#should have gone better

[purplemoonabove]

*inhale* *hold* *looong exhale*

Okay.

I saw the last episode of Our Flag Means Death Season 2.

I’m a writer.

I’m not being mean, I’m not being judgmental. I’m just stating my personal opinion here, nothing else.

…

The ending for the last episode… could have gone into a different direction. Mainly with Izzy, and the Prince.

First, the Prince. Now, from what I’ve gathered: he was knocked out after everyone was poisoned, then was taken hostage, and then as expected, immediately escaped and shot Izzy while doing so.

… Why was he still armed?

Why wasn’t the gun removed? Why didn’t anyone check over his body, removing all weaponry he still have? It’s one thing to show that he lost, it’s another to be careless when free. And it came with a cost…

Speaking of cost, let’s go to Izzy now!

Now, his death was… I mean…

Okay, so. Season 1, I hated his guts. Season 2 made me start to love him. His death was something I would loved to see first season, but now, it was sad. I did feel sad seeing him go, but… here’s the thing: why have him go now? When he was still in development?

Like, giving a shock moment for the audience is clever, if you do it right.

From what I gathered, Izzy was still healing. He lost his leg, lost his position as First Mate, lost a lot of dignity until, as far as I know, he shot Ed during that storm scene. Now, we get him with a unicorn wooden leg, singing and being open with the crew, actually happy for himself… His death?

Yeah, that was too early.

I read someone’s post that Izzy’s death was planned from the start – and the actor finds out in the middle of shooting (What the hell?!).

Personally for me, if I was a writer in the show in joining debate on who and how a death will happen from the crew, I’d choose Izzy, but I would give him more development beforehand.

He was still healing. He was still adjusting. He was still be happy with himself. It was a position where the audience wasn’t comfortable with the change yet. And by that, I mean they, we, you’re still getting use to this new concept that Izzy was having since the first episode with his breakdown.

It was so new to him that new creations of self-focused goals weren’t made yet. A new lifestyle to try, while still being a pirate. New interests, new ideas, new hobbies – or bringing back old hobbies (that singing threw me off. He. Was. Amazing 🥹).

The writers should have given him more time to really change and for us to change with him. Show us that self-love is just as loving as being in a relationship, mono or poly, straight or queer. And quoting from another post I saw, he would have been more of a symbol to not only the LGBTQ+, but for everyone, especially those who don’t really hold on to the concept of self love.

(Damn. Izzy got rep with me. Amazing… This was lost potential right here.)

The Prince shouldn’t have been armed. If anything he either should have been disarmed, or tortured and “returned” to someone they would let live to send back to his father. Which can also further the plot as we know he is a prince, but we don’t know any single thing about his family. As far as we know, anything could happen through this idea.

Izzy’s death in season 2 was unnecessary. Dying in the last episode of Season 3 would have worked.

We’d be more comfortable, he would have a new lifestyle, he’d be happy… and the death would have been more honorable than it was. And more epic, like in a battlefield, and probably add a few more from the crew to die, too. Giving us a Harry Potter feel, with the number of beloved characters killed during the Battle of Hogwarts.

Like I said, this is just personal opinion on how I saw the show.

Happy for Ed and Stede. Happy for the wedded Pete and Lucius.

It just could have gone better. And deep. And realistic.

Season 3, I will be patient for you until then.

[a-compass-without-a-needle]

This is what happened after 3.1 isn't it?

[poorly-drawn-mdzs]

Unsolved Mysteries.

[First] Prev <–-> Next

[wu-does-art]

I fcking loved the sally face au where the gang knew each other since kids, please post more of this au (also, ur art is so cool!!)

:]

ask and you shall receive!

[scarapanna]

I liked your art, you won🎉🎉🎉

WE WON NO REDEMPTION WAHOOOOO/silly

I'm still terrified of the redemption route for this clown though hdhghfg, I want his silly self to stay evil and wimsy and goofy and with redemption uhhh

We're like

I dunno I'm sooo scared devsis is gonna take away that aspect which is what makes him just so funnn. Please pretty please let him be god awful and rotten and rude and goofy if you take that route Devisis I want him to keep his funny wimsy qualities. Please please pleaseeee write him well y'all are doing sooo good with him don't fumble by taking the redemption route (And if they do it better be good and he better stay chaotic and goofy and sassy and condescending and all his "rotten rabid thing" qualities)

If they do him (And his fun aspects justice in this dreaded hypotetical) then I may be cool with it. Though the mean ass possum has grown on me so much I'd 100% miss that evil and unhinged part of him TONS, devsis have mercy pretty please/silly

[Longer more insane ramblings are in the tags hsfhfhhv]

[romatito]

belbel and her brothers !! 🕺🕺💃

[claypigeonpottery]

sold

this smirky bunny boy had some cracking issues. I figured out why though, and fixed it for my future little dudes. I hope

[extremely-judgemental]

People supporting Feyre's decision to lock Nesta up in HoW shows how much they choose to be ignorant.

Feyre says she loves Nesta and cares about her well-being. But honestly she still harbours deep resentment and internalised hatred towards Nesta.

She apparently forgives Nesta. Still, she sides with Rhysand to imprison her depressed sister when their reputation is on the line? She could have suggested she and Elain stay with Nesta the whole time. Or if it was that necessary, she could have imprisoned Nesta with Morrigan or Amren instead.

Instead she's fine with forcing Nesta to stay with Cassian. There's no exit. There's no other woman in the house except for the priestesses who never leave the library. Nesta has to stay with two men. It wouldn't matter if they are men of the best character because she doesn't know them, they are not even her friend.

Which woman would ever lock up another woman in a house with a man who clearly wants to have sex with her? Which woman would subject another woman to this, let alone her own sister? Unless she hates her so, so much. Most women wouldn't even then.

This is not romantic tension. This is not cute. This is not healing.

This is straight up torture.

BTW in traditional romance novels, if a guy suggests his partner lock up her sister because he is embarrassed by her, he'd be the manipulative ex who gets dumped by act two. But a lot of you are not ready for that talk yet.

[squeakyleftsneaker]

Some Style, Shit Substance: A Very Voltron Postmortem

A tale of squandered potential, and the necessity of multiple drafts.

For the past 3 weeks and change, I have been consumed by watching and taking copious notes on the 2016-18 reboot of Voltron, Voltron: Legendary Defender. This has been a truly baffling journey for me, I won't lie. Having some familiarity with older incarnations of Voltron I went in with a few expectations. That said, fairly immediately upon seeing the first episode, I realized it wouldn't be appropriate to view this show through that lens. Instead, I decided to take it for what it is.

In retrospect I kind of wish I hadn't. Because maybe I would have some residual fondness still for the original shenanigans. But still.

In the spirit of fairness, of experiencing a reboot through new eyes, and because I do not have the time to do an exhaustive and detailed rewatch of all other incarnations of Voltron for this purpose, I will, however, still be taking this show in isolation. I think that's only fair, and I won't be summarizing the show in any detail here either because, well, I'm worried about the length of this as is already. I will be going into this show from the granular to the very broadest of strokes, so obviously spoiler warning for all of this goes without saying.

The myriad issues with this reboot have somewhat ruined my life. I have been consumed by What If thanks to this show. I am haunted by this show. I wish I could tell you it was bad in a boring way. And it is at times. But it is also bad in several very interesting ways to me and so I cannot let this go. I am a dog with a bone. Or just boo boo the fool. I took all those notes and I want to do something with them. Dear reader, I have written so many words about this show without any order and the lack of order and cohesion rocks me to my core. So enough preamble, let's get into it.

It is very important to me to note that some of these characters lack last names.

Something like this seems a rather small quibble to open on. After all, the fandom assigned them some last names anyway, why should we be bothered by Hunk, Lance, and Keith never getting last names? And I think you'd be right to question the methods to my madness, this is a very small place to start, but I think it's a very illustrative place to open this show up.

Three out of the five characters from Earth that are at least nominally the protagonists of this show lack something so biographically simple as a last name. To me, in another context, an oversight I could forgive, I suppose. But you have to wonder, when Hunk and Lance's families are shown, when Lance's sister becomes a named and somewhat central character later in the show, why wouldn't you slip it in?

This is such a no brainer. When you're giving side characters who will only briefly appear, such as the MFE pilots Ryan Kinkade, Ina Leifsdottir, Nadia Rizavi, and James Griffin, full names, to not do so for your protagonists is just an odd oversight.

There's character details that simply don't make sense from moment to moment to moment. But the main thing that bugs me is that the characters, simply put, don't speak to each other. Whenever we see them during downtime, they're apart from each other. We're not watching a plucky group of upstart humans whisked into space with an alien princess to become friends and save the universe. We're watching a main cast with a level of civility comparable to coworkers in different divisions of a big corporation. These guys do not know each other.

Think I'm joking? Try to think of them hanging out. Just hanging out in the background of a shot, spending time together, chatting, anything, really. Or even better, when one character is missing, what happens?

Well you get your first real taste of the utter lack of bonding just two seasons and a bit of change in. Shiro dies, and not one character has a real moment that we saw on-screen to reminisce about with him. Not one. Keith goes away to the Blade of Marmalade and no one really says they miss him, nothing really changes in the team dynamic. Allura dies at the end of the show and we see the characters reminiscing and, well, you guessed it! It's not personal!

These people are not even friends, let alone a found family.

These people are strangers to each other, and to us! We don't know what they like to do, beyond Hunk being of course made to Love Food to the point where the show almost forgets that he's supposed to be a mechanic until they need someone to argue with Pidge.

I couldn't tell you what Shiro likes to do. I couldn't tell you much about Lance's background beyond "He has a big family. He's future-Cuban." I can't tell you anything about Hunk beyond "He's scared, he likes food, and he's a cheap tool for mean-spirited physical comedy for the writers." Pidge is Smart and Always Right. We know about Keith's backstory because he and Shiro share that much as a central focal point for the show until the show forgets about it (and put a pin in that, dear reader, we'll get there).

And lest I be accused of being a relentless hater, I'm being hard on it here because the show itself has a really great example of an interpersonal relationship done right. At least for most of it. From the outset of the first episode we know Keith and Shiro are friends from before all of this. We see them interacting in the background, we see how they interact with each other is different to how they interact with the other characters!

Moreover, the way their relationship evolves throughout the show has bearing on the actual story being told! Shiro's willingness to blow through an alliance with the Blade of Marmora for Keith, Keith's no-holds-barred determination to save Shiro, the way the story has them evolve from a more imbalanced relationship to ultimately becoming equals when they fall together at the cloning facility. It matters for the story that these two are the way they are, and the plot changes their relationship to each other.

And then the show threw all the goodwill from that away in the final two seasons where they effectively do not speak. So we don't even get to see any ultimate culmination of what that all meant for six seasons. And even worse, there's no other paladins that interact with each other. So here we are, by the time we reach season seven, none of the paladins talk to each other anymore.

It's why the romances in the show feel so cheap. There's no consistent characterization, there's just a bullet point or two for what each character Does. In terms of character, we have no character.

This makes a plausible romance for any of these characters really fucking difficult to write. They just don't talk to each other! We see them in meetings, I guess, where we as viewers are getting valuable exposition about the plot that has happened offscreen (and I will get to that, but we're starting on a foundational level), but nothing really outside of it.

The romances in this show are, frankly, messy. Lance will do a total 180 in scenes whenever they need him to, going from a bit goofy to wildly insecure to someone speaking like he's been pulled out of a fourth-rate self published poetry collection, just so they can have Allura seem attracted to him.

Unfortunately it also just makes him deeply, deeply boring.

Allura is flattened down for the plot. She simply must fall for Lotor, and instead of doing so in a believable fashion, her rougher edges are softened away off-screen. Her trust is not earned, it is instead simply placed in Lotor by the writers. Lotor, a character who we simply never have reason to trust because there is no effort to make him trustworthy. They'll show us his childhood, and yes, this could make him sympathetic, but at no point could a viewer truly believe he wouldn't betray the paladins.

As much as he used Allura in the narrative, the writers used her more. Flattened out, shrunk down, and ultimately, I think the worst part is that she wasn't the only one.

A collection of odd and counterproductive choices are made here.

There's any number of decisions made in this plot that are, overall, baffling. For me the most obvious choice would be having Allura pilot the red one once Shiro dies. They establish Allura to being a more instinctive pilot than the others, they establish that she and Keith have a lot in common– and they're both emotionally driven. They establish that it was her father's lion.

And then they have her pilot the blue lion. The blue lion which was kept on earth and is being piloted by the everyman character. The blue lion which is supposed to be an emotional foundation. But Allura doesn't necessarily fill that role in the team! She pushes back against Keith's leadership, rightfully, she fulfills a narrative role that is to push the team, she's impulsive, she's taking actions that are more aligned with how the show itself describes the red lion and Lance is, within the limited degree to which they remember to keep him consistent, in a much more supportive role to the team still.

We're splitting the most human (to us) character from the most human lion! The one with the connection to Earth! Our point of entry into space in the exact same way Lance is our point of entry into this world! We're putting Allura in a role that's not aligned with what she actually does! Why?

It could be an interesting subversion of the trope if they did something with it but they just don't. At no point is that interrogated. You'll see this keep coming up over and over again. And I remain firmly convinced that had this show had more time in development, someone would've come up with this very solution. Time and time again, you see moments that could've been more impactful had she been in the red lion due to her personal connection to it.

There's other odd instances where characters are put at odds with what we know of them. One interesting one for me was making Keith a massive hypocrite and doing nothing with it. Keith who screws everything over to go get Shiro tells Pidge off for going scorched earth for her loved ones. Why? Will they address this tension? Nope!

At the same time they position him as the one who needs to open up and stop fighting with Lance in spite of the fact that to him, Lance is effectively a stranger and Lance is the one who instigates every time. The show also seemingly forgets about this antagonism when convenient but will bring it back every now and then for cheap comedy.

It's fine to have shifting dynamics! But we don't see them shift at all! One moment it's one thing the next it's the other and we still don't feel like these characters are anything other than strangers to each other.

Shiro tells the paladins to spend time with their loved ones before the Atlas launches in season 8. Keith is completely alone. Shiro is completely alone. Lance and Allura go on a date to meet his family where Lance speaks to her in a way that is entirely unlike anything you could reasonably believe. Allura is softened down to an insecure and uncomfortable girl in need of comfort. They took the dynamic between them of Allura being confident and Lance being flirtatious but ultimately insecure and made it so that Lance is a generic romance man and Allura is just so unsure and meek that she needs him.

With all due disrespect, I'm rolling my eyes.

Speaking of eyerolls we simply need to address the Curtis in the room. Who is he? I don't know! You don't either! We know nothing about this cardboard cutout Shiro marries. I wonder what the divorce rates are in this universe.

I'm sorry, I know this is mean, but I feel rather insulted by the show. They spend a rather considerable amount of time getting Shiro to a point where he seems to be an equal to the paladins rather than forced to be their leader, and then he just doesn't speak to them for the final two seasons.

We spend all this time altering the power dynamic for nothing. We introduce the idea that Shiro had difficulties with a relationship, he felt grounded, he felt the need to push past his limits because others were imposing them on him. I'm not asking for Adam to get back together with him in the end, I think that sort of thing would've been unrealistic– it ended messily and before extremely traumatic events for both of them. That's a soup of bad idea right there. But closure for the two of them wouldn't have been a bad idea.

Well. It wouldn't have been a bad idea for Adam to live full stop. If only they hadn't killed him then maybe they wouldn't feel the need to rush a Happy Gay Wedding for the end credits. Shiro's character arc isn't fulfilled by romance! The show tells us he wanted to be free of expectations placed on him, the show strips him of all meaningful connections he might have, and as he finally gets to a place where both of those things can be fulfilled they shunt him off to the side.

But I guess we get two men kissing on screen? I really don't think I have anything kind to say about the show thinking that that's a substitute for a meaningful queer relationship. But with how they wrote seasons 7 and 8, there was simply nothing else they could have done without major changes.

I really think this show could've used several major changes.

It's just not shaped right, I'm afraid.

In the very first season of the show we get multiple multi-episode story arcs. This is a lot. They're very plot heavy episodes. This means the bulk of the first season is not spent establishing the characters, making them interact and setting the tone and overarching themes of the story through episodic plots.

I cannot overstate how difficult this makes setting up the remainder of the show. We enter season two with fuzzily defined characters, with a plot that is already in motion but not well established, and an utter lack of conventions set by the world.

No wonder there's a slew of exposition in the show. There's so much exposition I complained about it nearly every episode. This is bad for our immersion a lot of the time! Very early in the show we're told about the Balmeras and every detail about them. I cannot even begin to express how impactful that information would've been had it come from interaction.

The show spends a lot of time telling. Which, I thought the point of a show is, well, to show.

This bleeds over from the characters, where we're told they're friends but I struggle to see how they could possibly be when we never see them together. We spend so much time in the Castle of Lions, and I frankly couldn't tell you a personal thing about it! They have to give up the damn castle and we as viewers feel almost nothing because it's just not something we interact with beyond being on the bridge for an exposition dump briefing before an episode. It just robs us of the opportunity to connect.

We spend so much time with side characters in the final seasons of the show the main characters get lost. Because they have the exact same degree of development and depth as the side characters. We fundamentally do not know anything here.

There is a world where this show is shaped right– the first season is getting to know characters. Spend that time on episodic and self-contained adventures! Then give us the big tonal swing for the season 1 finale. Season 2 can stay somewhat similar, I think it really hit a good note there, just cut down on the exposition and definitely let us come to the realization of how Zarkon is tracking them rather than just telling us. Build it up like a horror movie. Give us the big sense of loss when they lose Shiro because we've spent time seeing him interact with other paladins! Then they can relate to Keith.

GIVE ALLURA THE RED LION for fucks sake it's an easy fix! Have Lance work through his feelings of insecurity with reference to Keith without having to step into his shoes! Have Keith come to the realization on his own that once they find Shiro, he'd need to step down.

For fucks sake the clone needs to feel insidious. Don't TELL us he's a clone from the start! Have him interact in ways that are slightly off. Have the characters actually notice, have them miss Keith or even just think about him every now and then when he runs off. Start building trust between Allura and Lance, make us trust Lotor before showing us what he's up to (and maybe explore the idea that Voltron is allying with the heir to the Galra throne). Address the character moments.

Seasons 7 and 8 are beyond rushed. I am fully on board for them doing a hero's cycle return to Earth, but my god they lack structure in both of these seasons. Focus. Focus on your main characters, focus on both the ways in which the Earth has changed but they have too. Let us see more of Lance's family and the ways they relate to him have changed! Let Hunk not be a cheap joke please! Maybe let Keith NoLastName and James Griffin work it out on the remix.

Give Shiro something to do please. Shiro and Keith in the final two seasons are friendless and Shiro gets to do fuckall. Keith is pretty damn useless in the show's finale too. Give them something to do! And please, please, please, remember your ensemble cast needs to interact.

What are we doing here, Bob?

The overarching plot of this show is a bit muddled. Ultimately you can, if you try your best, piece together the semblance of a plot as needed– there is a universal threat from the corruption brought in by the cosmic rift, and it must be fixed.

But that's kind of weird, isn't it? It negates the damages done by Zarkon's empire. It even negates Lotor's colonial impulses. It takes away from the Earth, it takes away from Sendak.

And it takes away from all of that not because it exists, but because it removes the source of their wrongs from their own choices. It removes agency. It cuts down our antagonists! Our antagonists are no longer persons, instead our principal antagonist is. A magical blob of evil from the space between dimensions. A primordial evil. One that robs everything that's come before it of intention.

The pacing is all over the place, not aided by the extensive amounts of exposition in every episode. It's not an unfixable show, but in the ways that the season structures are all off, so too is the thematic undertone of the show.

The show's ultimate conclusion brings us to leave one of the main characters behind, because what does Shiro even do right now. Keith is ultimately pretty useless, and really all of the paladins lack agency, even Allura, because they're following the whims of a magical evil space blob. Great. That's a great way to conclude.

And the show looks at Allura, at the first incarnation where she's not represented as white, at this woman who has lost everything and come out fighting on the other end, at this woman who they made fall for a colonizer, and decides that the best thing she could possibly do for the universe is die.

This Black woman must die to fix the sins of her people, that corrupted the villains. You see, it's really the woman's fault. It was Eve that brought Adam the apple. The show at no point questions that. The show concludes, ultimately, that it is a good thing for a woman to die for this. That's a great note to end your story on, I guess.

The assortment of errors tells a story I cannot endorse

To do something worthy, in Voltron, is to sacrifice yourself. Lance does it. Keith does it. Shiro succeeds at it. The show's conclusion is that Allura can only save the universe through her death. Fatalistic, and I can only hope that theming was unintentional.

But there's another undercurrent that unsettles me in the show, with the status quo of the universe. It's the unquestioning belief that Lotor was doing something right at all. It's the unquestioned reality of hereditary monarchy. It's the unquestioning position of superweapons as a moral necessity.

Voltron is a weapon, made of smaller weapons. Voltron used to be the collection of the powerful. Though the show gestures at Zarkon considering there to be inferiors and superiors, it sure as hell does a fantastic job at reinforcing the notion. The Earth is governed by military authority. The Altean castle is weaponized. There is no Eden for Voltron, there is no peaceful before time. We learn the Alteans are supposedly diplomats and not warriors and yet there is a need for diplomacy as organized by a hereditary monarchy, and a desire to make a superweapon from an unknown material.

I keep emphasizing that Voltron is a superweapon because when Lotor ascends the throne and uses Voltron to his political aims, that should matter! There is an inherent tension with a superweapon being considered a symbol of peace. A tension exacerbated when it aligns itself with the heir to a colonial empire.

A colonial history that the show itself never questions. When the paladins help to fix a shield on a "labor planet" at no point do we think about what the phrase labor planet implies. In episodes where they're trying to rescue the aliens, very little time is spent actually getting to know the aliens. We have little time for sympathy for the colonized.

We see the Voltron show, pure pageantry at the service of ego, juxtaposed with real loss of life, from the Blades, from the rebels memorialized with the phrase "The path to freedom is won through sacrifice." And then there is nothing to indicate those two things are in tension.

We see Honerva corrupt her husband in something that could almost be a parody of Adam and Eve. He is, of course, narratively redeemed in the end in spite of killing countless people, in spite of effectively committing a genocide of the Alteans. Honerva must be fixed by another woman, a woman who can only do the greatest good for the universe by dying.

I am not inclined to be charitable about these decisions.

Does the show realize it's in tension? Does the show realize it is telling us as viewers that the powerful are sympathetic, that we normal people are to be sacrificed, that the military and weapons are an ultimate good, that good and bad are intrinsic to a person and not

I'm not going to shy away from the fact that it leaves a foul taste in my mouth.

Ultimately I don't think any of the more insidious parts were deliberate. We fall back on tropes, on the stereotype, on the language of a genre that has been largely determined by the society that formed it (psst just a hint for this kind of science fiction, that's a lot of white dudes), when we don't watch ourselves. And how can you keep a wary eye on plot, on structure, on the nuances of the politics of the world you're writing, when you're taking three years to put out eight seasons of this show. That's not enough time for a PhD in my field of study! Let alone a long-term science fiction show with a writing team, animation team, etc.

When you rush, you say things you don't intend to. We all are guilty of this. If you think you're not you're probably lying to yourself. This show was so rushed I'm not at all surprised it turned out the way it did.

I'm just disappointed.

For all its flaws this show displays technical proficiency in a lot of areas. The animation is beautiful, they consistently write and animate great fight scenes that make wonderful use of vivid and unique environments. I think that Keith and Shiro as an interpersonal dynamic for the first six seasons of the show is terrifically done in places. I think the fight between them at the cloning facility is probably the peak of the show in writing and animation. Spectacular, heart-wrenching, and serves to bring them to an equal playing field.

Some moments of the show are genuinely funny. The writers have a good grasp on humor when they're not doing mean-spirited physical comedy with Hunk. There's a lot to like about the potential of Voltron. The voice acting and performances are great! I think they got a really lovely cast together and they play off of each other well!

It's just impossible to write something of this scale in three years and have it work out. It's impossible because we need time and space away from our writing to think about what it needs changed. We need to take the time to explore other ideas.

I love science fiction. I will always love science fiction. And this show was made by people who are good at what they do. They just didn't have time.

El flojo trabaja doble. By not drafting over and over again, they made it almost impossible to salvage this show. Take more time, the work in the later seasons to bring about a fulfilling ending would've been achievable.

As it stands the show is a colossal wreck. A tale of a lot potential, a sea of good ideas, and a road to hell paved with good intentions.

[canonically47]

i cannot ever get over gi-hun actually. the fact that he chooses to believe in the good of humanity even after witnessing what he has, and that he joins the games AGAIN with (mathematically) even LESS chances of survival JUST because he wants to save people, people who DON'T CARE, people who are SELFISH and who continuously betray and hurt him just fucking KILLS ME. a very big critique from many people (and i've noticed, especially men) about the second season and gi-hun's character is that he is stupid. they find him to be stupid that he has this weak spot for an uncaring crowd, that he comes back to the games to save people who wouldn't think of him twice, instead of going to his daughter. they think that him caring and despising a system this deeply is a sign of weakness and stupidity.

but if anything, i find it admirable. maybe i can't bring myself to hate him because i think i'd do the same thing. i watch him on-screen and think, "yeah, i would do that too", every single mistake, every single thing, i get him. and he may look stupid to some but i think if anything, he's just too caught up in an ideal world in which people care, but i find it admirable that this is his personality even after witnessing the previous games. he still has hope, they haven't wiped it away from him. comparing him to in-ho is like night and day, because in-ho was broken by the games and came back to perpetuate that same hurtful system, while gi-hun was broken by the games and came back to break the people that created the system, and the system itself.

he speaks to me, as an individual who clings to hope until his very last breath, who can never seem to learn from his mistakes because he is so stubborn, he wants to prove that humanity could, and should, have hope and that it's worth to fight for it, not to just leave for a different continent and forget about it. that's what draws me to him, this endless fight in him, i can't find him stupid because he's so desperate to change things. and he never gives up even after his friends die before him.

idk i just am really unwell about gi-hun. i think people treat him too harshly. i'm unsure how well this is worded, but what i really want to say is that i don't think he should be perfect and immediately learn from every single mistake he has ever made. the fact that he is this broken given his past, even before the games he's set up as this really caring and traumatized individual, and that they double down on his same characteristics that make him so incredibly real... he's just really special to me. i really admire the way he is written and i think he's a really good representation of people who fight for a change even when it all seems lost. he's just that kind of guy that doesn't, couldn't, will never give up. and i really love that.

[violettierre]

My haitani father Shio headcanon is just a bit too funny cuz of how well it works that it sounds like a waste of perfect canon idea and crossover for both of wakui's works.

Aside from the obvious physical features very very obvious, identical eyes, nose, blonde eyebrows, rindou's face form, ran's hair color palette and (arguably) bonten hair style, blah blah i mean just look a the pictures below, you can also bring up any fact from either manga and add it to the hc and it fits in just SO WELL, i'll give the first example, The Haitanis are very obviously rich spoiled kids like have you seen their apartment? They have a fucking dj set, only rich kids with neglective powerful parents will have no problem paying for that, just saying, and even though i love him let's be real Shio is the type to be that parent, i mean cmon he's rich like crazy rich (filthy yakuza money yum yum) he tots would give his children WAY more than enough allowance so they can leave him alone, also the way they act, i've always the Haitanis were the type of kids that think they own the school cuz their dad is rich .

Nvm if this never becomes canon or both universes don't collide, it's just so entertaining to keep connecting the dots that were likely never there, like how Rindou is a heavy drinker cuz his father drank alot with the rest of the Yotsurugis and he tried to imitate him from a young age that it became an unhealthy habit or if you want to add more drama he only drinks cuz he looks up to his father but Shio favors Ran cuz he can posssibly succeed him (canon power complex) so Rindou resorted to drinking cuz it's the only thing like his dad that he can do. Heck yeah i made it angsty!!!

You can also add great context to his fear of Yakuza, picture this, when he was a kid he got up in the middle of night after hearing a loud noise to search for his parents and witnessed Shio (canon Yakuza) pew pew-ing some poeple and surrounded with scary men, that probably scarred him for life that he was so terrified when Kakucho got them interfering with some, OH OH something just came to mind, if he's the son of a yakuza yeah he didn't wanna clash with other yakuza families cuz it can end in a blood shed and risk his and his family's lives.

And i'm gonna add this one not very small detail and i swear i'll shut up (for now), i know it's just a stupid headcanon that is very far from becoming reality and i don't have to take it this deep but hear me out, why their last name is Haitani and not Yotsurugi like their dad, Shio is powerful and have many enemies right ? So he simply decided to protect his children and their identity by giving them another last name likely their mother's (yk like minato with naruto style plan ?) So Haitani is actually their mom's family name. I rest my case. Thank you for coming to my useless ted talk.

[quickfixinator]

ad astra per aspera

do do do do dooo doing the tumblr thing where I ramble about the thing that I made either in the tags or under the post. in this case I believe I will be doing both.

I find it a bit unfortunate with pieces like this that I've either workshopped for months or have thought about way too hard, how I end up having nothing to say about them at the end. someone explain that to me, or don't. that's cool too.

I made an alternate version where he's getting dragged down by bill hands because that's:

a) sick as hell

b) somewhat plot relevant

someone tell me if I should post that or not. is that cool or am I insane. I feel like I could've done more but what I've ended up with is satisfactory for me so I'll move on now. thanks for coming to my ted talk.

[sillygoofyqueer]

Deity Jester Wei Wuxian AU because I really like it I don't CARE if you guys have no taste (/silly). What a shit ending to that last one was though, I was obviously some form of deluded with that ending. Jesus CHRIST. When Wei Ying returns to Master, he is furious. He wants to kill him, to rip him apart slowly and remind him that although he may hold the key to controlling him, Wei Ying can still fight back. He already has, once. It was a minimal, small struggle, one that had seemed to tear him apart inside, but it was enough. A sign that he does not need to resign himself to being forced to complete Master's every whim and want. It's what fuels him to pulling the poor wood that hides a room off its metal bindings as he enters Master's space, feeling that familiar tug in his chest that usually signals a transformation, but he still can't free himself of this cage of flesh and blood so he can only growl in frustration. Master is lounging in that pathetic chair of his, obviously having been waiting for him to enter, lips pressed against that damn instrument and already playing the tune that leaves him feeling separate from his own body.

At first, he can ignore it, clinging to his body - it's so heavy to move it, so heavy in a way it hasn't been since the deaths of his mama and papa - and dragging himself forwards towards the man himself. But, there's something about this melody that feels different. It seems to echo, reverberating around the room and thudding into his mind every time it bounces off a surface; it hurts, every thud another rip in his control, until he can no longer keep himself in control. He doesn't even hear the orders that Master gives him, but can only watch and vaguely feel himself moving somewhere, doing something, but then it all goes dark. He can't think, can't move, can't open his eyes. He just. Exists. It feels almost similar to how he existed after being chased out of his home when his parents had died, hidden beneath a tree and clinging to his mama's cloak as it rotted in his hands. He wonders if this is what death is like.

Wei Ying's master, known to most as Wen Haoran, moves in to take the throne after he is sure that all other competition is gone. The monster took care of all of them, but the way it had refused to attack the children had him worried. However, they were dealt with, it was dealt with, and now he can easily take over command of the country. The commoners cannot do anything, and it is easy to pit the old court loyal to the previous crown against one another with carefully placed pieces of 'incriminating evidence' that ties all of them to him in some way or another. Rumours and whispers, letters and bribes, all linked back to him in some way or another, falsified to suit his purposes. The infighting weeds out the weak ones who come begging for his support a few weeks in, the strong ones who end up swarmed as more 'evidence' piles up against them, and the smart ones. The ones who merely pretend to bend to his will. They are dealt with swiftly, leaving his control of the throne secure.

History unfolds from that moment, time passing as Wen Haoran's rule marks the start of Wen control of the country, rules doling out to become more and more oppressive as time goes on. Nobody can explain how he gained the throne, can only speculate while he tucks away the ancient, mould-ridden text that holds a short, vague passage on the monster with the melody that summons it. While he doesn't want anyone else to learn about his methods for his takeover, he wishes to ensure that future generations of the Wen also have the knowledge in case they need to summon the monster. It's stupid enough, it won't even recognise them considering it didn't even know his name, so it can be utilised again as long as the melody is played by them. So, he creates an inner library, hidden within his chambers (the chambers of the ruler), that holds all of the secrets his family should need to know to keep control of this country, one that is finally taking shape to be a truly great place. It is a secret that is passed down from ruler to ruler at first, but one that fades with time, until eighty years have passed and Wen Haoran is long dead, with Wen Ruohan on the throne.

Wen Ruohan is unlike his ancestor in that he is outwardly cruel. He is power hungry, a maniac that cares not for appearances - the Wen have been on the throne for this long, their power is practically absolute, and everyone has grown complacent with the treatment doled out to everyone within the country. Whatever the Wen ask, you do, or you face certain death. Rumours flit around that they are using dark magic but honestly, none of the rulers are even aware of the secret room within their chambers and, even if they were, would not think to find any sort of magic present in their ancestor's work. Wen Ruohan is just evil alone, he does not need any cursed magic or object to taint his mind. A clear indicator of his cruelty is when he asks the prestigious families to send a son into the palace so they can learn their roles; they can do nothing but send them over despite their fear and mistrust of this tyrannical ruler with his equally fucked up sons.

It's not long before these boys from prominent families have different tasks doled out to them that seem to mock the individual family's greatest pride - Nie Mingjue is placed as a Duizhu (captain of a company), meaning he is working with woefully less soldiers than he usually would, an insult to his expertise of battle. Jiang Cheng is now a fisherman for the Wen, supplying them with the best fish - an insult to the family revered for their trade and control of the waterways. Jin Zixuan? A retainer for Wen Chao, who delights in ordering around a member of the family that poses the most threat with their almost natural talents of politicking and charming all those that cross them (well, until you talk to Jin Guangshan, of course). And Lan Wangji, the one to willingly go to the palace so that his brother could still be the heir of the Lan family, a scholar dedicated to documenting the illustrious history of the Wens and whatever strikes their fancy, spitting on the Lans' own well-documented, impressive history and their unparalleled scholarly arts.

Lan Wangji despises his place in the palace, forced to sit in the library every day and read through pages and pages of the Wens' lies, writing down everything that could be deemed even remotely important to the Wens so that he doesn't have to go back and read through them if he misses something. This task is not straightforward even with his length, because every time one of the royals ask him to research something else, he must stop his documentations of the Wen to learn everything about the subject asked until he has enough information written down to appease those that have asked for it. It's long and tedious enough already, and every time he has to pause, it adds more time to what he has to do. It gets worse when he realises that there is vagueness around the beginning of the rule of the Wen - something that Wen Ruohan will not tolerate if he is presented with it, forcing Lan Wangji to ask for more resources on that part of history.

Coincidentally, a servant stumbles across the secret library while cleaning the room, having done the impossible and accidentally knocked a statue resting against the untouched books in the study. They look inside, assuming this is just another part to the library of the study, and dust off all of the books - they notice two books in particular - small, handbound. 'The beginning of the Wens' and an unnamed, mould-covered book. They don't think much of it, just remembering that that blasted Lan was asking for more resources on the former subject and so grabbing that without much thought to go give it to the Lan, then grabbing the mould-covered book just because it will surely be a pain in the ass for the Lan to decipher. They leave the hidden library, being sure to reset everything after they're gone, and go to give the books to the Lan. They honestly assume that the other inner servants know about it, so they don't mention anything as they deliver the book to Lan Wangji, who practically glares down at it as he opens it for more bullshit to be delivered.

[crow-talks-hockey]

really hitting me hard that this means no more avalanche hockey for the next five months basically. this was not a team that should have gotten out in the first round. resign neci among others, find comfort in knowing gabe's back fully healthy again, and return stronger and angrier this october. i love you colorado avalanche and i love you avsblr, i'm going to miss you all so much (as i do each time our year ends) <3

[geminiwritten]

my brain is mud and i think the only thing that could fix it is lewis pullman???

also i need copilot to FUCK OFF

and sorry in advance for my next fic, it’s gonna suck but i’m powering through cause sometimes… the brain just don’t brain how it should

[fictionadventurer]

Potential March Reads

Wandering by Loren G. Warnemunde

Spe Salvi by Pope Benedict XVI

The Secret Garden by Frances Hodgson Burnett

The Heir and the Spare by Kate Stradling (plus Maid and Minstrel and/or Brine and Bone)

The Lord of the Rings by J.R.R. Tolkien

The Light Princess by George Macdonald

The Hunger Games trilogy (and possible Sunrise on the Reaping by Suzanne Collins)