#she does also put herself in the story as the hero. but more as like a 'im a good person so i cant do bad things' kinda thing i think

[rearranging-deck-chairs]

"until i realised you wanted me to be doing what was right for some reason beyond the fact that you wanted me to"

[lime-bloods]

I honestly didn't ever expect that I'd be in the position where I'd be using this blog not just to analyse what has come before in Homestuck, but to look toward the comic's future and do some real old-fashioned theorycrafting. but the time has come. so here goes; lime-bloods' Beyond Canon theories as of the July 6th 2024 update:

Vriska's Going to Hell

were all gonna help you! / whether you like it or not

a select few eagle-eyed readers already noticed that the sound used in last month's (Vriska: Figure shit out yourself.) is called "hell_tierwav". while it was easy to dismiss this as irrelevant composer shenanigans at the time, it's now become clear exactly what this was foreshadowing. whether it would be more apt to call this "Hell" or "Purrgatory" is probably up for debate - but whatever you call it, Vriska's been placed in a dimension seemingly tailored specifically for her personal torment.

while Vriska characteristically interprets the recreation of her childhood home as a symbol of how badass she was, the ghosts of her past - both literal, as the shades of the trolls she killed as Mindfang, and figurative, in the form of sprites wearing the faces of her dead friends - show us in no uncertain terms that Vriska's childhood home is the stage where traumas play out.

Erisolsprite puts it succinctly with his welcome to hell, but pay close attention to what exactly we're being welcomed to: this update ends on page 665. so as of this next update, we'll be starting on page 666.

Does Homestuck Have Hell?

the exact bubble of reality Vriska's currently found herself in seems to be an entirely new construction of the likes we've not yet seen in Homestuck - but that doesn't mean this kind of cosmic torment is without precedent. because while 666 is a number with Satanic connotations in the broader cultural context, it also has a very particular meaning of its own within the world of Homestuck. indeed, the latter half of the comic almost revolves around it, culminating in a climax in Act 6 Act 6 Act 6.

specifically, this repetition of a single digit is emblematic of recursive storytelling. to summarise what you can already read about in detail in my essay The World / The Wheel: when Caliborn is 'gifted' the Act 6 Act 6 supercartridge, which he is told is an "expansion" of Homestuck, it's a trick. there is no "expansion"; he's going to be trapped in a story that never ends because it keeps dividing into smaller and smaller versions of itself forever. the only way to truly beat the devil who trapped the heroes within a story is to trap him in his own story.

that's what Caliborn's "Hell" is, and that's also exactly what the Alternate Calliope achieved in Act 7 by creating the black hole which Vriska knocked Lord English into, ending Homestuck's story - something that Calliope even hints at in this very update, when she refers to the black hole as "containment"; not an accident, but a deliberately crafted prison. black holes are a symbol of recursion and regression; being sucked into one means being forced to live out your whole life over and over again, forever. so really, this is all we ever could have expected to happen when Vriska stepped into a black hole within a black hole! the presentation of the narrative even subtly hints at this; events in Beyond Canon that take place in the black hole are enclosed (in brackets), and now events that take place in a black hole-within-a-black-hole are contained within {curly brackets}, because you should always use a different kind of brackets to differentiate nested parenthesis from each other!

it is absolutely no coincidence that when Caliborn closes the curtains on his appearances in Homestuck, thinking he's won when really he's been condemned to a hell of his own making forever more, it's with a tribute to this exact same Sweet Bro and Hella Jeff strip.

IF YOU REMEMBER JUST ONE THING I SAY, OF SO MANY GREAT THINGS SAID BY ME, THEN PLEASE REMEMBER THIS. I WANTED TO PLAY A GAME.

So What Does That Mean?

one of Beyond Canon's central missions is expanding upon Homestuck's exploration of the relationships between author, text, and audience. as discussed above, a large part of Homestuck's thesis is the evil of forcing characters to live the same lives and the same stories over and over without the chance to grow or move on, and Beyond Canon picks up on this by placing Dirk in the position of trying to keep Homestuck going forever purely to appease its fans, while the Alternate Calliope continues to oppose this ideology. and while the alpha Calliope outwardly seems not to have taken a hard position on where she stands in this cosmic battle, the question posed by her device seems to be an entirely new one: can it actually be a good thing to regress, to return to ground that the story has already covered? can this path lead to something new, rather than merely stagnation?

it's so relevant that Vriska is being confronted with the crimes of her past, not only in the form of all the trolls she was personally responsible for killing but also in the form of the exact same punishment she condemned Lord English to with her heroism - complete with the herd of horses that are always present at Caliborn's demise! but where being condemned to an eternal cycle was fitting punishment for Caliborn, someone who refuses to break free of cycles of abuse and instead chooses to enact that same abuse on the world around him... if Vriska is someone who can break free of these cycles, who can change and become a better person despite what happened to her, will this punishment have the same effect? or, as Davepeta seems to believe, is forcing Vriska to reckon with her own past and traumas exactly what will allow her to break free of that cycle?

DAVE: [...] ill just be over here in the hyper gravity chamber training to beat lord english KARKAT: WE HAVE A HYPER GRAVITY CHAMBER???

it's hard not to be struck by the parallels in design and purpose between the Plot Point and Dragon Ball's Hyperbolic Time Chamber, and not just because of the Dragon Ball enthusiasts present on Beyond Canon's writing and art teams: albeit in typically Strider-bastardised form, the Time Chamber got a shoutout in Andrew Hussie's own Homestuck (see quote above), in a reference that was even picked up on by prolific theorist bladekindeyewear at the time. for the uninitiated: the Hyperbolic Time Chamber allowed its users to train for extended stretches of time, sometimes even spanning years, while a significantly smaller time period passed in the world outside - something that is actually true of real-life black holes! and with the Plot Point's own emphasis on time, represented by the hourglass included among its mechanisms, it seems to me that an essential part of making the 16-year-old Vriska ready for the trials ahead will be giving her the time to undergo the same growth her adult friends have experienced.

considering that Beyond Canon is already playing in the Ultimate Self space, where there are levels of power beyond merely the "god tiers", it also doesn't seem too farfetched to speculate that Vriska, forced to reckon with the fact that becoming a powerful Thief of Light isn't the be-all and end-all of personal growth, will take another leaf out of Dragon Ball's book here and ascend "beyond Super Saiyan". perhaps this is even the "hell tier" so cheekily alluded to in the Plot Point flash? certainly this kind of evolution would be the perfect way to challenge Dirk's belief that the Ultimate Self is the only logical final step for a character's development.

whatever the case, I believe we can take Davepeta at their word here. I don't think it's just a joke that by the end of this ordeal Vriska Serket is going to be fucking RIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIPPPPPPPPPED!

[molinaskies]

Lanolin: Designed to be Dislikable.

Hi friends. I’ve had a number of people in my digital face over the last few months trying to “show me the light of Lanolin,” but I’ve kept these interactions private because there’s no need to put them on blast. Of course, they're mostly respectful and I’m often reminded that I have a right to my opinion, but there is always an undercurrent that I might have just missed this one small tidbit that could blow the case wide open because how could I possibly not like her? How could I not understand her character and be empathetic to her plight?

But I’ve watched the videos. I’ve read the think pieces. I’ve seen it all. But my opinion hasn’t changed and that does not mean I’m wrong… nor does it mean I’m right! We have two different opinions that should be allowed to co-exist.

I’m being a touch cross here, I recognize. Please forgive me for that, this once. But frankly, I am frustrated—not because people like Lanolin, but because many seem incredulous to the fact that I dislike her. And I can only assume that means I simply have not made myself clear.

Consider this my final take on Lanolin the Sheep until there is some significant development for this character.

I am allowed to dislike Lanolin because she is a fictional character whom I’ve done the research on and have come to that conclusion. Done. That’s all she wrote. Go home.

That aside entirely for the sake of argument, I am allowed to dislike Lanolin because she is supposed to be unlikeable as per her role in this story. I dislike Lanolin because I dislike assholes, but I also like Lanolin because she is doing her job very fucking well! lol

Lanolin is not supposed to be in the right. She is a character who is making major mistakes due to her lack of experience combined with her arrogant dismissal of others, and she will eventually be punished by Mimic’s betrayal to teach the audience some sort of lesson. If half of this comic’s runtime has been about punishing Sonic—the titular character—for his mistakes, then Lanolin can get punished once. I would bet real world money that this will happen.

So many characters are sus of Duo by now and have tried to do something about it but Lanolin gets in the way because she can’t listen to reason. The only reason Silver and Whisper “go rogue” is because Lanolin wouldn’t listen to reason—and her response was still disproportionate because when Whisper tried again to explain herself, Lanolin made her hit the deck.

Lanolin is Sonic with some pieces missing. We know this because Lanolin directly cites Sonic as her inspiration for getting involved in the restoration. However, Lanolin looks at Sonic, sees his behaviour, and emulates it without any understanding or regard for how he has earned the right to do what he does. Sonic is insolent, not arrogant, because he only denies authority when it isn’t earned. Sonic is defiant, not self-righteous, because he believes there are multiple ways to solve a problem. Sonic is empathetic, not sympathetic, because he takes the time to learn and experience what it means to live on the other side. Lanolin has modelled herself off of Sonic because Sonic is a hero, but she’s missed the bigger picture of what that actually means.

Lanolin is cold, unkind, and unwilling to be wrong because she thinks she knows everything she needs to be in this game. That is inherently unlikable to some people and therefore justified.

But there’s more to this, isn’t there?

A huge defence of Lanolin as a character is that “she has baggage that makes her rough around the edges,” and you know what? Fair! You would not believe how empathetic I am to that, trust me. Imma get into it. But the reality of the case is that Lanolin is her own keeper, and if Sonic, Tails, Knuckles, Amy, Rouge, the Chaotix, Tangle, Whisper, Silver, Blaze, Jewel, Belle, and many others can carry their baggage around and still treat others with respect and without verbal and physical abuse, then there’s no excuse. Yes, it takes time to get there, and the whole point of Lanolin as a character is that she hasn’t learned the “everyone is useful just the way they are” and “a leader is nothing without her team” lessons, yet.

But allowing Lanolin to lash out at the world only to let her hide behind her trauma is a deeply reductive portrayal of trauma survivors that I find aggressively problematic. Further, it is a failure to Lanolin as a character because, again, that is not the fucking point of her.

This is the one time I will ever ask anyone here to just “take my word” for something. I’m not comfortable airing out too much of my personal issues on the internet. But below is what I can share.

I come from a very, very broken home that instilled a lot of unproductive defence mechanisms within me. In short, I used to be very mean because I was neglected, and acting out against my peers and showing off my skills gave me attention.

The big ticket, though, is I thought I was good. I thought I was Great. Awesome. Outstanding. AMAZING. I was a natural-born leader with a drive for justice who was good at a couple things. I thought I was doing everything right because teachers liked me and I was getting opportunities. What I never saw—never could have possibly seen until it was spit right in my face—was how I was treating everyone around me as beneath me because I thought I had it in the bag.

It wasn’t until I learned about a very public smear campaign against me that I got a wake up call. When I saw what people were saying, it shattered my entire paradigm not because of just how heinous it was, but because of how much of it was true—and that broke my heart. All I have ever wanted to do was help people. Fight for people. Protect people. Elevate people. Support people. For me to learn I was doing the exact opposite of what I set out to do absolutely destroyed me.

After that, I immediately switched up my game. I pulled out all the stops and really focused on being kinder, empathetic, and encouraging. I started to become more self-aware and mindful of how my emotions and behaviour impacted others, but it still took years to even start to comprehend that I was traumatized, let alone the ways my trauma impacted my relationships and behaviour.

I used to be Lanolin. I was a mean girl getting progressively meaner from ages 11-17, and I am still in active recovery. I still make mistakes. I still fall from grace occasionally, but I am working on it. I’m almost 24 now.

Remember when this used to be about a cartoon sheep? Back on track LOL.

I promise you that while Lanolin has some moments of clarity, she is not largely aware of what she’s doing. She’s not evil. She is not unworthy of love. She just needs time for the story to let her learn.

I am not saying Lanolin does not deserve a redemption. What I am saying is that down her current path and with her current behaviour, she has not yet earned one. And here’s the thing: even though what I’m about to say probably will not happen because this is a kids comic directed at 12 year olds, just because Lanolin might eventually get her punishment, see the light, and apologize for her wrongs while acting on solutions, no one she hurt owes her forgiveness. Whisper can still tell her to fuck off. Silver can send her to outer space, Sonic 06-style. Tangle can yeet her back to kingdom-wherever the fuck she-come from (hush, I know it’s Riverside). 

Why? Because the reality is that even if you are a changed person and have learned and grown from your past discretions, you still hurt people. Even if they do forgive you, they may never trust, and they will never forget. That is the reality I and many others like me live in daily, and to be frank: I think it’s entirely fair. I made mistakes, and I gotta pay the consequences. I deserve grace and patience, but that can only go so far. The people around me are human the exact same way I am.

I personally believe that I have never misunderstood Lanolin as a character. She’s snarky and inexperienced and abrasive entirely by design. She is meant to showcase the “wrong” ways to be a hero and will be corrected. But just because she is a rough-and-tumble person who had a bad day at work does not mean she can come home and treat the world as her personal shitter. No one has that right.

And if you disagree with me, good! Welcome to MolinaSkies.

[resident-idiot-simp]

Laura and Wade

(x)

Laura is having a bad night she had a horrible nightmare and knows she won't be able to get back asleep. She's in the living just standing trying to figure out what the hell to do with herself. She doesn't have to wait long before footfalls catch her attention. She doesn't turn knows it's Wade by sound and scent alone.

He pauses as he sees her. "Hey mini." He greets her as he ruffles her hair. She grows lightly but doesn't do more then that. It brings him up short. "Ok I know you wouldn't be up at this time for any good reason, but the fact that you're not swiping at me tells me it's worse than I assumed." He muttered as he got a better look at her.

"You ok Mini?" He asked earnestly. Laura shrugged and Wade pursed his lips. "Do you want some ice cream?" He asked and Laura looked intrigued so Wade took that as a yes. He turned towards the kitchen and Laura followed after him.

"I'm up because nightmares are ass." Wade tells her knowing she's curious but also probably won't share unless he does first. Laura looks up at him following that confession, "What was the nightmare about?" She asked like she wasn't expecting an answer.

"Suffocating It's a pretty normal one for me. It's usually that any other torture from the Weapons X offshoot." Wade answered simply. He'd been having a nightmares since it happened he's gotten used to it.

Laura's eyes went wide at that, "Wait what? What do you mean Weapons X offshoot?" Laura asked confused and intrigued. "Meant exactly what I said mini terminal cancer patient with no hope? Perfect target for an experiment what the fuck else do they have to lose?" Wade asked sardonically.

Laura knew about the cancer objectively she did, but this was a part of the story that she didn't know. "How did they find you?" She asked and Wade shrugged as he started scooping out ice cream. "Not a clue fucker showed up at Sister Margaret's handed me a card. Told me they can make me a hero. I didn't believe a word of it, but the other option was a slow painful death." Wade hands over her bowl.

"You went and then what?" Laura asked. Wade smiled flatly, "injected me with stuff that was ment to make me mutate, added in Logan's DNA for the healing and attempted to jumpstart the mutation through torture." Wade said bitterly.

Laura froze as she stared at him and it went on long enough Wade noticed, "What?" He asked as he finished scooping his ice cream and putting it back up. "They used Papá's DNA?" She asked just to clarify. Wade nodded as he took a bite. "I don't know how much they could customize and how much was just pure luck of the draw, but his DNA was used specifically for the healing." Wade explained as he guested.

Laura couldn't help but see him differently with this knowledge. Wade was much more like her than she had assumed. What a family they made she thought sardonically three lab rats two of which were experiments of the first.

"I was having a nightmare about the lab " She told him and he just nodded his understanding and sympathy. She told him about it as they finished their ice cream. Wade washed out the bowls and after he finished flung a arm around her shoulders.

"Come on let's watch TV." He told her and she didn't protest. They ended up turning on How It's Made and Laura was enamored. Wade just laughed and asked if she'd seen it before, she hadn't. Neither realized they were drifting off once more.

Logan awoke to an empty bed which wasn't too unusual. However walking out of the room and seeing Wade asleep on the couch with Laura asleep on his chest was unusual. He felt his heart squeeze at the sight and couldn't help the purr that rumbled to life in his chest.

Tags: @shy-canadian-snowflake

[cryptfly]

All I ever want to do is play dress up with my dollies. Here’s Rinsea, my ESO main, in some various ceremonial garbs she’s picked up during her adventures. More info under the cut.

Champion of Vivec

She would rather you think of her being the City’s champion than the God-King’s, but here we are. I obviously based it on the Buoyant Armiger’s glass armor. She’s not officially a Buoyant Armiger or anything, but she does get some fancy glass armor pieces for official occasions which she does not attend. This is also partially based on Bajoran liturgical wear because I like it very much.

Champion of Sotha Sil

Technically she’s the champion of the Clockwork City but that was very long to put on her picture lmao. I don’t think Seht would have gotten her any ceremonial wear honestly, but since it’s basically a standard Clockwork Apostle outfit, I like to think that one of that order got her this, something fine and suited to the environment as a thanks for saving their sadboi God. Drawing the armor pieces was really fun and satisfying and they turned out way better than I was expecting.

Champion of Almalexia

Once again I changed the actual title given to fit the picture. Almalexia actually named her a Hand! However as we all know, a Hand of Almalexia is a specific kind of Ordinator and Rin is not actually inducted into that order. She’s a Hand because Ayem says so but that doesn’t actually give her any rank or anything. Instead of giving her Ordinator armor, I gave her a fancy gown. I think Ayem did this with a touch of vanity-isn’t my Hero so beautiful, a true Daughter of Morrowind I am such a proud Mother. Also, I really wanted to draw a pretty dress and no one can stop me. I based some of the details off Kirkbride drawings of Almalexia herself.

Urshilaku Clanfriend

In my personal canon of the story, the Vvardenfell quest happened first for Rin and took around little over a year and in that time she became a Clanfriend among Ashlanders. Her father, Gares, had been an Ashlander until he was forced to flee with his infant daughter and when she returned on what seemed to be Temple business, they were wary of her. But she made herself useful and was unfailingly polite and she was folded into much of their life. I like that while the other outfits look designed and tailored to suit her, her Ashlander gear almost looks like hand me downs and mended pieces. She wasn’t given new and special clothes, she was trusted with clothes worn by the tribe, inviting her into the family itself. These clothes look nice but also like something she work in side by side with the Ashlanders.

[sapphic-agent]

I think the only reason for Izu to not see the corruption anymore even when he is a prime victim of it...it's bc of bk. Really. Hori went out of his way to make BK "it's not so bad" and did the same for us, AIZAWA and Endy.

Hori shut the victim's voice.

I can say with confidence here...all Izu's issues in writing and outside steem from BK's existence and how much Hori loves him.

Bc there no excuse for a person who was abused 12 years given or take to be so naive. Izu defending ua and Aizawa is baffling as Aizawa wanted to expell him day 1

Izu worshipping am is baffling as am doesn't deserve his adoration bc the man did the abre minium (and that is better than what Inko, his mom, did)

Izu liking A1 is baffling too since they are siding with the abuser.

MHA is a story where the abuser won.

Izu is silent

Shiga is put down bc he is the bad vicitm.

Yeah, the way MHA treats its victims as opposed to its abusers is... Mind boggling.

Touya's backstory retconned so much of the Todoroki lore and anyone can see it was an attempt to make Endeavor look more human. And in the process, Touya and Rei were demonized even more

Bakugou gets sympathy and admiration from everyone. Izuku gets made fun of and ignored. Even when someone does show concern for his well-being, it's either a) never talked about further or b) made into someone else's- Bakugou's- moment

Dabi's reveal ended up resulting in the rest of the Todorokis supporting Endeavor, not a word about Rei's pain or trauma. Nope, she's just there to help Endeavor's redemption

Hawks and Nagant were turned into child soldiers and forced to kill by the HPSC. Do they get autonomy or retribution? Never. Hawks continues to be their brainwashed soldier and Nagant fades into the distance. Even worse, Hawks is used to prop Endeavor's- another abuser- redemption

Eri escaped her abuser so she should be healing in peace, right? WRONG. She mutilates herself for the so-called heroes

Izuku loses OFA, only to comfort Bakugou who's devastated by this for whatever reason even though he was the one who made Izuku feel worthless for being quirkless in the first place

Kotaro is a grown man who purposely abused his children, right? But screw that, Nana is to blame even though she did what she did to protect him. And also, no one told him to abuse his kids

The only ones who are treated fully as abusers are AFO and Overhaul. But, well, we know what a disaster AFO was and how terribly Tomura towards the finish was written so it really didn't matter in the end, did it?

[dekusheroacademia]

Small problem I had with Ochako's ending

I am writing it here because I do not want to update the big "ochako's journey" post I did before.

Okay, in the previous post I already talked about how Ochako's putting aside her feelings is when the major problems I have with her characters start. To summarize, this should lead to two outcomes (more or less): it works very well, it doesn't work. In one outcome we would see Ochako have success as a hero (and the author can add her longing/sadness for the cost of it), in the other we would see her not have success (a "lesson" in "maybe you do not need to put aside your feelings"). Instead: we have none. Because Horikoshi puts aside her, and she loses a lot of screen time.

But I talked about it before, this time I want to talk about the ending.

I truly feel like Ochako was the only character who had an incomplete arc by chapter 430.

Deku ended AFO, "saved" Shigaraki (well, his spirit or something), then lost OFA and became a mentor like AM. Then he went back to being a hero with his suit - it came full circle.

Ochako instead has smaller arcs, but one of her major ones is the one connected to Toga: in the licensing arc, Ochako put aside her feelings for Deku to be more like Deku and focus on being a hero.

This is connected with Ochako's fight with Toga, because what Ochako admires of Toga is how she can smile so openly and is able to openly live as herself and declare what she wants and love.

During chapter 429 we have Deku noticing that Uraraka hides her feelings (pain, in this case) because she prioritizes others:

So these are two parts of the "hide your feelings" arc.

In this chapter she finally expresses her feelings (pain) to Deku and the rest of the class. This could have been an okay conclusion. She was still trying to hide, but when Deku offered help it is Uraraka who openly talks about what she feels.

And even Tsuyu notices that Ochako did not open up:

As I said, this could have been the conclusion of the arc, and it would have been okay. Ochako finally expresses her feelings openly (her pain, in this case), then in the next chapter we get Deku's conclusion and we find out what Uraraka is doing with all of her feelings for Toga/her confrontation with Toga (the quirk counseling).

Now, new chapter: 431. There are two options for Ochako's arc:

Ochako's scenes about her crush for Deku and putting aside her crush was a proxy for how she puts aside her own feelings in general, so it is the same as her putting aside her pain in chapter 429. In this case, her arc is concluded with her sharing her feelings in general (pain in particular). "Hide crush = hide feelings"; "Admiration for Toga = Admiration for someone who express feelings openly"; "Express pain = express feelings, learn not to hide"

Ochako's scenes about her crush for Deku are a very important part of her general "put aside her feelings" arc. In this case we would have "Hide crush = hide feelings in general but also puts aside love"; "Admiration for Toga = Admiration for someone who expresses feelings openly and can also openly declare who she is in love with"; "Express pain = express feelings, but she needs time to be able to express her love for Deku" -> the end of the arc is still needed.

Chapter 431 starts with a kind of sad/desolate setting, with a lonely Ochako (overworked maybe?) thinking about Toga once again, to let us know that we are in the (2) option: Toga's lesson and what Ochako learnt from her is not fully completed.

This is also confirmed by Tamaki remarking that her work must be exhausting so she must get some time for herself. She seems confused, because clearly she does not. (And Ochako also confirms her personal life is put aside for work, and she does not have a lot of time for her).

Ochako says that a month ago (when Deku basically came back to work as a hero) she started to dream Toga again.

Now, this is fine, I liked it. If we are in option (2) it is clear that the story is telling us that Ochako kept aside her love for eight years until she had to see Deku daily once again. While I am not a fan of the idea of a female character holding a love/crush in silence for eight years - I am not here to talk about that, so I will skip it for now.

At this point is where I really hated the chapter (in the context of Ochako's arc).

We move to Deku.

Now:

Deku's arc was over.

Deku never had an arc about his romantic feelings or about not noticing romance.

The romance arc was Ochako's

She had an arc specifically about how she put aside her love for Deku, and then overworked-focused on work - she is still in the middle of the arc

she is also the one who had a revelation from her confrontation with Toga

And yet, Deku steals her ending.

Ochako wants to talk more with Deku, but again, she decides not to. She is walking again. She is not moving towards her goal/end of her arc.

She did not learn Toga's lesson.

It is only because Deku moves towards her that she "agrees" to talking more with him/a romance.

Toga's wish is for Ochako to live as she wants. Ochako admired that Toga could declare her love with an open smile and live as she wants. Ochako hid and is still hiding her feelings for Deku, she is not acting on her wishes and not living as she wants - and yet, she still doesn't.

Instead of having an active Ochako take a step forward and moving towards the goal and growing, we have Deku doing that.

When Ochako put aside her feelings she was acting on her new resolution, we had a monologue of her thoughts too. Now she is passively thrown at Deku by Toga, and listens while blushing - while Deku is the one who declares himself and takes a step forward. Without Deku doing that we know that Ochako would have not expressed her feelings openly.

So what was her arc conclusion? To just wait for a man to make the first step?

This is how I would have changed things a bit:

Kept everything the same until the end of the dinner. Maybe added Ochako's pov earlier, so we can see her at dinner. The problem is that Ochako's mind does not change through the chapter like we see for Deku, she does not realize that Toga's words were true, that they were right, we never see her seeing her friends living their romances/personal lives and thinking "wait..."

The scene of Toga pushing Ochako should have been just after the dinner. Ochako walks away and then she finds her resolution, she realizes she cannot keep living like this (add how many flashbacks as you need, even one of her licesing exam).

And maybe both Ochako and Deku walking towards each other's and declaring their feelings at the same time.

I just really really wanted Ochako to have some agency IN HER OWN CHARACTER ARC.

[autumnmobile12]

My Hero Headcanon: Rei

When I think of Rei’s childhood, I think of Yuki from Wolf Children.

Just not at all being the lady her parents probably wanted her to be and living her best life collecting bugs, feathers, and small animal bones.

And just like Toga, those interests were suppressed because they ‘weren’t appropriate for little girls,’ and she was made to conform.

I mean, look at her expression and tell me she wasn’t told to sit still and be quiet too many times when she was a child.

I think she was a weird kid.

And that's why I play with the snowboarding theme when I do fanworks involving Rei, as well as the idea that Touya’s inability to sit still when he's agitated/excited comes from Rei. It's also why I have the headcanon there was never a point where Rei and Endeavor loved each other. They already have two extremely different personalities in canon, and the high-energy headcanon just highlights a further personality difference.

I’ve already gone into it in more detail with an Endeavor analysis that I made, but here’s an excerpt that illustrates my point:

...what I think shows here is they weren’t really talking all that much. Specifically, he is not ‘talking down to her.’  He is not treating her with any particular disrespect or putting her down as inferior.   He doesn’t have the arrogance he later exhibits. This also isn’t him being aloof and ignoring her either.  Look at his face, specifically his eyes.  That is the same blank, deer in the headlights, “I have one brain cell dinging around in my head that is struggling to find a way to interact with people,” stare he shares with Shouto.

He has no idea what to say to her. 

So finally, Rei turns off to the side to admire the garden, and he asks, “Do you like the flowers?”  It’s a small thing, but it does show that in some capacity, he did show some interest in Rei and making her happy.  He’s just stupidly awkward about it at this point. (Even if his ultimate goal was…well, we’ll get into that.)

...

The long and short of it is if you remove the violence/temper aspect of Endeavor's character, you basically have Shouto: An awkward dork who doesn’t entirely know how to interact with people and he probably doesn’t understand sarcasm or euphemisms either. The main reason we can’t see that side of Endeavor’s character very well is because he’s weaponized intimidation/violence to cover it up. (Dammit, dude, this it not how you patch a character flaw.) So I don’t think Shouto’s isolation and childhood training caused his social ineptitude so much as exacerbated a character trait that was already there. He got it from Dad.

So referring to the earlier pre-kids part of Rei and Endeavor's relationship before the violence actually started, imagine the awkward personality-type paired with a partner who is, by all accounts, weird and has too much energy to be contained. Arranged marriage aside, I like the idea that Rei reverted back to her odd personality after she left her parents’ house. I like to think she danced in the kitchen when there was no one home, hoarded feathers and skulls and other odd keepsakes, and looked for places where she could snowboard. She was a housewife by herself for long periods of time, so who was going to stop her?

There is a short story I absolutely love called Ink, Water, Milk by Catherynne M. Valente. The plot's not relevant to this post, but there is a scene where a bored housewife buys a bunch of those cube-shaped watermelons and just stacks them in her fridge to admire them.

And for some reason, I can picture Rei doing this.

Like Endeavor just comes home to find her sitting cross-legged in front of the open fridge and smiling happily at the nine cubed watermelons stacked neatly inside. (Keep in mind, these things average $100-$200 a piece and are inedible/decorative.) No explanation for why she's done this, she just has a big, ecstatic smile on her face and pointing into the fridge. You know, Touya energy when he's a kid and excited about something. And Endeavor, in true Shouto fashion, is baffled by what she’s done, has no idea why she’s done it, and wondering if there’s a joke he’s not understanding.

I like to mirror this behavior in Touya and Shouto when I can in writing for Ambush Simulation. Underneath the trauma, they are at their core the brother with their mother’s high energy and the brother who is socially awkward and doesn’t quite know how to deal with the unhinged behavior but doing his best.

...

Edit because I just found this gif.

Young Rei:

[kallie-den]

Rescue Hound Chapter One

Kione Monax, a mercenary pilot, is hired to rescue the captured, brainwashed Sartha Thrace. But getting her home and healing her mind prove to be very different things - and Kione's feelings for the hero threaten to pull her into the darkness when she discovers just how malleable Sartha can be

A new Warhound story!! The preceding stories can be found at this tag

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Nothing makes Kione Monax feel good the way being saddled up in the cockpit of a huge mech suit does.

Cause it pays really, really well. Duh.

Provided you’re the best, of course. Kione doubts any of those fifth-rate Imperial grunt pilots they never seem to run out of get paid more than a pittance—not that they’ll ever live long enough to spend it, if she’s the one they’re up against. But Kione? She’s the best. Nowadays, at least. And that means she can name her damn price and the rebels will pay it, no matter how sour the looks on their faces when she comes to collect.

It’s not all about the money, obviously. Kione would be the first to admit that there is a very clear and distinct pleasure in being the very best. To ruling the battlefield like a queen. To tapping into the merciless rhythm of combat, and feeling the beat change when she decides it’s the moment - the moment to kick her Theaboros’s reactor into the red and soar, allowing herself just a single moment to drink in the stupefied, upturned, defeated faces of her prey before she puts them out of their misery.

Fuck, it’s good. It really gets her hot.

But it’s not better than money, because money was what had bought her the Theaboros and its wings, and its state-of-the-art systems, and its fresh coats of paint—for vanity, although sometimes she lies and calls it ‘branding’—and all the fancy drinks she buys for the very best hookers before she buys them too. That’s what life is all about. Not principles. Lots of people get big, stupid ideas in their heads once they’re sitting behind the controls of a sixty-foot mechanical god. If your ideas are big enough and stupid enough they start calling you a hero, and Kione is very, very determined not to end up as one of those. They always die bad.

That’s how scumbag mercenaries like Kione wind up as the best.

Hey, merc, comes a terse voice over a shitty, crackling radio, just as Kione finishes planting the charges, you better be in position.

Kione sighs quietly to herself before she answers: “I am. Plan B is in place.”

Good, says the girl on the radio. Get ready. And remember: no work, no pay.

Kione rolls her eyes. Why do people always feel the need to remind her? Contrary to popular slander, mercenaries aren’t cowards or turncoats. Any mech-for-hire who pulls that kind of shit just saw their very last payday. And besides, Kione refuses to help out the imperials. Just out of self-interest, of course—there’s no place for free spirits like her in the kind of world they’d like to build. She’s bloodied their noses more times than she can count, and you’d think that would win her some actual gratitude from the rebels she fights alongside.

Hell no. Kione had fought with unit after unit, recruit after recruit, and each one proves to be just as naively idealistic as the last. They all think they’re put here to save the world, and they hate that Kione knows she’s only here to make some hard cash. The girl barking orders at Kione over the radio is one of those. An idealist. A firebrand. She’d flashed Kione a nice, mean look before they’d shipped out. Stars in her eyes, hell on her lips.

Kione knew then and there she’d have to fuck her, once they made it back. It wouldn’t be hard. Girls like that always went for her once they saw first-hand how good she was. She went for them, too. She just loved to make them choke on her.

She’s here. Cut the chatter. Everybody focus.

At once, Kione lets go of her sleazy fantasies and gets herself back in the zone. Not for the first time, she wonders about the targets. How many? How well-equipped are they? Guess she’ll find out soon enough. Not that she can see shit right now, hanging from the underside of this colossal bridge.

It’s a good place for an ambush and a great place to get yourself killed if a thousand tons of reinforced concrete come down on your head before you know what’s happening. That’s why Kione’s there. That’s the truth of mercenary work: you get the real shit jobs. The ones they don’t expect you to walk away from.

Suits Kione just fine. She’ll groan and grumble until they pay her double, then prove she’s worth every penny.

For now, though, there’s only waiting. That gets to Kione the same way it does to every soldier. Eventually, her mech’s sensors pick up vibrations. Footsteps on the bridge above. Another machine. A pretty big one, too—but only the one, which prompts some serious fucking questions. Who the hell are they ambushing here? A high-value target, clearly. Maybe an imperial higher-up. But those don’t fly solo. A pilot, then? Some ace? It’d have to be. Kione can’t think of any other reason they’d pay her fees for a gig like this.

It has to be someone good. Someone only she can beat.

Kione finds herself grinning.

More waiting. The target is moving slow. A nice, steady march. It gets closer, and closer, and closer, until Kione can hear each step; can feel them reverberating through her body. Until the enemy is directly above her. The enemy mech’s footfalls are heavy and almost familiar. Despite everything, Kione is all but bursting with anticipation. She loves getting to put a rival ace in the dirt. Nothing better. But she knows she needs to be patient. She’s not the first wave. She’s the coup de grâce.

The radio crackles again. Now! Open fire!

An instant later, the air trembles with the report of a dozen guns. The rebels scattered themselves across the bridge, each pilot picking their ambush spot to secure kill zones and neutralize cover. Nowhere to run, nowhere to hide. The rebels don’t have a lot of advantages over the imperials, but this is one of them: they’re good at this kind of guerrilla shit. As the barrage wears on, Kione’s grin starts to slip. She’s beginning to think they won’t need her after all.

Then, one by one, the guns go silent.

Kione can pick out each machine as it goes dark, just from the sound. No two rebel mechs are alike; consistent supply and production lines are a fleeting fantasy so each machine is somebody’s pet project, customized according to parts and needs. That makes it all too easy for Kione to count.

One down. Two down. Three down.

What the fuck?

It’s hard to believe, but Kione can hear it happening. Up above, the enemy mech pounds the bridge with its footfalls. That thing must be moving like a hound out of hell, dodging beams and missiles, throwing itself at one rebel after another. Its engine is deafening; an insane scream of tortured metal and unholy combustion that fuels the carnage. Screaming is just about all Kione can hear over the radio, too. The rebels’ comms discipline has broken down. They can’t make sense of how fast it's gone wrong.

Merc! Where the fuck are you?

That’s her cue. It’s the moment—and with a worthy foe, too. Kione can’t stop herself laughing nastily into the radio as she retracts the anchors keeping her attached to the bridge and slips into freefall.

And again, when she punches ‘startup’ on Theaboros’s flight system.

Mechs can’t fly, yeah? Everyone knows that. It just doesn’t make a lot of sense. You want to fly, you get in a plane. You’d need a stupid amount of thrust to get something as big as a mech suit in the air. A big engine won’t help. The tyranny of the rocket equation will murder you. Weight means fuel, fuel means more weight. The aerodynamics would probably be shit too. And that’s not even getting into the economics problem. Nobody can spare that much reactor fuel for just one machine. The best way to square the circle would be to build the entire thing out of some kind of crazy cutting-edge superalloy, but those are hell to get and worse to maintain. No; a flying mech would be a ridiculous vanity project. The imperials would never sanction it, and the rebels could never afford it.

Good thing Kione Monax has never worked for free a day in her life.

It helps that she built Theaboros smart—or at least, paid other people to. It’s a slender beast; tall, upright, almost human-like in its posture. It weighs a fraction of most of its rivals, and so when it spreads the six sleek, silver pinions mounted on its back, Kione can actually feel them catch the air. Every little helps when you’re fighting gravity.

But what really, really helps is the state-of-the-art antimatter reactor surging to life and pumping out a steady stream of anti-Fermion particles that singe the air around her mech a deep, unearthly red as they annihilate and, for just a fraction of a second each, keep the fundamental forces of the universe at bay.

With that on her side? Fuck yeah, Theaboros can fly. And Kione falls a little more in love with it every time.

It flies now, with her gripping the joysticks, gliding the unnaturally nimble machine between cables and tresses as she boosts clear of the bridge’s superstructure and tilts up, pulling a tight loop that brings her down onto the deck, ready to give her target the surprise of a lifetime.

Except, no.

Kione is the one left with her jaw on the floor when she sees who she’s up against. All at once, she realizes she was wrong before. It’s not someone only she can beat, because it’s the one person she never ever managed to beat, in all the long evenings they spent sparring together.

It’s Sartha.

It’s Ancyor, anyway. Or most of it. Actually, it’s more like Ancyor died and came back wrong. The base frame is still there; Kione can tell as much from that dragging, lupine gait as it lurches across the bridge. The exoskeletal armor is the same too. If anything, it looks even more beat to hell than usual. But beneath that, it’s all wrong. The reactor. The weapon systems. The raised, pneumatic hackles that augment those deadly claws. They’ve all been replaced. Upgraded. Imperial tech. It gives Kione the creeps. It’s like someone’s wearing her dead friend’s skin.

Whatever they’ve done to it, it’s clear Ancyor has lost none of its effectiveness. In its terrible, wake, Kione counts four of the mechs she shipped out here with lying in shattered, ugly heaps. They went down bad. Catastrophic kills. If anything, it looks like Ancyor’s pilot took special pleasure in plucking out and crushing each cockpit. That really gives Kione the creeps. Even Imperial pilots usually don’t sink that low.

At least she knows it’s not Sartha in there.

Unsurprisingly, the remaining three rebels have gone to pieces. They’re backing away, giving up the only tactical advantages they have—prepped positions and unit cohesion—and the radio channel is full of little more than panicked screeching. The squad leader, the girl who was barking at Kione earlier, is trying to instill some kind of discipline. It’s not working. She’s too young. They all are.

Take her down, damn it! she yells, when she sees Theaboros land. This is what we’re paying you for.

“You got it,” Kione mutters.

In all honesty, she’s weighing up the pros and cons of simply hitting the bricks and running. But she reminds herself: this isn’t Sartha. Just a pale imitation.

And besides, there’s money on the line. Duh.

In any case, the choice gets taken away from her when Ancyor turns its awful snout in her direction and starts barreling toward her.

“Shit!”

At once, Kione kicks her mech’s flight system into high gear. She manages to get enough thrust to pull up and clear—but only just. Ancyor is even faster than the last time they fought. Kione wheels around in the air to find her target, extending and clasping her long spear in Theoboros’s right hand. Once the weapon is deployed, its tip starts glowing red-hot as her systems reroute surplus reactor heat. Kione would prefer to keep Sartha’s hellhound at a comfortable distance, but CQC is the only good way to finish a fight sure and quick.

As soon as Kione sets her sights, she realizes that Ancyor has already turned to look up at her. Silently, four openings appear in its torso. An instant later, four wire-guided harpoons are coming right at her.

That’s new. Fuck.

Two of them, she manages to dodge. One, she bats aside with the flat of her spear blade. But the fourth, kept on target by tiny thrusters, buries itself in one of Theaboros’s long, slender legs. That’s not good. The damage itself is fairly negligible. What’s not negligible is Ancyor’s massive weight as it pulls the wire taut and starts reeling her in.

And, at the same moment, launches itself into the air with enough force to crack the concrete under its feet.

Kione’s display is filled with warnings she’s pretty sure she’s never seen before. She dismisses them with a furious gesture, but all she sees on the viewscreen afterward is the ruin of Ancyor’s face coming at her at an insane speed. No time to cut herself free, and no aerial maneuver Kione can think of is going to make a damn bit of difference with another mech weighing her down like an anchor.

So, stupidly, she does the only thing she can think of: she points her jets in the opposite direction and blasts herself straight down toward Ancyor.

Fifty feet in the air above the bridge deck, two meteors collide.

Ancyor has sheer mass on its side, but Theaboros has gravity and thrust. Kione is no rookie; getting her head knocked around in the cockpit isn’t going to ruffle her. She’s focused on what counts: getting this damn dog off of her.

It’s not easy. Ancyor is scrambling all over her, its wickedly sharp chain-claws working to find purchase. It’s clear whoever’s behind the controls knows Sartha’s style. They want to keep the two mechs bound together, grappling, where Ancyor’s sheer savagery makes it invincible.

All Kione can do is wield her long, elegant spear like a brawler’s stick, keeping it between them, leveraging them to try and force Ancyor away. Unfortunately, Theaboros isn’t great at this kind of contest of strength. It’s just not built for it. Desperately, Kione uses the flight system’s jets to throw the two of them into a series of loops, heads over feet, hoping the g-forces will destabilize the beast.

Of course, it’s just as likely that what happens is that Theaboros goes down face-first into the bridge.

Splat.

But maybe it’s working. Ancyor is starting to peel off. The harpoon comes loose and one of its arms slips, windmilling through the air. Kione presses the advantage, wrenching her spear around to make Ancyor’s grip untenable. After one last lunge that goes clean past her shoulder, Sartha’s mech is sent tumbling back down to earth where it belongs.

Wiping sweat from her brow, Kione grins. Get down, dog. The sky is all hers.

Then she notices the warning lights. She stops grinning as she realizes that last lunge didn’t go clean past her shoulder at all. It hit exactly where it was meant to. It ripped off one of her goddamn wings.

Ah. Well, that’s really not good.

Theaboros isn’t dead in the air. At least, not quite. But the thing about wings is: however many you’ve got, you probably don’t wanna be on less than that. Lest she choke her reactor to death, Kione is forced to ease off and touch down on the bridge. Once her baby has cooled off, she should still be able to pull off a trick or two.

Merc? You still breathing?

Kione’s glad radio girl is still here. Judging from the guns Kione hears, her surviving squadmates are too. Maybe they can still do this.

“I have a name, you know,” she grunts.

Yeah? Get us back to base in one piece, maybe I’ll think about learning it.

Kione cackles at that. She likes a girl who can keep her head.

“You can buy me a drink instead,” she tells her. “You already know my name. If you’re not careful, I’ll make you say ‘please’ when you use-“

She cuts herself off when she sees what’s about to happen.

Kione never takes her eye off the ball, but it’s taken her a moment to stop seeing white. Now that she has her sights on Ancyor again, she’s realizing it’s not nearly as debilitated by its fall as she’d hoped. It always was freakishly tough. And it’s doing the worst thing it possibly could. Worse even than coming at Kione again while her flight system’s cooling down.

It’s going after the easy prey.

In a single bounding leap, Ancyor hurls itself at the rebel currently spray-and-praying it with ineffective beam fire. The poor bastard freezes up, and Ancyor lands squarely on their shoulders.

It doesn’t need weapons. Its weight does the work. Even Kione flinches from the crunching sound.

No!

It’s radio girl. So much for keeping her head. Maybe she knew them well. Maybe it’s just one loss too many. Either way, because she’s one of those rebel idealists, she’s doing the brave thing. The stupid thing.

Breaking cover. Trying to save her comrade.

Idiot. That’s exactly what a predator like Ancyor wants

There’s some distance between the two of them, but nothing Ancyor can’t cross in the blink of an eye. It’s happening half the bridge’s length away. Theaboros has a rifle, but the stopping power is nowhere near enough. Kione can already see exactly what’s going to happen. Radio girl is going down. No chance her last squadmate sticks around after that happens, which leaves Kione trapped in a one-on-one. Not good odds.

So, the right move is obvious: ditch. Now. The mission’s a bust. Losing Kione’s pay is better than losing her life. As long as she takes off right this second, she should be able to make it out clean.

All she’s gotta do is outrun the other rebel, right?

Kione sighs. It’s an easy choice. But here’s the rub: she really was looking forward to that drink with radio girl.

So much for letting the reactor cool.

As Theaboros throws itself forward at her command, Kione punches the reactor straight back into the red. The thrust alone has her in the air; Kione works the flight system with a master’s touch, pitching her machine slightly off-axis to compensate for the wing she lost. It’s a rough ride. Her baby’s running too hot. The wingtips are starting to disintegrate. Antimatter annihilation’s a bitch. Kione doesn’t want to think about how much the repair bill’s gonna come to this time.

Instead, she just grins.

You thought your ride was fast, Sartha? Think again.

Ancyor lunges. Radio girl is right under its outstretched claw. Theaboros is hurtling toward them at a truly unwise speed. In the cockpit, Kione is rattling around like crazy—but she doesn’t let up. She only has a fraction of a second. No time to shoot, no time to strike, no time to parry. Only time to do something dumb.

Theaboros rams into radio girl shoulder first, shoving her out of the way. She raises her left arm in a feeble bid to fend off their attacker. The impact with the rebel mech wreaks havoc on Theaboros’s frame.

And then Ancyor’s claws rip her arm off.

Shit.

No time to take stock of the damage. No room to get her balance. No heat overhead to spend on a boost. Ancyor just keeps coming. It switches targets to Theaboros without missing a beat. Kione stumbles back just barely out of reach, wheeling her spear in a furious series of parries and ripostes.

Not furious enough. Nothing’s as furious as Ancyor. It matches Kione step for step, blow for blow. Only a matter of time until one of them lands home. Kione grimaces. At least radio girl is free and clear—not that that’s worth much. Can’t get paid if you’re dead, and she’s sure starting to feel dead. Theaboros has taken up too much damage to put up an even fight.

Kione snorts, despite everything. What, is she making excuses for herself?

That’ll look great on her tombstone. Kione Monax: it wasn’t fair.

It stings that it’s not even true. Now that she’s at the right distance to get a good look at Ancyor, it’s plain enough that it took a fierce beating in the rebel ambush. Radio girl’s crew wasn’t so bad after all. They took some mean chunks out of its armor. All over Ancyor, clouds of leaking coolant hiss and exposed electricals crackle. At least one or two major servos are missing. It must be handling like a pig right about now, but it’s moving like nothing’s happened. Whoever’s behind the controls is just that good.

Which begs the question, doesn’t it?

Who the fuck is piloting that thing?

Sartha Thrace is dead. Kione made her peace with that a long time ago, and she has no time for stupid rumors. But now she can’t help but wonder. Who else could handle Ancyor like this? From their sparring sessions, Kione recognizes all the little trademark moves. Hell, the only reason she’s lasted this long is because she has a sense of Sartha’s cadence. It’s like she’s fighting her friend’s ghost.

No, not her ghost. Something worse. Sartha was never quite like this. Never quite so heedless of herself. Never so proud she wouldn’t simply retreat from this kind of ambush. This animal ferocity—Kione has seen it before, but it was always a rare thing. It came over Sartha only when something drove her to her very limit. This pilot? It’s like she’s got all of that side of Sartha, and nothing but. Her rage and violence, distilled. Purified.

A shiver runs down Kione’s spine. It’s so wrong.

Merc?

That’s her radio girl. Kione rolls her eyes. She’d been hoping the rebel pilot would just run. If both of them die trying to save each other, she’s gonna throw up. That’s just too much.

“You clear of the bridge?”

Yeah.

Thank the gods.

Her distraction almost spells her end. Theaboros is driven yet another step backward and almost trips off the side of the bridge. Kione glances behind. She’s out of space. Shit. Shit! There has to be something left. Kione knows it. She feels it. This can’t be the end. Not of her. Not yet. She’s too good. There has to be something.

A plan B.

Oh, right.

Kione checks her reactor. Flight still isn’t on the menu. It’s gonna be ugly.

“Radio girl?” Kione calls out, as Ancyor brings its claws up for an overhead blow. She raises her spear to meet it. Sparks fly as the weapons meet.

Who- yeah?

“Plan B. Blow it.”

To her infinite credit, radio girl doesn’t hesitate, which means Kione only knows it’s happening when the ten thousand-ton reinforced concrete bridge under her feet suddenly isn’t.

In desperation, Kione throws herself over the edge. A drop is one thing. But getting crushed? That’s what’ll kill you. Unfortunately for her, the bridge is already falling. She can’t kick off cleanly. Best she can do is scramble at asphalt and rebar that’s quickly turning into little more than dust while she overboosts her flight system as far as it’ll go.

It’s good enough—almost. For just a moment, Kione thinks she’s threaded the needle. She’s going to glide clear.

Then Ancyor comes flying at her one last time.

How it managed a leap like that, Kione will never know. The way it screams as it comes at her almost stops her heart. It gets close. Way too fucking close. But Kione manages to wheel her machine around, kicking its legs up and out of Ancyor’s reach.

Not the wings, though. It gets another one of those.

That’s bad. Extremely bad. Kione suddenly realizes she ought to have been more appreciative of only being down the one wing.

Mercifully, Ancyor falls away and disappears into the bridge’s wreckage at the base of the valley. That’s a mercy. But Theaboros isn’t much better off. Spitting smoke and almost completely out of control, the best Kione can do with it is a crash landing.

But hey, any landing you can walk away from. Right? And Theaboros can still walk. It just can’t do anything else.

Kione lets herself throw up in the cockpit. That’s a first.

A minute or two later, while she’s slowly picking herself up, radio girl comes skating down the wall of the valley. Her mech is a bit shit—common enough, for rebels—but it looks a damn sight better than Theaboros right now.

Holy shit, radio girl calls out. You’re alive! You… you saved me.

She’s got that naive awe in her voice, like she’s talking to some hero. Kione frowns. Can’t have that.

“Don’t get used to it,” Kione retorts gruffly. “You die, who’s gonna make sure I get paid? Duh.”

She senses radio girl bristle a little, but it’s not quite enough to penetrate that thick coat of rebel sincerity. Thank you, Kione, she replies earnestly.

Even though it almost makes her throw up again, Kione laughs thickly.

“Told you. You already know my name.”

Now she senses the other pilot blushing.

Well, shit, radio girl says after a moment, as her mech’s head turns toward the ruins of the bridge. We really fucked this up. I don’t know how I’m gonna explain this to command.

Kione happens to disagree with the ‘really fucked this up’ part of that assessment. She happens to think she pulled off a goddamn miracle, actually. But then, she still doesn’t know what they were really after. Who they were really after.

Wait, radio girl says slowly. Is that… oh gods, I think that’s her.

Before Kione can ask, she’s dashing for something she’s spotted in the wreckage. Kione makes Theaboros limp after her. When she spots it too, her eyes go wide.

It’s Ancyor.

It’s almost in one piece. Almost. Tough son of a bitch. Kione half-expects it to come roaring at them again, but once radio girl shifts the bridge pylon that landed on it, she sees that Ancyor has finally given up the ghost. It’s not beyond repairs but the torso is cracked open like an egg, leaking oil and worse in a steady stream. Looks like the protection systems deployed OK, at least.

Which means the pilot might actually be alive.

Sure enough, as radio girl peels away one half of Ancyor’s ruined cockpit, Kione sees her—and for the first time, she’s completely and utterly lost for words.

Lying there, battered and bleeding and unconscious but very definitely alive, dressed just like usual except for what looks freakishly like a fucking muzzle strapped to her head—is Sartha.

Sartha Thrace. The hero. Kione’s friend.

“She…” Kione splutters eventually, overcome. “But… how did… all this, just for…”

Yeah, radio girl answers. All this was for her.

There’s something in the rebel’s voice. Something at once sorrowful and unbearably hopeful. Kione has never heard anything quite like it. But, uncomfortably, she realizes it was in her voice too.

She’s the objective. We’re bringing Sartha Thrace home.

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[miraculouslbcnreactions]

Last post you talked about your ideal version of canon, I was wondering could you share it with us? If not, that's ok

Oh man, I could go on about my dream version of canon for ages! I've talked about various aspects of it on here with stuff like my "sugar" posts on Nino and Alya, but the broad strokes are:

Serialized story where it's basically one large narrative told in chunks

A true teams setup where Adrien, Marinette, Alya, and Nino feel like this amazing, tight friend group who grows into a found family as they get older, giving platonic and romantic love more equal billing

No guardian order, just have it be a single-person role that gets passed on from person to person

Kagami and Luka in supporting roles that have nothing to do with being love interests

Sympathetic Gabriel who feels like a truly tragic figure, but who does NOT get redeemed

Emilie gets an actual character

No sentinonsense

Revised miracle box that is way smaller and that has strong lore

The Agreste's aquiring the miraculous is far more morally complex, makes sense, and was not done for explicitly selfish reasons

Reverse the love square right from the start and never have the crushes flip

I've talked about all of these things on here, but the one thing that I've only briefly touched on is my love of a reverse square setup. I am passionate about that one, so let's take a moment to talk about why since it's probably going to be the most interesting to read.

I don't hate the canon setup for the crushes, but also I don't think that they're the ideal crushes. When it comes to romance stories, you want to design your love interests around each other. You want them to feel special and like they bring something unique to the table. Canon doesn't really give us that. There's nothing all that special about Adrien that makes him feel like the person that Marinette would be drawn to above all others. Same goes for Chat Noir and Ladybug, but we'll get to them in a second.

What is Marinette's biggest struggle? Her role as Ladybug.

Who is her main support in that role for most of the show? Chat Noir.

Who is her main support on the civilian side even before the reveal? Alya.

So why is Marinette's crush on Adrien and not Chat Noir? I don't know. It's the lesser setup by far and that goes beyond just the logic elements of who it makes the most sense for her to fall in love with. A lot of Marinette's worst behavior actually feels justified in a reverse crush setup, allowing you to write her without major changes to her character.

For example, Marinette keeping a chest of gifts for Adrien is kind of pathetic. She's friends with Adrien and she gives her friends gifts all the time, why can't she give him gifts, too? Reverse the crushes and suddenly this behavior makes perfect sense. Marinette isn't storing up gifts because of overblown fears of rejection. She's storing up gifts for legitimate fears about how her partner will explain these random gifts, thereby risking his identity, meaning that she has a sold argument for waiting until the time is right (post reveal) to give them to him.

There's also the legitimate fear that confessing her love could ruin their dynamic and put Paris at risk. Keeping her feelings to herself is now an act of self-sacrifice and not just an act of nerves. Basically everything about Marinette's hesitance just makes so much more sense if it's on the hero side.

But what about Adrien? How does this fix him?

I love the idea of our male romantic lead falling for our female lead because she's bold and brave, but it honestly doesn't fit Adrien's character. He is surrounded by powerful, confrontational women. Nathalie, Chloe, Kagami, Amilie, Audrey, and Tomoe are all no-nonsense women who get what they want. This means that Ladybug doesn't bring something unique to his life. She fits the standard mold. Adrien falling in love with her after she talks down Hawkmoth doesn't feel like the right choice for his character because it doesn't feel like something he'd be wildly impressed by.

Meanwhile, Marinette is shown to be a generally wonderful friend. She cares about others and will do what she can to make them feel welcome and accepted. That's a much more unique thing for Adrien to experience. Think about the umbrella scenes and imagine if it was Marinette apologizing. Marinette owning that she treated him poorly and asking his forgiveness. How often do you think Adrien gets moments like that? Doesn't it make more sense for something like that to make his heart flutter?

We see Marinette doing things like making banners to celebrate her friends (Timebreaker) and making sure everyone feels included (Reflekta). Imagine her giving Adrien that kind of treatment because it's just who Marinette is. She shows up to his fencing matches to cheer him on. Brings him his favorite snacks as a treat just because, surrounding this poor boy in honest, genuine love and support. Add in respect, too, and he'd be a goner because those are the things that he's not getting anywhere else! The things that make Marinette unique.

This brings us to our new civilian dynamic. In canon, it's Marinette failing to confess in ever more spectacular ways as Alya tries and fails to help. In a reverse crush setup where everyone is friends without gender barriers, it's things like Adrien coming up with his canon confessions and then watching Alya and Nino react with genuine horror because, dude, you're going to give her a panic attack! No! Bad kitty! Stop that! No confessions until you come up with a plan that we approve of and read at least five books of dating advice because holy shit did homeschooling do you dirty in this area!

Then, while Adrien is working to learn how dating works, he learns that Marinette is in love with Chat Noir and, oh no! He thinks she's into his public persona, totally unaware that she knows the real Chat Noir and loves his dorky self. So he tries to emulate his sexy alter ego while Nino and Alya suffer and Marinette is just generally confused because she doesn't think of Chat Noir like that, so she doesn't even notice what Adrien is doing.

This also adds a nice mitigating factor to Adrien's unwillingness to give up even though it's pretty clear that Marinette isn't interested in his civilian self. If he knows that she loves him, then his persistence is less concerning and more comedic. It's not that he can't take a no, it's that he honestly knows with 100% certainty that the answer is NOT no because she's told him that to his face. He just needs her to realize that the guy she's in love with is right here, ready and willing!

The potential for comedy is just so much more broad and so much less mean spirited because Marinette has none of Adrien's reserved nature, so her friends would totally know about her massive "celebrity crush". Adrien comes over for school projects and just stares longingly at her Chat Noir posters, wishing he could tell her his secret, but knowing that he can't.

In my world, that is so much more fun than canon's setup where Marinette has no reason to hope. I also wouldn't draw the crushes out anywhere near as long as canon did. I like getting couples together in the mid-game. It's a nice early plot to hook you in, but defeating the villain is the end game, so we don't need to draw the romance out that long. Romance isn't that special. It's not all that different from an arc about two characters becoming friends.

That's far from the only major change I'd make to shape canon into my ideal version, but it is the probably the change that I love the most. It's also the change that requires the least context to explain, so there you go!

[eulogium-red]

i'd like to see more of the theme of "family" in overwatch. we see it a lot with ana & fareeha, ram & zen, brig/torb/rein/bastion, genji & hanzo. but those are the obvious ones between playable characters. the ones that are much more clearly written on the wall, even once-in-a-blue-moon players could pick up on. much else is hardly focused on despite how much family (or a lack thereof) has shaped many of the character's lives & identities for better or for worse

i don't like how martina & the unnamed reyes kid are only mentioned in passing, despite gabriel himself visiting often unannounced. clearly they were an important part of his life. clearly, family is an important part of his life — i'm very willing to wager that small passage about the death of his parents in declassified was written very intentionally. his complicated relationship with death, and how it was further affected by his own "death," & how he's now in some warped reversed position with his new family. but we don't get much more than a few voice lines about martina (is she even mentioned by name in-game orrr am i not remembering?)

i want to see how ashe manages the gang throughout the second omnic crisis. or perhaps we could see her mannerisms slightly change with bob. maybe instead of standing side-by-side with him as she is in the reunion cinematic, she puts herself more between him & potential unrealised threats. or maybe she subtly tries to nudge him under awnings whenever she spots ufos, weary they're housing subjugators — little things that are very intentional. maybe her demeanor tilts ever so slightly from confident but guarded, to guarded but confident.

i want to get a better picture of the role sam english played in fareeha's life just from playing the game, especially after ana's presumed death. i want to know more about their relationship other than the christmas dinner they had. i wonder how many players just assume fareeha's father died young, or assume the writers didn't care to write one at all? for a long time, i thought the former. i wonder what sam thinks of some of fareeha's closest friends — has he met cole & angela? what does he think of helix? we hardly even see fareeha's native heritage expressed other than the two skins off the top of my head

what about cassidy & echo? i know this is a more implied one, but cassidy was the first one to nurture her "childlike intelligence." even today, he guides her — he encouraged her to help winston&co at paris when he was still on the fence. one of the cutest things for me is her enthusiastically shouting "hello winston!" mid-battle, presumably not long after cassidy told her to say hi. she probably would've either way, but i also don't want to discredit the role cassidy has had on her development & i really do want to see more of them

or, speak of the devil, how winston views everyone at overwatch as family. how in watchpoint: gibraltar's 1st defense spawn, you can see the little beds he set up for lena and mei, how you can read an email as proof he got the blankets from a small kids blanket business. the way he keeps photos of the gang, years later. how vehemently protective he was of all their locations. i wish we could see it reciprocated a little more, i wish we could see individual sleeping areas for other heroes as the story progresses, or more items on his desk. & that's not even getting into hammond

& i don't think i can have a family post without mentioning dad 76 or how i desperately want to see benicio being the best supportive dad for lúcio more but honestly i'm getting pretty sleepy so either i'll add more later or someone can add more.

depending how you stretch the definition of family here, it can include other dynamics too. baptiste finding a new sense of belonging in the new overwatch, or mei braving the antarctic to not let her team's death go in vain & to help people who can still be helped — from jiayi and her team still on mars, to the people who now need her help on earth. i'd also argue hana's squad in korea. what are niran's siblings up to? are we gonna see more of efi & orisa? moreover, how are all these non-playable side character characters handling the invasion? i guess we got some texts between lena and emily

family is such a powerful motivator, but can also be really complicated, as seen with the amaris and shimadas + kiriko, i wish we got a similar amount of investment some other places too

a major theme of overwatch is moving towards the future, progressing in some way. & that looks different for everyone depending on their emotional readiness to do that, and what they view "progression" as. so it makes sense a lot of characters don't look back on those they lost along the way so much, at least not too openly (zarya comes to mind), but that's what can make their present relationships with others that much more worth preserving & seeing

probably an impossible ask of a game feeling the effects of layoffs that's primarily focused on pvp/bp/shop items but ykn

thank u for coming to my tedtalk

[laurasimonsdaughter]

How loathly is the lady

The motif of the loathly lady shows up primarily in (Celtic and English) Medieval saga's and Romances and it typically involves a knight or warrior who is confronted by a physically repulsive woman and shows her hospitality (The Daughter Of King Under-Waves; The Saga of Hrolf Kraki), agrees to kiss/embrace her (The Adventures of the Sons of Eochaid Mugmedon), or agrees to marry her (The Wedding of Sir Gawain and Dame Ragnelle; The Marriage of Sir Gawain; The Wife of Bath's Tale). When this respect is shown, the loathly lady transforms into a beautiful one, sometimes this takes a further proof that the knight is willing to let her decide about herself instead of imposing his will on her.

But to my surprise I recently learned that the Scottish ballad King Henry (Child ballad 32) is also considered a Loathly Lady tale. This lady does a whole lot more than require respect, however:

In "King Henry", the king spends the night in a haunted hall during a hunting trip, and meets a lady who seems like she is no less than "a fiend that comes from hell". In a way, she does ask for hospitality, but she does it by demanding that King Henry let her eat his horse, his greyhounds and his goshawks. Which hurts him a great deal. Finally she tells him to make her a bed out of heather, lie down with her and take her for his bride. He complies with heavy heart, but in the morning he wakes to find the fairest lady he has ever seen lying beside him, who tells him: . “I’ve met with many a gentle knight That gave me such a fill, But never before with a courteous knight That gave me all my will.”

This behaviour is quite a bit more on the monstrous side, from where I'm standing. Especially since the king does not know the loathly lady. It would make more sense to put him through such terrible trials if he was atoning to win a lover back.

Interestingly, this story does share some notable elements with The Daughter of the King Under-Waves, where there really is an element of atonement. In that tale the hero Diarmaid wins his lady with hospitality, but loses her after they are married, by breaking his promise to never bring up how repulsive she looked when he met her. He brings it up in anger when she gives his greyhound's puppies away. When he loses his supernatural wife, his beloved greyhound also dies. When he goes to find his wife, he finds she is suffering from an illness and can only sleep on a bed of rushes. He manages to cure her, but in the process falls out of love with her. She accepts this, because they are from different worlds and cannot live together. In some versions her last gift to him is restoring his greyhound to life.

Irish folk singer Tom Reid wrote some fitting extra verses to finish the ballad of King Henry: the lady tells the king to bring his horse, hounds and hawks' skins and feathers and then brings them all back to life before they marry.

I haven't been able to find a recording of that one but The Furrow Collective and Matt Williams both have nice renditions of this ballad. But my favourite is actually a German version by Faun called Herr Heinerich, which subtly changes the lady's ending speech to:

Many a knight I caught myself Yet none have acted right You are the first to sleep with me All the blessed night

[zahri-melitor]

Do you think there’s any hope of Tim getting a transition story anytime soon?

If so, what would you like to see?

Depends what you mean by transition.

In terms of Tim getting a new hero identity? I suspect the order of events there consists of "someone pitches something that DC likes, that they think will sell, and that fans won't overreact to", and then title sells well.

Because they got burnt during Young Justice 2019. Whether or not you think 'Drake' was a terrible idea for a new identity, the fandom reaction to it made it that much less likely for Tim to get given a new ID.

Because I guarantee for you that no matter what someone proposes, there will be people who kick back against it, and for it to work, it's going to need to be woven into DC mythology in a meaningful way.

This is where I'm going to point out that MOST Bats are running around using legacy identities. Nightwing is a legacy Superman-related identity, that Clark gave to Dick as part of their friendship, that goes back to the 1960s. Red Hood is a legacy identity, that Jason took from Joker and turned into his own as a take that. Batgirl is a legacy identity, that traces to Betty Kane and to Barbara, which is actively used by Steph and Cass. Robin is a legacy identity that belongs to Dick. Red Robin is a legacy identity - it was developed for Dick in Kingdom Come, and it passed through Jason to get to Tim. Kate Kane is Batwoman BECAUSE Kathy Kane was Batwoman, and Batwoman and Batgirl were deliberately designed to be feminine legacies of Batman. Azrael as a mantle is explicitly a legacy mantle that JPV holds.

Yes, Steph as the Spoiler and Duke and the Signal work and were accepted by the public as solid hero names, but those were both their first proper identities, and they were new characters without a significant weight of backstory.

Oracle works as an identity for Barbara because John Ostrander and Kim Yale spent the time and worked up a backstory for Barbara's transition into becoming Oracle, and made it full of joy and promise. She seized something new and created it for herself out of the ruins of where she'd been left as a character.

This is why I hate when people just throw out suggestions for random bird names for Tim to have a new identity. It has no depth to it. There's no point in calling Tim 'Blackbird' or 'Raptor' or whatever unless you invest in storytelling for why Tim would find that a meaningful name to represent. Why does he attach more meaning to it than being Robin (or Red Robin). It's lazy storytelling.

You can rescue it from an Elseworlds or another Earth. It doesn't have to be a direct "I am giving you my ID" like the transfer of Robin. But it needs to have history to it as a name for it to feel right as an identity for Tim Drake, a legacy character who has been around for 35 years, and who is fiercely associated with the concept of belonging to a team. It needs to speak to who he is as a character, and what his goals are in using that identity.

This is why Tim!Nightwing during the Ric Grayson period would have worked - Nightwing has that meaning, and if you wrote Tim and Dick working on finding a 'graduation' name for Tim through that story you could have stuck whatever nonsense you wanted as it, because then you would have built in the meaning (that it was a Dick and Tim project together).

So yeah, that's what I'd like to see for a Tim with a new identity. Someone who's put in the work to choose something meaningful from the back catalogue and develop an argument that Tim would use it. Because they're going to have to sell fans on it.

If, however you mean transition in terms of 'Tim is trans': no. I do not think it is likely that DC are interested in writing that for Tim, and I am really reluctant to see it as it would only get him pigeonholed even harder as 'the queer Robin', to be pulled out for use out of obligation for Pride.

Also they just got burnt over that Kon story and its reaction, and I think DC are currently more interested in working on their development of trans characters who are trans from creation (see Nia Nal, who's getting a boost in the current events).

[merwgue]

Nesta and Eris: The Power Couple We Deserve (Sorry, Cassian)

Alright, let’s get into it. We need to have a real conversation about why Nesta and Eris are the couple that should’ve happened, and why Cassian is just… there. Like, good for him for trying, but really, really, he’s more of a footnote in Nesta’s story than a leading man. Let me break it down for you.

Cassian, bless his heart, thinks that all it takes to be with Nesta is brute force and a wounded puppy-dog expression. “Oh Nesta, you’re so cold and mean, but I’m gonna keep fighting for you because that’s what I do. I fight!” It’s like watching someone try to punch their way through an emotional brick wall, not realizing there’s a door two feet to the right. Cassian sees Nesta’s trauma as a battlefield to conquer instead of a complicated reality she lives in. And honestly, that’s the problem.

Now, Eris? Eris gets it. He’s not here to be Nesta’s savior or her knight in shining armor. He’s here to be her equal, her match. When Eris and Nesta talk, there’s this undercurrent of respect. It’s not about saving her or “fixing” her; it’s about acknowledging her darkness without flinching. He doesn’t need to ride in on a horse and wave his macho bravado around like a flag. He knows Nesta’s strong enough on her own—and that’s what makes him so damn appealing.

Meanwhile, Cassian’s out here trying to be the hero of Nesta’s story, when Nesta’s never needed a hero. She needs someone who understands her, someone who knows that she doesn’t need rescuing; she needs someone who can handle the fire without trying to put it out. And that’s Eris. The man’s all about fire, after all. He’s not scared of getting burned, and he doesn’t waste his time trying to cool her down. He’ll stand in the flames with her, which, let’s face it, is way more exciting than Cassian’s endless attempts at being the “sensitive warrior.”

Cassian’s insecurities also drive me up the wall. The guy’s so fragile he can’t even handle Nesta speaking her mind without thinking it’s a direct attack on his manhood. Like, bro, chill. Nesta has her own issues to deal with, and not every sentence she says is about you. Cassian’s self-pity is exhausting. “Oh no, Nesta’s angry again, this must be about me!” No, Cassian, sometimes Nesta is just angry because life sucks. It’s not a personal vendetta against your feelings. Grow up, dude.

Now, contrast that with Eris. When Eris talks to Nesta, he sees her for what she is: a fierce, complex woman who doesn’t need to be handled with kid gloves. Eris doesn’t get all up in his feelings because Nesta didn’t swoon at his feet. He’s more like, “Yeah, you’re mad? Good. Let’s use that.” He challenges her in the right way, not by trying to crush her with dominance, but by meeting her on her level.

Also, let’s be real: Cassian’s idea of romance is dragging Nesta through mud and calling it training. So sexy, right? Meanwhile, Eris would probably plan some clever, intellectually stimulating activity that actually shows he knows Nesta’s mind, not just her body. He’d take her somewhere quiet, somewhere strategic, and let her intellect shine. Cassian? He’s probably just flexing and grunting in the background, thinking that’s all it takes.

Cassian’s attempts at "saving" Nesta from herself are almost laughable. You can’t save someone from their trauma by shouting over it. The guy is like an emotional bulldozer, trying to flatten out the rough edges when Nesta needs someone who can handle the jagged parts without flinching. Eris wouldn’t try to mold her into something else. He would let her be. He does let her be. Cassian, on the other hand, wants to shape her into some version of herself that’s palatable to him. And that’s not love—that’s ego.

So, in conclusion: Nesta and Eris are the power couple we never knew we needed. Cassian? He’s over there trying to punch his way into Nesta’s heart like it’s a door that needs to be kicked down. But Eris—Eris understands that Nesta doesn’t need someone to break down her walls. She needs someone to walk through them with her, side by side, as equals.

Cassian, sweetie, it's time to pack it up. You're the sidekick in a story where Eris and Nesta are clearly the main event.

[zvtara-was-never-canon]

Have you noted that no one from Azula's family was shown to express love and affection towards her?

That is mostly true. Ozai's affection is clearly conditional (and full on manipulation at worse, like we see in the finale), Ursa canonically favors Zuko to the point that we never see her spending any alone time with Azula like she did with Zuko, and while Iroh gave her a toy like he did to Zuko the toy in question was so OBVIOUSLY wrong for a kid like Azula that it's comical AND show's he did not really know his niece at all.

But there is a constant exception.

Zuko's relationship with Azula is complicated. He clearly admires her strength and power, but he hates how she uses it. She lied to him many times, was seen apparently cheering Ozai on during the Agni Kai, tried to have him imprisoned and even said she'd celebrate being an only child - and then allows him to come home as a hero after Ba Sing Se, even though SHE had the control of the Dai Li and was not yet aware Aang could have survived, meaning she had nothing to gain from it.

And when she lets him know that if he's caught talking to Iroh people might think he is a traitor too, and explicitly says "Believe it or not, I'm actually looking out for you" Zuko drops his innitial suspicion that she wanted something and that's why she was helping him.

On The Beach, he just follows her when she say their old family home is depressing and they shouldn't waste their time there. When she's asking him who she is angry at, she mentions herself and Zuko explicitly says that is not the case.

He doesn't trust her and know she has a tendency to mock or full on lie to him... yet when he wants to know about Fire Lord Sozin he asks her about it, and lets it slide when she mocks him by saying he should make sure the royal painter got his good side - for a character as quick to anger as Zuko, that is a big deal. In Nightmares and Daydreams he also goes to her to find out if he'll be allowed at the war meeting.

More importantly:

1 - Iroh's infamous "She's crazy and needs to go down" line was only said because ZUKO, without anyone putting that idea in his head before, suddenly went "I know what you're going to say. She's my sister and I should be trying to get along with her"

2 - Zuko only jumped into the fight in Ba Sing Se when Azula was being cornered by Aang and Katara.

3 - Zuko looked genuinely shocked and even distressed when she was falling off that cliff. He just sounded so shaken saying "She's... not gonna make it..."

4 - In the writer's own words, Zuko felt no hate but only pity when seeing her breakdown. Katara tried to comfort him because, canonically, even though Zuko and Azula are enemies, this was never what he wanted because he still sees her as family. That's why the Last Agni Kai's music is not the epic you'd expect from a battle, but a tragic one.

5 - Aaron Ehasz, the lead writter for the show, probably the person with the most influence after Bryke, has REPEATEDLY said that he always felt Azula should have gotten a redemption arc, Zuko being an Iroh figure to give her advice and be the only one still by her side when all else was seemingly lost to her forever.

Even the comics (most of which I HATE, mainly because Azula's storyline checks nearly every box for "the mentally ill are inherently evil/less human, so it's fine if literally every other person on the planet mistreats them") didn't fully abandon their complex dynamic.

Zuko is not a perfect sibling, and for a long chunk of the story he seemed too focused on his own issues for Azula to ever be a factor in his mind (aside from the moments in which she was a potential/explict threat), but he DOES still feel a sense of obligation towards her, to the point that it made him do something no one else in their family had done before or since - actually look at Azula. Not the prodigious daughter/perfect weapon, or the problem child that is difficult to handle, or the pontentially deadly enemy that was in the way, but Azula.

His 14-year-old sister that got on his nerves a lot, was far from the kindest person alive, and that he had a ton of issues with, but that he could never fully hate or even be indifferent to. Because she's family. Because he remembers a happier time in which the gap between them didn't seem so big. Because if things had been slightly different he could have been her. Because he went from wanting to be her to seeing just how miserable her life ended up being - especially compared to the one he now had - and feeling deeply sorry for her.

Now if you guys excuse me, I'm gonna go cry in the corner. Have some wholesome/bittersweet fanart if you wanna cry too.

[bwat5-blog]

**Spoilers for all of Arcane**

WHY THIS SHOW MATTERS FOR ME

"Why do we tell Stories? To try and make sense of a world that can be terrifying and enormous.. I don't know that your story will be long be known.. but it did happen- and it did matter"- Brennan Lee Mulligan, Critical Role, EXU Calamity

Arcane has become a true phenomenon. With record breaking viewership transcending various countries, age groups, sexual orientation, and more. You need look no further for an example than the fact that Heimerdinger's song was recorded more than 25 times by the various voice actors representing our favorite absent minded professor, in different countries and languages around the world. So I suppose the question then, is why?

This is hardly a simple question. Like any media, people are enjoying it for all kinds of reasons. There are die-hard LOL players who love seeing these characters and worlds brought to life. There are people reveling in the enormous diversity of representation in the characters. There are those who love the story of the sisters, Caitlyn and Vi's love story, or the sinister mystery that unfolds as the Arcane itself wakes up in this world. The list of reasons people love this show is endless and rightfully so. So I am writing to explain mine because, primarily, the opportunity to share my thoughts/feelings on this incredible story and discuss, and learn and interact with you all has been a true pleasure as we celebrate the achievement this tale has been. As always, for anyone bored enough to read these I appreciate you.

For me, the best stories have and always will make you look deeper into the humanity of our own world through the lens of the story itself. Don't get me wrong, Arcane is FULL of epic spectacle. incredible fights, beautiful animation and music, and more. It's a tale of magic unleashed and warlords and mad scientists. And please do NOT misunderstand me, I LOVE all of those things. It's just that for me, that's not why this story will always live on long after its over.

Vi is a bad-ass brawler who from a young age is literally holding her own with armed adult thugs and able to throw hands wearing Vander's gauntlets. She is tough and brave and an absolute hardass..She is also a young woman who never knew romantic affection before being thrown into a dark, terrifying prison for seven years.. Who is terrified of losing the last family she has left to the point that she cannot put herself first ..and who just needs her dad

Silco is a brutal crime lord who experiments on the vulnerable of the under city and does not hesitate to kill anyone who crosses him. He takes a scared little girl who is in so much pain and twists her up, and weaponizes her grief to the point that she becomes someone new.. someone darker.. He is also a broken, lonely, maimed man who was almost killed by someone he loved as a brother and is desperately trying to hold on to the young woman he loves as a daughter

Caitlyn is a sheltered but brilliant and wealthy woman who is "an excellent shot" ,and becomes a leader of soldiers and someone willing to sacrifice herself in the name of the greater good.. She is also a young woman who has to learn to see herself in the woman she hates/who killed her mother, learning to set aside that hatred, and rage, and grief in order to move on and keep living, and find peace.

I could go on about other characters or expound on the ones I just mentioned, and have in fact done so in other posts. But you get the idea. These characters (and the others) are so rich, dark, nuanced and beautiful. And when you strip away the magic, and the mutated beasts, and the colorful smoke and music what is left? The struggle of the oppressed against their oppressors, a young woman overcoming her inner demons to become a hero to her people, a warrior who had her childhood stolen from her learning that she deserves happiness and peace. I could go on. There are so many of these examples and they all make up the tapestry that is this show.

This is why I continue to champion understanding and accurate recognition of this show. Because it deserves it. Because the stories of these characters and their fight against the darkness of the world in ways grand and small, are the stories that have illuminated our path forward as people for all of time. In today's age of instant-gratification and flash and noise it's easy to forget the impact of things like this on who we are.. But to those of us who believe in the importance of such stories, it always has mattered. And it always will.

“It's like the great stories, Mr. Frodo, the ones that really mattered. Full of darkness and danger they were, and sometimes you didn't want to know the end because how could the end be happy? How could the world go back to the way it was when so much bad has happened? But in the end, it's only a passing thing this shadow, even darkness must pass. A new day will come, and when the sun shines, it'll shine out the clearer. I know now folks in those stories had lots of chances of turning back, only they didn't. They kept going because they were holding on to something. That there's some good in this world, Mr. Frodo, and it's worth fighting for.”

― Samwise Gamgee