’s face before Keith left Garrison (Lance dreaded his parents finding out he’d been rude), but he would shit-talk Keith to anyone who would listen, a bad habit that was reinforced by people actually accepting Lance more when he started gossiping and spreading rumors than when he’d just tried to be genuinely nice.

- Even though he’d like to repair his relationship with Keith now that they’re teammates, Lance has no idea how to do that after so much time has passed. He really has no clue how to treat Keith normally after building him up into such a bitter rival. It’s… a work in progress.

- A big fan of RPG games and roleplaying. Definitely gets the most in-character when it comes to Monsters and Mana. His favorite thing about meeting new cultures is discovering nifty space items that look like key items from video games. Used to play old school RPGs with his cousins every afternoon. Playing with Pidge is extremely nostalgic for him.

- Has a host of other hobbies that don’t get much use inspace but are nevertheless impressive: he can surf, dive, and was part of a traditional dance group all the up until he left for Garrison. He doesn’t tend to think much of his hobbies as they’re not exactly practical skills you need every day in a space war, but the other members of Team Voltron are quietly impressed whenever they’re reminded of the cool things Lance can do.

- Lance has the strongest bond with his lion of any of the paladins. His connection with Blue is so innate that he can actually activate Blue’s abilities from outside his lion.

- The first one of the paladins to transform his bayard and the only one whose bayard can take three forms. And no, none of the three is a sword because what was the point of that, even??? Lance can wield his standard blaster, a long rifle, and dual pistols. The strength of theshots from Lance’s bayard can be consciously controlled—his thoughts and intentions determine whether a shot has the strength to kill or merely stun.

- Lance’s incredible aim isn’t a natural talent. Actually he’s spent hours and hours in a shooting range he found in the castle, working on perfecting his shot. Just like the gladiator levels on the training deck, the targets in the range keep getting harder and harder, but Lance is progressing very well. No one but Coran knows that Lance has been training so hard with his bayard, since Lance desperately wants to pretend his skill is all natural and has sworn Coran to secrecy. Coran covers for him by pretending he’s sent Lance off on absurd cleaning missions all the time.

- Is 1000% Coran’s favorite of the paladins. Coran won’t even try to lie if asked. Although Coran has never expressed it out loud, he sees Lance as an example of the brave, kind-hearted son he would have hoped to raise—if his son had survived the war. (On Lance’s part, although he’s also never shared this, Coran reminds him very much of his beloved uncle, who passed away when Lance was very young, but whom he still remembers well and extremely fondly.)

- After his uncle passed away, Lance’s aunt moved in with Lance’s parents permanently, and Lance essentially helped to raise his two very young cousins, Nadia and Silvio. Lance does have very good experience with children—unfortunately for him, what human children respond well to doesn’t always work for Galra kids!        

Lotor:

- Has not spent 10,000 years kicking about the universe. We’re not doing that weird “If he’s immortal because of the rift creatures then how come his governess is still alive?” plot hole song and dance routine from the actual show. Lotor was born after the war decimated the Alteans 10,000 years ago, but due to Haggar’s condition (aka being, you know, dead), he was essentially unable to live on his own and was placed in cryostasis very shortly after being born.

- Roughly 20 years before the discovery of the Blue Lion on Earth, Haggar used advancements in quintessence manipulation technology to successfully revive the infant Lotor. But she didn’t wake him for no reason—she has a very specific intention for her son, a long endgame plan, of which Lotor and even Zarkon are currently unaware.

- We’re also not doing that dumb “How could Haggar—the only remotely Altean-looking being in all of Zarkon’s presence—possibly be my mother?” plot from the show either. Lotor is aware that Haggar is his mother, although he has never been able to infiltrate her research facilities and therefore has no idea how an Altean scientist ended up where she did, looking like she did, and siding with the Galra against her own people.

- Because his parents’ past and his own origins are such a mystery, Lotor is obsessed with learning the truth of the war, the Alteans, and every hidden secret from that time period, including Voltron and the mysterious “rift.” He devours any information he can get on this period of history, and especially on Alteans, voraciously.

- But even though he’ll take any pieces of information he can get, Lotor’s real favorite obsession is mythology. He’s a deep lover of folklore and fairytales, bestiaries and local legends, and more than one assassin has traded a good story in exchange for having his life spared. Lotor may or may not hunt for space cryptids in his spare time. However, no single legend occupies Lotor’s mind as much as the legend of the mythical realm of Oriande, home of the ancient Altean alchemists. As practical as he tries to appear, Lotor has never given up his deep-down childish wish to be the one who finds the promised land of Oriande and prove it is real. But when he thinks back… Where was it that he first heard about Oriande, again? Who told him…?

- That entire thing with the hidden Altean colonies is just… not going to happen. The writers were bad and they should feel bad. Although Lotor has looked, after 10,000 years and plenty of centuries of hiding any Altean connections, distinguishing those who still have Altean blood has become essentially impossible.

- Part of the reason Lotor has looked for Alteans is that he was born with a bizarre grab-bag of Altean instincts and abilities and no guidance on how to deal with them, because he’s certainly not going to reveal to Haggar that he has unexplained talents like precognition and the ability to speak to planets. Growing up with half of his bloodline extinct has been ROUGH on Lotor.

- Speaking of growing up… Even though he remains the crown prince on official record, Lotor took the first opportunity he could to leave his parents’ sphere of influence, and he has not physically been back to Galra Central Command in more than ten years.

- Lotor is effectively a universal wanderer. Aboard his personal ship the Urbanus (a Destroyer-class star cruiser which has been heavily modified and improved by Lotor himself), Lotor and his generals travel wherever they like, both within the Galra Empire and outside it, dodging Haggar’s frequent attempts to re-exert control over Lotor and even more frequent assassination and kidnapping attempts from Zarkon’s enemies.

- Although Lotor has a very specific goal in mind, progress on this goal has been slow and painstaking, and he’s often left waiting for the next bare bones clue to chase after; this has resulted in the young prince having an unfortunate abundance of free time, which is dangerous for everyone involved. In between progress on his mysterious life’s goal, Lotor and his generals frequently get into trouble with small planets, local governments, militaries both official and off-the-books, giant monsters, and at least two hundred museum curators. They may or may not be wanted for grave-robbing in 13 different star systems.

- Basically he’s space Indiana Jones, if Indiana Jones was still 20 and also purple and also not being paid enough to be a good guy.

- All that said, as much of a devil-may-care rogue as he’d like to be seen, Lotor did spend all of his childhood under the thumb of the empire’s brutal authoritarian dictators, and he is therefore every inch a crown prince; as befitting one of his stature, he speaks eight languages fluently, flawlessly matches his formal dress to the occasion, knows exactly which piece of silverware to use when, can engage in political battles of wits and diplomatic machinations with the best of them, and has been training in armed combat since he was three years old. Lotor’s impeccable manners and steely leadership ability were literally beaten into him, to the point that now, even among trusted allies, he sometimes finds it difficult to turn off his cold, calculated princely persona.

- Not that his generals really let him get away with that kind of thing for long. Only those who have lived with multiple older sisters can truly understand the constant state of teasing and mortifying blackmail that Lotor lives in. On official record, Lotor’s generals are a crack team of terrifying bodyguards; in practice, they’re more likely to be dragging Lotor for all he’s worth than rescuing him. They might keep up formal appearances in front of others, but they’re effectively a close-knit family behind the scenes.

- It’s not a coincidence that all of Lotor’s generals are women; besides generally being awful, most Galra men make Lotor uncomfortable. From a human standpoint, Lotor is ridiculously tall and powerful; but from a Galra standpoint, Lotor is a thin, unhealthy-looking thing whose stature doesn’t command authority or respect in the slightest. It’s exhausting feeling like you have to constantly prove yourself, so Lotor prefers to spend time with a group that doesn’t invite negative comparison.

- However, it should be noted that a Galra man having only female friends has completely different connotations than a human man having only female friends—Galra women are, on the whole, considered more aggressive, bloodthirsty, and over-bearing than Galra men, so any Galra man who would choose to surround himself with that many women must either be out of his mind or incredibly badass.

- When asked what it’s like to live with four beautiful women, Lotor is basically ¯\_(ツ)_/¯ personified. Despite living together for years, none of the generals are romantically interested in Lotor and he’s not romantically interested in any of them.

- Many people have incorrectly assumed that Lotor and Axca are a pair, but Lotor helped Axca escape from a slave colony and she will never let another man touch her in her life. Axca is extremely grateful and loyal to Lotor, but given that Axca was Lotor’s first real friend, he’s just as grateful to her.

- If you think I’m killing off Narti, you’re out of your mind.

- Despite the fact that Lotor does not feel connected to the Galra Empire or the Galra as a whole, he’s somewhat more traditional and more likely to conform to Galra social standards than he wants to admit (even to himself). He insists that he has no interest in upholding the classic values of the Galra or meeting their expectations for how a prince should behave—but in truth, it’s impossible to fully kill that deep-down desire to just fit in. When push comes to shove, Lotor always finds himself falling in line with the Galra’s oldest and most deeply ingrained beliefs.

- With Lance in the “has never had a real kiss” club. Is not with Lance in the “wants a real kiss” club. Lotor is actually uncomfortable with being touched by strangers (36 assassination attempts will do that to you) and doesn’t make real friends, let alone anything closer, remotely easily. Some people are open books; Lotor is that one book from Harry Potter that bites people’s fingers off when they try to open it. Once you’re in his inner-circle, he’ll let you hang all over him, but before that, the space bubble is ten feet in every direction.

- Doesn’t actually put any special effort into his appearance. He just Looks Like That™.

- In fact, he actually kind of hates that stupid cowlick hair that’s always in his face but no matter how many times he cuts it off or slicks it back, it just keeps falling right back in his eyes. He’s basically given up at this point.

- His sword’s name is Eris and it was actually forged in the heart of a dying star.

- Kova the space cat hates Lotor. Lotor hates Kova. It’s a mutually antagonistic relationship. Somehow though, Lotor never makes any effort to get rid of Kova and Kova never takes the opportunity to leave. No one else understands it either, especially since Lotor gets along great with basically every other animal he meets.

- He’s not a pacifist by any means, but he is painfully practical and knows that, on occasion, sparing the life of one’s enemy nets more gain than indiscriminately crushing opponents beneath his heel. More manipulative than outright aggressive, he’s easily capable of twisting even the worst of situations to his advantage. Has an unfortunate tendency to be overly cunning—sometimes the tricks and twists he comes up with are unnecessarily full of flourish just because he thinks manipulating people like pieces in a board game is extremely entertaining. Riddles and mind games are Lotor’s favorite—the more convoluted, the better.

- Although most people refer to him by the basic “Prince Lotor” (Lotori Ahn in Galra), Lotor’s full name and official title is Lotori Kir Ahnja Avel i’ya ne Daibazaal, His Royal Highness Prince Lotor of the First Star. As the emperors and empresses of the Galra are said to be physical representations of the goddess, the firstborn children of emperors/empresses are always called “the first star,” after the supposed first creation of the goddess.

- Extremely competitive, but mostly about weird things—like sure he’s going to win if you challenge him to a swordsmanship duel, but challenge him to a staring contest? Your eyes will rot out of your head before this boy will blink. Do not think he will let you beat him in a spelling bee. More than once the generals have had to drag him away from getting involved in the bizarre competitions of the alien cultures they come into contact with. He was 1000% ready to learn to knit eight-armed sweaters with Rikrik fur, thank you. Would totally take up pig-farming JUST to win an Earth state fair.

- Likes to collect interesting artifacts and trinkets of lost civilizations by force if necessary. His ship is basically a floating museum at this point. The generals are starting to worry that they’re going to have add a whole ‘nother deck for all the war prizes Lotor wins himself. Lotor’s gathering hobby extends to games too—he’s a big fan of games that involve sets of items, like Renni, the Galra collectible card game. Would 110% be that Magic the Gathering nerd back on earth.

- In terms of other interests, Lotor is the picture definition of a Renaissance man. Although he’s not a flawless genius savant in every field, he is wicked smart and has studied a vast array of subjects; he’s a capable engineer, a skilled mathematician, a deft philosopher, a good scientist, and extremely well-read, and he is not going tolet you forget any of those things at any point in time. Lotor is always going to be better than you, please just accept your fate.

- Art is… another story. He might be able to sketch detailed architectural blueprints without breaking a sweat but ask him to draw a dog and you’re going to be in for some trouble.

And that’s more than enough for now I think! XD

[starryocean]

Finished So I’m a Spider volume 10. I have...mixed feelings about this one. Under the cut, and no spoilers in comments, as always.

First off: what I liked. I liked the stuff with Kyouya, but that’s a given. His armor-piercing question to Ms. Oka was pretty great. Even if, in a way, when considering his history it comes off as a bit hypocritical, at the same time, it makes complete sense for him as a character. He feels a lot of regret over his violence, and he’s always had a complicated relationship with it, both on Earth and here. For him to see someone treading a similarly complicated, bloody path--of course he’d get angry about it, even if only out of a desire to not inflict that on anyone else.

Also, his reactions to not reacting gave me feels. Oh Kyouya, you’re so traumatized! ;-; Poor kid.

I swear this series is just trauma central for everyone. Kyouya, Mera, Ariel, Oka, Shun, Yuri, Hyrince, now Asaka and Kunihiko, and even Kumoko/Wakaba at several points! And more people besides that! They’re all traumatized! I swear the only person who isn’t having serious issues with trauma is probably Sophia, and that’s mainly because of Envy fucking with her head. And even with that, her clingy jealous nature is probably at least in part due to her trauma. I can at least see it, anyway.

No, scratch that, the only one who isn’t traumatized is D. Speaking of, I think we got hints that she might literally be the devil? Like, in the chapter where she gets found out and dragged off by that maid. There was a mention of “several circles of hell,” and with her initial and her proclamations of being an evil god, the devil certainly fits. Interesting personality, though. I wouldn’t normally think the devil as having a non-interference policy, but at the same time it kind of makes sense? In the way that it lets people go wild, at least.

Okay, other things I liked...the banter between Wakaba and Ariel was really good, same with Wakaba and D in that chapter I mentioned. I liked that callback to how Oka saved the nameless spider’s life back on Earth--of course her soul would want to care for Oka because of that. Um, that scene between Bloe and Balto was pretty tragic, especially when considering that Bloe is canonically doomed to fail already. Like, we hear that he dies early on in the Demon Lord’s Aide Interludes. Poor Balto, he tried so hard to protect his little brother for it all to be for naught ;-;

Finally, the best part. ENBY DRAGON. They’re consistently referred to with they pronouns and the narration doesn’t designate them as one gender or the other, nor does the character ever clarify, so I’m calling it that they’re an enby. I mean, they purposely chose an androgynous appearance when shifting to a human form. No cis person could ever. I know that this nonbinary pal only showed up for like 2 seconds at the very end, but I would die for them. We stan. I hope we get to see more of them.

Now, stuff I disliked, and why I’m mixed on this book: first, the pacing in the beginning dragged on too much with the exposition. Maybe it was because I kept getting distracted by my family watching the Mandalorian, but I remember feeling the same way even after they stopped and I was able to concentrate more thoroughly. Ususally, there’s a good mix of exposition and action going on, rather than it being all tell, but in the beginning there was a LOT of tell going on with the spy network Wakaba set up and stuff. And there was a little bit in the middle, too, I think. Didn’t like that.

Then, the main thing I don’t like: The implications of Wakaba’s plan. In a way, breaking the system in such a manner would result in what seems to be planetary genocide. She herself comments that it’s a massive amount of death, even if she also implies it wouldn’t be explicitly everyone who dies, but I’m still not super comfortable with that. Also, killing all the elves save Oka. If Potimas is the main big bad, and the reason why the elves are considered a threat, why do they need to kill all of them?

Yes, you can argue he can just latch onto another elf as a new body, but it’s only certain elves, right? I’m willing to bet none of the out-of-the-loop elves fulfill those conditions. Or, at least a majority don’t. They don’t need to die. They can be told the truth and even help oppose Potimas if need be. Those elves only want to help save the world as they understand it--that’s not wrong. That’s not even a crime! They’re just being manipulated like Oka is.

So why do they have to die, too? Furthermore, with the cyborg elves/any other compatible elf, they can have those “feelers” removed. Magically, physically, or whatever. Or even just put Potimas into a position where he can’t latch onto a new body. Like, there must be a range limit, right? I don’t remember if it said there was, but I can double check later. Or, hell, even use his own barrier against him by modifying it somehow. I’m willing to bet those “feeler” things are related in some way to something that could either resemble a skill or exist outside the system. If conjuring exists outside the system, at least with certain things, then you can theoretically conjure a way to force Potimas to be trapped within his own body when he dies.

It’s magic. Wakaba has already shown that you can basically do whatever the fuck you want as long as you have the energy/runes to do it. So just do something like that instead of committing elf genocide.

I mean, I’ve been pleasantly surprised by the author before, in terms of how she’s (?) handled tropes. Okina Baba might betray my expectations and end up writing something other than literally killing every last elf save Oka and/or planetary genocide. She handled the goblin concept/design super well, and she’s handled the demon stuff petty well. It didn’t read as antisemitic, and there’s been a consistent pattern of Not Always Chaotic Evil throughout the work.

It would be severely disappointing if this is where her writing fell flat, considering how well she’s handled all the other stuff so far, and I’m honestly not sure if it would ruin the series for me. Probably not completely, as there’s a large amount of material that;s legitimately good and fun, but I would definitely be disappointed.

That’s my feelings on it, at least.

[madokasoratsugu]

cinderella au meta notes

or: the plotline that never happened because i was so caught up in the euphoria of writing Fritz/Lucette Cinderella AU, i forgot that i had to have a plot

also: a bunch of bonus facts i guess !

this basically spoils the whole fic (that you can read here) which contains Fritz and Rumpel route spoilers, so read with caution ! under the cut bc it got Long :”))

this meta was initially written on a tumblr post bc it was meant to be a short ~2k thing (HAHAHA). then it got so long my computer started crashing and i had to move to google docs. 

i wrote this with disney live action remake osts AND six the musical in the background. it was a wildin’ experience listening to ‘dont lost ur head’ while writing Fritz be a chaotic mess in the beginning, then listening to ‘how does a moment last forever’ when writing the Fritz/Lucette garden scenes.

Karma and Fritz are childhood friends ! both boys who were more interested in being a knight than inheriting a kingdom, but learnt their responsibilities along the way.

on that note: none of the characters were exactly...planned to appear. the initial tweet thread idea only had Fritz, Lucette and Alcaster casted - the other characters just kinda wrote themselves in this meta. 

im pretty sure it started with Karma barging his way into the fic in act one, then i had to have someone balance him (Waltz), then i needed someone to play the music for their waltz (obvs that had to be Rod), and then i got sad thinking Rumpel would be left out, but Lucette’s broken glass slipper scene conveniently needed someone. the Widdensovs just kinda came into the picture by virtue of Lucette just needing someone to interact with when she wasnt at the ball LMAO 

everyone else just didnt make it in the natural progression of the fic, and i didnt want to shoehorn them in just for the sake of having them appear.

however: Parfait was initially going to make an appearance as a duchess who snuck Lucette out to her father when she came to the castle for help when her manor burnt down. here’s a lil snippet of her scene:

(no one had, the last time she came; the smell of smoke still clinging on her, her head slamming a cacophony - surviving only thanks to the bravery of a certain court lady now disappeared, who heralded her to a servant’s exit, gave her gold and directions to her father, told her, run, told her im sorry, and cried, tears dripping endlessly from her pale pink lashes.)

Parfait is well and alive in this AU btw ! she’s just ‘disappeared’ bc she’s living somewhere secret with her goth wife Delora.

(side note: i realise Rumpel seems a lot like Lucette’s fairy godmother in the act thirteen. not intended, but i liked the imagery enough to let it stand :”)) bippity boppoty chevalier ! )

Varg and Lilja are both Swedish words. ancient Angiellian is partially Swedish. there’s probably ikea in this AU. let that sink in.

the swan mask Lucette was wearing was meant to allude to Odette and Odile from Swan Lake (because Fritz and Varg, white and black, swans are pretty yadda yadda), and i was going to write some really neat symbolism about that but i forgot lol ! 

(also the idea just never worked for me bc Odette and Odile aren’t the same people like Fritz/Varg but i wanted to reference Barbie Swan Lake (2003) ok let me live)

pour one out for our man Fritz who got rejected on his birthday. f. 

Emelaigne is the MVP. older sisters, no matter how truly Head Empty they are, always pull through when you need them. 

“isn’t the moon beautiful tonight” is a direct reference to an anecdote (which may or may not be true) about Natsume Souseki, a famous japanese writer, who translated ‘i love you’ to that phrase in order to account for the indirect characteristics of japanese speech.

Rumpel is the royal doctor, and has been apprenticing in the castle since Fritz was a child, before taking over the position as an adult ! so yes, Rumpel definitely rubbed off on Fritz in terms of values and morals.

with regards to Fritz and Lucette’s curses: i never really gave it much thought, but the vague idea i had was Lucette being cursed by Hildyr for disobedience (manipulative parenting say eye), then Hildyr dies lol and Lucette breaks her curse eventually.

with Fritz, he was likely cursed out of political reasons/jealousy and Varg was the result. works bc either way the curse meant for Fritz to be 1) inconvenienced or 2) dead/taken out of consideration for succession so like...a pain in the ass replacement who behaves the exact opposite of a prince works too.

this was hinted at vaguely in the fic, but Fritz became very secluded and hid himself in the castle for the years it took him to come to terms with his curse and break it. even then, because there was no one around him to really affirm his identity or accept him, he remained very withdrawn and a shell of his former self. 

i reckon it took him about 5-6 years to break the curse. so that’s a lot of time alone. Fritz was basically a NEET.

all jokes aside: Lucette and Fritz each broke their curses with their own willpower and effort, but remain the mostly the same because there was no one around them to truly understand or accept them for who they were, or who they became.

(until they met each other, of course)

also, idk if it was hinted well enough but Lucette and Fritz actually were in an engagement once, when they were children/early teens ! i intended to allude to this more with Hildyr giving Fritz Lucette’s portrait, which results in him recognising her, but it just never fit in anywhere. so yeah ! that’s another reason how/why Fritz knew who Lucette was at first glance. 

i figured the previous engagement would also help ease the court into their eventual marriage despite the whole ~*disgraced noble*~ thing. idk. i know nothing about western history and how it worked except for ALEXANDER HAMILTON (america sings for yooouuu) and divorced, beheaded, died, divorced, beheaded, survived.

however, Alcaster broke the engagement, as stated in act thirteen. the reason was basically: Angielle in this AU works not by a hereditary monarchy, but rather the previous monarch getting to choose whomever the fuck the want to succeed them. Hildyr and Alcaster were both in line for the throne, and Hildyr wanted to ensure that even if she couldn’t get the throne now, she still had a chance in the future if her daughter married Alcaster’s (who would then be king) son. Alcaster was like lol fuck off because he wanted power all to his family and took things into his own hands to ensure that would never happen (which involved: inciting public hatred against witches/Hildyr, breaking Lucette and Fritz’s engagement, and generally being a dick.

that’s about as plot heavy as it gets yall. the rest is just dumb idiots falling in love !

...............except for the political usurp that happens later, with Fritz’s faction forcefully taking the throne away from Alcaster’s tyrannical rule, which leads to a dramatic sway of public favour to Fritz and Lucette.

and then they live happily ever, ever after. 

(carrie underwood. yes i am planning an Enchanted AU dont look at me.)

the end !

[sqoiler]

THe Director's cut for into the spoilersverse please! and a star too!

ok i’m gonna copy-paste the fic and like. comment on sections. i guess.

so the idea for this fic came from me realizing i have a bunch of alternate stephs. someone had asked me about a black canary steph and i liked the idea but didn’t want to do a full fic with her, so i was kind of like “hey! what if the stephs met each other!” and here we are. 

Lex Luthor made a multiverse machine, in order to mine Kryptonite from other dimensions. It was kinda a good idea, except the machine was faulty, and kept dragging other stuff from the multiverse into Lex’s earth as well. 

The League was dispatched to deal with the alternate versions of themselves that were brought into their Earth. Before he left, Batman assigned everyone in Gotham to guard the city from the various monsters and Rogues who roamed the city.

Spoiler had just finished a fight with a female version of Oswald Cobblepot and was headed to Nightwing to help him deal with a pair of mischievous twins, when the air in front of her opened up and a dark shaped tumbled through. Spoiler grabbed her bo-staff and dropped into a crouch, wary.

i think the “mischievous twins” thing was supposed to be a reference to the batman beyond dee dee twins. 

The shape sat up, and Spoiler absorbed the dark cape and pointy ears, the purple flashes on the suit, and the golden curls tumbling down her back.

Spoiler met her own eyes.

“Shit,” the other girl said, and she stood, brushing off her knees. Spoiler lowered her bo-staff and straightened, looking at herself curiously. “Did you pull me here?”

“No,” Spoiler said. “Lex Luthor made a machine….”

“Say no more,” the other girl said, and Spoiler noticed a yellow bat emblazoned on her chest. Her mouth fell open.

“Batgirl?” she gasped. She vaguely recognized the suit from the images of the other timeline that she’d seen, months ago.

“Yeah,” Batgirl said. “And you’re Spoiler. I haven’t been Spoiler in years, but you make it work. I like the half-mask, it’s nice.”

“Thanks,” Spoiler said, feeling a little ridiculous. “Sorry, I’ve never met an alternate version of myself before.”

“Me neither,” Batgirl admitted. “Although you always hear about it, don’t you.”

“Yeah,” Spoiler agreed. This was seriously surreal. Seeing herself–same height, a little longer hair, but standing so confidently? Spoiler blinked and told herself not to compare. They were different, after all. “So, Batgirl, huh? How’d…how’d you land that?”

“Cass gave it to me,” Batgirl said, shrugging. “When B died. But he’s back now, don’t worry.”

“Huh,” Spoiler said, and she remembered the mentions of Cass as Batgirl, too. “So where’s Babs, then?”

“You mean Babs is still Batgirl in your universe?” Batgirl asked, eyes wide. “This universe?” She gestured around them. Spoiler nodded.

when i made this fic, i didn’t INTEND to slam dunk rebirth/new 52, but that’s what happened. i figured when i started that i needed the two “canon” stephs, and then i made a list of the other stephs i wanted to include (some of which were nightwing!steph & robin!steph) but i had to whittle it down so there’d be the same amount of characters as spider-verse. not because this is a spider-verse au, but because i figured that the gag was already there in the title/concept, and it seemed like a good amount of characters–not too many, or too little. speaking of that, every character ROUGHLY corresponds to a spider-verse one: rebirth steph = miles, preboot steph = peter b. parker, cluekid = peni, dart = spider-ham, canary = gwen, and batman steph = spider noir. 

“Yeah, nobody else has ever been Batgirl,” Spoiler said.

“That’s so fucking weird,” Batgirl said. “Babs hasn’t been Batgirl since before I started out, and that was like five years ago. You mean she didn’t get shot?”

“She did, but there was an implant,” Spoiler said. “So she’s better.”

“Wow. That’s great but–how do you survive without Oracle?” Batgirl asked. “I want my universe back.”

Spoiler agreed with her, and wondered how to put her back. Should she take her to Batman? Hm. For all the multiverse shenanigans she’d heard about, she really didn’t know how to deal with them, what the protocol was.

“Let’s go find Drake,” Spoiler said. “He just got back from a multiverse adventure.”

“Drake? Like the rapper?”

“No, like Tim. My boyfriend? It’s his new code name.”

physically painful to put steph & tim together, but it had to be done.

“Tim picked his own fucking last name? That’s so stupid,” Batgirl said, and although Spoiler agreed, she didn’t say that. Spoiler checked her trackers, and found that Drake was across the city. She got out her grapple, and Batgirl did the same.

“Wait,” Batgirl called a minute later, when they were already in the air. They landed on the roof of the next building and Spoiler turned to her expectantly. “Did you say that he’s your boyfriend?”

“Yeah,” Spoiler said. “Is he not?”

“Not since like, middle school!” Batgirl cried, and Spoiler rolled her eyes.

“We don’t live in the same universe,” she reminded her. “Our Tims are probably totally different.”

“Yeah, right,” Batgirl said, and then there was a flash of purple light and Spoiler turned to face it. Two people appeared. One of them was in a purple bodysuit with a lightning bolt emblazoned on the chest, blonde hair pulled into a messy ponytail. The other was wearing fishnet tights and a leather jacket, an armored purple unitard under the jacket and a skirt over that. Her blonde hair was long, nearly to her elbows, and free-flowing. The new pair blinked at Spoiler and Batgirl.

“Holyfuckthat’susbutBats,” the girl with the lightning bolts said, her words tipping over each other, and Spoiler said, “Before today, I’d never been involved in multiverse shenanigans, and now this!”

She gestured at the duo.

“I’m Dart,” the speedster-Steph said, holding out a hand. Spoiler shook it, dumbfounded.

i felt like dart would be accepted as the most outlandish to the other stephs. she’s a meta, she has nothing to do with batman at all, she barely remembers living in gotham, etc, which is why in my head she was equivalent to spider-ham. like i feel like rebirth steph looked around at these other versions of herself like “sure, that makes sense”, but with dart she was like “what the fuck am i looking at?”

“I’m Canary,” the other Steph said. “Violet Canary, but generally they just call me Canary.”

“Like Red and Gold Canaries,” Dart said gleefully.

“….No,” Canary said. “I don’t know who that is.”

“Black Canary’s partners,” Dart said, rolling her eyes. “Cass and Jason.”

“Cass and Jason are Bats,” Batgirl said. “Not Canaries.”

“Not in my world,” Dart said. “What, in your universe is everyone a Bat?”

however weird all the other stephs found dart, though, she found them all equally weird. all these people we’re used to seeing as bats she saw as totally different things and having them all lumped together would be surreal to her. she grew up with barry as her dad, so learning that in these other universes some stephs a) stayed with arthur as their dad, or b) had some random rich guy she kinda knows as their dad was pretty weird. 

“Dick, Jason, Tim, Cass, Damian, Babs, Duke,” Spoiler rattled off.

“Duke?” Batgirl asked.

“Yeah, none of those people are Bats in my world,” Dart said. “Dick’s a Super, Cass and Jason are Canaries, Damian’s a Lantern, Tim’s a Martian, Duke’s a Wonder, and Babs is Aquagirl. Or, well, she used to be, before the accident.”

“See?” Batgirl demanded, gesturing at Spoiler.

“I didn’t give her the implant!” Spoiler said. “It happened before I even started crime-fighting!”

“She’s not Oracle in your universe?” Canary asked, looking wildly startled. Spoiler threw her hands up.

“Sorry that you guys landed in a garbage universe, I guess,” she said, and Dart patted her shoulder.

other stephs pushing my rebirth-sucks agenda. i regret nothing. 

“So this is your place, huh? Kinda nice,” she said. “You know, I’ve never really been in Gotham before? Not since I moved away, anyway.”

“Yeah, how the fuck are you a speedster?” Canary asked. “I’m not even a meta, and my job depends on me having superpowers.”

“I was going to ask the same question,” Batgirl said.

“I mean, basically the same way everyone else did,” Dart said. “I made Wally tell me how he did it, who made Barry tell him how he did it, who made Jay tell him how he did it. And, uh, the rest is history.”

“But why were you with Wally–? Never mind,” Spoiler said. “We really need to find Drake.”

At Dart and Canary’s confused looks, Batgirl said in a loud whisper, “As in Tim. That’s his new codename. And yeah, we know it’s stupid.”

“Thank you, Batgirl,” Spoiler said loudly. “Let’s just go, yeah?”

“Won’t Batman snipe me?” Dart asked, and Canary asked Batgirl for a spare grapple.

dart in her head: what the fuckkkkkkk

other stephs: calm down lol it’s just batman

“He’s out of town,” Spoiler said. “Just follow us.”

“Sure thing,” Dart said. “Wait, what’s your codename?”

“Spoiler,” Spoiler said. “You mean you were never…?”

“I used to be Kid Flash, but never ‘Spoiler’, whoever that is,” Dart said. “Sorry.”

“Even I was Spoiler, and I’m not even a Bat,” Canary said, and Dart said, “Okay, we get it, I’m a weirdo among Stephanies. Let’s go.”

They went, and Spoiler wondered if the other Bats were also dealing with themselves. She was leading the way, which was weird, because she never led any ways. Maybe if it was just her and Tim, or something.

Below her, Spoiler caught sight of a swarm of Clayfaces, and she had to stop. She yelled to the others to help her, and they dropped into the alley below.

Fighting with only herself as backup was weird, Spoiler thought. Batgirl threw batarangs that had stuff inside them. Dart sped around confusing the Clayfaces and Spoiler brought her bo-staff down hard on one, but it just sloshed through his arm. Oops.

“Cover your ears!” Canary yelled, and she threw a little device at a Clayface. It screamed, a loud noise that was what Spoiler assumed the Canary Cry sounded like. The Clayfaces barely reacted.

From above, a dark shape descended. Spoiler could’ve cried in relief, even though she was sure it wasn’t her own Batman.

Batman threw a device at a Clayface, which sent out some sort of signal that froze all the Clayfaces that weren’t already frozen by Batgirl’s batarangs. Icearangs? Whatever.

Quick work was made of the Clayfaces, and then Batman led the Stephs back into the air.

“You saved us!” Dart said.

“Yes,” Batman said. Spoiler inspected their new friend. This Batman was shorter than Bruce, and the bat across her chest was purple. The eyes on the cowl glowed with purple light, but it was still unmistakably Batman. She had on purple lipstick, and Spoiler spotted a scar near her mouth. She knew who this was.

“Holy shit,” Spoiler breathed, and beside her, the others seemed to come to the same conclusion. “You’re me.”

this moment right here, where steph looks at batman and it’s herself…? that’s probably why i even bothered writing this fic. 

“I would argue that I’m me,” Batman said, her mouth twisting into a smirk. “But yes, I am another Stephanie Wayne.”

“Wayne?” Spoiler and Batgirl cried at the same time.

as much as i love ignoring canon, in this fic i sort of had to go along with it, and i think this moment was kind of a good one.

“Fuck,” Dart said. “If that isn’t a weird last name to think of me having.”

“It makes sense that circumstances would differ,” Canary said. “Although in my universe, I was never truly a Bat.”

“But Wayne?” Spoiler said, waving her hands.

“Bruce actually adopted you?” Batgirl asked.

“No,” Batman said. “He left a portion of the estate to me in his will, and after I took up the mantle I changed my last name.”

“What the fuck,” Spoiler said, and Batgirl seemed of the same mind.

“Why are you panicking? It’s not that weird,” Dart said. “And I mean, clearly you all aren’t Stephanie Allen.”

“Allen?” Batgirl repeated, her voice an octave higher.

“Sweet Jesus,” Batman said, and Spoiler pushed that image aside for examining at a later time. “The pair of you never shed ‘Brown’, didn’t you.”

“No!” Spoiler cried.

“I’ve never even thought that was an option!” Batgirl said, sounding distraught.  

“I’ve just been daydreaming about the day Tim proposes so I can be anything besides a Brown,” Spoiler admitted.

“That’s disgusting,” Batman said. “You and Tim, really?”

“Why not?” Spoiler demanded. “Everyone seems to be of the same mind–what’s wrong with him?”

“I mean, besides that he’s an asshole?” Batgirl asked. “Uh, two words: Super. Girl.”

“I’ve never even met Supergirl,” Spoiler said, struggling to imagine herself dating Supergirl.

“Tim’s dead,” Batman said flatly. “But I agree with Batgirl’s assessment.”

“I think Supergirl and Babs have a thing going on?” Dart said. “Maybe? But anyway I’m more of a Wonder Girl kinda gal myself.”

“Ditto,” Canary said.

“Okay, I get it, you guys are hetero-shaming me,” Spoiler said, lifting her hands up. “For the record, I am bisexual.”

the idea of every steph besides the “real” steph being gay & having a girlfriend is comedy. gold. 

“Good,” Batman said.

“Although, speaking of my lovely boyfriend, I should probably tell him about this….Stephplosion,” Spoiler said, waving her arms at them. She put her finger to her ear to comm Drake, but then the air folded in on itself on a roof within Spoiler’s line of sight and she saw a flash of a familiar color that made her blood boil.

“Shit,” she said.

“What?” Dart asked. Spoiler pointed.

“There was some….orange over there,” she said significantly.

headcanon that steph hates all orange, but the specific shade of cluemaster orange especially. 

“Jesus fucking christ,” Batgirl said. “If I have to deal with alternate Cluemasters I’m going to slaughter someone.”

“We need to check it out,” Batman said.

“I’m only agreeing since there’s five of us,” Canary said.

“I haven’t seen Arthur since I was eleven and I’m not about to start now,” Dart said, and Spoiler pushed down a surge of jealousy. Batman led the way, grabbing Dart to carry her across the gap.

They stopped at the edge of the roof and looked down at the kid–the kid!–who was sitting on the rooftop below them.

She had on an orange skirt and shirt with blue suspenders. Her tights–also orange–were ripped and she had on orange combat boots. Her bandana was pulled down from her face to rest around her neck, and her blonde hair was in tangles.

Spoiler stared her thirteen year old self in the face and thought about fainting.

“What the fuck,” Batgirl said flatly.

i feel like this moment sort of parallels/reflects the moment when spoiler first sees batman & recognizes it as herself. batman!steph is like a dream come true, and cluekid!spoiler her worst nightmare. both are the kind of dreams you didn’t know you even had until you encounter them, but yeah. holy shit that’s batman and that’s ME vs holy shit that’s cluekid and that’s ME

“Don’t hit me!” the kid cried, scrambling to her feet. She had braces, Spoiler noted dimly. “Who are you? What happened?”

“We’re in an alternate universe,” Batman said. “Something’s wrong with the multiverse.”

“Lex Luthor,” Spoiler provided, dazed. “Mining for Kryptonite. Batman–my Batman–is taking care of it.”

“Oh,” tiny, orange Steph said. “So…who are you, then?”

Batman pulled off her cowl. Her blonde hair was short and messy and her face was–old. Spoiler pegged her to be late twenties, probably. Huh. The other Stephs were all teenagers like Spoiler.

idk if you’ve read “touch the sky” but when steph first becomes batman and is a teenager she’s pretty fucked up, and i needed this batman steph to be cool & confident. she’s been batgirl for a while. again on batman & cluekid reflecting each other, the other stephs are all 17/18, and cluekid is younger while batman is older. 

“Stephanie,” Batman said, her real voice jarring after the modulated one was gone. “I’m you, okay?”

“In an alternate universe, I’m Batman?” the younger Steph whispered.

“Yes,” Batman said, her voice soft and kind of tender. Spoiler wondered what experience she had with kids. She realized that she could have a Robin. “And that’s Batgirl, and Dart, and Canary, and Spoiler. We’re all you.”

“Spoiler?” the younger Steph said, her eyes wide. “Holy fuck.”

“Language,” Batman said.

“I’m thirteen, not a child.” The younger Steph turned and pulled off her backpack. “Look!” She opened it and pulled out a homemade black bodysuit and hooded cape. “Here’s my Spoiler outfit.”

“I’m going to cry,” Batgirl said. Spoiler’s heart was doing something weird, looking at this tiny version of herself wearing Cluemaster orange.

“Oh, yeah, well. Being Spoiler is my biggest secret,” younger Steph said, putting her costume back away.

“Why are you dressed like that, then?” Dart asked.

“Well,” Steph said, drawing out the word. “I thought Dad might, like, kill me if I didn’t say yes when he asked, so I’m Cluekid by day and Spoiler at night. But, uh, I’m working on bringing down the empire from the inside.”

“Empire?” Spoiler repeated.

“Yeah, Dad’s criminal empire,” Cluekid said. “I’m taking it down.”

“Criminal empire?” Batgirl said, sounding shocked.

if all the stephs got transported to cluekid’s world instead, they’d be looking around like “THIS IS THE BAD PLACE!!!!!”

“By yourself?” Batman asked, putting her cowl back on. Cluekid pulled up her bandana.

“Yeah, it’s like…someone’s gotta do it, right?”

“Was anyone else’s Cluemaster, like, vaguely incompentent at best?” Batgirl asked, and Spoiler and Canary rose their hands. “Criminal empire, really?”

“It’s super fun that you guys weren’t Cluekid, but leave me alone about it,” Cluekid said. “My dad’s the real deal.”

“Then what’s your plan for when he finds out you betrayed him?” Batman asked. Cluekid blinked slowly.

“Well,” she said, then she stopped.

“You don’t have a plan,” Dart said knowingly. “I can relate.”

“No, she does,” Batman said, horrified.

“You’re just gonna let yourself die?” Spoiler asked. Cluekid shrugged, her arms going up past her head.

“If I have to!” she cried. “Someone’s gotta take him down and I’m the only one who can!”

cluekid is actually planning on faking her own death at this time, but she doesn’t have all the details worked out yet. 

“Dying’s no big D,” Batgirl said. “I do it all the time.”

Everyone turned to face her.

“I mean, once, but that’s like, more than most people do it,” she amended, and Spoiler shook her head.

i think batman!steph comes from a mix of preboot/rebirth, so she’s probably died as well

“Jesus christ,” she said. “I have to get you guys out of here. I’m going to call Drake, and we’re going to find out how to return you guys. Except maybe Cluekid, cause your universe sucks.”

spoiler just wants a chance to call another universe garbage, for a change.

“Yeah, well, your universe has people leaking into it, so it can’t be all that great,” Cluekid shot back, and Spoiler had to admit she had a point.

zing, now everyone’s made fun of rebirth.

While they grappled towards the other end of town, Batman carrying Cluekid and Dart running below them, Spoiler put in a call.

“Batman,” she said. “I have five alternate versions of myself with me.”

“Five Spoilers?” her own Batman asked, his voice gruff.

bruce instantly: [internal screaming]

“Five Stephanies,” she corrected. “A Batgirl, a speedster, a Canary, a kid, and, well. A Batman.”

“Interesting,” Batman said. “Luthor has been apprehended and once I turn off the machine, everyone should return to normal.”

“Okay,” Spoiler said, and Batman disconnected. Spoiler stopped grappling and the group gathered around her. “According to my Batman, you guys should just…go back soon.”

this fic was about conversations between stephanies, not action, which is why i feel like the end is sort of anti-climactic, but whatever. it needed to end, and it did

“It’s been nice getting to know you,” Canary said. “Although really weird.”

“Agreed,” Dart said. “I can’t imagine being a Bat.”

“I wish that would happen to me,” Cluekid said. “But…”

“It’ll be okay, kiddo,” Batman said.

“Hey,” Spoiler said. “Batman, do you have a Robin? You’re pretty good with kids.”

“Yeah,” Batman said, smiling. “Her name is Carrie.”

writing this fic made me think of a “touch the sky” sequel where steph works through the deaths of her siblings and takes in a new robin. we’ll see.

“Hell yeah,” Batgirl said, raising her hand for a fistbump. Batman obliged, and from the corner of her eye Spoiler saw the universe begin folding in on itself.

“Damn, this is me,” Dart said, looking at the wrinkle in the air. It was tied to her leg, so not a difficult conclusion to make. “Well, it’s been nice knowing you ladies. I wish all of you every success–especially you, Lil Steph.”

“Thanks,” Cluekid said, and Spoiler nodded at Dart before she vanished in a puff of purple lightning.

“I’m going to turn on my earplugs,” Canary said. “Who knows what’ll happen when I get back–but anyway, I’m going to be in the dark, hearing-wise.”

“Okay,” Spoiler said, a little confused, and Canary gave everyone a smile.

“It’s been real,” she said, and then she turned on her earplugs. She signed something at them–Spoiler knew only a few signs and couldn’t keep up. Batgirl nodded thoughtfully.

“What’d she say?” Spoiler asked.

“Oh, I have no clue,” Batgirl said. “Come to think of it, the signs me and Cass use aren’t strictly ‘real’ sign language.”

“She said that she turns off her hearing so it’s not damaged by the canary cry,” Batman said. Everyone looked at her. “What? My brother was mute and he had to talk somehow.”

tossed up on the “was” vs “is”, but i wanted damian to get better and i hoped that if any diehard “touch the sky” fans were reading this, they’d see that yeah, he does get better & talk again.

“Brother?” Spoiler repeated, and Batman said, “Damian.”

Damian, mute?

Damian, Steph’s brother?

“I’m leaving,” Canary said loudly, and they turned to face her. She was vanishing just like Dart, and she gave a little wave, then pointed at Batman, who was also disappearing.

“Goodbye,” Batman said, and then she and Canary were gone, leaving Spoiler with Batgirl and Cluekid.

“I’m gonna be real with you guys,” Cluekid said. “I know it’s only been like two minutes but seeing myself, older and with a place in the world….it’s pretty inspiring to think that in another universe I grow up to be Batman.”

“Maybe you still can,” Spoiler suggested, thinking that she didn’t like the idea of this tiny version of herself planning her own death.

“I don’t think so,” Cluekid said, smiling sadly.

“I’ve been through a lot of shit,” Batgirl said. “I’ve even died before. You can’t let any of that stop you, okay? You just gotta push through it.”

“Keep on coming back,” Spoiler said.

“However long it takes,” Batgirl said. Cluekid blinked, tears welling in her eyes, and then she reached for Spoiler and Batgirl, tugging them both into a hug.

i feel like “never give up” is kind of steph’s motto, and that’s universal among stephs. 

“Thank you,” she whispered. “Thank you.”

“No problem,” Spoiler said, ruffling her hair, and then Cluekid was gone.

“Damn,” Batgirl said. “She says she’s inspired by us, but I’m inspired by her. She’s so brave.”

“Yeah, I know,” Spoiler said, her throat sort of rough. “Geez.”

“Well, it’s my turn next,” Batgirl said. “So, uh. Bye? I guess.”

“Have fun in your universe,” Spoiler said. “With Oracle and Supergirl.”

“Oh, I absolutely will,” Batgirl said. “Have fun with….Drake. Seriously, we give you shit, but if he’s good for you–”

“He is,” Spoiler said, trying not to think of their breakups.

“Then that’s all there is to it, isn’t it,” Batgirl said. She grinned, and the air behind her began to fold. “Oh, what timing!”

“Goodbye, Batgirl,” Spoiler said.

“Bye, Spoiler,” Batgirl said. “You know, it’s nice to see that somewhere out there, we’re still in the mantle we created.”

“And it’s nice to see that we’re in a mantle given to us,” Spoiler said, and Batgirl grinned.

“Hell yeah it is,” she said, and then she was gone, and Spoiler was left alone.

She sighed, and kept moving.

spoiler & batgirl are so similar that of course they kinda got along the best….i think canary was supposed to be kind of distant like “oh that’s kinda weird” and then dart was “oh that’s SUPER weird” and then cluekid was “oh my god is she okay” and then batman more like “wow! #afraid to ask how the mantle got passed down to YOU!”

[sebthesnipe]

The Dreamer by Whatwashernameagain an Analysis? Chapter 2! Part 3

All portions:

Chapter 1: Part 1 // Part 2 // Part 3 // Part 4

Chapter 2: Part 1 // Part 2 // Part 3 // Part 4

The Dreamer

@whatwashernameagain

As always, Spoilers under cut.

Also, I am currently sick so bear with me….

We left off with Logan’s first kill and the difference between The Utilitarianist’s vs. The Dreamer’s views. The thing is, The Dreamer isn’t his own hero, but rather the vision of a team with their own agenda. Still, Roman, despite the attempt to control him, has his own passions.

“Roman could barely be held back. The man who’d been killed, Richard Snyder, had owned the largest chemical production company in the world and had been blamed for the death of a large amount of people in Vietnam due to a herbicide that had leaked into the phreatic water. He’d also been a father of three girls and felt behind a grieving wife” (Whatwashernameagain).

This paragraph gives a bit of background into Logan’s first kill, the first indication that he is becoming too cold, too focused on his work that he is losing his humanity. Logan may not care for the individual as he works but taking a man’s life is something you don’t come back from. The fact that he has finally done so pushes him into an entirely new level of villainy. I think that Roman sees that. He may not know Logan on a personal level yet but as we learned in the first chapter Roman has a love and caring disposition for everyone whether it is the man responsible for countless deaths in Vietnam or a villain responsible for his death. He shows no remorse for Logan at this point but as a reader I think we realize that this is the first step Logan takes towards losing himself in his own darkness.

Eva goes on to talk about how he was upset about the deaths due to the chemical leak and how he grieved for them and their families. However, we also see his ignorant optimism that has become his trademark quite quickly.

“Accidents were a terrible thing and he was sure Mr. Snyder hadn’t meant for any of this to happen. People were good and cared about each other in his opinion. After the public blame the terrorist had put on his shoulders before – there was no other word for it – lynching the poor man, the media reacted to the crime in a manner that deeply shocked the sensitive young man. Instead of condemning the horrifying acts harshly, they discussed the accidents that had caused the unfortunate deaths in Vietnam and demanded consequences to avoid such accidents in the futures!” (Whatwashernameagain).

He convinces himself the Snyder never meant for any of the deaths to happen, which, for those of us who know how the real world works; we know that the more likely reality is that Snyder probably cut corners and didn’t care much that he ruined so many people’s lives and even paid to keep it quiet. Still, Roman states that he believed people were good and cared about each other at their core and maybe that is true for the individual; after all, that is how Roman sees people: individually. So… There is a lot I can say here… and when I say a lot, I mean a LOT. I will attempt to keep this section a bit brief, but I did want to touch on some philosophy and sociology here.

In 1995 a book by Howard Bloom called The Lucifer Principle was published (Bloom, Howard). For those of you who haven’t heard of it, it has nothing to do with religion. The Lucifer Principle poses the idea that good and evil, right and wrong, its all a construct of our need to fit everything into a box. Nature does not see things as good or evil. When a lion preys on a wounded animal it is just nature. When a hurricane levels a major city, we don’t view it as evil because it is apart of nature. When a lightening bolt causes a good portion of a forest to burn down it is nothing but a way to regrow. Yet, despite the fact that we are simply an over evolved species of animal, we hold ourselves to a higher standard. We view things as good or evil but there is no such thing in the natural world. (Keep in mind I am not stating an opinion, I am simple describing the principles of the book). The book explores that the social groups that we create as humans, not us as individuals, are more inclined to do things that we consider ‘evil’ when we have something to gain from it (Bloom, Howard). It argues that “evil is a by-product of nature’s strategies for creation and that it is woven into out most basic biological fabric” (Bloom, Howard). Violent competition is the center of the creation of the superorganism we consider society (Bloom, Howard). It is difficult to argue with this theory when you consider that we really only advance through war. The discovery of vitamin C, disease prevention, tourniquets, X-rays, blood transfusions, vaccines, lipoamides, penicillin, anaesthics, chemotherapy, antibotics, frozen blood products, antiseptics, Gatorade, the recognition of PTSD, discovery of cardia arrest, (weather) radar, walkie-talkies, night vision, duct tape, nuclear technology (including powerplants), Jet engines, digital photography, satellite navigation (GPS), sanitary napkins, Drones, microwaves, computes, superglue, jeeps, canned food, wristwatches, Epipens, the space program, ambulances and even the Internet and so much more have been the result of the wars we have waged throughout the centuries (Pocket-lint) (“Science Museum. Brought to Life: Exploring the History of Medicine”). There are very few things in this world that a social group (not an individual) has not built with greed in mind; whether it be wealth, land, or power, generally speaking there is usually an ulterior motive to man’s creativity. It is hard to argue that we do not strive on being inherently ‘evil’ when there is so much evidence against that.

Once again, I feel as if I need to reinforce a few things: 1. I am not speaking about individual people. I am talking about humanity as a whole. 2. This is not necessarily my belief. This is a concept written in a book that I have read and that has a very well researched scientific basis. So, before anyone drops a mean or horrid anon ask in my box (and proves my point) please try reading the book. You can learn a lot about the world and yourself as well. Now, back to the analysis:

I bring this up for a number of reasons. This argument reinforces Roman’s naivety. He sees humanity as inherently good (if there really is such thing as ‘good’ and ‘evil’); or rather he believes that ‘people’ are good which can both imply an individual person which is probably a correct statement, or ‘people’ as a whole which is perhaps leaning on the outside of ‘not good’ (We are killing our planet, endangering species, committing mass genocide, polluting outer space, and allowing people all around the world to starve, or ignore the fact that 40 years later we are still killing innocent people (including) children in Laos, Vietnam). It also brings into question The Utilitarianist, and the contrast between he and Roman once more. Logan sees the world in a similar light as The Lucifer Principle paints. In fact, I’d be surprised if Eva hadn’t read it. He is also one for intense scientific research which could lead him to the same conclusions as Bloom: That humanity is inherently what we consider ‘evil’ though evil itself is a construct we created and therefore he has no remorse for being labeled as such.

Am I getting too philosophical on you guys? Perhaps it would be best if I moved on….

“Of course, people needed to be protected, every life had value and had to be treasured, but to besmirch this victim’s life work, so soon after his execution – it left Roman angry and terrified for the state of the world he loved. He needed to stop this man, right now! He was strong enough to do it, why must they keep holding him back?” (Whatwashernameagain).

Once again, we see Roman’s compassion for every individual. We see him try and be understanding for those he disagrees with and for those he deems innocent. He is a man of honor after all and feels that the dead should be honored as well. It is almost as if he feels personally attacked, that Snyder’s name is being dragged through the mud after his death. Though it could be that Roman isn’t just thinking about the man, but his family as well; the shame they must feel as the media makes a mockery of their father, son, husband etc.

We also see a glimpse of his frustration at having to wait; of being forced to focus on glamour and speeches while others are moving in the shadows. He is getting his makeup done while Logan is murdering a man! In the next paragraph we see his frustration grow. He talks about his need to prevent such deeds and even pleads to be allowed to do something. But he is still bound by his need to win his father’s approval. He won’t go against him. He even attempts to justify it all but reminding himself that his team is “intelligent, professional experts hired specifically to make him the best possible hero he could be” (Whatwashernameagain). There is always a justification for those in denial… always a reason…

The next para is heartbreaking. We see him waking in pain after he has been cut open, we see him suffer from withdrawals after failed experimental drugs that corroded the lining of his throat and stomach… Pain that is probably unimaginable. Pain that he is probably enduring simply to be ‘useful’ to his father, to do good for the world… to gain the love he has always been denied and can not find it in him to give to himself. He will never be good enough, intelligent enough, useful enough for him to love himself… but maybe… just maybe he can be useful enough for someone to care for him…

Still, he states that none of the pain or experiments were quite as difficult as the waiting. C.S. Lewis said something once that comes to mind when I read about Roman’s mental struggle with waiting, compared to his physical anguish: “Mental pain is less dramatic than physical pain, but it is more common and also more hard to bear. The frequent attempt to conceal mental pain increases the burden: It is easier to say “My tooth is aching” than to say “My heart is broken.” Some might argue that Roman’s heart isn’t broken… but perhaps they are mistaken. Here sits a man who has never truly known love and now he has a chance to obtain that which he has never known… He has a chance to gain the love of his father and of the world and yet he is being denied. He is being turned down the chance to gain what he has always wanted and with each passing day his heart cracks and the fissures only grow… Sure he hasn’t been turned down by an individual that he fell in love with… but there are other types of heart break. Such as the kind you feel when you see your lifelong goal, the one you have worked for forever, fought for, hurt for, dangled in front of you and you can’t reach out to grab it… at least… not yet.

When he does finally reach his goal, we are presented with the contrast of the Pre-Dreamer Roman and the Post-Dreamer Roman:

“Finally, after more than a year of changing and preparing him, of whittling away at the inadequate shell that had been Roman Prince, the odd, weak disappointment of a son, a new man was revealed to the world. A man who was confident, brave and kind. A man who spoke clearly and showed the frightened society the way to a better world. A hero” (Whatwashernameagain).

In the next para we see Roman’s naivety once more, along with the lies that his team is no doubt feeding him. He vies the military factor that has been selling weapons to dictators as ‘producing military equipment for the protection of their brave soldiers overseas’; no doubt another picture painted by his father which Roman is more than happy to lap up. The next paragraph however, says a lot about Logan.

“It had been the day the terrorist had stepped from the shadows into the light of the cameras to blame his victims in person before they met their end. He’d exposed their alleged crimes against the helpless, suppressed minorities the weapons were used against – lies and exaggerations as his team had assured the young hero – and had finally shown himself to the world. Part of him, at least. Like a true villain, his body had been clad in a skin tight, black suit and his face had been masked from the light of truth and justice. He’d named himself the Utilitarianist” (Whatwashernameagain).

This is Logan’s first personal appearance. A bold move for his career. This is significant for a number of reasons; firstly, it shows yet another step Logan has taken towards his downfall (at least in his humanity). Logan has already killed a man, and obviously plans to do so again, but now he appears in person, obviously confident enough that there would be no one to stop him. Perhaps the power is going to his head. Logan is human after all and that much power tends to corrupt, even when people mean well.

“Yet, at his greatest moment of triumph, a hero rose to meet him. Stepping from the ashes of the detonated building, the Dreamer emerged, leading out the disoriented victims of the Utilitarianist’s terrible plan. Showing his handsome, young face to the camera, unmasked and alight with his passion for the defense of all that was right, he’s faced the other head on and finally gave the just and good Americans a hero to believe in. The time of fear and helplessness was over. He had risen from the dust of his nemesis’ destructive acts to beat him” (Whatwashernameagain).

I will get to Roman’s flashy entrance in a moment. For now, we are still on the subject of Logan. You see, Logan has shown that he has begun to lose himself and his humanity in his work. If he is not careful he will become the very type of person he works so hard to wipe from the Earth. Luckily, someone has come to oppose him, to pull him back from the edge. I have mentioned that Roman is both Logan’s Hope and Humanity and that is true here as well. Roman appears just in time to save what little of Logan’s humanity is left. Perhaps he is a bigger hero than either of them realize.

As for his entrance, the contrast between the two is obvious once more. The over dramatized appearance is nothing if not expected from Roman but fact that him being unmasked is brought to the readers attention while Logan hides behind is own is an indication of not only the good vs. evil dynamic that has been apparent throughout the story but also of Roman’s cockiness.

A battle ensues. The Utilitarianist is far more difficult to defeat than Roman had accounted for and narrowly escapes. Roman is left felling defeated as he considers it a failure. I feel as if this is a fantastic symbolization of the fact that good and evil are a balance. The Utilitarianist which represents Roman’s concept of evil and The Dreamer, representing the concept of good were fairly evenly matched. One didn’t over power the other it was a fair balance.

We see his caring side once more as he mentions his disappointment and what the world deserves. Though we also see the socially imposed concept of ‘masculinity’. “A hero must never show his inner struggles” (Whatwashernameagian). Eva always has a way of bringing out subtle issue inadvertently that astounds me. Society engrains in most men that it is not alright to show your emotions, that they must be contained. I suppose that in special cases such as first responders this is accurate. If you asked an officer or a nurse, or a medic, how they do what they do most would explain something similar to a concept I call ‘a switch’. When faced with a situation in which an officer knows it is best not to react or feel they flip an imaginary switch. This switch controls their emotions. The catch is, that in order for this switch to work properly they need a constant supply of either work or adrenaline; basically, anything that does not allow you to analyze the situation you are in. It is one of the that many police academy’s have such extensive training/drills; that way, you react in the proper manner without thinking. But I will tell you something they don’t tell you… When the day is over, and hours have pasted since they finished washing the blood from their hands or shoes… When their driving home and its quiet… or when their changing into their pajamas… Everything that they saw… Every mistake they made… every life they couldn’t save… Its going to hit and when it does… it hits hard. The switch doesn’t work forever, you see… Its on a timer and when that timer goes off it determines who is strong enough to make it and who isn’t because no body is able to pick up the pieces for you.

Eva is talented enough to paint the subtle switch into her writing though, and I mean no offense in this, I do not expect her to know the severity of what the suppression can do someone… especially someone as kind hearted as Roman. I must applaud her for addressing it however, even if she doesn’t realize she is doing it.

Luckily, Roman’s efforts were rewarded. The mention of the newspaper’s tones changing, interviews being planned for him (though he was instructed on what to say, bringing attention once again to the fact that he his nothing but a puppet at this point). He painted the picture of himself that he was meant to, that he had always wanted to be. His dreams were finally coming true. There was one catch… The dreams he had achieved were based on lies.

“Despite his wish to brag with his father’s great plans and the selfless efforts the other CEOs, lobbyists and republicans had invested, they asked him to never mention the Conglomerate that had created him and steered his actions. The public needed a legend to put their faith in now, they said. Not a bunch of old men bumbling about. Though he felt selfish when he claimed to be acting by himself with nothing but the help of volunteering patriots, he trusted their knowledge more than his own. Though the Dreamer was a great hero, Roman would not forget that he was just a young man trying to be good enough for his father’s love he’d failed to deserve before” (Whatwashernameagain).

Roman isn’t allowed to mention his father, probably because if Roman is discovered for doing these things for his father’s benefit his father can pin it all on him. Yet, once again Roman’s naivety and self-worthlessness is used against him. JFC people! All this boy wants is his Father’s love!!!! That’s it!!! Just give it to him!! Christ!

Roman and Logan face off for the next few months; good and evil dueling to no avail. Though it does mention that Logan does the majority of his crimes over the internet where Roman’s ‘brute force’ doesn’t work; further painting the image of The Dreamer that Logan paints: A dim witted glamour seeking brute… At least the image he wants the world to believe he sees. Roman comments about Logan’s rude evasiveness when it comes to his demands which brings a little light-hearted humor back into the story. It is also quite amusing seeing Roman realize that Logan views him as ‘a fly buzzing about his head’ and being outraged by it.

********

I was really hoping I would get a lot more done on this one. I was hoping I wouldn’t have to break the Chapter 2 analysis into more than four parts… There is still hope I guess… Anyways, I’m afraid this is where I need to end this portion… I apologize if this was too dark for you. I am glad I got to end it on a light-hearted note and hope to see you in part 4 (hopefully the last part of Chapter 2 analysis)! Good Night!

     Bloom, Howard K. The Lucifer Principle: a Scientific Expedition into the Forces of History. Atlantic Monthly Press, 1997.

Pocket-lint. “28 Ways Military Tech Changed Our Lives.” Pocket, 31 May 2019, https://www.pocket-lint.com/gadgets/news/143526-how-military-tech-changed-our-lives.

“Science Museum. Brought to Life: Exploring the History of Medicine.” Medical Innovations and War, http://broughttolife.sciencemuseum.org.uk/broughttolife/themes/war/innovations.

Whatwashernameagain. “The Dreamer - Chapter 2.” Hello Guys Gals And Non Binary Friends, 8 Sept. 2019, https://whatwashernameagain.tumblr.com/post/189407228487/the-dreamer-chapter-2?is_related_post=1.

[bekaroth-reads]

Just some Steven Universe rambles

Just things and theories that popped into my head as I think of them. I know most of them aren't plausible but they're just kind of "what if" scenarios. Also there might be some double ups with common theories out right now, but I'll try to say if they are and explain why I agree with them or not. Also spoilers for the most recent episodes

I had a version of this before she was properly introduced, but what if White Diamond is a fusion. Beforehand I thought maybe she'd be the fusion of the other three diamonds, but now I wonder if she's just a bunch of smaller whites. I kinda base this off of the real world concept of diamonds(especially white diamonds) are actually pretty common and are only more valuable from other gems because someone in history was able to convince everyone else that they were. And the reason white wouldn't want other gems to fuse is because she wouldn't want anyone else figuring out they could easily be just as powerful, if not more so, then her. That's also the reason she's so massive in scale. Certain cross fusions can be very tall(Alexandrite and Sugilite namely), but when it's a same kind fusion with shorter gems(this is assuming that white diamonds share the same cut as pink and are therefore short like her rather than tall like yellow and blue) like the rubies, it takes far more to make a taller fusion, and they only have the same abilities, albeit amplified, of that type. All the sparkles around her could be the other white diamonds aside from the main gem on her head.

Alternatively, White is just one gem, but is pulling a Wizard of Oz type thing with who she really is. She is actually a smaller diamond like Pink, but since gems' bodies are light based, she's using a projector of some sort to make her look larger then she actually is. Kinda like an overhead projector

The reason the original pink pearl was taken and the reason that Pink Diamond was(in my opinion) basically banished to the moon base was because they fused. Pink Pearl was Pink Diamond's best friend and first possible love interest, very much like Steven and Connie. I think they fused because of how in Steven's recollection of what happen at the beginning of Together Alone, Pink and her Pearl are seen giggling with each other in a way very reminiscent of Steven and Connie when they first fused, and almost immediately after is when Pink Pearl is taken away. When she was taken, Pink tried her best to treat the new Pearl(I'll call Crystal Gem Pearl/CG Pearl) as her own individual, but it was difficult. That's why their conversations seem very awkward and stilted, because Pink would try to talk to CG Pearl like she would to her friend, and would only get the obedient, very businesslike answers in return. I also think that's why she reacts they way she does to Garnet. The sheer amazement rather than the horror of everyone else, and why she's so quick to tell Garnet, "Who cares what I think?" Also why she went through so many lovers, CG Pearl included, because she was constantly trying to fill the void having Pink Pearl taken from her(and probably assumed shattered) had made, until she found Greg, someone who treated her the same way her Pearl did. That's why she fell so quickly in love, but didn't want to get involved with him out of fear he'd get hurt like Pink Pearl did.

The fact that Steven fused in front of practically all of Homeworld is going to be instrumental in reforming the traditional mindset they've had for eons. Not only was there a public cross fusion, but it was by one the diamonds. It immediately inspired one new fusion to show herself(she's an absolute cutiepie by the way) so who's to say that even with the threat of being poofed or even shattered more won't dare to show themselves.

When White/brainwashed Pink Pearl frowns at seeing Stevonnie, it is not White Diamond frowning, but rather the Pearl herself. This is one that's been going around, but I wanted to say why I agree with it. I don't think White Diamond is the kind to give up appearances. Even if she was furious at the fusion, I'd picture her being the type to smile until she and Pink Diamond/Steven were alone, and then she would punish him. White did nothing via her Pearl, giving commands or otherwise, but rather it was Yellow who lost it and started poofing everyone. The frown was the Pearl's because Stevonnie was the last straw of her emotional restraint. Imagine her getting to finally see who is known as Pink Diamond again after all these years, only to not be recognized, and pulled away at every single moment; then to see Pink have a relationship with someone new that previously only they had with each other. Even under White's hypnosis she couldn't hide her hurt and jealousy

Steven, Connie, and Lars will be instrumental in fighting Yellow Diamond. We've seen that Steven cannot be poofed because of his human qualities and that Yellow's powers(or the weapons based on them) do little to nothing to him, so Connie and Lars wouldn't be affected either. This means that Yellow will probably try to poof one of them as a public display at some point, and won't be able to, making her go absolutely crazy. Maybe she'll mistake Lars's plugs for gems, and think he's a fusion, idk.

Steven will figure out how to heal corruption by healing Pink Pearl. He actually got partially close to healing Nephrite on his own, so maybe figuring out how to complete the healing process is what will make the reversing of corruption permanent as well.

All the Pearls will leave with Steven. None of the Gems on Homeworld are being treated well, but Pearls seemed to be the most slave like of all. Being given like property and not being allowed to do anything other than what their masters want("My feelings don't matter" says Yellow Pearl in a chipper voice). I feel like either on purpose or by accident, Blue and Yellow Pearl will end up going to Earth with Steven at some point.

White Diamond will be defeated by the cluster. As far as we know, White's abilities are mind based. I can picture her eventually(like towards the end of the whole show) saying enough is enough and going to earth herself. White could know about the cluster and try to take over it. But, the problem is the cluster is both one and millions of minds at once, so when White tries to take over one, twelve more come to its aid, and so on. Eventually this overwhelmed her and she's loses what little sanity she has, allowing Steven to finally be able to reach her mind, or something of the like.

One of the Crystal Gems greatest allies will be the gems embedded in the architecture, like the ones in the walls in Yellow Diamond's area. Probably not a good idea to build all your structures with people who have a good reason to fight you, for using them as building materials. Maybe they can do something like concentrate all their power and make the buildings crumble?

Also, how fun would it be if when Peridot reformed she was actually super tall this time around?

[princesssarcastia]

Let the past die? I think not

Almost a year ago, I posted a little plot bunny about Rey, Luke, and Force visions.  It was hella weird and kinda stream-of-consciousness style, which I don’t usually like? I heard that line from Kylo Ren, “Let the past die; kill it, if you have to,” in the trailer for Last Jedi and basically thought wow, fuck you, and then wrote a story specifically about the force also saying fuck you kylo ren, the past will never die. 

And then that little plot bunny grew legs! This time with more original thought from me.  So, in honor of the new trailer, part two of force visions: in which Rey thinks about Luke, figures out what she wants, and gets a teacher...sort of. Some spoilers in the tags.

Rey is used to being alone; she’d been alone all her life before BB-8 came to Jakku.  That doesn’t mean loneliness doesn’t ache inside of her, make her long for companionship, comradery, to be part of a larger whole. A family.

The only time it ever eased was when she had been with Finn–or Poe, in the brief time between Starkiller and here.  Finding Luke had given her hope she could ease it again, with someone else like her. Echoes make their way to her through hernotherother, telling her the feeling isn’t wrong, just misplaced.  

She knows Luke is at peace here; not happy, no, but the quiet solitude soothes his restless mind. Her presence does not.  It reminds him of burning, the New Jedi temple is burning, bodies scattered across the floors– the clone troopers advance through the temple, slaughtering the sick and the weak and the young, the only ones who remain, while their commander marches to the tallest spire and finds–

The memoryvision cuts across her mind, shattering what little peace she’d earned in trying to meditate.  It keeps happening: flashes of the past being drawn out of the deepest reaches of her memory, memory that isn’t hers yet is, because everything is hers, now.

Sometimes it’s her own words, or Luke’s.  Her thoughts; his thoughts.  Once she touched the R2-D2’s dome and the resulting wash of memoryvisionlovelosspainis enough to bring her to her knees. Every time it happens, they settle into her mind, and it feels right, like fixing the wiring on her speeder; like pulling parts from the starship wreck in the desert.  Finding something worthy of keeping in the devastation of the past.

She just wishes she weren’t drowning in the emotions tied to them.

--

Rey seethes and grows to hate Kylo Ren more every day she stays here.  For Finn, who still hasn’t woken up (she’ll know when she wakes up; and this certainty in herself shakes and amazes her), and for the damaged man who is supposed to be her teacher.

There are memoryvisions in her head of a boy, one who was born from pain and darkness and love and lived with his heart filled with the lattermost.  He loved his father despite all that he’d done; he loved his sister from the moment he met her; he loved the galaxy, he loved his students; he loved Ben, his nephew.  It was the last that had broken him, in a way that pulled at her mind until–

the fumes from the magma river swirl thickly through the air, but this isn’t what he’s choking on.  Darkness lies burning on the shore, and his soul is tearing itself apart. You were my brother, Anakin! I loved you.  Even then, though, the Temple hung ruined in his mind, and so he turned away; he was not feeling merciful–

Kylo Ren betrayed someone who loved him so deeply in pursuit of a false idol, of power, and once again the galaxy was thrown is darkness because of it.  Luke, the last Jedi in existence, allowed his grief to swallow him up and fled into exile like his masters before him.  He allowed his fear to smother him and refused to teach her any more.

Sometimes, she could do what she had done on Starkiller Base: close her eyes, allow the call of the Force to wind through her, and open them again armed with knowledge and skills she hadn’t had before. But it wasn’t enough.  She needed a teacher.  A real one, not the corruption Kylo Ren offered or the hesitant half-truths that were all Luke could give her.

The more frustrated she became, the more the center of the island called to her.  An ancient Jedi temple’s ruins lay at its core, uncorrupted by anything but time.  Still sacred and hallowed.

Luke turns away from her, speaking of his own fear and despair at her power.  It isn’t the first time, but for a brief moment Rey’s chest tightens and her fists clench and it’s hard to breathe.  This isn’t what she wanted.  

So, she closes her eyes for a moment, reaching out with the Force (one of the only things Luke was willing to teach her) for what she does want.  She isn’t exactly sure what that is, but–

The ruins call to her, waves of tranquility and history and power; come, come and see; find what you seek.

Rey opens her eyes and starts towards them, leaving Luke standing in her wake.

Scavenging wreck after wreck in the desert left Rey with a keen sense of space.  The old Star Destroyers were huge, gaping maws under the hot sun, easy to get lost in if you couldn’t sense their borders, how big they were on the inside.  But the cavern she was in now…

Rey had watched this island appear in the viewport of the Falcon; she’s been training here for weeks. She should know this place by now, know its edges and size.  And yet it seems–impossible.  Too big for the rock that contains it.

Sunlight filters in from above, a hole she hasn’t found from the other side yet.  Looking around here makes shivers ripple through her shoulders, makes something inside of her always been there then I was there has been an awakeningawake hum contentedly.

Strands of a massive stone carving stream from the center of the far wall of this place, like waves of solar energy from a sun.  Something about the pattern is captivating, hypnotic.  Tranquility in disorder, or– harmony.  Harmony from chaos.

There is no clear path to the stone plateau, so Rey makes her own.  Her fingers find holds in the rock, and where there are none the Force nudges her, surrounds usguides her. Power leaks into her limbs, letting her push further than should be possible, with more strength and balance than she knows she has, to the next hold.

When she finally reaches it, the sunlight has changed.  Everything in the chamber glows with it, and her breathing echoes across and then back to her.

A collection of flimsiplast lies just off-center, bound together in a way that Rey knows is ancient. She crouches down next to it, her hand reaching out to brush against the symbol on the cover.  Golden, with lines so intrinsically familiar to her it aches, feels like the comradery and family she seeks.  

The Balance, the Force whispers to her with her own voice, and Rey closes her eyes.  Her legs settle comfortably underneath her of their own accord, until she’s kneeling in front of the symbol, her other hand resting on her thigh.

Breathe, Just…Breathe. Luke’s voice, another memoryvision that fills her with regret because this beautifully kind man used to be a teacher, filled with patience and guidance the galaxy sorely needs, but now lacks.

She takes his advice, even if it wasn’t meant for her.  In, out. In…out…. i  n  . .   .

∞∞∞∞∞∞∞∞

Her eyes drift open, and she finds herself bathed in the light of a fire, instead of a sun.  Rey breathes, and feels hernotherother pulse through her veins in the place of her lifeblood, slowing any panic she might have felt.  A strange figure sits across from her.  Rey breathes and knows them.  Not their face or their name, but their self.  Light personified.  Ferocious. Burning.  Loving.  Sorrowful. Powerful.  

Curiosity breaks through her calm where panic couldn’t.  “Are you a Jedi?”

The being smiles at her, compassion with a predator’s teeth.  “I am no Jedi, young one.”

Her words ring out like a canticle in the Force, and Rey waits for another vision of things long past to overtake her.  When nothing happens, her curiosity grows, swirling around with the peace the Force is providing her with, balanced.

“Then what are you?  A teacher?”  She looks more closely.  The woman’s montrals let her tower over Rey, even sitting as they are.  Her hands rest on her own thighs, mirroring Rey’s position exactly.

“Sometimes.  Sometimes not,” the woman says, and Rey feels exasperation mix with her curiosity.  She sees the other woman’s smile take on an edge of humor, and suddenly there is a vision in her mind, except– no.  Not a vision, shoved into her head by the Force, but memories shared with her, offered for her to take or leave.

The kindness of it makes her beam, and she takes it gladly; Yoda is amused beside her, and she lets herself be amused, too, instead of embarrassed, and holds her lightsaber up to the younglings.  This weapon is your life; don’t lose it–

Rage, terrible and powerful revenge is not the Jedi wayovertakes her.  Her ‘sabers lash out in a whirlwind of death, and bodies fall to the ground just moments after their heads–

She stands, darkness before her: I am no Jedi.

“Ahsoka,” Rey murmurs. Daughter, the Force murmurs back.

Ahsoka grins at her, age crinkling her eyes.  “Rey.”

They sit there for a moment, each studying the other closely.  Rey notices her lightsabers hanging from her belt, feeling them thrum in tune with the teacherwarriorwolf.  “Can you help me?” She asks.

Ahsoka shifts until her legs are crossed in front of her and rests her hands on her knees, and Rey finds herself mirroring her position now.  “Perhaps. That depends on what you want.”

The warm light from the fire flickers, pulsing at Rey and reflecting in her eyes.  “I need someone to show me my place, in all of this.” She gestures around them; not to the cavern, but to the Force.

Ahsoka exhales a laugh. “I know this isn’t the answer you’re looking for, but…” She angles her head to the side.  “That all depends on you.  Your place is your choice, just as everyone else’s place is theirs.”

Unbidden, Kylo Ren appears in her mind’s eye, running through Han with his lightsaber.  Rey’s hands tighten into fists and now fury joins the other emotions, altering the harmony within her without erasing it.  Ahsoka’s face smooths out, as if she sees what Rey is remembering.  She probably is, now that Rey thinks about it.  

No elaboration comes, pulling more exasperation out of her, but instead of voicing it Rey seeks the answer on her own.

First, she reaches out into the Force, but its answer is the same as Ahsoka’s: blank, uncompromising potential.  She pushes harder, looking for threads of the future, threads she has seen Jedi manipulate in her visions, but the Force pushes back, gently.  No, it whispers.  You.  You decide.

Sighing, she searches the memories inside her, the ones that are hers, but not hers, and seeks the answer. Nothing comes forth, though; just pain, and suffering, and hope.  Faintly, she rememberseesknows the weight of destiny on the shoulders of a little boy, placed there by those who should have known better, driving him down a path he did not choose himself.

Rey takes the hint and releases the memoryvisions for a moment, taking a look around the chamber once more.  She recalls the feelings it evoked in her, that it still draws out of her.  A sense of purpose, of belonging.  

This place is ancient for a thousand generations.  So many had come here before her, leaving their own marks on the harmony within the temple, not unlike the harmony of emotions inside of her.  So many Jedi.

Does she want to be a Jedi? Rey tilts her head to the side, letting her eyes slide out of focus.  Maybe.  Purpose– to guard the galaxy, promote peace and harmony, even teach others like her when the time came.  Belonging– the memories in her head that weren’t things that she’d lived, but from all those who had come before her, who had lived and bled and learned and died. She could belong with them.

But then– Finn. Poe.  The General.  All those things could be found outside of the Jedi.  She could have purpose and belonging with her friends; her family, really.  The Force could be found outside the Jedi as well; Maz knew it, and Luke…and this woman before her.  Not a Jedi.  Fighting like one, meditating like one, but unbound by the shackles of millennia of tradition.

Rey–beyond all the other things–is curious.  She wants to know.  Kylo Ren shoved himself in her face, you need a teacher, and so she closed her eyes and opened herself up to the Force and called, teach me.   And it did. It taught her; she learned.

Could she– could that be her purpose? To learn the ways of the Force?

And do what with them, something whispers.  Learning is nothing without the will to use it; you will not be content to sit in this temple and learn forever, child.

The resistance base flashes through her mind: intent and will personified.  All of them, working together to defeat the First Order.  But that’s not…

She takes in another deep breath, closing her eyes as she does.  Purpose can’t simply be opposition.  A lifetime waiting amidst the burning hot sands of Jakku gave her experience with people who were defined by their hate of the planet, the people, themselves; those were the ones who didn’t last long.  You need more than hate if you want to survive.

Luke, broken; the galaxy, shattered without a government, without hope; the Force, so long asleep there was no one left to wield it.  the balance, her own voice tells her again, more intently. What balance, she thinks to herself, and it all shiftsand suddenly the universe is screaming; or, suddenly she can hear it.

LightLeia help me Obi-wan Kenobiand Poe and Finn, burning bright.

DarknessKylo Ren and his twisted seduced by the dark side of the Forceobsession with the past. With his master.

“The balance,” Rey says, out loud, and words come full circle. “I want to fix it.”

Ahsoka leans forward, montrals dangerously close to the flames between them.  “Are you certain?”

“Yes.” Rey can feel it, now: the galaxy, the Force, is out of balance, and screaming with the pain of it.  “I want to restore balance to the Force.”

Daughterteacherwolflight tilts her head back for a moment and laughs. “Well, then.”  The wheel turns, she doesn’t say, but Rey can hear it all the same.

other parts to follow!  questions, comments, compliments, concerns welcome. 

[musicin68]

Totally Disco.

Episode 3: Context Is For Kings.

I didn't even make it twelve hours before starting this episode. My lack of self-restraint is amazing. Since I have none, let's jump right in.

Tilly is adorable! I love her. I'm still pissed Georgiou is...

Ah, right. Spoilers.

Now that the writers have established Burnham as a highly qualified outsider, by murdering an amazing casting choice, Discovery has shifted gears. This episode feels more self-contained, dare I say, more like traditional Star Trek. They still have the overarching plot going on, but the adventure related tension that was presented here was resolved in the allotted forty-ish minutes.

I like the Alice in Wonderland bit a lot, but it's still weird. Is her recitation supposed to distract her from her fear? Not a bad coping technique for supressing emotion and being able to act rationally under duress. The only discongruent part was her telling Tilly that the story was meant to be a reminder that not everything behaves logically. Cute...but nothing happening to her as she escaped the monster was illogical. I know, that's pretty nitpicky, but these are the things that keep me up at night.

Speaking of things to haunt you at night... Captain Lorca is not mysterious. He's just creepy. Really creepy. Like a stalker. Even when he was showing off his spores (See? Doesn't that sound like a creepy stalker?!) and being relatively reasonable he STILL doesn't seem like a nice guy. God. It's incredibly painful to see Michael go from serving Capt. Philippa "I Set A Star" Georgiou to Capt. Gabriel "I Lurk In Darkness" Lorca. On that note, Saru, your painful dig at Michael aside (It's too soon damn it! I haven't even gotten the ceremonial blade out of my sternum yet!), maybe this isn't the captain you want to be protecting at all costs. Just saying.

The U.S.S. Discovery is full of vague menace...mostly. Maybe it's just Lorca, his Security Chief, and the prison gang. And the Black Alert or whatever that was called. There's menace from basically everywhere but the scientists. Stamets is cranky and sad, and a tiny bit threatened by Michael I think. But dude was separated from, and then lost, a long time partner, so I'll cut him some slack. Tilly's just awkward, cute, and a total badass. She owns her mistakes and you bet your ass she is gonna be a captain someday. Better you than the man lurking in the shadows or his chief of security. Aww, crap did they mention her name? They did. I know they did. Sigh. I'm sure I'll pick it up at some point. Yeah, that one does not look like a healthy relationship either. And yes, I knew you two were talking about the monster.

Aha! "Set phasers to kill." There is a stun setting. Michael did kill T'Klingon-guy on purpose.

Spores! Fungi! Mushrooms? They are a thing! It wasn’t (entirely) a fanfiction fever dream! All future Michael needs to do is crack the code and she's ready to go back into the past and fail again. Ugh, I hate time loops.

So Lorca's pitch on what they're hoping to accomplish reminded me of a TNG episode. It was first or second season and there was an extinct race (Ionian's? Iconians? Iowans?) that had a doorway they used to travel all over the universe in an instant. There were some Romulans Red Herrings, and a sister ship to the Enterprise that blew up...just like the Glenn is to... HEY! Did Discovery get called out for stealing plot ideas from TNG like TNG did from TOS in the 90s? Hahaha, probably not. I bet they called it an "homage" if they noticed at all. Are the spores going to make everyone drunk next episode? The Naked Disco? Because Lorca did have fortune cookies. And you're supposed add, "naked" or "in bed" to the end of your fortune. Or if you're feeling particularly jaunty, both.

I had a point. What was my point? My point was that the E-I-E-I-Oans were conquerors. They were feared. People called them demons or something. And as impressed as Picard was with their technology he opted to destroy it rather than let it fall into the wrong hands. I gotta say... Lorca does not seem like good hands for such a thing.

What does your fortune say: → 1. "Universal law is for lackeys; context is for kings." That's a fancy way of saying 'I am beholden to no law. I can justify my actions however I please.' This is not who you want in charge of anything. At risk of becoming a broken record, I have to say AGAIN... can we please have Georgiou back (naked)? → 2. Let's check the list: Burnham, First Officer Saru, Tilly, Lorca, Stamets, Security Chef (autocorrect gets credit for that one), Pippin, Georgiou, T'Killer, and Alice (every pet monster needs a name). Wow! We've added quite a few and no one died this time...oh except for everyone aboard the Glenn (in bed). → 3. "The Mutineer". Is Michael really Starfleet's only mutineer? The only one in history? Even if every starship was run by a Georgiou I wouldn't buy it, and it's been clearly established to me that not all captains are equal. You're telling me that with captains like Lorca in the fleet, no one ever said "I'm not following your orders. I have to do what I think is right."? TNG could barely make it a single episode without someone finding a new and exciting way to challenge authority (in bed, naked).

[donnerpartyofone]

movie review fan lady here. I know it’s not yet BLOGTOBER, but in advance of that, what are some of the worst tropes of recent horror films, in your opinion? Of course, use whatever definition of “recent” suits your answer best! seems like you’re busy with new projects these days, hope all is well and that you have plenty of time to watch however many horror movies you like this fall!

(first of all, sorry for my uneven typing but i’m using a new laptop that has a really intrusive but also totally inconsistent autocorrect thing and I’m just sick of fucking with it) thanks for saying hello! I have been pretty dormant lately, and it’s encouraging to hear from people who enjoy reading what I write. the mental illness got me bad this summer. this was made unnecessarily difficult by the fact that I had arranged a month-and-a-half-long personal leave from work, during which time I expected to be able to return to “myself” and replenish my inner strength by doing only things that I care about, and most importantly, see what kind of life I lead when I’m not being crushed under the heel of my extremely demanding and shameful job–a perspective few individuals will ever have the privilege of gaining. of course, a lot of what actually happened amounted to a painful reminder of how little I’m really capable of as a person. this has been especially hard to recover from with the restored stress of being at the office. I had my first full-blown panic attack on my first day back. although I suffer from anxiety, I have always been hesitant to describe my episodes of escalating, wracking panic as “attacks”. this is because once when I was young, I witnessed someone going into a panic attack after confessing to me her history of childhood trauma; she went into a total fugue state, dragged her limbs, spun in circles, and made faces until she collapsed, never to remember anything about the experience. I thought, “so that’s what a panic attack is. basically, if you are aware of your surroundings, have basic control of your face and limbs, and can recall the event, then you don’t really have any kind of real problem to complain of.” my “panic attack” was still not as bad as that, but it did involve an interesting lapse of motor control on top of everything else, so I guess I’m giving myself credit for it.

I never stopped watching movies, of course, but I almost totally abandoned letterboxd, save for a weird stint where I reviewed every single pre-Zombie HALLOWEEN movie; I actually suspect that for some reason, letterboxd only sent two of them into the activity feed, so no one even saw them all. so I stopped writing, and then I developed all this self-imposed guilt about failing to maintain my entirely voluntary pleasure-oriented routine, and my feelings of completely meaningless shame around this made it very difficult to start again. I think there’s also a sub-problem where, in actually recording my viewing habits, I started to get really stressed out about how much of my life I just waste on things I don’t even enjoy, just in order to kill time until I get to go to sleep again. for instance: yesterday I watched FATHER FIGURES, an ed helms-owen Wilson road movie that I was not even slightly intrigued by. in it, helms and Wilson are twins on the hunt for the dad they’ve never known, and they basically plod through a series of dopey vignettes: what if he was a MOVIE STAR? what if he was a FAMOUS FOOTBALL PLAYER? et al, ad nauseam. you can imagine what it’s like. *I* could have imagined what it was like. …but actually, there’s this weird sequence like an hour into the movie where (spoiler alert I guess), at the end of a string of dovetailing red herrings, the twins believe they’ve finally traced their real dad to a Boston suburb. they arrive at the guy’s house, expecting to meet a legendary supercop, only to find out that they’re at his wake. to make matters worse, the house is filled with young Irish American thugs who seem to be constantly on the verge of orgiastic violence, and who are already in a dangerously elevated emotional state. meanwhile, in this context, ed helms discovers that the woman with whom he had a one night stand two scenes ago is actually his sister. his and Wilson’s true identities, in addition to this sexual horror, come tumbling into the light of day at this worst of all possible moments, and the dead man’s own identical twin brother has to lay bare the sordid details of their family history to straighten everything out. I was embarrassed to find myself totally riveted to this sequence, which was something like THE ROCKY HORROR PICTURE SHOW or THE TEXAS CHAIN SAW MASSACRE: ordinary people are absorbed into a secret, separatist subculture that is ruled by its own perverse systems of honor, incest and violence. I thought, “wait a minute, is this movie GOOD now??” of course the answer was, no, absolutely not! but it had me going for a second there. …but my point is, now I’ve seen that, and I still haven’t seen one single Eric Rohmer movie. part of the reason is, I’m afraid they’ll annoy me. don’t I have any kind of consistent thought? don’t I ever do a single thing with purpose?

god, remember when I used to use the anhed-nia blog to work out all kinds of really intense personal problems? I guess I stopped because I started feeling weird about what I was doing with the format, like I felt bad for people who followed during blogtober and weren’t expecting that kind of thing, which is so stupid, I mean it’s my blog and barely anyone follows it for me to worry about anyway. also the mental illness got me. I started feeling like, “why am I even writing this down, like what’s the point, I’m basically just masturbating and being pretentious and I’m not even having any revelations or whatever.” that feeling persists in my whole life, like a lot of people with depression. the constant why-ness of everything. it can be really extreme, like, “ok, I put my left shoe on, but is that REALLY a compelling reason to put my right shoe on? I mean I could just as easily be doing NOTHING instead!” anyway, watch out world, I might start putting personal problems on anhed-nia again.

but uhhh none of that answers your question. I don’t know if I have a proper answer! like, some things come to mind that are not necessarily “tropes” but I do consider them modern problems:

SETTLING UP WITH REALITY: we have this really sad situation now where, in order for a horror story to be compelling, every single movie has to suddenly slam on its brakes and examine what’s going on with everybody’s cell phone. did it get lost? is it broken? poor connection? as soon as this starts happening, all I can think is, “I’m watching a movie. this is the part where the writer has to take a number of laborious, repetitive steps, the conclusion of which I already know for sure, in order to explain to me that whatever is about to happen in the movie could definitely really happen in real life, for real, because the convenience of cell phones could not have prevented it. the writer knows that I have heard of cell phones, and so now we have to make a dry, methodical accounting of the status of all of the cell phones in the movie. once this has been finalized, the actual story may proceed.” I hate this so much. whatever inherent horror there may be in the failure of our phones in times of peril is completely negated by my awareness of the writer’s felt obligation to go around disabling each and every cell phone right in front of me before we can even begin to address the point of his story. let me put it a little bit differently: when we have a home invasion movie in which the villains cut the phone lines, that evokes a horror that is native to this genre. the protagonist feels personally violated, imprisoned, completely separated from their fellow humans, separated even from the form of reality they enjoyed before their victimhood began. the very definition of “home”, as a place that is private, safe, comforting, and under one’s one sovereign rule, is painfully inverted. that is the point of that specific story, in which the telephone has defined semiotic and psychological significance. on the other hand, the problem of cell phones is completely generic. now, in every horror movie of every subgenre, no matter where the characters are or what they’re doing or what we suspect will become of them, nothing can even happen without this dutiful address of the phones. this is only happening because of an absolutely ludicrous obligation people feel for their fantasies to resemble their reality as closely as possible, which flies in the face of the whole idea of having metaphors that help us explore our emotional and spiritual conditions. PS if you’re the kind of person who can’t watch even a really great movie without holding everyone in it to the standard of your own personal pragmatism and logic, then maybe you should ask yourself why the fuck you even watch movies in the first place.

BICKERING AS DRAMA: this may not be a specifically modern problem, although I *feel* like I encounter it most in horror movies from the last two decades. in any horror story with an ensemble cast, an important source of danger is the dissolution of personal relationships. under the strain of their predicament, people who desperately need to trust and protect each other become volatile, angry, cowardly, irrational. fearing for their lives, they lose their ability to cooperate, or even to agree on one most-hopeful solution to their shared problem. in NIGHT OF THE LIVING DEAD, the ongoing fight over whether to hide in the basement or the attic is agonizing, and helps to underline the preexisting, banal political tension between the main characters–in fact, the corrosive social forces of the 1960s are key to this film’s subtext–which now compounds the mortal threat posed by cannibalistic monsters. alternatively, you can have a movie like John carpenter’s THE THING that is mainly composed of protagonists in-fighting; in that case, the irresolvable conflicts strengthen the movie’s message, which is specifically about betrayal, alienation, and loneliness. what I see in a lot of movies now, instead of a focused, purposeful conflict like those, is a deteriorating situation of multiple characters incessantly bickering with each other over the details of their circumstances. no one is making a salient point, or contributing to our understanding of their conundrum, or revealing something particular about themselves. they’re just yelling and sniping and sulking and badgering each other about minutiae, or about the key problem in such broad strokes that their arguments cease to have any meaning. I actually think that this is a consequence of that same boneheaded obsession with realism of which I complained previously. I often feel like these protracted scenes of petty fighting about granular details are a way for the writer to paranoiacally defend themselves against persnickety viewers who complain about “stupid” characters who apparently fail to exercise heroic levels of sober judgment and practicality. these viewers, who are so happy to hurl accusations of “UGH HE SHOULDA JUST _____” at the screen, as if there is anything “just” simple and obvious about the story unfurling, are progressively ruining storytelling for everyone, necessitating these grueling character discussions about the potential consequences of every hair-splitting potentiality of every situation. 

EFFICIENCY AND ECONOMY, OR LACK THEREOF: …this is sort of a different kind of point that I want to make, so bear with me. as a (secret, amateur) writer myself, I am plagued by the neurotic urge to explain exactly the way things happen in as comprehensive a fashion as possible. like, I don’t know, if I were writing a story about how someone inherits an old house, I’d probably start stressing out ridiculously about the bureaucracy of how this property changed hands, what kinds of officials would have to be involved, how the new owner evaluates maintenance needs, and EXACTLY how long everything would take. i have an irrational fear of leaving things out, when I absolutely need to leave things out in order for the story to simply be about whatever it is about–which is NOT property transactions. it’s not even that I’m anxious about “realism” precisely–this could apply to a fantasy framework just as well–I just lose track of which details are actually important, and which details I should give the audience credit for intuiting (or not even needing to know). because of this, I try to really notice when a writer deliberately, elegantly leaves a big gap in the action, in order to stay faithful to the story’s spiritual identity. I wish I could think of a good example! but I at least have a good anti-example, which is: I rewatched TEXAS CHAINSAW MASSACRE: THE NEXT GENERATION this year for TEXAS CHAIN SAW (sic) MASSACRE Day. that’s a really crazy fucking movie for a whole lot of different reasons, but one thing I noticed about it is, the DP shows EVERYTHING THAT HAPPENS. this became absolutely hilarious to me pretty quickly. is somebody talking? point the camera at them! is somebody reacting facially to the person talking? point the camera at THEM! did someone just walk in the door? now point the camera RIGHT AT THEM, and make sure you get the door in the shot and show the whole thing until the door closes and something else happens! it’s so crazy and nervous. there’s a scene where leatherface has to put a character into a cooler where there’s already another character trapped, so he has to pick up the big hunk of machinery that he used to hold the door closed, and then find a place to put that thing down, and then put the character in the cooler, and then turn around and pick up the thing off the place where he put it down, and then turn around and put the thing back on the thing again, and they show ALL OF IT. it really cracks me up, it’s so unnecessary. I mean, the scene is already in chaos, you just have to show a bunch of motion with the piece of machinery coming in and out of frame, but instead you get this like anal retentive breakdown of exactly what happens to every object in the scene. anyway, I try to notice when I’m feeling compelled to do that kind of insane accounting of everything that happens, and I also try to notice when someone else is really good at NOT doing that!

anyway, thanks a lot for the question! it’s really good for me to get a prompt like that. blogtober is coming after all, and I need to Get Amped. this fall I have horticulture classes at the local botanic garden three nights a week, so it’s going to be tough! if you (y’all) have any movies I haven’t reviewed that you’d like me to talk about, I would be very open to hearing about it, I often get stuck. also feel free to follow me on letterboxd to help pressure me into continuing to use it. https://letterboxd.com/donnerpartyof1/