#seven paragraphs is basically seven sentences right

[primewritessmut]

Seven Sentence Sunday

tagged by @keepmakingtrouuble

i have no idea where this excerpt is going (or if i'll ever finish it) but i do know that its mere existence is probably @punch-love's fault

He pulls his dagger out of the inside pocket of his jacket, not magic, but close enough to have Brad’s eyes widening in alarm. “Who the fuck gave you that?” “This old thing?” Loki starts to spin it gracefully around his fingers, enjoying the way Brad’s face pales as the blade flashes in the light. “It’s amazing what you can get away with when you convince someone to trust you.” “Mobius,” Brad whispers as he glances pleadingly toward the door. There’s no one there, no one to rescue him, and the empty window makes Loki’s heart race. Brad starts wiggling more earnestly against his restraints. “He’ll take it back. He’ll never trust you again. You’ll be right back where you started. In one of these cells with a collar on just like me.” “Perhaps.” Loki stops spinning the dagger and aims the point directly at Brad’s chest. “But it’s only you and me in here and what Mobius doesn’t know, won’t hurt him.” Loki sidles closer until he can set the edge of the blade along Brad’s movie star cheekbone. “It might hurt you, though.”

no pressure open tag for the homies

[whenlifegivesyousparklingwater]

Wednesday, March 27, 2024

Dear Public Diary,

I feel an increasing sense of dread as April approaches. As a student in the humanities and social sciences, not only do I have research of my own to do, but I have so many papers to write for courses. Just in the next week, I have two papers due, neither of which I have started. I have been staring at the same page and reading the same sentences over and over. I cannot concentrate or comprehend what I am reading. However, in my defense, Locke writes in paragraph-length sentences that could have easily been broken up into at least three separate statements. This inability to be productive, combined with the inability to relax, puts me in stasis, where I just freeze up. It's not that I don't like the Enlightenment thinkers... or maybe it is.

I have to remind myself that just because power is shared among several White men (as opposed to power concentrated in one White man) does not make it democratic. It's so easy to read ideological philosophical texts and convince myself that I am one of the humans they speak of, though I know that these thinkers would not have considered me as one. Even still--centuries after Hobbes, Locke, and Rousseau--I am not truly considered as a full, free [hu]man by the government. It is not really that oppressed people are becoming a part of this "human" category; we are just changing the boundary between who is in the human and subhuman categories. We are just given an illusion of progress by introducing new moral justifications.

For example, in the US, we are taught to believe that racism ended with MLK--we no longer treat Black people as lesser just because of skin color! Hooray! However, what the government did was refocus our morality--we believe criminals deserve to be punished and treated as lesser. Solution: make Americans believe crime is out of control and that Black people are criminals. Now we draw the line slightly differently from where it was before, but not really. It just gives us new moral justifications to put a certain group of people in the trash to be forgotten. This is a weird analogy, but it reminds me of the barber poles that captivated me as a child; the spinning motion combined with the diagonal lines give the illusion that the lines are continually going upward when, in reality, the stripes are not changing.

I am taking a graduate-level course in philosophy of law; this semester, it is focused on feminism and pornography laws. We are reading In Harm's Way: The [P]ornography Civil Rights Hearings by Catharine MacKinnon. The hearings took place in the 80s when there were no real laws limiting porn or allowing people to seek justice for wrongs they faced because of porn. I'm happy to discuss the philosophical, sociological, and psychological dimensions of harm caused by porn, but that would be an entire dissertation on its own, so I will hold myself back for the time being.

In the past seven days, I have read ten books. These were mindless fantasy romances, so I breezed through them, no critical thinking skills activated. However, it made me stop and analyze the parallels between mainstream romance books and visual pornography. Porn had previously been limited to the men who had access to art (so basically the upper class) or brothels. Until the internet age, it was not as democratically accessible. Nowadays, even young children are able to access porn without any barriers. Porn tends to refer to visual mediums (rather than literary), and we as a society now recognize the existence and harms of sex trafficking and its role in creating porn. People tend to believe that the harm of pornography lies in the women who are forced to perform and that this is what makes the ethics of porn questionable. [Of course, some may argue upon which ones or what situations can be evaluated as "forced," but that's a topic to tackle on another day.]

However, this is my controversial opinion: I think porn and the pimps of this multi-billion dollar industry have strategically adapted to the new social constraints of the time. Behold, spicy books: a newly-mainstream medium of porn that still maintains abuse/violence as something sexually arousing, maintains toxic gender dynamics (i.e., male dom/female sub), brings in a new demographic of customers (i.e., women), and seems ethical (i.e., no women are harmed in the process). Seems like female sexual liberation, but is it really? I recently went to a local bookstore, and they had a whole section of the store dedicated to BookTok romance books with an emphasis on those with "spice." Alarmingly, it was right next to the Young Adult (YA) section (ages 12-18). The displayed spicy books have such deceiving, innocent, cute covers that make children pick them up and prevent parents from knowing the true nature of the story. Pimps would often show children porn as educational material of sorts so that they know how to behave and what to reenact. Especially since sex education is not very thorough (if there is any at all), these toxic dynamics displayed in these books become young girls' sex education.

Even for us adults, it's important to analyze whether the maledom/femsub dynamic is truly a personal preference that many people also happen to hold or whether it is an internalization of misogyny. Although these YouTube shorts were satirical, I saw a few that were something like "POV: you're dating a book girlfriend" and the girlfriend would do toxic things, like objectify their partners, have unrealistic expectations, expect/demand violent actions in sex that the men are not comfortable doing, etc. Seems like an ironic reversal of the previous situation with visual pornography. [It is important to remember we are still in a male-dominated society, and as long as we are in a male-dominated society, men will not truly understand the harm porn has caused women.] However, men are being called "too sensitive" by talking about the harm these books are causing in relationships. Wouldn't this be another form of silencing a group, this time on the basis of toxic masculinity ideals? Then, we are not necessarily giving more people voices but shifting who gets the voice based on a shallow understanding of the deeper issue at hand.

One of the reasons why violent porn should not be protected by the First Amendment is because of the real-life harms that they cause. For example, porn may just say these are "sexual fantasies," but they cause real-life harm as real-life men seek to reenact them with women in coerced/forced situations. Just because one has a camera recording should not mean that the violent act is protected under free speech. If real-life harm is being caused because of smut, smut should not be fully defended by the First Amendment as free speech. More importantly, we need to realize that these books are not "just fiction" or "just sexual fantasies" and understand the real-life implications. I guess smut books can also be seen as a form of sex discrimination under Title VII of the Civil Rights Act in that they create content based on gender/sex where one group (i.e., women) is degraded, and these books facilitate gender-based discrimination in real life. Anyways, these are my thoughts.

I have a breakfast meeting to get ready for, so I will call it a day here.

Yours Truly,

RCH

Edited to change some wordings

[lizardsfromspace]

A while back I read a book by Richard Christian Matheson called Scars (and forgot I hadn't posted about it already). If you're wondering if I mean Richard Matheson, original Twilight Zone writer & pioneer in horror and sci-fi, no, this is his son, who was a popular horror writer in the 80s, though Richard Senior co-writes one story. He also wrote for TV, and if you look him up now you'll find credits on Masters of Horror and Tales from the Crypt, but back then it was all network action shows like The A-Team

His style is VERY to-the-point and spare (as far as I can tell his succinctness - most stories are just a couple pages - was why he stood out in the bloated world of late 80s horror). So to-the-point that at least one of his stories consists of one word sentences

You'd assume from that and the title SCARS (the hardcover edition has a blown up, black and white photo of, well, scars on the front, and similar interior photos) that he would be the most splattery of splatterpunks. In some stories, you'd be right; like the one above, or a vignette about a father picking up chunks of his daughter's body off the road after an accident.

But the weird part is, a lot of the stories are basically 50s/60s style sci-fi with twist endings, like something from a middling Twilight Zone episode? Here's an example: one story is about a society where robots rule over man. But the story can't explore what that means at all since it's just a twist, the story spends all its time obfuscating what's going on and then drops "and the robots...were humans!" and. It's over. The obfuscation doesn't work either, since the time where you could tell a story where you conspicuously don't describe the characters and not have everyone guess "oh, they're the robots" was over by then, and reading it now...that was the twist of every fourth Goosebumps book. I saw a review that said that the stories all feel like they end when the story's beginning, since they're all about the twist alone.

Also the longest story in the book is wall-to-wall showbiz speak

There's like seven pages of this, and if I recall right the twist is some zombies show up in the final few paragraphs?

[fruityyamenrunner]

on the famous fda injunction against him

On 10 February 1954, after seven years of investigation, the Food and Drug Administration finally served Reich with a twenty-seven-page complaint, containing a proposed injunction against the inter-state shipment of accumulators. The essence of the Complaint was that the orgone accumulator did not work—could not work, since orgone energy did not exist. It cited various publications by Reich to show that he believed the accumulator could cure cancer, but made no mention of the various qualifying clauses Reich himself had added in The Cancer Biopathy.

Dr Charles Kelley, in an article on ‘The Life and Death of Wilhelm Reich’, has described the Complaint as ‘so vicious, so false, so twisted and sick, that it was difficult to believe it could ever be taken seriously in court’. But a study of the actual Complaint (reprinted in full in Jerome Greenfield’s Wilhelm Reich versus the USA) hardly justifies that description. Taking into account the basic attitude of the FDA—that Reich was a crank—it is, on the whole, a fair and balanced document. Moreover, if the FDA believed that there was no such thing as orgone energy—and that therefore the accumulators were worthless—then they had no alternative than to try to prevent their use; for patients who relied on them rather than on proper medical attention were placing their lives at risk.

Reich should have been rational enough to see this, and to concede that in future the accumulators would not be shipped across state lines. Instead, he made his most appalling mistake so far—possibly the greatest single mistake of his life. Instead of appearing in court to try to try to explain his position, he wrote the court a rambling, four-page ‘Response’, quibbling about whether the FDA was the ‘US Government’, quoting Abraham Lincoln on freedom, and talking about ‘conspirators whose aim is to destroy human happiness and self government’. Reich’s main argument was that the court was trying to interfere with the course of scientific investigation; therefore, he said, he did not intend to appear.

Reich was missing the point. The FDA was not trying to interfere with his research; only with the sale of what they considered to be a quack remedy across state lines to finance that research. But the whole tone of the Response was bound to irritate even the most open-minded judge. Its last sentence: ‘ ... I submit that the case against orgonomy be taken out of court completely’, sounded like a challenge. The judge took the view that the Response was a ‘crank letter’, and the FDA seized the opportunity that Reich had offered on a plate by demanding a default injunction against him, which Judge Clifford promptly granted.

In retrospect, it is almost impossible to understand what made Reich play into the hands of his opponents. For this was not simply a question of being forbidden to ship accumulators across state lines. The sting of the Complaint was contained in its penultimate paragraph: a plea that Reich be forbidden to do ‘any act whether oral, written or otherwise’ to promote the sale of the accumulators. But the Complaint lists a dozen or so of Reich’s publications which could be regarded as ‘promotion material’. It included The Function of the Orgasm, The Cancer Biopathy and most of the later books, including The Murder of Christ. In effect, the FDA was asking that all these works should not be sold outside the state of Maine. And here Reich was on very firm ground indeed. The most incompetent lawyer in America would have pointed out that this was a violation of the right of freedom of speech, and that the suppression of books—except on grounds of obscenity—ran counter to the whole spirit of the American Constitution. No court would have granted such an injunction under normal circumstances, and the FDA probably took it for granted that the judge would refuse to ban Reich’s books. By writing the court a defiant ‘crank letter’, Reich took the only possible step that could have led to the suppression of some of his most important works.

The question of Reich’s motives will probably never be clear. The most obvious explanation is that his persecution mania had reached a point where he believed that the banning of his books was as likely as the banning of the accumulator. But surely any lawyer—or for that matter, any intelligent American citizen—could have told him he had a powerful case? Here the answer could be that Reich’s followers were deserting him in droves—and that those who were left accepted whatever Reich said or did without question.

There remains one other hypothesis that seems to me plausible. As long ago as 1920, Reich had identified himself with Peer Gynt: ‘It is the story of an individual who ... gets out of step with the marching column of the human herd. He is not understood. They laugh at him when he is weak; they try to destroy him when he is strong.’ Reich had written his own scenario, and the thread of ‘outsiderism’ runs throughout his life. He almost gives the impression of being determined to be misunderstood and rejected; to be understood and accepted would embarrass him. And the later identification with Christ suggests that, unconsciously at least, he wants to be crucified. The root of the urge could lie in his sense of guilt about being responsible for his mother’s suicide; but this ‘Freudian’ explanation could be too glib. It seems just as simple to say that his belief in his own genius was linked with a romantic conviction—based on self-pity—that greatness invites martyrdom. For what would Reich have done with success and world acclaim? It is impossible to imagine that haunted, suspicious face relaxing into a smile of reconciliation. If Reich had been given the Nobel Prize. his acceptance speech would have been a torrent of reproach and scorn. His unconscious mind was geared to the idea of persecution and martyrdom.

[qvnthesia]

For your ask game - 1, 9 and 32

1. What fic of yours would you recommend to someone who had never read any of your work? (In other words, what do you think is the best introduction to your fics?)

See You In My Nightmares! For those who haven't read it yet or wish to read it, you can check it out right here <33

9. How do you find a new fic to read?

I love this question! To be honest, it's incredibly hard for me to find new fics because I've come across stories that have had such a massive impact on me that I simply can't bring myself to read anything else. I simply can't let go of those stories I've read.

For example, I keep on revisiting @sevensistersofsussex's works from time-to-time because Seven's works are incredibly engaging. Similarly, I also reread @jabean-fanfiction's A Light In the Dark, a Star Wars story focusing on Anakin and Rey (wouldn't suggest the story for anyone who dislikes the sequels ✌️💜) because it's just beautifully interwoven itself within the Star Wars universe and packs a punch with its action, emotions and characterizations.

However, if there are times where I'm thirsty for stories, I just click on the tags I want the story for and keep scrolling down the suggestions. If I stumble across an intriguing premise, I click. If the story turns out to gauge my interest, I bookmark it for checking it back out again.

32. What's your ideal fic length to read?

I don't really have a limit, more like preferences. As long as the story isn't including long paragraphs everywhere, atleast follows basic grammar and sentence structure and catches my attention in the first two-three chapters, I'll have quite a lot of trouble putting down my phone when I'm actually supposed to be studying.

thank you so so much for your asks <33 i had to retype the entire answer because my app limit expired 😂

[evilwickedme]

I have a question!!! I really like your fics so I wanted to ask how you find the time/motivation to write your fics? I’m still in the thought process of planning the plot of my very first one and it feels so daunting. Is there any specific process or method you do when you write? Sometimes I get around to writing and I only get a few hundred words in before I’m exhausted. I’d love your advice :)

Hey thank you for asking this and for enjoying my writing!

I'd love it if there were any easy answer to this question, but the truth is the answer is simple and really fucking hard: to write a lot, you just have to write. Sometimes it's going to be easy, other times it's going to be hard. Sometimes I start writing and I blink and suddenly there's two thousand words on the page, other times I sit and stare at my screen for hours and all I've written is two sentences. And I'm not the first one to say this by any means, but the secret is - it's all writing. All of it is writing, even when you end up not writing anything.

Here's the thing though, is that I decided I wanted to be a writer when I was seven years old. I've kept a journal off an on for almost two decades. I wrote poetry for elementary school assignments and I had a blog for my writing in middle school and I wrote short stories for high school projects and I started writing fic when I was 14 and I published my poetry book last year at the age of 24 and it was all just writing and writing and writing. I went through dry spells when I was depressed that last months or even years and I've had periods where I was writing so much it's a wonder I kept up with it. And then I got a degree in screenwriting, where I HAD to write because such and such amount of pages were due by such and such a date, and the industry doesn't care if you're in a rut and neither did my professors.

Nowadays, writing is basically a habit. I have so many poems in my phone notes, because I'll have a thought on the go and suddenly there's a poem - so many phone poems ended up in my book, fyi, some of them barely edited. I can force myself to write something halfway decent just by sitting myself down in front of a Word doc, because I have the neural pathways set up that way from, oh, 18 years of writing. So a lot of my methods regarding writing involve just being like, okay, today I'm going to write something.

For example, I just published the final chapter of the mental health fic in my DC series, which is for now probably going to be the final work in that series (I have a couple more ideas, but they're shelved right now). That final chapter was sitting in my Google drive with about two sentences written in it for weeks, and it was weighing on me. I haven't been feeling very creative recently - I'm fully aware I'm in burnout - but I hate the feeling of being uncreative, so I said to myself, okay, let's fucking finish this. It took a couple of tries - first try I ended up only writing a paragraph describing what everyone was wearing and that's it - but eventually, just the act of me being in front of my laptop rather than facing a tv or buried in my phone made it so I finished it.

There's a story I heard when I was a kid that I can't find right now that basically informed my entire life philosophy, which was this kid went to a baseball game and met his favorite player who agreed to sign a ball for him, but nobody had a pen. Not him, not his parents, not the player, nobody that passed them by in the stadium, none of them had pens. Devastated, he started carrying a pen around with him everywhere. The final quote goes something like, "and if you carry a pen with you everywhere, eventually you start using it." And then he started writing.

To put it another way. In January, I only read two books. And the thing is, like, I genuinely really like reading. Like it's one of my favorite things in the whole wide world. And I asked myself, why didn't I read in January. And again, I know I'm in burnout, I know that's why I watched all that mediocre TV. But I didn't enjoy it? Like at all? So I looked at all that time I spent watching criminal minds and on TikTok and Tumblr and in February I made a concerted effort to read. When I sat down in my living room I asked myself what I was planning to do with my free time, and I realized often the "plan" was just to scroll through TikTok for six hours. So I listened to a five hour audiobook instead. Or read a 300 page book. Or finished a manga I was in the middle of. Or... And I read nine books in February! Which is not a lot for some people, I know, but what an improvement on January!

My point is, if you want to be doing something and you're not doing it, ask yourself why you're not doing it. I found that the time I was spending not-reading and not-writing wasn't getting used up by cooking or cleaning or going to work or meeting up with friends. It wasn't even being spent on something relaxing that I enjoy, like watching a comfort show. In November when I wrote the vast majority of hang on 'til the chaos is through I simply did not spend as much time on Tumblr or on TikTok cause I was writing instead. After I was finished with that, however, I pivoted so hard in the other direction that I didn't do anything I enjoyed at all in an effort to relax. That's honestly not even that relaxing.

So like, here's the thing. When it comes to my "method" of writing it varies so much that it's actually not worth listing out. With hang on the whole fucking thing was outlined in detail. With Of Three Times Lily Evans Changed Her Mind About James Potter I had the endgame in mind and a couple scenes written in advance, but the whole thing got written over 4.5 years and I was improv-ing basically the entire time. With I'm a mess (but I'm the mess that you wanted) I was texting @random-fandork in the middle of the night like, what if next chapter I did this, and they responded with ooh what if you did this, and it got written so fucking fast because we were constantly exchanging ideas. With the timkon jealousy au I just know I want Kon to be jealous of timber, and that's legit all I know, I'm absolutely pantsing it.

Sometimes I write with music. I have character playlists I usually listen to just like any other playlists, but also get used to write sometimes, but I only made my first character playlist around a year ago and I've obviously been writing fic for way more than that. Sometimes music helps get in the mood or helps distract from outside noises, and sometimes it distracts you from finding the right words. I usually write in bed, but I usually do everything in bed because I have chronic back pain. I usually write at home, but I also write in my phone on the go.

But I think you get it, right? Like there is no method. I certainly don't have one. Terry Pratchett famously wrote 300 words every day. I don't know what Erin Morgenstern is doing while working on book three, but I promise you it's not 300 words a day because it was six years between The Night Circus and The Starless Sea and it's been four more years and we still haven't gotten our spring or summer book. Every person finds they work best in different environments - I've tried to write in coffee shops and libraries, it's just close to impossible for me, but for others it's the only way to get motivated. But the point is the stories don't write themselves. Everyone loses steam, everyone gets in a rut, everyone writes bad things that they don't like and scraps them or edits them so thoroughly that they become unrecognizable. But things only get written because you write them, and they'll only get done if you keep at it.

My assumption is that you enjoy telling stories. Yeah, writing is hard, sticking to something is hard, finding motivation to write when you're tired or depressed is hard. But if you don't write, it's not going to get written. So I just try to remember that I enjoy storytelling. That I would be having more fun working on my teacher!peter/dadpool au than watching criminal minds (seriously, I'm not going to finish this show, 2.5 seasons was more than enough; sorry to keep shitting on it but I spent much of January watching it and honestly I've never considered watching a show a waste of time but this was an absolute waste of time).

I also want to reiterate that it's okay if you sit down to write and all you write is a couple hundred words! It's okay if you only wrote two! The turtle wins the race after all - you just gotta keep at it. Just remembere that if you write ten words enough times, you end up with a whole ass book.

[stellarhistoria]

dating a millennia old lich - adventures of last night:

(mordred) "I FOUND THE ROMAN CALENDAR" (nia) "which roman calendar?" (mordred) "thanks, prick"

"oh jesus, for 70 days there was no name for winter"

(mordred) "at one point, the roman calendar was 15 months!" (tayla) "this is nightmarish."

"julius ceasar had One Good Idea"

"if i had eyes i would see the other sentences in that paragraph"

"ROME HOW ARE YOU REAL"

"OK BUT HOW DID THEY KNOW IT WAS A LEAP YEAR??"

"of course it was dionysus"

(mordred) "okay so if we start from what he gave me, we just need to find an egyptian calendar." (nia) "thats not a thing" (mordred) "thanks! i hate it here"

(mordred) "so, the ancient egyptian seasons were akhet - the season of flooding, perekth(?) - the season of growth, and shemu - the season of harvest. in his words, he was born on the crest of one of the hottest years."

(nini, aka vivian joins call) (mordred) "hello! i'm dying." )nini) "i noticed!"

(mordred) "okay so, i'll say this to you since you werent here" (nini) "okay?" (mordred) "we're trying to figure out ozy's birthday, and he was born on the crest of the hottest years. we also now know he has terrible sense of direction" (nini) "we been knew"

(nini) "okay to figure this out, you have to figure out when the big events happened. if you can track when the hottest years of the era were, then you can find when he was born. even down to the day and time. so if it's the CREST of the HOTTEST years, then look for a great famine and go from there." (nia) "wasn't there a famous one?" (nini) "yes! the seven year famine period of ancient egypt." (mordred) "so let's assume that, because he's nodding at this" (nini) "crest of the hottest years, meaning halfway through the seven years. what is half of seven?" (mordred) ".....i don't know how this is relevant, but three n' a half?" (nini) "right, so he'd be in the middle of the seven years. check your dates and what he's told you and he's basically already given you the answer." (mordred) ".................explain?"

(one hearty explanation and a laughing lich muse later) (mored) "oh he just told a cosmic joke?" (nini) "yes, he did, the brat." (mordred) "...what was the joke?" (nini) "august 8th. look up august 8th" (mordred) "..........i don't understand :( forgive me, i am currently up for 2 and a half days now with like 5 hrs of sleep" (nini) "ouch. okay, so this revolves back to the myths of his times. [abbreviated] the egyptians had a telling of the myth of isis and osiris where every year the nile floods is because of isis crying over the murder of her husband through his brother, set. it was assumed that this happened at the middle of the year, during the flood season. because the flood season you said was from may to august, take it into account that the height of the flood was likely around the last week of june to the early second week of august."

(mordred) "...is he telling a joke about isis?" (nini) "he's fucking with you and telling a joke, it's not his birthday" (mordred) "oh... ...... [giggling] he truly just led us down a rabbit hole for fun" (nini) "he did! and he's an ass for it." (mordred) "i learn things though when he does this!"

"so what IS the joke anyway?" "... a dead king that rises from the grave to become immortal, or rather ascend to godhood." "........yeah?" "is (giggling) is he joking about osiris??" "more like himself." "oohhhh. makes sense!" "HE'S A PRICK"

"i'm glad you stepped in nini, because he would have rolled with that date" "i know. that's why he's laughing isn't he" "full on howling with laughter yeah" "clemency could hear it"

[makeste]

[marge simpson noises]

so yeah, I have been doing some thinking about this.

particularly that “I won’t give you a moment to rest” bit.

and also about this:

so as far as the math for that goes, when All Might met Deku in chapter one, he said it had been five years since his battle with AFO. since then, almost exactly two years have passed; All Might’s conversation with Deku on that rooftop took place in April of Deku’s last year of middle school, and as of chapter 296 it is April again (or just about), and we are about to enter Deku’s second year of high school.

now, we don’t know exactly when Nighteye had his vision, but I think it’s a safe bet that their falling-out didn’t happen too long afterward. so it’s reasonable to guess that Nighteye saw that prophecy shortly before All Might’s fateful battle with AFO. which was five years before the start of the manga, and thus almost exactly seven years before the current chapter.

here are some other things to consider:

“I won’t give you a moment to rest” is a VERY smart move on AFO’s part. right now the heroes are all either terribly wounded, or busy assisting with the rescue efforts at Gunga and Jakku. not a single one of the top ten (or probably even the top fifty) heroes is in any kind of fighting condition. there is basically no one around who can stop the Noumus from busting AFO out. AFO has purposely timed it that way; but more than that, Horikoshi has timed it that way, because at the end of the day his characters are only as smart or as stupid as he makes them lol. both the heroes and villains alike have done any number of stupid things during this arc when it was convenient for the story. if Horikoshi wanted an arc where the villains broke out of Tartarus and Deku and the others tried to fend them off, he would have dumbed down AFO, or perhaps just made him so overconfident that he didn’t feel it necessary to wait until the heroes were weakened. but instead, he chose this time around to give us the Smart version of AFO, who has Brain Cells, and who waits until the heroes are all indisposed.

basically what I’m trying to get at here is that Horikoshi wrote Deku and the others out of this arc. actually that’s a much more concise summary that basically sums it all up in one sentence instead of the above long paragraph lol but oh well.

meanwhile, All Might, as we saw earlier in the War arc, is still back at U.A. with Eri (and probably Rat Principal too, I suppose).

as previously mentioned, the rest of the U.A. staff (as well as Naomasa) all appear to be at Gunga or Jakku.

All Might is very much not in a condition to be fighting anyone at this stage. I know there are theories out there that Eri might be able to Rewind him back to a point where he still had his power, but (a) I’m not sure that OFA works like that, and (b) even if it did, judging by the size of Eri’s horn in chapter 276, she’s already used up most if not all of her power on Mirio. so she presumably needs time (and by “time” I mean “up to several months”) before she can recharge enough to be able to do anything that big again.

All Might has just enough of that self-sacrificing, noble-to-a-fault heroic spirit that I could see him foolishly rushing over to Tartarus in an attempt to stop his arch-nemesis from escaping, even if he knows it’s futile. much like the quirkless child he once met who tried to save his childhood friend by throwing a backpack.

and again, just to stress this point, because it’s the one thing that I actually can’t stop thinking about: Deku is currently unconscious. if he knew what was potentially about to go down (like, say, if he had a convenient Sense that warned him whenever Danger was approaching), I have no doubt he would activate every latent quirk left in his body and Float his concussioned drunkass self and his dangly spaghetti-limbs over to Tartarus in two seconds flat, consequences be damned. but he can’t. because thanks to Tomura he is currently down for the count.

when’s the last time Deku spoke to All Might, I wonder. the night before he left for the mission? did he Facetime him enroute to Jakku? did they have a sweet conversation where they were all Father & Son vibes and recklessly tempting the cruelty of fate?? why can I not stop thinking about this.

basically,

would Horikoshi possibly be that cruel? surely not, right? then again, wouldn’t he?? no. but then again. someone please reassure me here lol. oh my god.

[itsclydebitches]

RWBY Recaps: Volume 8 “Ultimatum”

Welcome back, everyone! We had an unexpected break last week due to the horror going on in Texas. I'm glad we did. Not because of any salty "RWBY is bad right now yay free Saturday" feelings, but because keeping to a schedule for a fictional webseries should never take precedence over peoples' safety. I can't believe I need to type that sentence out, but it's true! Over the last seven days I've seen fans who are not merely disappointed by the mini hiatus (understandable) but outright hostile towards the crew because they... were ensuring everyone survived during an unprecedented emergency? Yeah. Given the highly critical nature of these recaps — including today's! — I want to be clear that my thoughts towards Rooster Teeth's creative choices are distinct from any thoughts about the crew itself, including the most basic forms of compassion like, “I sure hope everyone is okay over there.” In an age where it has become horrifically common to harass creators and even send them death threats over stories, it has likewise become necessary to remind people: Don't do that shit. Never do that shit. If I can teach anyone anything at all, let it be that!

Anyway, dark fandom reminders out of the way, let's dive straight into our delayed episode. It was certainly a doozy. Titled "Ultimatum," we open on a trigger warning for flashing lights. Good on Rooster Teeth for including that, though I do wonder if creators shouldn't be including time stamps as well? Or perhaps a note that you can find those time stamps in the credits, avoiding any (minor) spoilers for everyone else? I'm not photosensitive myself, so I certainly don't mean to speak for that group, but my first thought was, "So how would I watch this episode if I was? Hand on the pause button, hoping I stop fast enough as soon as the lights start?" Hard to do given the surprise nature of the scene. Really, my answer would be, "Wait for the fandom to post warnings of their own, likely including where it happens so I know when to skip" which is perhaps an indication that this information that should be included from the get-go.

But I am glad the warning exists, regardless. The episode itself begins with a shot of Ironwood looking down at the kingdom. He's used his windows as a vantage point since Volume 7, so that's nothing new, but something about this particular shot reminded me of Ozpin, looking down from his tower. I'm sure the response from many would be simply, "Ah yes, the two power hungry dictators watching over their victims," but I think there's a much more nuanced reading here about leaders being expected to fix the literally unfixable and what that responsibility does to an individual. Of course, it's a nuance that is absolutely obliterated by the episode’s end, but the implication existed for a hot second!

Two other soldiers are in the room with Ironwood, reporting that Cinder has helped Watts escape. They try to soften this with news that they still have Jacques in custody, but receive only a, "I don't give a damn about Jacques Schnee." Which, fair. He's pretty useless at this point. It's when Ironwood learns that both Qrow and Robin escaped too that he really gets mad, something his subordinates have been expecting given their scared expressions.

Now, I'm treading lightly here because I realize how this is going to sound given the end of our episode, but I still want to note that outside of that ending... this is a weird take? Just hear me out. Since Volume 7 the show has worked very hard to make Ironwood seem scary and unstable — bad setup for what we end with today — but the problem is that none of it works in context and it certainly doesn't work when compared to other characters' actions. They are literally in the midst of an unwinnable battle and thousands of his people are dying. If the audience wants a human being — who also just lost a limb and was betrayed by half his allies — o remain perfectly poised and polite during that, sorry, but that's not how human beings work. But even beyond this, what’s the message here? Ironwood raises his voice, so does Yang. Ironwood hits his desk, Qrow hits a child. If we're going to examine how Ironwood handles his stress and anger, he often handles it better than many of our heroes. Namely, by continually taking that anger out on inanimate objects. I kept waiting for him to attack his subordinates or attack Winter this episode, especially given where we end up, but it never came. Ironwood always has enough control to break the desk or punch the wall, not the person in front of him. Which, of course, would not be a good thing in the real world. I want to be clear given these sensitive subjects that if someone is breaking things in your presence that's a major problem to address. But this isn't the real world. This is a fantasy world in the middle of a war, populated by other characters who express their anger by punching people, slamming them into walls, or screaming at them until they run away. The story wants us to fear Ironwood long before he makes his objectively horrific choices and it tries to achieve that by showing us characters who are clearly terrified in his presence, by giving us a string of broken objects in his wake. But those details don't land well when we compare them to other instances of stress. In the same volume I have watched Ironwood take a deep breath to calm himself down when things have gone horribly wrong. I've also watched Weiss start a conversation by threatening her defenseless brother. So again, what’s the message here? It can’t be that acting violently towards someone = villainous behavior because, as established since Volume 6, that’s common for the heroes. Why are these subordinates terrified about Ironwood slamming his fist on a table, but Whitley has no problem hugging the woman who threatened him? Obviously there is a HUGE difference between our main group and Ironwood when it comes to other actions (cough-bomb threats-cough), but these day-to-day moments don't match up. The show wants to use violence as a way for us to easily identify the Bad Guy while ignoring all the times when our heroes do the same thing. 

All of which isn't meant to be a defense of Ironwood. As we'll see in a bit, there is no defense for what he's done. Rather, it's a way of acknowledging just how badly he's been written. Why does a man who consistently reins in his anger and takes it out on objects suddenly shoot a councilman for literally no reason? Why does a man defined by wanting to save as many people as he can suddenly threaten to bomb his city? Ironwood's characterization is all over the place, in the sense that they keep writing him as the morally gray, sometimes harsh, but ultimately compassionate man he started out as... up until they need a villain. Salem isn't here yet, so Ironwood can shoot Oscar. Salem isn't attacking yet, so Ironwood can shoot the councilman. Salem is currently reforming, so Ironwood can threaten YJR and Mantle. He's the B-plot villain whenever Salem is out of commission, which is a problem for both their characterizations. This filler doesn't make sense for Ironwood and it severely undermines the threat of Salem. You finally introduce the Magical Big Bad and our heroes are facing more of a threat from a guy with a broken army and three loyal allies left? Hmmm.

The tl;dr is that Ironwood's arc is a disaster and, frankly, it's gotten old reading simplified takes of, "It's just a realistic look at what white U.S. men will do in power sweetie :) " RWBY does not have the context capable of conveying that sort of critical take because our world is not besieged by literal monsters and an immortal witch, to say nothing of how real life good guys do not get deus ex machina canes that fix the problem instantaneously. Ironwood is not an example of anti-U.S. imperialism, he's an example of writers who don't know how to write.

Anyway, I'm getting severely off topic. Obviously Ironwood is a major part of this episode, but the problems demonstrated here are two years in the making. This is the culmination of things I've been discussing for months across hundreds of posts... so I should probably stop trying to summarize it all in a few paragraphs lol. Perhaps when RWBY is over — or Ironwood has died — I'll do a single meta on his character, try to pull everything into one, unified argument.

For now though, we have an episode to analyze.

While Ironwood is receiving this news we get flashbacks to Qrow and Robyn. Qrow attacks a soldier in his bird form, which is hilarious. Someone GIF that please. It does raise some interesting questions about this magic though: does Qrow retain his aura and strength in this form (something I thought given his choice to transform during the explosion), or was that soldier just so shocked at being attacked by a crow that he went down easy? We'll never know, because that would require establishing concrete rules for this world. The point is Qrow is going feral in his freedom, throwing punches left and right — did he kill that guard? — while Robyn watches it all from under a rock. They're apparently still somewhere in the facility since all the exits are guarded, but that's not the good thing Ironwood seems to think it is. After all, Qrow is out to murder him. He wants to be there.

We all see where this is going, right? The show is going to ignore Qrow's crazy belief that Ironwood got Clover killed in favor of a "Qrow saved Mantle by murdering Ironwood"/“Qrow got revenge for Mantle by murdering Ironwood” ending. Who cares why Qrow wanted to kill him in the first place now that Ironwood has his finger on the trigger? If RWBY is good at anything, it's writing moments that encourage you to ignore everything that came before it. We'll be seeing more of that in just a bit.

"Damn it!" Ironwood yells, because the show is leaning into its cursing. He orders that the subordinates not return until "you have Qrow Branwen in custody." Here we have another great example of the show conflating what the audience knows with what other characters know. See, we know Qrow has a vendetta against Ironwood. We know their relationship is the important one to the story and that Robyn is incidental. Ironwood doesn't know that. There's no reason for him, as a character, to specify that they only bring Qrow back, but it makes sense for the audience who has the whole, thematic picture. Our understanding of the situation is influencing Ironwood's dialogue, which is... not great.

This entire scene we've had creepy music to hammer home just how evil Ironwood is. Except, as said, he takes a breath to calm down and the music fades. Instead of flying into a rage, hurting someone, or doing anything the music suggests he might, Ironwood calmly calls in for an update — which is when the explosion hits.

It's MASSIVE, seeming to originate from a lightning strike, which is weird, since it's coming from inside the whale, but whatever. The animation is very dramatic and pretty, as we've come to expect of RWBY, but the actual plot is lackluster at best. It's funny though because I thought for a hot second, when Winter and the Ace Ops were caught in the blast, that RWBY had actually done something exciting. I mean, holy shit! There are the deaths we expect from a battle like this. My god, what is everyone going to do when they realize that Oscar's needless attack took out five characters, including Weiss' sister —

No wait, never mind. They're fine.

Let's talk about that "needless" descriptor for a moment though. Do you all remember, two weeks ago, when I went, "Hey, why isn't anyone telling Oscar that that Ace Ops are approaching with a bomb? They're on a time limit! If someone would just mention that Very Important Information then Oscar wouldn't keep standing around to fight Salem." See, at the time I was frustrated because of how the plot was needlessly allowing Oscar to put himself in danger (especially when the whole point of this mission was to rescue him). Now, I'm frustrated because that same plot needlessly wasted the most powerful weapon the group had. There was no reason for Oscar to use literal lifetimes worth of stored energy when the heroes already had a bomb to do the same job! What was the point of that? I guess he took out the other grimm too, but without the whale that still would have been a challenge with a finite end, one Ironwood's army and the remaining huntsmen should have been able to handle. It doesn't feel justified to have Oscar use a weapon kept on the bench for lifetimes when there was another option literally minutes away.

There's so much wrong with this I need another list. So:

Ozpin's cane supposedly stores kinetic energy, which may contradict what we've seen from it before. Regardless, we’ve never heard about this. The all powerful weapon comes out of nowhere

It also begs the question of why Ozpin wouldn't use that power at Beacon and why he wouldn't insist that they try to get their cane back while captured. You had an out this whole time! But we’re going to ignore that because Oscar is a little hesitant? 

Which makes YJR's presence even more useless than it originally was, which was already pretty useless. Oscar essentially rescued himself

This kinetic energy miraculously doesn't hurt any people or buildings, just grimm

So what is the point of Silver Eyes? That's been their MO since they were first introduced. Sure, Silver Eyes can be used far more often than Ozpin's cane, but it still feels like a let down to learn that the Big Secret behind this weapon is... the exact same thing Ruby has been doing for years

Like Ruby, Oscar likewise didn't need any practice or training. He just set off this massive attack perfectly and without issue

We have now eliminated the biggest threat to the cast instantaneously — the whale and the other grimm — with no effort from the rest of the heroes. Like the Hound, the stakes are obliterated with no satisfying work on the part of our protagonists 

Instead, as said, the actual plan already in place never happened. The bomb just... goes back. Kind of like how Cinder attacked and then just went back to Salem. Penny woke up and then just got knocked out again. We continue to go in circles 

This is because no one took two seconds to tell Oscar, "There's a bomb on the way"

Because this threat is gone the show needs a new one, hence Ironwood randomly threatening Mantle with said bomb

The one way we might have justified Oscar blowing up the whale instead of Winter is if he did it to save Hazel, but Hazel is implied to be dead

Maybe he's alive, but if he's not that happened off screen and we're not sure how. It couldn't have been because of the blast itself — everyone else is fine — so what, Salem somehow killed him before she was blasted to bits? While he was holding her? 

And there's no body?

Salem was torn apart multiple times during that fight and reformed instantaneously, yet now, conveniently, she's taking her time

None of the characters mention the issues above. None of them admit that there was no reason for Oscar to waste LIFETIMES worth of power when they already had a solution in the works. Fantastic

I need to take a moment to acknowledge that so far this recap feels... bad. Disjointed. Bit all over the place. Which makes a certain amount of sense because that's where my thoughts are at. There's so much going on in this episode — so much wrong with it — that I don't know how to boil it all down into a few, neat claims. This episode is a mess! We're barely a few minutes in and the combined issues of Ironwood's characterization and Oscar's choice have left me reeling. So if you're still reading this, bless your patience, I think we'll both need it for the rest of this journey.

Let's snag a neater plot-point to discuss. Amidst all the chaos Neo literally skips away with the Lamp, clearly thrilled at how her own life is going. Later in the episode she'll text Cinder with the obvious: Salem is going to be pretty pissed when she realizes this is gone. “If you want her name you know what you owe me." 

So wait... what is Neo leveraging here? Is she agreeing to give the Lamp back so Cinder doesn't get in trouble with Salem? Give Salem the password she's been looking for? Or give Cinder the password to use the Lamp for herself? What would Cinder even want the Lamp for when she's after the Maiden powers? I'm confused about what Cinder is being blackmailed with. Regardless, she needs the lamp for something and presumably what she "owes" Neo is Ruby. We get a cut to her just to hammer that home.

(Side note: both pictures of Neo are hilarious.) 

Before that though, back at the whale, everyone is taking stock of the situation when Marrow cries, "Hey, they were still in there!" I feel like this is another scene meant to make him look like the one good guy in the group — he cares about YJOR while the others can’t be bothered — but as always, that reading doesn't fit well with the situation as a whole. The others have barely had time to realize they're alive. I don't think it's a moral failing that they didn't instinctually worry about four betrayers, one of whom attacked them, while they're still checking that they have all their limbs intact. Besides, why does Marrow assume they're dead? The Ace Ops were caught in the blast as well, yet miraculously came out unharmed. They clearly didn't set their own bomb off, so it's logical to assume that YJOR did something themselves. It feels weird to have a "Marrow mourns them and Winter is the only other character who cares" moment when everyone is recovering from bomb shock and no one even knows if the others are dead. But, of course, the show is out to portray only two of these characters as good people, so ignore the logic and run with the emotion of the scene.

All of which is bolstered by Elm pulling away when Vine puts a hand on her shoulder. Why is she acting cold towards him now? Because they're not friends, remember?

While we get more ridiculous relationship dynamics, Ironwood calls in and congratulates them on the bomb working, but tells them to get back because they have another problem in the works. That would be Qrow and Robyn. Winter decides to tell him about the bomb in person.

We cut to Watts and Cinder watching the remnants of the blast from a rooftop. Cinder has tried calling, but no one answered. Unsurprising, given that Salem doesn't have any other allies left. Cinder says that the plan hasn't changed, she's still going to take the Winter Maiden's power for herself, and Watts can help her by bringing Penny here. He explains that he doesn't have full control over her. Rather, he implemented a virus that is setting her on a single path: open the vault, then self-destruct. Cinder, as one might expect, is furious.

She snags Watts by her grimm arm and threatens to toss him over the side of the building. Thus begins the best part of the episode, hands down. Despite the danger he's in, Watts throws common sense out the window in favor of dragging Cinder in the most satisfying manner possible. 

“You think you’re entitled to everything just because you suffered, but suffering isn’t enough. You can’t just be strong, you have to be smart. You can’t just be deserving, you have to be worthy! But all you have ever been is a bloody migraine!”

It's true! You know what else is true? This speech could apply to our heroes as well. Accusations of entitlement and reminders to be smart as opposed to just strong hit hard, considering those are the same flaws our protagonists are struggling with. The difference is that Cinder, miraculously, listens, pulling Watts back to safety and going to cry by herself. That moment is simultaneously more growth than Ruby has gotten and more sympathy than Ironwood has gotten. The woman who murdered Pyrrha is treated more kindly by the narrative than one of our initial heroes and our very first villain has taken more time to reconsider her choices than our title character. You know a show is falling apart when excellent choices are applied to the worst possible character.

So Cinder is crying while Watts looks guilty and we cut back to YJOR's group post-blast. Yang is finally able to answer a call from Blake who is obviously overjoyed to see her. Weiss gives them directions to the mansion and they ask what in the world they'll do with Emerald, currently on her knees, mourning Hazel.

Thus begins the third most frustrating part of this episode. See, on the way back the group continues the conversation about what to do with Emerald, with Yang and Jaune distrusting her vs. Ren and Oscar encouraging cooperation. I can't believe I'm saying this after's Ren's speech and Oscar's entire existence... but I'm team Jaune and Yang here. Look, what Oscar and Ren say — the literal words coming out of their mouth — is nonsense. Ren goes, “We can’t let all of our actions stem from fear," as if Yang and Jaune are being ridiculous for mistrusting Emerald, one of the established villains, after years worth of harm from her. It’s weird that Yang points to her arm as something Emerald is responsible for, rather than being framed or the deaths at Beacon, but the general sentiment of, “She’s done horrible things!” is true. Ren’s perspective is the same simplification that was applied to Ironwood last volume, wherein everyone acted as if he was crazy for fearing an attack on his kingdom... post an attack on another kingdom and pre an attack on his kingdom. Putting generic lines in Ren's mouth about not being afraid makes him sound willfully ignorant, as if choosing to believe that someone is good will magically make them so, to say nothing of thinking it will erase all the harm they've already done.

Oscar at least acknowledges the difficulty here, but then follows this up with, “You don’t have to forgive her… just give her a second chance."

Oscar, honey, that amounts to the same thing in this situation. Allowing Emerald a second chance means working with her, which means trust, which means emotionally reaching a point where these characters can put aside the harm she's done them in an effort to give her that chance in the first place. This actually ties into a post I saw last night, one I've come across before, that claims redemption arcs don't require any suffering on the part of the person who has done wrong. I agree in theory, that prolonged suffering doesn't help anyone, but the problem is that people tend to conflate suffering with consequences and someone who has done this level of harm should face consequences for their actions. The problem with redemption arcs is not that the bad people suffer too much —  emotionally and physically beating on them as a form of revenge  — but that the people they've harmed are put into situations like this one. If Yang and Jaune let Emerald go like she suggests, they are agreeing that she doesn't have to face any consequences for the damage she's done (which, keep in mind, involves multiple deaths, not including all the lost lives here in Atlas). If they agree to give her a second chance, they are forced to jump straight to some level of forgiveness. We might claim they don't have to forgive Emerald to work with her, but from a practical perspective how are they meant to function, especially during a warzone? Anything she provides them with — information, watching their back in a fight, undertaking missions, etc.  — requires trusting her enough to allow those things to happen: working with that info, letting her protect them, allowing her that responsibility. It's all about trust, trust she has yet to earn. In order for a redemption arc to be successful, the power has to be in the hands of the victims. They need to be able to see some justice for what was done to them, be offered some proof that the person in question has truly changed, and have the ability to walk away if they decide no, I don't forgive you, glad to hear you've improved, but please stay out of my life. Jaune and Yang have none of that. There are currently no systems in place for Emerald to face consequences for her choices, she has offered them no proof of her remorse or true motivations, and the other half of the group is pressuring them to give her that second chance without closure or reassurance. None of that makes for a good redemption arc and reducing that to, "So you want to see poor Emerald suffer, huh?" ignores the suffering she has already caused. The group are her victims and they are under no obligation to give her a second chance, particularly under these circumstances, which makes the story's choice to have Ren and Oscar act like Yang and Jaune are being stubborn or inconsiderate a problem. The conversation boils down to, "Give the woman you know to be a liar, manipulator, murder accomplice, and servant of our enemy a second chance based entirely on unfounded faith. If you don't you're letting yourself be ruled by fear."

RWBY's touchy-feely themes really don't sit well within its realistic, morally gray premise. We cannot continually have these characters go through hell one moment and then have others accuse them of being paranoid the next. The fact that all of this is wrapped up in the group trusting Robyn, Emerald, and Hazel over their established allies remains beyond frustrating.

Because yeah, you know how Oscar finishes his speech? “I’ve already gotten a lot of help today from someone I don’t exactly trust right now." Meaning Ozpin.

The story is trying to compare Emerald and Hazel to Ozpin.

"Oh hey, I kept a secret from you after lifetimes of watching that secret lead to betrayal and death. I keep apologizing for my mistakes while ignoring that I had no reason to trust a bunch of kids with such world-shattering information and also that you tore it from me in the most traumatic way possible."

"Oh hey, I willingly joined our world's version of the devil and helped her destroy your school, leading to numerous deaths including your friend and headmaster. It was his death that put Oscar in this position in the first place! I then continued to attack your group, leading to another near death of a friend, and a kidnapping, and the destruction of Amity, until I became scared enough to make a run for it."

Which one of these characters is granted an instant second chance? You'll never guess who!

And I do think the word "instant" is important here because just like Jaune and Yang have the right to have distance and justice from Emerald, they had that right with Ozpin too. The difference is they got it. They had the power in the situation, as evidenced by their use of the Lamp and physically attacking him. Ozpin heard what they needed from him — leave us alone — and did that without complaint. They were given months to come to terms with the secrets he kept. They were offered apologies and acts of service to demonstrate intent: saving them in the airship and continually saving Oscar. I don't believe Ozpin ever needed a redemption arc, but even if we think he did, he had it. After three volumes of material Oscar's perspective is still "I don't exactly trust [him] right now" but Hazel and Emerald have earned at least the same amount of trust in a matter of hours? They're really having my boy look at the guy who has tried desperately to do right by him despite unimaginable circumstances, and the guy who tortured him to get information for Salem, and went, "That first guy. He's the one we need to watch out for."

To make things even worse, Oscar tells the others that Ozpin took on all the torture so he wouldn't have to. So he did that and they still don't trust him? If you had told me back in Volume 6 that two years later the group would still be hostile towards Ozpin, while simultaneously urging one another to trust Emerald, I would have said you were lying. RWBY has its problems, but it's not that bad. Yet here we are. I suppose the one silver lining here is that Ren smiles when he realizes Ozpin is back? So at least one of them isn't prepared to draw their weapon at the mere mention of his name.

Both these moments raise more questions though. How in the world did Ozpin take on that torture when we clearly saw Oscar getting pummeled for a good portion of the kidnapping? Is that a weird merge thing the story hasn't bothered to explain? I wouldn't be surprised, considering Oscar said last episode he didn't want to use magic because it hastened the merge, he uses the biggest explosion of magic we've ever seen, and nothing has changed. Ozpin is still in the back of his head, thanking him for the tinniest shreds of decency they get. Ren, meanwhile, seems to be back to mindreading. How in the world does he know that Ozpin is back? I assume it has something to do with his semblance, but we don't know what. They could have shown us Oscar from Ren's perspective, perhaps with two distinct emotions swilling around to imply that he sees two different people now, not a useless shot of Emerald with purple flower petals, whatever purple means.

Oh, but no, we shouldn't have gotten either of these scenes. Remember that Ren's aura broke a very, very short time ago? Is it back already? Can he use this part of his semblance without it? Considering it was near impossible to see Ironwood's aura breaking in the Watts fight and we were then mistakenly told he used his semblance in the office, I'm going to go with, "The writers forgot."

Oscar explains that the cane had "lifetime after lifetime" of power in it and though there's still some left, "we have to be careful with how we use the rest." He says that Ozpin trusted his judgement and of course he did! Ozpin also didn’t know that there was a bomb on the way. Yet funnily enough, no one else mentions that, whoops, your choice made in ignorance was a waste and that's due entirely to us prioritizing hugs over basic mission information.

Also, all these explanations take place in front of Emerald. Half the group doesn't trust her, but they'll freely discuss their powers and limitations here. Remember how the group once wanted to talk about magical relics in front of the old lady they'd just met? Yeah, they've learned nothing.

Combine all this insanity with the fact that Ozpin's magic saved the day before Ironwood's bomb could do the same... while Ruby sat in a mansion drinking tea. Who's our hero again?

So things are a hot mess, to put it lightly. Their conversation finally ends when they hear voices and round the corner to find all the Atlas citizens huddled in the subway. For once the show actually writes them in a sympathetic manner, emphasizing how terrified and helpless they are. This image doesn't lead the group to any revelations though, certainly not anything that would tie back to Ren's earlier speech in the snow. No, once again the justified criticisms here are ignored as we hear that “However this fight ends, we could really use someone like you, [Emerald.]” That's it then. Discussion over. We knew as soon as it started that blindly trusting her was being presented as the "right" thing to do and now here we are, deciding that conclusively, despite Jaune and Yang's complaints. By the time the group reaches the mansion, Oscar is defending Emerald from Ruby. We're supposed to just accept that she's a part of the group now, only minimal pushback allowed.

Before that though we return to Ironwood getting news that their bomb never went off. He briefly wonders who else could have done that, but puts the currently unanswerable question aside for what he does know. They still have the bomb and it could be "useful." See, this moment — like shooting Oscar and the councilman — is when Ironwood just randomly goes off the deep end. One minute he's talking about what they've lost and cradling his new arm, 

the next he's saying that he should have tortured Qrow to get Penny to obey him! Which doesn't even make sense since I'm pretty sure Penny hasn't ever spoken to Qrow. She wouldn't want anyone to suffer, true, but it's not like Ironwood had a close friend like Ruby to use as leverage. Qrow is just Some Guy to her. Regardless, he thinks Yang, Jaune, and Ren are decent replacements, despite Penny also having no relationships with them. This is what happens when your characters only start breaking up their teams eight years into the story, the response to Ironwood wanting to torture Ren to hurt Penny is, “Does Penny know Ren exists?” But, you know, torture is torture, right? Maybe. Probably not. I mean, if they're going to turn Ironwood into a cartoon villain, they could at least keep him smart.

Because all of this is just the height of stupidity. Ironwood wants to torture people Penny barely knows to make her listen (so just grab some civilians? It would do the same job...). Ironwood wants to shoot down empty ships, even though no one, including us, knows where in the world those ships would have gone. Ironwood wants to destroy an entire city to try and save another city. He wants to use a bomb meant for a comparatively small whale and acts like that alone will take out the majority of a kingdom. None of it makes sense! And I know the easy comeback for that is, "Well yeah, Ironwood is crazy and evil" but he's not. I mean he is. Threatening torture and bombings is obviously evil, but he's never been insane, or stupid. As said before, his arc (or lack thereof) is an absolute disaster. The fandom assumes so many things about Ironwood given the opportunity — the whale is a suicide mission. He expects the Ace Ops to die on his order — and the writing hints at so many things that never happen — he's going to hurt his subordinates, attack Winter for disobeying him — and every time what we actually get is a far more compassionate, level-headed character... until he randomly does a 180 and goes, "Let's murder a whole city now!" I never wanted Ironwood to be the bad guy, but they could have at least given me a persuasive decent into this level of horror.

So... yeah. Ironwood has got to die by the end of the volume, yeah? Between Ruby warning the whole world about him and him going into full villain mode, there's no coming back from this.

Neo sends her text to Cinder and the group makes it back to the mansion. Remember Yang's criticisms of Ruby's leadership? The ones she conveniently forgot about when Ren started to agree with her? Yeah, those are entirely gone as the sisters hug it out and, presumably, forgive one another for... daring to admit that things are bad? Look, I'm not going to deny that Ironwood's scene with Winter was creepy as fuck, 

but I'm not of the opinion that the heroes are any better when it comes to the theme of obedience. They've attacked one another, screamed at one another, and any dissent from Ruby's leadership results in the questioner being left behind in the snow. We'll accept you again when you fall back in line. I used to adore the relationships in this show, but watching them now is just discomforting. The show might be 100% more obvious with Ironwood, using creepy music, a smile, and that hand on Winter's shoulder, but the concept of, "Sorry I dared to question you before! We won't ever do it again :)" isn't healthy either. The fact that the show keeps erasing theses problems with hugs — Weiss hugs Whitley now, Yang hugs Ruby, someone will probably hug Emerald soon — doesn't make the circumstances any less uncomfortable.

None of this even gets into the Blake and Yang hug. First of all, why is Blake acting like they had a fight and Yang might not want to see her? She's hiding inside rather than rushing to greet them, ears down in a devastated expression until Yang touches her. Combine this with Yang's "Do you think she's mad at me?" and it feels like the writers cut a fight in the final script and then didn't bother to remove the fallout from that. Seriously, where did any of this come from? You can't just have characters act like they've been fighting when they haven’t.

Also, can't forget this.

At this point there's nothing more I can say in regards to RWBY's almost-queer baiting. Is touching foreheads more intimate than the hugs Yang gave the others? Absolutely. Is that an appropriate stand-in for overt representation? Absolutely not. This would have been a perfect time for them to kiss. Take out Blake's nonsensical fear and replace it with them both reuniting after their first separation since Volume 5, working under the knowledge that either one could have been killed, finally admitting their feelings. Hell, they don't actually have to kiss. Not all girlfriends are interested in kissing! But they could use the terminology that makes things unequivocally canon.  Another forehead touch when we got that in Volume 6? It's not enough, especially not when our straight couples have all been allowed their rep.

Ren at least wants to know where Nora is. He's presumably told what happened off screen as Oscar tells Ruby that Emerald is their friend now.

Then an emergency call from May interrupts the reunion and the group learns that Ironwood is bombing the Schnee ships. “Those ships… they were going to save people” Weiss whispers. How? Tell me how they were going to save anyone. Where were you going to take these people where they would be safer than where they are now? RWBY continually asserts things without explaining them, meaning there is precisely zero emotional weight here. Again, Ironwood is far past the point of defense, but I'd be a whole lot more critical of this particular action if I had a better sense of why it's bad. He appears to be endangering the people given May's shout to run — falling debris? — but the further implication is that Ironwood has doomed the people of Mantle by denying them these ships. It's that part that makes no sense based on what we've been told.

Which finally comes to the ultimatum of our episode title: Penny opens the vault, or Ironwood bombs Mantle. Great! So glad this plan is wicked smart and works well for his characterization. It's definitely not a nonsensical, unfounded, overblown change that feels like it belongs in a child's cartoon, complete with dramatic spotlight. Nope. Excellent writing choices all around.

Our final line of the episode is, “I hope you live up to the title I gave you," referring to Penny's job as the Protector of Mantle, and you know what? That line could have been very cool if it was delivered by an Ironwood with a persuasive fall and a halfway decent plan in place. I love that we've twisted the concept of a protector and turned the title into a horrifying, rather than honorable responsibility... I just hate everything surrounding those details. 

So, usual RWBY fare.

(At least we get to see that Nora is awake!) 

Will things get better over the next four episodes? I doubt it. We're still expecting the rest of the Ace Ops + Winter to ditch Ironwood, someone getting the vault open, the fall of Atlas, now the potential destruction of Mantle, and none of that includes Salem who should reform at any moment. Frankly, I'm not looking forward to any of it. The final leg of a season should make its audience excited to see how everything turns out, not dreading it. I've heard from multiple people that this is the volume that finally got them to drop the show and honestly? I'm not surprised.

As a final (happier?) note: we've finally got a bingo! I completely forgot our board last time, which was a terrible oversight, but we can update it now.

Our army of grimm can't kill anyone now that it got KOed by Oscar (that is the third one hit defeat of a major enemy we've seen this volume. Yes, I'm including the Hound considering it was obviously on its last legs after Ruby's eyes.)

I'm likewise including "Ozpin apologizes for everything including his existence" because he's done nothing but apologize since he came back. The emotion is there even if the literal words are not. Oscar reminded everyone of how untrustworthy he is, but kept the group from jumping them again. And Ozpin thanked him for it.

Neo didn't literally backstab Cinder (shame), but the Relic still counts.

So a triple bingo! Is that how bingo works? Idk, I've never played. I feel like I should have thought up some sort of humorous prize, but sadly I've got nothing. If you think of anything, let me know lol

That’s all then, folks. Until next week! 💜

[bunnylouisegrimes]

It’s A Wonderful Afterlife (NOS4A2 Fanfic)

A/N: I’ve had this story idea in my head for awhile, but I got to writing it yesterday and the day before yesterday. Basically, this one is the story of Rose’s transformation into a vampire. It’s gonna cover some heavy topics such as nearing the end of your life and terminal illness, so be warned, but there’s a lot of happiness in the middle and near the end. Hope you all enjoy!

It’s A Wonderful Afterlife

A NOS4A2 Fanfic

By: Bunny Louise Grimes

As the years went by for Rose, very little had changed in terms of her personality. She had remained shy and introverted (unless in the company of those she deeply trusted), she had remained both gothy and girly, and she had remained nerdy. Her love for her toys, her games, her writing, her art, her vampire husband, and her children had never waned. Fifty years of marriage and a set of dhampir twins later, and from the inside, she was as young as she had been on her wedding day.

Physically, she had her differences.

By the time she reached 57, grey hairs were starting to show in ways they hadn’t before. She had never been the type to dye her hair, but in order to preserve its beauty that she so cherished, from then on out, she dyed her long hair the closest shade of matching brunette she could.

Her height was as short as before, her weight was roughly around the same spot thanks to her vigorously making sure she never went past 200 pounds, and her eyes were as hazel as before, with the exception of holding an aged look. Her face and skin had shown the obvious signs of age, but such a thing was inevitable. It was nothing a little makeup couldn’t help make look better.

Charlie still found his June Rose to be as beautiful as he always found her. He had asked her on and off since their consummation on their wedding night, where he took her virginity and kept it within him to turn her into a vampire just like him one day, if she was willing to grow an older human. She always told him she did; she wanted to see how long this “human” thing would go. She wanted to experience humanity till the end, when the next chapter in her life would have to begin and vampirism would take the lead.

But by the age of 75, when she looked as though she was older than Charlie (when he wasn’t in desperate need of souls), and looked to be a grandmother to the children of Christmasland rather than mother, and her parents and brother had moved on to the other side from their own respective health issues, things were beginning to be odd. It was a whole seven months after her 75th birthday when something wasn’t right.

The first sign was the weight loss. Rose had always been a bit plump, but both she and Charlie noticed her normally soft potbelly was slimmer and smaller. They also noticed her thighs and arms were slimmer. This confused them, and they kept it in mind, but they figured it could be the result of age rather than a sickness.

The second sign was the pain in her abdomen and middle back. Within a few weeks of noticing her fat going down, she had pains in these areas on and off, and they would pick up in intensity and frequency some days.

The third sign was the general sickness she felt. One moment, she would be playing with the children, the next, she would be feeling extremely nauseous and fatigued. She would have to throw up in the bathroom and it would take a few minutes for her to recover. Charlie and her both knew that this went beyond weariness from play due to elder age. This was an apparent illness, and something was physically wrong.

However, Rose was also unusual not just in her gastrointestinal area, but her mind as well.

Forgetfulness and misplacing something was nothing noticeable, as she did it all the time. But she suspected something wasn’t right when within those same few weeks, she was slowly starting to forget things that just happened. Both her and Charlie would be watching an episode of one of their shows, and by the time commercials ended, she was struggling to remember quite a few details of what happened before them. It took her a moment to connect the events together. The same happened when she would read, and every once in a while, she would have to slowly read the same paragraph three times.

The turning point came when she and Charlie were discussing things in bed, and she was struggling to remember certain conversations they had and she had with the children only a month ago that she remembered a week before. A few details Rose brought up were nonexistent, and Charlie had to correct her. That night, she decided that between these small forgetful spells and these stomach issues, it was clear she needed to go to a doctor as soon as possible. He agreed and promised to take her in the morning.

The next day, they left Christmasland for the appointment Charlie made for her the moment he woke up. They explained to the doctor all of Rose’s physical and mental symptoms. The doctor nodded; how he nodded made her nervous. When she was younger, she was a nurse, and through her medical knowledge, she could guess what these symptoms meant, but she wanted to trust another medical professional’s judgement, as these things could be nothing rather than something, but as obvious as it sounded, it was always better to be safe than sorry. She had seen that nod before when in the presence of both patients who were relieved to find their serious symptoms were nothing and those who were about to have the news of terminal illness broken to them. Like a coin flip, it would be heads or tails: heads would be another day to live, tails would be a death sentence.

A series of nerve wracking scans and tests with Charlie by her side later, and the diagnosis was clear. The moment the doctor came back to their room, Rose, like a bloodhound, smelled the sullen seriousness in his face and tone of voice. She recognized that face and voice from her nurse days; the coin was tails. He was about to give her the date and method of her execution before slamming his gravel down.

Rose had always imagined that she would go out thanks to her heart or some sort of diabetes related sickness, given bad hearts and diabetes ran in her mom’s side of the family, and her obesity she tried to control would certainly be a contributing factor. Genetics were a hell of a double edged sword: they could give you the most beautiful set of eyes and hair with skin to match, but they could also give you the worst odds of illness you could think of.

This time, it was not Rose’s heart that would fail her, or the development of diabetes. It was two things that were just as genetic, but aruguably worse. She recalled her mother telling her that Rose’s great aunt had died of pancreatic cancer, and it was a miserable way to go. She also remembered her mother telling her that Rose’s great grandmother was suspected of suffering from Alzheimer’s before succumbing to death.

Well, it was no surprise to Rose when she learned that these two things were her method of execution. Not only because she suspected they could be possibilities, but because the facts were simple: if she was somehow strong enough to survive the painful destruction her body would suffer from the cancer, the synapses in her brain would be eaten away, just as if she was bitten by a zombie from one of her stories, and much like a zombie, not much would remain of her but a dead shell. She would be a burden to her husband and children, and they would have to watch her go from being a loving, wonder filled woman to a sickly, miserable, pain filled stranger who wouldn’t even be able to remember herself, her lover, or her children.

Both her and Charlie took this news with with equal sadness. The future was bleak, and they knew that. Not even chemotherapy treatment was worth it.

“My grandfather suffered from esophageal cancer, and he did not fare well with chemo thanks to his genetics,” she explained to the doctor. “Given that I am half my mother, and she is half of him, my odds are not good, are they?”

“Well, you certainly have a better chance than your mother, but yes, he is a direct blood relative, so the odds are there. If you wish to go through chemo, we can get you started on it, but if you don’t want to risk it or have any treatment, you’ll have roughly a year left to live. Since cancer and dimentia do have a connection, as it spreads throughout your stomach and body, your mental decline will come rapidly. I estimate that you will go through the final stages of both illnesses simultaneously, and it will, to put it lightly, be painful for all parties involved.”

Rose nodded. “I don’t think I want to risk it. I don’t think there’s much of a point to go through all of that, only for my mind to fail me. Not to mention, wouldn’t chemo worsen it?”

“It can, yes,” the doctor continued. “Since the state of Colorado offers the End of Life Options Act, we can administer physician assisted suicide, if that is what you would prefer, but there will be a few things you’ll need to do.”

Had Charlie not been in her life, Rose would’ve agreed to do such a thing in these circumstances, although, if she hasn’t met him, she most likely wouldn’t have been in the state of Colorado and instead stuck back home in Ohio, where no such laws would exist. She knew that with the choice of transforming into a vampire, suicide wasn’t needed.

“I’ll need to think on that,” Rose lied.

“I understand, as this is a lot to take in. Please contact me as soon as possible when you have come to your decisions.”

Father and Mother Christmas departed the hospital and stepped inside the Wraith. The drive back to Gunbarrel was at first silent, but Charlie needed to pull over to a secluded area. Rose could see the tears in his brown eyes.

“My beloved...” He hushed, his deep voice breaking. “You’re so sick...”

“I know,” she said softly. “I wanted to give my humanity the best run I could, and I did. But I’m not going through this shit. I’m going out on my own terms, only I won’t have to die. I’m becoming a vampire, and going into the next chapter of my life.” She turned to Charlie. “You don’t need to cry, baby. You have the power to prevent my departure from this world. I already talked to each of my family before they went, and they knew I was going to be immortal as long as I could be, but I could still contact them through my new psychic powers. If you and the kids are more sensitive to spirits, that must mean I will be too. Hell, we’ll make it look like I chose to die without treatment or assisted suicide to the doctors. I’ll be alright. Everything will be alright.”

“Yes, I know,” he sobbed, wiping his eyes. “It’s just... the idea of you dying... the fact is, you had been dying, and you are dying. I know that’s humanity, but when you have something like this... you are not only dying in the human sense, but the clinical as well.”

The gravity of Charlie’s words slapped Rose in the face, just as the news of her diagnosis in the first place had moments ago. Even though she had another chance, unlike so many others in her place, there was still a sadness to be had. This chapter in her life was done, and she could either do one of two endings: continue down a horrible road until salvation was given to her and everyone was left scarred from their experiences, or embrace salvation now. Rose knew that she was going to avoid that horrible road and jump straight to the awe inspiring transformation that would mark the next chapter, but it was a shame her human form had to suffer like this, and that it was even an issue. In addition, 75 was decently young for elderly death. If she were in her 80’s, or especially her 90’s, this was expectant, but 75... it seemed a bit too soon.

She began to cough, and Charlie handed her his white handkerchief. Her eyes widened when she saw blood splatter, and that’s when her own tears poured from her eyes. She gave it back to Charlie and buried herself in his chest. The two held onto each other and wept for a good twenty minutes before deciding they needed to head back home.

Before they exited the car to greet their children, Rose suddenly smiled as she held Charlie’s hand. “Tomorrow,” she said. “I think tomorrow is a good day to celebrate my last day of humanity, and then I’d like to transform. If that’s okay with you.”

A smile formed on his own face. “Whatever day you are ready, my love. I will fuse your innocence back inside of you whenever you desire.”

They broke the news to the children, but they handled it well. They understood the severity of the situation regarding their mother’s health, but were excited and viewed the positive side, that their mother was to be an immortal vampire much like them and their father. When their mother told them she would like to celebrate the last day of her humanity tomorrow and transform into a vampire tomorrow night, they knew that much was to be anticipated for. Their father assured them that tomorrow would be a day to never forget.

While the other children ran upstairs to go to bed, excited for what tomorrow would hold, Millie, Lorrie, Nicholas, and Holly stayed behind. They ran over to their mother and hugged her.

“Even though you’re not gonna be a human anymore,” Lorrie began, “it doesn’t change a thing.”

“We always knew you’d be a vampire like us one day,” Millie added. “We hope you’ll be healthy and happy again real soon.”

“I will, babies,” Rose reassured them. “I will.”

“If we’re half human...” Nicholas spoke up.

“...That means we’re the last pieces of your humanity, right?” Holly finished.

“Yes, it does, babies,” Rose smiled wider. “I suppose it does.”

The twins beamed at each other in pride.

“But just because I’ll become a vampire doesn’t mean I still won’t be myself,” she clarified. “We’ll all still be just as we were, just with me having some physical improvements. It’ll be just as if I will always human.”

They nodded and knew it was time to get ready for bed with the others. They raced each other up the stairs, their parents tagging behind. When everyone was ready, Charlie and Rose bid the little ones good night before snuggling close to each other in their own bed.

Sleep could not come quick or easy for Rose, as her worries and anxieties mixed with her excitement kept her awake, but somehow, she found herself asleep. While Charlie slept, he dreamt of how the party would look for his beloved: the balloons, the streamers, the cake, the lights, the roses everywhere, the unicorns, the glitter... everything to honor his lover’s life and everything that represented what she was and would always be to their family.

When he awoke the next morning, Rose was still asleep. Letting her get her much needed rest, he snuck downstairs. The children had all woke up at the same time he had. They all snuck down the steps and they paused, amazed at the sight that awaited them downstairs...

When Rose opened her eyes and rubbed them, she turned next to her to find Charlie missing. She went to the bathroom and left her bedroom to check on the children. They were not in their very large and ever expanding bed. She noticed that the living room was dark, but all sorts of odd shadows filled it. She went down the steps and turned the lights on.

“Surprise!” Everyone cheered.

Rose gasped. Her eyes were filled with wonder as she saw what her living room had become.

Rainbow lights and glittery streamers filled the ceiling. Colorful balloons and roses of all colors were everywhere. In the center of the coffee table was a cake with candles that became aglow once she turned the lights on. A wonderfully designed unicorn figurine with roses in its mane and tail set on the cake.

“Oh... oh, it’s beautiful!” Rose cried, tears of joy filling her eyes. “Oh, I’ve never seen anything like it before!”

Charlie beamed and pulled a pink dress over her nightgown. She hugged him and kissed him on the lips, cheeks, nose, and forehead.

“How did you all do this?” She asked.

“I dreamed it, like I do everything... well, not everything, as you are far too beautiful to be dreamed from me.”

She blushed and hugged him even tighter. “You are the sweetest man I’ve ever known. I am so happy to know you, be with you and have all these little ones to raise with you.”

The children rushed to her and she gave them as many hugs and kisses as she could give.

“Look outside, and you’ll see the party goes beyond this room,” Charlie said.

Rose opened the front door and was taken aback. Christmasland was covered in more roses, balloons, glitter, and rainbow lights. Amongst it all, the rainbow unicorns from Charlie’s zoo played in the snow together, free to roam from their usual enclosure.

“It’s all in your honor, my dear.” Charlie laid a kiss on her head.

She could speak no words, just gaze in amazement as the children ran outside to play. Charlie and Rose did the same, and for the rest of the day, they played and occasionally stopped to eat. Rose did her best to keep it together, but surprisingly, no ill feelings or forgetful spells came to her. Perhaps because her body knew that it was only one last day until her body would be immune to all ailments, so it needed to use the last of its strength. Or because happiness was her best medicine in the moment. She couldn’t tell which.

By the end of the day, they had gathered back inside, she blew the candles on the cake, and they began to eat some of it. The time had come where they needed to go to bed so that their mother’s transformation could occur. She read them her favorite bedtime stories before they all got too tired to stay awake. She and Charlie kissed them all good night and closed the door, knowing that would be the last time they’d ever see her in her old form.

When they entered the room, the couple closed their door and the fireplace kicked on thanks to Charlie’s abilities. Rose laid on the bed and sighed.

“Today is one of the best days of my entire life,” she said. “I have you and the babies to thank for that. You have made my human days very special, and you will make my vampire ones the same.”

Charlie laid next to her. “You have made my days very special, and you have made the babies’ days very special. We have you to thank for that.”

They exchanged a kiss before Rose sat up. “Well now... are we ready?”

“Are you ready is the more important question.”

“I think I am,” she said. “Words cannot describe how wonderful this day has been from start to finish. It is a day I will cherish forever. And before my sicknesses get to me... I shall end my humanity and ring in my new vampirism on the happiest note possible.”

She looked at herself in a mirror nearby as she slipped her dress off. “Oh, my dear human body. You have seen so much since the moment I was born. And yet, here we are. You won’t be the same ever again, and you will be improved in ways unimaginably amazing, but I hope you know how much I appreciate you. Even when I’ve experienced self hatred, I was always thankful for you. I hope you love this new form.”

She turned back to Charlie and laid back down. “I guess this means I’ll get to eat people with you guys. The right ones, of course. And fangs, nails, a new body temperature... That should all be an interesting experience. And I can’t wait to see what using similar if not exact abilities like you will be like... this will not only be the next chapter in my life, but will be a bonding experience that will bring us all closer together, I think.”

“I agree, my love,” he said. “I agree.”

The two snuggled close together.

“Thank you for doing this, sugar pop,” she sighed. “What would I do without you?”

“What would I do without you is the bigger question,” he chuckled. “I will always love you.”

“I’ll always love you too.”

He leaned into her ear. “Are you ready at this moment?”

“Yes.” Her voice had some nervousness in it, but the confidence outweighed it in ways immeasurable.

“Lift up your chin so I may see your neck.”

She did as she was told. Charlie gazed upon it and his fangs came jutting out, an energy boiling within him.

“Good bye, old life,” Rose whispered with peace. “May our memories live on for all of immortal eternity.”

“Welcome to your new summer to blossom, my June Rose.”

Charlie slammed his fangs down upon her neck, an energy force emitting from the two bite marks. She gasped and her eyes widened. A foreign, but comfortable and oddly familiar sensation came over her. She clutched onto his back as blood dripped down from the bite marks. They glowed a white-blue color.

As the sensation consumed her, she felt as if she was traveling back in time. Every few seconds was another year she felt healthier and younger. It took her a moment to register that’s what that was, but when she saw her face in Charlie’s eyes... she could confirm her wrinkles were fading.

She looked at the arm she could see most clearly. Her wrinkles had dissipated and the fat had returned. She was sure her other arm looked the same. When she looked at her hand, she saw her nails gaining a yellow tint. She felt them increasing in length. Once they reached the same length as Charlie’s, they stopped. She couldn’t see her feet or legs, but she could feel the same effect happening to them. Her legs and feet (and especially her thighs) gained back the weight they had lost. She noted that her pallor was now matching Charlie’s, based on how her arm and hand looked.

Her breasts, always large, plumped back to their youthful size. Her stomach had also returned to the cushiony potbelly Charlie always loved to rest his head on. As embarrassing as it sounded, she felt her privates tingle and somewhere above them, a burning sensation occurred. She thought about it, but considered that her fertility must’ve been returning. She was miserable on and off when experiencing menopause, but she supposed as a vampire, she’d be able to withstand any pains she might experience if she had periods again. In addition, she was sure Charlie would still find her menstrual blood as delicious as he did before when she was human.

Through the reflection in Charlie’s eyes, Rose could see her wrinkles had completely faded. The aged look her hazel eyes held flooded with a new look of old youth meeting for an eternal kiss after years of departure. Her face returned to how she looked on their wedding night, only a bit more pale. She grunted as her white teeth gained their own yellow tint and increased in sharpness. A group of fangs came out from behind these new teeth. Once this occurred, blood filled her mouth and trickled down her throat while ice cold breath emitted from her nose and mouth like a rabid animal. A warmth in her stomach made her feel as if she had drunk the finest coffee or hot chocolate rather than blood.

My God... this is why vampires crave this stuff... it’s got flavors in it that we can’t taste.

The dye in her hair had faded, exposing the natural grey. But it quickly disappeared as her natural brunette took over. At long last, she felt she could embrace her natural hair again. Even its volume, thickness, and waviness returned.

Rose had to fall back further at the sheer force from her insides. The blood that fell from her neck returned to the permanent bite marks and absorbed back inside of her. Cold chills consumed her. Her eyes, nose, ears, tongue, and touch nerves sharpened. The cancer cells in her body exploded like little stars until they were gone entirely. Every healthy cell underwent a metamorphosis that strengthened them and kept them permanently superhuman. Because of this, her immune system had reached powers impossible for the human body, destroying anything abnormal. Any sickness would be identified and wiped out instantly thanks to her new antibodies. Even her asthma had been erased from her lungs. From within her brain, the synapses snapped back together like a puzzle, and her memory was the clearest it had ever been.

I’m healthy again... Thank God, I’m heathy again...

Once her body was complete, a new sensation took over her back. She tried to jolt forward, but Charlie was still on top of her. He stepped back, as every ounce of innocence was back inside of her now. She lurched forward and leaned down. She could see her new legs and feet and her other arm, just as the other one.

Her back felt heavy. Something was weighing her down... something was coming out of it... something...

Unable to control the scream that came from her, two large masses of bone, muscle, and skin came from her back, perfectly ripping her nightgown, and extended to reveal... bat wings. Through the light in the room, the veins had looked like their own art piece to Charlie.

As quickly as the pain came, it left Rose and she laid back down, gasping and skiddishly feeling the new wings. Just like one’s arms or legs, she found she could move them like any other appendage. She flapped them, noticing they were larger than her. A small gust of wind filled the room.

“They’re... beautiful...” Charlie marveled.

Unable to speak, Rose stood up and stumbled. She found that her wings and heavier weight added some balance issues, but within thirty seconds, she had adjusted. She walked over to the mirror to look at herself more closely. Her toenails clacked against the wood, just as Charlie’s did. She looked just as she did when she was young; this time, she was pale, colder, had sharper senses, had vampire teeth and nails, a vampire bite mark on her neck, and very large bat wings on her back. She curled them up and extended them out comfortably. She flapped them a few times, and she found herself being lifted up into the air through the force of such gusts.

“Woah!” She cried. She let her wings die down and she landed as gently as she could on the floor.

She turned to Charlie, who stared at her with twinkling eyes.

“I guess I’m gonna need to make holes for these bad boys in all my clothes, huh?” She laughed. Her voice had largely remained the same, but this time, there was a youthful strength to it.

Charlie chuckled and beaconed her back to bed. “I suppose we shall. You look absolutely stunning, just as you always have. Only this time, your inner beauty is emanating from you. We shall see all of your abilities in the morning, especially since I’m sure the children would love to see you and your new talents as well. I’m quite surprised that scream didn’t stir them. But I believe your body needs a rest after the amount of change it had to go through.”

She nodded and crawled back into bed, right next to Charlie. They cuddled up next to each other. Her wings curled back up in a way that was comfortable. He rested his chin on her head and she nuzzled her face in his chest. Their combined warmth made sure they wouldn’t feel cold while sleeping. Rest had come easy for the both of them, and they found themselves sharing a pleasant dream.

Tomorrow would be the day the children would awake to be gifted with their healthy vampire mother, but even so, she would still always be the mother they knew and loved. For Charlie, she would always be the wife he knew and loved. For Rose, her new chapter had begun, and the dawn of a new era was ready to last for the rest of their eternity.

[thetypedwriter]

Lore Book Review

Lore Book Review by Alexandra Bracken 

Lore by Alexandra Bracken was one of 2021’s most anticipated YA novels and it's easy to see why. The plot summary itself is enough to pull you in with the intriguing concoction of calling it the combination of The Hunger Games and the Percy Jackson series. 

What’s not to love when you fuse the illicit danger of Katniss Everdeen with the mythological enchantment of Rick Riordan’s masterpiece?

Turns out, quite a lot unfortunately. 

Before I get into why this book didn’t live up to the insurmountable hype it built up, I’ll attempt to give a basic summary. The key word being attempt as a good portion of this novel’s plot was a mind boggling and convoluted mess. 

The book takes place in modern day New York which Bracken likes to remind you every other paragraph with small snippets about how the city that never sleeps smells like sewage and is yet still the best place on earth apparently. 

Don’t get me wrong, I love New York as much as the next person, but the pandering to the Big Apple got annoying after awhile. 

Within the cantankerous city lives a girl named Lore which we are introduced to by means of her kicking ass in an underground Chinese restaurant’s fighting ring. 

Pretty strong start. 

Lore’s world (and the reader’s frankly) is tipped upside down when Lore’s long lost childhood friend, Castor, reappears to warn her that he is looking for her. Terrified, Lore is then at first unwillingly thrust back into the world in which she was born-a world dominated by violence, bloodlines, and the Greek gods who are very much alive and out for vengeful retribution. 

In a very exposition-dump heavy conversation, we learn that Lore is the last of Perseous’ line with the rest of her family having been horrifically murdered, that a week long event called the Agon occurs every seven years in which the original nine Greek gods or their reincarnated selves become mortal for seven days, and that a series of killing often happen because if you kill a Greek god you then become that Greek god as well as inhabit their powers, abilities, and immortality. 

Well, until the next Agon that is. 

The currently reincarnated God by the name of Wrath is attempting to end the Agon by killing all the other Gods, but in order to do it he needs to wield a special weapon called the Aegis. 

Unfortunately, only the Perseides can wield this shield (for some reason) and thus, Wrath is out to get his hold on Lore as the last of her line so that he can bring this eons old competition to an end with himself as the sole victor and only remaining God. 

Confused?

I’d be surprised if you weren’t. 

Now, I love Greek mythology. I’ve read the classics and would say I’m fairly up to date on the stories, the legends, the gods, and the stories they represent. I’m not an expert, but I would say I’m  knowledgeable on who the major figures are and what they stood for. 

I genuinely think this book would have been miserable for anyone that didn’t know anything about Greek mythology.

 Bracken does a terrible job of explaining what the hell is happening at any given point, and she often throws out allusions and references to Greek mythology without bothering to explain a single shred of information about it. 

In addition, after this laughably and poorly explained world and plot at the beginning, it is almost never explained again. It’s brought up, as are names and titles and weapons and relationships, but it’s never explained in a way that’s feasibly understandable. 

At the beginning of the novel Bracken lists who all the important characters are, their bloodlines, and their titles.

 I soon figured out why, as every other sentence a name like Wrath or Reveler or Tidebringer or whoever was brought up, and it was impossible to keep track of so I didn’t even bother. 

Even Lore brings up that the names are ridiculous, which I appreciate, but the meta moment of clarity doesn't make it any better. 

Also, what Lore and her friends get up to over 90% of the novel is a muddled mass of bewilderment. 

Why do Lore and Castor and the others need to find Artemis? I don’t know, but sure, whatever, sounds good. Why was Lore the last of her line again? Oh yeah, right, okay, I guess. Wait, Castor died? Oh, he didn’t? Why not? Oh, we’re not going to explain it. Sure, sure. 

Throughout this entire novel, what the characters are doing and what is happening is almost impossible to follow with the way it's presented and the way Bracken developed her world. I think this was a really cool idea that had very poor execution. 

Points for the originality and the inclusion of Greek mythology, but all of the positives were taken away when that originality was flushed down the drain with a lack of explanation and logic. 

Lore very much reminded me of a shoot-em up, bang-em up action movie. Almost every other chapter was some sort of super intense, super climactic fight scene, chase, theft, break-in, etc. 

Now. I do think action scenes are hard to write and I think Bracken actually did an incredible job of writing action in a way that was entertaining and thrilling. 

However, when the action takes place every ten pages it gets really old, really quick. Towards the end, I downright started skimming the fight scenes, because they lacked so little depth and stakes and we had read so much action at the end point that it had lost all vigor and vitality. 

Continuing with the action movie metaphor, most action movies focus solely on the bright explosions and the crazy fight scenes as their selling point of the whole movie, often to the detriment of the characters, plot, and development. 

Now, some people like this. I am not these people. 

I find action movies boring as most of my enjoyment from consuming media comes from the characters and the developments they undergo. 

My biggest criticism with Lore, other than the astonishing storytelling, is by far the characters. I just...didn’t care. About any of them. 

Bracken tried to make Lore come across as a strong, opinionated, fierce, angry female character and while sometimes she succeeded, more often than not I found Lore temperamental, aggravating, impulsive, selfish, and shallow. 

Bracken very much invoked the tell-not-show strategy that makes any book hard to get through. While there were some decent moments of showing instead of just stating, more often than not, Bracken would tell us that Lore was strong by having other people say it or others calling her weak. 

I appreciated Bracken’s feminist agenda and how strongly Lore felt about gender inequality, even if it was a bit heavy-handed at times. Still, I did appreciate this inclusion of civil rights on this front, even if some of the circumstances to incite it were ridiculous or over the top. 

In addition, I hated that there was all this backstory that we were just told but not shown. Like in my last review of Wilder Girls, Lore suffers from an intrinsic failure of getting me onboard with these characters and their relationships by telling me how I should feel about them instead of exposing them through action. 

I was told:

Lore and Castor haven't seen each other for seven years, but my gosh, Castor is just the best and is so beautiful. Ensue obligatory YA romance. 

Lore has a best friend! Yeah. Her name is Iro. Here she is! Um. Okay. Why was this necessary?

Miles is just the coolest best friend ever. Like, look how cool and chill he is. How funny is it that he has no idea what’s happening? Really not funny at all. He was a useless character used to build empty stakes. 

  The list goes on and on, but Bracken will throw out some sort of fact or relationship and just expect the reader to go “Okay!” Which. I didn’t. On any of those occurrences. 

Often Bracken would do this in the use of flashbacks at the most inopportune times (during a fight scene, after someone was injured, right before a huge revelation, etc). These flashbacks were the worst. I do not care for adolescent Lore and child Lore was somehow even worse. 

The romance in this book, much like an action movie, is off to the side and really only there to fulfill the trope of having a romance. 

Lore and Castor are boring. I don’t know what else to say. Castor is too perfect to be likable and Lore is the opposite. Nothing about their romance was unique or well-crafted. 

The kiss between Van and Miles I also saw coming a hundred miles away. I also thought it was pointless as Van and Miles had known each for six days and had had maybe two conversations. So. No. I didn’t care at all about the romances. 

It actually made me laugh and scoff simultaneously at the end when Lore is looking at Van, Castor, Iro and Miles and smiles because she realizes that these people are her family. 

Ummm. Sorry?

Castor disappeared for seven years and you’ve been reunited for seven days. You’ve hated Van your whole life until this week. You also haven’t seen Iro in seven years and she tried to kill you at least twice in this book. Miles is...fine, but again useless. I don’t even know why Bracken included him except to make Lore worry about him which she only did about half of the time. 

Phew. 

I know this review has come across largely negative, so this might be surprising, but I didn’t hate it. It lacks substance and depth, but it was entertaining. 

Just like an action movie.

 If you want some hyped fights and a plot that really doesn't matter and characters that won’t stick with you, but a fast-paced narrative that keeps you on your toes nonetheless, then you would probably enjoy this. 

It’s like the equivalent of watching a James Bond movie or one of the millions of the Fast and Furious. Bracken tries to develop the characters, but at the end of the day, most of the story is made up of cool fights, magic, and weapons. If that’s your speed then you would probably really love Lore. 

Recommendation: Action, action, action. If you want some high intensity, get-your-blood-pumping enterprise then this is your novel. The writing is fluid, the adrenaline-inducing scenes are non-stop, and everything else falls to the backdrop of external fights and villainous monologues. If action is not your preferred genre, then your best left to get your Greek mythology needs from Percy Jackson or the Song of Achilles instead.  

Score: 6/10

[candycanesuckers]

A Collective Post Helping Defend and Define Stormfront:

There is a harmful narrative that has formed around a (feminist) character that appeared in the newest season of “The Boys” -- her name is Stormfront. Said narrative is the falsified idea that she is a Nazi. This was started mainly by Anti-Feminists in retaliation to the fact that the character is rather vocal about social injustice. Below are definitive rebuttals to the toxic propaganda spread by these people and the others who blindly took in it.

Defining Stormfront’s Past:

The reason why the slander on Stormfront is as active and believed as it is is because it’s based on the comic (in which Stormfront was a male, and yes, was indeed a Nazi), which then influenced the past of the TV-rendition of the character. In the show, Stormfront use to be apart of Nazi Germany before (assumedly) migrating to America and donning the alias of “Liberty” in the 50s, in which she carried out violently racist attacks behind the scenes.

Something worth noting is that Stormfront is the first ever Superhero created by Vought (the man who created the company was her husband; whether she was injected with V -- the serum to give people these super abilities -- when she was a child or well within her maturity is currently unknown). Because she’s the first ever superhero, she has a unique ability that other superheroes (from our current knowledge) lack; immortality. 

Due to her immortality, Stormfront outlived her peers. She watched as the culture around her changed. She eventually had a daughter, which she then lived past, and she too lived past her husband. This means that she lived past the time where Nazi’s were to some degree a social norm, and lived through the period(s) where people actively fight back against Nazi’ism, racism, and other forms of prejudice. She was thrust into new cultures, and in turn, molded her beliefs into something new over the years she had lived through. She no longer had the leader, she no longer had the support, she no longer had the option to use her voice. And because of that, she learned that her beliefs were outdated.

It could be argued that the point to Stormfront’s character is to reflect the social evolution of America -- from how racism was mainstream to now progressivism being rewarded.

The Accusation That Stormfront Said a Slur Towards Kenji and she Killed an Apartment Complex of Black People Simply Because They’re Black:

In episode three, for those who don’t know, there was a super-terrorist (the title given to super-humans who use their abilities to aid in their terrorism), and The Seven were sent out to capture and put the terrorist down. Basically: they were doing their jobs as heroes. During the attempted capture of the terrorist, Stormfront was ultimately the one to get him.

While she was chasing him, they entered an apartment complex; while on the chase, she most likely would have noted that the terrorist isn’t actually doing any active action of terrorism -- he was just running. While she knew, and The Seven knew, that he was a terrorist, the public would probably see it as a superhero harming an innocent. Of course since he was an active threat, she was fast thinking. While chasing him, she stroke down some casualties and destroyed a portion of the apartment complex building that way there would be visible evidence that the terrorist would’ve been a threat to the lives of the public. And it worked. While what she did was arguably corrupt, that’s not the point here; the show makes a point to say all the heroes are corrupt. 

In her fight with the terrorist, she does say something that features unfavorable language -- she called the terrorist a “yellow bastard” -- and while it’s displeasant, it is not a slur. Yellow is a color, and he was rather pigmented. It’s a distasteful descriptor. And she was right in calling him a bastard. He was a terrorist.

The Accusation that Stormfront Didn’t Like A-Train Because he’s Black:

We can assume that Stormfront has a strong sense of morality due to her past connections to Nazi Germany -- while she no longer holds those beliefs, it would suggest that she places importance on morals due to strong “moral” senses of the Nazi party. With her now being in the modern world, her sense of morality probably evolved into applying to more current issues.

In the show, Stormfront is shown to believe in the superiority of Supes (will touch on that even more later). Due to this, is is likely that she would look down on those who have super-abilities but does stuff that would harm them or otherwise negatively impact the performance of their heroics. In season two, it was shown that A-Train -- whose whole shtick was his extreme speed -- could no longer run to such extremes before triggering a possible heart failure. This would clearly motivate Stormfront to look down on A-Train and see him as a waste -- because he is effectively wasting away his own life.

Her saying “some people have quality, other’s don’t” is a clear reference to the fact that his quality of self-control and self-worth is low. He’s an addict, and has let his addiction ruin his life and multiple lives of the people around him.

The Accusation that Stormfront Thinks Black People are Trying to get rid of White People; An In-Depth Dissection on the Conversation Between Stormfront and Homelander in Which she Explains her Past:

The scene opens with her, Stormfront, finding Homelander alone and solemn overlooking the city. He’s being callous and dismissive towards her, and even says a sly comment in which could be taken as a potential murder threat, which obviously effects her and her future plans (since it’s rather clear that she’s merely using him for her own personal agenda). Because of his cold behavior towards her, she decides to bare her all to him.

“I will never lie to you again. I will tell you everything . . . Starting with this,” She begins. Stormfront hesitantly walks to a large brown box, the stoic look on Homelander’s face never leaving as he pointedly watches her every move. She opens the crate, and in it are numerous aged items belonging to her, including her Liberty attire and a collection of black and white photos.

Out of her collection of items, she picks up the photos due to them being an outline of her history and an easy open door to the unique ability she has (since she’s either immortal or has an extended life quantity).

She shows the first image to Homelander, an image that shows her next to a much older woman (who has previously been assumed by the viewer to be her mother or grandmother). “My daughter,” she begins, “Chloe. She died of Alzheimer's a few years ago.”

Before this scene, her unique relation to aging was unknown to Homelander; the only people who knew were Starlight and The Boys. Understandably shocked, Homelander asks Stormfront just how old is she.

“I was born in 1919, in Berlin.”

There’s beats of silence between them. The information that she just revealed settles, to both Homelander and the viewer, and then she flips to the second photo.

It’s of her, dressed in a beautiful, white blazer dress, standing next to three extremely influential figures from history (further highlighting her extreme age). As she flips to the next photo, she says, “And . . . The most important man in the room . . . “ Homelander looks down, and finishes the unsaid sentence: “Frederick Vought.”

The next portion of the conversation is one of the most important, both in-context of the actual conversation but also in terms of the audience finally understanding Stormfront as a person; it gives us an insight to her mentality, it further explores her history with Vought and the relationship she has with the company, while also showing us what seems to be her intentions with Homelander. “He gave me the first successful V injection. He taught me everything. And then we fell in love, and he gave me a daughter. He made me, and his genius made you.”

This one excerpt shows us an important aspect on Stormfront and her mentality: she glorifies and idealizes Vought. The glorification she has of Frederick Vought consumes her, evident through the passion she has while she speaks on how V made her into who she is. The glorification she has for Frederick then streamlines into the next aspect of what she talks about, which is the superiority that comes from being chosen to be a superhero (which she isn’t exactly unjust in; a separate post to discuss, maybe? Although I feel as if it’s pretty obvious how people with super-human abilities that routinely save the world are clearly above just normal civilians).

Emotions are clear on Homelander’s face as he hears all the new information released by Stormfront: he’s shocked, and really just at a loss for words. He turns away from her, almost in a way dismissing the rest of the photos she has as he tries to process everything. She holds the photos to her side, now untouched for the rest of the conversation, and continues to speak: “Frederick didn’t care about all the fans or stardom or any of that shallow bullshit. We are in a war for the culture. The other races are grinding us down and taking what is rightfully ours, but we can fight back. With an army of supermen, millions strong.”

This four-sentence paragraph is the strongest example we currently have from the show that showcases the sense of superiority Stormfront has due to her super-human abilities. This specific excerpt is commonly used as a dog whistle by Stormfront anti’s to push the narrative that she is a Nazi or at the very least a white supremacist, however with the context of her relation to Vought and the fact that she highlights it being an army of supermen, it’s made explicitly clear that the “war for the culture” is a culture where supes are naturally seen as higher than non-supes and don’t have to fear the possibility of public backlash due to “othering” that’s caused by a public that may be scared of people who are different than them -- which may be why Stormfront finds it so important to build an online following who truly knows her as a person, while still being aware that she ultimately has a platform and is in a position of power.

It could be argued that her current arc and characterization of glorification and superiority is meant to be an allegory for Nazi’ism, however, I will say in my own personal opinion that it’s incredibly weak to claim. Nazi allegories need to have someone explicitly shown to be wrong in their beliefs and ideals; Stormfront though, is justified -- or at the very least has solid ground to stand on. I mean, God, it’s shown that mothers and fathers were offering up their newborns to be injected with compound V. That should speak for itself.

Lastly, after Stormfront bore her history and ideals to Homelander, she says one last thing to Homelander, one last confession full of passion and desperation: “So I love you with all of my heart. How could I not? Everyone I have ever loved is in the ground. And then I found you. We found each other. And now neither of us has to be alone ever again.”

I believe this to imply that her sense of superiority is a front that she puts up and her desire to create a culture of supe’s is to create a new race of people that are similar to her in sense of life-span, that way she no longer has to keep losing those she loves and live a life where pain is a constant. I truly do think all of this is an act of longing for a life of less pain 💔

So in conclusion: her idea of a “war on our culture” is the idea of non-supes against those who are. It’s an entirely separate thing from Nazi beliefs and / or ideals.

Discussing Stormfront’s Feminism and Why it Should be Both Admired and Wide-Spread Within our Culture:

Stormfront is a traditional feminist; she doesn’t believe that women are superior to men, but rather that we’re all on equal footing and it’s our own personality and accomplishments that make us. Quoted from episode two, “Why does it matter whether heroes have a dick or vag? I mean, shouldn’t we all just be competent at our jobs? I don’t think girls do anything better, I think chicks and dicks are in it together.” She’s able to point out the systematic advantages men have and the unfair treatment of women by the media, but she’s still able to recognize that it’s an issue of the system that forms our culture rather than an issue of men themselves. She never takes out her issues on random men, but rather at the men in positions of power who fuel this sexist attitude (and the women who stand next to these men, allowing it).

She knows her worth, both as a person and as a woman. Throughout the six she has shown up in so far, Stormfront has been outspoken whenever she has seen someone reducing women to nothing but vapid sex appeal for the male gaze – such as her call-out in episode two towards the man in charge of story-boarding the commercial. She recognizes her worth and is able to voice the issues she has with the sexist disregard for the female characters.

Unlike a lot of people, she knows when to restrict herself. This is a problem with our culture at large – we reward loud, rude behavior (primarily within men) despite the fact that they’re being unnecessarily cruel towards what is a rather harmless individual (ex: Gordon Ramsay). During the scene where Stormfront is with Starlight doing press for the announcement of her being apart of The Seven, she points out the double standard and false idea of “girl power” being pushed. Despite it being a topic she would be passionate about, Stormfront is able to keep her points restricted purely to the topic at hand that she wants to discuss. Other people would be vicious and violently insult the interviewer, and they would be rewarded for it by getting clout on Twitter with strangers gushing about how she “dragged” someone, but Stormfront addressed the interviewer appropriately – she knew he was just a man doing his job.

Another example is the end of episode three. While it is “terrible” that she called the Asian a “yellow bastard” (although it’s not like she called him a Chink or BTS or whatever), she only did so because she believed that she was alone with him. If there was another individual with them, she would have restricted herself from offensive language. In a culture full of fake feminists that spew offensive language openly, I believe she is setting a standard of what the difference between personal behavior and outwards behavior that would have an impact on the world around her is. No one is effected by her saying “yellow bastard” the way she did, since she was alone. She is aware of her platform (since the introduction of her is with her on Instagram live) and knows what she can and cannot feature on her platform.

In conclusion: Stormfront is a good, self-aware, admirable feminist. Be like Stormfront.

The Accusation That People Involved on the Show Have Called her A Nazi:

It’s true. In interviews, multiple people have referred to Stormfront as a Nazi -- however, an important piece of context that these people who are spreading these quotes always seem to miss out, is the fact that every time they have discussed Stormfront being a Nazi, it’s in relation to her past. They never say that her Nazi beliefs are something carried on from Liberty to Stormfront (they refer to her as Stormfront since it’s simply easier to, though). 

Even with that though, sometimes the intent of an author (or producer, or actor, etc.) does not translate to the actual finished product. What we see has more weight than what we’re told; we’ve been told that she’s a “Nazi white supremacist” but what we’ve seen is a deeply flawed character with a troubling past who’s actively working on making herself a better person. The producers, writers -- whatever -- have not translated their intent properly, so, therefore, it is invalid. Their interpretation of the character is wrong.This is something that happens a lot -- where the author means one thing but the product says another. A good example is JK Rowling; she intended to have Snape die with his sins absolved and being a martyr, but all he ended up being was an abusive creep with a vendetta against some child. Do you get it?

The Accusation That Stormfront Caused A Shooting:

So let’s just be clear: Stormfront clearly condemned the actions by the terrorist who shot the convenience clerk; she clearly doesn’t stand by that behavior nor support it. Using it as fuel for your little Stormfront hate-boner is weird and unfounded.

The Accusation That Nothing Shows Stormfront Had Changed as A Person From When she was Liberty:

A lot of people claim that Stormfront has showed no change from in comparison to her present-self to how she acted in the flashbacks, “proving” that she is still a Nazi. However, there are multiple examples that show she has actively became a better person; there are some major elemental changes to her as a person throughout time -- we know this by comparing what we know of her currently to what she used to be.

Firstly: She explicitly says that she “changed with the times,” which is a clear indication that she’s taken purposeful strides to change her values (since racism is no longer something we deem acceptable).

Secondly: While she had the mantle of liberty, she purposefully went out looking for minorities to brutalize them. While we don’t know if she ever said explicit slurs (such as the N-word or the C-word), she did make it apparent that her attack was on the basis of their ethnicity. However, in modern times, her attacks are purely motivated to fuel the reputation of Vought / because she was told to (and with one exception, which was to manipulate Homelander); this is: when she killed Kimiko’s brother, which was because he was deemed a super terrorist, and when she killed the apartment complex, which was to add to the narrative that he was a terrorist, and the exception is when she pushed Homelander into killing the white man (which was to make Homelander believe that the justice system is unjust . . . Which she is right in, to be fair).

Thirdly: Her study in creating a race of literal super-humans was diverse; it included people of all ethnicities and skin tones.

Fourthly: Stormfront herself shows, although not in a direct way, that she has actively changed. In episode five, Starlight confronts her on her past. Stormfront says, “going against your own people,” and clarifies it even further once Starlight assumes she means ‘white people’ with, “Starlight, superheroes. Don’t be racist.” While she was being condescending in what she said, the weight behind it still remains.

The Accusation That Stormfront Admitted to Being A Nazi by Saying People Love What She Says but Hates the Word Nazi:

In the finale, Stormfront’s past was exposed to the public. Because of how sensitive that information is, she got rightfully mad at whoever it was that leaked it. With the fact that Starlight had already tried to antagonize her before, Stormfront knew it was her. She found Starlight, and the two proceeded to fight. 

However, before the fight, Stormfront said that before her past was revealed, people liked what she was saying. They listened to her. They just simply don’t like the word Nazi. She said it in the sense that “Nazi” is a word used to discredit someone, regardless if their views would make them a Nazi or not. You see it a lot now, politically, the opposing side (on both ends) call each other Nazis simply because they don’t have aligning political views. And because Nazi is such a strong word, calling someone one of them would have an impact on their public reception regardless. Stormfront isn’t a Nazi anymore, but people were still calling her one regardless, so the public reception to her changed. Nazi is a strong word. Stormfront was right -- people did like what she was saying, they were listening to her every word, up until she was slandered as a Nazi.

The Accusation that Stormfront Said A Racist Remark About Edgar:

In the finale, Stormfront and Homelander are privately discussing who they believe could be behind a recent terrorist attack that quite clearly was perpetuated by a Supe. Homelander suggested that it was planned by a man called Edgar, and Stormfront said “it’s possible, he is smart. For his kind.” A lot of people have slandered Stormfront further by saying “for his kind” was in reference to his ethnicity. However, with the audience already knowing her superiority complex around Supes, we can understand the remark was in terms of him not having any abilities (that we know of).

The Accusation That Stormfront Believes in The “Great Replacement” Theory:

In the finale, it’s found that Homelander’s son -- Ryan -- is having issues connecting with his powers and triggering them. Homelander says that he found it easy to use his powers by imagining an enemy, a person he hates. However, Ryan tries to do that too but finds that he really just doesn’t hate anyone.

Stormfront, being quick-thinking, delicately says that people are against them because of their skin color, “it’s called white genocide.” While it was tasteless and questionable for her to tell a child, she believed that Ryan needed a clear enemy in his mind and she was simply suppling him with a vague idea that would trigger his abilities for at least one time. No where does she actually say she believes in the outlandish theory; she was simply saying it because she believed it would help Ryan overcome an obstacle he was facing. 

The Accusation That Stormfront is Named After A White-Nationalist Site:

There’s a lot of discourse over her name; a lot of people think a name is a valid reason to call someone a Nazi. I don’t believe I need to point out why that is insane, but I will explain the reasoning behind Stormfront’s name:

Stormfronts powers are based in electricity. They are bolts of electricity that come from the palm of her hand, and can light things of fire, burn people, throw them around, etc. They resemble lightening from a storm, hence her being called Stormfront.

[a-duck-with-a-book]

REVIEW // Nevernight (The Nevernight Chronicle, #1) by Jay Kristoff

★☆☆☆☆

So I’m very late to the party, but I just finished reading Nevernight by Jay Kristoff I had such high hopes for this series based off of what people recommending it had told me and what I read about it before picking up. Dark fantasy? Check. Strong leading lady? I’m here for it. Gays? It’s literally my only personality trait. Sign me up. Unfortunately, this book fell flat in all those categories. It reminded me a lot of Sarah J. Maas’s Throne of Glass, which made me take one point off of to begin with simply for making me think of Maas’s writing. Overall, I just found the book to be too predictable, with bad writing, exposition, and pacing, and too many parts that just made me ~uncomfortable~.

In case you are not familiar with this novel, Nevernight tells the story of Mia Corvere, a girl who lost her family when she was a child after her father was convicted of treason. When the book begins, she is 16 years old and embarking on a journey to join the Red Church, a school for assassins, so that she may one day be able to avenge her father’s death. Along the way she meets a bunch of forgettable characters whose names I can’t be bothered to remember and is taught by the most fearsome killers in the Republic. Here she gains many valuable skills, like how to survive being poisoned, how to fight, and how to get big boobs.

+ Side note: by chapter 3 three I started picturing Mia as the crow guy from RWBY and I could not shake that for the rest of the book

I had many issues with this novel that I will try to summarize in some sort of coherent fashion, but to be honest this book sucked the will to live out of me so I don’t know how much energy I can put into this review.

// image: official cover art by Jason Chan //

FOOTNOTES

The footnotes were probably the most jarring element of the book for me, and, unfortunately, there’s a lot of them. Their function seems to be twofold:

they are the form of most of the world-building, explaining several customs, the history of the institutions and peoples Mia meets, and the mythology followed by the people of the Republic.

they allow for the narrator of our story to interrupt with comical one-liners or cryptic foreshadowing

In my humble opinion, both of these are unnecessary and stupid. The interruptions come off as crass and immature and make the other more textbook, boring exposition come off as a joke, especially when it is dealing with sensitive or serious topics. There is one that explains this brothel called the Seven Flavors, which the footnote explains refer to “Boy, Girl, Man, Woman, Pig, Horse, and, if sufficient notice and coin was given, Corpse.” Now, on its own, this passing mention of pedophilia, bestiality, and necrophilia could very well contribute to the world building and tone of the novel, but when placed side by side with the childish, joking tone of the “cue the violiiiiiiiins” or, regarding the acoustics of a room, “…they were, as it happens, exceptional. Falalalalalalaaaaaaaa”, come off as way too light-hearted for the topic at hand. Maybe I’m being way too sensitive, but I’m pretty tired of authors using serious topics as off-hand remarks as a lazy way to make their world daker and grittier. Plus, these footnotes were just so incredibly cringy that I would recoil from second-hand embarrassment every time. They resemble the things I wrote when I was 14 and trying (and miserably failing) to be funny. Also… there are way too many of them. While at first I appreciated the attempt to deepen the lore of the story (I’m a sucker for world-building), after a while it became evident that the author was just forcing information down our throats without taking the time to actually weave the lore and background into the story itself. It came off as a very lazy way to force exposition.

OVERLY FLOWERY LANGUAGE

This story is BRIMMING with similes and metaphors, like every other sentence is some overly complicated way to describe something that could have been presented in three words. When you include so many metaphors/similes/etc., they begin to lose power. They should allow the reader to extrapolate more meaning and emotion from a sentence, but if the book is bursting at the seams with them, they become increasingly ordinary, to the point of losing all of their luster. One prime example appears on page 30:

“It was a bucktoothed little shithole, and no mistake. Not the most miserable building in all creation. [here there is a footnote about some other inn/brothel] But if the inn were a man and you stumbled into him in a bar, you’d be forgiven for assuming he had—after agreeing enthusiastically to his wife’s request to bring another woman into their marriage bed—discovered his bride making up a pallet for him in the guest room.”

So first of all what the fuck is that supposed to mean? That whole paragraph is a fever dream. Let’s begin with “bucktoothed little shithole”. Bucktoothed? Really? What does that mean. Please, someone explain to be right now what a bucktoothed building is. Is it uneven? Is it awkward? Is it half-finished? Is one side longer than the other? Did they do a bad paint job that only covers on side? Are the windows askew? Is the door too big for its frame? We already know from the paragraph above that it is “disheveled” as well, so why the need for another weird phrasing of its appearance? We then move on to that whole JOURNEY of a sentence, where the inn is compared to a man being cuckolded. That is the most insane tale-can you imagine running into someone in a bar and that story being the VERY FIRST thing that runs through your mind??? I know I’m focusing way too much on this stupid paragraph, but basically what I am trying to get at is that even though we spend half a page talking about how bucktoothed and disheveled and cuckolded this building is, we get no actual physical description of it. Imagine if Kristoff had just written that it was a run-down, ill-kept building that looked as worse for wear as its owner did. Done, one sentence. Great. Let’s move on. Instead, we spend so long reading these absolutely batshit descriptions that ultimately tell us next to nothing. Flowery language is placed over actual context. You may think that a description this long and complex means that this inn is a significant or recurring setting in the novel. Nope. It’s not. Mia leaves and that’s that. The reason that I’m focusing so much on this objectively irrelevant paragraph is because it is so representative of the biggest issue I have with the writing in this book. There are so many unnecessary comparisons that function only to make the author feel clever rather than add anything to the story at all. It’s very à la 2010s Tumblr.

THE (IN MY OPINION, BAD) WRITING

For the first half of the book, we are constantly being TOLD things rather than being SHOWN things. With the exception of one of the teachers cutting off Mia’s arm, we rarely see the ruthlessness that the assassins are so feared for, but we hear about it in nearly every other sentence Where are the consequences? I think this book would have been way more enjoyable if there were actually consequences to the characters’ actions. The inclusion of the weaver and the weird vampire guy completely remove any tension regarding the fate of the central cast. When Mia had her arm chopped off, I was shocked, and pleasantly surprised. How was she going to overcome this unexpected obstacle in her training? Then a couple pages later, its reattached with absolutely no lasting consequences. All of the initial tension and shock value of the loss of Mia’s arm is entirely removed because of the two incest-y siblings. Their entire purpose for existing is just to undo all damage to the main characters. Then suddenly, out of the blue, Mia is willing to take on a ton of consequences and completely throw away her chance at becoming initiated in order to avenge her family just to save Tric from receiving like one punishment??? Like why?? As an aside, the only moment I truly enjoyed was when Ash fucking stabbed Tric to death. I assume that when the reader’s favorite moment is one of the central characters’ death, it does not bode well for their reception of the book.

THE THEMES

TW: rape-y subjects

The author seemed a little too keen to include rape and sexual assault in his story. Mia withdrew her consent in the sex scene in the very first chapter, and even if you read it as consensual (which I do not), it is described as incredibly unpleasant on her end. Tric is the result of a rape, which is brought up several times throughout the story. Further, Mia is constantly facing harassment from men. I understand that this is frames the idea that the world she lives in is misogynistic and ruthless, but there are other ways to push that idea through other than constantly putting in her in those situations. As in, this didn’t need to be the ONLY way we explored this subject. Beyond the uncomfortable propensity for sexual assault, I also very much disliked the sexualization of the 16-year-old main character. Oh. My. Gosh. Mia is CONSTANTLY sexualized. Every single damn character makes comments about her body, how hot she is, how much sex she potentially has. It is so weird and uncomfortable. I feel the need to reiterate that she is SIXTEEN. There is, however, a focus placed on the power Mia can gain from seducing her targets. Girl power? Not to me, really. The issue I have with this is the idea that a woman has to be overtly sexual in order to be considered powerful. This is something that we can see in many female assassins and supposedly powerful female characters in fiction (like Black Widow) especially those written by men. Now, there is nothing wrong with using one’s sexuality as a weapon, and I’m certainly not saying that a strong female character cannot be sexual, but the idea that a sixteen-year-old girl is shown having her body painfully modified tp be more desirable, and in a graphic sex scene with another character, in order to for the reader to read her as liberated and powerful does not sit well with me. I don’t really feel like this aspect of her training should be relevant to the overall story. I wish the time that Kristoff had dedicated to hammering into our heads that Mia is a femme fatale to developing her Darkin powers instead. The way she is written now feels more like she is a faux strong female character written for a male audience.

Secondly, Mia is fully written as “the plain-girl-who-is-actually-pretty”. This whole trope bothers me IMMENSELY. YA is full of girls who are described as plain, forgettable, or ugly while their physical descriptions are just the dictionary definition of conventionally attractive. It seems like a way to market off of girls’ self-consciousness while still being able to market the main character as a hot heroine in official art. And there is, of course, the issue of Mia’s boob job Readwithcindy (just “withcindy” now!) did a whole video about this so I won’t get into it much just to repeat what she already said, but I agree that the idea of a 30-something year old man including this completely unnecessary detail regarding the sexualization of teenage girl, who we have ALREADY seen in a rape and being sexualized by other men in the story, made me really, really, uncomfortable. I highly recommend you go watch her video, as she touches on this in way more detail. [Cindy's video

RATINGS

Worldbuilding: ★★☆☆☆

A lot of thought obviously went into the world-the mythology, society, and politics are well-thought out. But the way they are introduced is annoying and bland. It seems like the author put a lot of effort into constructing this world but realized a lot of it would be left out of the book, so he crammed it into footnotes instead.

Tone and writing style: ★☆☆☆☆ for first half, ★★★☆☆ for second half

The tone of the first half is all over the place, like it doesn’t know if it should be dark and gritty or comical and immature. Footnotes and character dialogue ranges from lighthearted and crass to seeped with themes of torture and sexual assault. It is jarring, to say the least, and often feels like the author doesn’t take these ideas of rape or violence seriously. There are so many instances where the scene is tense or gritty, and Kristoff is actually writing it pretty well, I’m enthralled and on the edge of my seat, and then Mia or some other character (or the footnotes) throw in some stupid comment or make the same “Mia is such an asshole lol” joke for the billionth time and completely ruin the mood of that scene. The second half of the book moved much faster and was helped with way better writing, but it really did not do enough to make up for the horrendous structure of the first half of the book.

Pacing and structure: ★☆☆☆☆

The first half of the book really drags on. Once we arrive at the school, there are constant jumps in timeline, marked with periods when a thousand things happen all at once and the plot moves forward at a dizzying rate, and others when the characters just seem to be going about their daily lessons.

Concept: ★★★☆☆

I found the overall idea of the books to be very interesting, even though it is certainly not the most original or unique concept for a YA fantasy book. The issue is that the potential is squandered with a poor execution.

Characters: ★☆☆☆☆

I truly did not care about any of the characters. The token mean girl, the bumbling nice-guy-who-is-definitely-the-love-interest. too many of the characters just sat nicely within their tropes, doing nothing much to pique my interests. I think my favorite overall was Mister Kindly.

[96thdayofrage]

Media Rediscover Afghan Women Only When US Leaves

Just as US corporate news media “discovered” Afghan women’s rights only when the US was angling for invasion, their since-forgotten interest returned with a vengeance as US troops exited the country.

After September 11, 2001, the public was subjected to widespread US news coverage of burqa-clad Afghan women in need of US liberation, and celebratory reports after the invasion. Time magazine (11/26/01), for instance, declared that “the greatest pageant of mass liberation since the fight for suffrage” was occurring, as “female faces, shy and bright, emerged from the dark cellars” to stomp on their old veils. In a piece by Nancy Gibbs headlined “Blood and Joy,” the magazine told readers this was “a holiday gift, a reminder of reasons the war was worth fighting beyond those of basic self-defense” (FAIR.org, 4/9/21).

The media interest was highly opportunistic. Between January 2000 and September 11, 2001, there were 15 US newspaper articles and 33 broadcast TV reports about women’s rights in Afghanistan. In the 16 weeks between September 12 and January 1, 2002, those numbers skyrocketed to 93 and 628, before plummeting once again (Media, Culture & Society, 9/1/05).

Suddenly remembering women

Now, as the US finally is withdrawing its last troops, many corporate media commentators put women and girls at the center of the analysis, as when Wolf Blitzer (CNN Situation Room, 8/16/21), after referring to “the horror awaiting women and girls in Afghanistan,” reported:

President Biden saying he stands, and I’m quoting him now, squarely, squarely behind this decision to withdraw US forces from Afghanistan, despite the shocking scene of chaos and desperation as the country fell in a matter of only a few hours under Taliban control, and the group’s extremist ideology has tremendous and extremely disturbing implications for everyone in Afghanistan, but especially the women and girls.

This type of framing teed up hawkish guests, who proliferate on TV guest lists, to use women as a political football to oppose withdrawal. Blitzer guest Rep. Adam Kinzinger (R.-Illinois), for instance, argued:

Look at the freedom that is being deprived from the Afghan people as the Taliban move into Afghan, or moving into parts of Afghanistan now, and you know how much freedom they had. Look at the number of women that are out there making careers, that are thought leaders, that are academics, that never would have happened under the Taliban leadership…. The devastation you are seeing today is why that small footprint of 2,500 US troops was so important.

Sen. Joni Ernst (R.-Iowa) gladly gave Jake Tapper (CNN Newsroom, 8/16/21) her take on the situation after CNN aired a report on the situation for women:

As you mentioned, for women and younger girls, this is also very devastating for them. The humiliation that they will endure at the hands of the Taliban all around this is just a horrible, horrible mar on the United States under President Joe Biden.

‘America rescued them’

Charity Wallace claimed in the Wall Street Journal (8/17/21) that Afghan “women and girls…made enormous progress over the past 20 years.”

Such analysis depends on the assumption that the US invasion and occupation “saved” Afghan women. In the Wall Street Journal (8/17/21), an op-ed by former George W. Bush staffer Charity Wallace ran under the headline : “The Nightmare Resumes for Afghan Women: America Rescued Them 20 Years Ago. How Can We Abandon Them to the Taliban Again?”

Two days later, a news article in the Journal (8/19/21) about the fate of women in Afghanistan explained: “Following the 2001 invasion, US and allied forces invested heavily to promote gender equality.”

The Associated Press (8/14/21), in a piece headlined, “Longest War: Were America’s Decades in Afghanistan Worth It?,” noted at the end that “some Afghans—asked that question before the Taliban’s stunning sweep last week—respond that it’s more than time for Americans to let Afghans handle their own affairs.” It continued, “But one 21-year-old woman, Shogufa, says American troops’ two decades on the ground meant all the difference for her.” After describing Shogufa’s experience for five paragraphs, the piece concludes with her “message to Americans”:

“Thank you for everything you have done in Afghanistan,” she said, in good but imperfect English. “The other thing was to request that they stay with us.”

Perhaps the most indignant media piece about Afghan women came from Caitlin Flanagan in the Atlantic (8/19/21), “The Week the Left Stopped Caring About Human Rights.” Flanagan argued:

Leave American troops idle long enough, and before you know it, they’re building schools and protecting women. We found an actual patriarchy in Afghanistan, and with nothing else to do, we started smashing it down. Contra the Nation, it’s hard to believe that Afghan women “won” gains in human rights, considering how quickly those gains are sure now to be revoked. The United States military made it possible for those women to experience a measure of freedom. Without us, that’s over.

Flanagan pointed to Afghan activist Malala Yousafzai, whom she accused “critics of the war” of forgetting, saying Yousafzai “appealed to the president to take ‘a bold step’ to stave off disaster.”

Next to last in women’s rights

Such coverage gives the impression that Afghan women desperately want the US occupation to continue, and that military occupation has always been the only way for the US to help them. But for two decades, women’s rights groups have been arguing that the US needed to support local women’s efforts and a local peace process. Instead, both Democrat and Republican administrations continued to funnel trillions of dollars into the war effort, propping up misogynist warlords and fueling violence and corruption.

Contra Flanagan’s insinuation, Yousafzai didn’t ask Biden to continue the occupation. In an op-ed for the New York Times (8/17/21) that most clearly laid out her appeal, she asked for humanitarian aid in Afghanistan and for refugees fleeing the country. In fact, her take on the US occupation’s role in women’s rights (BBC, 8/17/21) is much more critical than most voices in the US corporate media: “There had been very little interest in focusing on the humanitarian aid and the humanitarian work.”

As human rights expert Phyllis Bennis told FAIR’s radio program CounterSpin (2/17/21), Malalai Joya, a young member of parliament, told her in the midst of the 2009 troop surge that women in Afghanistan have three enemies: the Taliban, warlords supported by the US and the US occupation. “She said, ‘If you in the West could get the US occupation out, we’d only have two.’”

Things did get better for some women, mostly in the big cities, where new opportunities in education, work and political representation became possible with the Taliban removed from power. But as Shreya Chattopadhyay pointed out in the Nation (8/9/21), the US commitment to women was little more than window dressing on its war, devoting roughly 1,000 times more funding to military expenses than to women’s rights.

Passive consumers of US corporate news media might be surprised to learn that Afghanistan, in its 19th year under US occupation, ranked second-to-last in the world on women’s well-being and empowerment, according to the Women, Peace and Security Index (2019).

As the Index notes, Afghan women still suffer from discriminatory laws at a level roughly on par with Iraq, and an extraordinarily low 12.2% of women reported feeling safe walking alone at night in their community, more than 4 points lower than in any other country. And just one in three girls goes to school.

Wrong kind of ‘help’

In 2015, a 27-year-old Afghan woman named Farkhunda Malikzada was killed by an angry mob of men in Kabul after being falsely accused of burning a Quran; US-backed Afghan security forces watched silently (Guardian, 3/28/15). The shocking story spread around the world, but the only US TV network to mention it on air was PBS (7/2/15), which offered a brief report more than three months after the murder, when an Afghan appeals court overturned the death sentences given to some of the men involved.

FAIR turned up no evidence of Caitlin Flanagan ever writing about Malikzada, either—or about the plight of any Afghan woman before last week.

According to a Nexis search, TV news shows aired more segments that mentioned women’s rights in the same sentence as Afghanistan in the last seven days (42) than in the previous seven years (37).

The US did not “rescue” Afghan women with its military invasion in 2001, or its subsequent 20-year occupation. Afghan women need international help, but facile and opportunistic US media coverage pushes toward the same wrong kind of help that it’s been pushing for the last two decades: military “assistance,” rather than diplomacy and aid.

For more than 20 years, US corporate media could have listened seriously to Afghan women and their concerns, bringing attention to their own efforts to improve their situation. Instead, those media outlets are proving once again that Afghan women’s rights are only of interest to them when they can be used to prop up imperialism and the military industrial complex.

[george-fabian-weasley]

I am here again :)

👁️👄👁️ - could you please review of Fred fic 👉🏼👈🏼 it's called 'Until Every Star In the Universe Dies'

HDIAJD MAITRI HONEY THANK YOU SO MUCH FOR JOINING MY SLEEPOVER MUAH ILY 🥺💓

Until Every Star in the Universe Dies by @mytreec

Summary: Prompt 22. "Take me back to the night we met." (Lord Huron - The night we met)

For me personally, I don't mind if fics don't have summaries, one sentence is enough to pique my interest but others may not feel the same, so I would probably suggest do a short summary first, so people will know what they're diving into! Also I love the song so much KDHSJDJ i suggest yall read it with the song in the background!

They sat in the Great Hall surrounded by all the survivors. The battle was over, Voldemort was dead. But then why did they not feel the want to rejoice like everyone else around them? Why did they feel numb to their surroundings - the sounds, whispers, light, joy, everything? It was because the one person that mattered the most wasn’t there with them. How did any of this matter, winning the war and defeating the darkest wizard of all time, if they didn’t have them by their side? They’d lost their S/O; nothing mattered anymore.

I really love how you managed to describe the feelings, it really got me hooked so so good LIKE SO SO GOOD YOU HAVE NO IDEA

Filch’s footsteps and shouts drew closer. Y/N held her breath as they momentarily paused outside the tapestry before continuing onwards, releasing her breath only when she could no longer hear them. She turned to look up wide-eyed at the chocolate brown eyes staring down at her in curiosity. Both their chests heaved heavily, trying to get enough oxygen into their lungs.

DUDE THE TENSION HERE IS SO STRONG JSHDJSJJF I LOVE THIS YUH GET ITTTT

“You never told me your name!” she heard Fred shout out after her.

WAIT NO I LOVE THIS FRED WOULD DEFINITELY DO THIS OH MY DJSJJDJSHD there is just something about this sentence that makes me giddy like GAHHH HE WANTS TO KNOW HER NAMEEE

In the kitchen, Molly could be seen gripping onto the countertop, her knuckles white, not being to deal with the gut-wrenching sobs that sounded through the Burrow. George remained quiet, holding his best friend and rocking them back and forth.

WAIT NO— MOLLY NOOOO PLEASE I WANNA HUG HER SHSKHXJS NOOOOO NOT MOLLY

“Take me back,” they muttered over and over again, pleading the universe to rewind time and let them live these past seven years with their S/O again.

wow. this one right here broke me. IT BROKE ME MAITRI YOU KNOW THIS WOULD HAPPEN DIDNT YOU

Fred’s eyes didn’t waver from Y/N as he answered, “I’m going to marry her mum,” His eyes drifted away from Y/N to look at his mother, “I know we’re only seventeen and we’re still young but there can be no one but her.”

OH FUCK NO MAITRI THE FEELS IS TOO STRONG IM CRYING LEGIT TEARS

“Come dance with me,” he whispered into the quiet of the morning.

I'm weak for this. I aint strong for this mAITRI WHAT HAVE YOU DONE

They laid there in silence, staring into each other's eyes, relishing in the feeling of being in the other’s arms because who knew if they would be able to do this again. The war was coming, everyone could feel it. The darkness looming over the world had reached its optimum point, the muggles noticed it too whether they knew what it was about or not.

This paragraph right here, it's just beautiful. You described the situation so well and the feeling so wonderfully. HDJWJJDD YOURE SO GOOD AT THIS WHAT

They laid in bed that night in each other’s arms. Sleep was the last thing on their mind as they exchanged small kisses and quiet I-love-you’s, and wiped each other’s tears away. They stayed awake as the morning light streamed into the bedroom lighting up the world in a soft orange glow, staring at each other knowing that could very well be the last night they got to do this.

the way this broke me so much 🥺 MAITRI IS BREAKING MY HEART WHAT YOU WANTED?

“Why? Why did you leave me? Why do I get to live whereas you died?” they asked, their throat constricting as they compelled themself not to cry, “Why? Why did you push me out of the way?”

BROOOO NOOO NOT THE BREAKDOWN—JUST ANYTHING BUT THE BREAKDOWN IM CRYING

“No. Please no. No no no,” they choked out, hurrying to move the broken wall pieces aside and uncover the body, hoping it wasn’t them even though deep down they knew it was. The world fell silent as they fell onto their knees, numb to the shock that went up through their legs. They let out a blood-curdling cry at the sight of their S/O’s unmoving body; eyes unblinking, staring up at the ceiling but seeing nothing. They gathered them up in their arms, moving their hair and dust out of their face.

One question. How dare you

They continued to fight against Ron, shouting at him to let them go. They couldn't leave them alone, they had to get back to them. Their S/O couldn’t wake up all alone in the middle of an ongoing war.

MAITRI NOOOOO IM SOBBING THIS IS TOO SAD FOR ME PLEASE

The first smile, in months, broke out on their face, similar to the rays of sunshine peeking through the breaks in the clouds after a storm, as a gentle breeze grazed their cheeks, the feeling equivalent to fingers tracing the freckles on their cheeks and nose, playing connect-the-dots.

Momma this one right here is one good paragraph of words. I can't explain it but I love it so much

Also I won't spoil the ending but here is my reaction basically

Overall: I- Wow. That was a fucking beautiful emotional rollercoaster. I haven't cried so much for a fic for a long while now, holy crap. 10/10 would recommend, 10/10 would read back just to shed a few (more like a fuckton) tears, 10/10 would share this to my mom and let her cry too, 10/10 one of my fav Fred Weasley fics from now on BUT MAITRI YOU BROKE MEEEE HOW CAN I HEAL NOW I LOVE YOU BUT YOU HURT ME 😭

JOIN MY SLEEPOVER!

[broken-clover]

Tagged by @rex101111, how fun! I guess it’s neat to look back on some stuff and think about how I make things

Rules: List the first lines of your last 20 stories (if you have less than 20, just list them all!). See if there are any patterns. Choose your favourite opening line. Then tag 10 of your favourite authors!

Now that I think about it, I realize I don’t actually know that many writers, so I suppose I’ll tag them all? @mama-nana @boardjames @irl-diluc @doreamu-san @sylveonsylk and anyone else who’s interested is free to give it a go!

-

1. Gear Grove-  Chubby little hands reached out towards the night sky. He didn’t understand what any of it was or what it meant, but he was completely enraptured at the sight of little dots flashing and blinking overhead against the darkness.

2. Pack Bonding-  Sol was lazy, but he wasn’t a moron.

3. See You, Space Hippo- “Hey, Sly, is it just me or has Murray been gone a while?”

4. Broken Bird-  Sol didn’t like visiting Illyria. He hated every inch (sorry, centimetre- fucking Europeans) of that pretty white castle with its pretty white towers like it had been ripped right from a child’s storybook, with a bunch of oh-so-important politicians faffing about in its pristine halls in and out of meetings, with everyone in a hustle and bustle yet accomplishing absolutely nothing, with its toy soldiers poised at every corner and doorway, with their pretty toy king sitting on his pretty toy throne.

5. Breadtime- Venom awoke at half past midnight to the sound of creaking wood.

6. The Centurion-  From a glance, Sol could tell that he hated the kid. Looked too clean, for starters. The still-immaculate bleached-white fabric and polished buckles was a pretty heavy tell that he was a newbie when it came to real battles. Probably one of those idealistic idiots that genuinely believed they had some ability to turn the tide of war.

7. Primum Non Nocere-  The air was fuzzy, the trees were exploding, and the sky was a taunting blue below, perfect for dipping feet in on a hot summer’s day to cool off.

8. Playing The Part-  As it had turned out, Dimitri took to diving with the same level of enthusiasm he had for most things.

9. Flyboy-  The job was going off without a hitch, and everything was going smoothly.

10. Sensoria-  The sky had taken on that pale gray only winter seemed to manage, where it was impossible to tell what time of day it was unless you had a watch to double-check.

11. A Father’s Heart-  The turtle had made it sound so easy and straightforward. They’d all had roles to play, but they were so simple, so basic, he had almost been disappointed by it.

12. Alone Together-  Haohmaru was aware of the fact that he wasn’t the most complex or philosophical of individuals, but even he enjoyed taking some time to relax and reflect.

13. Patchwork- Baiken was by far the toughest person Anji had ever met, but that didn’t mean she was invulnerable.

14. And There You Are- Sometimes, when he looks in the mirror, Venom can still see a reedy, trembling seven-year-old looking back at him.

15. Accommodation- Milo could tell that things were going south halfway through the ceremony

16. Einheit-  Something was horribly, horribly wrong. Maybe it was just the concussion fucking with his head, but Axl knew that something, whatever it was, was horribly, horribly wrong.

17. Party Ghouls-  As things always tended to go during dull days in the office, as soon as one of the cleaning staff came by to pin a flyer on the board, everyone not-so-subtly slipped away from their workstations to get a better look.

18. Dinner Theatre- The feeling of slipping free from dead flesh was liberating.

19. The Painted Man- Illyria was dying.

20. Into the Void- “You could have prevented this, you know.”

Patterns: Years of English and writing classes have hammered it pretty heavily into my brain that The first couple of lines are important to try and draw in the reader. I don’t know if I necessarily succeed, but I know I at least try to either have it start out vague so there’s some kind of intrigue, or right in the middle of things that are happening.

Something I’ve also noticed I have a habit of doing is opening with a paragraph and follow it with a single sentence, structured almost like a buildup and a punchline. It’s a habit I’m trying to not do as much, since it gets a little repetitive.

Favorite: Ah, that’s hard! I really liked writing the opening for Broken Bird since something about writing things from Sol’s point of view is just really fun. It’s a tie between that and Primum Non Nocere because I rewrote that one like three times, since I wanted to try and make an intro that would suitably reflect the weirdness that would ensue in that fic.

Very fun! Thank you so much for the tag, Rex!