#same goes for any character who has faced or will face consequences

[pikahlua]

Sigh.

I’m gonna do it. I’m gonna say it again.

1. I warn you against taking the story beats in MHA at face value. Just because something looks one way doesn’t mean Horikoshi won’t make it go a different direction later. He only puts like one or two major story beats per chapter. Don’t be fooled by them.

2. Just because Hawks lost his quirk doesn’t mean he’s done. If you think this, you’re guilty of the exact thing the moral of MHA warns you against: equating a person’s worth to their quirk. Why’re some of y’all agreeing with AFO on this? We literally got a flashback to chapter 1 where this perspective was explicitly debunked!

3. Heroes are heroes BECAUSE they make sacrifices for others. I guarantee that by the end of this, many characters will suffer permanent consequences not as a result of being heroes but because definitionally making these sacrifices is what makes them heroes in the first place. And yet I predict a significant, noisy portion of this “fandom” is gonna cry about how someone losing their quirk or becoming disabled or dying ruins everything because some of these characters can no longer be “pro heroes”--as if the story hasn’t been telling us all along that “pro heroes” aren’t necessarily real heroes. Anybody can be a hero, regardless of their quirk. That isn’t referring to PRO heroes but TRUE heroes. Some of y’all need to listen to Stain more closely.

[anxiously-sidequesting]

So I don't know if it was ever revealed how Duncan felt when we killed Malistaire all three times but I'm wondering if maybe some part of him could hate us for that too. Like you hear that and you go "but why. Malistaire was terrible and even Duncan knew that(?). Why would he hate you for getting rid of him."

But like I think it's so....... interesting in a very, very, very sad way how Duncan so easily latches onto anyone who directly feeds into his delusions of grandeur. And that's no fault of his own that he was manipulated by the nasty Schism but when you think about how desperately clung to the idea that Malistaire, easily one of the greatest necromancers any of us had ever heard of (at that time), somehow actually recognized Duncan's talents (even when canon supports that Duncan wasn't all that talented, at least no more than the next necromancer) and then praised him for it so often that Duncan believed that he would be the next Death Professor is. I mean ☹️

So like with that mindset I unfortunately feel like it would be quite easy to twist even Malistaire's death as something that's horrible and awful and all our fault. ESPECIALLY if the Schism was feeding into Duncan's already broken mind and shattered ego and was constantly telling him that everything bad that ever happened to him ever in his life was Our Fault. That's like a realistic conclusion that someone like Duncan could come to

And like, at this point in time, are Malistaire's crimes even a factor in how he thinks????? Was Duncan ever able to separate Malistaire's talent and skills and prowess from the terrible and awful things he did? If Duncan wasn't able to consciously tell that distinction in the first place I can't imagine it would be any better during the years he was being manipulated and isolated and lied to

Like in Duncan's mind it probably isn't, "maybe I shouldn't idolize a national criminal, or idolize anyone at all for that matter, and aspire to be like someone so harmful when I can recognize my own talent and build from there" it's probably more like, "you (the wizard) permanently got rid of a brilliant mind, an innocent person who just made a few mistakes, and someone who believed in me no matter what just so that you could be the better than me and loved by everyone else" and that's! very sad actually!

[ultimateloserboy]

Bill Cipher Analysis Post ‼️

(I could be wrong about some things since the book is fresh, feel free to expand this post or correct me! May be a little edited as well!)

To start things off: William Mischief Cipher, (yes thats his actual name) is a dream demon from another dimension. To be specific, the second dimension.

Despite Bill being a literal shape— and also a demigod— it’s implied that Bill had a human-like childhood. He had a normal mother and father, he went to school, and overall seemed to have a normal life. The problem, however, was that he was born with powers completely unknown to his dimension.

Bills world was 2D, meaning there was no up or down. It’s hard for us to grasp the concept of his world, and its implied Bills dimension felt the same way about us. They couldn’t grasp the idea of other, less flat dimensions— but Bill could. Not only did he understand the concept, he could physically SEE the other dimensions— which drove him crazy with confusion and frustration.

It’s also implied that Bill was born with physical powers others in his dimension didn’t have— for example, there’s a line in the book where he remembers being bullied in school for having the ability to conjure fire.

It’s implied that Bill tried to tell everyone about the other dimensions, but they didn’t understand. The other people of his homeworld considered him troubled and insane. There’s a poem written in code on the silly straw page of his book detailing how he was fed medicine to keep his “visions” away, but would only drink it out of a silly straw. This poem implies he was a baby at the time of taking his medicine, implying further that his powers were terrifyingly strong even from an early age. This— paired with the fact he could shoot fire from his fuckin hands— made him dangerous as a child, because (at least from what it seems) any childish outburst or tantrum could accidentally turn dangerous from his lack of understanding or being able to control the powers he was born with. He was a walking time bomb.

“Eye doctor of a different kind who wants to make his patient blind / The doctor says three sips a day will make the visions go away / Fussy eater, baby billy, wouldn’t drink unless its silly.”

(((The doctor was taking away Bills ability to see the other dimensions, rendering him somewhat blind. Bill fussed about his medicine as a child and would only drink it out of a silly straw.)))

Eventually, Bill tried to bring his world into the third dimension— or at the very least, show them it exists to prove that he wasn’t insane. It’s unclear what exactly he did to try and accomplish this— but it went wrong and started a terrible fire that left only him alive.

It’s unclear whether or not he started the fire itself on purpose or on accident, but either way its implied that he absolutely didn’t understand the permanent consequences. It’s something that deeply traumatized him. It’s blurred out of his memory, and in denial, he pretends everyone is still alive. It’s up to the reader to determine whether or not he can be forgiven for this, but out of everything Bill has done on purpose and out of malice, this doesn’t seem to be one of those things. It seems he genuinely wanted to free his family from the confinements of his dimension and to this day he still pretends that’s what he did, even if that’s not the case. The regret of his actions is something that goes on to shape his character today.

“Twisted out of shape after the kill— the ghost of his family haunting him still” (((Silly straw page)))

Bill has lied about this day on multiple occasions, and has also lied about how he feels towards it. He’s terrified to face the guilt— so he either pretends he did it on purpose and doesn’t care, pretends something or someone else did it, or pretends it didn’t happen all together.

While talking to Stanford, he calls himself a monster. This is what he truly thinks of himself. However, he pretends to be a different person than himself. His entire life past the day of his dimensions burning has been a lie of pure denial.

On top of denial, he refused and still refuses to grow up. After running off into a crumbling dimension with his “henchmaniac” friends, he started acting like a rebellious teenager. Unlike most villains with a specific intent to hurt, he went throughout the universe with the sole intention of having as much fun as possible. However, with his terrifying power and uncaring nature many casualties happened on the side. He’s guilty for them, and even finds some of them funny, but hurting people wasn’t and isn’t his MAIN intent. (At least not most of the time. He IS known to hold grudges, or dismantle someone’s face for fun, but those things aren’t part of his overall goal. Not saying they aren’t shitty, but his main intent is important to understanding his character and complexity.)

His main goal is to distract himself from his past with as much chaos as possible while also seeking attention from anyone he can get it from. He talks about Stanford and says he needs Bill to boost his ego, but really it’s the other way around. Bill considers himself a product to sell, he caters to people by using false charisma, pretending they’re the ones that need him when in reality he’s starving for their praise. He is desperate for someone to speak highly of him because his mind has nothing good to say, all the words he says out loud are compensation. He believes deep down that nobody will love him if they know who he truly is and what he’s done— and he’s not really wrong. And look! He couldn’t even admit that’s how he feels about himself so he pretends he’s giving advice! (He does this SO MANY fuckin times in the book..)

It appears in the book that the more he regrets or suffers from his past actions and traumas— the more he hurts and destroys the things and people around him as a distraction— all under the ruse of “partying”. So, in an immature attempt to absolve himself of guilt, he stacks more guilt onto his endless cycle by continuing to hurt those he loves again and again— pretending not to care but truthfully caring so much that he’d do ANYTHING to drown out the feeling. Ironically, his way of drowning out his feelings is by causing more harm. He is an endless, pitiful paradox.

It’s often misunderstood that he is a uncaring, but that’s what he WANTS you to think. That’s what he WISHES he was. His guilt and remorse doesn’t absolve him from the things he’s done, but the fact that it’s there is a GIANT and IMPORTANT part of his character. He CAN feel empathy, sympathy, sentimentality, and ESPECIALLY regret. He may be a considered a sociopath, but this doesn’t mean he’s not a person with feelings as well.

He’s so distraught over losing Stanford that he drinks himself into a state of temporary amnesia that made him fall into a ptsd episode— his memory is so bad he ends up thinking he’s talking to his mother who’s been dead for probably millions of years.

This doesn’t excuse what he did to Ford AT ALL (I felt a little sick looking at the knuckles page..) but you can’t truly understand his character without understanding that he is LYING when he is cruel to Ford. And no, just because it’s a lie/front doesn’t mean he’s absolved from saying or doing something horrible, but it DOES mean he is unique and complex.

It’s perfectly reasonable to not forgive Bill for what he did to Ford, because it’s not really forgivable— but I also think it’s fair to explore the complexities of “evil” characters. SAYING A CHARACTER REGRETS THEIR ACTIONS DOESN’T MEAN I THINK THEY DESERVE FORGIVENESS!!! Especially in Bill’s case, considering that he PRETENDS to not be sorry, which makes him terrible even if he doesn’t mean what he’s saying. He might as well not be sorry at all HOWEVER!! It’s still important to distinguish him from a sociopathic stereotype— so I have to acknowledge that he’s a little sorry anyway, even if that regret is hidden away and doesn’t help literally anyone.

He values his own comfortability over the people he loves. Meaning he’ll always be cruel instead of apologizing because even if he’s truly sorry, he can’t handle the fact that he did something wrong in the first place— He’ll just play dumb.

At the end of the day, though— Bill is much more complicated than “Guy that just wants to explode people with his mind and take over the world”— I mean yes, he’s also that— but he also has hella bad ptsd and possible other mental issues that I’m not qualified to diagnose. He has a mother who he misses and a pain he carries with him.

None of the pain he harbors will ever justify the pain he’s caused— So no, I don’t think he’s ACTUALLY forgivable (though I may joke). However, in my opinion, I do think he’s redeemable! He’s going to live (or at least be in purgatory?) for millions of more years. He already got a punishment of literal death and has the empathy (somewhere) to continue forward and start fresh. He has thousands of years to heal from his trauma and wallow in what he’s done.

The Pines family may never forgive him, but out of the child-cartoony love in their hearts they offer him not forgiveness— but live and let live. (Well, at least Mabel does.. love you sweet girl.) If he goes around them they’ll beat his ass like in weirdmaggedon, but if he stays away, they will too. At the end of the day, he’s been stopped and they’re happy. If he is alive, (((or is going to be??))) he might as well heal.

And, well.. even if you think he doesn’t deserve that somewhat happy(?) ending, a redemption arc for him has been hinted at for years. Sorry, man. Respect to you and all but like… friendship is magic and the evil demigod is gonna start working at your local wendys once he’s outa space arkham. It’s just the way kids shows go, man.

(((Edited note: I apologize for my original wording when it came to “sociopath”— I wasn’t aware of its actual medical use and I should’ve done my research on that! I’ve changed this post to be more accurate in that regard, so if old reblogs look different it’s because they’re the original version.)))

[callmewisteria]

Norm is absolutely one of my favourite characters in the Fallout universe. The fact he loves his family and wants what's best for them being what drives him to look for the truth of what has happened to them and why is fantastic. The ultimate difference between him and Chet, too, is a great show of his character. It began with him choosing to help his sister find their father and ends with him coming to the same realisation as she has – their father was not the man he said he was and much of their life has been a lie. Watching him decide to take the hunt for the truth into his own hands, even when it could be the end of him, is incredibly compelling.

What makes Norm so enjoyable to watch, too, is just how human he is. All of the characters in the show are that way, which is part of what makes it great (yes, even the ghouls as they were at one time human). The distress he feels at seeing what happened to Vault 32 being swept under the rug, and the anger he feels towards Betty and the others for doing it seemingly out of a desire for control and power more than anything else is tangible. The fact it drives him to take the risk of sneaking into Vault 31 shows his bold and couregous side, and also that it's driven by not only his own curiosities but his desire for the truth. It’s a great parallel trait he shares with Lucy and, as she comes to find out, their mother. The anger he feels towards his father and also the desperation he feels to survive are a great contrast of his truth seeking and his baser humanity.

All things considered, Norm's competing feelings of a desire for truth, a desire for safety, curiosity, and a love for his family are what make him a great character. The fact he shares those traits with Lucy but expresses them in different ways creates a strong parallel narrative for their characters, and also does a great job showing the two sides of courage. The fact neither he or Lucy are impervious or shy away from moments of weakness and subsiming emotion latch onto the naivety from their upbringing and also their humanity. With them both now having to reckon with the truth about their father, a reunion between them will I'm sure be great and also remind them that not all of their family members are bad. Reckoning with the truth about their mother and Lucy's love for her being what compelled her to end her suffering before breaking down at the gravity of it is another layer of complexity to their family dynamics that both of them will need time to sit with. The contrasting feelings of how they knew their father versus what they've come to learn about him serve well to separate them from others like Chet; where he, their cousin, chooses to remain wilfully ignorant, they chose to put aside their fears and look for a truth they knew was out there.

Chet is a coward because he chooses to ignore the truth he has seen with his own eyes.

Lucy is brave because she is willing to go to any and all lengths to find her father and is then willing to end the suffering her mother is under because of him; she is openly emotional and driven by that and the love she feels for her family and is horrified and shattered by her father being a different man than the one she had always known.

Norm is brave because he is willing to do anything for his sister and father and, when faced with the choice to stay in blissful ignorance, because he chooses to seek out the truth even when it could hurt him; he, too, doesn't shy away from the pain the truth about his father causes him and, like Lucy, has to learn to live with the competing memories of their father and the reality of who and what he is.

Hank is a coward because, while he goes to the extremes to attempt to preserve himself and his family, he refuses to accept the fact his actions have consequences for the way his children (and, previously, their mother) had seen him and instead tries to force things to go back to the way they were before his children could learn of his ability to be selfish.

And Rose was brave because she loved her children so much that she would and did do everything for them, even when she had to put her love for their father aside and risk herself so that she and her children could have a chance to live in truth rather than lies. Her children share that with her, even though they didn't know it, just as much as they share her love, empathy, and desire for the truth even when living in wilful ignorance could have been easier.

Tl;dr – the entire MacLean family being driven by love for each other but expressing it in different ways that ultimately drive them apart is not only great at showcasing the different sides of courage and cowardice but showing the way Lucy and Norm are so similar and are driven by their love for their family just as much as their desire for the truth and that neither Lucy or Norm shy away from their emotional and impulsive reactions to it presents them as not only fully human but two sides of the same coin; they are both couregous even though they take two different paths to the truth.

[temis-de-leon]

10 signs a cow is happy

Characters: Belphie x gn!MC

Main Masterlist

CW: developing and established relationship. A tiny bit suggestive at one point and there's a mention of rumination (regurgitation) in another one. Otherwise, nothing

A/N: a little different from what I'm used to, but I figured trying something new could help with the writer's block. Hope you enjoy it!

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Inspired by this video and this one <3

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He reacts to his name.

Except it isn’t just his name; at least when the one looking for him is MC.

Most of the time it’s Belphie, although Belphegor comes out occasionally, like those mornings when they’re both running late for class and he won’t wake up. There are also the late nights when MC is too tired to speak and only hums the melody of his name, but the demon still opens an arm and offers the spot beside him.

He frowns when Lucifer yells and continues sleeping when Beel carries him without a care in the world, but, conscious or not, he always smiles when MC is the one calling for him.

He spends time socialising and grooming others.

It’s more noticeable once he’s freed from the attic and he feels the need to spend as much time with them as his brothers had had while he was trapped, although his hate towards humans dissipating might’ve also had something to do with it.

One moment MC finds themselves relaxing in their room and the next, after answering an ominous text message, they are lying down next to him in the planetarium, first admiring the stars and then letting him play with their hair as he unknots it with his fingers.

His touch only grows more intimate as their friendship deepens and eventually evolves into something much less platonic, but the love and care within remain the same.

He likes to play with toys, like balls.

Which is something no one expects; a welcomed surprise.

They’re all sitting in a couple of booths inside a cheap diner in the middle of nowhere, one more time victims of their own misadventures. The smell of meaty grease surrounds them and sticks to their clothes, leaving both Asmo and Beel in tears for completely different reasons, and the mean-looking waitress has enough kindness in her heart to give them an old kid’s toy to entertain themselves.

It goes first to MC, the favourite in the family, and then to Belphie, who never gets to give it to anyone else. He throws it, catches it and bounces it against any surface available until Lucifer gives him a warning look and threatens to confiscate it, to which he pouts.

A couple of minutes later, he throws it in MC’s direction, so they throw it back to him with a smile.

Five minutes later, the ball is neatly kept in Lucifer’s pocket.

He has zoomies.

Another surprise, although not as sweet as the last one.

There’s a primal fear in the depths of their mind, the one that yearns for survival, that begs MC to run and hide the very few times Belphie looks at them with those dilated pupils. They suppose it makes sense, even if they’re not afraid of him anymore.

He doesn’t look dangerous or aggressive, just unsettlingly alert and active for a demon who’s supposed to be always tired; shockingly fast and agile each time the sudden bursts of energy make him run through the house jumping in unfiltered glee, going past MC close enough to almost tackle them to the ground.

Satan suspects it’s a consequence of his long periods of rest and, while MC finds it fascinating, they can’t wait for Belphie to go back to normal.

He’s enthusiastic about treats.

A feature he shares with his brother, no doubt, is their twin telepathy proving its existence yet again; and even though they’re strikingly different, they still share some mannerisms as well, like the way they smile or look up at MC whenever they enter their room.

And that brightness in their face only increases if there are goodies involved.

MC sometimes jokes about Beel being more like a goat, trying to eat anything and everything whether or not is edible. Fortunately, Belphie’s stomach is not that demanding, so a simple sushi platter is enough to leave him happy.

However, MC can’t help but wonder if being the one who brings the treats is part of the reason for his enthusiasm because if so, every market near them will have a sushi shortage very soon.

He chews cud.

Which serves to remind MC of his non-human, half-ruminant nature.

With the middle of March approaching, the twins’ birthday is celebrated as much as possible. The amount of food at the table is tremendous and it even reaches Diavolo’s height; a perfect example of the word variety. There are dishes, appetizers, snacks and desserts for everyone’s taste, fruits and meats and vegetables and whatnot. Fortunately, Beel eats half of it in the blink of an eye before it can get overwhelming.

But for some reason, there’s also a medium-sized bowl full of what looks like grass. It’s hidden amongst other things, probably because of the oddity of its presence, but Belphie finds it quickly enough.

The sight that follows is morbidly captivating and equally disgusting, especially when the chewed food comes back to his mouth for more chewing.

At the end of the day, the important thing is that he’s happy.

…right?

He initiates hugs.

Usually when he wants cuddles and, bratty as he is, his requests often sound more like demands.

He opens his arms, brings MC to his chest and breathes in. There’s a hand wrapped around their waist and another cradling their head, softly scratching their scalp, and their body is already relaxing against his before they can even think about what they’re doing.

Sometimes, when he looks too grumpy to be taken seriously, they like to tease him, laughing at the shocked and offended expression he wears when they playfully ignore his attempted embrace.

They suppose it’s sweet, the idea of always being close as a given fact.

He exposes his tummy for belly rubs.

While lying in that position might be seen as vulnerable for some, it doesn’t seem to be a problem for Belphie; although being a powerful demon probably gave him a good sense of security.

MC would never complain about it, anyway. Seeing him so at peace around them and not only letting, but asking to be pet? A perfect evening if they’ve ever seen one. They let themselves enjoy the feeling of his stomach trembling under the tip of their nails and the small puffs of air that come out when their fingers threaten to travel lower.

It’s a type of intimacy that he wouldn’t mind bragging about in front of his brothers, but he still stays quiet to keep it private and uninterrupted.

He licks his lips when you hit the right scratch spot.

The boredom is hefty enough to kill the whole classroom. Some are painting their skin, others are painting their seatmate’s skin and MC is wondering how soft Belphie’s hair is. He is sitting in front of them during the last period of the day and the temptation is too strong to avoid.

For once, he isn’t carelessly dropped on the table, but rather leaning back and letting his head rest on the back of the chair; he is conscious enough to pay attention to their professor in his sleep but not to his surroundings, so MC takes their shot.

At first they think it’s a coincidence and pay no mind to the subtle movement of his tongue wetting his lips when they scratch his nape, but then it happens again and again and they find themselves unable to stop and forget their little discovery.

Thankfully, when the bell rings and Belphie wakes up to go home with them, MC has the perfect excuse.

He drools! Such things happen!

He purrs.

It takes MC some time to figure out what is the deep rumbling that follows them for months, mainly because it sounds like a creaking door and, while the House of Lamentation is old, the structure and the furniture are kept mostly intact.

Just like white noise, once they turn it down, it’s impossible not to miss it and the realisation is enough to turn the sadness of returning to the human realm into a full crying meltdown.

It was there the whole time: when they woke up Belphie and they were the first person he saw; or when they laid together and played and simply enjoyed each other’s presence and existence.

It’s there again when MC can’t deal with the loneliness anymore and calls him.

The rumbling, a purr, peeking under his low voice.

If that isn’t enough reason to keep loving him, then what is?

.

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Taglist: @ilovecandys2010 @ollieoven @kingofspadesdelusion @whimsybloom

[directdogman]

Super stoked for the Roger DLC and WILL be playing it on release, but something that’s been bugging me ever since the first few teasers was Peter, his personality feels quite different to me and my Peter obsessed friend, is there a reason for his personality change or was it completely unintentional?

He feels a lot more hot headed now, not completely the same as but similar to Steven, which feels like a complete 180 for Peter, I always remember enjoying him more in DSaF 2 because he was the more relaxed Phoney who when he had geniunely serious moments, it was incredibly impactful and gut wrenching when Peter would yell at me. 😔

Also, will Steven ever be real in dialtown please sir I miss my wif-

The comparison just always bothered me slightly.

Different universes. I should note that while Peter IS chiller in DSaF 2, if the restaurant goes under, the main consequence is that the company will get mortally wounded and he might die. The other employees will (for the most part) be fine. Peter cares. He cares if you hurt employees, he cares if you fuck up but is also willing to look the other way a few times if the fuckup isn't bad enough (without letting it slide, because he still cares what you do at work too.) I'd say his attitude at work namely stems from that, rather than the other way around. Steven does NOT care. He is literally willing to throw you under the bus to save himself and his sole goal is keeping the place open specifically so he can save his own hide, and his hot-headedness comes from that.

In DT, Peter is at the end of his rope and has had to deal with a LOT up until this point, arguably even more than his DSaF counterpart in terms of his day to day job, as shocking as that may sound. There's also WAY more on the line this time. He isn't the one that's going to face the worst of what'll happen if things continue at their current trajectory (unlike Peter or Steven in their original games.) He explains this pretty early into the DLC, which may explain why he's testier than you remember him, namely what's on the line. He's trying his damndest to fix it but is failing. He's stuck between a rock and a hard place with Roger, recognizing his bad leadership is sinking the plant but caring too much about the guy to effectively deal with it until this point.

His guard is up because it has to be, but he does have a few nice moments where it's clear how much he cares and if you listen to Roger's dialogue carefully, you'll see just how much Peter has put up with that would've made any sane person walk away. He's also noticeably nicer to Gingi if you don't waste his time and seem to actually care about Roger, and he acts closer to how he does in the DSaF 2 screenshot you showed off, though perhaps with slightly less energy (since he is, like I said, at the end of his rope.) There's even a scene in the evil route where you can identify this and use it against him in a pretty sinister way.

To mention another thing that even Gingi sees as far back as his original scene in DT: He's a natural manager who's playing second-fiddle to someone who clearly doesn't know what he's doing.

I didn't just wanna do more of the same, so I played with the dynamics a lil. Peter is in a very different role here, one that he's not exactly suited to. He's out of his element. He's inundated with work and in this scene, is thinking about the lives of the employees who are going to be laid-off in a week or so time if things don't change FAST, and while this is happening, his boss is bantering with a weird cryptid on the street and talking about random garbage.

There are times in DSaF 2, like you said, where you do see him get like this. It's not as much that his character is different in my eyes, but that the context is. This is a version of Peter who is one bad day away from having to make a difficult decision. Literally. I'll gladly talk more about it when the DLC's out (namely I could compare + contrast certain decisions he makes!) For now, I don't wanna spoil anything that isn't explicitly stated in the first major scene he has.

[celepom]

It’s Pride 2023! Time to put up some more comic recs!

This time I’ve put together some stories about discovering one’s own queer identity, outlining a family history of queerness, and several stories where being queer isn’t the focus - queer characters are simply allowed to be.

Belle of the Ball By Mari Costa

High-school senior and notorious wallflower Hawkins finally works up the courage to remove her mascot mask and ask out her longtime crush: Regina Moreno, head cheerleader, academic overachiever, and all-around popular girl. There’s only one teensy little problem: Regina is already dating Chloe Kitagawa, athletic all-star…and middling English student. Regina sees a perfectly self-serving opportunity here, and asks the smitten Hawkins to tutor Chloe free of charge, knowing Hawkins will do anything to get closer to her. And while Regina’s plan works at first, she doesn’t realize that Hawkins and Chloe knew each other as kids, when Hawkins went by Belle and wore princess dresses to school every single day. Before long, romance does start to blossom…but not between who you might expect. With Belle of the Ball, cartoonist Mariana Costa has reinvigorated satisfying, reliable tropes into your new favorite teen romantic comedy.

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The Moth Keeper By Kay O’Neill

Anya is finally a Moth Keeper, the protector of the lunar moths that allow the Night-Lily flower to bloom once a year. Her village needs the flower to continue thriving and Anya is excited to prove her worth and show her thanks to her friends with her actions, but what happens when being a Moth Keeper isn't exactly what Anya thought it would be? The nights are cold in the desert and the lunar moths live far from the village. Anya finds herself isolated and lonely. Despite Anya's dedication, she wonders what it would be like to live in the sun. Her thoughts turn into an obsession, and when Anya takes a chance to stay up during the day to feel the sun's warmth, her village and the lunar moths are left to deal with the consequences.

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Hollow By Shannon Watters, Branden Boyer-White & Berenice Nelle

Isabel "Izzy" Crane and her family have just relocated to Sleepy Hollow, the town made famous by—and obsessed with—Washington Irving's legend of the Headless Horseman. But city slicker-skeptic Izzy has no time for superstition as she navigates life at a new address, a new school, and, with any luck, with new friends. Ghost stories aren't real, after all.... Then Izzy is pulled into the orbit of the town's teen royalty, Vicky Van Tassel (yes, that Van Tassel) and loveable varsity-level prankster Croc Byun. Vicky's weariness with her family connection to the legend turns to terror when the trio begins to be haunted by the Horseman himself, uncovering a curse set on destroying the Van Tassel line. Now, they have only until Halloween night to break it—meaning it's a totally inconvenient time for Izzy to develop a massive crush on the enigmatic Vicky. Can Izzy's practical nature help her face the unknown—or only trip her up? As the calendar runs down to the 31st, Izzy will have to use all of her wits and work with her new friends to save Vicky and uncover the mystery of the legendary Horseman of Sleepy Hollow—before it's too late. 

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Until I Meet my Husband By Ryousuke Nanasaki & Yoshi Tsukizuki

The memoir of gay activist Ryousuke Nanasaki and the first religiously recognized same-sex marriage in Japan. From school crushes to awkward dating sites to finding a community, this collection of stories recounts the author’s “firsts” as a young gay man searching for love. Dating is never ever easy, but that goes doubly so for Ryousuke, whose journey is full of unrequited loves and many speed bumps. But perseverance and time heals all wounds, even those of the heart.

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Is Love the Answer? By Uta Isaki

When it comes to love, high schooler Chika wonders if she might be an alien. She’s never fallen for or even had a crush on anyone, and she has no desire for physical intimacy. Her friends tell her that she just "hasn't met the one yet," but Chika has doubts... It's only when Chika enters college and meets peers like herself that she realizes there’s a word for what she feels inside--asexual--and she’s not the only one. After years of wondering if love was the answer, Chika realizes that the answer she long sought may not exist at all--and that that's perfectly normal.

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M Is for Monster By Talia Dutton

When Doctor Frances Ai's younger sister Maura died in a tragic accident six months ago, Frances swore she would bring her back to life. However, the creature that rises from the slab is clearly not Maura. This girl, who chooses the name "M," doesn't remember anything about Maura's life and just wants to be her own person. However, Frances expects M to pursue the same path that Maura had been on—applying to college to become a scientist—and continue the plans she and Maura shared. Hoping to trigger Maura's memories, Frances surrounds M with the trappings of Maura's past, but M wants nothing to do with Frances' attempts to change her into something she's not. In order to face the future, both Frances and M need to learn to listen and let go of Maura once and for all. Talia Dutton's debut graphic novel, M Is for Monster, takes a hard look at what it means to live up to other people's expectations—as well as our own.

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Golden Sparkle By Minta Suzumaru

Himaru Uehara’s first year of high school is off to a good start, minus one problem—he keeps having wet dreams. With only his mom and sister at home—and having skipped health class in middle school—he thinks it means there’s something wrong with him. Thankfully, a new friend has just the remedy and teaches Himaru exactly how to deal with those pesky dreams! But his solution only leads to more confusion, and the two find themselves navigating feelings they’ve never felt before.

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Thieves By Lucie Bryon

Ella can’t seem to remember a single thing from the party the night before at a mysterious stranger’s mansion, and she sure as heck doesn’t know why she’s woken up in her bed surrounded by a magpie’s nest of objects that aren’t her own. And she can’t stop thinking about her huge crush on Madeleine, who she definitely can’t tell about her sudden penchant for kleptomania… But does Maddy have secrets of her own? Can they piece together that night between them and fix the mess of their chaotic personal lives in time to form a normal, teenage relationship? That would be nice.

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Fun Home: A Family Tragicomic By Alison Bechdel

Meet Alison's father, a historic preservation expert and obsessive restorer of the family's Victorian home, a third-generation funeral home director, a high school English teacher, an icily distant parent, and a closeted homosexual who, as it turns out, is involved with his male students and a family babysitter. Through narrative that is alternately heartbreaking and fiercely funny, we are drawn into a daughter's complex yearning for her father. And yet, apart from assigned stints dusting caskets at the family-owned "fun home," as Alison and her brothers call it, the relationship achieves its most intimate expression through the shared code of books. When Alison comes out as homosexual herself in late adolescense, the denouement is swift, graphic -- and redemptive.

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She Loves to Cook, and She Loves to Eat By Sakaomi Yuzaki

Cooking is how Nomoto de-stresses, but one day, she finds herself making way more than she can eat by herself. And so, she invites her neighbor Kasuga, who also lives alone. What will come out of this impromptu dinner invitation...?

Kasuga and Nomoto promised to spend their Christmas and New Year’s together. Now, they find themselves learning more about each other’s families through the food sent by Nomoto’s mother. Cute character bento, salmon and rice, stollen, fruit sandwiches, roast beef…Nomoto and Kasuga warm up to each other over a cheerful holiday season.  

[pico-farad]

GX Character Names - an in-depth analysis

(i promise there's more substance than you think)

⇀ yūki jūdai (遊城 十代)

« yū (遊) - play, enjoyment » « ki (城) - castle »

The yū (遊) uses the same kanji that all the other Yu-tagonists have, but it's probably more relevant to Judai than any other protagonist. 遊 is a particle with many associations, most notably play and games, but also enjoyment, freedom, travel, and hedonism. All the protagonists play children's card games, but Judai is the one who most treats it like a children's card game, even when he shouldn't. His signature phrase is literally "That was a fun duel!"

The ki (城) kanji means castle and could be a slight nod to his past life, but more importantly, yūki is a homophone of 勇気, meaning courage and fighting spirit -- fitting for his hero theming and pure shonen protag energy.

« jū (十) - ten » « dai (代) - generation »

First of all, there's a fun connection with the first character of Judai's name meaning 10, to the first character of Manjoume's name being 10,000, as well as the Tenjoin siblings phonetically having 'ten' in their name (Fubuki even references it by signing his name '10join').

The second character dai (代) is fitting given the name of the show. The G in GX stands for "Generation." And the X stands for "neXt," but get this -- X is also 10 in roman numerals.

That's right... Judai's name is literally GX.

It goes deeper though. The more blatant meaning is that taken together, 十代 means adolescence, or teenager (it has similar etymology to the latter, something like "the tens ages"). But jūdai is also a homophone of 重大 - serious, grave, of great importance. That's it, those are literally the themes of the show in one name.

GX is ultimately a coming of age story. Judai is a kid who just wants to play games and have fun, but over the course of the show, is forced to give up that childish simplicity in the face of adult responsibility. He starts off believing that being a hero is just about courage and shonen ideals, and learns though grave consequences that it's not, and that being a hero isn't fun at all.

⇀ manjoume jun (万丈目 準)

« man (万) - ten-thousand » « jou (丈) - height, strong » « me (目) - eye, seeing »

This is where the 1, 10, 100, 1000 chant comes from. Combined with the second character, it feels grandiose and ego-inflated, then when you add on the final character, me (目), associated with seeing, the vibe you get is something like "looking down on (from a height of 10,000)." All of which makes his insistence on being called Manjoume-san even more conceited, but also gives you an idea of how the Manjoume family name looms over Manjoume himself.

« jun (準) - semi, secondary »

In contrast to his family name, his given name shows us the other side of Manjoume's character. jun has several kanji spellings with positive and auspicious meanings. One of them, 潤 (to profit, to become wealthy), would have been an obvious choice for our rich boy. 

But no, instead they chose 準, a kanji with a meaning that can be difficult to pin down. It's associated with preparation and reserves, such as reserve funds (準備金) -- in other words, being the back-up, extraneous. In the workforce, it indicates assistants, associates, juniors (準会員, 準社員). It's part of the words for semi-finals (準決勝) and runner-up (準優勝). Ultimately, it's a character that carries a meaning of being secondary.

Underneath all that snobby pomp, Manjoume feels inferior to his brothers, and can also never win against Judai, and this drives his character arc. The tension between his last and first names, of "looking down on" and "being secondary," is emblematic of Manjoume's internal conflict.

This is driven in even further by the fact that his brothers have first names that complement their last name. The first character of his oldest brother's name, Chosaku (長作), means leader, senior, or superiority (which directly parallels the meaning of associate for Jun, and also fits with Chosaku being a businessman), but it's also phonetically the same as 兆 which means one trillion, basically exaggerating upon the 10,000 of his last name.

Meanwhile his middle brother Shoji's name (正司) starts with the character associated with truth and lawfulness (ironic considering he's a slimy politician), was archaically used to mean of higher rank in court (again paralleling Jun), and also has a niche meaning of 10 to the 40th power, or... 10,000 trillion trillion.

⇀ marufuji shou (丸藤 翔) and marufuji ryou (丸藤 亮)

« maru (丸) - circle, entirety, perfection » « fuji (藤) - wisteria »

Circles are significant symbols in Japanese culture, used in divination to represent completeness and perfection, and the kanji 丸 also carries this meaning. Wisteria is a cultural symbol too, representing love and longetivity, with a tie to royalty and nobility.

All together, the name rings as elegant and dignified. In season 1, we see how Shou feels pressured and unable to live up to the name he shares with his brother, who embodies it. Perfection is a key part of Ryou's character -- in the graduation duel, he even acknowledges that he has reached perfection, but also that it is a limit, setting up for the deconstruction of the theme.

« shou (翔) - to soar »

Shou's name simply represents his character arc, starting from Osiris Red with no confidence in himself, and ending in Obelisk Blue, surpassing his brother who has an opposite arc of "falling." It's also a homophone of 小 meaning small or younger.

« ryou (亮) - clear, brightness »

The kanji used for Ryou's name is part of words like moonlight (亮月), rightfulness (亮直), as well as words associated with royalty, like mourning the emperor (亮闇). All of which vaguely match the tone of Ryou's character as "the Kaiser." The Cyber Dragons are also light attribute, and he is introduced with "light" theming which is all reversed after his turn to the dark side in season 2.

The kanji can also be part of the word ryousatsu (亮察) which can mean to take into account, to consider, and to sympathize. A core theme of Ryou's character is having respect for his opponent and not underestimating them -- this is why you'll often hear Shou referring to "respectful dueling," and also why Power Bond is their signature card, because without respecting your opponent's capabilities and taking their field into account, the card will backfire on you.

Oh, and as an aside, Ryou does not use the same kanji as Bakura Ryou from the original Yu-Gi-Oh, who uses 了 -- completion or ending.

⇀ tenjoin asuka (天上院 明日香) and tenjoin fubuki (天上院 吹雪)

« tenjo (天上) - heavens » « in (院) - institution »

The first part ties into the Cyber Angels that Asuka uses, as well as the Atmosphere cards that Fubuki uses in the manga. It's also referenced by Fubuki in his embarrassing pickup line ("What do you see above?" "Ten... join!" This is the guy that Manjoume thinks is the love magician)

The second part is a particle used for institutions, particularly stately ones in government or higher education, which makes sense if you believe Asuka becomes a teacher. Overall, it's a refined name which perfectly suits Asuka, and not Fubuki.

« asu (明日) - tomorrow » « ka (香) - fragrance »

The first part of her name is why Jim calls her Tomorrow Girl, which spawned the Asuka/Jim ship by itself, but it also suits Asuka really well, because her character arc in season 4 is ultimately about moving on and embracing the future. She leaves behind the safety of Duel Academy and takes a step into the unknown by going to America.

« fubuki (吹雪) - blizzard »

This is why he's nicknamed the Blizzard Prince. Otherwise, he doesn't have any connection to blizzards, but Asuka uses ice decks in the Society of Light and in the manga, so the Tenjoins both have some ice theming.

⇀ misawa daichi (三沢 大地)

« mi (三) - three » « sawa (沢) - marsh, brilliance »

Another number-themed name alongside Judai's 10 and Manjoume's 10,000. sawa is a common kanji in names, but you could argue it ties into his signature monster, Water Dragon.

« dai (大) - great, vast » « chi (地) - earth »

Of his six decks, we see two of them, his water deck and his earth deck. The latter of which he uses against Tania, who in turn uses her wisdom deck -- which is perfect because daichi can also be a homophone of 大知, which means great wisdom. Nerd.

⇀ tyranno kenzan (ティラノ 剣山)

« tyranno (ティラノ) »

This name is derived from tyrannosaurus rex. Because he's got dino fucking DNA.

« ken (剣) - sword » « zan (山) - mountain »

The literal characters are fitting for Kenzan, who has an offense-focused deck of mostly earth attribute monsters, and a personality to match. But as a whole, 剣山 refers to a tool in traditional flower arrangement. The kenzan is the base in which the arrangement is stuck into, a foundation which keeps the structure secure. Kenzan ultimately looks up to Judai (and calls him aniki) because he wants to be a leader like him, one who can bear the weight of his followers' expectations. We don't get much of this after his introductory episode, but I still think it's a fitting name for a dependable guy.

⇀ saotome rei (早乙女 レイ)

« sa (早) - early, quickly » « otome (乙女) - maiden »

This one is pretty on the nose. The first character refers to how she came to Duel Academy early, being younger than all the other characters, and not joining the cast until much later. The otome is the same used in her signature card Koisuru Otome, or Maiden in Love, and also refers to a romance genre for girls. As a whole, saotome is also a term for a girl who plants rice paddies.

The name may also be a reference to Saotome Ranma, the protagonist of Ranma ½, which is about a boy who changes into a girl when splashed with water.

« rei (レイ) »

Rei is a unisex name with many different kanji spellings and meanings, but instead, Rei's name is spelled with katakana. Given that she dresses as a boy twice and uses masculine pronouns in Japanese, this may be to make the gender more ambiguous than if kanji with more gendered connotations were used, such as 麗 (graceful) or 鈴 (bell sound) which are more feminine, or 零 (zero), or 令 (authority) which are more masculine.

If you ever wondered, Ray from Arc-V also uses the same katakana spelling, though this may be because most of the Arc-V characters from other dimensions use katakana, which sounds more foreign or ambiguous in origin. Meanwhile, Rei from Zexal uses 零 (zero).

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Feel free to correct me if anything doesn't seem right! I'm not Japanese and may have read too much into some of this.

[pnk-spiderr]

Symbolism and foreshadowing in Re:Rescue

So I kinda went crazy looking at all the little things in this opening animation and what they symbolise: character positioning, scene layout, etc. I’m not going to go into the basic things, like the animation progressively getting more disturbing (I think that’s a good symbol for the story in general though, LOL) but here are a bunch of things I saw:

The angling of the twins’ eyes:

So when the screen splits to show Shiro with one twin on one side while the teen/current other twin’s eye is in the other side, Rin’s eye widens while Yukio’s begins to shut. Because while Rin has seen his brother as a source of strength since he was young, Yukio believes he’s weak because Rin could always do things he couldn’t. Because he had to fight, learn how to wield a gun, while his brother was allowed to remain ignorant for fifteen years. (Keep this idea of the twins doing the opposite things in mind, it’ll come up again later)

Hachiro’s snakes:

Yeah this one’s pretty simple, the snakes surrounding Shura look like a cage. Pretty obvious symbolism for her being trapped in a contract with Hachiro. And then she’s reaching for Shiro, the one who initially got her away from Hachiro and allowed her to become her own person in the first place. (And then Shiro is replaced with Rin, because he’s the one who manages to defeat Hachiro. The one who first separates her from Hachiro versus the one who stops him from interfering in Shura’s life anymore or something like that)

The Illuminati shot:

It’s the character positioning here that’s important. Most characters, including Lucifer (who’s much further back in the shot) is facing towards the center of the screen, like they’re looking at the viewer. Except Shima. Shima’s facing the opposite direction, partially hidden behind Homare. He’s hiding in the background, as is the role of a spy. But also, he isn’t facing the same direction as the rest of the Illuminati. He’s not fully devoted towards their cause or ideals, he has his own motivations. He’s not acting for any organisation, but for himself.

The Kamikakushi key:

(This is the best shot I could get. lol)

But yeah this is just foreshadowing the role the key plays. It’s an important symbol but is also simple enough of an image to not spoil anything. As it’s used later on(in volume 25), you can also interpret this as a representation of Rin deciding where he takes himself: he has the key, it’s up to him what happens next. And then the key’s glow envelops the screen, the next shot being this:

Yuri.

That’s where the key takes Rin. To Yuri, in the past. So the key takes the animation there as well. (Again, subtle enough that you won’t get it unless you know where the plot goes. Yuri appears in flashbacks this arc, we get a face to her name. To those unaware, this shot seems to simply reference that.)

Split Screen/lighting:

Two things here:

1/ The divide in the screen, representing how the twins feel that they no longer understand each other. 2/ Rin’s looking up into the light, and Yukio down into the shadows. Represents the opposite directions of their arcs at this point, Rin working on accepting himself (though this arc proves that’s harder than it seems, and his reliance on avoidance behaviour means he hasn’t actually solved the root of his problems) while Yukio spirals more and more.

Demon Rin:

he is (already) here. what who said that not me

no actually I like that the opening contrasts Rin “looking into the light” with his deep-set fears of monstrousness and the consequences of his existence.

The snowflake:

Ok we can agree this represents Yukio right. It’s in his name (“Yuki” literally means “snow”) , “beyond the snow” itself is a reference to Yukio’s downward spiral and Rin’s inability to understand him. The snowflake represents the same thing: Rin trying to understand Yukio, who’s been his source of strength since he was young.

More split screen:

This is the same as the above split screen, representing the divide between the twins while the day/night effect does the same thing as the lighting in the earlier shot. But I think them walking in separate directions at the end of the opening is also important since it shows the different directions they end up going in at the end of the arc: one towards the past and one towards destroying it all.

Also:

I like that the side the twins are on isn’t consistent throughout the opening. There may be a literal split between them in a lot of shots, but they aren’t confined to certain sides of the screen. Because in reality, the two are more similar than they realise.

..And yeah that’s it! There’s more I could go into but this is what I found the most interesting/important. Sorry for the homestuck reference. It will happen again.

[mdhwrites]

I'd like your thoughts on the segment of TOH fandom that attributes Luz' behavior to her having been bullied and ostracized in Gravesfield. Canonically there is nothing showing Luz being bullied or says that she was bullied in Gravesfield. Quite the contrary. Yesterday's Lie had Vee, who had been living as Luz for months, living a good life where she had made friends at camp and at school. She resented Luz' return and castigated her for not appreciating how good a life she had. The episode Thanks to Them had the guidance counselor ask Camila if she had been bullied in school to which Camila answered that she had. He then asked if she wanted Luz to struggle as she had. That question strongly suggests that Luz was not yet having any social difficulties beyond those of her own making and that sending her to camp would keep that from happening. When we see Luz back in Gravesfield HS she was having no difficulties dealing with other students and that some of her contacts with them were friendly and admiring.

So what are your thoughts on this insistence of certain fans that Luz had suffered this bullying and ostracization when the show itself not only doesn't support it but contradicts it?

Because it's necessary for Luz's character to function.

That's really all it comes down to. Luz is kind of monstrous if she has never actually known strife. She wants to be seen as the victim after all. She wants to be justified in abandoning her mom for her fantasies. For rejecting the consequences of assaulting people. Heck, that's still true in S3 where she needs to be able to claim that the human world would be some torturous hell hole for her so that her self martyring actually comes across correctly instead of someone going, "Oh, that sounds like a lot of work and might actually be dangerous so I'm just gonna stay home with my loving mom instead."

If her home life was good, was kind, was what we wish our home lives with a parent who will enable us to do whatever we want short of breaking the law... What the fuck is she doing? The audience insert, who goes entirely unquestioned in the show besides "Hey, you kind of messed up, go apologize," (which she doesn't do well all the time) is suddenly this whiny brat who wants to be enabled by literally every person in existence because she needs to be the most special person there. It's the antithesis of what people want "I just want to be understood!" to be about. She wants to be understood so you go "Oh, I get it, you keep being you," and never hold her accountable. Otherwise, she might not lie all the time because she might be willing to actually face the consequences of her actions.

It is a shift in Luz's character irreversible in its damage. You just cannot like the show in the same way when you have to admit that Luz is a self entitled little shit. And mind you, her normal archtype is of that sort. Danny Phantom and Randy Cunningham and even to some extent Kim Possible are all flawed teenage characters who are clearly growing. Who need to be better people so while they're protagonists, you're supposed to learn as much alongside them as from their example, if not more. You are meant to take from Luz by example though. She is meant to be the audience surrogate after all. And, you know, if she's unjustified in her actions... What does that say about you all of a sudden who connected so deeply with her?

That's all of why this can't vanish. I actually want to add onto your proofs though because people will go "What about her panicking during Knock Knock Knocking?" Yes, that is the ONE time we are ever given the idea for her being mocked for something and even that one... Well, she's worried about going too over the top. How much do we want to bet Luz came to school in her suit to ask the person she liked out like she was in some sort of soap opera? That's gonna get you reasonably laughed without a VERY specific sort of partner like Amity.

HOWEVER... That's the one time, a season and a half into the show, her actions imply someone who has been bullied. Otherwise, she is very confrontational, she does nothing to hide herself, she gives almost no shits about what anyone thinks about her besides "Fuck you, I am totally the greatest" everytime Eda doubts her. The closest before then is her worrying about Amity seeing her as lame but Amity is the only one she cares about for that. Even then, she never seems bothered by the fact that Amity is a bully. She is willing to stand up to her regardless. This is further reinforced by what she does with Boscha where she either just brushes her off during Once Upon a Swap or is entirely confident in confronting her in Winging it Like Witches. NONE of that is the behavior of someone who has been bullied, harassed and hurt by constant bullying. Add all the elements where she clearly could have found people like her but chose instead to chase more popular clubs like cheerleading and acting and it paints a REALLY bad picture of Luz.

It paints her as Liz Lemon from 30 Rock, or Goob from Meet the Robinsons. Both people who claimed the world hated them when the reality was that they were awful to reality, one being a bully and the other ignoring all signs of kindness and acceptance that was attempted to be given to him. This is far worse when you remember that Luz never appreciated her mom properly, like Goob, and also is genuinely an asshole to both King and Hooty for their interests, like Liz Lemon.

Luz is a bad person. But for the show to function, you cannot believe that. Once you do, it will only to start to collapse faster and faster as the contradictions pile on top of themselves.

So why not just twist the truth instead into the pleasant lie Luz is actually the archtype of the bullied nerd that the first episode tried to imply she was but then failed to ever deliver on? It's easier that way, even if it's dishonest. Luz wouldn't judge you for it, not so long as you didn't try to lie to her. Because all that matters in the end to Luz is Luz.

======+++++======

If the idea of a fact that's not well supported by the show being critical to a character functioning sounds familiar, it's because it's the same reason why people need Odalia to be pure evil. Both Amity and Luz need to use having been hurt by others to justify their own behaviors, even when their behaviors don't correlate in ways that actually support those excuses.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[lemonhemlock]

The episode where Rhaenys busts through the floor and murders countless smallfolk and it having absolutely no narrative consequences on the story or condemnation of Rhaenys' character, and the episode where Aegon murders the ratcatchers causing Otto to crash out have this whole monlogue about Aegon being The Worst being written by the same writer really tells you all you need to know about HOTD. And before you ask, yes, they were both written by Sara Hess lmao.

Yeah, I know there was discourse a while ago, because this dissatisfaction regressed into racist and misogynistic attacks directed at Sara Hess. Obviously, that's vile and people should, first of all, rid themselves of this despicable framework of viewing the world (because, as always, this is absolutely just another opportunity to dunk on a woman - these people don't care about good storytelling) and, secondly, learn how to actually formulate an argument that doesn't sound like the ramblings of a basement-dweller.

That being said, she is categorically not a good writer, there's no other way to put it. She can come up with some good ideas (or, at least, a glimmer of good ideas - for example, the daemyra argument in S02E02 was good - one of the season's highlights, actually) and her line-level writing is... adequate. But, on the whole, her record on House of the Dragon is littered with inaccuracies and logical fallacies. I haven't seen her other shows, but I decidedly have no desire to and will be actively avoiding if I see her name. And I am including Ryan Condal in this mess, too, because he has the ultimate say-so on how the scripts look. These two together truly are the blind leading the deaf.

I think the ratcatcher pity party was, in a way, a reaction to all the backlash she received for the Meleys dragonpit scene. But, instead of fixing her mistake and making it work in the context of what she had already written, she made some absolutely abysmal storytelling choices that defy common sense and contradict her own text. A very easy fix to this would have been to show the population of King's Landing become very anti- Meleys, Rhaenys and, by extension, Rhaenyra. But, of course, the wider narrative set by her genius colleagues was that KL couldn't possible have any negative feelings towards Rhaenyra, so it's completely swept under the rug and the commoners are made to consider Meleys' death a bad omen.

But, naturally, they had to do something about all the criticisms that they are not focusing on the negative effects this war has on the population. However, instead of showing that in a balanced way, they decided to pile all these evils on the greens again. Rhaenyra faces no backlash from the low-born for any of her actions. She does sacrifice them to Vermithor, essentially, by preventing their exit and it's framed as the beginning of her moral compromises and falling into self-aggrandizing behaviour. Yes. But where are the consequences to this? There are no consequences. These dragonseeds don't seem to have any family who are asking questions about them or blaming Rhaenyra for setting them on fire, basically. Not even one noble person hears of this and goes "hmmm that's kind of fucked up actually". Larys, the literal Master of Spies, who might have reasonably be shown to have found out this inside information via his network of spies, might have had some lines informing the green council about this awful thing Rhaenyra has done. Might have even informed the population, in order to turn them against her. But no, of course not, we can't have anyone actually be anti-Rhaenyra.

Meanwhile, we have close-ups of the fucking dog longing for the ratcatcher who literally kicked it in a previous scene. How do you even qualify the framing decision to invite the audience to feel sorry for a child-murderer? To feel more sorry for him than for the actual mother of said murdered child? We have Otto, of all people, lecturing Aegon about how over-the-top he is acting, because he executed a couple of ratcatchers. Otto, who, by the way, is shown in S01E09 to be executing people because they would not bend the knee to Aegon. Otto does not value commoner lives more than noble-borns (last season, he refuses to outlaw child pit fighting and, even in the previous episode, he gets annoyed by Aegon ruling too much in the smallfolk's favour), but he grows a temporary conscience for the purpose of this one scene, because we have to engineer another situation in which Aegon looks cruel or stupid (or both, preferably). Alicent's entire household was purged by Larys for supposedly being Mysaria's spies, the brothel was even set on fire and she gave zero fucks about that, but Aegon's ratcatcher execution is somehow one step too far.

I have said this before, but just thinking "civilians don't matter" in the ASOIAF universe betrays a fundamental misunderstanding of the themes and message. Can you ultimately be anything other than a "bad" writer if you miss the point to such a degree? And you can tell that's her true opinion about all this, because she can't write a storyline in which civilians do matter to save her life. The suffering of the lower classes only matters in her stories just as far as she can instrumentalize it to demonize the greens. She's not interested in any kind of systemic exploration, because that would also involve the blacks and it would interfere with Rhaenyra's hero framing. Like Ryan Condal, she doesn't have the chops to write beyond the hero-villain binary, hence all the flip-flopping and the retconning and the logical fallacies. And, at the end of the day, I can just watch a Marvel movie for that, you know?

[rambyol]

Analysis: The Blood🩸& Lipstick 💄 💋

Let’s look at the symbolism, subtext, and suggestions behind Bruce’s blood stained shirt and John’s ‘borrowed’ lipstick from Harley.

1) 🩸 Blood on Bruce 🩸

Symbolism

John and Bruce’s much anticipated confrontation in the Bonus Brothers Carnival ends with a pivotal question, which is, does Bruce trust John? John who is covered in blood, surrounding by bodies, and acting erratically. If you pick ‘Yes’, John embraces Bruce which leaves the vigilante with a bloodied shirt.

Many people have picked up on how Telltale utilises visual storytelling to indicate the shift in the narrative here, and more so the shift in Bruce’s character. Bruce has ‘blood on his hands’ both literally and figuratively— now this symbolism alone depends on how you interpret John’s character as a whole in addition to what you think actually took place off screen between John and the Agents.

But aside from the idea that the bloodied shirt symbolises how Bruce is now complicit with John’s crimes (‘murder’) I thought about how it also plays into the ‘same stitch’ mantra which John says throughout the narrative.

Blood holds a lot of meaning; It can symbolise tight connections between people, for example when we refer to terms like 'blood pact/blood oath' as gestures of trust, loyalty, and commitment. These associations are very intimate and how they link to John's mantra is through the very forced nature in which the blood is transferred onto Bruce. John pulls Bruce in for a hug, taking him by surprise, as is evident by Bruce's stiff posture. And that's important because from the very minute we meet John, we see how he ‘pushes’ idea's onto Bruce, or subtly forces him to make tough decision. (relative to how you play Bruce, in this case, I mean when you play Bruce as a 'good' guy).

Let's look at Lucius's funeral; John tries to pressure Bruce into meeting his 'friends' by either guilting him into it, “Please, I’ve got a lot riding on this.” or incentivising Bruce to do so via the reveal that John has links to Riddler, “I’ve got this enemy. Calls himself, the Riddler”.

In a way, the blood on Bruce's shirt is also an attempt to reaffirm John's belief that they are “two threads in the same stitch”.

Theories - Was it an accident or was it intentional?

I've thought about how John may have deliberately hugged Bruce so that the blood on him would imply that he was also involved with 'killing' the agents, and you could see it that way when rewatching the scene. Especially with the above image (left) where we get that shot of John's face. That expression occurs directly after he apologises for getting blood on Bruce.

John's expression doesn't look apologetic and we know how he looks when he genuinely regrets an action, or is in a tough position.

So his face looks otherwise neutral to me. Or at least the shot seems to linger just slightly. To top it off, there's no response from Bruce because John quickly reminds Bruce that they need to catch Harley, which is interesting because every other option during the Hug scene seems to take its time, and there's no sense of urgency from John like there is in that moment.

So maybe it was intentional.

However, since it's never brought up by Waller, or has any real consequences to the plot, I just consider it a fun theory. Mainly because I think it could've also been a genuine moment - John looks visibly surprised when Bruce says, "I believe you" and it seems like a knee jerk response from him especially considering how often the game makes you doubt John by making so much of his words and actions look ominous. (Although that could all still very well be true, that he isn't always to be trusted) For the sake of Bruce and John's dynamic, I like to believe it was a genuine moment of tenderness between them, especially if you choose the option where Bruce apologises for doubting John during their hug.

2) 💄 Shared lipstick 💄

When John goes down the Villain path, the events on the bridge is where his transformation occurs, hence the lipstick he gets from kissing Harley.

It even foreshadows Joker’s look. [refer to this.]

Now, one interpretation I had of this scene was that John and Harley were finally on the same page because throughout their time together there was always this uncertainty surrounding their relationship, John himself questions whether his relationship with Harley is contingent upon whether or not she succeeds to get the virus.

In another sense, this could also be seen as the moment John steps away from Harley’s influence. John is the one who initiates the kiss with Harley here, and in contrast to when they make out during episode 5 at the dinner party, Joker doesn’t have residual lipstick from Harley there, so I like to think that he was more forceful on the bridge with her to intentionally get lipstick on him.

Since he’s been second to Harley and her plans so far in the narrative, I like to view the kiss/lipstick as an act of independence - a sort of taking - from Harley, and reclaiming a sense of identity for John.

[what0smart]

Absolute Power:Superson thoughts!!!

Spoilers!!!!!!

As much as I would love to make an essay on this I don't think there's any way I could organize my thoughts enough for it to be good so I'm just gonna list out my thoughts on my favorite parts!

You can find my thoughts on the first 8 pages we got as previews here (page posting limit lol)

Nia understanding that while Jon often fights alone or for people, he desperately wants to fight alongside others or for them to fight for him.

This whole page is so great, I love the direct acknowledgement that Jon has been constantly fighting and all the times he had to fight alone. I will take the volcano and Ultraman where and whenever lol

Jon clearly has been suppressing his trauma and his constant fighting to make sure he doesn't lose anything like when he lost everything as a kid is clearly taking it's toll. Nia telling Jon he doesn't need to fight for everyone else constantly and it's okay to choose himself at times. This will come back in a conversation with Jay.

I am holding out having any feelings on this cause a large part of me refuses to believe DC would actually kill her, but if she is actually dead I'm gonna come back later and stare at this page in the saddest way possible.

He's so petty it kills me lmao

While it stresses me out to see them fight I love seeing them work through it, and it really shows the differences between them especially as this whole event has probably had a major impact on Jay in a negative way.

Jon realizing that he was trying to save the idea or memory of Nia over his Boyfriend after everything that's happened and deciding to prioritize what he wants, which is Jay. (more thoughts on this page at the end lol)

I think the Amazonians asking Jon for help was kind of a reminder to Jay of who Jon is at his core. Similarly to how Jon understood he probably can't dissuade Jay from hating Nia, I think Jay was reminded that Jon is just a forgiving and loving person, it is what drew Jay to Jon in the first place and that he shouldn't expect him to have the same reaction he has to Nia's death. I think Jay was going to say yes no matter what after this realization but I feel he normally would have thought about it more but decided to take that risk and give Jon a yes so he wouldn't be worried about it while in battle, you can see Jon flies away with a much more ready attitude.

Jon's "new place" is in his dreams, I had a worry Jon was just offering to live together with Jay because he thought it's what Jay would want but the fact that this is here means he has been dreaming of living in San Francisco for a while now, and the fact that Jay not being there destroying the dream really hits it home that being with Jay is what he wants. This is not Jon trying to make sure everyone in his life is happy at the cost of his own, this is Jon listening to what Nia told him to do and is choosing himself by following his dreams.

Final thoughts

Overall I really loved this issue and it really hit my expectations. It was very tough to follow at times but that's typical of dream sequences and this issue did it well, can't wait to see how Absolute Power ends and if Amanda will FINALLY face the consequences for her actions. I'll be holding out my comments on Nia until we know for certain she's dead, Nicole loves tormenting her characters so I wouldn't be surprised but I think she would also love to continue the beef between her and Jay. I'm extremely interested and hope Nicole or Sina do something in the future for Jay and Jon because right now they are probably the people at DC who I trust the most with the boys!!!

[faramirsonofgondor]

Some Thoughts on Crosshair (TBB)

**Buckle up because this is probably the longest post I’ve ever made because I lost the plot halfway through. Like this started out analytical and then just went sideways. (I spent hours writing this instead of doing my homework)

I think part of what makes Crosshair’s character so compelling in Season 1 & 2 of TBB is that his storyline is incredibly unique to himself.

Like throughout TCW & TBB we see that the clones are in this constant struggle of having to follow orders vs. choosing to do what they think is right. While every time this dilemma comes up, it happens in slightly different ways and has different consequences each time, the premise is mostly the same. The clones rebel against their orders, to do what the general audience views as “the right thing”. In certain cases, it may be more nuanced, such as Slick killing other clones as an act of revolution against the people he views as their oppressors (the Jedi & the Republic), or such as Fives attempting to assassinate the Chancellor.

It’s one of the main tropes of TCW - the clones were conditioned to be subservient , but the orders are questionable or immoral, and in the end the clone rebels. They made a distinct point of having Dogma, whose name is directly tied to obedience of authority, be the one to kill Krell when Rex couldn’t. Even the whole Cut & Suu situation was an act rebellion in itself. Time and time again, TCW shows the clones rebelling in various ways, whether it be desertion and quaint domesticity, or attempting to assassinate the head political figure of your governing body.

Then in the last season of TCW and TBB, we see the clones rebellion being set up in a more distinctive pattern - the clones learn about the chips, the clones remove their chips, and then immediately after the clones either (1) die, (2) decide to retire or go on the run (3) organize and fight against the empire, or some combination of those three.

Enter Crosshair, who is quite literally one of the only clones (the only clone?) who doesn’t follow the pattern. Every single clone we’ve seen who is aware of the chips/has their chip removed, and even some of the ones who don’t in TBB, chose to fight against the Empire. It reinforces to the audience that this is the Right Choice to make. They’re shoving it in our faces, saying “Hey! See!! This is the right thing to do!!! This is what any one would do in this situation!! Any good person would rebel!!! Because it’s the right thing to do!!!” But Crosshair is the exception. Somewhere between 1x08 and 1x14, his chip is removed. And unlike every other clone who has been in his position, he chooses to stay, to follow orders (somewhat), and to turn his back on everyone who rebels.

This creates a fascinating arc and an incredibly unique mindset for Crosshair, because it goes against everything we’ve seen about the clones and their morals. No matter side of the rebellion that they’re on, the clones have all placed a tremendous emphasis on loyalty and brotherhood when it comes down to decision making and their morals. A significant amount of clones that TBB or Rex & his rebellion squad encounter allow themselves to be reasoned with, subconsciously placing their loyalty and sense of brotherhood above following their orders, such as Howzer in s1 and Wolffe in s3. But not Crosshair.

This causes the audience to question why? Why would Crosshair choose the Empire? Why would he choose to go against the rebellion? Why would he choose to give up part of his freedom, part of his ability to make choices, just to side with the Empire? Why would he believe that this is the right thing to do?

And while it is somewhat established that part of his reasoning is that he feels like he was betrayed by TBB and that Empire is making the world better (or whatever propaganda they were spewing), I think it goes a lot deeper than that.

In 1x01, we see Echo upset by the revelation that the Republic has now become the Galactic Empire, to which Crosshair says “Republic, Empire, what’s the difference?” I think it’s a very subtle allusion to how little freedom the clones had in their lives, and how much the Republic had already fallen. While Crosshair asks the question in a very bored/deadpan drawl (as he does most things), it does seem to be a genuine question. What is the difference between? I know most people would probably interpret that scene as him implying that it doesn’t matter whether they fight for the Empire or the Republic, because it’s all the same to him and they’re just supposed to follow orders.

But just how different is the Empire from the Republic, really? From a general point of view, the main difference in how they operate is that the Chancellor - now Emperor, has more permanent power and influence. He’s legally(?) allowed to make more decisions without approval from the Senate. But he was already doing that throughout the war. He was already gaining more and more power. He was already in complete control of the Republic and he held extreme influence over the entire Jedi Order. This was all in his persona as Palpatine as well, not as Darth Sidious. Sure he orchestrated behind the scenes as a Sith, played both sides of the war, yada yada, made convoluted plans to cause chaos and distrust within the order, groomed children to be evil, and all that other stuff. But like also, from a general pov, he literally controlled the order. Like whenever the order was like “we don’t think this a good idea” or “we shouldn’t do it this way” or “this goes against our code”, he straight up was just like “well I’m Chancellor of the Republic. You have to do what I say. And I say you have to do it.” Like the Jedi, who are “peacekeepers” were literally forced into being warmongers. The Jedi don’t want a Zillo Beast running around, the Chancellor makes it his pet and then lets it run around. Anakin wants to lead his men on Umbara, the Chancellor calls him back. The Jedi want to know more about Fives death, the Chancellor gets them to back off. Anakin thinks they should take Dooku in alive, the Chancellor convinces him to kill Dooku. The Jedi want the Chancellor to give up his emergency powers, the Chancellor kills all of them. Jedi say no, Chancellor says yes. The Chancellor was controlling everything long before he even uttered the words “Galactic Empire”. The only thing that changed was that he was no longer trying to hide it. The Senate no longer had the illusion of democracy, and then and their people could see the freedom they once had shrinking as they days passed.

But the clones never lived under the assumption that they would be permitted freedom - not really. Sure, maybe they were allowed to make some choices, they could change their haircut, paint their armor, and have downtime if they were lucky. But even then, they lived under the idea that they were there to serve the Republic as soldiers. They were there to follow orders and nothing else. And while, like I stated before, they did rebel against their orders at times in TCW, they were never actively trying to dismantle the system they rebelled against (except maybe Fives, who immediately tried to kill the Chancellor once he realized what was going on). They were aware that they didn’t have much control, and they were resigned to that fact for the most part. So really, what did it matter if the Republic became an Empire instead?

Well, Tech responds by saying that a big difference for him between the Republic and the Empire was the genocide of the Jedi. Despite the fact that they were labeled as traitors, the entire batch (sans Crosshair) is uneasy with idea that they had all committed mass genocide against the same people they served beside. This is important because it demonstrates that they aren’t upset by their own lack of freedom within this Empire, but rather the actions of the Empire itself. They don’t view the Empire as evil because of the system it creates, but rather because of what the Empire has done.

Then the episode continues, and TBB are ordered to kill innocent civilians. This just further reinforces the idea that the Empire is evil - or at the very least, wrong. The rest of season unfolds similarly, with Empire doing evil stuff and TBB fighting against it, and Crosshair siding with the Empire the whole time. Now, this brings me back to my earlier statement that Crosshairs motivations are deeper than just the chip and the betrayal he feels by TBB. It’s clear in episode 1, and in other episodes, that Crosshair is struggling against the chip. The clear headache and confusion he has about why he’s following orders is a huge tell. Then, after Bracca (likely when his chip was removed), we see that he’s not as trigger happy against “traitors” and that he himself can now disobey orders. But Crosshair stays with the Empire. He can’t be reasoned with. In fact, Crosshair is the one trying to persuade TBB to join the Empire. He abducts Hunter, hatches his plot, kills a bunch of imperials, nearly gets himself killed, and even saves the child he was beefing with. But TBB don’t want to be apart of the Empire, and Crosshair does. Unlike the other clones in his position, Crosshair doesn’t put brotherhood first.

Crosshair constantly talks about how he’s doing something great by being apart of the Empire and spouts propaganda all day long, but I don’t think he really believes it. I don’t think it’s necessarily about loyalty, or even about following orders. All of the other clones, even the rest of TBB, viewed themselves as soldiers/assets of the Republic. For a lot of them, this meant fighting and possibly dying beside their brothers, and beside their Jedis. But I think Crosshair didn’t really see himself as soldier, but rather as a weapon.

TBB is a specialized task force that doesn’t get along with most clones, and they don’t have a Jedi or general, they just have each other. They get sent on a mission, they complete it successfully, then they go to Kamino where they’re isolated and ostracized. While it’s clear they can form bonds with other clones (Cody, Rex, etc.) and even some Jedi (Anakin, Depa?), they don’t so very often, and they likely don’t see those clones very often. So, for the most part, they have to rely on each other. But Crosshair is more isolated than the rest of them, because as the sniper, he kind of has to be. They all rely on him to have their backs, and so he has to be more cautious, more alert, and more observant. The rest of the batch can fall short at times, Hunter can lose a fight, Wrecker can be too loud or accidentally set off an explosion, Tech can mess up or take too long, Echo can trigger something he didn’t intend to, but Crosshair? Crosshair never misses, because he can’t afford to. He doesn’t have the luxury of making mistakes, not like the rest of them do. And when they do mess up, he has to be prepared to fix it. Because all their lives depend on it. And sure, the rest of the batch has the ability to think quickly and creatively and come up with solutions for any mistakes they make, but Crosshair has the ability to take down enemies long before anyone else sees them coming. He can pick them off one by one from afar, whereas the rest of the batch wouldn’t be able to do so. Hunter, Tech, and Echo would likely have to resort to hand-to-hand combat. Tech and Echo would also likely be able to find some sort of way to electronically take them down, but it would still take time and effort. Wrecker would be able to detonate explosives, launch grenades, and would likely take down a larger number of enemies in hand-to-hand combat, but he’s also a bigger target and has to be careful about when and how he rigs his explosives. But Crosshair can kill them quickly and efficiently without fail, and so that’s what he does.

I think that deep down his role has an incredibly large impact on his sense of self and it dehumanizes him in a way that the others’ roles don’t. Because as I said earlier, the rest of them are soldiers, but Crosshair sees himself as a weapon. Hunter is a leader, and a tracker, and a fighter. He uses his body to fight and track and uses his mind to give orders. Tech is a genius, and a pilot, and a fighter. He uses his mind primarily and he uses it impressively but he’s capable of using his body when he needs to. Wrecker is a bomb technician, a hulk, and a lover. He uses his mind when he rigging his explosives, and he uses his body to fight and to be overly affectionate with everyone he cares about. Echo is a tactician, an ARC, and a survivor. He uses his mind to plan and uses his body to fight and he’s able to keep alive against all odds. Crosshair is an enigma experiment, a good soldier shot, and a brother loner. Sure he has to use his mind to calculate the angles of shots and whatnot, and he can use his body to see a target, align his scope and pull the trigger, but really how’s that any different than a machine. Droids do all that too. The only difference is that Crosshair is really fucking great at it, and droids aren’t. And sure, Crosshair can think, and he can eat, and he can sleep, and he can feel, but what’s so important about all of that anyways? That’s not what he was made for. That’s not what he’s needed for. He may need to eat and think and sleep at times, but those were more inconvenient than they were anything else. Droids don’t need food, or sleep, or the ability to do anything other than be a weapon. But Crosshair did need those, despite how much better of a weapon he was. So sure, Crosshair was technically a living breathing person soldier. But deep down he knew that if there was some way for Kaminoans to get rid of those needs, to rid him of them, they would. So really, the only differences between him and any other weapon was that he was a lot fucking better than the other weapons, and that he had a few more needs, every weapon needs regular upkeep anyways.

That’s why he stays. Because weapons don’t need brothers, they need handlers. Because weapons don’t need family, they need targets. Because weapons don’t need love, they need war. Because weapons don’t need belonging or loyalty, they need purpose, they need use. That’s all he needs. That’s all he knows. That’s why he stays.

That’s why the batch’s reasoning, their appeal to brotherhood and loyalty, and love, and morals, doesn’t work. That’s not who what he is. That’s not what he’s made for. That’s not why he saved them and that’s not why he lets go and that’s not why he lies to Empire (yes it is). And that’s not why, despite everything, he can’t look away watches them leave him again and wonders if it hurt them this much to watch him stay if they watched at all. That’s not why, as the rotations pass and nobody comes and his hunger and thirst become more apparent, and his body starts to weaken, he briefly wishes he went with them. That’s not why at all. He just misses them food and water and sleep, he just wants them the ache in bones to leave, he just needs them some rest and a target and purpose, really that’s all he needs. Because he’s a weapon. That’s all he’s ever been he was a brother and a person. That’s all he’s ever supposed to be. That’s why, when Cody begins asking questions, he reminds him that they’re soldiers, that they’re doing what they’re supposed to do. But Cody doesn’t seem to get it, or maybe he gets it too much, because then he tells Crosshair that they’re different from droids, that they make their own choices, and that they have to live with their choices since when did he get to live with anything. And maybe Crosshair is the one who doesn’t get it, but he doesn’t need to, because he’s a weapon and weapons don’t need to think good soldiers follow orders. Except, maybe being a weapon isn’t enough anymore. Crosshair was a good weapon, a great weapon, and yet he was shipped off to some nowhere ice planet for no reason weapons don’t need reasons. Then came Mayday. Crosshair tried to keep him at arms length weapons don’t need friends, but then Crosshair steps on the mine weapons can’t make mistakes and Mayday saves him despite the risk Crosshair can’t need saving that’s not how snipers operate. And then they find the cargo. And then Mayday gets injured. And then Crosshair saves him and carries him all way back. And then Nolan lets him die. And then Crosshair - Crosshair was angry weapons don’t feel, and for a moment he let himself feel everything. And then he was reprimanded, and being given orders, and he should follow them. It was what he was made for. But he didn’t. He wanted answers, wanted to know what he did wrong, wanted to know why he was being discarded again, wanted to know why Hunter and Echo and Tech and Wrecker and Howzer and Cody and hundreds of other clones seemed to see something he couldn’t, wanted to know why Mayday had to die when he was a good soldier good soldiers follow orders, and he wanted to know his purpose. But weapons don’t need to think, and Crosshair was a weapon. So he did as all weapons do, and he fired. And Nolan never saw it coming. And it’s not until he’s being experimented on, surrounded by hundreds of other clones in the same position as him, that Crosshair realizes he’s not a weapon he never was.

This is why his arc is compelling, so fascinating, and so significant. When the other clones struggle with following orders and their loyalty to the Republic/Empire, it’s because they’re struggling between what they’ve been conditioned to think/supposed to do and what they care about/think is right. But Crosshair’s struggle comes from the war between his obedience and his individualism. This is why it takes him so long to leave, because his individualism is part of the reason he’s so obedient in the first place. Because he thinks differently, he views himself differently, he has a different world view, and a different kind of logic. The other clones leave/disobey when they realize that Republic/Empire is doing more harm than good but to Crosshair it doesn’t matter what happens so long as he obeys and does his job. Which, again, is why the batch’s actions and pleas for him to leave the Empire don’t appeal to him. In their minds, they’re doing what’s right by helping people and trying to stop the Empire from hurting and killing others. In Crosshair’s mind, he’s doing what’s right by fulfilling his purpose and doing whatever the Empire asks of him. I just find it highly unlikely that the reason Crosshair stayed with the Empire was because he felt betrayed and left behind by Hunter and the batch or because he wanted some sort of revenge. Getting left behind would have likely be upsetting and make him angry, but I don’t think it’s the main motivation for Crosshairs actions in S1. He stated in TCW that he would’ve left Echo behind as well, which might’ve just been to rile up Rex, but then in S2 he tells Mayday he’s not going to carry any deadweight. While he does end up carrying Mayday, I think that Crosshair’s words imply that he can understand why he was left behind, even if it is upsetting. I think most of Crosshair’s anger isn’t because they left him behind, but because they left the Empire at all. Because despite what Crosshair says about Hunter not being to loyal and never giving him a chance, Crosshair didn’t want to go with them, he wanted them to come back. Crosshair had multiple opportunities to leave before the S1 finale, and he had the opportunity to leave in the finale as well, but he turned them down because he didn’t want to get out.

This all really makes me wish we had gotten episodes about the batch when they were younger. I want to know more about how they grew up and what their training looked like and their first missions.

[asexual-angsty-writer]

Beta!Liu Qingge

Like, My brain just keeps replaying this idea:

Airplane added Omegaverse into his stallion novel because of an online friend he had, called 'Asexual-Menace' (Don't ask about the naming convention), who just kept brainrotting A/B/O.

But like, they had an extra focuse oj the socialization, how each dynamic would work, what are their differences and even fleshed out Betas as a subgender. Which, Airplane indulged in and eventually, asked to add their friends ideas into his stallion novel.

'Ace' would often beta read any of his begging drafts, encourage him and even help him with world building — which is why the Omegaverse became a part of PIDW

Though eventually, between Ace... no longer being around and Airplane needing to pay rent, a lot of things were left ambiguous, implied, personal information or small scenarios he wrote to get out of creative ruts at like 1 am.

What came as a consequence, is that all that background information becomes very tangible situations once he transmigrates as Shang Qinghua.

Luckily for him, SQH is a Beta, and thus, he doesn't need to deal with the A/O aspect.

Now he gets to deal with the Beta-aspects his friend had written, which are both good and horrible:

Pros: Great sense of smell, naturally boosted stamina, faint scents that don't stick easily/harder to track, No heats/ruts, rarely goes feral, levelheadedness is easier to maintain, pack-driven which means he can blend into crowds if need be.

Cons: Being the most responsible of subgenders, ferality is a dangerous thing for betas and usually leads to qi-diviations in Beta cultivators, need to run pack-mating cycles, needs to care for Alphas/Omegas/Pups equally, instinctual inclination to battle other betas to release stress

So, he's in a meh state, but overall — prefers to be a Beta.

Though, there was just one plot line he never thought he'd get to see through — but thanks to our resident Cucumber-bro, SY saved Liu Qingge's life and let's the plot line unfold.

You see, Liu Qingge became a peak lord without presenting — he's a late bloomer. His Qi-diviation was actually related to this fact, for obvious reasons; as not presenting makes it so bottlenecks are harder to break.

Though thanks to him being Alive, he eventually does present and as a Beta.

All of his readers assumed LQG is an Alpha and a lot of in-world characters did too — but that was never the case. LQG was meant to be a sort of mentorly-rival/Mid-Boss for LBG to learn/fight with. Him being a Beta was important to that.

Because Betas don't have strong scents, meaning not catching it in time or taking seconds too long to follow it, ends with it disappearing.

In Airplane's drafts, LBG would face off against a semi-recently presented LQG. A LQG who now has the natural boosts of being a Beta, alongside having had several major breakthroughs that were being held back due to him still being a 'pup' in that regard.

LBG would be arrogant, then be knocked down a peg by the War God himself — outlasting expectations and disappearing in tight spaces like corridors because his scent is so faint, LBG can't catch it for more than seconds — while LBG's scent is overwhelming, meaning LQG has the natural advantage. A play of nature/instincts + wisdown/strategy between the Alpha Demon lord and the Beta War God.

There's another layer to this, being a subversion of expectations — LQG had a presence; the way he stood, his tone and cadence, the way he carried himself in and out of battle. It makes sense, when you take stereotypes into consideration that he'd be an Alpha — but thats exactly why 'Ace' argued against it. Why they instead brought the idea of a Beta being the war god and how that would give a better showcase of how A/B/O and the subgenders can manifest the same instincts in different ways.

The readers, just like the characters in the drafts, are meant to be fooled by expectations then be blind sided.

Obviously, that was scrapped for the original novel but now, SQH gets to witness such a thing — though Obviously different to how he imagined it.

Since the Original SQH was the eldest beta amongst them, that means HE has to be the one to help LQG through those first stages of adapting to the changes in your body, to this new hypersensitivity, to the way your qi and meridians slowly change to adapt and the new instincts that come with being a Beta.

LQG has this earthy scent, like fresh soil, mixed in with some scent oil — something remenicent of the oil they use to clean/polish their swords.

Airplane would be so happy to see the plot line him and 'Ace' made come into fruition in some capacity.

Then it would spiral into something he didn't expect, because BingLiuShen + 'Compatible scents'

He was cursing at himself and the 'compatible scent' bs he had made for some of the wife-plots to work.

[six-paths-of-jeanmarco]

Thank you for killing me slowly by a thousand mental cuts the ask, anon! First of all, lemme apologize for taking so long to answer, but in my defence, you asked me quite the question here.

I want to say first that I used to be a big snk fan. And then the final chapter was released. It was so bad that it made me look at the whole series with a very critical eye, which made me realize that snk has never been that great to begin with. What really made this story good was the anime produced by WIT, and what really carried the story was its big mystery box. The moment we opened it, everything went downhill bc this was no longer a fantasy world, but a lazy parody of ww2 Germany & Japan.

But more importantly, and referring to the final arc, I started to notice all the rot hidden in plain sight: its fascist and antisemitic undertones, the awful writing, the lackluster worldbuilding, the braindead politics and the inconsistent treatment of characters.

Despite my newfound interest for the cautionary symbolism of Reiner and his character arc, I still think it was handled poorly. I have the same problem with characters like Gabi, Annie, Magath, and Pieck. Their individual arcs ended with them facing no real consequences for their crimes. Magath, despite being a literal representation of the nazi, was rewarded by the plot with a heroic death (a baffling choice when you think about who he is and what he did, and just how brutal and meaningless all of the Scouts deaths were pre timeskip). Reiner, Annie, Pieck, and Gabi were all rewarded with the promise of a new, happier life ahead of them, despite being responsible for hundreds of thousands of deaths directly or indirectly.

Gabi herself is proof of just how bad the writing is: RBA lived inside the walls for around 3 years, and yet they still went on with their mission. They still killed Marco. Annie still massacred those Scouts. It took Reiner 7 years to fully acknowledge that what he did was wrong and to finally make amends ... by joining an alliance that had the same goal as that of the warriors for the whole goddamn arc: take down Eren. However, Gabi realized she was wrong in like what, just a few months at best? Their development is dictated by however the plot needs them to be or act. But there's more:

Marco, the Levi Squad, Sasha, and -- as victims of similar circumstances -- Pixis, and Hange, the embodiment of pacifism, were all condemned for being good people, and some of them for believing that there is good in everybody, even in their enemies; and punished for believing that conflicts could be solved in peaceful ways. Does the cautionary symbolism of their brutal deaths still holds up when the story rewards violence and crushes pacifism?

I don't think it does.

Showing that even the worst of the worst are capable of change and doing the right thing in the end is an important message, but. The idea that everyone is just a victim of their uprising or their circumstances is simply wrong. Ideologies don't exist without people, cowardice does not justify orders carried out that lead to attrocities. This idea fails to acknowledge that evil exists. Not just nuanced evil, but pure evil as well. It also goes the other way around. This idea also fails to acknowledge that good can exist.

And also to sympathize with Pieck, who was still loyal to marley despite what they're doing to her own people. And Magath, who in his final moments, revealed that he actually cared about the kids he was indoctrinating and instructing to commit genocide all along. I can't ignore the similarity with the way neonazi like to bring up hitler's friendship with Bernile Nienau, a girl of Jewish origins, as an attempt to humanize him. Heck, even Zeke's final moments painted him as more sympathetic than he was. Such is the case with Floch, and the way Jean reacted to his death. All those characters were redeemed in the audience's eyes without facing any substantial accountability.

I also have a huge issue with the false equivalences that were supposed to show us how morally grey everyone and everything is.

-> The link to the post in the screenshot

Jean and Connie and the Scouts that attacked Liberio aren't just wrongfully presented as something they're not, they're also used as tools to rationalize what Reiner and co have done to them throughout most of the series. Jean briefly does that with what Reiner did to Marco before he punches him to a pulp. Then again with the "we're the same" bs. Then again with implying Reiner is one of them as a Scout. There's also no real tension between the warriors and the Paradis side of the alliance. What the warriors did to Paradis is truly horrific, so their only way for redemption is through their victims.

The mistake that most people do when they interpret their relationship or the characters themselves is to only look at the characters' in-story intent. But there's also this thing called the author's intent that overrides everything. Sometimes, you cannot separate an author from their work. Especially when it comes to the final 12 chapters, where the quality of the writing is in the sewer.

But there's actually another way through which these characters were redeemed: the introduction of a much greater evil and a much horrific event that makes everything else pale in comparison. The main conflict of the story was revealed to have always been Eldians vs Eldians. But that wasn't always the case. Not until isayama retconned Eren, and then treated him the same way he treated the warriors. Eren's friends refused to condemn his actions, and instead repeatedly rationalized, then absolved and thanked him for what he did. It doesn't matter that they still did what was right in the end, that Mikasa killed him, or that Armin admitted they're both going to hell for the atrocities they've individually committed. In the anime. Which came out almost 3 years after the release of chapter 139+the extras and the massive backlash that followed. Let's not forget how that conversation went in the manga:

None of that matters because there's a dissonance between their actions & words and their attitude. isayama couldn't condemn any of his genocidal characters in a way that matters, in a way that would leave no room for moral ambiguity. But perhaps the greatest injustice isayama has committed to his own characters, story and messages was to retcon Eren, the character that was at the center of a message as powerful as the idea that we're all special because we're simply born in this world, into a genocidal maniac that cared about no one and nothing (if he actually cared about his friends, he wouldn't have put them through living hell, not when he actually had the power to prevent it, and if he actually cared about his mother, he wouldn't have killed her) through one of the worst executions of the time travel trope I've ever seen.

Snk is not a story that condemns fascism, let a lone a "masterpiece" when it comes to social or political themes, because it's centralized on justifying the oppression of the Eldians and making it an integral part of the plot. Not only are the Eldians an obvious metaphor for Jews, which is antisemitic on its own given how it's executed, but isayama ends up making them truly horrific because he takes real world antisemitic conspiracies and turns them into factual realities in his own story, all while seemingly acknowledging that Jews have been oppressed and the victims of the worst genocide in history. Moreover, the Eldians also seem to be ideologically inspired by imperial Japan, Paradis in particular. As @ shangyang points out in their essay, we shouldn't forget the fact that this is a manga authored by a Japanese man, nor that Japan has its own history with fascism. (Plesse don't skip any of the posts linked here)

All that being said, isayama's true intent is more than clear: violence is praised because his characters were written so to see violence as their only option, and the fascist mentality of eternal warfare as the status quo. Pacifism is not presented as an option. There's no nuance, only extremism. Even the cycle of hatred at the very end only serves as proof that the intent of the story is to present an extremely narrow worldview in which the human species is only capable of perpetual warmongering, hatred, destruction, and death. Which is wrong and is the very opposite of what I'd call "nuance", imo. And the reason this bothers me so much is because snk and other "morally grey" works alike aren't portraying evil people as just that, people, and evil as something that exists in all of us - no, what they're doing is making the unlikeable likeable, the unjustifiable justifiable, and they're making people sympathetic towards things they shouldn't be sympathizing. Such narratives are banalizing evil (if I had a nickel for how many posts I've seen justifying what Magath did or outright saying they love the guy, well I'd have a lot of nickels) and depreciating good (lots of nickels for all the posts I've seen bashing the Scouts). Such narratives serve as propaganda for the things they claim to condemn.

The result is that such stories beget ignorance, and ignorance is a fertile ground, whether is the case of people who are only interested in shipping and blorbofication, or the people who are not properly educated to know what they're dealing with.

And there's a reason actual fascists and neonazi are circling the series like flies, identifying with the yeagerists, and saying that "Eren was right". They're not taking control of the narrative, they're seeing it for what it really is. The progression of Eren's character arc, his motivations, the retcons, the conclusion of the story, Ymir's motivation, the undeserved redemptions, the characters not behaving in ways they should based on their history, none of those things make sense because they don't have to make sense. They're only pretexts meant to mask the actual intent of the story. The cycle of hatred didn't end because the rumbling truly failed. Because "the enemy" (the people outside Paradis, all of them, as Eren made it very clear) wasn't completely obliterated. Because as long as there's "the enemy", there can't be peace. Fascists have a complex relationship with war. They don’t like it, but "the enemy" is always forcing their hand. The rumbling was meant to succeed.

This is not a cautionary tale for anti-fascists.

Snk is a cautionary tale for fascists.

Now recontextualize all of that in present-day fascist politics, and see where it takes you. But ofc, this is only my interpretation, based exclusively on the story itself.