#or like shows where the characters have common mannerisms

[xanderjkz]

Knox Overstreet- Fixing the problem of a kind boy

I like fucking love the concept of Knox's character and the message he portrays but holy shit they really fucked up when it came to the execution. Both in the movie AND book (ESPECIALLY there). This fandom takes its time to reconstruct his character to be likeable. But how would this actually play out in a better-constructed storyline for this dude with girl problems?

Well, that's the answer I would like to answer today

Knox in the official dead poets media

Like every poet in the movie Spotlight, Knox comes from a family that's enforcing the path of a lawyer. His father is one, which is how his storyline even starts. He is invited to the Danbury's because his dad helped the only responsible and well-mannered dude in the house. And in that same scene, they literally tell us that people expect him to be a lawyer. So there's this kind of pressure.

But not really because we never get to see that side of Knox in the movies where he clearly states that he doesn't like the path people chose for him. All he has is girls problems.

Which is sad considering that he could be so much more

But then we'd have to extend the movie by about 1 hour and that would make it unenjoyable because this movie is perfect because of the pacing they chose. It's fast and yet slow and kinda counts down to Neil's suicide in a way that gets stuck. Because he is one of the main characters and most scenes should be with him. Not with Knox considering if his life expectancy is okay.

So is there any extra scenes in the book?

...yeah no

"But how do we solve this issue with knox's awful storyline?"

Rewrite the book and hope for the best.

Since I'm an author myself I know that writing often gets complicated when your creative streak is gone but since I'm an author I'd solve it this way:

Keep the Chris storyline

Let that boy be problematic, let him make mistakes but not once that deeply traumatises someone like SEXUALLY ASSULTING someone. Knox is the message bringer of the bad side of carpe Diem. Sometimes seizing the day will make things worse because you didn't think it through. That's a great message to bring across, I mean how many 16-year-olds make mistakes that we thought were okay? A lot, and he is the one who made the mistake in the story.

"So how would you change his mistake?"

The storyline reinvented

He meets Chris like usual

Look he didn't fuck up here in the slightest. I too would be stuttering if I met a beautiful girl. And him meeting her through the Danbury clearly shows the problem he has to date Chris. It's classic anyway

Cut the bike scene and use his sister instead

From what I gathered his sister goes to the same school as Chris (can be mistaken but for this story she does! ) so he uses her to kinda pry into Chris's life and find things out. It is problematic if he literally implies stalking her but c'mon, at least someone in the Overstreet family has common sense and only observes in the distance...right? Besides who doesn't use their siblings for their advantages? Plus it brings depth to that mean. Seeing how he treats his sister could indicate his behaviour with people extremely close to him.

Let him attempt the party but be extremely obnoxious

That's what he's best at

His nickname is literally knoxious. But what the hell do I mean by being obnoxious? Let that boy not leave Chris's side. Why? Because that sets up his mistake. Being attached to someone's hip can be extremely uncomfortable and with Chet's provoke able (?) ass this can go wrong fast. (Also we can't forget that Chris is the one being played around like an object in this and this should be his biggest mistake as we do not treat anyone like that, especially women!) But what would be the breaking point for CHRIS and Chet and the thing where he decides that "carpe diem" is good to use (even tho it's not)?

HE DANCES WITH CHRIS

Okay, instead of him being an ass and kissing Chris, he's an ass and dances with her. He was under the influence when he made both decisions which isn't an excuse but something that pushed him towards it. Because Knox in his most sober self wouldn't even talk properly to her.

So, some lame-ass song from the 50s is playing and he grabs her hand. Maybe she danced with someone else and he stole her. Considering that the tension between Chris and Knox is already uncomfortable, this would bring it to the maximum. Chris (as the beautiful woman she is) would try to use this moment to finally talk about his behavior so he lets her go. And the moment he finally talks chet comes in.

This small synopsis is weak but let's be honest, no one would read a whole ass script abt this.

Anyway

Chet comes in, the situation becomes way out of control and the only person getting extremely hurt is Chris. As she was toyed around by Knox and Chet. So she leaves the party prematurely (as she should, take care of yourselves) and Knox returns to Welton with the same bloody nose as in the movie

He goes directly to her house

Him doing so is a direct response to his failure. Between the party and them talking he needs to reflect on his failures and feel genuine guilt. It sucks that he can only do so once he gets punched but at least he has the mind to realise that.

But Chris isn't that easy to talk to. Obviously, this whole thing made her feel weird and sad so she avoided both of them. When he goes up to her house and gets rejected? He talks with Keating.

Mentor Keating

Not only would this solidify his last scene in the movie more but it also gives them a connection more than Keating humiliating him. Okay, but can we fit this into the movie? Not the conversation but he could easily fit it into the scene where he returns to Welton after talking to her.

"What would Keating tell him?"

The same thing he told Neil. Honesty.

Fate decides itself in the decisions you make and Knox knows that lies won't wrap her around his fingers. So maybe honesty carries them to a state where they can be friends.

So his masterplan gets made and it's the most trope-st shit you can think of.

Throwing a rock in the night at her sweet sweet window

Why did I think of this? Well, do you like the scenery of how he originally apologised and made everybody look at her?

At least it's at night so fewer people look and it would show us the skills he earned from sneaking off bc of the poet's meetings. Thus showing the audience more connection to the group. Plus at night people are mostly at their most vulnerable time and it would get Chris to talk.

But what would they talk about?

Considering that he finally saw the wrong parts of his obsession with her, he would give her the space to express her discomfort to its fullest after he of course apologises. But I think Chris wouldn't even express herself to the fullest because she has sympathy for him. She understands that loving someone can make you sick and twisted when you're a teenager but she is still her flesh and mind who clearly didn't want it to cause her relationship to break.

She might not express the worst anger that comes with something like this but she still expressed her sorrow in this mess. And Knox listens and sees the wrong in his actions. He doesn't need to justify himself because no justification could make this play in his favour. And when all is said and done, she forgives him for being so damn obnoxious.

But she doesn't like him in the way Knox wishes her to feel. And knox needs to learn to accept it. Like we all do

The story progresses without knox getting what he wants

Through this whole story he went through, we as viewers get the message that even if you apologise, it's up to the victim of your actions to give you what you want. And throughout the film, I never even got the notion that Chris has an interest in Knox. Hell, they don't even talk that much to build a conclusion on their goddamn relationship before he kissed her. He sets the message of a "Carpe Diem" gone wrong. After that, he is a reminder of us humans and our way of going through those problems you cause.

There are probably better ways of doing his arc, heck give him a different one. I mean he has potential. Maybe he's better off once the group splits or maybe he isn't.

But the way he is in the movie is a horrible portrayal of romance. I get it, the script is from the 80s but c'mon you're allowed to admit that it's bad.

Well, there's nothing we can really do, the movie in itself is an art and should be viewed as it. It fits into the zeitgeist of past generations and our present ones. I love the movie but if I had to change one storyline it would always be Knox oversteet's

Btw can be talk about how stupid his fucking name is? Who names their child Knox? With the last name OVERSTREET

[droaxa]

the villainesses scheme

✧ tags: yandere haikyuu male leads x villainess reader

✧ warnings: yandere behavior (later on), reader hits her head

✧ a/n: hi guys guess who’s back!! i love the isekai trope where the mc gets reborn a few years before their death and i needed to put my own lil’ twist on it! i’d love to turn this into something longer (like a series or something) so give me your thoughts!! my recent haikyuu obsession led to this one lol, inspired by: the male leads were stolen by an extra

You were a loser, well not exactly. You had a pretty stable job and a nice flat but lacked one major component in your life: friends. But it’s not like you were antisocial! Moving to a new city just a few months ago, you had been busy with moving in and didn’t exactly have enough time to make friends.

Besides you were preoccupied with your favorite web comic of all time: Flower of the Estate! A commoner girl that has three noble men falling for her? This girl really had some crazy cha(rizz)ma. You weren’t really into harem type stories but wow did it keep you coming back to see what happened.

It was another late night reading Flower of the Estate when you decided to head to the kitchen to get some snacks to keep you fueled. However, when you turned to retreat back you slipped on spilled water near the sink and hit your head on the granite counter! You mentally curse yourself for not cleaning it up as you drift into a deep slumber.

When you open your eyes and the lights blind you, quickly slapping a hand over your face you shoot up. Registering the soft plush beneath you you opened your eyes, when did you get in bed? Looking around your jaw drops, who the hell put you in a room like this! The whole room was illuminated by sunlight peaking behind the luxurious navy drapes and you gasped at the sheer size and extravagance of the bedroom. You were… in a castle?

Jumping off the bed you immediately fell to your knees with a thud. How long had you been out for that your legs were this weak? You push yourself up and stumble to the mirror on a vanity next to the bed. The satin fabric of your night gown fell to the ground, revealing the length that had been bunched up while you were sleeping.

In the mirror, the first thing you see is (e/c) eyes and a face eerily similar to yours. It was your face and body for sure but the state of it wasn’t, your hands were usually rough and your knees were scarred from playing as a child but now both were smooth and even. Then your eyes feel on a crest engraved onto the top of the vanity and your heart dropped.

The beautiful family crest of a black fox protected by two swords was a prevalent symbol in Flower of the Estate. It was the crest of the villainess. You, (y/n) Aleria, were the cruel villainess of the story, waking up here and looking like this had no other explanation. To see if it was true you quickly pushed the sleeve of your left arm up, on the wrist was a faint birthmark. A scar in the shape of a half moon, your fate was sealed. You fall back on the bed. ‘Shit.’

You were official the villainess of Flower of the Estate, who bullies the main character, get thrown out of high society, and then dies. You knew the path that the villainess followed and the actions she took, did that mean you could avoid facing the same death as her as well? The first mistake that she had committed that set her on the path of destruction was her bullying of the main character.

The villainess was notorious for her extravagant lifestyle and cruel manner, she didn’t have anyone close to her and the book never showed her point of view. You knew the basics about her but who was (y/n) — really? Was she really just jealous of the commoner girl that had managed to outshine her or was it deeper than that?

No matter why she behaved that way, you knew that following on her footsteps would only lead you to doom. You needed a game plan, plus you read enough reincarnation manga to know what basic things to avoid as the villainess.

Love Interests and Relations:

Tooru Oikawa - Childhood love (One sided) and (y/n)’s main obsession

Tobio Kageyama - Royal knight who pledged their loyalty to (y/n)

Ushijima Wakatoshi - Esteemed scholar who ended up being (y/n)’s tutor for a short period of time

Ok… this would a little harder than you thought. Why were all the love interests involved with the villainess anyway? Oikawa could be avoided easily enough, you just needed to distance yourself from him and considering that Oikawa was keen on getting rid of you. If you remembered correctly he was rather annoyed by the villainess who would cling to his side like a lost puppy. As for Ushijima, you knew that he would only be your tutor for a month, then leave your care to meet the main character who he would eventually fall in love with. Kageyama would be the hardest to get rid of compared to the other two, he would be around the villainesses the longest and somehow fall in love with her. However much like the others, he would fall in love with the female lead and leave (y/n) to be with her, withdrawing his pledge to be by her side.

Ugh. This is going to be a headache isn’t it?

[tow-bees]

okay but the thing about this tho is I actually love reading stuff where all the characters, in addition to their unique mannerisms that are distinct for each character, definitely all have an overlapping specific way of talking that was definitely influenced by the author’s very specific way of talking because it makes the story and characters have a very specific flavor that only that specific author could put into it (which I personally find very fun and charming)!

 Additionally, I think it makes the existences of fictional stories feel more concrete and believable when all the characters share very specific mannerisms because of course everyone in this story exclaims “what the heckaroodle?!!” whenever they are surprised - even though I have never heard anyone say that in real life - because it must be that the world in this story has developed in such a way that “what the heckaroodle” is a common phrase, and since all these characters exist in and grew up in this world of course they all say it (even though it is really just because the author says “what the heckaroodle” on the regular). I personally think it helps feel the characters feel more connected to their world and to their existence in it with each other (even, and possibly especially, in stories that take place in the real world).

and like I am definitely no expert in this for sure and it definitely makes sense to not want all of the characters to just sound like you, but I just really like it when stories have that Thing about them that comes from the author unintentionally putting some of their own specific existence into the story.

Character-voice is I think one of the hardest parts of writing and here's two charts to explain my thoughts on why.

The intention:

The thing I think is maybe happening which I have no idea how to check or prevent:

[moki-dokie]

been seeing some stuff on blue eye samurai and big yikes to nearly everyone pushing extremely western ideals onto these characters.

this is early edo period. 1600s. the japan you know now did not exist yet.

yall. please. there was NO concept of sexuality in pre-modern japan. that came with both the influx of christianity and western influence very very late in history. like, mid-1800s. (yes, there was christianity pre-1800s but it was not a widespread idea yet and wouldn't be until about the 1800s since, y'know, missionaries were routinely murdered before then)

"so and so is either bi and hasn't figured it out yet or..." no. that isn't how it worked then. nobody gave a shit what was between your legs. anyone could be attracted to anyone else. it was a little more common for male homosexual relationships to be between an adult and younger male - like many other places around the world - but two adult men could bang and love each other just as easily. relationships between women were quite common - especially since so many men were often away at war. there's tons of pornographic prints from the time depicting all manner of fun queer relationships. sex itself had absolutely no moral assignment to it. good sex was good health. it didn't matter who with. (well, social class/caste mattered more than anything else tbh but that didn't stop upper and lower class from fucking.) that isn't to say people didn't have preferences. of course they did. that is human nature. preferences arose more from physical appearance, caste, and circumstances with gender being about the last thing one would look for in a partner - romantic, casual, or otherwise. the only role in sex where gender actually mattered was for procreation.

there would be no queer awakening moment, no sudden switch flipped, no stigma to have internal conflicts about because it simply did not exist as a concept whatsoever. you were either attracted to a person or you weren't, it was that simple. gender played no role when it came to sex and sexual attraction. the japanese were lightyears ahead of western cultures in this particular area - like most cultures were before christianity came in and ruined everything with its backwards morals and strict good/evil dichotomy.

yall have got to realize queer rep will not and should not always adhere by modern western standards. there was no straight, gay, bi, or anything else of the sort. the closest they ever got was referring to roles during sex - as in who is giving and who is receiving.

i know this is mostly a made up story but it is still set within a very specific time period and culture, which should be honored and respected by not making it fit into our box. tons of research went into making this show historically accurate (albeit with some discrepancies but tbh they aren't really that huge) right down to the calligraphy writing. please please please don't whitewash the culture from these characters.

i say this mainly because without this knowledge, so many of you are going to build these characters up on a foundation they aren't meant to be on and then you'll rage about queerbaiting and bad queer rep if it isn't somehow super explicitly stated, if it doesn't match your very modern, very western ideal of what queer looks like. don't try to force this plot and narrative and characters into something they canonically and historically aren't. headcanons are a thing, AUs are a thing, fanfiction is a thing - leave your western thinking for those and let these characters simply exist as they should otherwise. this is one of those times where the queerness really does not need to be examined at all beyond what we get.

i know it can be hard to wrap your head around - sexuality is such a huge part of our identity in the western world and has slowly started to spread amongst other parts of the world in importance. but just keep in mind with these particular characters, that concept would be so very alien to them.

[writingwithcolor]

Non-offensive Historical terms for Black people in historical fiction

@pleasespellchimerical asked:

So writing historical fiction, with a white POV character. I'm not sure how to address race in the narration. I do have a Black main character, and I feel like it'd feel out of place to have the narrator refer to her as 'Black', that being a more modern term. Not sure how to do this without dipping into common historical terms that are considered racist today. Thoughts on how to handle this delicately, not pull readers out of the narrative? (fwiw, the POV character has a lot of respect for the Black character. The narration should show this)

There are non-offensive terms you can use, even in historical fiction. We can absolutely refer to Black people without slurs, and if slurs is all one can come up with, it’s time to go back to the drawing board. I cannot say which terms are best for your piece without knowing the time period, but hopefully the list below helps.

Historical terms to use for Black people (non-offensive)

African American documented as early as 1782 (documented in an ad in the Pennsylvania Journal). Note the identity isn’t accurate for non-American Black people.

African could refer to African people or “from 1722 as ‘of or pertaining to black Americans.’”

The place of origin could also be used. For example, “a Nigerian woman”

Africo-American documented as early as 1788.

People of Color documented as early as 1796 (with specific contexts, usually mixed people)

Afro American documented as early as 1817, 1831 (depending on source)

Black American documented as early as 1831 

Black was used in Old English to refer to dark-skinned people. Black was not capitalized until recent years, so “She was a young black woman.” would make sense to say, though “She was a young Black woman.” is the better standard today, although not universally adopted. I personally prefer it capitalized. 

Moor was used as early as the late 1400s for North African people, but had a somewhat flexible use where anyone visibly Black / Of African descent or the Afro Diaspora might be referred to or assumed as a Moor. Note, it has other meanings too, such as referring to Muslim people, but that doesn’t mean the person using it is going by the dictionary definition. Not really the way to go today, but okay in a historical setting (in my opinion).

Biracial (1860s), mixed race (1872), multiracial (1903) and multicultural (1940s) are also terms to refer to people of two or more races.

Occupation + description. Throughout history, many people have been referred to as their occupation. For example, the Carpenter, The Baker, the Blacksmith. Here’s an example of how you might go about using occupation and traits to identify a Black character in history. Here’s an example I came up with on the fly.

“You should go by Jerry’s. He’s the best blacksmith this town’s ever seen. Ya know, the real tall, dark-skinned, curly haired fellow. Family’s come here from Liberia.”

Offensive and less-sensitive terms for Black people 

Blacks was used in plural more, but this is generally offensive today (Even writing it gives me **Thee ick*)

Colored was mostly used post-civil war until the mid 20th century, when it became unacceptable. This is not to be conflated with the South African Coloured ethnic group.

Negro/Negroes were also used as early as the 1550s. Capitalization became common in the early 20th century. I'm sure you know it is offensive today, though, admittedly, was not generally seen as such until around the 1960s, when Black replaced it. It does have its contexts, such as the trope “The Magical Negro” but going around using the term or calling someone that today is a lot different. 

Mulatto referred to mixed people, generally Black and white, and is offensive today. 

The N-word, in all its forms, is explicitly a slur, and there is absolutely no need to use it, especially in a casual manner, in your story. We’ve written about handling the N-word and alluding to it “if need be” but there are other ways to show racism and tension without dropping the word willy-nilly.

Deciding what to use, a modern perspective

I’m in favor of authors relying on the less offensive, more acceptable terms. Particularly, authors outside of the race. Seldom use the offensive terms except from actual direct quotes.

You do not have to use those offensive terms or could at least avoid using them in excess. I know quite famous stories do, but that doesn’t mean we have to so eagerly go that route today. Honestly, from teachers to school, and fellow non-Black students, it’s the modern day glee that people seem to get when they “get a chance to say it” that makes it worse and also makes me not want to give people the chance. 

It goes back to historical accuracy only counting the most for an “authentic experience” when it means being able to use offensive terms or exclude BIPOC from stories. We’ve got to ask ourselves why we want to plaster certain words everywhere for the sake of accuracy when there are other just as accurate, acceptable words to use that hurt less people. 

Disclaimer: Opinions may vary on these matters. But just because someone from the group cosigns something by stating they’re not offended by it, doesn’t mean a whole lot of others are okay with it and their perspectives are now invalid! Also, of course, how one handles the use of these words as a Black person has a different connotation and freedom on how they use them.

~Mod Colette

The colonial context

Since no country was mentioned, I’m going to add a bit about the vocabulary surrounding Black people during slavery, especially in the Caribbean. Although, Colette adds, if your Black characters are slaves, this begs the question why we always gotta be slaves.

At the time, there were words used to describe people based on the percentage of Black blood they had. Those are words you may find during your searches but I advise you not to use them. As you will realize if you dive a bit into this system, it looks like a classifying table. At the time, people were trying to lighten their descent and those words were used for some as a sort of rank. Louisiana being French for a time, those expressions were also seen there until the end of the 19th century.

The fractions I use were the number of Black ancestors someone had to have to be called accordingly.

Short-list here :

½ : mûlatre or mulatto

¼ or ⅛ : quarteron or métis (depending on the island, I’m thinking about Saint-Domingue, Martinique and Guadeloupe)

1/16 : mamelouk

¾ : griffe or capre

⅞ : sacatra

In Saint-Domingue, it could go down to 1/64, where people were considered sang-mêlé (mixed blood for literal translation, but “HP and the Half-Blood Prince” is translated “HP et le Prince de Sang-Mêlé” in French, so I guess this is another translation possibility).

-Lydie

Use the 3rd person narrative to your advantage

If you are intent on illustrating historical changes in terminology consider something as simple as showing the contrast between using “black” for first person character narration, but “Black” for 3rd person narrator omniscient.

-Marika

Add a disclaimer

I liked how this was addressed in the new American Girl books it’s set in Harlem in the 1920’s and there’s a paragraph at the beginning that says “this book uses the common language of the time period and it’s not appropriate to use now”

-SK

More reading:

NYT: Use of ‘African-American’ Dates to Nation’s Early Days

The Etymology dictionary - great resource for historical fiction

Wikipedia: Person of Color

[mylight-png]

A while ago I was listening to Dara Horn's podcast relating to her book, People Love Dead Jews. Within this podcast she discussed the fact that Holocaust museums tend to center stories that highlight ways in which Jews were just like anyone else, putting secular Jews on a pedestal of sorts.

The podcast went on to make the point that we shouldn't have to be like them to be liked. A Jew in a kippah is just as worthy of being accepted as a Jew in a baseball cap, and to position one, the more assimilated one, as "better" is antisemitic.

This made me think of how movies and shows portray Jews, and I realized a similar pattern of idealizing assimilation is deeply prevalent.

There are two main ways Jews are portrayed in movies/shows that I've noticed that are problematic. (For a narrower scope I'll be discussing American media as I am more familiar with that than most other countries.)

The first kind of Jewish representation is the token Jew. This is the character that the viewer wouldn't even have known is Jewish had the show not casually mentioned them celebrating Hanukkah in passing. This is the character who is entirely the same as any other character. An example of this would be in Ginny and Georgia, where a few side characters are revealed to be Jewish. This reveal occurred only for the purpose of making a Hanukkah episode, and immediately one of the characters says the beginning words to most of our prayers, adding "bitch" at the end. This sort of absolutely blatant disrespect towards the words many of us wouldn't even speak fully in casual conversation is meant to indicate that it's okay to poke fun at our religion. (By the way, it isn't okay. Don't disrespect our religion, thanks.) (And no the actress wasn't Jewish.)

Then there's Ben Gross from Never Have I Ever, a similarly extremely assimilated Jewish character. Instead of making fun of Judaism, however, the show plays into Jewish stereotypes. Ben's dad is a wealthy influential lawyer who works with Hollywood. Come on, there's three in a row there. Ben himself is frequently made fun of for being very short (to an extent not befitting the actor's actual stature), and some of his mannerisms could be described as effeminate. All of these traits play into anti-Jewish stereotypes. The protagonist even says she wishes Ben was killed by Nazis and other than a scolding this isn't made to be the big deal that it is.

These sorts of characters are meant to show how Jews are "just like you!" and pokes cruel fun at the few remaining things that do occasionally set them apart. Yes, secular Jews exist, but the way these shows make fun of their Jewish identities is where the issue arises.

The second problematic representation is meant to make goyim feel good about being goyim. This is specifically done through how Judaism is portrayed in these movies.

A major example of this is the show Unorthodox, in which the plot centers a young girl trying to escape her very observant community. This show directly demonized the Jewish religion, making it appear inherently oppressive and twisted.

While some may argue that the show was merely trying to portray the social issues within the community, there are better ways to achieve this.

The book An Unorthodox Match takes on a similar task with a vastly different tone. The book centers a protagonist joining an equally observant community, but not for a moment does the book, author, or protagonist blame Judaism. The book is very clearly written by a Jew who loves Judaism, and yet it manages to highlight similar social issues to the show without blaming Judaism. In fact, Jewish traditions have a fair share of appreciation in the book!

This sort of media is meant to make the goyishe viewers be grateful they aren't part of those communities, but as a Jewish viewer I felt deeply uncomfortable with the positioning of religious Jews as a negative part of society. This media makes the characters seem like they have nothing at all in common with the goyim around them or the goyim watching the show. It's the polar opposite of the previous example.

The first example is showing Jews as "just like anyone else" until they aren't, while the second example portrays Jews as entirely other. Never have I seen an Orthodox Jewish character side by side with the non-Jewish characters in any other context than the Jewish character envying their non-Jewish peers.

Why is the choice either to be assimilated or othered? Why can we not have an observant Jewish character remind their friends that they can't hang out on Saturday, or maybe they bring their own kosher snacks? Maybe a Jewish character muttering a bracha over their food? Why not make being Jewish an important part of their character without making them self-loathe because of it?

Media almost only ever shows two extremes and neither of those extremes has a positive impact on the perception of Jews.

(There is also a pattern I've noticed with Jews and goyim being cast in Jewish roles and how that corresponds to the character, but that's probably another post for another time.)

[sapphic-agent]

So. I finally read this fuckass comic that's been talked about again recently. I'd only ever heard about it before so I decided to check it out. I'm gonna go through some of the pages and give my two cents because why not?

I'm not gonna lie to you guys, I don't get how Katara is "out of character" here. This is very reminiscent of Book 1 Katara, who was playful and teasing and immature and acted like, y'know, a kid. I know Bryke might have you thinking otherwise, but she shouldn't baby Aang all the time.

Especially because he is supposed to be practicing and just... isn't doing it. This was her way of lightheartedly trying to motivate him, which I think is pretty on brand for her.

You could make the argument that Katara is being dismissive here, but honestly? The subject clearly makes her uncomfortable. She was kissed (without consent) before a major battle by someone she saw as a friend. Of course she was uncomfortable. She has every right to not want to talk about or acknowledge it.

Calling that out of character is not doing Kataang shippers any favors when the most common criticism against them is their tendency to brush aside Katara's autonomy.

(At first when I saw this panel, I thought maybe she was being a little abrasive towards him. But... She's the same way with Toph in The Runaway. This isn't behavior that came out of nowhere. Why is it that it's only a problem when it comes to Aang?)

I guess a better question here is, is Aang out of character? For me, it's actually yes and no.

I think they made him overly mopey. Like yes, he's had his moments in the show, but drawing hearts in the dirt? What kind of shit is this??

Not to mention his weird little monologue inside the rock ("Who's really playing games here, Katara?" Are you actually serious, Bryke? Idc what anyone says, those words would never leave Aang's mouth). It feels like a bid to make him more sympathetic so that the reader feels bad for him. I'm fine labeling that OOC.

However...

Do I think Aang would purposely physically hurt Katara? No. Do I think Aang would get so caught up in his emotions that he stops being mindful of himself and his surroundings? Well.

Both times you could label an accident. But both times resulted from Aang being careless and being unable to regulate himself. Now, you could make the argument that this is OOC because Aang learned and developed past this point. And I would agree, if we were talking about Book 2 Aang or even mid to late Book 1 Aang.

But honestly, character regression is very on point for Book 3 Aang. Especially post DOBS. Most of you already know about my beef with Book 3 Aang, so I won't get into that.

Now, I do think that Aang would be a little more apologetic and guilty considering how regretful he was in Book 1. But him prioritizing his own feelings instead of how he affected her? Completely on-brand. In EIP he was upset about how he messed up his chances with Katara, not that he kissed her without consent and upset her.

But even if this couldn't fit Katara and Aang as characters, even if they were outlandishly OOC and completely different from the characters we knew, that doesn't really matter. This comic is official and canon. Just like the comics where Aang ignores her in favor of his weird fanclub and she swallows her hurt and puts up with it. Just like LOK where Aang is a neglectful father and Katara is a mild mannered housewife.

You can dislike this comic and criticize its portrayals all you want. But it's still canon. You can't ignore canon, especially when your main argument for Kataang being better than Zutara is that it's canon

[luna-loveboop]

Twilight and Legends relationship

...I love it

**in this post there's a lot of stuff I didn't notice before. I'm gonna resist the urge to write an essay on each point, and attempt to leave most of it up to the reader's interpretation**

Ok ok there's a ton of stuff here, starting with early character scenes

They're like the rest of the chain: They fight together and talk. Legend is close to Hyrule, and Twilight to Wild and Time.

We see some things Twilight and Legend have in common. One is their dislike of Hyrule knights, and-

As seen in the Gerudo clothes scene, both Twi and Leg like to mess around with pranks and have a lot of snark... wonder what would happen if they worked together

But there's something really important about how Twilight views Legend:

I wasn't aware this was before looking closely at their interactions but... Twilight didn't originally like Legend. This is shown a lot later on- in his facial expressions and words towards Legend. But from the start he didn't like him much, and here's why:

From the start, Jojo says this- Twilight judges Legend's actions as too harsh since his mannerisms come across as picking on someone. (Also Sky you are so so pure and cute 10/10 most huggable Link)

Legend is abrasive because he's had so many adventures- he's hardened to the point of being sharp. But it's wonderful that that character can still be so loved- his heart is good (hero duh)

Twilight has always been a big brother. It makes him well loved (rightly so). Jojo says he knows people can change- for good or bad. But because of his past Twilight doesn't like people picking on others "not even a little". It's complicated- we see it affect Twilight's attitude towards Legend a lot.

Anywho moving on to the plot

Wolfie, Aka twilight

Dark mirror stuff happens, and Legend finds out Twi's Wolfie- as we all know. But he can't just. Acknowledge it of course. He's gotta probe and tease, asking pointed questions (snark snark snark)

And in his attempts to be certain about the Wolf stuff, we were blessed with:

Bunny Legend

Welp. That investigation did not go as planned.

Animal forms:

Bunnies are soft, but Legends actions are not. He is guarded and sharp yet his form shows how sweet his true heart is

Wolves will love/protect their family yet are fierce, they have fangs and will fight. The root of who Twilight is is his kindness and family

Also (sarcastic) good job to Four and Wild for being SO SUBTLE with their emotions when Legend's asking questions hinting he knows Twi's secret

Legend: asking questions about the secret shhh

Four and Wild: Are having a freaking heart attack about it

Twilight: starts ranting about goats

...

Once Twilight gets over the shock of Legend like. Absorbing his crystal. He... well, looking at the harshness in his face and words, this is where Legend's attitude and his past with Colin being bullied biased him against Legend.

Look at his face in each panel through the progression- Twilight is more and more confused thinking legend is not who he thought he was...

And Twilight certainly sympathizes/relates to being hurt by losing someone he loved (in whatever form the relationship took)

And WHY is it always girlfriend trauma with these boys of COURSE it's girlfriend trauma that brings them together NOT SHARING A SPIRIT AND LOVE OF SWINGING GLORIFIED METAL NO THEY HAVE TO BOND OVER RELATIONSHIPS GONE WRONG

Twilight then thinks well that's a good reason to be pretty changed because from the start Jojo said he'll always understand people changing...

So they go, and make legend human again (with pink hair) and Legend is... surprised. And grateful...

Another few defining moments:

Legend's dialogue thanking him is the real start of them connecting like in Leg's original character description "the most reliable, you want him on your team"

And again Twi's face, Twilight is looking at Leg differently throughout this- contemplating to be honest. Considering...

And remember when I said these two both like to prank? Well the second they have a shared experience and get back to camp they immediately team up and start barraging Warriors with snark

Heaven help the chain when these two are on the same side

Legend has never been close to people outside of the few he's accepted as his (love him and hyrule's bond). After this? Twilight's one of his people. There's much more expression of caring and closeness towards Twilight- something we don't see with many.

And then, well, Twilight nearly dies. And Legend, he cares

Bunny boys puppy dog eyes are gonna kill me someday

Twilights pretty injured, he really doesn't see/remember all these moments showing how much Legend wants to help

And then we have this moment

this moment

Matters so so much

Look at Twi's face. Look at his surprise, realization, and acceptance- this is when he realizes- when he sees how much Legend cares for him

Twi woke from his deathbed for his family

and then in the next few updates it's really cute- he just is barely recovering and legend is just... beside him. Staying by his side

Animal forms later development:

Legend's bunny form is soft- but he is still not totally soft. Looking at Legends actions and facial expressions towards the others, while he's definitely closer to Twi now, he's still the snarky boy we know and love.

Twilight's Wolf form is loyal and loves family: Once he knows legends heart? Full on pack love.

And WHY were they so very intent on petting each other

Legend: I'm gonna go try and pet the wolf since I think he's my dude yes good plan

Twilight: I KNOW THIS IS WEIRD BUT IVE NEVER PET A RABBIT BEFORE LET ME TOUCH YOU

...

Here's a few random parallels of them to chew on because I love parallels (them snarky snarking each other, then some brother love parallels)

The thing with these two is their character bonding and whatever is not all sweet and lovey like some of the others. They have some REALLY sweet caring moments with each other. But snark plus snark equals double snark, meaning them together is the weirdest mix of kindness and teasing you've ever seen

And although at the beginning they were pretty harsh towards each other, it makes their getting closer and learning their similarities all the better.

[sebastianswallows]

— A/N: I saw this post by @ominisallow​​ and was hit by so many soft and tender *★°*feelings*°★* that I had to write it down 😭 sweetest beby snek

— Synopsis: Ominis teaching the main character how to read braille by tenderly placing his hand atop theirs to guide them while reading aloud.

— Wordcount: ~ 800 words of fluff

— Pairing: Ominis Gaunt x F!MC

“How do you do it?” she asked, after countless minutes of staring at his hands.

“Do what?” said Ominis, fingers not even pausing on the page.

“Read like that,” she said as she scooted closer to him on the floor of the common room, where they sat before the fire. There was just a small and dimming flame left in the late night hours, and there was no one else around but them.

“I suppose the same way you do,” he smiled. “I perceive the symbols on the page and interpret them as letters.”

“You know what I mean,” said the new 5th-year with a tone that carried on it her sardonic smile.

“I don’t, really,” said Ominis serenely. “I have nothing to compare it to, you know.”

He’d stopped reading entirely. By now, he felt her by his side, her shoulder warmth-to-fleshy-warmth with his. Their robes were sprawled over the sofa at their back, and the shirts, white and starched, were paper-thin across their bodies. He only had to straighten his back a little to feel her right against his bony shoulder.

“I mean…” he added quickly, suddenly worried — frantically, irrationally — that he’d hurt her feelings, “I know in theory that you see the words written down and that they have a certain shape and that you need light to do it, but I suppose that’s as strange to me as my manner of reading is to you.”

“So,” she started cautiously, “each of those bumps is a letter?”

“Some are, others are in combination, yes,” he nodded.

Ominis allowed himself a smile at having found something to entice her, she who had learned everything so quickly and uncovered so many mysteries, and hoped she didn’t catch his grin — but she probably did, damned light, damned fireplace heating up his cheeks, damn…

“Can you show me?”

“W-what?”

If his grip had been lighter, he might have dropped the book when he felt that pressure, like a shiver on the page, as she touched it — then the deathly stillness of the book again as she let go of it as if burned.

“I mean — if you don’t mind. I wouldn’t want to —”

“No, it’s —”

“— to offend or —”

“It’s not, it’s —”

Ominis laughed stupidly at her shyness, at his, and as he turned his head toward where her small voice came from froze at feeling her so close, her little panicked breaths fanning on his lips.

“It’s no trouble at all,” he finished in a quiet voice. “I-I’ll show you, if you want.”

Without asking, his left hand let the book cover fall over his lap as it went in search of hers, feeling in the dark, across her bended knee, over the dip of the skirt between her legs, until it found her hand — dry, cold, a little shaky — and embraced it awkwardly in his own. She let him pull it back toward the book and, with like mind, they leaned into one another all at once to rest the book between them. Ominis took her right hand in his own and felt around her fingers until he caught the index.

“You can do it with one finger,” he whispered, facing ahead into nothing but feeling her cheek so close to his by now, “but it’s easier with two.” He caught the brief chuckle she gave at hearing that and blushed all the way to his ears for some reason.

“So, erm…” she started, fingers faltering on the page beneath his, “what does this say?”

“Oh,” said Ominis, “right, that’s…” He slipped his index between hers and her middle finger to rub it left and right over the text. “That says: A common — and — recommended — charm — for silencing — both beasts — and beings — is —”

“Silencio,”she finished, a smile shining through her voice. “Oh but this is so hard…” she complained, starting over at the top of the page and Ominis, without a thought as to why, letting his hand be carried with hers. “How can you tell which letter is which?”

“You learn it, of course, with practice,” he smiled. “See, this is A, this little dot here…”

“And I guess these must be C…”

“Only these two,” he continued, holding her finger between his own and pressing it into the page, “at the top, here.”

“And this is O?”

“It is. And this…”

They carried on like that, hand in hand, until they’d read the whole page through, and fell more lazily into each other, a sleepy tangle of elbows and knees and soft hair ruffled together, while the fire died and left them both in darkness, smiling with eyes closed while they read — Ominis from the book, her tracing each letter to the cadence of his soft and gentle voice.

[crooked-wasteland]

Do you think songs being diegetic can work if it’s tied to the world building in someway? Maybe something like Centaurworld where the characters literally live in an overly saccharine colorful world where singing and dancing are common things to do?

Tl;Dr: It is not the existence of diegetic songs that make Hazbin a bad musical. It is the lack of non-diegetic music and how it is treated within the story that is the issue.

Based on this question and the reblog of my post, I didn’t convey my point adequately. I had said I was going to expand on this topic more in the essay, but I see that the lack of in depth context resulted in the wrong message being expressed, so please allow me to try again.

First let’s address the reblog:

To answer the question if Steven Universe does the same thing, the simple answer is no. To expand further, diegetic means that someone is literally singing. Non-diegetic is when a musical number is meant to be a figurative representation of emotions, inner thoughts, or events.

For the examples provided, when Jasper tells Sapphire to stop singing, Sapphire is literally singing and it actively plays a role in the story. Sapphire sings to let Ruby know she is okay and sets the groundwork to introduce her into the story in a manner that isn’t jarringly abrupt. That is an appropriate use of diegetic singing: it serves a story/character purpose. Whereas Stronger Than You, Garnet is not literally singing. It is meant as a representation of her feelings about her relationship and her rebellion against Homeworld’s customs on the matter. While we as the audience see her sing, Jasper does not. That is Non-diegetic.

From what I am seeing in both these questions, I failed to convey that competent use of musical theater utilizes both Diegetic and Non-Diegetic music.

In Hazbin and Helluva Boss, ALL songs are diegetic, as in all musical numbers are literally happening in the world. It is meant to be a joke when characters address the singing in the series, but instead it comes off as a mean-spirited, vapid criticism of musical theater as a genre. It also creates a disconnect when the world is designed to not have musical numbers as a norm, but then all the songs are diegetic regardless. In the effort to make all these songs diegetic they fail to delve further into the characters and their inner feelings in a meaningful way and shows a physical discomfort in doing so. Meanwhile, the story has to make excuses that don’t always make sense for these songs to happen.

I briefly touched on this when I mentioned the “Heightened sense of reality.” The example I can best come up with is A Goofy Movie. In A Goofy Movie, the world itself exists in this extremely heightened sense of reality. This is a film where Big Foot is real, cars can float, and Goofy literally survives an explosion unscathed. This is an absurd world that establishes that absurdity in a way where a song like On the Open Road can possibly be non-diegetic, but just as easily be diegetic.

Goofy starts the song by hearing sounds that are part of their world: the engine chugging, the pots and pans rattling, the keys jangling. The music is introduced diegetically, but then escalates to such a degree that it revels in the world that musical theater lends itself to. So when we ask if the song is diegetic or non-diegetic, it doesn’t matter. Because this sort of world building allows for a dead man to crawl out of his coffin to dance on the roof of a hearse in the middle of traffic. That just is the world we are in.

By Hazbin drawing attention to the song numbers being embarrassing, the show has established that we are not in a world where something like A Goofy Movie can take place. There is a sense of decorum that mirrors our own sensibilities in the world building that makes diegetic songs unnatural occurrences. That isn't to say that no character can diegetically sing in this sort of world, but that diegetic singing should be limited to those specific characters. Yet we have background characters singing along and it fails to set up an understanding of where the music is coming from.

Going back to Stronger Than You as a non-diegetic song, there is a different sense of heightened reality that comes from non-diegetic songs being interwoven into a scene. The level of suspension of disbelief that comes with not needing to question whether a song is or is not diegetic because the world has established music as a main component of its reality. Hazbin did the opposite in its effort to make fun of the idea of musicals in the first place and not incorporating music into the characters and their identities.

The issue I was trying to convey has nothing to do with the existence of diegetic songs, but how the world was never designed to support them, and the writers’ discomfort with breaking that boundary to elevate a scene to being partly metaphysical through the use of non-diegetic music.

.

.

.

.

.

And no, Moxxie's Bad Trip does not count as being non-diegetic. While it is taking place in Moxxie's mind, it is not representing anything happening in the story. Instead acting as a wholly different subplot about Blitz and Moxxie's relationship that has not been a part of the story until the Truth Serum was released. And by showing us that Moxxie and Blitz are actually not doing anything except tripping balls, that makes Moxxie's hallucination still diegetic to his reality.

[abby118]

Some are convinced Loki was the cruel prince who would torture his subjects and servants. But he's bossed around by members of the court (Thor's friends), servants are not careful enough to avoid mocking him right in front of him, and he gets threatened/attacked by multiple court members who never defy Thor the same way and in fact depend on Loki to talk to Thor because they're too scared of approaching Thor.

Loki must have either been a comparatively very chill for all this to happen or just not had the same power to enforce his authority the way the rest of the royals did because the family dynamic where he's lesser than Thor and Odin was imprinted on by the rest of the kingdom. It's often forgotten that Thor's friends are members of the courts. They're not your typical subjects. One of them even has the title of "Lady" attached to her. You know, like "Lord."

I acknowledge that we've seen fairly little of Loki's life before everything went down in T1 (given the fact that he is over a thousand years old when we see him as an adult) and what we do know, came from the characters' retellings of how the events unfolded according to them. However, when you pay attention to the story, itself, it shows you the actual, unbiased, version.

I do think Loki does see the palace's staff as just that, his subjects, because they are. He is a prince and he's grown up raised as one; as someone on the top of their society, as the third (second, would Thor have ascended) most important man in Asgard and the realms' alliance. That means, he does share the same beliefs as the rest of his royal family. I don't think he'd have too much trouble with reminding the people under him of their place, would it be needed according to his judgement. After all, he did mention the flogging when he felt the guard didn't take his orders seriously.

(Though, I'd like to say he was pissed off in that moment because he didn't count with Heimdall letting them pass and was disappointed with not having been taken seriously by his subordinate* again...even if that might've been as simple as the guard not having been able to find Odin, we don't know that, and neither did he. I doubt he'd be giving out sentences in that state, he does know better. Still, it shows that such punishment is a relatively common thing in Asgard...which doesn't surprise me when we know they execute people.)

*That brings me back to this scene: X

@lucianalight & gifs by @winter-seance

That shows us, that he does try to avoid being punishing. Look at the first gif, he is well-capable of subtly reminding people of their place. He doesn't mind Thor's remarks because it's banter and they're brothers; it is normal. However, that boundary was not for the servant to cross. So no, I don't think he was cruel or that he liked to punish people, even if some viewers prefer to interpret him that way. It's not a view I'd share.

Now, why do these people of lower status dare to approach him in this manner?

-It depends on who you look at. In the scene above, the man was obviously playing along with Thor and Loki's relaxed interaction (due to poor judgement) as well as kind of taking a jab at Loki's use of magic (as magic does seem to be predominantly a women's field in Asgard; regardless of the fact he is the master of magic to quote Hogun. The commoners don't understand what that means, they most likely don't realise how dangerous he could be would he wish to. They do not see into the royals' training in the slightest and magic is foreign to them, or at least more foreign than weapons.)

-And about the W3/Sif, I largely attribute their entitled treatment of Loki to their relationship with Thor. Loki is the younger brother and Thor is very friendly with them. Again, they cross a boundary and Thor doesn't realise because they're his friends and he thinks they're Loki's friends as well. When in reality, the most probable option would be that Loki was there because Thor dragged him along and it stuck. The group never really accepted him and they made him the subject of their jokes, which gradually turned into bullying that Thor was too used to at that point. And I suspect, Loki did not want to spoil their "fun" due to having been dragged there against their wishes. He did talk back (thinking of the deleted scene on the Rainbow Bridge) but not in a way that would be of any real importance in the grand scheme of things.

Sticks to himself, but is closest to Thor.

(Thor: Heroes and Villains - Elizabeth Rudnick)

And all of that combined undermined his confidence and self-perception. Especially, with Odin favouring Thor for a then-unknown reason to Loki, regardless of how much he tried to prove himself, of how much he excelled. He was always the odd one out and didn't know why.

All of that led to him essentially doubting his own authority and that did reflect on things. His subjects did sense that.

They didn't respect him (Heimdall completely disregarding his authority and his orders), they felt entitled to explanations of his actions (the W3/Sif basically asking him why he was sitting on the throne... / Heimdall asking him where he'd been when he returned from Jotunheim), they felt like they could command him, and they tried to attack him (Sif) / straight up behead him X.

All of these things relate to each other and have piled up one by one, which did contribute to why he felt so betrayed after he found out about his entire life, down to the kind of species he was, having been a lie.

[darkficsyouneveraskedfor]

Partners in Crime 2

Warnings: non/dubcon, and other dark elements. My username actually says you never asked for any of this.

My warnings are not exhaustive but be aware this is a dark fic and may include potentially triggering topics. Please use your common sense when consuming content. I am not responsible for your decisions.

Characters: Lloyd Hansen, Lee Bodecker

Summary: you’re left reeling after your divorce but the chaos has only begun. (short!reader)

As usual, I would appreciate any and all feedback. I’m happy to once more go on this adventure with all of you! Thank you in advance for your comments and for reblogging.

You walk with the officer through the mall. He takes you towards Entrance #6, opposite the one you came through. You’ll be lost trying to find your way back. 

He slows so he’s slightly behind you as you approach the doors then steps ahead to open one for you. You hesitate and clutch your hands together. You dip your head down and try to smile. Your ex-husbands words ring in your head; don’t forget your manners. 

“Ladies first,” the sheriff waves you through first. 

“Thank you, sir,” you hurry past him to the next door. 

He’s quick. Especially for his size. He follows and brushes by to get the outer door as well. You thank him again with a shy glance in his direction. You’re used to being polite but it’s rare for anyone to have the same grace for you. 

He comes out behind you and you stop short of the dip in the curb that lines the front of the facade. He’s close as he points across the lot to his cruiser. It’s hard to miss as it’s the only vehicle in the part of the lot. You twist to look back at the mall. It feels eerily desolate out here. 

“Just a few minutes and you’re free to go,” he assures you. 

“Okay... yes, sir,” you answer. 

He leads you across the tarmac and you stop by the hood of his car. He goes to the driver’s side and opens it, bending inside and pulling out a pen from above the visor. He backs out and leans on the door as he slides out a small notebook from the inside of his jacket. 

“Ahem,” he clears his throat and takes a casual stance, one foot hooked over the other, his toe dug into the ground, and arm bent on the top of the cruiser. He scribbles onto the pad then hovers the nib as he looks at you, “you okay, darlin’? Not meaning to scare you.” 

“I’m good, just...” you glance back at the mall, “I got a lot to do.” 

It’s a lie. You really don’t want to be there. You only wanted to come to the mall, find a gift, and be gone. It’s all sideways now. Even if he lets you go in the next few minutes, you won’t be catching any bus before noon. 

“Sorry to keep ya,” he grins, “I’ll be quick, how about that?” 

“Sure, uh, officer,” your eyes flick to the star on his chest, “sheriff.” 

“Not at all. Sheriff Bodecker, that is. And yourself, darlin’?”  

He looks at your expectantly. You provide your name in a mutter. He repeats it with grit. 

“Now this man, can you walk me through where you saw him?” 

You take a breath. It’s really not that big a deal. It’s easier than resisting. You learned that with your ex and your previous run in with the law. 

“I was in Swarovski,” you point back to the mall, “just looking and he was there. I only saw him for a few seconds.” 

He writes as you talk, nodding and humming to prompt you along, “that it?” 

“No, I went... to Hallmark and he showed up there. I was looking at cards for my grandma and... that doesn’t really matter, does it?” 

“That’s sweet,” he says, “so Swarovski, Hallmark...” 

“Um, the TV store. The one with the informercial stuff. I left when I saw him,” you twiddle your fingers nervously over your chest as you hold your elbow tight to your body. 

“Mmm,” he nods, “sounds like he was followin’ ya, don’t it?” 

“I don’t know. I tried... not to notice, I guess.” 

“Good thing I found ya,” he wiggles the pen in your direction, “a dangerous man like him, you make an easy target.” 

You frown. Are you that pathetic? 

“What I mean is...” he flattens his hand next to your head, hovering it parallel to the top, “you’re a bit on the smaller side, ya know?” 

“Oh, uh, yeah,” you rock. That’s a fair point. 

“Unfortunately, you got some sickos out there who see it as an advantage, even an invitation,” he taps the nibs as he tuts. “Give what you told me, well, us law men, we know better than to believe in coincidences.” 

“You...you said he’s dangerous?” You murmur and clasp your hands together. 

“Not to scare ya or nothing,” he unclicks the pen and presses it to the notebook as he clutches it in one of his large hands. “I’m just doin’ my job. Serve and protect and all.” 

You can’t help the pout you give across the lot to the mall. You knew it too. That man was definitely following you. It’s easy enough to do in a half-empty mall. Your stomach flips as you imagine what could have happened. If the sheriff hadn’t come along and you wandered off to the bathroom. Could that man have found you there? 

“Oh, I guess I should probably just leave,” you say and hug yourself. “I can come back...” 

“Now, I can’t let ya do that,” the sheriff insists as he slides his notebook into his interior pocket. “Not alone. I’ll be more than happy to be your chauffeur, darlin’.” 

“Uh, that’s nice but--” 

“I’m afraid I have to insist. For your own safety.” 

“Sheriff, I think...” you begin. You swallow your protest and shrug, “okay, thank you, sir.” 

“You got really nice manners,” he smirks, “you don’t gotta thank me now. It’s my duty.” 

“Right, er,” you bounce on your feet.  

You’re going to have to find something somewhere else. You’re too freaked out to stay or even think about the present now. You failed again. No big surprise. You can even screw up something as simple as a shopping trip. It would be impressive if it wasn’t miserable. 

“Now you get on in,” the sheriff brings you back to reality as he gently brushes your arm with his hand and urges you along. He seems even bigger as he looms so closely. He opens the back door. “Protocol, sorry ‘bout that.” 

“Oh,” you stare into the backseat. You’ll be sat back there like a criminal. “Even a sheriff can’t have company up front.” 

“Sure,” you accept meekly and duck through into the back. You just want to go home. No sense dragging your feet. 

You get in and he girds you to buckle up. You do so, crossing your arms as you sit back against the leather, and he shuts the door. There’s no handle to let yourself out. Only he can free you. That thought makes you shiver. 

He gets in the front, the car moving with his weight, and he jostles in his seat. 

“You okay back there?” He asks as he pulls his seat belt forward. 

“Fine,” you answer as you cross your legs, jiggling your foot. 

He turns the engine and the car rumbles to life. You definitely didn’t expect the day to go this way. Leaving in a police car? Even for you, it’s a bit too much. 

He shifts into gear and rolls lazily through the lot. You’re quiet as you watch the mall until he turns onto the main road. Maybe it’s only that that man had been following but you’re uneasy. And who wouldn’t be unsettled? 

You watch traffic flow and it’s only a block away from the mall that you realise you’re going in the wrong direction. Another epiphany follows. He never even asked your address. The chatter of his scanner makes your ears hurt. You lean forward as much as you can. 

“Sheriff,” you call through the cage. “Did you need my address?” 

He doesn’t answer right away. Your heart squeezes painfully. He reaches to flick off the scanner. 

“What did ya say, darlin’?” He asks. 

“My address?” You repeat. 

“Ah, yeah,” he chortles, “silly me, headed back to the station outta habit.” 

You give your address and he approaches the next four-way, flipping his signal, “gonna have to retrace my steps,” he clucks. “Don’t worry, I'll get ya where you need to be.” 

[roseofthewind]

Furina and High-Masking Autism

A lot of people don’t know how to recognize high-masking autism because its presentation challenges many stereotypes about what autistic people are like, but Furina continues to be a perfect example of it.

It should go without saying, but I love Furina as a character and this analysis is in no way putting her down. Autism is an entirely neutral trait that carries through to adulthood, and if you have a strong negative reaction to the idea of a character you like being autistic, you have probably absorbed a lot of misconceptions about autism and have some unconscious prejudice to unpack.

In the paragraphs that follow, I am going to explain several autistic traits and give examples of how Furina displays each trait.

*thinking face on*

1. Autism is, at its core, a difference in the way the brain takes in, processes, and shares information. This can make it challenging to communicate with other people who don’t share this neurotype, but a high-masking autistic person has observed the way other people interact and spent years copying them, figuring out through trial and error how to act to best fit in and get the most positive responses from other people.

Furina’s ascension speech in Act V of the Fontaine Archon Quest, where she first presents herself to the people of Fontaine, is a great example of this observation of others with the goal of masking as well as possible. Furina initially gives the speech as comes naturally to her in a very straightforward and honest manner (also an autistic trait!). After the speech, she realizes that her citizens are responding with hostility to her humility and lack of authoritarianism, so she then plays off the original speech as a ruse and immediately redoes the entire thing more assertively according to the feedback she picked up on.

(Calm down, Furina… Think. Think. What do the people want? How would they imagine a god to speak and act?)

Fontaine AQ Act V, Chinese audio: (link starts video at 3:10:07) https://youtu.be/T-AbXi5bufk?si=eQADAWw6n8Sk0PZE&t=11407

This is the kind of social trial and error that many autistic people do over the course of years so that eventually we can say the “right thing” the first time around, and it’s a testimony to Furina’s skills as an actor that she course-corrects so quickly.

Because of all the constant mental calculations, social situations are usually very tiring for autistic people, even when the social event lines up with their interests. In Clorinde’s Story Quest, Furina has no interest in Navia’s suggestion of pulling an all-nighter to keep playing D&D (I mean, Tabletop Troupe!) and wants to go home and rest.

Furina: Huh!? Oh, um… I’m not sure I’ll have enough energy for that…

Furina has shown other signs of needing to take a break from socializing– for instance, in Lynette’s hangout event quest, Lynette gets tired of all the people at her post-performance reception and goes upstairs to a quieter room to find Furina already there.

Furina offers to give Lynette tips on the best ways to slip away from an event, and Lynette misunderstands at first and isn’t interested in Furina’s advice because she thinks Furina loves everything about the spotlight and doesn’t realize how much they have in common. This goes a long way to show just how well Furina masks her autistic traits!

Furina: I see you’ve escaped the crowds to seek refuge on the second floor. Fame can be overwhelming at first, can’t it? Perhaps you’d benefit from hearing about the experiences of a veteran celebrity such as myself?

Lynette: No thanks, I’m good. Pretty sure this’ll be my first and last time in this situation…

Furina: Hey, at least let me finish! I have top tips on dealing with belligerent reporters, slipping away to hunt down snacks during the intermission…

Lynette: …Tell me everything.

Conversely, when alone, Furina will stay up late reading or doing something else that interests her and will not feel the same need to stop and rest, because when alone, there is no need to expend extra energy worrying about socializing properly.

At the beginning of the Fontinalia Film Festival limited event story, Traveler and Paimon go to Furina’s apartment and she answers the door sounding a bit groggy.

Paimon: Did you just get up, Furina? It’s already past noon, you know…

After Traveler chastises Paimon for being rude, Paimon panics and says something nonsensical about how the weather is so nice in the afternoon and sleeping in is fine, actually, and Furina responds that she’s just a bit tired because she was up late reading:

Furina: I was just up late last night reading some novels…

When focused on an interest, it’s very easy for an autistic person to lose track of time and it can be difficult to break out of the focused state and go to bed. (This is a trait that overlaps significantly with ADHD.)

2. Alexithymia is a difficulty with identifying, processing, and expressing your own emotions, and in extreme cases presents as an almost total lack of emotion. Some degree of alexithymia is common in autistic people.

I believe, in the flashback scene below from Act V of the Fontaine Archon Quest, that Furina genuinely did not realize she was upset and did not realize she was crying, which could be explained by alexithymia.

Fontainian citizen: Are… are you crying?

(If you played this part with the English voice acting and interpreted it differently, try listening to it in Chinese- Furina’s voice sounds completely confident and in control the entire time, and it’s not until the other person points out she’s crying that Furina sounds at all upset.)

Fontaine AQ Act V, Chinese audio: (link starts video at 3:22:00) https://youtu.be/T-AbXi5bufk?si=fl8xSwkQ0rRLFPQU&t=12121

I am a believer that Furina and Focalors were originally the same person, and Focalors is just Furina’s divinity and pre-archonhood memories— so if Furina is autistic, Focalors is autistic.

While talking to Neuvillette, Focalors is extremely matter-of-fact with her explanation of her plan, very matter-of-fact about the suffering of her own human self, and very matter-of-fact about her own impending death. There is no show of emotion— she just tells Neuvillette the facts. This could be related to alexithymia, but regardless it is a very autistic way of communicating that is often misinterpreted as cold and uncaring. In actuality, someone who is willing to sacrifice their own immortality, divine power, and freedom to save other people’s lives cares a great deal, even if the tone of their voice doesn’t reflect it!

Focalors: I mean, did you think I would be the sort to enjoy peaceful repose while Furina suffered?

3. The autistic nervous system takes in a lot of information that a neurotypical person’s would filter out as not being important enough to bother with- this is why autistic people are so much more sensitive to sounds, lights, textures, and any changes in the environment. Too much sensory input can actually feel painful.

There is a documented instance of the Opera Epiclese becoming so loud that Furina was overstimulated enough to yell at everyone to be quiet.

Furthermore, post-Archon Quest, after moving out of the Palais Mermonia and into her own apartment, Furina eats primarily macaroni for an unspecified amount of time— weeks or months on end. After a huge life change, it’s common for an autistic person to want anything they can control to be the same, so their brain has more space to process everything that’s different.

There is no neurotypical explanation for eating the same food over and over to the exclusion of everything else. It makes no sense to someone who doesn’t experience overstimulation and distress at too much change. Case in point, during Furina’s Story Quest, Traveler and Paimon are rather baffled:

Traveler: …Don’t you get sick of macaroni every day?

Furina: Not at all. As long as you have different kinds of sauces in, you can have macaroni and tomato sauce one week, macaroni and bolognese the next…

Notice that Furina says “macaroni and tomato sauce one week,” implying that she’s fine with just that sauce for an entire week, and then uses a different sauce for the next entire week. Still not very much variety!

Paimon: Oh, sounds like you’re really struggling to cope… Traveler: Is it because you have to do all your own cooking now?

Yes, Furina is struggling to cope, but not because she’s incapable of learning how to cook more complex dishes! She’s just too burnt out to want to make or eat a variety of things right now. Furina explains this and Paimon doesn’t believe her, but since we know that Furina’s special dish is an even more extravagant version of La Lettre a Focalors, if Furina is capable of baking at that level, she would certainly be capable of cooking.

4. Stimming, or self-stimulatory behaviors, are repetitive actions that serve to regulate or soothe the nervous system. There are countless behaviors that can be used as stims, but some common ones are rocking back and forth, hand flapping or waving, leg bouncing, skin picking or scratching, rubbing or squeezing a comforting object, dancing, spinning in circles, humming or vocalizing, or listening to the same song on repeat for hours. (It’s worth noting that stimming is not exclusive to autism— especially when stressed neurotypical people do some of these things too. Stimming can also be commonly exhibited by people with ADHD who aren’t autistic, although there are also a significant number of people with both ADHD and autism.)

One of Furina’s idle animations and also her normal attack sequence include behaviors that can be interpreted as stimming. Furina’s idle animation with Surintendante Chevalmarin involves her holding the seahorse up, waving her around, squeezing her tightly and rubbing her face on her head. Chevalmarin is made entirely of water and loves Furina dearly, and so does not mind being cuddled like a stuffed animal.

If you use all four of Furina’s normal attacks, she spins around several times and the final attack culminates with her spinning on a bubble and swinging her sword for AOE. If you use just three of Furina’s normal attacks and do not append any additional actions, Furina spins around again before plunging the tip of her sword into the ground (I do not have a gif of this). Furina also spins around when added to your 4-character party. That’s a lot of spinning, which certainly makes it seem like a preferred stim!

5. I got this far without mentioning special interests because I have so much other evidence that I hardly need to bring it up— but since it’s a much more commonly recognized autistic trait than many of the things I discussed at the beginning, I will include this part of Furina’s teapot dialogue, which does indicate that Furina engages in special interests:

Furina pretty much defines “special interest” with the above statement: it’s something that you’re interested in (to the point that it may feel like an obsession) and you have to know everything about it!

These are just a few examples of autistic traits that Furina exhibits— there are absolutely more. Furina is shown many times to have a high level of near constant anxiety despite being someone who is confident enough to perform on stage. This anxiety could come from other sources, like c-PTSD, but it’s very common for a high-masking autistic person to have chronic anxiety from being hyper-aware of avoiding potential social blunders, repressing stimming to appear more “normal,” and dealing with the increased risk of overstimulation that comes with repressing stimming.

If you made it this far, thanks for reading! Even if you don’t agree with my interpretation of the character, I do genuinely hope you learned something about autism.

[stillsundazed]

I’ve been seeing people vastly misunderstanding the whole point of the shootout scene, so I want to share my analysis here. It’s not just a redemption for Chishiya, and not just a way to make Niragi seem deep and complex. It’s a way to compare the characters of Arisu, Chishiya, and Niragi, and show their adaptability to change.

To begin, the initial main focus of it all is Chishiya. He has just left the King of Diamonds venue, and has realized that he is jealous of people like Kuzuryuu who are able to die happily with a purpose. He is seeking to speak with someone, to open up about his inner turmoils. That is when he gets caught between Arisu and Niragi, two ends of a morality spectrum he is struggling to find his place on.

Now, why does Niragi start this shootout? He says that he, Arisu, and Chishiya are all too similar, and due to this only one of them can live (although, it is later evident that it is for this very reason all three of them survive). Niragi doesn’t say they are similar in regards to their actions in the games; he says this in regards to how they are all inherently selfish people at the core. They put themselves first and foremost, whether intentional or not, and hurt those around them as a result.

For Arisu, this makes more sense in the context of his manga characterization. Manga Arisu has the unintentional tendency of doing things for his own sake when he thinks he has the group’s best interest at heart, and his speech mannerisms mainly revolve around his own feelings. He is selfish without realizing it. The shootout finally makes him conscious of this, and makes him want to remedy this. He is adaptable to change for the better.

For Chishiya, this has been evident from the beginning. He will manipulate and use others for his own gain, without worrying what happens to them afterward. He never goes out of his way to help others, but at the same time never directly hurts them either. He has and recognizes this selfish indifference towards all facets of life. However, the games make him envious of people like Arisu, who are adaptable to change.

For Niragi, it has always been obvious how he embraces his selfishness. He enjoys going out of his way to hurt others and make them suffer. He becomes the abuser to keep from being vulnerable. He is the oddball out of the three, because despite everything, he does not want to change.

Their selfishness is just the example that Niragi gives, but there are other things they have in common as well. Their upbringings, for one – they all lacked love and affection in their home lives. What makes them different in this sense is that Arisu had Chota and Karube to hold him up, who made him more friendly and optimistic towards life. Chishiya had no friends, but no enemies either, which led to his indifference towards life. Niragi had abusers, which led to his hatred and resentment towards life. There’s also how they all initially wanted to stay in the Borderlands; Arisu because he wanted to avoid his real world responsibilities, Chishiya because he was intrigued by the intellectual stimulation and death of the games, and Niragi because he could thrive in a world without laws. But they all eventually came to the realization that they wanted to leave; Arisu first due to escaping and finding a reason for living, Chishiya next due to realizing he needs to reject the offer to truly change, and finally Niragi not because he changed, but because he simply wanted to live.

As you can see, they are all similar characters at three different levels of intensity. Arisu at level one, the level where he is still capable of goodness. Niragi at level three, where he is too far gone and considered evil. Chishiya is stuck in a morally gray area between the two, trying to figure out where he should place himself.

Anyways, back to the shootout. Chishiya came here to talk to Arisu because he wanted to change for the better. But then Niragi came and pulled him backwards, halting his progress. The shootout is a battle of moralities; a push-and-pull between Arisu’s good and Niragi’s evil.

The whole point of this scene was to give all three of them time for introspection. Who are they currently, and who do they want to become? Niragi’s comment about all of them being similar spurs their answers. Arisu is disgusted at the realization of being so similar to Niragi, so he quickly puts his gun down and pledges to change. Chishiya is inclined to distance himself from Niragi once he sees Arisu’s resolve, and only puts his gun down to become uncharacteristic and save Usagi. And Niragi, upon seeing the other two take this chance to renew themselves, realizes that he was foolish to believe anyone could be like him in the first place. He truly is alone in this world, and he only has himself to blame for it. He never lets go of his gun – he fires. And in that split second, why does Arisu pick his gun back up after vowing to change? He does it to save Usagi. To not be selfish and shoot Niragi out of his own hatred, but for the sake of saving Usagi’s life instead. Saving Usagi is the turning point for Arisu’s character, and for Chishiya as well. Niragi’s attempt to kill her demonstrates how he never wanted to change to begin with.

So yes, Niragi was right in saying they are all similar in terms of their selfishness. But he was wrong to believe that they were kindred to him and could not change.

TLDR; all three of them are foils, bound together by their inherent selfishness. This shootout is the defining scene for their characters. Arisu is adaptable to change, Chishiya struggles with his alignment but ultimately chooses to change like Arisu, and Niragi was never meant to change in the first place.

[bottombaron]

ranking the Thunderbolts characters by how likely they are Zemo in disguise

some context: a character being revealed as Zemo in disguise in a genuinely unexpected twist is somehow hilariously common for the character in the comics (if i had a nickle for each time i’d have at least four, and that's almost a whole quarter!). most notably however it’s in the very first introduction of the Thunderbolts team. the Thunderbolts are kind of synonymous with a Zemo related twist at this point. basically, with the DC not-alive-anymore-by-choice squad you can count on the team having their implanted neck-bombs and with the Thunderbolts you can count on Zemo being hidden somewhere like a murderous purple Where’s Waldo.

SO, while everyone is like “where is Zemo?” and “why isn’t Zemo in the Thunderbolts movie?”, i remain steadfast in certainty that he’s going to show up in the third act,,, despite there being literally no evidence to the contrary. also this is just for fun so don’t take it seriously unless i’m right then i told you so.

these rankings go from least to most likely

0 / 10

Ava Starr

-because Zemo knows better

——————————————————————

1 / 10

John Walker

-he would have to dress up in an American propaganda outfit

-Zemo might have to intimately deceive Walker's wife and child and that's creepy

-he has the Super Soldier Serum

-calls Bucky “Bucky”

-even Zemo wouldn't ignore Walker's crying child like that, comeon man

——————————————————————

2 / 10

Yelena Belova

+surprisingly not completely unthinkable???

+like maybe as a gag it could play?

+i think it’s because they both have that tiny stabby assassin energy

-obviously it would be super weird, confusing, and narratively unsatisfying for both characters

-Yelena and Florence deserve their spotlight and i wouldn't want anything to detract from that

——————————————————————

3 / 10

Alexei Shostakov

+only slightly above Yelena in believability simply for him being more expendable narratively (so the character not actually being himself in the movie wouldn’t be as much of a let down)

-he’s not particularly similar to Zemo in any way

-like Walker, he has the Super Soldier Serum, so it’s unlikely Zemo would disguise himself as Alexi by choice

-it seems exhausting just being Alexi for any length of time, even for Alexi

+bonus: in the trailer, Alexi b-lines for the bar the instant they exit the elevator in the former Avenger's tower. total Zemo behavior

——————————————————————

4 / 10

Taskmaster

+same height

+non-powered (if you don’t include mimicry but i think Zemo could fake it for a short amount of time)

+wears a mask and doesn’t talk much, making for easy impersonation

+scarred face is similar to Zemo’s scarred face in the comics

-their builds don't match up to a passing glance and unlike Yelena, with her more baggy clothes, Antonia is wearing a fitted outfit, making it more difficult to pass (i don't need it perfect mind you, just enough to suspend believability juuust a little)

-mostly it's just the vibes tbh

-idk man im not feeling this theory anymore and i used to be a Zemo in the Taskmaster suit truther

-maybe it's the suit redesign 🤷‍♂️

——————————————————————

5 / 10

Bob/Sentry/The Void

now we’re getting to the ones where i start to vibe with, but also would need a whole lot of exposition

basically, if you wanted to give a guy like Zemo brain scramblies, make him forget who he is, do some experiments (possibly à la Hydra on Wanda/Pietro? finally pulling on that dropped thread of Sokovians having a higher rate of manifesting powers -specifically Wanda’s reality warping powers- when exposed to the Mind Stone than the average human?) and try to corrupt him into an American branded superhero with a mild-mannered personality, you usually give him a three letter name. like Bob. or Jim.

turning to a comic that i can't believe more people dont talk about in relation to Zemo and the Thunderbolts: Welcome to Pleasant Hill

there's a lot in this comic that gives precedent to the twist of Zemo (and the audience) believing they're just a common, good-natured, all-American before finding out it's a lie in an elaborate supermax prison system. (this will definitely come up in almost all other thoughts and theories i have, including the character on this list that i'm most interested in. i'm kind of obsessed with this comic tbh) the story even involves Bucky, the Thunderbolts, the Cosmic Cube (which is the Space Stone in the MCU - related to the Mind Stone) and reality warping/memory altering similar to the Sentry’s own comic twist. and yes, it’s basically the plot of WandaVision before WandaVision except that the warden wasn't a grief stricken Wanda but a surprisingly Valentina Allegra de Fontaine-ish Maria Hill (put a pin in that similarity). there's also the fact that the MCU loves to merge characters into one, like the upcoming Doom-Stark combo.

so how does this work? hell if i know. Zemo could be forced to change his appearance with that Black Widow spy mask thing? maybe the only ones who see Bob as Bob are the ones who don't really know him + Walker who's easily deceived?? idk. it's a pretty big stretch (but not as big the next one on this list!) the most probable scenario of this one happening is Zemo somehow being tied to Bob’s alter, The Void. again, not probable at all unless the movie does some trippy stuff, but it’s fun to imagine the possibilities.

+the trailer seems to suggest said trippy identity/mind stuff, which you would need to pull this off

+Loki’s staff that once housed the Mind Stone in Sokovia could be a reference to Kobik/the Cosmic Cube that creates Pleasant Hill in the comics

+uhhh Bob and Joe are both three letter names??

+in the Pleasent Hill comics Zemo kind of looks Bob/Sentry like?

-a major thing that holds this theory waaaaaaay back is the fact that Steven Yeun was going to play the part of Sentry first and its highly unlikely they would Plot Twist him into a white man (or god i at least hope not)

-ultimately, there's just not a lot of places this reveal could go imo so /shrug

——————————————————————

8 / 10

Countess Valentina Allegra de Fontaine

look ok hold with me here bc we both know that when those heels started clacking outside the Senate hearing in TFATWS everyone was thinking that it was Zemo rocking them for a whole hot second. I KNOW. I REMEMBER. I WAS THERE.

does this make sense? no, not really. should comedy legend Julia Louis-Dreyfus unmask as Zemo in drag in the third act of a big, multi-million dollar franchise movie made by The Mouse?? absa-fucking-lutly.

i even think it would go over with audiences for the most part. they’d see Zemo, Zemoing about, and go, oh yeah ok that tracks.

+Bucky kind of looks like he’s playing the role of Val’s bodyguard/muscle and his demeanor reminds me so much of TFATWS when he was playing the same role for Zemo

+Bucky knowing this whole time that Val is Zemo and is reluctantly going along with his grift for whatever reason is so funny to me idk why

+Bucky saying “what's the plan” in the trailer just feels better if he is saying it to Zemo

+Bucky is wearing some of his old WS gear and who put him in that last? Zemo

+her line about there being bad guys and worse guys is very on par with Zemo’s pessimistic mentality, maybe justifying an Avengers team up as a necessary evil?

+there should only be one unpowered, tiny, bitchy, manipulative, mastermind serving cunt in a purple jacket in the MCU and Val is crowding Zemo’s throne. solution: Zemo uses Val as his public identity (you know, because of all the war crimes. Val has almost certainly done similar war crimes but they were for the U.S. government so she’s safe to masquerade as) and leads the Thunderbolts with nobody being the wiser

+this also means keeping Julia Louis-Dreyfus around and thats worth like, a hundred '+'s

+the purple. the royal titles. oh, it’s all coming together

+totally think that JLD and Daniel Brühl could pull this off i’m not even joking

+it would delight and entertain me

+Zemo would be leading the Thunderbolts team as he should be

-i fear a shadow of transphobia looming around this idea (with a female character being revealed to be a man in disguise) and that instantly sucks any fun out of it

-Zemo’s ideology would have to do a complete 180 hairpin turn or be a very elaborate plan to sabotage things from the inside, kind of making it difficult to buy into the whole thing in the first place

-its never going to happen

——————————————————————

8/10

Bucky Barnes

ohhhhhhh kkkk

here we go

here’s all that twitter stuff abt how there’s reason to believe that the person shooting at the limo isn’t Bucky at all or that he’s being brainwashed again:

personally, i don’t feel WS here but maybe that's because Seb is doing a little bit of his Judge Dredd scowl and there’s too much going on behind the eyes? it still feels like Bucky still imo, even if his actions are like, a bit extreme. it’s that whole “i had to go to work today” energy that Bucky perpetually puts out lol. basically i didn’t get the vibe that he’s Winter Soldiering, or even that he’s trying to kill the team, i just get the vibe he was tasked with rounding up and escorting the group back to Vale and he’s doing it his usual undelicate way. of course, this is only 3 seconds from a teaser so all those details could be right or wrong in the film, only time will tell.

BUT this reasonable talk is counterproductive to this crackpot theory, so…

The Zemo being brainwashed or otherwise manipulated/reality altered into believing (or pretending to be) he’s Bucky/WS theory:

+if i had a nickel for every time Zemo in the comics was brainwashed/tortured into believing he was Bucky/Bucky adjacent and/or the narrative obfuscating which one was which, i’d have at least two nickels

+and that is purposeful btw, in the comics Zemo and Bucky have a strange thematic connection. it’s not a coincidence that when Steve was still grieving Bucky, here came a guy with ties to his past (specifically the son of the man who ‘killed’ Bucky) that would have been roughly the same age as Bucky if he didn’t ‘die’. Steve then commits to saving Zemo time and again, dispite what a complete fuck-up he is. so, Zemo hating Bucky but also kind of having this deep inner desire to be him at least has thematic presence in the comics

this motherfucker literally keeps a shrine of Captain American memorabilia, including putting Bucky’s old costume in a lit glass display case

-on the other hand, MCU Zemo is almost nothing like his comic counterpart and certainly doesn’t hate Bucky or want to be him

+on the other-other hand, there’s far too many similarities to MCU Zemo and the MCU Winter Soldier to ignore and the text of the movies/show seem to continuously remind us of that in little ways

+so in this theory Zemo wouldn’t be impersonating Bucky Barnes per se, he’d be the Winter Soldier

+who, conveniently, has Sebastian Stan’s face so Daniel Brühl wouldn’t have to be on set as much nor have to do any stunt work. good for him

means, motive, and opportunity:

+Val most definitely has access to the raft (and by extension Zemo) as the head of the CIA

+we also know that Val must have access to some form of the Super Soldier Serum if the Sentry is involved, and the clutter of Sentry related branding in the trailer seems to indicate Val/OXE/the U.S. government has been trying to create their own superhero, Homelander style

+Val also has access to all sort of means of manipulating Zemo's sense of identity. chemical memory alteration, use of off-world artifacts, the old fashioned WS programming way, or even all that Stark tech that was confiscated by Damage Control…remember B.A.R.F.?

+the whole choice to use Zemo could even be out of convenience. he’s already had extensive military training, was a successful black ops commander, he literally has nothing left, not even citizenship to a country

+nobody would look for him or wonder where he is or if he’s even still alive

+even if they did, would they care? to most people, he's a super villian. even people who might object morally, like Sam or the Wakandans seem to be too busy with their own shit rn anyways

+Bucky is literally the only one left who might object and if they're using his identity to carry out clandestine missions then they have leverage. keep quiet and you have a job, prestige, perks, etc. without having to actually do any of the dirty work. don't, and we spin this like you went off WS style and there's nobody to keep you from being locked up anymore. plus Bucky hates Zemo right? why would he care if he's America’s Winter Soldier

+this also allows for a built-in deniability for Val/the government if Bucky!Zemo was ever caught on a mission. that can't be the Winter Soldier doing assassinations in Europe if you can see Bucky Barnes at a Congress meeting on public tv at the same exact moment

+as to motivation, other than all the reasons stated above, it's clear that Val doesn't want a Captain America. she said as much to Walker in TFATWS. while it might work to her advantage to have a controlled Avengers team for her public image, it helps her far more to have someone reliable to do her dirty work

+creating a black ops assassin à la the Winter Soldier, but for America, would be her goal

+and sure, she had Walker and Yelena under her payroll already (and we assume Ghost and Taskmaster as well) but they don’t have that living action figure, perfect soldier rizz. in various ways im going to assume they've disappointed her, questioned orders, or just generally was too human

+so why Bucky's identity? easy. he's already got a whole brand. i can hear the sardonic lines out of JLD mouth about how hard it is to create something new when you can just reboot it. Bucky has a legend as the Winter Soldier, one that still carries a lot of clout. she wouldn't even need to deploy him for assassin reasons, just use him for negotiations and fear tactics. the Winter Soldier is already a verified threat at an international level, you can't buy that kind of marketing. using Bucky's face and WS identity would be essential to her

+wouldn’t just brainwashing the real Bucky again be easier? well, other than the advantage of having Bucky and the WS be separated people as mentioned above…the last two times Bucky Barnes was brainwashed to be the Winter Soldier and otherwise held against his will, an empire fell (S.H.I.E.L.D./Hydra and The Avengers). so, while i’m sure Val has a fondness of the Rule of Three as much as i do, i also think she’s smarter than that

+i’m sure she’s even approached Bucky directly and has probably tried to manipulate him with a job that looks legit on the outside and gets him a nice private house. but Bucky isn’t going back to the WS role, it’s not going to happen. and he’s already side-eyeing Val pretty hard in that trailer so her perfect soldier he won't be

so Val has means, opportunity, and motivation to take Zemo and turn him into her very own super assassin. but lets take this a step further.

this post by magnitothemagnificent brings up a great theory that Bucky here could actually be Jack Monroe, more importantly brings up one of Jack's alter egos, Scourge.

this same guy from the comic page above

(for my theory, obviously, instead of Jack, it would be Zemo as a Scourge-like character)

+we know that there is a version of the serum going around to create the Sentry, and that the Sentry's #1 personality trait in the comics is his mental instability

+we know that, in the comics, Jack Monroe was driven mad specifically by the Super Serum he was given. it messed with his sense of reality and identity in big ways including making him believe he actually was Bucky, instead of just taking up his mantle

+possibly, this version of the serum is responsible for the mental instability of everyone who takes it, creating delusions and hallucinations and this is what affects the Sentry’s mental stability and warps this hypothetical Bucky!Zemo/Scourge's sense of reality

+this could even tie into Walker's story, as it seemed like he escalated in his instability after taking the serum (you know, there's actually a fairly large connection between Walker/US Agent and Monroe too hmm…)

in the comics, Monroe is being controlled (through nanites, so idk maybe Stark Tech?) by a very Zemo-type motivated guy who hates supers and even works for the Commission on Superhuman Activities (basically the same people who created the Sokovia Accords in the MCU, led by Ross and the UN). being controlled by this man, Monroe, as Scourge, is forced to attack and kill super powered people and targets the Thunderbolts. Comic Zemo is literally beheaded by him in a page that definitely tries to make the reader think that it is Bucky Barnes attacking Zemo (this was before the Winter Soldier Brubaker run that brought back Bucky Barnes, so at the time Bucky was still thought to be very dead for over 50 years)

and the Scourge suit would explain other parts of this theory, such as why is that literally Sebastian Stan’s face?

+the suit comes with a camouflage feature and image inducer so looking just like Bucky wouldn't be a problem (in the comics, previous versions of Scourge, one who i actually believe was Jake Monroe, just used latex masks, even disguising himself as a woman more than once -go Val=Zemo theory!- but the most important detail is that Scourge has always been a master of disguise, so that element is already built into the lore of the character)

how would Zemo be able to mimic the Super Soldier Serum?

+if he's not being dosed by Val with a version of the serum, the suit has various means of mimicking increased strength

but unless they really committed to amputating an arm and have a Wakandan prosthetic laying around, how would Zemo have the metal arm?

+from what i can tell, we don’t actually see Bucky’s metal arm in this scene? i believe it’s covered up with a jacket. and even if some of it shows, that could be a CGI misdirect. otherwise the Scourge suit would answer this too, specifically the metal-looking high-tech gauntlets that he wears could be made to at least look like Bucky’s arm and do the same things Bucky’s arm can do

but what about real Bucky?

+we have to first buy into the two Bucky’s theory, which i don’t actually hate. there’s Bucky trying his best in the trailer and then there’s an impersonator out there doing his best Winter Soldier. this way we don’t run into the same problems of a third act reveal like with the others (not actually following the real Bucky Barnes). we would be, hopefully with a confrontation between the two in the climax, getting almost an out of body visual of Bucky’s inner turmoil. him vs the winter soldier identity and everything that represents to him

even having Bucky wearing the Winter Soldier gear would have a cool call back to the Scourge suit:

+the suit in the comics has two gauntlets that can access various tools and weapons by simply voicing a code. they appear as if from thin air but in reality it is a clever use of pym particles

+these weapons aren't even just regular ‘ol things but rather he has a whole arsenal taken from other heroes and villains

+so a suit that carries the whole Winter Soldier arsenal, despite us having every reason to believe Bucky wouldn't have those things anymore, could be a fun way to reference that

speaking of the WS arsenal:

+I know its just a coincidence, but its worth noting that, as others have pointed out, Bucky is predominantly carrying the Škorpion vz. 61 (also known as the Sa vz. 61 Skorpion) in the trailer and in the poster. which was the gun that used to attach to the harness on the WS suit

+Zemo's paramilitary team from Sokovia, EKO Skorpion, was, at least partially, named after the Serbian Skorpion paramilitary force. the real life Serbian Skorpions named themselves after their favorite gun, you guessed it: the same Škorpion vz. 61 that is used by the WS

+additional fun(?) fact: the real life Serbian Skorpions had a secret relationship to the CIA and the CIA might have had a hand in the Yugoslav wars (shocker). if we follow this trajectory, it's possible that Val could have had connections to Sokovia and Zemo as early as the 90s/early 2000s, working as a CIA agent involved with the Sokovian Civil War

+if Hydra was involved with instigating the civil war in Sokovia (as they almost certainly were as it gained them a great advantage in establishing their base there) and Val truly is Madame Hydra, then that would establish pretty strong connective tissue between Val, Sokovia, Zemo, and the WS/Bucky

taking us to Pleasant Hill again:

i love this panel in relation to the Thunderbolts bc this is everything that Yelena is struggling with and seems to be the central theme of the movie, these broken people finding purpose in a world that they’ve been alienated by

+now the major twist in the comic wasn’t just that Zemo is really mild-mannered Jim, but rather the readers were manipulated through various means into believing that Jim was actually Bucky until the end reveal

+combining these things (the Pleasant Hill comic run and the Jack Monroe/ Scourge comic run) creates a story where the audience is led to believe Bucky is Winter Soldiering about, attacking and possibly trying to kill the Thunderbolts team

+but in reality it is actually Zemo, being manipulated and controlled by Val thru various sci-fi means to make Zemo just appear as Bucky

some other things:

+the last person to imitate the WS specifically? Zemo

+and he literally did it with just some prosthetics and theater kid energy

+their height difference is concealable with some heels and Zemo would know how to run in them

+this might even explain Bucky's bad hair:

+like ok hold with me here but Daniel Bruhl had this same exact hair cut for his role as Karl Lagerfeld

did he keep the hair during Thunderbolts filming? i have no idea. but its fun to imagine

and finally,

+the popular Bucky/WS left hand theory. while i’m not necessarily convinced just by this trailer (even tho i really like the theory and the visual importance of Bucky using his metal/left arm), this would gain added legitimacy if it’s actually Zemo impersonating the WS

+because, while Bucky may not be left handed,

+Zemo is

——————————————————————

10 / 10

this gerbil

+100% Zemo, he’s not even in disguise here that’s just Daniel Brühl on set

[moonywritez6]

Knight Sanemi x Princess Reader

Character: Sanemi Shinaguzawa (Demon Slayer)

Reader: Fem Reader!

Wc: 2,497

Warnings: Forced arranged marriage, harsh language, bit of violence, bruises, blood, death

A/n: Not edited or looked over

______________________________________________________________

Knight Sanemi was one of the lowest rankings of the knights due to his family's status, along with his terrible temper.

Knight Sanemi was surprised to be told the news of his newest assignment to the second princess of the kingdom, finding it highly suspicious.

Knight Sanemi rudely introduces himself, interrupting your teatime in the garden. His actions earn him a scolding from your lady-in-waiting. "How dare you introduce yourself to the princess in such a way! You lowly knights are all the same!! Filthy commoners who know nothing of edict!" You watch as he shoots her a chilling glare, eyes showing pure distaste for her wording.

Knight Sanemi should be used to the constant criticism of those from a higher status, however, he always finds himself on the verge of cursing every one of them out, no matter the consequences. However, he knows his limits and sees that if he were to snap in front of one of the royal family, he would surely ruin everything he worked so hard for.

Knight Sanemi is surprised when he hears a small laugh slip past your delicate lips, causing his ears to ring at the sweet melody echoing through his brain. He turns to you, faces still cold and scary looking as he cocks a brow. "Is something amusing princess?" Though he intended the question to come out gentle, he can't help but scoff at the end of his question. His voice still holding annoyance from the words spat at him seconds ago.

Knight Sanemi watches as you gently place your tea cup down making sure it is placed in the perfect position. His purple irises can't help but watch as your small hands rest elegantly under your chin while your lips slowly curl up into a pure and joyful smile. "I'm sorry it appears I couldn't help myself." You spoke softly, your eyes locking with his causing him to feel…intimidated?

Knight Sanemi watched as you tilted your head eyes filled with curiosity as he took note of how you were appearing to size him up. "Haven't you been told it's rude to stare?" His words earned another glare from your lady-in-waiting but he paid her no mind his eyes solely focused on his new employer. You just smiled before letting out a loud, unladylike laugh causing both your servents to jump in shock. "Hahaha! Forgive me Sir Shinazugawa! It's just I can't help but be reminded of a grumpy cat when I look at you!" Your blunt excuse causes Sanemi to halt his mind slowly processing your words before a deep blush crosses his cheeks. "WHO ARE YOU CALLING A GRUMPY CAT?!?!" His voice echoes throughout the garden causing those nearby to jump in fright. You catch your breath after a moment before dismissing a stray tear with your thumb. "Where are my manners?" After questioning yourself outload you carefully stand to walk in front of the Knight.

Knight Sanemi who took note of your smaller form feeling almost guilty for having to look down at someone who is considered royalty. You give a curtsy making sure your posture is perfect as that same joyful smile graces your features once more. "A pleasure to meet you Sir Shinazugawa. I am the second princess of the crown Y/n L/n. Please take good care of me." Your words were laced with no ill intentions nor did he detect any belittlement of his status which was something the knight wasn't used to.

Knight Sanemi who bows without a word ending the first meeting between the two of you. His mind can't help but wonder what kind of person the second princess truly was.

Knight Sanemi who has been serving as your knight for almost three months. It didn't take him long to realize why such a lowly knight like himself was placed as the second princess's guard. About a week into being assigned his post Sanemi took note of how you were never approached or summoned by any of the other royal family. The staff never cared to put any effort or detail into their work when it came to your things and meals. The only one who seemed to care was your lady-in-waiting who was always defending the princess from the other staff when they were caught badmouthing you.

Knight Sanemi who found you one day sitting alone in the garden a book in your lap as your eyes stared longingly at the blue sky. Sanemi couldn't help but be captivated by the look in your eyes one he recalled all too well. It was the look of someone who desired a new life…someone who desired what he always wanted for himself…freedom.

Knight Sanemi finds himself walking toward you his feet carrying him toward your seated form without a second thought. You heard his footsteps looking at him with that bright smile he caught himself looking forward to each day he woke in the morning. "Sir Shinazugawa! Good evening! The day is beautiful is it not?" You asked brushing a piece of hair behind your ear. Sanemi just grunts as he plops down next to you not even asking for your permission on the matter. You said nothing as you watched your knight get comfortable on the ground putting his arms behind his head as he kept his eyes closed. "Awe did you think I was lonely?~ How kind of you~" You Teased earning a small glare from the man who clicked his tongue in response.

Knight Sanemi who feels your curious stare lingering on him as he slowly opens an eye. "What is it now?" He grumbles having grown used to your random questions. "Your hair…it's such a pretty and unique color…is it common in your family?" Your question doesn't surprise the knight as he was used to sticking out due to the color of his hair. However, he finds himself gritting his teeth to stop the smile that desperately wished to grace his lips with the word you used for it being 'pretty.' He lets out a small grunt instead of going back to closing his eyes. "No, it's not…I'm the only one with this color hair." His response is quick and to the point, your only response being a hum of understanding.

Knight Sanemi feels your form moving around though his eyes are closed. You gently tap his nose causing him to get annoyed as he opens both eyes this time ready to yell at you for being annoying only to stop when he notices how close your face is to his. You smile as you gently caress his cheek causing your knight to stiffen. "I knew it….your eyes are also so pretty and unique… you're such a beautiful man Sir Shinazugawa." Your words caused Sanemi's heart to beat rapidly against his chest as he quickly backed away from you setting what he thought was a good distance.

Knight Sanemi who glares at you stands up once he gains his composure. "Though you are a princess your manners are strictly lacking. I think it would be best for you to touch up on your royal edict my lady." His words were cold and cruel. It was clear he detested you for being of royal blood. You go silent at his words giving nothing but a sad smile along with a nod before grabbing your book to leave. Sanemi stands alone in the garden for a moment before clenching his fists cursing his harsh tongue as he storms off to the training grounds.

Knight Sanemi who hasn't heard your voice in days. He stood by you at all times and protected you when needed but it was silent between the two of you. Sanemi found himself getting irked by your avoidance, but he couldn't blame you…after all, he was nothing but a shitty lowlife like his father. Sanemi stands a few feet away from where you sat, your lady-in-waiting by his side. She is silent for a moment before deciding to speak her mind. "Tell me, knight. What do you know of my lady?"

Knight Sanemi barely spares her a glance let alone a reply. "She is the second princess of the royal family." His short answer earns a scoff from the older woman who glares at him. "Is that all you know? Shame on you for being my lady's Knight without even knowing a single thing about her." Sanemi growls not wanting to deal with this at the moment. "..The princess is an illegitimate child...her mother died giving birth and the king brought her into the palace as a way to free his guilt." Her words made sense to Sanemi as he had assumed that was already the case from how he saw you being treated these last few months. "The princess has no family, no friends…only us." The last two words she spoke get the knight's attention as he looks down at her. She smiles a sad smile up at him as if hoping he would see where she was coming from. "We are the only ones…who truly care for our princess."

Knight Sanemi who finds you the next day once again in the garden reading a book. He lets out a deep sigh before storming over to your form. He sits across from you with a loud thud catching you by surprise as you clutched your book in your lap. Sanemi sat across from you frustratingly scratching the back of his head as he glared at the ground. "..I'm not used to compliments on my…looks." He finally muttered getting your attention. "I'm the only one in my family who looks like this ya know…it caused a lot of problems in my house..between my parents." His words cause your body to relax your eyes softening.

Knight Sanemi moves his sword to the side as he shyly holds a hand out for you. You stare at it confused not sure what he was asking. "My hands are covered in many sins princess…however if you will have me still, I wish to serve and protect you…and only you till the end of our lives." Sanemi watches as your eyes light up with his words a giant smile crossing your face as tears fill your eyes. "YOU FINALLY ACCEPTED ME!!!" You cried jumping into his arms catching the knight by surprise as he blushed heavily while trying to catch you. "WAIT YOU IDIOT!"

Knight Sanemi who has fallen deeply in love with his princess. He finds himself always thinking about her even while he dreams. He feels his heart melt whenever your bright smile comes into view and your angelic voice causes his ears to ring. You feel the same way whenever you see him, his eyes causing your legs to grow weak as his harsh voice sends butterflies into your stomach.

Knight Sanemi is in utter shock when he hears about your arranged marriage to one of the kingdom's most cruel nobles. "This must be a lie! Why would they marry her off to that pig?!?!" Sanemi yelled to your lady-in-waiting who cried into her hands after informing him of the terrible news. "Oh, princess…my sweet lady." She cried over and over. Sanemi stood there his entire being shaking with anger and disgust as he rushed to find you.

Knight Sanemi who, by the time he finds you is dark. You sat curled up in your nightgown small sobs escaping your lips as you hid in your favorite spot in the garden. "Y/n…" Sanemi whispers to not scare you. Your head shoots up the tears in your eyes glistening under the moonlight causing him to grimace his chest tightening. "My princess I am here." He calls softly. Your nose leaks as you let out a big sob at the sight of your loyal knight and secret lover. "Sanemiiiii!!!!!" You cry jumping into his arms. Sanemi shushes you as he keeps you in a tight embrace his body shaking in fear at the thought of his sweet and joyful princess at the hands of that cruel man.

Knight Sanemi who feels like he will puke when he hears the cries that leave your lips. "Sanemi…I'm so scared. I don't want to go to that man! I'd rather die!" You cry your fists gripping the front of his shirt for dear life as you look up at him. Your face usually so joyful is filled with nothing but fear and pain. "Kill me Sanemi! I don't want to be his toy!" Your words break as another sob escapes your throat. Sanemi feels his entire world come crashing down as he watches the second purest woman in his life start to crumble before him.

Knight Sanemi shakes his head at your words his hold becoming tighter. "Don't say that! Get ahold of yourself, princess!" He yells gripping your shoulders as he tries to look into your eyes. He falters when he sees the light dimming from your gorgeous hues. "Please…don't ask that of me my princess…it will be too much for me to bear." He cries, his head down in shame. You stand there, unable to cease your tears as you process the weight of what you were asking of the man before you. "Sanemi…I-I'm so sorry!"

Knight Sanemi kisses away all your tears his grip not letting up as the veins in his neck and forearm bulge out in anger. "I won't let them hurt you Y/n…I am your sworn knight, remember? I will always protect you." He whispers into your ear reassuringly. You melt into his touch, those words sending comfort throughout your body as you both sink to the ground. Neither wished to leave the other's grasp.

Knight Sanemi finds himself pinned to the ground by three higher-ranking knights. Bruises started to form on his skin as blood seeped from the wounds, he received in trying to protect you from being forced away. "Sanemi!" You cried while being forced into the carriage by your father's knights. "Let her go dammit! My lady!" He screamed, eyes practically bulging out of their sockets with rage as he struggled to get up. "Once she is taken away have this filth executed for treason." You heard your father's commander's order, causing fear to swipe through you. "NO! Don't touch him! He's innocent! Please!" You cry while kicking and thrashing around.

Knight Sanemi who can do nothing but cry and yell as he watches you get shoved into the carriage, your fists pounding on the door. "Y/N!!!!" There is nothing he can do before you are out of sight.

Knight Sanemi finds himself standing in a puddle of blood, the bodies of his comrades surrounding him as blood drips from the tip of his blade. Heavy pants leave his lips as he starts to make his way out of the palace grounds. Sanemi finds himself unable to think as he slashes down those who get in his way. "Move…" He growls as more knight's charge towards him. "YOU'RE IN THE WAY!"