#one of the things i know i'm cutting includes a line of dialogue i REALLY love but

[guiltycorp]

Damn i really want to know tf happened in the writing room of arcane s2. Some of the downgrades were inevitable due to the show's corporate limitations (not being able to progress the class war story in a meaningful way, having to tie things back to league of legends in terms of making playable characters more appealing to well, play... rip Mel and Viktor in particular), sure. But i still feel like it's even worse than that? There are so many bad decisions that i couldn't even start listing them all... the characters, plot, pacing, themes, it's just such a mess? Even the dialogue writing, it feels much more mm Marvel at its worst i suppose. What i am most bothered by is probably just the straight up harmful messaging so um... Cycles of violence and abuse can be broken by individual decisions to become a better person! Got nothing to do with systemic oppression, living conditions, mental health issues, you can just conveniently ignore aaall the social context, live laugh love and then things get better automatically yep, oppressors famously stop oppressing you when you show them that you're harmless and won't put up a fight anymore. Literally three out of three suicidal characters dying to redeem themselves? Not even in a tragic/cathartic way but in a bittersweet 'they finally atoned for their mistakes' way? Groundbreaking lmao. Romantic relationship between Vi and Caitlyn including no communication about their biggest fight, just conveniently skipping to sex and getting back together - would have loved that if it was framed as the unhealthy fucked up thing that it is, skipping over Vi's hurt and her background to once again become a cop, her girlfriend's direct underling at that (!) due to her not having any other support systems... But nope that was our cute lesbian romance wrapped up, a good thing all around, not concerning at all. Jayce telling Viktor that what he 'always admired about him' was his disability and his deadly disease (??? from a character who spent the whole s1 and first act of s2 desperately trying to help Viktor find a cure? sure) and that those imperfections don't need fixing, just wtf truly. Magic bullshit was also weird, some implications of 'natural magic is ok, but achieving that power through other means corrupts you into a crazy robot bitch or just wilts your trees i guess', but tbh it was written in such a weird and inconsistent way that we can skip this one... Yeah actually a lot of things were just such a mess that I feel silly pointing to specific moments or lines I didn't like, I mean duh, it barely makes sense as a story at all... I am happy we have s1 which comparatively was a masterpiece, and i also really enjoyed s2 act1, i truly believed it would lead somewhere good at the time, my mind still kind of cuts off the story at that point when i think about it, that WAS the open ending of the show to me (is it possible that there were rewrites? targeting act 2 and 3? idk, wishful thinking perhaps). Despite my extremely negative feelings about this season's conclusion i remain glad that so many people appreciate the show regardless, it is clear that there was STILL a lot of love in the process of its creation (although i'd argue that even some of the visual aspects of the show suffered in quality, once again i have to wonder about behind the scenes mood of it all) and i get very upset when i see creatives online despairing over reception of their projects even when i'm absolutely in the disgruntled crowd hahaha... ...however yeah, this wasn't great In a world that increasingly grows more and more right-wing politically... we really needed something different i think.

[lizardkingeliot]

i finally finished the first draft of my reunion sequel and i managed to keep it just under 20k PLEASE CLAP 💀 there's at least one scene that needs a partial rewrite and a few things i know for sure i'm gonna cut so keep your fingers crossed this doesn't take forever to edit lol

[shigayokagayama]

What are the biggest losses between the manga and anime? I just finished watching mp100 and I'm curious what the manga has!

ok biggest losses are kind of hard to define because like. anime and manga are two inherently different mediums and there are a good amount of cuts that improve pacing and then a good amount of cuts that people sort of argue over the merit of so im just going to go for biggest differences. i would also highly recommend reading the manga just because it is a pretty different experience tonally along with the minor plot differences and cut scenes + theres a bunch of omakes that both flesh out characters that dont get too much focus and have some really good bits in them. putting the rest of this post under a cut bc i ramble

mogami arc

this one is kind of inescapable i feel like but the anime version of the mogami arc had a LOT of things trimmed for a couple different reasons. season 2 already got an extra episode in order to do the fire scene as a cliffhanger so with the way things shook out the director had to choose between a. cutting a bunch of stuff out of separation arc to make it one episode so mogami arc couid stay three episode or b. cutting a bunch of stuff out of mogami arc so separation arc could stay two episodes. imo they made the right choice, whats even the point of adapting mob psycho if you dont get confession arc right, but some of the cuts to mogami arc will be dearly missed and others will be fought over to the end of time. cuts include:

minori being established as a brat in a video everyones shown and the video being part of how reigen deduces shes possessed (reigen deducing her possession in the manga is generally just a lot better done and after you read the manga the scene in the anime feels so awkward because you know whats missing

the psychics deciding to band together to beat this little girl to death to save themselves and shinra stepping between them to protect her and getting utterly thrashed, not by mogami, but his fellow psychics

reigen trying to convince mob to leave without him and call for help while he distracts him which leads to this

the general mogamiland section lasting a lot longer and being more brutal (notably the stray cat mob feeds getting killed in front of him)

mob getting fucking torn to pieces by spirits during the fight instead of ambiguously dying offscreen

generally would recommend if nothing else reading the manga version of this arc and confession arc because i feel like these are the only two where you lose like. a significant amount of the story and themes from the cuts. speaking of....

2. WHY THE FUCK DID THEY CUT THIS I WILL BE MAD UNTIL I DIE

maybe its just because i reread this arc on its own probably 50 times before the anime came out but this is the only arc where the cuts actively piss me off because there is absolutely no reason they had to do it. they cut a bunch of important shit, left in things that didnt need to be there, and added scenes that contribute literally nothing to the overall point. if they just did any one of those things or combo of two of those things i wouldnt be as mad but it feels like they put a bunch of filler in then speedran the actual story

cut #1 that pisses me off: HOMOPHOBIA?????

THERE WAS SUPPOSED TO BE A HEART IN HIS EYE. WHY DID THEY NOT INCLUDE THIS. THIS IS THE CULMINATION OF TERUS ARC. THIS IS HIM SEEING THE PERSON HE HAS IDOLIZED AND DEIFIED IN HIS HEAD AT THEIR LOWEST AND STILL CHOOSING TO LOVE HIM, AND THROUGH THIS HE IS CAPABLE OF BEING LOVED EVEN THOUGH HES NOT PERFECT BECAUSE NO ONE IS. WHY WOULD YOU CUT THIS?

cut #2 I NEED WHOEVER CUT THE DIALOGUE FROM THE FIRST PANEL IN PRISON

the lack of inclusion of the first panels dialogue along with the cuts to the mob and shigeo conversation (WHICH WE WILL GET TO) make me think the person who adapted this arc fundamentally misunderstood what was happening. this line. is. THE POINT. THIS ISNT SOME SEPARATE SCARY THING. THIS IS MOB. HE IS CHOOSING TO DO THIS BECAUSE HE IS SCARED AND ANGRY AND HURT BUT HE IS IN CONTROL OF HIS ACTIONS AND ALWAYS HAS BEEN.

cut #3 HE DOESNT WANT TO BE HELD ACCOUNTABLE FOR HIS ACTIONS

this entire conversation is so good and i was looking forward to watching it voice acted for so long and its just. gone. for me the "i am shigeo kageyama who are you" reveal felt like a gut punch because the opening being "i knew i would be needed" made me go "oh hes like possessed or his powers are sentient or something" and this conversation was the slow unraveling of my view of these as two separate people and instead as a scared, traumatized teenager who has convinced himself that the parts of himself he hates are something else outside of his control instead of an intrinsic part of who he is because if he's convinced that the parts of him that are able to feel desire and frustration and anger and malice are him then he'll lose all these relationships he's worked so hard to cultivate as his perfect, non confrontational self. and of course that isnt true. all his friends and loved ones are making their way to the center of a damn hurricane because they see he's in distress and want to help him. but he cant see that so he pushes them away. ugh. mob. protagonist of all time.

cut #4 WHY WOULD YOU CHANGE THE COMPOSITION OF THIS I CAN LITERALLY SEE HOW THIS WOULD BE ANIMATED IN MY MINDS EYE W

can you imagine how beautiful this would be in motion. just. god.

cut #5 HE WAS TALKING OUT LOUD. REIGEN HEARD ALL THIS

:(

cut #6 the bowling arc

so the scene where reigen takes his shoes off is supposed to be a lot more solemn bc like. taking your shoes off before killing yourself is a trope in japanese media (ive heard it started in media and bled over into real life but i might have it backwards?). reigen knew he was probably going to die. anyway i cant take this scene seriously because of this edit

the bowling arc.

cut #7 WAAAAAAAAAAAA

WAAAAAAAAAAAA *sniff* AAAAAAAAAAAAAAAA

cut #8 homophobia again

rip pensive fruity tea sip

cut #9 mob threw the cake directly in reigens face on purpose

i literally experienced every stage of grief realizing this got changed. why. its so perfect. why would you change this.

3. World Domination arc

so WD arc is in a very interesting place where it had a lot of scenes cut but unlike the other two most of the cut content youre like. yea probably best not to include that. ill start with the good content that got cut then go into the weird content

serizawa got his power drained by toichiro. i am quite sad this scene didnt make it in because its sorta heartbreaking

teru fighting off the claw assassin is shown and we see that teru can both make shadow clones AND hold a barrier while attacking, he seems to be the only esper with this ability!

the reason dimple could tell mob's family was alive is that there was no sense of grudge at the house which would have been left behind by people passing in a violent manner

mob briefly goes unconscious during the start of the toichiro fight and dimple possesses him and says "shit"

dimple possessing mob shoots shibata with a gun

we get mukai lore.

it doesnt make any sense and just raises more questions but we get it.

toichiro has a team of telepaths to recap where everyone is because this arc took an entire calender year to update

literally everyone shows up to fight shimazaki. i cannot stress enough how many people show up to fight shimazaki. it would be faster to list espers who dont show up to fight shimazaki

the middle school delinquents show up and start fighting the claw grunts literally completely out of no where and this is never brought up or referenced ever again

when mob and ritsu get home ritsu says all their stuff is in boxes and they need to hurry and redecorate the house before their parents get home which implies that shou packed the entire households worth of belongings into boxes and hid it somewhere before lighting their house on fire which is such a funny mental image that i cant even be mad at it. loony toons ass plot point.

4. other random interesting cut things

takenaka is just generally more of a bitch during alien arc. "ah i think they took him" remains one of the funniest goddamn panels in the manga

peak

alien arc overall is a lot funnier in the manga, i have a slight preference for the manga version just bc theres a lot of really good bits that didnt make it to anime but the anime version is so heartfelt and nostalgic it makes me happy

between omakes and small things that got cut or changed for the anime teru just feels way more fleshed out in the manga. like. anime teru is a completely different person. its hard to explain if youve never read it.

the all girls school part originally went right before the ghost family stuff and was the beginning of mob's existential crisis about why spirits and people get different treatment but tbh it works well where it is i just wish it werent. like that.

the scene where ritsu and teru shake hands was teru draining ritsus power which he seems to have learned to do from encountering ???%

teru.

ow

thats all i can think of off the top of my head, im sure ill realize i forgot something some time after posting this but. yeah. read the manga its good

[toffeecoffeee]

An Analysis of Shelly

I know what you're thinking. "But Toffee, you only ever post Goob-related content! What's with this sudden Shelly craze?"

Now, my one and only favorite character is and always will be Goob, but I have started to take an interest in Shelly's character lately. And hoooo boy, it has been one HELL of a rabbit hole. Plus, I haven't seen anyone else actively point this out, so I'm doing it myself.

Are you ready?

Let's begin.

(analysis below cut)

The first thing about Shelly that struck me as odd in the new update was her design.

Now, there is absolutely nothing bad about her design-I find it very good, actually!-but when I saw that she was a MAIN CHARACTER TOON (I wasn't keeping up with update news), I was shocked. Everything about her design, from the clothing she wears to the colors made her look like a more...out of the way character. A character meant to have one singular purpose, and then be brushed aside and forgotten. The fact that she was one of the main toons was....strange.

I mean, look at her compared to Teagan!

If you knew about Dandy's World, but didn't know about the update, which one would you guess was the main toon?

I found this...interesting.

Then, I looked into her dialogue on the wiki.

Average stuff, for the most part. She didn't really have anything that jumped out at me. In fact, she didn't show too much unique personality at all. The only thing she was really doing was helping others, or occasionally asking for things from others. Nothing else, really.

Although, there was one strange piece of dialogue that caught my eye, that actually showed a hint of what kind of person Shelly is.

Odd, but ok...

And then, I read the description for her twisted form after finally getting 50%....

And it all made sense.

See it yet?

Let me highlight it for you.

"The blatant ignorance of her existence by everyone around her has enraged her."

At first I thought that this had to be an exaggeration. Surely this friendly and helpful toon couldn't just be ignored like tha-

Oh.

They're right.

Every single bit of dialogue she has is either her helping someone or her asking for something. It's sort of like that person at a job you like being around, but you never really get to know. That's Shelly with basically EVERYONE.

Seriously, name ONE genuine friend that she has currently IN THE GAME (not counting Sprout) that she has had an actual conversation with where they bond and get to know each other as people.

The only time she had some sort of conversation was with Teagan, when she mentioned she was doing ok..."sorta-ish". That line in itself is interesting as well, as it shows how she feels about all of this. But still, they don't really seem to be friends.

We're dipping into a bit of headcanon territory here, but I believe it's rooted enough into Canon to include.

Shelly is someone who craves human (or in this case, toon) connection. She wants to be dependable, to be the one people can fall back on when they're feeling down, to be the one people rely on, and she has that, in a sense. However, no matter how much she does for others, no matter how much she helps them and supports them...

People only see her as..someone to ask for help on occasion. Uh oh, I dropped something, better get that fossil girl to help, since she's always so useful. And that is a part of what Shelly wants!

But that's it.

Useful.

A tool to use and then toss aside for the next person until they need her again.

That's all there is to almost every relationship she has.

And part of it is her fault.

You see, Shelly is so focused on helping people that she forgets to take that next step to forge true friendships, and unfortunately, nobody seems to ever catch on that she wants to take that step to forge genuine bonds with others.

She's non-confrontational by nature, and she doesn't want to ruin her perception of being useful, because then people might forget about her entirely, so she waits and hopes that someone will hear something that she will never say herself.

A good example of this is the strange dialogue I mentioned earlier between Shelly and Vee.

Vee asks if she's busy after they're done with going down the elevator. Shelly initially doesn't believe that anyone would ever ask HER of all people to...possibly hang out...and talk..like friends...

So she gets excited. She asks what they're going to do together (although notably phrasing it in a way so it seems like she is offering to help), and...

It was...just moving some supplies. More work. More reasons to be useful. This isn't a bad thing! It means that people care about her! That they have need for her, so they'll never forget about her! It's not like she hoped that someone actually wanted to take time out of their day to hang out with her, nope! She'd never tell Vee any of that! And besides, she's totally fine with this!

So why does it hurt so badly?

Shelly's greatest fear has been happening to her for years, and she refuses to agknowledge it. To her, it could be so much worse if she stopped helping people. As long as she's useful, people will like her. They would never even think to toss her aside and forget about her, right?

Except they have been for a long time now.

When people talk to her, she either has to initiate by asking for something, or they initiate only because they need something from her. She wants to tell them so badly, to ask them why they never seen to pay any attention to her, or attempt to even have a real conversation with her, but she will never be that bold.

Even with the cardboard cutouts on one of the maps, she's hidden in the back-present, but barely noticed by those around her. (this is more obvious in game)

No matter how much she tries, no matter how friendly or helpful or dependable she is, people never seem to see her as a person. Why don't they see her?! She's right here! She's here and she's endlessly waiting for connections that will never come to pass! It's fine though, really!

Keep being friendly, and people will like you more.

Keep being helpful, and people will have a reason to talk to you.

Keep being dependable, and people will have a reason to come back. They won't ever leave you alone. Right..?

Keep being friendly.

Keep being helpful.

Keep being dependable.

(That's all you'll ever be.)

Ironic that a fossils greatest fear is being forgotten.

[galedekarios]

Hello, big fan of your Gale content um I just saw this post on X that really annoyed me that was a graphic saying Gale would use 3 in 1 shampoo implying he is lazy with his hygiene and that another character was more like that and it had like 6k likes and I just wonder why everyone mischaracterizes our best wizard so much? Generic male expectations? Justice for Gale. He deserved that lavender bath.

thank you for your message and kind words! 🖤

i haven't seen the post you're referring to so i can't say too much about it, but if we talk about the general concept of hygiene and personal care, in my heart i know the following truth:

gale loves his little indulgences and that includes the finer things in life, like taking long baths, perfumes, massages, and the like.

once he feels better again and has the spoons to fully appreciate it, he would have a ridiculously elaborate 13 step self-care routine, beard oils and all of that.

(we know his year of isolation likely led to him neglecting himself, given tara's repeated lines about not eating enough, as well as gale letting his beard growing out.)

in early access, he had this dialogue with the protag, about dreaming of a nice lavender scented bath:

Gale: Time is a precious gift. With time, we may even reach Baldur's Gate, a city rife with magic, wizards, scholars, and perhaps: solutions.  Player: In that case I share your optimism. Here's to the journey ahead.  Gale: And here's to your company.  Gale: Oh, I can picture it now: academies, libraries, laboratories – the assembled knowledge of centuries that may just set us free. Better yet: soft beds, home cooked meals, and all the other little luxuries this wilderness so brashly denies us. Gods, I'd pay a king's ransom for a hot, lavender-scented bath – minstrels serenading as I close my eyes and let the water's warmth dissolve all woes. Plenty to look forward to.

this was sadly cut.

i also seem to recall another line of dialogue in early access where a companion commented on gale using a waterdhavian scent/perfume, which had woody undertones. if i can find it, i'll be sure to post about it.

but still, he still has similar lines in the full release version, like in this banter with shadowheart:

Gale: I must tell you, Shadowheart, the bathing waters here leave much to be desired. devnote: A bit know it all Gale: The ablutions offered at the Temple of Beauty in Waterdeep are far superior. And they have the most excellent soaps. devnote: A bit know it all Shadowheart: Hmm. I was wondering why you always smelled like a wealthy dowager. devnote: Teasing

bathing waters, excellent soaps and ablutions at the temple of beauty in waterdeep. the temple of beauty is a temple to the goddess sune, the goddess of beauty and passion.

"Her temples usually held social salons and displayed mirrors for use by lay parishioners. Some of them even had public baths for the local populace. Her shrines often stood on the corner of busy city streets. They would have a small ornate overhanging roof with a mirror underneath. They were used to check one's appearance while honoring Sune with prayer. Some shrines even held perfume and cosmetic items for those who could not afford such luxuries themselves." [x]

volo's waterdeep enchiridion says this in particular about the temple of beauty in waterdeep:

"If you need to refresh yourself during your travels, or perhaps to primp before an important meeting or a night out, visit Sune’s faithful at the Temple of Beauty. Its marbled public baths and mirrored salons are open from before dawn to after dusk. There’s no fee for these services, or for the advice and aid of the temple’s many pleasant attendants, but donations are encouraged."

there are some other banters & lines of dialogue in the same vein:

Player: I want to be with Gale. I'm sorry. Shadowheart: Don't be. He's charming enough, well-read and well-groomed.

there are more banters and comments like this from other companions as well (including minthara, for example), so yes, i think it's safe to say that gale is not a 3-in-1 shampoo type.

[memorymessage]

Now doing DLC again and being more attentive, while also properly finishing up NPC questlines, and I'm just getting more disappointed with Miquella's story and the way it was handled in DLC.

With all the verbiage going on in the base game of how powerful Miquella's allure was, and how he had the ability to command loyalty through the guise of kindness, you would think it would be like dealing with brainwashing, to some degree. Miquella is charming people into thinking he is more altruistic than he actually is.

I'm really let down that it just ended up being "actually he's just kinda shady, I guess. You should kill him", with no real substance.

The St. Trina dialogue was super cheesy and blatantly lacking reason. Begging us to kill Miquella, and I'm just sitting here thinking "why?"

All the legacy Miquella had built up around himself, including cut content, like St. Trina charitably helping the merchant nomads with their trauma and insomnia. Growing the Haligtree with his blood, welcoming every living being to his to his town without prejudice, and spreading an overall message of peace.

Throughout all this, you're telling me it chalked up to "don't let him be a god :( It would be bad for him, I guess! Also...he's doing weird things with his step bro! And some other shady stuff, I guess!"

I was expecting something along the lines of what we see with Marika, and her fallacies in the Golden Order. Miquella is truly extremely wise, he does command loyalty, and he does desire for peace. But you cannot obtain true peace by placing people under a brainwash of loyalty. And when that illusion is shattered, that alone is what causes people to question him.

But in the DLC, some people are following Miquella for their own purposes, and for the ones that are trying to be loyal to him, it doesn't even take all that much to make them stop following him. That doesn't lend anything to the narrative that Miquella inspired loyalty.

A realization that Miquella is using mind control would have been a far more interesting plot than whatever was haphazardly put together in the DLC. This DLC felt like a reduction of Miquella's character, not an exploration of it. Everything about Miquella that was alluded to in the base game was just... abandoned in place of this new characterization.

All of this, on top of the weird Radahn storyline that came out of nowhere (which I already ranted about), and also knowing that one of the most interesting plots in the game—Godwyn—will never be addressed... it all just leaves me disappointed.

This is genuinely the first time a FromSoft game or DLC has made me want to say to Miyazaki "actually, I think you're wrong here." The DLC in terms of level area, boss, and enemy designs? Immaculate. But with all the hype around Miquella, you would think the writing would have also had a shine as well. I just don't know if it did...

[nattikay]

Avatar but with Na'vi captions/subtitles Na'vi → English and English → Na'vi

Detailed notes under cut!

[edit] Correcting a few slips and typos:

Rolo'a nìtxan tsaw tsaw should be tsakem because the thing he's referring to is an action

fko a ralpeng tìkanti Eywayä fko should be 'awpo

Fmoli kivar ayoe sawtuteti alahe Sawtuteti should be sawtuteru; the sky people were the students, not the lesson 😅 this one was a particularly dumb slip on my part and I'm not sure how I missed it, hìtxoa ma eylan, krro krro lu oe skxawng 🙃

For peng san Toruk Makto syaw foru Foru should be ayngaru; I got caught up in the original English "calls to them" and forgot that I set it up in Na'vi as a direct quote so it should be "calls to you" 🙃 gosh i miss kelutral emojis these regular ones just aren't the same i need Derp ;w;

Corrections complete, now back to the original notes:

I have been wanting to do something like this for a while. I initially planned to do more scenes, but was having trouble finding the clips (unfortunately I don't have a full editable copy of A1 like I do with A2...that said, if anyone knows where i might source such a thing...let me know >_>)

At first I planned to add only captions (plus accurate subtitles, because as you can see the official ones can be a bit ehhhh lol) for the actual spoken Na'vi, but then halfway through editing I was like "lol y'know what'd be funny, if I also translated all the English dialogue into Na'vi". so i did ¯\_(ツ)_/¯

That said, on to the more specific notes:

Na'vi → English

First a disclaimer that any "corrections" are made for nerdy/educational purposes, not to say "haha look at these dumb actors who can't speak right". Memorizing lines in a foreign language is hard, and I'm sure delivering those lines while acting is even harder! It makes sense that there'll be mispronunciations, accidentally dropped words, smoothing over tìftang, etc. Plus, practically speaking, the number of people in the general audience who know or care whether the Na'vi is mispronounced is....................extremely small, so ^^; yeah.

Unfortunately for me I am part of that extremely small number, so as someone who studies and teaches this language as a hobby, I still felt obligated to make a note of some of the more glaring errors, hence the "actor transcription" slot that sometimes appears, which is there to contrast the intended line with what the actor actually said if and when they're different.

Learners, please note that just because I didn't include an actor transcription doesn't necessarily mean the line was pronounced perfectly—there are a lot of small vowel slips etc. that I didn't bother to "correct" because I felt it was still understandable even if it's technically inaccurate (mixing up a/ä is a common one for instance, as is mixing up i/ì/e), and catching all of them would've taken far more time ^^; That said, admittedly which ones counted as "I should note this" and which ones were "I'll let that slide" was a bit played by ear but w/e, hopefully it is still useful or at least interesting ¯\_(ツ)_/¯

i apologize to Mo'at for adding extra ???? to one of her transcribed lines, I was tired when I made that panel lol

English → Na'vi

Making the Na'vi → English section is fairly straightforward, as I didn't really have to do any of the translating—all the canon lines are freely available online and have been for years. I just had to edit them into the video. For the English → Na'vi section, however, I had to do the translating myself—and therefore feel the need to go through it a little more line-by-line, to justify some of my decisions hrh.

It's nice to meet you, sir → Lu sìltsan fwa ultxarun ngengati Two things about this line: one, I was a little stuck on whether I should use ultxa si (to meet intentionally) or ultxarun (to meet by chance/to encounter). I ended up going with ultxarun because ultxa si made it sound to me more like this meeting had been arranged, which of course it hadn't. Jake may not have "encountered" Eytukan in the sense of stumbling across him in the woods, but he certainly didn't set out with the intention to meet him; the chance circumstances just kinda brought him here.

Two, Na'vi (as far as we currently know) doesn't really have separate honorifics like "sir" or "ma'am". What it does have, though, is formal first- and second-person pronouns, so I used the formal ngenga instead of the casual nga to indicate the (attempted) respectful attitude of "sir".

three, i so wanted to bop Jake on the head while editing this lol, buddy your skxawng is showing

one who interprets the will of Eywa → fko a ralpeng tìkanit Eywayä Initially I was going to translate "will" as tìnew (want/desire), but then changed it to tìkan (aim/purpose/goal/intention). Tìnew sounded more to me like Eywa is discreetly requesting specific actions which the tsahìk must interpret and answer to, while tìkan sounded more like Eywa is just doing her Eywa thing and the tsahìk is simply interpreting what that means, which felt more accurate to me.

What are you called? → Pefya fko syaw ngaru? No need to justify this one, it's pretty straightforward lol—I just think it's fun that she worded it that way in English, because "how does one call to you?" is the standard way of asking someone's identity in Na'vi!

It is hard to fill a cup which is already full → Lu ngäzìk fwa teya si tsngalur a lu teya mi again no justifying really needed, I was just kinda proud of this line because I made it rhyme lol

Jarhead clan → olo' alu Sähena-re'o Na'vi doesn't typically describe nouns with other nouns like that (sähena-re'o), but I felt like it worked for Jake's spitballing. plus Eytukan's about to drop the term "uniltìranyu-tsamsiyu" in the next few lines anyways so i think i can get a pass lol

For my people → Suteri oeyä Ok, for such a short little line this one definitely had me conflicted. If I were to translate the full line "I was afraid for my people", I would say suteri oeyä oe txopu soli (lit. "concerning my people, I was afraid"). In the forest dialect the topical is always supposed to come at the beginning of the sentence. However, that's not how Neytiri delivers the line, and I wanted to keep it consistent with her delivery. In the end I decided that fudging the "topical must come first" rule here was ok here because she is essentially saying "I was afraid", realizing that Jake might not understand what she meant, then doubling back to clarify "for my people".

I considered using fpi ("for the sake of/for the benefit of") instead of the topical, but that felt off, as if Neytiri being afraid somehow benefitted the clan.

I also considered using Na'vi instead of sute—I'd have to drop the oeyä for this because "my the People" sounds silly, but "I was afraid for the People" as in the Na'vi as a whole would make sense here. However, a standalone "Na'viri" just didn't look right to me, and while fpi Na'vi/Na'vifpi" looked a little better, I'd already decided that fpi wasn't quite what I wanted.

So, in the end I stuck with suteri oeyä concerning my people.

Jake's and Tsu'tey's speech

This one gets its own little section because it was an interesting case; I'm basically redoing Tsu'tey's job. Now, if you take the entirety of Jake's speech and line it up with the entirety of Tsu'tey's translation, it's pretty good; they do basically say the same thing (I suspect this is actually what happened lol, that KP was given the full speech and asked to translate it and said "yeah ok" and wrote Tsu'tey's version).

As you can see, though, when you go through it line-by-line the way it's delivered in the movie, it's....not always quite accurate lol. So I made a version that was a more literal to Jake's speech line-by-line.

On that note, I've noticed that KP tends to really prefer the shortened versions of case endings ("for" vs "foru" etc.) I like them sometimes ("oey" and "ngey" have really been growing on me lately lol), but as a personal style preference I wouldn't have used them in all the same places he does (this is 100% a personal preference thing that will vary between speakers, neither is more or less "correct"). That said, if and when one of the lines I translated wound up being very similar to what Tsu'tey already said, out of respect for the original I went ahead and kept the same shortened endings, as well as matching the word order.

You ride out as fast as the wind can carry you → Kämakto nìwin nìfya'o a win nìftxan na hufwe atusul Literally, "ride out in a manner as fast as the running wind".

Ngl I actually VASTLY prefer Tsu'tey's version of this one lol. "May the wind propel you" is a lovely "meaning-not-words" interpretation and I like it a lot. However, for comparisons' sake I wanted to do one that was closer to Jake's original line. That said, I'm not surprised they went with a less literal translation for this line because "as fast as the wind can carry you" is actually really hard to pull off grammatically in Na'vi. It'd have to be like "as fast as the wind's ability which is to carry you" or smth, which just sounded clunky imo. So I decided that "as fast as the running wind" was a good middle ground. Not as clean or poetic as Tsu'tey's interpretation, but techincally closer to Jake's original line without being too clunky.

peng san I'm not sure if the quotation opener is strictly necessary here but it felt more cohesive to have it in my personal opinion, so I added it to mine but didn't mark it as a mistake in Tsu'tey's.

//

and uhhhhh that's it I think. Perhaps one day I will make a part 2 if I get access to more scenes. I also already have an English → Na'vi translation of an A2 scene that I'm gonna make into a subtitled video one of these days. I'd love to do a Na'vi → English for A2 as well, but unfortunately we don't currently have a complete list of the Na'vi lines for A2 like we do for A1, and as you have seen here actor delivery can make it very hard to translate by ear, even for experienced learners. Maybe someday...

[notmorbid]

dead like me, season 1.

dialogue prompts from season one of bryan fuller's dead like me.

i excel at not giving a shit.

a sunny disposition goes a long way in any line of work.

if it's my lunch hour, why is it only 35 minutes?

i know what might cheer you up.

everyone always says the same shit at funerals.

why do you have to be such an asshole?

they're not invisible. you just can't see them.

leave the plastic. cash is king.

isn't stealing from dead people kind of tacky?

i'm sorry, i tuned you out. were you whining?

as childhood traumas go, nothing beats the realization that everything dies. including you.

unhappy people do unhappy things.

you need to leave now. you're making me tired.

souls go bad in all kinds of ways.

all you can ever hope to do is make it easier. that may not seem like a lot, but it is.

i think for me, death was just a wakeup call.

you know what your problem is? you wake up every morning wondering what the world's gonna do for you.

i'm going to say this as politely as possible: i will fuck you up.

i am really trying to respect you. i am. but it's really hard sometimes.

carving my own path seems like way too much work.

just so you know, i'm very prone to anxiety attacks.

most of the time i'm talking out of my ass. i don't know shit.

just smell some fucking roses already.

you know, you can talk to me about stuff. if you want to.

monotony is the mind killer.

what you do now matters. what you don't do matters.

what is an average heart, anyway?

the password's 'rimjob', if you want to get on.

i wish people were more complicated, but they're not.

i don't want my picture taken.

it's very tempting to think the little jewels from our lives will bring it all back. but they won't.

i was dreaming about frogs.

i'm pretty sure they put mind control drugs in the water cooler.

you can't come up with a more original way to act out?

intuitive thinkers are the worst.

people lie all the time. it's not a bad thing.

if a lie is big enough, there's an instinctive need to protect it. it's almost maternal.

i need somebody to give me lessons on how to communicate with you, because i'm at a loss.

i need to be unconscious.

have you ever kept a scrapbook?

the lengths i go to for free food.

you've got a worldly quality. a certain je nai se quoi.

falling's easy, you just fall. jumping requires strength of will.

my face gets sore if i smile too much.

do you have to be such an asshole?

there's a finite number of personalities in the world, and i have met them all.

no wonder your children don't come and visit you.

jesus christ, fella, cut the cord.

you always seem to go a different way than everyone else.

open door's an invitation. gotta jump while the door's open.

why do i keep losing all the things and people that i care about?

when you can't make sense of someone leaving, you try to make sense of what they left behind.

i just don't get our culture's obsession with moving on. what are we afraid of, remembering? being sad?

you want to steal something, don't you?

you want to be a bowling pin your whole life, or would you rather be the ball?

i'm sorry, i'm trying to flirt with you. it's not really my thing.

why are you stalking me?

i could burn you a really great cd, if you want.

your perversions are coming into disturbing focus.

not in that life, not in this one, not ever.

you get close enough to see the pain, and it's no longer funny.

i really liked kissing you.

we all create, in our heads, who we are. who we want others to be.

what fresh hell is this?

just because you're dead doesn't mean you have to give up.

i'm not good at the pet thing.

i don't exactly know where home is, these days.

if you don't know the difference between flipping and flopping, we're knee-deep in water without a paddle.

i'm concerned you don't know what you're asking for.

i think some people wander because that's who they are.

you are a very internal little creature.

is it wrong to decide someone's a great person because they're so much like you?

you want to get coffee? i think that's what you're supposed to say when somebody's having a fucked-up day.

you do know the story, right?

you didn't do anything wrong. i'm just screwed up.

i didn't know that was all the time we'd have.

a girl's got needs, you know. even a dead girl.

i'm sure there's going to be some karmic reward for you down the line.

how's the whole 'dead' thing working out for you?

everybody grieves in a different way.

i could've, should've. didn't.

when you're mourning yourself, closure is a little tricky.

the one death you never get over is your own.

you can go fuck a duck.

i think i'm going to miss you the most.

do you want to do some acid?

i feel that my current reality is altered enough.

traveling alone has a certain magic.

what, did you all get together to vote me off the island?

the world is a very big place, and you are not the center of it.

let's just pretend everything is back to normal.

if you stand too close to a painting, all you see are patches of color. stand too far back, and you're missing all the detail.

haunting is all about envy.

i've always wanted to knock over a liquor store.

people mostly just want to hear themselves talk.

i work better alone.

i love the books that people leave here.

if a tree falls in the forest, who gives a fuck?

you can't smoke in here.

you have no respect for authority, you know that?

this job is really getting in the way of the business of living.

you only have one shot at life. this isn't a dress rehearsal.

i'm sorry i wasn't sweeter.

i'm sorry i didn't show you as much affection as i felt for you. i did love you.

i keep forgetting how young you were.

i love cemeteries. the quiet. the stories on headstones.

[revalition]

OCT 15 - ENDURANCE Take the blows. Don’t let the world kill you.

Endurance!! I don't love him, but that's okay. He's just not as interesting to me as the others, and spearheads the fascist questline. that definitely does him no favours. but I do cherish all the skills nonetheless, including him

Quotes under the cut!

endurance fun facts from my spreadsheet:

- swear score of 8 - damages and heals an equal amount of morale - says "we" more than "I" (almost double) - Endurance says "sorry" just once, when you're about to die

the heart attack endurance quotes are really really sad. which makes them excellent. but it's too painful for me to look at and I want to be able to use these posts as references so they're being omitted!

anyway, endurance quotes!

endurance definitely directing the blame back up to the intellect group here haha

this is so funny to me. endurance begrudgingly letting you have both kim and dora in his hypothetical aerostatic

I wasn't sure if I should give this one to endurance or PT, but I really like it. lovingly adorn him in a ceramic shell

your stomach doing his job well

uhm, is that how it works honey?

what is wrong with this skill?? (so, so many things)

see, there's 'what's wrong with him' said with utmost affection, like when I look at electrochemistry. and then there's without the affection. that's the version endurance gets. sorry my guy

(if you have your badge he confirms it's not your birthday haha) just the idea of harry asking one of his own skills if it's his birthday...

this heartwarming dialogue about being sober! I'm pretty sure it's not implemented in the game but I love it all the same.

this is a godly endurance check for some reason?? (maybe it's a fail? I can't tell on Fayde...)

endurance no! they're all idiots...

hghh endurance ew

this is too funny. tutorial agent not you too...!

this is so totally not here just because volition said it (picking "wait, get who back?" immediately damages volition btw, poor bby) ultramarathon is such a funny nickname. fitting enough, I suppose.

endurance is so stupid...

also endurance compromised!

amazing. ty endurance. I'm sure that's making Harry feel better

alternate:

YOU - Oh my god, I'm going to die! ENDURANCE - Yeah, probably, one day. But not this very minute.

endurance knowing what a focal epileptic seizure is and where it's occurring and then just going i'unno when asked if it's dangerous... why is he like this.

also you're *probably* going to die one day? cmon buddy

instead of asking why, you can also say:

YOU - Don't you sass me. Get on with the story.

hehe. Zone of Irredeemable Catastrophe! :(

of course your gut does, it has to do with gary... savvy having no interest in it is wonderful

as always much love for this infra-materialism book shutting down everyone's methods of thinking (except inland's)

running reservoirs haha. extremely rare polite endurance

I *think* I understand what he's trying to say... Volition has it right. Sometimes you need to be unmade to heal.

stupid endurance...

seagull dialogue has to be in here cause it's awesome. the body remembers... (also endurance saying good boy??)

first endurance line is the antipassive (failure) and the second one is the success. I don't think he's super impressed...

this is so random, just in the middle of talking to klaasje on the first day. uhm good job endurance...

what a normal, straight thing to think! all the skills chiming in on the smoker is so funny to me

don it and live!!

I have two screenshot spots left so here are my WIPs :)

he's just in the background in the banner one (the second one). I think he came out pretty cool in the spring storm one though (first one)

that's it! endurance is my least favourite of the fys skills by a landslide. I'm very excited for the rest of them :)

[morethansky]

***TBB FINALE SPOILERS***

"The Cavalry Has Arrived" aka MY OTP IS CANON NOW

A truly absurd amount of meta and thoughts and screaming under the cut:

Overall

• I...loved it????? This is the biggest plot twist of all for me. Like I've said incessantly, I've had so many issues with the writing choices for this show, and I'm so grateful the brainrot set in so I could start watching it through a fandom lens and have way more fun with it than through a media critic lens and being a hater. But like...that was actually really satisfying to me within the parameters of where the show had led to in the last four episodes??

• As everyone on the planet probably knows by now, I would've been much happier if this show had led to the Batch choosing to do the right thing and joining the clone resistance, and if we never get another clone series, I will continue to be unbearable and salty about the lost potential of telling that story. But after Echo left and we stopped following his story, I gave that hope up. And ofc nothing about my criticism of this season is invalidated. But given the pieces on the board, I'd pretty wholeheartedly give the finale my stamp of approval!

• I'm ultimately glad that this show ended on a "We don't leave our own behind" note, because that's the clone energy and general Star Wars energy I'm looking for, and they did a great job of applying that theme to every non-villain in this episode, minor and unnamed characters included—but it's still so darkly funny for them to have continued to push this idea even though the first season is literally about them leaving their own behind and moving on. And then Crosshair calls them out on it. And then he just...leaves himself behind. Even in their first appearance in TCW, the Batch's entire vibe is that they keep trying to convince Rex to leave his own behind lmao. I just feel like the show wanted this adage to tie everything together, but then forgot to keep applying it somewhere along the way. But hurrah for this abundant use of it!

• My overall biggest criticism was that even within this one episode we got back on the rescue/captured/rescue/captured treadmill. It's the biggest plot crutch of the show. It's so goofy that Omega and Echo rescued both the children and the imprisoned clones by themselves. The setup made it so that by going to rescue Omega, Hunter, Wrecker, and Crosshair actually put her in more danger. And because they were there, more clones died, wtf!! But I do like the narrative flip—Echo and Omega were both saved by the Batch in their introductions in this era, and here are they are being the ones to save them in return. Omega and Echo also are the characters in the main cast who deserve the rescuer plotline the most, since they have been consistently portrayed as helping those in need no matter what.

• Hilariously, one of the most pivotal roles that the Forest Trio plays in regards to the GFFA at large is that they were essentially Rampart's rideshare drivers, thus enabling him to be there and force Nala Se not to hesitate to destroy Project Necromancer.

Rampart and Nala Se

• Hemlock saying his work makes him indispensable is fantastic dialogue; it just seems like some dickish thing he would say to shit on Rampart, but it ends up giving Rampart the idea to try to leverage his work to become indispensable himself, and in saying that line, Hemlock ushers his own ruin!!! This is the kind of script work I've been begging for.

• Also I was so right about Rampart being like a Kallus foil! That infamous shot of him in his sad, sterile room after Bahryn is mirrored here with Rampart sitting in pretty much the same position, except his path is the opposite from Kallus's.

• They did an EXCELLENT job with Rampart's fate. I was worried they were neutering him these last couple eps, even if the comedy was gold, but this was very well done. Everything that happens leading up to his death makes complete sense for his character, and it accomplishes the very key plot point of destroying Tantiss. At the start of the season I couldn't figure out how and why the Batch was going to end up delaying Project Necromancer for like thirty years, so I feel validated that they pretty much don't. Very typical of this show to not have the protagonists do the heroic work, but fuck it, I like this instance.

• The humanizing of Nala Se in this show has always been a bit of an interesting choice given that this is feels like such a direct successor to TCW and she was so clearly a villain there. But although they don't quite redeem her, her motivations and her fate were also artfully executed here. Her conversation with Omega pretty much takes into account every Nala Se scene in this show, which is a great way to wrap her character up. And I really like the mirror of Nala Se giving Omega her datapad in the season premiere, and Omega giving Nala Se a datapad here. Both times, Nala Se is determined to set Omega free.

• And I'm so glad there was a follow-up to the destruction of Kamino as well! Nala Se getting a bit of revenge against one of the beings responsible for the genocide of her people and destruction of her homeworld is not something I expected at all, and I love it. And the setup of Nala Se picking up the detonator and Rampart picking up the blaster is just fantastic, because you know from just those two shots that Rampart is willing to kill to gain Palpatine's favor for himself, and Nala Se is willing to die to make sure the being she loves will be free.

Echo and Omega supremacy

• Give me an Echo-led rebel show where he convinces all sorts of people in the Empire and the underworld to defect/help them, please!!! He's so good at it, completing Emerie's turn so efficiently! We have to assume Rex is also good at it given his cell and that he has clone spies and even undercover agents, but every time he sees Hunter he has tried and failed to recruit him lmao. Also REX'S NAMEDROP but him not showing up surely means...we'll see a continuation of his story soon after this...right??? Also this means Howzer still lives, oh, thank god.

• "Because it's exactly what I would do." Strategist Echo comeback yessss!! A nice little callback to the Techno Union arc that kicked this story off as well. And HELL YEAH Omega's relationship with Echo is my favorite out of all of her connections, and I'm living for their spotlight together this ep. I'm extremely invested in found family stories not relying on nuclear family narratives, and I love that you see throughout the show that Echo doesn't "raise" Omega like a kid—he trains her like a cadet. Like someone who he intends to be his equal, which is a nice and very appreciated contrast to others treating her like a precious sheltered baby.

• Their goodbye scene in "Truth and Consequences" is one of my favorites in the show, and I just adore that when Omega is upset, Echo doesn't coddle her—he reminds her of her duty to watch over the others, giving her a purpose and a reason to stand tall. When he conveys that he was worried about her and thinking of her while she was captured, he gifts her a weapon he designed and made for her during that time, so that she won't have to be defenseless after being defenseless for so long in captivity. It's so clone trooper, and I love it and the glimpses these details give us about clone culture and how the older clones cared for the shinies and the cadets and showed their love for each other.

• I also liked that Omega couldn't have escaped without Tech's training, since slicing was so vital. And all her stealthy stabbing is of course reminiscent of Hunter. And finally some emotional payoff for the ongoing bit about Wrecker being afraid of heights! I'm weak for inspirational Star Wars quotes, and this show hasn't had many, but "Just stay focused on what's ahead, not what's below," is a lovely one.

Forest conversations, my beloved

• The Kiners scored the fuck out of this episode!!! So many clever, thoughtful reprises. This is the first reappearance of Crosshair's theme that's played on the synths since he began healing! And then it segues into a soft violin tremolo version that makes me cry, and then it intertwines with "The Sacrifice" from Tech's death, ouchhhh. I have a lot of meta I need to write out about the tracks "The Reunion" and "They Always Work It Out" and how they say so much about Hunter and Crosshair, but I can't believe how well my analysis paid off in the cues in this scene! More on that in another post.

• Gosh, Wrecker's injury scared the shit out of me. But I love him so much and I'm glad he got at least a little moment, even if he didn't really have a story arc here. Or you know, in the entire damn show. And I ultimately liked that the purpose of it wasn't just to freak us out but to give them a plausible disadvantage and to give Crosshair someone to fuss over the whole time and act more recklessly because of it, thus reiterating this key character trait of his.

• I love Crosshair being worried about Wrecker and Hunter and them being worried about Crosshair. That's the squad content I crave and have been missing!! Unfortunate that it specifically has been happening when Omega is out of the picture. Writers, I swear to you, you can do both.

• Can't believe it took another half season for someone to say something about Tech's death, and it was Crosshair, who wasn't even there?? Cool line and sentiment, but man, so frustrating. I like this callback to his conversation with Rampart, though. "Depends on who's giving them" and in this first act he keeps trying to give those orders himself. Thinking of Rex on Umbara: "We're not programmed. You have to learn to make your own decisions."

• God the forest conversations in this ep and the previous one fed me so much. Hunter saying, "And so do those clones" had me literally jumping out of my seat and cheering. Baby boy, it took you so goddamn long, but thank you for finally actually giving a shit before the conclusion of your story. And "It's what I deserve," hnghhh that's the good shit, and it hearkens back perfectly to "I belong in here." And Hunter immediately telling Crosshair hell no made me very happy. And then later Hunter saying "Crosshair—" when he's worried Crosshair is still going to sacrifice himself, but Crosshair reassures him that he'll be right behind them... My heart! What a Crosshunt feast we got in this ep!!!

• Can't believe we also got so many Crosswrecker moments from the get-go and they kept coming! And my three precious little Techwrecker crumbs: the way Crosshair specifically chooses Wrecker to say the cutting remark about Tech to; the way Wrecker bows his head because that was right on target; and Wrecker being the one to watch Tech fall and to scream, "Don't do it, Tech!" in "Plan 99" yet the one to say with such conviction here, "We've always known the risks. And so did Tech." That's just so...finally accepting your beloved is gone ;_; Not really deserved by the text, which kept all but a total of like maybe one total minute of mourning off screen for some fucking reason, but.

Clone X, more like Clone Sexy

• There aren't nearly as many Clone X dudes as I expected?? I guess Crosshair's situation wasn't that rare after all? Or do they just run through them super quickly because Rex's team keeps taking them down?? Regardless, god, THEY ARE ALL SO SEXY. The way they animated their movements was so creepy and hot. And them not speaking was so eerie, I loved it. And then the moment that CX-2 did was so effective and terrifying!!! But remembering that those were clones in there is so, so heartbreaking.

• I really like that Echo really felt like both a clone trooper AND the resistance agent he is now this whole episode, and Hunter, Wrecker, and Crosshair actually briefly got to feel like commandos. The slick stealth and silent communication was also very sexy.

• MY GOD, I loved these action scenes. They were lit and choreographed so cool, they were super intense and had real consequences and close brushes with death, and the logic of the fight flow was really good, too. A character being incapacitated because they went to try to help an ally is always a wonderful driving force for action and gives it that crucial character-driven element that raises the stakes, and is great for making sure the main characters aren't too OP, and there was a ton of that here.

• Hunter and Wrecker getting shot by laser cannons and Hunter pushing Wrecker away from the blast made me shriek in terror AND THEN CROSSHAIR SHOOTING THE PILOT DEAD ON NO HESITATION NO ANXIETY NO TREMOR BECAUSE HOW DARE YOU HURT MY HUSBAND I'M FUCKING LIVINGGG. And then Wrecker stumbling over to Hunter and lifting the debris like he does in TCW. Boom, three pivotal character-driven action scenes in a row that divulge a key characteristic of each character! Excellently written and directed.

• Also I am SO SO SO HAPPY that we're getting to see this protective Crosshair come out in full force!!! This is the Crosshair who risked his life to try to save Mayday, who shouted hysterically when Hunter fell into the ice and was so desperate to get him out, who worried over Omega on Teth. I also really like this contrast with how he was about Echo—"Echo's on it." He knows Echo will get the job done and be safe and that's despite his former prejudice against regs. He's worried about Hunter and Wrecker and that's despite previously spending time trying to hunt them down. And when he suffers consequences, it's because of him worrying about them, and that's so delicious.

• Finally got to hear Crosshair screaming! And Hunter was already the screamer in this show, but goddamn does he get to scream in this episode. Thank you, directors, for this whump material! My man Steward Lee never lets me down.

• THE WAY THAT WHEN CROSSHAIR IS TRYING TO SAVE WRECKER HE REACHES FOR A DC-17 OMG!!!! I feel so validated! And just like with Mayday, he's incapacitated afterward...

• God the way CX-2 waits to be tossed the vibrosword and then leans down with it while Crosshair is already incapacitated is SO brutal, like this is not a battle injury. It's straight up what Anakin fucking Skywalker does to Count Dooku just before he becomes a Sith Lord, like holy shit, dude. This scene is so cool and I've watched it 10,000 times over the past 24 hours, but also why did he do that lol, is he just supposed to be particularly cruel?? Obsessed with tormenting Crosshair for some reason?? Also, these vibroswords are exactly how I've pictured Ahsoka's being in A Future for Us :D

• At this point I was like, uhhh, the messaging of Crosshair struggling with this psychomatic hand tremor since the first episode of the season and then the symptom literally being taken out of his........hands sure is a Choice, especially coupled with how they've treated Echo (or you know, not). When they showed him still with the symptoms later, I was very relieved, AND THEN HUNTER LITERALLY CURES CROSSHAIR THROUGH THE POWER OF THE LOVE AND FAITH AND TRUST HE HAS FOR HIM IS THERE ANYTHING MORE BEAUTIFUL IN THE WORLD???? But I'm getting ahead of myself.

Echo is the GOAT

• "You were helping us, Dr. Karr?" / "I am." I love this subtle line and how Emerie acknowledges that she wasn't sure of her loyalties before but is certain now. And I love that she says such a clone trooper thing, "You have my word," and then doing the clone shoulder pat, especially in direct contrast to the natborn kids hugging Omega just before.

• "Hey, kids. ...And other kids." is just so fucking 501st, I can't explain it. I'm just so ecstatic that they did Echo such justice in the end, giving a nod to everything about his character, even his dorkass cadet personality. And it wasn't just so he could die, thank god!!!

• Like Echo even got a DARTH VADER homage??? That's his mass-murdering general (affectionate). More on this here!

• Also is there anything more Big Dick Energy in the world than Echo eviscerating Rampart—who either the clones would recognize as a former vice admiral or at least see his captain rank plaque—with what may not be a theme this show really earned but is ABSOLUTELY a theme that Echo deserves and has shouldered for over two seasons...and then just straight up shoving him out of the way so that he can talk to his brothers???? And with his stormtrooper helmet—which is like Echo refusing to dirty his hands (including his new, long-awaited one) by touching Rampart oh my god??? Sexiest man alive.

• So the answer is no, there isn't. Fives is hollering from the afterlife. Half those clones immediately developed a crush on him in that moment. That one clone later placing a blaster in Echo's arms so gently confirmed this for me (remember the symbolism of Echo making the energy crossbow for Omega? He even gives her his borrowed blaster in this scene), but it's so sad that he died because of it, whyyy.

• Also I love the "Clones don't leave our brothers behind" riff on the "We don't leave our own behind" adage. It's very fitting that Hunter would put it that way because he only means his squad (+/-1), whereas Echo would see it as meaning his people.

• And I love how when Rampart first shoves Echo, the clone in front that Echo's been talking to prickles and makes brief eye contact with him, to be like, "Should we take him? I've got your back." I felt that girls (gender neutral) in the bathroom energy so hard.

• The clones helping each other out of their cells made me so emotional. And it's the same way that Hunter and Crosshair do later...

• Echo asking for volunteers, just like Rex did on Umbara..................

• I think this post is breaking and I'm still only two-thirds of the way through my rewatch, oops. And yesterday I stayed up until 8 a.m. after I put it on again after watching it for the first time... I'm so normal about this show. More tomorrow!

• Part 2!

[writingquestionsanswered]

Hi, I have a technical question, I guess.

Lately I’ve repeatedly run into an issue when my characters are talking about basically the events of the previous scene — like, A and B do/witness something meaningful to the plot, then A talks to C, who wasn’t present at a time but needs to have that info. For example, a doctor sends the nurse to check in on their patient, then said nurse reports back and so on.

I’m not sure how I’m supposed to go about such cases — including both the scene and corresponding dialogue portion feels repetitive and redundant, cutting out the scene in favor of intact dialogue turns my narration into “tell, not show”, keeping the scene and skipping the corresponding lines leaves a huge gap in the dialogue that feels awkward and unnatural.

How would you solve this?

Keeping Absent Characters in the Loop

There's only so much you can do to keep an absent character in the loop when they miss out on important events. That said, your best bet is to alternate between the different methods to minimize repetition as much as possible. Here are the methods...

1 - Try to Work Them In - This won't work most of the time, because if the character's not in the scene, that's probably for a good reason. Still, it's worth going through these scenes and making sure there's not a way for the character to be in them. In other words, make sure their absence from the event is necessary. Because if you can eliminate even a few of these scenes where a character is missing and will need to be caught up later, that only helps things in the long run.

2 - Dialogue Catch-Up - This is definitely the method you'll use the least, because it really only works for scenes where there are just a few quick salient points the other characters need to know, and then other things for them to discuss/do in the scene.

So, for example, let's say you have the doctor sending the nurse to check on the patient. Then the nurse has to fill the doctor in on the patient's status, but also they need to discuss a couple other patients, and then a new patient arrives. This could be a good option for the dialogue catch-up, because after the scene where the nurse checks on and interacts with the patient, she can come back to the doctor and just say, "Sally is tired but ready to go home, and her vitals look great," and that's that... they can move onto the other stuff, and there's no repetition or rehashing of the actual scene.

3 - Reference of Future Catch-Up - Another option would be to have one character mention that they're going to catch the absent characters up later. Then, you can just skip that dialogue catch-up scene entirely, because the reader knows that catch up will happen. When the absent characters show up again and already know what they need to know, it's understood that they were caught up off-screen.

For example, the nurse can pat Sally's arm and say, "I'm going to let you get some sleep while I go catch Dr. Howard up on how you're doing." When the nurse and doctor are interacting in the next scene, maybe that evening, if the doctor says, "I'm sure glad Sally is doing so well," it won't be weird that he knows that. The reader understands the nurse caught him up later off-screen.

4 - Reference of Previous Catch-Up - Alternatively, you can start the subsequent scene with the absent characters saying they were already caught up. For example, you might start a scene with the doctor where he's interacting with another nurse who asks about the patient, Sally. Maybe the nurse can say, "I heard Sally is doing well?" And the doctor can say, "She is. Karina checked on her earlier and her vitals looked great." Or, maybe the nurse approaches the doctor and says, "Did Karina catch you up on how Sally's doing?" and the doctor can say, "Yes, she reported back to me about ten minutes ago. She's doing great!" Or, maybe the doctor walks into the next scene looking at his cell phone, and someone asks, "Good news?" and he says, "Yes, Karina checked on Sally and says she's doing great."

5 - Exposition Catch Up - You can also use exposition to let the reader know the characters were caught up. For example...

Doctor Howard was still beaming from Karina's update about Sally. Things had been touch and go for so long, he wasn't sure there would be a day when her vitals were steady. For the first time in a long time, he felt hopeful that she would be going home soon.

This method is great because it lets you also examine what the character thinks and feels about whatever information they learned about the event they missed. It's a good opportunity to work in other relevant details

By alternating between these methods and using the method that works best for each situation, you can greatly reduce the sense of rehashing previous scenes in character catch-up dialogue.

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[shiredwarf]

i'm gonna rant a bit about veilguard for a sec, spoilers behind the cut but honestly, it's just anxiety-fueled speculations and I need to write this down because I feel like I'm going insane. aptly titled:

WHAT THE FUCK VARRIC (aka please god no, please no)

i've done everything i can do up to recruiting davrin.... so I'm not that far into the game, I think, and I have no idea, I might be wrong about all this, and it's just weird writing but things are feeling off guys :(

so.....my thoughts.....

Did Varric survive the opening sequence?

chat.... I don't think so :( I really thought he did but I started growing more and more suspicious with each cutscene and I think it's time to prepare myself :(

Maybe this is preferable to him surviving and then being corrupted by the same lyrium idol that corrupted his brother but yeah, I don't think varric is really there because:

NO ONE TALKS TO HIM, no one visits him, no one talks ABOUT him in any way that would suggest he's recovering in the infirmary

NO ONE LOOKS AT HIM during cut scenes, or talks to him, or acknowledges his existence in any way :( Rook is the only one who talks to him/visits him/addresses him/looks towards him when varric talks :(

both harding and neve have talked about varric in a strange way. not confirming he's dead but in a sort of wistful way you might use when talking about someone who died and you're just at the edge of being able to think about them the way you remember them rather than as a corpse

neither bellara nor lucanis have spoken to varric AT ALL as far as I know, nor have they mentioned him??? wouldn't that be the first thing you do once you've been recruited?

the "power transition" was really weird to me because at first it did feel like they were just putting varric on bed rest so they could make me the main character. and I wondered why not harding? why not at least include her in that conversation.... unless of course it's all not real and varric was dead to begin with

that one line harding says at some point that goes sth like "if only I could have saved...." AND SHE STOPS TALKING! GIRL WHO! WHO!

solas seems very convinced he killed varric :( and then gives his typical cryptic non-answer when rook suggests he might not be dead :/

i really hope i'm wrong but honestly, i'm convinced now he's dead and no one but rook can see or hear him :( maybe he's a fade ghost, maybe he's a hallucination because we got our brains turned into scrambled eggs, maybe he's an echo? bound to bianca? maybe he died but left a piece of himself inside rook when we were knocked out and thrown into the fade?

or maybe..... it's not even varric :(

Is it even Varric???????????

varric guiding us through the story bit by bit really fooled me :( how could he be dead when he's telling the story :( but one thing I noticed very early on is how different his tone is from how he told the story in da2? again this might just be a writing choice but it's strange how he almost sounds gleefully foreboding at the end of each sequence :/

He has not told us anything we don't already know..... his dialogue is full of varric-like quips but whenever he talks properly he's like "remember how I told you...remember when you did this.... remember when we did that"

he never once mentions bianca's status! he never once looks at her even though she is broken right beside him. he never once made an attempt to fix her BUT I did get one quip from him that went sth like "can't wait to get out there, bianca is getting impatient"....SIR SHE IS BROKEN WHAT ARE YOU TALKING ABOUT ARE YOU JUST REPEATING COMMON VARRIC PHRASES WITHOUT CONTEXT?????

man I'm reaching but when solas and varric struggle there's a chime sound? as if the dagger went through the veil? and then there's like a fade tendril attached to the tip as solas pulls back???

and then there's all the fade light coming from the wound with the dagger still in it as if the fade itself was now inside his chest. when neve draggs him away later you can still see the green shimmer around his neck

varric looks very dead in the first scene in the lighthouse ... in fact he looks a lot like justice did .... but that could just be an artistic choice????.... his looks do improve after all.....dunno but it struck me as so familiar when I first saw it

and then when harding comes in and starts explaining where we are he gives you this look??? which is just a weird look? he looks like he's worried she might say too much right??? doesn't he???? that's not varric is it????

and lastly: WOULD VARRIC LET A BANDAGE STOP HIM FROM SHOWING OFF HIS CHEST HAIR! NO! :'(

so.... what if... we're being manipulated? something latched on? or maybe it's the dagger itself? we've been told over and over again in the last games that lyrium might be alive... maybe it was stuck in varric's chest long enough to learn about him and now we're the one carrying it around.... i dunno, seems strange because we already have two (three) antagonists but... i can't shake the feeling this is not varric :(

[anistarrose]

Lup's terms of endearment

[Plain text: "Lup's terms of endearment". End plain text.]

Lup is a character that it takes a lot of practice for me to write, but there's a particular calling card for Lup that jumps out both from her canon dialogue and from fanon, right? We all know it: Lup absolutely loves to call people "babe".

But... when I'm writing her, I also end up wondering if I'm overusing any given signature vocative, or other element of her speech. After all, fanfic writers, myself very much included, are always looking for quick effective ways to make characters sound like themselves — and in a case of a character like Lup, peppering in a "babe" often seems to work like a charm in terms of making her more Lup-like, especially if you're writing Blupjeans.

The thing about this vocative-centric, vocabulary-centric approach to character voice is that it can, at least theoretically, lead to us overdoing it, and overshooting how the amount that Lup would use "babe" in canon. Which isn't a big deal, it's just fic — but I'm very hyperfixated and I love Lup very much, so I wanted to break down a some of when, where, and why she uses "babe" and other terms of endearment, as well as other little nuances I noticed.

Continuing under the cut, but the tl;dr is: Lup absolutely calls people "babe" a lot, but it's not exclusively romantic, it can be either sincere or teasing in tone, and she tends to do so more as time goes on, not so much at the start of the century.

(Partially inspired by and overlapping with the contents of this post (link) by @keplercryptids!)

"Babe"

[Plaintext: "Babe". End plaintext.]

Lup (to Barry): Don’t blow yourself up, babe, I’m sure your beautiful body’s gonna get killed by the Hunger soon enough.

-Ep. 67: Story and Song Part 1.

Lup (to Barry): Babe, I love you more than life and undeath itself, but let’s get somewhere safe first, so we can really savor this tender reunion.

-Ep. 67: Story and Song Part 1.

Lup: Taako, Barry and I got this. You gotta keep trying babe, I know you can do this.

-Ep. 68: Story and Song Part 2.

Lup (to Barry): Hear that, babe? We're legends.

-Ep. 68: Story and Song Part 2.

Lup (to Barry): I’m about to smooch your fucking brains out, babe.

-Ep. 69: Story and Song Part 3.

Lup (to Barry, during heist planning): We’re good, babe.

-Live in Nashville!

The first thing that jumps out at me is how back-loaded, for lack of a better term, the use of "babe" is among all Lup's appearances. It's part of one of her most iconic lines from Story and Song, but she doesn't drop a single "babe" throughout the whole The Stolen Century! Go up and read those lines again — pre-Story and Song, there's not a single one!

I have a few conjectures here that might explain this. First, on a Doyalist level, one could attribute this to small sample size (Lup just doesn't have that much dialogue relative to her thematic presence), and/or to Griffin himself still feeling out her character in the first few episodes that she appeared in.

But on a Watsonian level: I'm purely speculating, but I wonder if it was a nickname she that first started using (or at least, using with regularity) for Barry at some point well into the establishment of their relationship, and from there, it bled out into platonic contexts too. Speaking of which, the fact that she predominantly uses it for Barry doesn't stop her from using it for Taako — in fact, though it only comes up once, it's in a very sincere moment of encouragement (as Taako struggles to transmute all of Phandalin into sapphire).

On that note, if there's anything I'll personally admit to wanting to see more of in fic, it's more of Lup using "babe" in platonic/familial contexts! It's hard to extrapolate from canon if this is a "just Taako" thing, an "any close platonic bond" thing, or an "anyone whatsoever" thing, but I just think it's so cute! (And I'd personally vibe check it as realistic for her to say to other IPRE crewmates, for example — but I'm possibly biased, as a Lup and Magnus friendship writer/enjoyer.)

Lastly on the topic of "babe," it comes up in a variety of contexts, but as alluded to above, it can be sincere or teasing — of which the teasing can, but doesn't necessarily, overlap with flirting.

Specifically, Lup uses "babe" twice while gently, lightheartedly questioning Barry's decisions or priorities, like his intent to blow himself up. It also comes up in teasing or flirtatious moments within emotionally charged moments, like the reunion, or when she gets her body back. It's just not exclusively used for deflating tension — see her sheer confidence in the "we're legends" line and how she revels in it, for example.

All in all, "babe" is clearly one of Lup's go-to all-purpose words, and I like that it shows her voice evolving over time, whether or not that was intentional by Griffin. "Babe" is by far the most worth analyzing of Lup's terms of endearment, but we'll also talk about:

"Dear"

[Plain text: "Dear". End plain text.]

Lup: We need to make sure our friends in the ethereal plane aren’t listening. Taako, could you do the honors and shoo them away? Taako: Go away! Lup: Dear, you need to Blink.

-Ep. 66, The Stolen Century Part 7.

Lup: Lucretia, dear, I’ve already forgotten about the whole thing. Oh, uh! [Smiling] Sorry, bad choice of words.

-Ep. 68, Story and Song Part 2.

With the obligatory caveat that we have an even smaller sample size here, it jumps out at me that Lup only ever uses "dear" in teasing contexts, reacting to mistakes both big and small. But it's also a word she uses to emphasize love and forgiveness — especially communicating that she won't breeze past a mistake like it didn't happen, but also isn't going to maintain hostility over it, which we see with Lucretia.

(You can even make an argument that Lup teasing Taako with a "dear" is at least a little tension-defusing too, because that scene happens in the leadup to Lup and Barry presenting the Relic plan. But it's less clear there if she's using it consciously with that purpose.)

Miscellaneous: "Honey," "Bud," "(My) Man"

[Plain text: "Miscellaneous". End plain text.]

Barry: I mean um… the Conservatories, I guess, for obvious reasons. Lup: Oh, oh sure, honey, that was a… that was a good one but, man, the food in Tesseralia though, like. It's hard to beat that.

-Ep. 66: The Stolen Century Part 6

Lup (to Magnus): What are you- why? [Laughs] We need to get- we need to- we gotta bounce. Look up. Look up, bud. It’s, it’s the Big H. It’s time to roll.

-Ep. 64: The Stolen Century Part 5.

Taako: Am I…? I’m not going to lose you again. Lup: Never. Never again, bud.

-Ep. 68, Story and Song Part 2.

Lup: So, uh, Davenport, bud, kinda curious why you’d, uh, decided to come back out here after you wrote us about all the ghost-based dangers you encountered, my man, didn’t you consider that we’d be coming to collect for, you know, the goddess of death?

-Live in San Francisco!

Now, a few more odds and ends for the sake of completeness! The first thing I noticed is that she calls Barry "honey" while teasing him a little bit, as they compare their favorite cycles (though I don't think she's necessarily lying, either) — overall very similar to how she uses "babe" in playful contexts sometimes, or how she uses "dear" with Taako or Lucretia.

"Bud" is for Taako, Magnus, and Davenport! Like "babe," it seems to be a very multi-purpose vocative — ranging from questioning her friends' judgment, all the way to deeply sincere moments. (Taako seems to bring out the sincerity more than anyone, unsurprisingly.)

Lastly, "Man" is used both as a general filler word/emphasizing word without necessarily filling in for a name or subject, or alternatively, transforms into "my man" exactly once when talking to Davenport. That one's interesting to me because "my man" is something associated a lot more with Taako — and specifically, used by Taako with people he likes and trusts (link), though it may or may not actually be a serious context.

Merle (giving Taako some shitty kelp shoes):  There’s a lot of give in kelp and if they’re too small, get ‘em wet and they’ll get bigger and these— These are for you. Taako (pretending he won't immediately cast Levitate on them): Oh, well, thank you, my man. These are just beautiful!

-Ep. 62: The Stolen Century Part 3.

Taako: Barry, I— You got all the time in the world, my man.

-Ep. 62: The Stolen Century Part 3.

To compare and contrast, Lup's only known "my man" is deployed against Davenport when she's kind of questioning his judgment, but he's obviously a person she likes. If you'll let me speculate, I wouldn't be shocked if Lup overheard Taako hit Davenport with plenty of "my man"-s over the course of the Stolen Century — just a guess, but it's something I'd really like to believe in, because the twins influencing each other's speaking styles is just so cute.

And that's all! This was an exercise I undertook to get better at writing Lup, but I always really intended to post it too, so I hope it was interesting and insightful — I knew it definitely left me with a new appreciation for how Lup's way of speaking evolves over time, in particular!

[kailoraurelius]

Seeing your notes I was curious to know how you choose which pov to write from? I know you said you have a reason for doing AIAOY from chloes pov, *and I also have two side questions about that specifically 🤣 but your other works. What factors help you decide?

*And so I don’t forget, you can answer a different time but: 1. are we eventually gonna read from becas pov? 2. which one for you is easier to write?

It depends on a lot of factors, actually. I actually haven't written my favorite type of POV switching yet. But I have written my second favorite, which is back and forth between Beca and Chloe. But that doesn't always serve the story I'm trying to tell.

So that's #1: What story am I trying to tell? For SG, I wanted the story to be about both of them navigating this extra closeness and realizing they've BEEN in love. So both POVs made sense. For Unendingly Yours, the story is about the horrors of time and the conflicting idea that it's all beautiful and worth it. So the POV is, of course, the vampire that's outlived everyone. For Occulta, the story is all about Chloe trying to find her footing and herself again now that she's broken away from her ex, so it being in her POV makes it easy to show her feelings on the world around her and within her.

But #2: What do I want the readers to know? For You and I, I wanted the reader to be just as surprised by the proposal as Chloe was, so obviously the final chapter, at least, had to be Chloe's POV. For Occulta, the whole magic system is something some readers may know some stuff about as it's based off DND, but a lot of it will have to be explained. So Chloe's POV best serves that, as she is clueless about it and the audience can learn right alongside her. For SG, where I was going back and forth, I would sometimes have to add or cut entire chapters or plot ideas so that things were being revealed to the readers in the POV I wanted them to be.

#3: What's the vibe I want readers to feel in the voice? This one weighs in pretty heavily. The core vibe of these characters is very engrained in me by now lol. This may not make total sense lol, but Chloe is warm, bold, far-reaching, open, infectious, outwardly yearning and loving, hopeful, bright, ridiculous. Beca is softer, cooler, darker, narrower, skittish, grey with brief bursts of color, secretly desperate, calculated, harder, witty, quietly devoted. The sunshine and the rain cloud. So when I write a story, I think about which of those vibes I want to convey. AIAOY is all fluff and comfort and brightness. Of course it's Chloe's POV. It's her voice the whole way through. Accidental (though I didn't really choose the POV cuz it was based on a thing I said on here) isn't as bright or warm or broad. It's a lot more calculated and focused. For this one, the POV determined the vibe instead of the other way around, but still. AND this allows me to do things like Occulta: where the vibes are ABSOLUTELY more Beca, so it's interesting to have Chloe as the POV.

And there's other, more specific things, like who do I want to say a specific line of dialogue and who do I want to hear it? Or I have this one line of prose I really want to include in a story, but who's voice would it fit best? Etc. So it's a lot lol.

As for your other questions: Are we eventually gonna read AIAOY from Beca's POV? I don't actually know! The story will take me where it takes me and, if it serves the story I wanna tell, then it's possible! For now, I don't see it going that way for many reasons, but who knows! And which POV is easier to write: Beca's. Always. I relate more to Beca's vibes so her voice comes more naturally to me. I adore writing Chloe's POV because she is more overtly observant and emotional, so I can really get into details of the whole scene. But Beca makes more sense to me overall, so definitely her.

[annasinterests]

I See Fire

|| main masterlist ||

a/n: i'm dedicating this to my love @tinygarbage because the percy brainrot has been unreal for both of us. i thought this up after watching a tiktok (pls don't ask me i literally watched it once, swiped out of the app, then threw my phone across the room) and so this is what we got fellers. ALSO, one line is directly inspired by/from the D&D movie, so i give credit to my boy edgin because honestly the scene about him being so unapologetically honest about his mistakes was everything to me (i also guessed his dialogue word-for-word that entire time and was RIGHT). honestly thinking ab whether or not if i wanna make a part 2 to this..

divider by @saradika ! ❤️‍🔥

word count: 682 words (who knew i could actually write under 1k)

pairings: percy de rolo x reader

warnings & tags: angst, past trauma, arguing, cursing, miscommunication, unresolved ending

“No!-” You seethe, hands balling into fists at your sides, “Don’t you get it?”

Percy scoffed, “You ask that like I should know, and I don’t!” He raised a pointed finger to you, “How can I when all you ever do is leave us in the dark!”

Your jaw clenches as you turn away. White-hot anger blazed your body and blotted out everything else, even the tears that brimmed your eyes and streaked your cheeks.

“Always putting yourself at an arm’s distance, acting like you have the biggest burden to carry– well, guess what? We all have shit of our own!” His rigid tone made your face scrunch up. “You push away every single person that tries to get under the surface, including us! We’re supposed to be a team, damn it!”

You hated him. His pompous attitude and sense of entitlement, as if he’s somehow better than everyone else, or deserves explanations for things that don’t concern him. You hated his stupid glasses that made him look pretentious as hell, and that unnecessary trench coat he wore at all times. And the way he constantly whips out some sort of contraption that leaves the others in awe, stroking his ego, but you wouldn’t dare give him the satisfaction.

But what you really hated, arguably most of all, was that he saw you. Right through all the acts and walls you put up to protect yourself– a promise that there’d be no more pain and tears for as long as you lived out your days.

A promise now shattered.

“Without trust, we are nothing.” The words are venomous, so full of exasperation that it strains his voice on the last word.

A sigh and some shuffling follows a moment or two after, and all you can think is how he’s undeniably soothing the crease between his brows while his other hand rests on his hip, a classic pose of his in high-stress situations. Not that you ever paid attention…

“Believe me, it’s not worth living life that way.” His voice was softer, almost apologetic, “It’s… lonely.”

Had you been completely blinded by your own emotions, you would’ve taken the opportunity to tell him to shove it and kick rocks, but you spared him.

“I, too, thought it was easier. I’d seen my loved ones hunted like game, my own sister betrayed our family name, Whitestone had been–”

“Whitestone still stands,” you snap harshly, abruptly cutting him off. “My home does not.”

It’s then you finally turn back to him with a chilling glare and darkened features. His expression drops to widened eyes and slightly raised brows, clear that he’d not been expecting that response. But now it started, and you couldn’t stop.

“My friends do not– my family does not.” The words are registering at higher decibels that burn your throat after each word, “My life– everything!”

You march up to him, squaring up before his infuriatingly tall frame, locking eyes with his. You were shouting in his face, reaching a point of zenith you didn’t know you had, your vocal cords raw and sore that you were sure they could snap at any moment.

“I’ve lost everything that ever mattered to me and it was all my fault!”

Your body is trembling from the sheer force of the confession, and the air isn’t getting to your lungs the way you need it to right now. Your eyes, narrowed and fierce, fight to maintain their focus, but that buried, broken part of you is clawing its way out with a strength you can’t compete against.

His eyes flicker between yours, his face softened by a frown. You force yourself to look anywhere but his pitying gaze; you don’t need or want it, especially from him. You hastily wipe away the tears with the back of your hand, take a sharp breath in, and then exhale deeply. Out of all people, you couldn’t believe the one person to break you down would be none other than fucking Percival Fredrickstein von Mu—

“You don’t really believe that… do you?”

Yes, of course I do.

[silverwhittlingknife]

did nobody ask you for red letter day? absurd! *I* wanna know about red letter day!

hello captain and friend anon!!! I KNOW I HAVEN'T UPDATED THIS IN SIX MILLION YEARS SO THANK YOU FOR THESE ASKS <333

okay SO the first thing is, you have to understand, my list of documents for this fic looks like this:

anyway i do love this fic even though it FIGHTS ME; it's supposed to have both Fights and Mysteries and both are hard to write 😅

anyway hmmm i'm going to cheat by including a Dick POV section that I am probably gonna end up cutting, because i like it but i also worry that it slows down the dialogue?

excerpt below the cut! the only context that you need is that Dick and Tim have been having the "should Tim call if there's danger in Gotham" argument again (Tim's position is "no"), partly because they both have genuine positions on this argument, but also because it enables them to sublimate an emotional conflict into a work conflict and thus avoid talking or thinking about their feelings, which is a shared pathology goal:

Dick would bet Tim never mouthed off to Bruce like this.  One of the many things that suck about being the knock-off Batman is that none of Dick’s orders really stick.  All of the responsibility without the authority to back it up.  At least when Dick was leading the Titans, they did what he freaking told them. …Mostly. …Okay, sometimes. The awful truth is—and he tries not to dwell on it because it’s pointless and doesn’t achieve anything, but—everything with Tim, sometimes it reminds him of the worst times with the Titans.  The same uneasy feeling of dread, like he’s grabbing for someone who’s slipping through his fingers.  Roy’s crossed arms.  The clock creeping toward midnight, staring at the champagne, knowing in his heart that Kory wasn’t coming.  After Tartarus: watching Roy walk out of the room, watching Donna follow him, staring at Vic’s back, Kory’s back, all of them walking out, and no one left but the newcomers.  When the personal is so fucked up that all you can do is double-down on the professional, and even that doesn’t help, and then— (Get a grip, Grayson.) And anyway, this isn’t like the Titans, is it?  Dick was out-of-line, there, in retrospect. He’s never been good at losing people gracefully.  Pushing Kory for marriage when she was already pulling away, trying to cling to her instead of letting her go.  Giving ultimatums after Tartarus, when he knew the team already resented his orders.  Making decisions behind Vic’s back, trying to force him to stay.  It’s an ugly bad habit, picked up from Bruce: things are slipping, and your people are mad at you, so you get scared, and then you get authoritative and controlling so you can hang onto them, except you can’t control them, so then they get even angrier and you lose them anyway.   It’s easy to see in Bruce, hard to see in himself, but he knows it’s there.  He barely managed to catch himself in time, with the Titans.   Is he doing the same thing to Tim?  Does he need to back off? But Gotham is risky.  Tim’s always been capable, obviously, but…it’s okay to be a bit authoritative, isn’t it?  Tim should call if there’s someone who looks unusually dangerous.  That’s just common sense.  Dick’s not asking for miracles, here.