#scarecrow is vibing with his crows

[robot-carl]

It’s my birthday tomorrow so I had to draw my boys 😏.

[doodle-girl]

The Monsters of Eastridge: DOAI Playlist

Description: At this point, might as well make a playlist for everything. Welcome to my own personal demon-filled hell, this is mostly based on lyrics, vibes, or both 🎃 (Edit: Due to recent fixations, this now also includes some Sitcom AU stuff.)

(Yeah this is made mostly for @spookmuth but also just anyone else who’s interested in my music taste/how my thoughts work. Will update the post whenever the playlist updates, have fun! Also footnotes will be in brackets because I like footnotes)

Edit: Now on spotify! Courtesy of @witheredallium <3

���Happy Face” by Jagwar Twin [I have had an animatic for this jangling around my brain for actual several months oh my god]

“Turn the Lights Off” by Tally Hall

“A1 - It’s just a burning memory” by The Caretaker [Yeah idk how well this actually fits since it’s based on a song from like. The 30s. But I think it’s obligatory for any analog horror ever lol]

"I Can't Decide" by The Scissor Sisters [This one I got inspo from havoc-bloom's playlist/clip of Pastra finding it. A few of these are, actually, lol] [Edit: I have now realized just how well this fits Clyde in the sitcom au and I am once again plagued by art ideas 👀]

"I'M Sane" by Axie [Me when I torture the innocent with horrid monsters and become one myself. but I'm a little silly about it teehee~ 😜]

"The Circus" by Toby Fox [This popped up on shuffle when I was drawing Clyde once and my brain refused to let go of the vibes™ ever since]

"Animal Cannibal (Possibly in Michigan)" by Buckshot Princess [I would've put the one by Karen Skladany but it's not on apple music 😔 sad. This cover's really nice tho]

"The Dismemberment Song" by Blue Kid [Same reasoning as "I'M Sane," nyehehe. Also this song really feels like it's ripped out of a musical number. If you told me it was I'd believe you.]

"The Mind Electric" by Miracle Musical

"Horror Show" by K-Modo [You ever just. Think about why Lankmann does the things he did? Like what's his game here?]

"Dance of Corpse (feat. Hatsune Miku)" by Kikuo [this might also spiral into an animatic lol. Anyway do me a solid and go look up the music video, turn on the official english subtitles and come back to me.]

"The Nowhere King" by The Centaurworld Cast

"Nothing Changes" by Jewelle Blackman, Yvette Gonzalez-Nacer, and Kay Trinidad [this musical makes me feel. so many things. And I just think the vibes/lyrics of "why try when you'll only end in misery" might fall into the category of vibes here idk idk]

"Murders" by Miracle Musical

"Kitchen Fork" by Jack Conte [I don't remember exactly why I put this here rn but I just know this is an Alex song. It's so beautifully haunting and passionate stg] [Edit: yeah definitely an Alex song]

"Meet Me in the Woods" by Lord Huron ['kay I know the vibes are probably off but look at the lyrics and tell me it shouldn't go here]

"A Crow's Trial" by Vane Lily [Look man I can’t explain this one exactly but just trust me on it]

"You're F****d" by Ylvis [Yeah I put this one here as a joke song. Every single character in here is SO doomed by the narrative, I'm sorry Alex but it's true. teehee~]

"UNCANNY / ft. KAFU" by kian [I actually couldn't find this one on apple music but galactinqq was right about this being an Alex song and I'm putting it on the post]

"Raising the Dead!" by Jessica Law [Styx, you madlad, this is SUCH a Lankmann song oh my god]

“Hymn for a Scarecrow” by Tally Hall [“Simon isn’t even in the series yet, though” My guy it’s called Hymn for a Scarecrow and it’s Tally Hall what else do you want me to do. I love Simon so much I miss him already <3]

“Break My Mind” by DAGames

“In the Mood” by Glenn Miller [this one was in Vol 1! So I found it and I’m putting it here <3]

“Pictures” by Kyle Allen Music [I mean technically the series is videos but whatever. This song fits sue me]

“Ruler of Everything” by Tally Hall [I saw the words “mechanical hands” on a DOAI fanart once and it jumpstarted an idea that refuses to leave me. Turns out it fits VERY well holy crap]

"I'll Be There for You (Theme from Friends)" by The Rembrandts [shoutout to froggydrawz's own sitcom AU playlist for more material for me eheheheh ✌️ I'll be putting a few of those here]

"I'm Still Standing" by Taron Egerton [sitcom exclusive because canon Alex is fucking dead /lh]

"Digital Silence" by Peter McPoland

"How Far We've Come" by Matchbox Twenty [another sitcom one nyehehehe. This AU has me by a chokehold unlike any other AU I've been into istg]

"Who is She (Reprise)" by Kimiko Glenn [I apologize for those who came here for a normie-ass DOAI playlist, I promise it started out that way but y'know that's fixations for ya. Anyways I added this one on a whim because it gave off veldigun!Alex AU vibes. Might fit with other stuff idk do with that what you will ¯\_(ツ)_/¯]

"Soft Bitch" by Rio Romeo [pretty sure it was spookmuth that made a sitcom AU art inspired by this song and I love it]

"Runaway" by AURORA [secret-spirit if you see this at all just know this was your doing (/pos). This is like, my favorite AURORA song and seeing you do an Alex art in the whiteboard to this song sparked a primal "holy shit" moment in me]

"Lose Control" by Teddy Swims [I was doodling in the DOAI whiteboard when my mamá started playing this in the other room and my brain immediately went "oh my god what if Clyde and Winfrey"]

"Soft Apocalypse" by Charming Disaster [Once again, everybody give it up for Styx's music taste, this is making my brainworms go mad with art ideas 👏👏👏 sitcom AU song, btw]

Side note, might hit a word limit here? So Imma have to continue this list in a reblog, just look through those for more if ya want✌️

[acapelladitty]

Scarecrow/Scarecrow - Edging

Summary: As much as he would deny enjoying it, Jonathan could never hide how much power his other self could wield over him. (This is a Year One Scarecrow/BTAA Scarecrow pairing.)

No matter how many times they played their little games, Crane would never tire of just how responsive his other self always proved to be.

"Little Scarecrow," Crane hissed, tapping his fingers along Jonathan's thin thighs as he remained bound on the carpet, "so upset about having to give control to someone else."

Mouth set into a slack line, Jonathan flexed his fingers against his ankles - the thin ropes which bound his hands there almost as uncomfortable as his knees as he were forced to kneel against the threadbare carpet. His cock stood shamefully hard, the head leaving a messy streak of pre-cum across his stomach as it twitched there, untouched.

"But there's no shame in it." Crane continued, crooning the words as his spindly fingers dragged down Jonathan's chest - the sharp nails scoring a series of willow lines which stood out instantly red against the pale skin. "Not when that delicious mind is only submitting to one of equal stature. Let's go again."

A deep groan, one borne of delicious suffering slipped free of Jonathan's lips as he watched Crane click the small bullet vibe to life once more. The sheen of sweat which graced his upper chest seemed to glisten in the lamplight as Jonathan inhaled through gritted teeth.

“One day, they’ll cower in fear before you. See how strong you are and how weak they are to their own fears.” Pressing the small vibe to the base of Jonathan’s cock, Crane smirked at how instantaneous the reaction was – Jonathan’s brown eyes going wide as a shuddering breath made his chest tremble. “They’ll scream and cry as you tear them apart from the inside.”

His own cock twitching within his slacks, Crane chose to ignore it in favour of concentrating on tormenting his other self – his own words making his mouth dry as he shared the same cruel fantasy. The hand which wasn’t holding the vibe instead dropped to wrap around Jonathan’s cock, stroking along the hot and heavy length as it lay velvety against his calloused palm.

Already near the edge due to his previous, sadistic edging; Jonathan felt the tickle of a small bead of sweat trailing down his thin chest as his cock was manipulated once again. It was delicious hell, every stroke heating his overly-sensitive skin as he was dragged to a delirious pleasure which made his brain fuzzy and his lips ache as he bit at them with blunted teeth.

Panting shamelessly, Jonathan bucked his hips into Crane’s hand, his release so close that his teeth grit in anticipation. Just a few more strokes and-

A pathetic sound, almost an animalistic keen, slipped free of Jonathan’s lips as Crane pulled away at the last moment – his analytical gaze taking note of the way in which Jonathan’s thighs tightened and his stomach quivered as he approached his release. It was a terrible edge and Jonathan gnashed his teeth at his cruel partner as his cock humped against nothing but air.

“Not quick enough, little crow.” Crane scolded; his voice rough with his own arousal. “Maybe you don’t want it? Determination has never been your failing so I can only assume that you aren’t trying hard enough.”

Remaining seated on the edge of the bed, Crane tilted his upper body forward and his hand was quick to snake itself around the back of Jonathan’s head – his deep auburn hair feeling soft and faintly sweat-slicked beneath his fingers. Unable to prevent himself for being manhandled due to the restraints linking his hands to his ankles, Jonathan was forced to rock forward and his knees were subject to the pressure of his entire frame as Crane pulled his face close.

Crane surveyed him closely, taking a deep, sadistic satisfaction in how glazed Jonathan’s expression was; his pupils blown wide and his mouth slackened as it took in deep, shuddering breaths. He was almost jealous of the pleasure on show, of how quickly Jonathan could sink into his role and gain what he needed from such submission, but he brushed it aside as his head snapped forward like a viper.

Biting down harshly on Jonathan’s neck, Crane grunted at the shallow cry which slipped free of Jonathan’s lips at the rough treatment. Pulling away only enough to snarl his warning into Jonathan’s ears, Crane punctuated his words with another filthy lick to Jonathan’s abused neck.

“We’ll keep going until I’m satisfied. Understand?”

Jonathan tilted his neck, offering it up without thought as he willingly submitted to himself and muttered a simple:

“Yes.”

[the-exception-to-the-rules]

Day 4: Revenge of on the Hobby Lobby Scarecrows When I saw this page in my coloring book, it instantly gave me Scarecrow vibes. It kinda reminds me of New 52 Crane with the stitched mouth, but the blue eyes are inspired by Cillian Murphy in the Nolan movies and the red-ish shirt is a nod to BTAS. I tried to make the bird on his shoulder look purple-black because it's special. This can either be Craw the Crow or Nightmare the Raven. And of course, I can't leave out the fear toxin! This version is lime green so the pumpkins stand out because it makes everyone who looks at a cute scarecrow from Hobby Lobby see this spooky scarecrow, and they will know they cannot escape from whatever The Scarecrow has planned this Halloween!

[nanowired-lover]

Heheh I'm going to a DND party for the first time and I'm bringing my fucked up bird to the party as a Ranger

It's one guy who died with his pet crow and got necromanced back to life both inside a scarecrow, making him that weird human crow hybrid now vibing by itself. Its name is Providence.

Under the cut is me trying to do a quick cosplay of it with what I have on hands (hoping my poncho will get here on time) (and i have way too much hair eouuguuh)

[jonathan-cranes-mistress-of-fear]

Hi, I'm working on a fan-comic that centers on Scarecrow as one of the main characters (and antagonist), and in this comic, he's able to become the Scarebeast. Unfortunately, I'm not sure what to do with his scarebeast design. I'm thinking he should have 2, one that is more crowlike and another that is a mix of crow and a pumpkin (I don't know how to explain). I decided to ask you since you know a lot about Scarecrow/Jonathan.

Assuming you don't want to go with canon, I suggest crow vibes, lotta feathers and maybe wings. Love the pumpkin idea. I think that's REALLY creative.

Also, you don't need my opinions or permission. You do you. I'll probs love and reblog it anyway, I do that with ninety percent of the tag hahah

[teddie-laundrybear]

EoM update Pt. 1

My blocks of little reactions for other campaigns is put on hold for this one. I have so much I want to say about Edge of Midnight but its diffrent. I want to sit and just talk through the campaign and all my thoughts, not little silly posts but something in depth. This campaign is much more serious than the others I'd watched. Of course its got funny moments, some that have made me genuinely howl with laughter. But the thing is its just got me so invested and enthralled, a 10/10 campaign. The horror in it is amazing and Nikkie is so descriptive, I've nearly thrown up multiple times, but like its just really really *good* The friendships in this campaign are my favorite of any so far, the way Marius protects everyone and they all just kinda have a deep concern and care for each other. They all just decided when they met that they were all- well- in a sense, family. Everyone of their personalities I adore, they all just care about each other, even Briggsy LOL The characters themselves, even outside of that found family vibe, are all amazing. I could go on for a while about each of them. And I will. LETS START WITH THE PRETTY BOY. Marius. Marius is amazing, I'm usually not too keen on the "good boy paladin" i think the trope is usually boring. But god did Andy do it right. Marius is protective, brave, affectionate, and very set on his morals. He knows he's made mistakes and is SET on making it right and making sure his friends/family are safe and healthy. And more than that, strangers too. But he's not naive, he's anything but, especially because of his Vampire-esc nature. WHICH BY THE WAY IS MY FAVORITE PART OF HIS CHARACTER. The way Andy describes Marius's vampiric nature is so badass. And you can just FEEL the way Marius feels about it too. I love it. PRETTY LADY TIME Lethica. I love Lethica, she's cunning and beautiful and rather sly. You would think she'd be stoic, and while she *is*, she's also funny, sarcastic, passive aggressive, but also caring. She too cares deeply about those around her even if she doesn't show it as openly as Marius, but you can tell. I also love her goofy bag of holding, i know its evil but why make it so likeable??? ALSO (mild spoilers for episode 8) When Yorgrim gets his ass beat by Billy, her reaction was to rush over to him and gently place her hand on his arm. "Yorgrim.." She casted healing word with his name being the healing word. I don't know why but i LOVE that. Usually with these guys healing word is some goofy shit but she just softly says their name and I don't know I just LOVE THAT. Especially with her accent god i'm gay i love her she's hot anyways FREN SHAPED SCARECROW!! (and weird crow) Jericho. I love my lil tall baby boy scarecrow crow demon baby, and Virgil is here too ig. Jericho was the first character we met and good for it because I was attached to him imminently. He's so sweet and he just wants friends, and good thing Marius is there because they're laterally the best-est best friends I love their goofy dynamic. Jerichos songs are so silly and creative and I love them. His whole weird bird thing is also SUPER interesting, seeing Virgil take over was a huge change of pace and I wish it got touched on more. Give him hugs, he deserves them. PLEASE hug him. Virgil is goofy, tell him to stop being mean MORE TO COME I HAVE TO TALK ABOUT THE OTHER THREE

[finniestoncrane]

Could we maybe get No.10: The Staunton Lick with Arkham! Scarecrow? I’d love to see what music you think would fit him :)

🎀 No.10: The Staunton Lick 🎀

give me a character and i'll make a mini playlist for them a/n: oooooh he's an interesting boy to work with, but i think i got him! 1k milestone info! 🔞minors dni🔞 • kofi • tag: finnie1k

o, death - ralph stanley

any rendition works for him, but i think this one particularly, lack of accompaniment, bluesy folk voice, it's barren but filled with emotion, just like him

libera me - faure's requiem

'i am made to tremble and fear' the perfect amount of catholic guilt in a song, but while it's tone and admittedly some of the words suggest doom, it's about deliverance from that evil. the entirety of faure's requiem is very jon tbh

one caress - depeche mode

one of the few 'pop' songs jon might consider listening to, it's dark, almost classical sounding, and is so lamentable omg lighten up jon

riders on the storm - the doors

this is in his sex playlist, won't be told otherwise. gentle, slow, thorough, atmospheric but also about a murderer? so sexy jon. although i bet you there's a shit tonne of jim morrison on his sex playlist, maybe even some of his spoken word stuff too...

house of the rising sun - the animals

this kind of dark ballad, the woes of mankind, the elements of absolute sorrow, perfect for him. i bet he tried learning the riff on guitar when he was younger

down in a willow garden - the kossoy sisters

i know because he told me, but jonathan crane has a whole load of appalachian murder ballads on his playlist, but this particular one is his favourite. he hums it absent-mindedly while he works

the headless horseman - thurl ravenscroft

this is as jaunty as jon ever really gets, but he'll tap his toes along to this while he works if he's in a good mood

season of the witch - donovan

if jonathan crane was going to be a genre, i think he'd be soft, psychedelic rock and this song by donovan encapsulates that kind of vibe perfectly

hurdy gurdy man - donovan

and then because it's also very much jon, i'm adding this one by donovan too. bet jon refers to himself as the hurdy gurdy man when he's talking to his crows

don't fear the reaper - blue oyster cult

this is his theme song, for me at least anyway. he listens to this before he executes a big plan, like his psych-up song. he's an adorable little creature

[fandumb-whimsey]

So. My interest in crafting a variation of Scarecrow that leans into the "violent dancing" aspect aka turning him into more of a physical threat has also somehow spiraled into making him the leader of a fear cult. ¯\_(ツ)_/¯

So it all started with some dc wiki perusal and, at the mention of his violent dancing style, the page linked to the wiki entry for drunken boxing. I don't know why this is tbh, but the ideas started percolating. Now, I wouldn't apply any of the styles 1:1 to Jonathan because I don't think it'd be suitable; he wouldn't be like Jackie Chan in the Drunken Master, etc. The general conception, however, is very appealing:

It's unpredictable. Disorienting. Pretty ideal for someone who enjoys dishing out some delicious fear. But one of my fave parts:

I like the idea of him appearing unbalanced even when he's not actively engaged with an adversary. Because someone standing there looking like they could fall over is just a fun and potentially unsettling gimmick. Of course, this would also mean he has killer core strength. As much as I like ghoulishly thin Dr. Crane, this version would have muscle. He'd still be an ectomorph body type though so definitely more wiry and flexible.

Going from there, I started pondering on designs which would facilitate a more active fighter. My idea is very derivative of the Arkham Asylum version followed by TNBA Scarecrow and Arkham Knight designs for vibes. Looser/less clothing, more practical than spooky (unfortunately). My version of his mask is more horror movie to accommodate that. I asked myself what scares me and that's mortality and body horror, so some skull elements were definitely used. I'd love to go more into detail about it but it'd be better to have a doodle to go with my atomic level rambling on design choices. Initially, I veered more towards a medieval executioner feel, but it 1. was before I was like "okay but what if he had a cult" and 2. didn't mesh with the fighting thing. I guess. I kept it though since his look changes with a single article of clothing and it works with the whole life and death theme I have going. I call one look the Shepherd (has a hood, sickle with long handle as a "shepherd's crook" for weapon) and the other the Executioner (mask only, full on scythe mode). This would make more sense with drawings, though I'm not much of an artist. (Ｔ▽Ｔ) I'll still try though. Soon.

I don't know where the cult idea popped up from. Maybe it was the God of Fear comic storyline? Maybe it's all the shitty darksynth with ominous pipe organ and satanic chanting I listen to??? Anyway. The general idea is college professor Jonathan Crane would really like funding for experiments related to fear, but no one is interested. Somehow gets the idea to start some secret society (named something edgy and cool like Eye of the Crow Order) based on, you guessed it: fear! The concept would be making individuals stronger mentally by forcing them to confront their fears. And other philosophical bs. At least on the surface. Jonny boy really just wants willing participants in his experiments but shhhh they don't know that. Induction into the group would involve being injected with a weaker form of the fear toxin or something. With time, more people join in. People who want to get hit with the fear toxin again would prob get subjected to higher dosage or a more experimental variant.

The turning point is after he's fired for, you know, the whole shooting a gun in a classroom thing. He kidnaps those responsible and decides to make a spectacle of their murder during a meeting of the secret society. This causes massive division within the group and a double or nothing scenario; people who aren't cool with murder and craziness obviously bail out, but those completely devoted to the "doctrine" go all in. And so begins the era of Scarecrow and his fanatical cult following.

This version would have no need to hire thugs. He has his "flock" fully willing to carry out his vision. The most committed of them (his "Disciples" perhaps?) are probably those who volunteer for multiple occurrences of fear toxin experimentation (and live through it) which has left them a bit unhinged and probably very dangerous. These are the ones which would likely also get shipped to Arkham if caught. But yeah, the cult angle is great because it adds an element of intrigue (is this otherwise polite Gotham citizen part of his cult??) and it makes Scarecrow a bit more threatening not only to Batman and the Batfam, but to the other rogues. Can't imagine some of the latter would be very keen on dealing with zealous cult members if a team-up was orchestrated.

As for Jonathan, the whole thing starts as a front just to get bodies to experiment on but, after huffing enough toxin over the years, he starts fully believing he is the Master of Fear and deserves to be worshiped over it. ALSO. He has a nice, tidy murder of crows. He gets all of them to mimic the sound of creepy laughter and say "hroo hraa" :)

also also trying not to feel A Way at him calling his followers "lambs"

[sewersewersewercouch]

next song! "The Crow" has so many Dion vibes. "'Anger is just love / left out, gone to vinegar' / you wake up a stranger to yourself / and then you learn to live with her / sit in her clothing / 'til you fill out her figure / life's no bella telenovella / the tightrope bows with your weight in the center / the slideshow don't put all the pictures together / you try to do it right, though / right though, until you let the kite go" is like. Dion becoming a teenager and losing touch with his younger siblings bc of his psychophobia. "you send signal, you listen for an echo / at the first splinters you run to tell Geppetto / and in the worst winters the whole thing feels untenable" his struggles to figure himself out because he's got all the responsibility of an adult with none of the emotional intelligence due to his parentification. it's a loose connection but it fits.

and then like. the stuff about struggle in the rest of the song. "you can be too careful, ignore all the scarecrows" and how dion's psychophobia and attempts to get raz to give up on being psychic (to stop putting himself in danger) only helped push raz away. and the refrain tying into both dion's background as an acrobat and the fear of the water curse. i could probably explain this all better but like. you get what i'm putting down right. you see my vision right

You’re so right! I never listened to this song before but I like it

[crowsandturtlesandbatsohmy]

I picked mine because of association with other things I like. I love Scarecrow from Batman, and in some iterations he has a pet crow. In others he’s terrified of them. Regardless, the connection is there! So I’ve had a soft spot for crows because of that. And also I like that a group of crows is called a murder. I’ve heard stories of crows telling other crows about bad people and good people, remembering faces, and that kind of thing. I heard a story of someone who fed the crows and then when someone tried to pick a fight with him the crows went after his attacker. And I’ve also heard stories of crows brining trinkets to humans that they like! So I guess I picked crows because of association and also because they’re so incredibly smart and I think that’s super neat!!

Oooh. Maybe Artic fox vibes?? I dunno that just popped into my head. You kind of have cat vibes but not enough to be a cat-cat. But you don’t quite give off dog vibes either, so fox vibes? But artic fox vibes because artic foxes are pretty and majestic and mysterious and so so cool.

How do people have a favorite animal? I always feel like if I do choose one I’m not really sure if I actually like that one more so I feel bad about it (even tho there are no stakes) and then I’m like well what if there are more animals I don’t know about? Like I love all sorts of animals but idk what ones my favorite.

Related question, what animal vibes do I give off? That’s all I’ll elaborate bc I need an untainted view I think

[jeyneofpoole]

some songs that make me think of asoiaf and why (you should listen to these i have good taste)

Wife by Mitski is a Lysa song through and through baby (I cannot bear you a son/ I have tried) and (I’m at the edge of my cliff/ Lookin down) and the end i just imagine her falling out of the Eyrie and UGH i’m emotional over her

The Garden by the Crane Wives is such a Cersei song (tear it down/ tear it down around my head) and (my darling, the devil knows my name) where the devil to her is tyrion and (the crows in the garden are laughing at my expense) where the crows in the garden are the tyrells and (get on your knees and dig up the garden darlin/ throw down that spade and rip up the garden darlin/ get your hands dirty and dig up the garden/ won’t you cut down that apple tree for me) is her talking to jaime and their fucked up relationship and MMMMM i could go on

Second Child, Restless Child by the Oh Hellos because listen to it it belongs to Arya ok it does

Keep You Safe by the Crane Wives also gives me Sansa vibes a little bit (my daddy always said nothing worth doin comes easy/ time is not your friend/ time is not your remedy)

The Valley by the Oh Hellos just gives me dany-centric emotions (we were born in the shadows/ of the crimes of our father/ blood was our inheritance/ no we did not ask for this) her dad was mad aerys and she inherited the targaryen throne, and their words are fire and BLOOD ugh and then (shadows lurking close behind/ we were fleeing for our lives/ will you lead me?) her childhood on the run and trying to trust viserys and follow him and oh god

Arsonists Lullaby by Hozier is a Cersei song because i said so i would list every lyric but just liste for yourself trust me

Hymn for a Scarecrow by Tally Hall as a theon song but then it turns into a bran song? (nobody knows you and neither do i) for theon and ‘farmer jim’ as ramsay and (oh scarecrow/ maybe the wind knows/ whether you wonder/ who’s calling your name) as bran in the weirwood trying to reach out to him and (maybe the wind knows/ whether you wonder/ if you are to blame) for the sacking of winterfell and his descent into reek and then the whole interlude about (the crow seems to know where you need them to go/ igniting a spark in their minds till they circle and fly) as the three eyed raven/crow opening brans third eye and him flying and I DONT KNOW ITS GOOD OK

He Doesn’t Know Why by the Fleet Foxes for theon and jeyne like she’s talking to him and ugh like seriously this is another one where it’s just the whole song you have to listen to this also this band is great

Lay Me Down by the Oh Hellos as a sansa and arya song mmmmm (take me home / i want to go/ down the road that’ll take me to the living grove) where the grove is the weirwood forest at winterfell and (i owe it to my brothers to carry them home) just GETS me ok it does

[w-h-4-t]

On today's episode of can't help myself

A friendship story with Cole and Cullen because I adore Cole and mans Cullen decided to knock on my brain and say AYE WHAT ABOUT ME HOE??? so there it is. It's been a HOT MIN since i last wrote but I caught the vibes. awww yeee. The story title is from a Gregory Alan Isakov song called Second Chances.

https://archiveofourown.org/works/29517498/chapters/83834260

A Ghost in the Garden, Scaring the Crows.

It wasn't a familiar song but at times it was fleeting, fully blossoming into haphazard singing or woeful humming. Cole tapped his feet against the walls, mimicking the beat of several bleeding hearts. 

And how they bled, all without voices. 

For the songs he heard -the singing and humming- was internal, never brought to light nor languished upon. 

Everyone's pain was brought to the surface of their mouths, like blood pooling at the top of a wound. Wanting to be free from their broken bodies and blistered bones. At times, Cole held a blade in his fingers -what he thought to be his hands- and flipped its honed edges over and over again. 

He wanted to free them.

But it was wrong, wrought with rules of reality he didn't quite grasp. 

Cole sat on top of the Garden roof, clicking his heels against the tiles, watching a world that remained blind to the form he filled. The knife was still in his half-gloved hands, giving thought to nothing in particular but the voices that swam around him in circular shapes. 

Hurt my hand...

Lost my brother...

Never saw it coming...

How do I...

Where will I...

What do I do?

The many whispers of Skyhold's residents floated past him like errant bubbles on a river's surface; some popped by his ear, letting him listen to their woes. 

The scarecrow boy looked off into the Garden, watching Chantry sisters and Elvhen herbalists sharing the land that stitched them together.

And still their turmoil boiled and dived, fluctuating in waves to keep their sanity, for the sky was patched but the world still hovered over their shoulders. A promise of destruction was forever clear, that much Cole noticed from the many minds that flocked to his ear.

Slowly, the Spirit stood, unseen by the people, unknown by the companions as he followed a thought as if reeled in; a faux human fish chasing a lure. 

The world blurred around him, passing by in watercolours as he quietly made his way past citizens more real than he could ever feel.

The grass crunched under his boots, the buckles of his tattered garb chuckled in metallic rasps. Everything came alive as he walked and Cole wondered if he'd ever become more than the shell he filled. It was Varric's hope for him and Solas' nightmare. 

The scrape of stone touched his shoes; a soft clacking to signal his arrival to the gazebo. Cole turned his head back for a moment, casting a half-moon shadow with his hat as his eyes scanned the garden. 

The voices chased him, he could see them coming in invisible waves, swirling past Embrium and Elfroot plants, coiling over stones and praying beetles in lofty trees.

The woes of others would be upon him soon and he would welcome them with compassion even if his blade was forcibly stilled.

Turning back, blue eyes stared at a small table; a Lion and his quiet kingdom, formulated from his mind and captured by his own hand. Cullen's game of chess with himself -a normal affair of solitary wits- carried on as usual. 

Castling...but that would leave the knight open.

The last piece of Cullen's thoughts sidled up to Cole and the boy watched with fascination as the Commander plotted a war against himself.

Even in his moments of reprieve, he fought, strategized, conquered. 

But there was a sluggishness to his face; a sheen of sweat pooling between the creases of his forehead. The grating nausea and cerulean pollution of a body purging lost Lyrium.

Distractions to keep the monsters at bay.

Cole watched as Cullen reached out a shaky hand to clutch a knight but his fingers betrayed him, knocking over the piece.

The sharp flare of irritation cut Cole's tongue and pierced his chest, bringing him forward; making him seen.

"Maker's Breath!" Cullen exclaimed, his hand flying to his sword hilt in reflex, "Cole...You need to stop doing that."

"I'm sorry." Cole spoke suddenly, stepping forward with his head lowered, "I...I heard the hollow, the craving calling for comfort, cradling broken bottles and digesting dust. I wanted to help."

For above every pain of Skyhold he could not assist, Cole trembled at every tremor the Commander's withdrawal summoned. It was an intensity he could not fathom, a pain that had become so commonplace that above the voices crying for help, Cullen's screamed.

Removing his hand from his sword hilt, Cullen watched Cole with creased brows; his eyes were tired, reddened at the borders and bloodshot at the seams. Soon his brow lifted, resuming his natural stance at the table, focusing back on the fallen knight. 

There were no words but a soft whisper of wind to assail the leaves and dance with the bugs. Cole heard it all, even above the bassy thrum of blood in Cullen's ears. 

He heard peace at that moment, a small cluster of laughter from nearby, the sound of running, movement and life.

Though Varric was elsewhere, Cole could hear his voice, not his thoughts, but a memory of what he may say in a moment like this.

People are tricky, kid, but get to know them and they become a little less strange. You start to figure out that everyone's pretty weird, it's just a matter of befriending the type of crazy shit they bring to the table.

The Commander brought his hand to cover his mouth in deep thought, already beginning to forget the boy's presence. 

Already beginning to have him fade away. 

Cole stared back, his drawn face moping further as he found himself disappearing again, and though he normally encouraged it, he enjoyed being around.

He wanted to be seen.

For maybe if he was seen, he could help.

"C-Commander." Cole said suddenly, pulling the fog away from Cullen's eyes, "Can...I sit with you."

The words were odd, then again, the entire rogue boy was odd. Cullen blinked a few times before looking at Cole, gauging his intent and whether he wanted to be bothered. 

And thankfully, he did.

"Alright." Cullen finally spoke, carelessly gesturing at the opposite chair, "But keep out of my head. Please."

Hearing the agreement, Cole nodded slowly, his mouth slightly agape even though he wished to smile. He would soon learn to tug his lips upward in time, not now, but in time.

Baby steps. 

The many leather and cloth patches of Cole's clothes gave a soft whine as he sat in the chair, and funnily enough, it was the only sound he heard at that moment.

The world was strangely quiet, the river of voices all pleading for help lay idyllic amongst the shaded garden. Cole heard his thoughts rebounding in his skull and questioned each one of them, unknowing it was his own voice, his own words.

That is until he recognized his voice and the body he inhabited.

Reaching out to the board, Cole passed his fingers along the knight piece, pinching it between his thumb and forefinger to right its place.

"I can teach you a simple set of moves, if you wish," Cullen said softly, catching Cole's eyes which reflected the world back at the Commander, "Nothing too difficult, of course."

There was still clear pain in Cullen's face but it was buried as he spoke to Cole, distracted and muted under their conversation.

He was helping, in his own small way and with that realization, came a slight smile on the scarecrow spirit's face.

"Thank you. I want to learn." Cole replied, sitting upright in the chair as the one-man war melted into a mock battle for two. 

He saw Cullen smile back at him, before resetting the board. It was the first time he felt like himself in a long while.

As for Cole. 

He felt human.

[shortnotsweet]

The Allegory of the Tin Man, the Dictator, and the Knight: a Dissection of Ironqrow and a Character Arc of Failure

“There lived in the Land of Oz two queerly made men who were best of friends. They were so much happier when together that they were seldom apart.”

— L. Frank Baum

A brief Ironqrow meta and character analysis of James Ironwood, the ultimate screw up, in three parts.

I. Qrow and Ironwood’s Homoeroticism in Canon Source Material and its Translation

II. Ironwood’s Repressed Characterization and the Inherent Chivalry of the Dictatorship

III. Ironwood, Alone

Qrow and Ironwood’s Homoeroticism in Canon Source Material and its Translation

Within the Oz series, the Tin Man and the Scarecrow are layered within homoerotic subtext, even if it is included unintentionally. Tison Pugh’s analysis Queer Utopianism and Antisocial Eroticism in L. Frank Baum's Oz Series posits that the land of Oz as portrayed within the series is a largely asexual environment of suspended adolescence that involves the deviation of binary gender norms, and of performative heterosexuality. Pugh refers to it later as a “queer utopia”. Men are portrayed as a lesser military force to women, and heterosexuality is a flimsy presence at best; all signs of procreation within Oz are stifled. While this could be chalked down to Baum not wanting to get into the subject of sex and exploration in a children’s series, it does contribute to a particular tone with real-life critiques of capitalism and a particular deconstruction of gender norms. Ozma, who will become the ruler of Oz after the Wizard and the Scarecrow respectively, for example, is originally a boy named Tip (the name itself holds phallic implications) who is “transformed” into a girl. The strongest military force is one of all-women led by a rebellious female general. Pugh observes, “At the same time that Baum satirizes...women as leaders…he consistently depicts women as more successful soldiers than men, and female troops appear better capable of serving militarily than male troops…[the] male army comprises of twenty-six officers and one private, and they are all cowards…” and cites the Frogman’s declaration that “Girls are the fiercest soldiers of all...they are more brave than men, and they have better nerves”.

RWBY itself isn’t opposed to this kind of subversion, either in its characters or its relationships. There’s an obvious effort to include LGBTQ+ representation (albeit primarily in the background), strong female characters are prevalent and make up most of the main and supporting cast, a character’s gender is not strictly reliant on its source material, and BlackSun, while cute and a valid ship in its own right, is treated as a heterosexual red herring to Bumbleby. Additionally, there have been a lot of hints by the voice actors, writers, and creators on social media that Qrow himself is queer, the infamous Ironqrow embrace included.

Admittedly, if I wanted to write an essay about the likelihood of Qrow being LGBTQ+ or having some kind of queer identity, I would probably focus more on his relationship with Clover, which had a lot more overt and probably canonically intentional Gay Vibes, and despite having known Qrow nowhere near as long as Ironwood has, it has just as much, if not more, to extrapolate. Unfortunately, that’s not the main point of this essay, although it remains relevant. While I personally don’t doubt that Qrow has had sex with women or experiences valid sexual attraction to them, I get the feeling that it is, to a degree, a performative act and a masculine assertation of enjoyment intended as a coping mechanism. It plays into the trope of the handsome, tortured alcoholic (best exemplified, perhaps, in the MCU’s Tony Stark, Dean Winchester in Supernatural, and critiqued in the superhero episode of Rick and Morty) who sleeps around just to recall the feeling of intimacy, or because he associates sexual ‘degradation’ as a reflection of his worth. Real self-deprecating, slightly misogynistic stuff. Qrow’s recall of short skirts, as well as his brief exchange with the waitress in an earlier volume, reminds me of one specific interaction between the Scarecrow and his own love interest. Within the series, the Qrow’s source-material counterpart, the Scarecrow, has one canonical love interest, the Patchwork Girl:

“Forgive me for staring so rudely,” said the Scarecrow, “but you are the most beautiful sight my eyes have ever beheld.”

“That is a high compliment from one who is himself so beautiful,” murmured Scraps, casting down her suspender-button eyes by lowering her head.

Pugh points out that the two of them never develop this relationship further than flirtation, and heterosexuality is reduced to a “spectral presence” lacking the “erotic energy [driving] these queer narratives in their presence”. Specifically, Qrow never reveals a serious or long running heterosexual love interest - he is not the father! [of Ruby] (despite much speculation that he and Summer Rose were involved) and he and Winter never really moved past the stage of ‘hostility with just a hint of sexual tension’ - and there is no debunking of potential queerness. His interactions with Clover (deserving of an entire essay on its own) seem to support this interpretation, and is more or less a confirmation of some kind of queer inclination or identity. Again, the “queer utopia” of Oz comes at the cost of the expulsion of the sexual or the mere mention of reproduction - still, through this device, same-sex relationships gain a new kind of significance with the diminishing nature of heterosexuality. Speaking of queer narratives, the Scarecrow and the Tin Man have the most tender and prolonged relationship of perhaps all the characters in the series, exchanging a lifelong commitment:

“I shall return with my friend the Tin Woodman,” said the stuffed one seriously. “We have decided never to be parted in the future.”

Within the source material, the Tin Man and the Scarecrow voluntarily live together, and are life partners in nearly every sense of the word. The second book in the Oz series is The Tin Woodman of Oz. In summary, the Tin Woodman recalls that he had a fiancée before the events of the first book, forgot all about her, and now must search her out so that they can get married. Who does he ask to accompany him in this pursuit? None other than his no-homo life partner, the Scarecrow. Although this sounds like a stereotypical heteronormative storyline, “this utopian wonderland...rejects heterosexual procreation...First, the Tin Woodman does not desire...Nimmie Amee...” and even acknowledges that due to the ‘nature’ of the heart that the Wizard had given him, he is literally incapable of romantically or passionately loving or desiring Nimmie, and by extent, women in general - to me, that works perfectly as an allegory for a gay man who is literally incapable of experiencing legitimate heterosexual urges, but ‘soldiers on’ out of obligation and societally enforced chivalry. “The Tin Woodman excuses himself from the heteronormative imperative...Only his sense of masculine honor, rather than a heteronomratively masculine sex drive, impels the Tin Woodman on his quest to marry his long-lost fiancée.” Again, Ironwood’s character follows the lines of propriety within the sphere of the wealthy elite, and his persona as a high-ranking military man and politician, as well as the conservative values instilled within Atlas, prioritize duty and obligation. This kind of culture is stifling and in a lot of ways aloof, as the upper class deludes itself into believing that it is objectively better and more advanced than its neighboring territories. *ahem the myth of American exceptionalism ahem*

“There lived in the Land of Oz two queerly made men who were best of friends. They were so much happier when together that they were seldom apart.”

I think it’s funny that the characters that Ironwood and Qrow are based off of are canonically the closest of friends, who coexist almost as a unit. In contrast, the first introduction we get of Ironwood and Qrow is a hostile exchange where they’re at each other’s throats, never on the same page, and never in sync, not when it matters. Indeed, Qrow snaps at Ironwood for his lack of communication, which is a recurring issue between the two of them on notable occasions. If the source material is anything to go by, there should be a significant relationship between the two of them, or at least some kind of connection, even if it goes unspoken or unacknowledged. To be fair, in RWBY’s canon, I think there is.

I’ve seen this joke that while Qrow hates the Atlas military, the only people he really seems to flirt with is Atlas military personnel. “Ice Queen” is something I interpreted to be partially hostile, partially mocking, and partially flirtatious, in equal spades - the voice actors and creators have indicated that it was flirtatious, and there was a whole Chibi episode dedicated to the concept of Qrow and Winter’s extrapolated sexual tension, albeit in jest. I might argue that his use of abbreviates aren’t reserved for people he dislikes, but for people who bring out his playful side. “Brat”, “Pipsqueak”, “Firecracker”, and “Kiddos” are all drawn from a place of affection, however short or mocking it may seem, because that’s what crows do: they mock others.

Qrow has little nicknames for people; while it’s not exclusively a sign of affection, I do get the feeling that ‘Jimmy’ is an informality that irks Ironwood, but can also be interpreted as Qrow giving James what he needs, rather than what he wants.

Glynda is by no means a pushover, but in assuring him that while he does questionable things, he’s still a good person, she’s softening the blow and probably further enabling deeply rooted and pre-existing traits, many of which contribute to his problematic control complex. It is established early on that Qrow resents the military (as he should), and it is implied that he’s spent a fair amount of encounters harassing and provoking military personnel (Winter being the most evident example of this), and has insulted the military numerous times to Ironwood’s face. He lectures Ironwood about the way he conducts his operations, his inability to communicate, and basically what a complete, inconsiderate asshole he really is.

What Ironwood needs is someone who operates outside of the pretense that he works, breathes, and lives under, and just tells it like it is. Jimmy isn’t all that - he’s a person, just like the rest of us, and he can flaunt all the titles that he wants, but James stripped down is still just Jimmy.

Qrow also is the kind of person who pries, who is insistent, and not particularly sensitive. For someone like Ironwood who has a lot of (physical and emotional) barriers, logically, in order for him to receive genuine understanding, Qrow fits the profile of someone who is invasive but not exploitive, who sees past the cracks in his armor and takes him for what he is. What is just important is that whoever Ironwood is with is someone who makes him want to try not only to be better, but to be real; thematically, General Ironwood seems to have a great respect for but a deep struggle with authenticity. He clearly resents the ignorance and frivolity of Atlas’s wealthy elite, as evidenced by his support for Weiss at the dinner party in announcing that “she’s one of the only people making any sense around here”, while struggling to project the facade that he’s carefully created.

See, we don’t have evidence that there is something going on between Ironqood and Qrow so much as we have enough evidence to inconclusively say that there’s not not something going on. I think there’s enough evidence to support the idea that something could be going on, or was going on.

When Qrow saves Ironwood at the Battle of Beacon, who is under the false impression that Qrow believes him to be the culprit of the attacks, his eyes follow Qrow and we get a closer shot of his awed expression; we the viewer can only imagine what he sees as Qrow arcs through the air and slices down a Grimm from behind his back. The focus on Ironwood’s expression portrays something like shock (so Qrow wasn’t trying to attack me after all, but then what the hell is he doing?), maybe wonder (I can’t take my eyes off of him, I can’t look away), maybe respect (I know he’s a good Hunter, but I’ve rarely seen him in action), but it is unfiltered nonetheless. In a show where fight scenes are vital to the progression of the story itself, the dynamics of these fights are at their best when they are character driven, whether it is revealing or reinforcing something about the characters and their relationships, or it is deciding their fates. There’s something to be said about characters being given moments together in battles, and what that says about the significance of their relationship. The best example of this might be the battle between Blake and Yang vs Adam; it served to give Adam what he deserved, help Blake and Yang reach closure in certain aspects of their own trauma, and solidify the bond between the girls. Similarly, Qrow and Ironwood’s moment is meant to reveal a theme that will later be revisited in volume 7; trust. Ironwood is startled but not shocked when he believes that Qrow distrusts him to the degree of attacking him, and is ready to attack or defend as needed.

Qrow tells him what he needs to hear, more or less: YOU’RE A DUMBASS. Ironwood is, indeed, a dumbass. While he does extend the olive branch of trust and good will to CRWBY and co. this trust is highly conditional and proves to be, while from a place of desperation and sincerity, at least partially performative.

When Ironwood snaps, he snaps hard.

Amber’s voice actress tweeted early on, joking that Qrow has two Atlas boyfriends, and Arryn has made comments, too. It’s one of the older ships, and the crew is certainly aware of it (“...extended chest bump...”).

Kerry has stated that he finds the Ironqrow relationship interesting, and wishes it had been explored more (additionally, allegedly lobbying that Ironwood’s arm in the Ironqrow hug scene be slightly lower). I’m not saying that they’re going to both make it out alive, or canon, or even that romantic subtext was intentionally woven into the script. All I’m saying is that I think their relationship is interesting too, especially when the subtext of their source material relationship is taken into context, and the way their characters are positioned is suggestive of some sort of compatibility, even if it is a hit or miss kind of opportunity, and I have the sinking suspicion that it was missed on both accounts.

The Tin Woodman of Oz concludes,

“All this having been happily arranged, the Tin Woodman returned to his tin castle, and his chosen comrade, the Scarecrow, accompanied him on the way. The two friends were sure to pass many pleasant hours together in talking over their recent adventures, for as they neither ate nor slept they found their greatest amusement in conversation.”

Ironwood’s Repressed Characterization and the Inherent Chivalry of the Dictatorship

“I don’t give a damn about Jacque Schnee...what about the other two? Do not return to this office until you have Qrow Branwen in custody.”

“And that’s not all we’ve lost...I had Qrow in my hands, and I didn’t do what needed to be done.”

Observe: Ironwood, at this point, does not care about politics. I doubt he’s ever wanted to, or ever liked it (if his tired outburst at the dinner party is any indication) but his Knightly qualities (we’ll get to that) have, up till this point, prompted him to adhere to them for both power and etiquette. James surrounds himself in a world that he understands and despises; more than anything, he’d like to be a general, a commander, and the Knight in Shining Armor archetype, because warfare is something he understands. It is a testament to his (superhuman) willpower that he forces himself to become fluent in the language of politics, and to live and breathe in it. To clarify, Ironwood sees himself as a man who does what needs to be done; if he wants to change and control Atlas, he will have to involve himself in its politics.

Likely, his resilience has contributed to the way he views himself and what he deserves, as someone long-suffering and almost martyr-like, a silent hero doing what needs to be done. But at the moment, he’s lost his goddamn mind coming undone. He’s murdered and jailed his political dissent (and might have considered executing prisoners), but at this point, that’s all that Jacque and Robyn are to him. First he dismisses Jacque, narrows it down to the two escaped prisoners, and finally reveals what’s really on the forefront of his mind: Qrow, free and out of his hands.

[ When recalling this dialogue, please do so while imagining a bad recorder cover of the Titanic music playing over the background. Here is a sample. ]

In the most recent episode, Ironwood seems to have gone off the rails even further. The fact that Winter, his most faithful lieutenant, is losing her unshakable faith in him, says a lot about how hard he’s fallen off the deep end. In Winter’s mind, I think that she sees him almost as a surrogate father figure, or at least a patriarch who can be positively compared to Jacques in every way. The previous volumes go to lengths to compare the two as adversaries and showing James in a favorable light; Winter is in her own personal horror right now, because she is beginning to understand that Ironwood is a man who may not be her father but is just as susceptible to corruption, and may have been that kind of person all along. Skipping over the...ah, genocidal tendencies, and the fact that he’s proposing to kidnap Penny’s friends to force her to obey him and likely is starting to realize that Winter is the perfect bait (let’s just say that “Ironwood is not good with kids” is the understatement of the year) Ironwood wants Qrow back (in captivity), I think that it’s significant that while Ironwood registers that Robyn is gone as well, his first priority is Qrow, probably for two reasons. On one hand, he still refers to Qrow by his first name, instead of the formal Branwen. Of course, that doesn’t have to mean anything at all. They’re colleagues within the same age range, both members of the same secret brotherhood and similiar skill sets.

On the other hand, it reminds me of the moment when Qrow and the kids first fly into Atlas, and they see the heightened security, and Qrow mutters, “James...what have you been doing,” under his breath, sounding concerned, apprehensive. He’s not addressing the kids, he’s talking to himself; he regards James much more seriously both as a potential threat and a friend than he’d rather the other know, and I think that James’ focus on Qrow at this point is similiar, only not only is this a sign of them knowing each other well, but of Ironwood’s slipping control. He offered Qrow his trust and camaraderie, his last attempt to keep a handle on his humanity (or, his heart). Qrow, in return, withheld vital information, got close with another operative instead, then allegedly killed him and and escaped ‘rightful’ imprisonment.

The Tin Man is offering Qrow his heart, at least proof of it, and the Scarecrow [and co.] steps back to observe the situation, and assesses that no, what you are going to do is wrong, and I cannot agree with it.

Ironwood is not an objective person, as much as he wants to be. He’s angry, desperate, scared, and humiliated. Worst of all, he’s rebuffed, and he’s taking Qrow’s escape personally. First, he understands that Qrow is a threat. He’s Ozpin’s best agent, he has years of field experience, and he knows too much, probably more than James knows. Second, they have history.

My personal interpretation of Ironwood is something this:

He’s a sad, sad, lonely bitch. What Ironwood longs for, just like his source material counterpart, is a heart. He will go to any lengths to achieve this, because he believes that he has self awareness and therefore is able to check and balance himself. He treats his subordinates well, is diplomatic, skilled in a variety of trades, fighting the good fight, and longs for the affirmation that yes, he is a good person, and yes, he’s had a heart all along. He just strays from the path, and loses his way.

This is symbolically represented by his partially mechanic exoskeleton; we have no idea how far the cyborg extremities extend, or how deep, but we do get the visual notion of humanity in conflict, or a man’s soul deconstructed and split between the cold efficiency of machinery and the very real warmth of a human body. Ironwood wants to appear human, and benevolent, and genuine, and in return, loved; he is human, and he could be all of these things. If my reliance on the source material holds any merit (although I highly doubt it), then there is also a potential struggle with sexuality, (Glynda herself even explicitly and exasperatedly references a testosterone battle between Ironwood and Qrow, suggesting a regular overassertation of masculinity) and a further incentive to achieve love and subsequent acceptance.

To clarify, I do believe that there were less-than-subtle allusions to Ironwood and Glynda having a vaguely flirtatious history, taking their shared scenes and background dancing into account, but this, again, does not “debunk” the presence of queerness within a narrative; it could be an assumption of heterosexuality, or performative itself, or just not an exclusive interest. Besides, Ironwitch isn’t what this essay is about. I’m not trying to persuade or dissuade someone of the notion that Jimmy is gay, or straight, or something else, only that the potential ambiguity exists. What I do think is most important is that James doesn’t openly ward people away, not when those people aren’t under his command and are technically outside of his jurisdiction. He’s friendly with Glynda, tries to extend trust to Qrow, is kind to people in the aftermath of battle, and overall clings to diplomacy as his first weapon. He wants to be accepted, to be liked, and to be welcomed. This is not an outrageous want, nor is it uncommon. Unfortunately, Ironwood’s understanding of love and acceptance is entangled within the concept of control, and he associates unquestioned compliance with this Want.

Ironwood’s introduction into the series shows him being openly cordial, and very considerate, especially his interactions with Glynda and Ozpin. He’s a gentleman, he’s apologetic, and, as Glynda assures him, he’s a “good man”. She doesn’t really elaborate on what a “good man” is, exactly, but we might presume that a “good man” is a person with good intentions, who strives to do what’s right, regardless of his options.

Here’s the thing - one similarity between Ironwood and the Tin Man is that they both have the capacity to love, but they fool themselves into thinking that they don’t; before the Wizard gives him a ‘heart’, the Tin Man suggests that he is only kind and considerate to everyone in Oz because he believes he needs to overcompensate for what he lacks, and is therefore doubly aware of how he treats others. However, the Wizard knows no real magic, only tricks and illusions, and what he gives the Tin Man is essentially a placebo that enables the Tin Man to act towards and feel about others the exact same as he always had, only with the validation that what he feels is authentic. Similarly, Ironwood has always had the option to be empathetic and not fucking crazy open to collaboration, which he’s very aware of, until his own paranoia cuts into his rationality and compels him to cut himself off from all allies and alternative perspectives. He then uses his difficult position and responsibilities to justify unjustifiable actions, to rationalize irrational urges, and to gaslight and brainwash his subordinates into compliance.

The Tin Woodman knew very well he had no heart, and therefore he took great care never to be cruel or unkind to anything.

“You people with hearts,” he said, “have something to guide you, and need never do wrong; but I have no heart, and so I must be very careful. When Oz gives me a heart of course I needn’t mind so much.”

Qrow sees through this, however, and not only seems incapable of following orders himself, but disrupts the decorum that Ironwood is used to. In return, I think we see a little more of James that he’d like to reveal.

“If you were one of my men, I’d have you shot!”

“If I was one of your men, I’d shoot myself!”

In case this entire ass essay doesn’t make it obvious, I do really ship Ironqrow. I’m open to other pairings, definitely, but this one in particular is just more interesting to me. It feels more revealing, more subtle. I have more questions.

In hindsight, maybe the dialogue example above ^ didn’t age well, considering where they’re at, but I do like how their professional animosity is flavored with a kind of camaraderie, and understanding. This exchange isn’t exactly playful, but they’re taking each other seriously - and, like repressed schoolboys, taking the piss at each other in a childish way, and isn’t that part of the fun of banter, when they’re so focused on each other that they forget to act their age? In a lot of ways, this is a really fun dynamic to watch. They’re opposite-kind-of-people, which I like, at least on a superficial level, and I can easily imagine them tempering each other in ways that would make them ultimately happier people.

They even look well-coordinated, with similar color schemes that lean on the opposite sides of the shared spectrum (white, grays, reds and black); I think the decorative design on Qrow’s new sleeves are supposed to be more ornate simply to communicate that Qrow is committed, and willing to be sentimental, but some viewers have suggested that it resembles the pattern on James’ weapon, Due Process (the revolver is based off of the Tin Man’s pistol, although, curiously, in The Wizard of Oz, the Scarecrow was the only character to carry a pistol, and the commentaries suggest that the 2007 Tin Man miniseries was the “basis of the allusion”. Does that mean anything? I don’t know. Probably not.). Still, it raises the questions: who was in charge of designing the team’s new clothes and gear? How much input did Atlas get, and was this intentional? Personally, I think that the vine-like pattern on Qrow’s sleeves also bear a resemblance to Ozpin’s staff, a subtle reaffirmation and foreshadowing of his allegiance in contrast to Ironwood, but I digress.

They can also deliver that UST kind of banter that takes up their attention, and get up really close to each other, in each other’s faces, and just be pissed, which I think is very sexy of them, mhm. Enemies to Colleagues to Reluctant Friends to Lovers is a trope that I very much appreciate. Gaining some sort of common ground at the Battle of Beacon only to reunite, tired and battered, after the shit has already hit the fan? Slow burn kinda vibes.

That hug between them was something genuinely vulnerable and a sign of Ironwood letting his guard down because he is tired as fuck. It also was uh...kinda fruity.

Ironwood approaches closer, and Qrow scratches the back of his head, a characteristically nervous gesture that he’s made before; it’s a nervous twitch, manufactured nonchalance. He has no idea what Ironwood wants, but he does know that Ironwood wants something. James is the one to initiate the hug, and Qrow startles and even freezes up before relaxing into it. He seems suprised, but gives the bisexual eye roll of grudging fondness. This is out of character for James - Jimmy - but Qrow doesn’t think that Ironwood is a bad person. He leans into the hug, and the camera cuts out before they separate, suggesting that they probably end up standing there for a long ass time. You can also see from the side shots that it’s a close hug; their torsos are pressed up against each other, front to front, and there’s not a lot of wiggle room. James must be really goddamn depressed. It’s a long, manly, intensley heterosexual hug. Like I said, kinda fruity.

Other people have analyzed the hug shot for shot, so I won’t get too into it, but I think that it was intentionally left as a double red herring; some people thought that maybe he bugged Qrow, and after finding out that he didn’t, we were forced to conclude that this is a genuine olive branch. To find out that Ironwood is sincere but was still susceptible to corruption is that second subversion that I didn’t really expect. I hadn’t prepared myself for it, at least, and neither did Qrow. I wouldn’t go as far to say that Ironwood’s descent into fucking craziness paranoia is triggered by Qrow not ‘reciprocating’ or something, but I do think it’s interesting how the volume opens up with a signifigant interaction between Ironwood and Qrow, only for Qrow to spend the rest of the volume homosexually bonding with Clover, while Ironwood basically has no one as emotional support (again, his subordinates do not have the power or the place to be viewed as equals and the veil of formality is one of isolation). Qrow initiates nothing further, and nothing further happens.

Ironwood’s downfall, in a thematic sense, is that what he Needs is a heart, and when he gets that chance to demonstrate tolerance and empathy, James ultimately rejects his Need (a heart) and his arc reverts into one of villainy. To be specific, Ironwood is essentially a fascist dick, and that is not very sexy. (Speaking of dicks, the thought of Ironwood’s dick makes me laugh. I bet in the RWBY universe, people have made memes about that. I do not accept criticism because I am correct. Anyway,).

Dictators are charming, charismatic, and one of the pillars of their method is absorbing potential political opponents into their own administration to reduce the threat of rebellion, to appear openly tolerant to their supporters, and to further consolidate power. A good example of this would be Mean Girls, which runs on a comedic commentary of dictatorships as a political structure of power. I hate to compare James Ironwood to Regina George, but Regina’s posse includes Karen and Gretchen, two of the only girls who might take away from the authority she holds over the rest of their school, both in their wealth and attractiveness, and Cady’s interesting backstory and conventional attractiveness is the main reason Regina draws her into her own sphere - because she detects a potential threat. Much in the same way, while Ironwood likely has good intentions, his efforts to win over team RWBY and co. - including Qrow himself - is a logical way to consolidate resources. His willingness, at first, to cooperate with political opponents (ie Robyn) is because he’s not inherently evil, and he has nothing to lose. It’s when he is openly opposed and diplomatic gestures no longer hold the necessary weight that he snaps.

In one really interesting meta about Ironqrow’s archetypes (that I reread occasionally just because I really love it), @onewomancitadel posits that Ironwood is framed within the archetype of the Knight in Shining Armor, which should inform us of the moral consistency of his character. The meta was written around the beginning of volume 7, I think, and obviously we have a lot more character development and information to go off of now, but I think she makes a really interesting point about the nature of parallels and how that might help drive Ironwood as a character. I love her analysis of the visual of Ironwood stepping out of an airship wreckage, onto the street, the smoke billowing around him to reveal his cyborg prosthetics, and of the intentional framing. Once his uniform is stripped back, we see a man who is literally half-armor, which could be indicative of a lot of things. He’s emotionally guarded, he’s used as a human weapon, and he wants to be a line of defense. In her words, “The symbolism is really obviously put into perspective of his actions in trying to do the right thing: in the flesh (his true physical self) he is literally a knight in shining armour. From the ground up. Even if it's unseen or distorted by his uniform, his nature is still true.”

While Ironwood clearly has gone down a darker path in the most recent volume, I think this analysis holds true in a crucial way. “Ironwood is working with different information, and he’s doing exactly what he knows: stick to his knightly virtues, even disgraced.” Disgraced, indeed. Ironwood is holding onto his knightly values, and doing what he believes is right. If not right, he believes that it is necessary. The problem is that these values are manifested within Atlas’s sociopolitical-military culture in an inherently toxic way - his response is, at this point, neither rational nor empathetic, but it can be explained partially due to his cultural (flawed) understanding of justice, and because of the extenuating circumstances. The harsher the conditions become, the more difficult it is for anyone to project a facade that is not sincere at its core. If James is to uphold his Knightly virtues, he needs to be a protector, a leader, and a servant all at once while operating under limited intel with dwindling trust. All he has left are the few key players still in his grasp, and the control of the people he is responsible for.

To digress: generally, knights take an oath. It could be to a King, or Lord, or some noble, but Knights are supposed to operate on a code of honor, and chivalry, and to uphold these values throughout the land as an extension of whoever they have pledged themselves to. The story of Sir Gawain and the Green Knight is a really good example of the way that, back in the day, chivalry and honor was supposed to place knights on a moral high ground compared to the common people.

In the middle of a celebration in Camelot, an obligatory tradition that has since lost real value but is rehearsed because Camelot fears that failure to uphold traditions that once had meaning is disrespectful, a Green Knight interrupts the celebrations and offers a strange challenge that boils down to a fight to the death. Gawain volunteers because accepting this challenge is what is expected of him, and Arthur would be humiliated if his knights, supposedly the best in the world, would not rise to the challenge. Gawain - and to a certain extent, the rest of Arthur’s knights - are fickle, in a sense, because their adherence to this code is performative, and it allows them to delude themselves into moral superiority and lie both to the commoners and amongst themselves; their identity as knights is based on a falsehood. Gawain is offered the first blow, and after beheading the Green newcomer, is horrified to see him become reanimated and immune to mortal blows. He invites Gawain to receive his own - likely fatal - blow, and gives him a time in which to meet, before promptly leaving.

Throughout the story, Gawain is tested in a variety of ways - in his final test, he fails, and allows his greed for self preservation and the fear of death to lead him to lie to his hosts and proceed to his meeting with the Green Knight under dishonest pretenses. While he is spared at the last second and becomes a better person (after it is revealed that Morgan le Fay orchestrated the ordeal to spook Queen Guinevere) - and by extent, a truer Knight, by the end of the story, the superficial and hypocritical nature of Arthur’s court is still in question, and still unanswered.

See, the entirety of Gawain’s trials was a test, not necessarily for him, but for Arthur and his court as a whole. Morgan wanted to prove the fickle nature of Arthur’s knights. The Knights of the Round Table were considered the best in the land, and to discredit one was to discredit all. What use is tradition if the meaning is empty, what use is chivalry if it is performed for reward instead of merit, and what use is loyalty if it is blind and unearned? Returning to Oz, the Tin Woodman, or Tin Man, grew to be made of tin because his axe became enchanted by the Wicked Witch of the East to sever his own body parts instead of the lumber he tried to cut down. A nearby tinsmith replaced each amputated limb with one of metal, until his entire body became tin and his meat body had been entirely discarded. Something to note is that Nick Chopper’s, (General Ironwood’s) wounds are technically self-inflicted. Each time he swung his axe, he made the decision to continue, knowing of the end result each time. In losing his bodily functions, the Tin Man believed that he had lost his humanity and ability to love.

The tragedy of his origin story draws a pointed correlation to Ironwood’s current dilemma; his unwillingness to stop, his self-imposed isolation, playing into the hands of the witch, and finally, the decision to let go of his ability to love remain consistent throughout both stories.

Watts even refers to Ironwood as a “Tin Solider”; a reference to the Tin (Woods)Man, no doubt, but could also evoke a soldier clanking around in metal armor. Ironwood is a Knight in Shining Armor, through and through. He wants to save the world, but at the terrible cost of civilian autonomy and possibly life. The problem is that he’s pledged himself to a discriminatory and hypocritical system, and his code is something that can easily be misconstrued by fear ( @disregardcanon ), much as Gawain’s own values. The Tin Man is, after all, still a man, and if we’ve learned anything from real fairytales, it is that men are fallible, whether or not they are made of metal.

Ironwood, Alone

he’s a lonely bitch

I know I f- up, I'm just a loser

Shouldn't be with ya, guess I'm a quitter

While you're out there drinkin', I'm just here thinkin'

'Bout where I should've been

I've been lonely, mm, ah, yeah

— Benee, Supalonely (2019)

You do get the sense that Ironwood is riddled with self-loathing conflicting with pride, with self-doubt clashing with competence, and that he is the kind of person who longs for things without verbalizing. Maybe his dad never paid enough attention to him as a kid. Maybe he suffered some terrible physical and emotional trauma, which might as well be assumed, given the extensive nature of his cybernetic limbs. Maybe (probably) he’d be more well-adjusted and would’ve made better decisions if the people around him trusted him and were a little more open. To be fair, though, he is the one at the wheel, and he is making the calls; no one else is to blame for his mistakes, and to pretend otherwise is to deny him accountability. I think we do enough of that in everyday life, in excusing powerful men of their responsibilities. To his credit, I do think he wants to help people. I think James also wants to project the personality of a leader who is stoic, controlled, and measured. He is charming when he wants to be, sympathetic when it suits him, and influential in just the right areas. He is not a sociopath, but he is a politician, and in a lot of ways, those are the same thing. We see in his brief flashes of temper, often prompted by Qrow, or most notably by Oscar, that this is not a calm, stable person. This is someone is on the verge of exploding, who is so fucking angry that he is not in control that it’s killing him, and so he is going to lash out and kill the things that are not within his grip. If the people beneath him will not reciprocate the heart that he offers, then he has no real use of it. James Ironwood does not begin this story as a bad person. This is a tragedy, in however many parts it takes.

I read, in one very smart and very put-together analysis that I cannot find and properly credit at the moment, that part of Ironwood’s (many) failures can be seen in Winter, and how, like Ozpin, he has appointed a woman as his talented, no-nonsense, second chain in command at his right hand. In this way, Winter is an intentional parallel to Glynda, who is, without question, a bad bitch. In theory, surrounding yourself with strong individuals is a demonstration of self restraint, in implementing your own checks and balances. James wants to project that he is powerful, yes, but he is reasonable.

I take this to mean that, to some degree, even if it’s unintentional or subconscious, Winter serves to boost Ironwood’s ego.

The issue with this is that within the inherently hierarchical structure of the military, Winter cannot question, undermine, or challenge Ironwood in a way that is particularly meaningful and their relationship is one of commander and subordinate before colleagues or equals (link to a fantastic post about Winter’s role as the Good, Conscientious Soldier by @fishyfod). Whereas Glynda is free to argue with, converse, and be as combative as she needs to be with Ozpin (although their power dynamic is arguably one of commander and subordinate albeit informally), Winter cannot temper Ironwood effectively, and through the illusion of equality, Ironwood is further isolated.

His head and arms and legs were jointed upon his body, but he stood perfectly motionless, as if he could not stir at all.

Dorothy looked at him in amazement, and so did the Scarecrow, while Toto barked sharply and made a snap at the tin legs, which hurt his teeth.

“Did you groan?” asked Dorothy.

“Yes,” answered the tin man, “I did. I’ve been groaning for more than a year, and no one has ever heard me before or come to help me.”

The Tin Man needs oil to lubricate his joints; without it, he cannot move, and he is rendered helpless and inanimate. When Dorothy and the group find him, he is entirely isolated with no one in sight, and he has been there for such a long time that he has begun to rust. Similarly, Ironwood needs valued voices of dissent to keep him in check. His colleagues were able to serve that purpose in the beginning, and out of them, Qrow is the best example of someone who doesn't take his shit, openly questions him, and looks down on the performative decorum of the military culture that Ironwood is surrounded by. What Ironwood needs is to be flexible and adaptable; his Semblance, Mettle (heh, metal, very nice pun, RoosterTeeth), is a double edged sword in that it gives him supernatural focus and willpower - enough, perhaps, to flay/chop off your own limbs - but it blindsides him, and is only further prolonging his pain.

There is a lot of sympathy to Ironwood’s character, as much as I’ve ragged on him for being an authoritarian, kind of a dick, and bad with kids. There are moments, such as the previously mentioned dinner party, where he shows his colors a bit, and when he assures the students at the Vytal Festival that there’s no shame in leaving before the battle begins, and in giving Yang a prosthetic arm before her father even has to ask. As far as Generals go, it seems that he’s seen soldiers come and go and understands, at least in his best moments, that not everyone is the same, and not everyone has power of unflinching determination to rely on. Ironwood performs his best when he tempers himself because he understands himself, and others. It’s when he fails to self-reflect that his hypocrisy shows through. Glynda points it out, too, as does Qrow; Ironwood advocates for trust but often fails to give it himself, going behind Ozpin’s back, being absolutely shit at field communication, and now the whole fascist, borderline-genocidal keruffle he’s gotten himself into.

I think that Ironwood reaching out to Qrow was his ethical last stand, his last chance and conscious effort to choose the right path. Qrow is unequivocally an equal, not like how Ozpin is the Big Boss, the authority that James becomes disillusioned with and tries to overthrow. He wants someone to trust, desperately so, and Qrow wants that too, but narrative subversion has hands. The Scarecrow and the Tin Man have no brain and heart respectively, and are in need of them. As it turns out, Qrow is actually a pragmatic guy with solid principles angled against authoritarianism, and Ironwood is a dick who would rather enforce martial law than to empathize and tame his military-shaped boner for one second.

I might conclude that someone like Qrow might be best for Ironwood, but that does not mean that someone like Ironwood would be the best for Qrow. Qrow has a brain after all, but Ironwood does not choose his heart when it matters, case in point. Even the intro of the current season features Salem and Ironwood on a chessboard; his white pieces are disappearing, dissolving into dust, as hers transform into Grimm. Ironwood is isolating himself by depleting himself of allies. As this post by @hadesisqueer points out, Ironwood isn’t even positioned as King, the supposed commander, but the Queen, the most versatile player on the board that is so far underused, since he hasn’t moved from his spot. Ironwood’s refusal to unify against Salem is his failure to strategically utilize the best resources that were available to him; soon, the pieces will be swallowed by the dark.

James is guilty of something that a lot of us are guilty of: doing a Bad Thing for what we have convinced ourselves is a Good Reason, when in reality, it is actually a lot of Very Bad Reasons. James Ironwood is a Knight archetype, through and through, and he is charging forward to do the right thing. He is afraid, he is lying to himself, and he will never surrender.

“All the same,” said the Scarecrow, “I shall ask for brains instead of a heart; for a fool would not know what to do with a heart if he had one.”

“I shall take the heart,” returned the Tin Woodman; “for brains do not make one happy, and happiness is the best thing in the world.”

Dorothy did not say anything, for she was puzzled to know which of her two friends was right, and she decided if she could only get back to Kansas and Aunt Em, it did not matter so much whether the Woodman had no brains and the Scarecrow no heart, or each got what he wanted.

The lesson of James Ironwood is a lesson of failure, and of the way that we succumb to fear, because that is Salem’s agenda, really, in the end: fear. It’s the negative emotions, fear being first and foremost, that draw in and empower the Grimm, and it’s fear and uncertainty that causes chaos. It is when Dorothy’s friends give into their fear that they are truly defeated. FDR’s assertion that “The only thing to fear is fear itself” holds true here; it’s not so much that these characters are afraid of losing their lives, their loved ones, and of the dark, but that they do not have the love or the resources to be brave for themselves or for others.

Qrow as a character is introduced as one who is already defeated, in a sense. Half of his team is gone, dead or estranged, he’s forced into the shadows of espionage to protect a world he knows is darker than it should be, and he’s fighting a losing battle with alcoholism. As charismatic as he’s written, he’s referred to as a “dusty old crow”, a hunter of renowned skill but past the prime of his life.

Dorothy’s three titular companions are defined by what they lack; in the same vein of the Disney I Want song (a main character’s main monologue song in which their wants and desires that motivate them throughout the rest of the film is laid out in song; ie Part of Your World, Reflections, How Far I’ll Go), the Lion, Tin Man, and the Scarecrow want bravery, a heart, and a brain respectively. RWBY relies on flipping the script of its characters based on what the audience might expect from the source material; Ruby is not just a helpless little girl - her introduction is a badass with a scythe. The Scarecrow is a chronic alchoholic. Cinderella is a victim of abuse, and is also a villain who wants to set the world aflame. Subversion, subversion, subversion.

There are obviously parallels between the characters in RWBY and in their own fairytales to keep them in character, and part of the fun is spotting those clues and occasionally connecting the dots to anticipate the direction of the narrative and certain connections between characters and the significance of their arcs. While I’m not aware of Dorothy Gale’s RWBY counterpart, if she has already been established or is yet to be introduced, I don’t think it’s unreasonable to assume that Ruby has adopted a Dorothy-eque persona and can act as a surrogate in a way. She begins as a sweet, naive child eager to join a world of color and excitement, who initially believes that she has “normal knees” and is thrust into a political scheme full of powerful and older players. She even has a small dog as a companion, Toto Zwei, who seems like an odd addition, since he’s usually sidelined and basically forgotten about except in a few spare moments, unless he’s there to draw further comparisons to Dorothy. She may not be from Kansas, but she is first helped by Glynda (the Good Witch), and later expects assistance from Ozpin, Qrow, and the later Ozian counterparts. I find it a peculiar detail that for Ruby to be Little Red Riding Hood alone, she is surrounded specifically by Dorothy’s companions. This, of course, only increases the importance of the relevance of the Oz series in particular and the characters that are borrowed.

In the case of Ozpin’s inner circle, Dorothy’s closest comrades (sans Toto) differ in crucial ways to their source material. (After finishing this essay, I found a much better, condensed explanation by @neopoliitan )

Disillusioned by the Ozpin, the Wizard (who has been projecting an illusion of a failsafe) and overwhelmed by the rise of the Wicked Witch of the West, Lionhart (the Lion), gives into his cowardice and ultimately forgoes the arc and redemption of his character from the source material; as such, he is by all definitions, a failure and a premonition, as Ironwood eventually follows. If RWBY is a dark take on classic fairytales, then it is only fitting that these characters are charred husks of their fairytale selves - these are people, and some people are selfish, scared, and cowardly, and they do not overcome these traits.

This is all opinion based, pure speculation. I have no idea what will happen in the next episode, and whatever goes down will be...shit will hit the fan. I’m under no delusions that Ironqrow is going to be canon in a healthy, tender, endgame sense. They’re both kind of losing their minds, and Ironwood is shitting absolute bricks. No, they’re going to try to kill each other, and I personally cannot wait for Qrow to cleave this man in two. (Not sexually, just, literally. Like, with a scythe.)

On that note, I think that the RWBY writers are good at callbacks, at drawing attention to their own connections, and if Ironwood and Qrow’s inevitable confrontation is scheduled, then it will include visual callbacks to Qrow saving James at Beacon, maybe shot for shot. Their visuals have only gotten better as time goes on, and I imagine Ironwood’s eyes widening as Qrow leaps through the air, scythe drawn, in recal of a moment so long ago when they weren’t on the same page, but they were at least on the same side. When Qrow brings the blade down, there will be no enemy behind him. Only Jimmy James. The difference between the two of them will be that Qrow isn’t fighting out of fear, but out of love, for what happened to Clover, and to what could happen to his girls.

Qrow’s reliance on alcohol, as well as his (mostly) feigned nonchalance is meant to fit with the motif that the Scarecrow has no brain, and, had he a mind to desire anything, would desire it most of all. His role is, also, notably, gathering intelligence for Ozpin (his character is also based on Munnin from Norse mythology). There is so much about Qrow that is an act and so much that is not, and I think that this act is born both from this motif and from his own cynicism, and the alcohol contributes to this act. However, he eventually gets sober after Ruby expresses legitimate frustration, and he understands that he’s putting their lives at risk. While one could say that he gave up drinking for the kids, I would argue that the kids - Ruby in particular - made him want to give up drinking for himself, to better himself.

While Lionhart and Ironwood betray the people depending on them, Qrow’s love for his nieces (and for the kids) allows him to deviate from this pattern. The answer to fear is perhaps not merely bravery - Qrow’s triumph is love.

Ironwood knows triumph in the context of a military state, but he’s backed himself into a corner. Soon he will find himself alone and friendless. Hopefully, his last stand will not be in vain.

[madscientiststvstatic]

About Mad Scientist’s TV Static

Previous URLS: justmescreaming28 -> looser-with-Internet-access -> nonexistenttodaythanks -> a-loser-with-Internet-access -> stealurheart-stealurbones

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Pronouns & neopronouns im *most* comfortable with vary from day to day, but it/its is usually a safe bet. But honestly feel free to use any of the ones listed in the pronouny

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[thestalkerbunny]

What are the other goths thoughts on Danny?

Romero always smuggles Danny French fries and Danny just LOVES Romero for that; Romero has pocket fries he is Danny’s favorite person besides Helena. Danny thinks Tex is kinda neat even though he always holds him weird the way little kids try to hold cats.

Zombi is pretty good with Danny, he’s just the kind of guy who is automatically good with kids-he just seems to vibe with him well. Danny likes to mimic Zombi’s guitar and tries to get him to play music when he comes over.

Celeste is also fond of Danny, mainly because his plumage is still baby soft and she likes to sit him on her lap and fix his baby fluff. He likes it when she lets him play with her mirror and puts stuff in his plumage and he says ‘pretty pretty!!’

Helena is obviously his most favorite person on the planet. He adores her, he follows her around, he mimics a lot of her noises and mannerisms like a pesky little brother, she is the sun and moon to him. Helena loves him a lot too and tries to be a good role model.

and Guillmero as we all know, terrifies Danny. The running theory is because Guillmero is so tall and skinny he looks like a scarecrow and Danny being a Crow Kenku is terrified of that. Guillmero doesn’t really like children but as a lust demon every now and then he gets this wild hair where children are suddenly very interesting and one being so close to him in distress is upsetting to him.

So TLDR; Danny loves the goth gang except for Guillmero who needs to go back to the cornfield where he belongs