#so no none of the characters are meant to be paragons of 'the right way to live' or god forbid morality

[iwritenarrativesandstuff]

bsd is a fun story in which every single character has something to tell you about the value of life and living and yet they all kind of suck at it a lot of the time

it just so happens that there are some characters who do it so much worse, like... ethically, and we are meant to say "yikes! well no one here is a good role model but definitely don't do that"

[evilkitten3]

i love good sibling-evil sibling roleswap fics bc they can be extremely interesting but almost all of them end in reconciliation and happiness and whatnot, and while that's fine, it always seems to have the "evil" sibling coming back to the good guys' side after the good guys, y'know, talk to them, and very often doesn't seem to notice that the reason that didn't happen to the canon evil sibling is bc they didn't do that. it's the same in thor-loki swap fics as it is in zuko-azula swap fics (although the dynamics are somewhat different since the parental favoritism in atla is given to the "evil" sibling)

i keep thinking, if azulon had ordered ozai to kill azula instead, would she even bother to tell anyone? she certainly wouldn't tell zuko. if she told ursa, would she even believe her? would ursa take the same risk in killing azulon for her daughter's sake? bc i'm not sure that she would.

or, if azula somehow got banished (the circumstances would have to be different; there is no way azula would be that reckless in a meeting she wasn't supposed to be in, even if she managed to talk someone (definitely not iroh) into letting her in), would her mission be the same? would someone go with her, or would she be by herself? and if zuko never went looking for the avatar, how would that change him?

atla au fics very often have zuko end up on the good guys' side regardless of circumstance, and i feel like, intentionally or not, it's bc there's a belief that there's some sort of inherent quality he has that would make him have the opinions we in the real world would consider to be the morally right one, which i feel is sorta unfair to zuko as a character.

zuko's redemption arc is often portrayed as "he saw the effects of the war on the rest of the world and realized it was wrong", which is somewhat baffling to me bc every instance of zuko seeing the impact of the war occurs before the finale of book 2, meaning that seeing the damage the war had done wasn't enough to stop him from wanting to go home. zuko's redemption arc was deeply personal– it wasn't about other people. i don't think that's even really a bad thing, frankly - he's sixteen, and people are complicated. from the get-go, zuko's character arc has been self-centered, and i don't mean that in a bad way, it's not at all a bad thing. he wanted to capture aang so he could go home. he betrayed ozai bc he realized that ozai treated him horribly and he would never be able to be himself there. when he confronts ozai, he acknowledges that the war is and always has been wrong, but the thing is: he knew that already. he'd known that for a while by then. the knowledge that the war was wrong wasn't enough.

and to be clear, i think that's a good thing! i think that's good writing, that it makes zuko more complex and interesting. zuko knows right and wrong; even when he's an antagonist, he intervenes in situations where the fire nation soldiers are doing something he views as dishonorable. he's willing to stand up for what's right on a small scale, but it takes him a really long time to decide that what he should actually be doing is confronting the much bigger problem, and that's something he only becomes able to do once he realizes how bad the war and the fire nation have been for him.

zuko's redemption works bc it's an active decision he made (several active decisions, technically) that depended on him staying true to himself and abandoning conforming to the people who had power over him. a redemption arc for azula can't work like that bc they're not at all the same. for starters, while azula is also selfish, her character goals for most of the series aren't. they're still bad, bc she's an antagonist, but where zuko was acting to restore his own honor, azula's initial goals are to serve her nation (which is an evil nation, but that's not the point).

i think fics where zuko tries to get azula redeemed are quite interesting, but they often miss a key factor: one of the areas where azula and zuko are very similar is that they both absolutely despise feeling weak in any way. when iroh tries pressuring zuko into doing something he doesn't want to do, he tends to lash out– zuko doesn't like being controlled, and iroh eventually realized that zuko was going to have to come to the not-evil side on his own bc dragging him there forcibly just made him want to rebel. at the end of book 2, zuko chooses azula over iroh bc azula realized that it had to be zuko's choice, made for himself. iroh tried to push zuko to redemption before he was ready, but azula gave him a choice. ironically, iroh verbally acknowledges that zuko needs to choose, but he still opts to try and force his hand. both azula and iroh are being manipulative here, but the difference is that azula frames her argument as a choice zuko is not obligated to make, and iroh doesn't. zuko chooses to return, just as he later chooses to leave again.

forcing azula to try and gain "redemption" won't work for the same reason it didn't work for zuko. it would have the same effect– she would just lash out, only unlike zuko, as demonstrated here, azula is significantly more dangerous (and, depending on your interpretation of her breakdown, significantly less stable).

the reason a lot of attempts at azula redemption fall flat to me is that a) azula is often the only character who seems to need redemption, while mai and ty lee seem to have been declared good guys by the powers-that-be offscreen despite having never shown anything but full support for the war and being just as involved in the fall of ba sing se as azula, b) her redemption often being framed as something necessary not for any specific thing that she did but instead for simply being in the first place– pre-14yo azula didn't need redemption; her only crime was being kind of a dick to her brother (note that all of the pre-series being a dick to zuko occurred when azula was 11 or younger, bc zuko was gone for three years), and c) iroh is almost always in his little tea shop in ba sing se and everyone's completely fine with that.

i've rambled much more than i meant to so i'll finish up with one final thing i haven't been able to stop thinking about: it's been a while since i watched the show, so i may be misremembering, but i'm fairly certain azula never even implied wanting to be the fire lord until ozai told her he was passing the title to her.

Azula has already done this. Azula can breathe fire from her mouth like everyone else in her family. I know it’s not a big deal, but it always makes me laugh how people are so quick to remember Zuko’s fire vortex but forget that Azula has enough abilities to name her best fire bender just on paper via the same comics.

[3fc0eb]

Clay Puppington, A Brief Overview

Clay is a complex character that takes a very influential role in the series, but because of that complexity, his character might require a small breakdown to fully appreciate the story being told. 

Many facets of Clay are seen throughout the story. Most often, we see him through the lens of his son, Orel. Orel's perspective of Clay is arguably the most vital, because as the series continues, we see Orel's view of his father shift from a childish perception of a paragon for what's good and right™, into a realistic understanding of the man he truly is.

In Orel's own hand-written script, he likens his father to a puppy, because he is “loyal and good”. We as the audience, however, are given a different perspective. We are given the chance to see Clay without Orel's perception. 

Thus, we see a wolf. 

To see a wolf among sheep is no accident on the writers’ part. The Bible uses the wolf to symbolize cruelty, treachery, greed, and destructiveness. (Zephaniah 3:3, Luke 10:3, Acts 20:29, Ezekiel 22:27)

These traits are readily seen in Clay and, in Orel's innocence, he is blind to those flaws. 

Beyond Orel's view, however, we are given key insight into Clay's character and the situation he's in from the ending of season one.

Here we see Clay and his wife, Bloberta, having an argument about the sermon they'd sat through that day. It quickly devolves into her pointing out his drinking habits, where he replies “All I do is try to forget.”

Bloberta has her reasons for this argument, but what's important is that we are given a perspective devoid of Orel's vision. 

We see that he is unhappy with his marriage and suspicious of his wife's fidelity. Tellingly, he doesn't even deny that he never wanted a second child. 

So why does he stay in this situation if he's so miserable?

The next time he sees his son, he actually spells out the answer to that question.

“You and Shapey are still young, needy, impressionable children. So your mother and I have decided to stay together. If only for appearances. The last thing we want people to think is that we don't care about our own kids. That's one fact that is none of their business.”

Importantly, in the entirety of his monologue to Orel, he paints himself as the knowledgeable, correct one. Yet, he is painfully clear that the only thing that matters to him is what others see and think. 

Immediately afterwards we see that he's left Bloberta and Shapey to wait alone in the car outside the restaurant, punctuating precisely how little he cares for both of them. 

Then why does Clay single out Orel as being worthy to explain what's happening to? Does he genuinely care for and love Orel as a son, in his own misguided and twisted way?

No. No, he doesn't. His first reaction to his son coming to him with any issue or concern is to immediately reach for his belt for correcting his son into whatever wisdom he believes he possesses. 

He doesn't even react to his son's bloodied clothes until his wife tells him it will cost him more money in laundry detergent.

He refuses to accept responsibility for properly teaching his son.

And any revelation that would otherwise be seen as important milestones for personal growth in his son are forcibly stamped down.

All so that his son will be more like him. Because he believes he is living life correctly. How it is meant to be lived. 

He says as much in the most pivotal moment in the series: Nature.

First, taking place directly after disciplining Orel after the events of Grounded, we see Clay inviting Orel to go for a hunting trip. 

At first, Orel is elated at spending time with his father. But once Clay explains his intent to have Orel kill something, Orel insists that he'd rather just watch. He'd rather just spend time with his father. But Clay pushes aside that “nonsense” immediately, instead thrusting a Puppington tradition onto Orel. 

Passing on Ol’ Gunny. But we'll come to that later. For now, Nature.

“I gotta tell you, Orel... Your cup is always half empty. Now look at me. You should be more like your old man and look on the blight side of life.”

Clay is speaking honestly here, but not entirely the truth he wants to be telling. He confuses “blight” and “bright” here, effectively telling Orel that he needs to be brought down to Clay's level. Seen to a greater degree in Sacrifice, Clay’s mentality is solidly rooted in “misery loves company”, and he is nothing if not miserable. 

He continues, “I didn't say "bright". I said "blight". My life is sunny and blight. 'Bright' means the opposite - it means sudden withering death. And that's... not... Oh, who am I kidding? My life is full of bright…”

Concerned, Orel asks, “You mean blight?”

“Oh God…”, He mutters.

“What's the matter?”

And here, Clay reveals the deep-seated turmoil within him:

“I hate myself... WHY DO YOU QUIT WORKING ON ME?! She always fools me, Orel. "I'll make things better, dear! Drink me! Put me inside you! I'm great!" And she chokes me just like every other whore out there! They're all worthless, kid. Every woman. Don't let 'em get ya! All of 'em wanna get ya! They just grab you and pull you into 'em! And you're forced to stay in, pull out, stay in, pull out! And then they cut ya and they grip ya by the... right where it counts! And then they start squeezing things out, things that are like weights around your head! You're stuck there for the rest of your life with nowhere to go and no one to be!”

His increasing delirium is broken as a gunshot rings out.

“Dad! Are you okay?!”, Even still, Orel remains concerned for his father.

“Okay?! Am I okay?! You shoot one thing this whole trip! Count 'em - one thing! And it's two of my last bottles of liquor?!

“Sorry, Dad, it was an accident!”

“There are no accidents! You've done nothing but whine like a lady in a flowery sissy skirt and attractive high heels about my drinking since we got here!”

“It's because you become a bad person when you drink!” 

Finally, Orel's illusion of his father has cracked, and he points out what we could see. And Clay's response to his son's cry?

He reaches for his belt once again. Too inebriated for even that, he instead grabs his rifle, to instruct Orel on how to “be a man” again. Remember that phrase. 

Instead, however, he accidently fires the rifle and hits Orel in the leg.

And still his only words are that Orel has to be more careful. He is spiteful of Orel bringing a first aid kit, and instead of helping his son, he downs the rubbing alcohol himself and sleeps.

While he sleeps, a bear finds the two of them. Orel apologizes to the bear before having to shoot it in order to save his father and himself.

For the first time, Orel takes a personal stand against his father and lies to him. Lies in order to purposefully spoil his father's pride. This is important to Orel's development but before that, let's go back to Clay's rant. 

Like much of late-season Clay's speeches, there's a lot to unpack, so let's take it piece by piece.

First, Clay is aware of the low opinion he holds of himself, but for now, we the audience are left to assume why that is. We only know how much he hates his life. 

He then laments the poor job alcohol has done for him. We've seen before that he drinks to forget, in Best Christmas Ever. But drinking to forget isn't the sole reason. Clay pins many of his misgivings on a particular person. 

There is a reason Clay believes drinking is better for him, the same reason his despair about alcohol quickly transitions to his opinion on women. In reality, its one particular woman he's screaming about, who's tainted his view so dramatically.

“Still hate her.”

“I'm setting your couch alarm so you're not late again for work tomorrow.”

“You have never been on my side!”

Bloberta.

Clay believes her to be the linchpin to his misery. She certainly doesn't do anything to alleviate that impression either. 

That's not to say there aren't moments when they get along. Notably, they share in a kind of joy by tearing someone else down. Again, misery loves company.

This can be seen in the first episode, Grounded, and Help.

Mocking Reverend Putty's sermon,

Rubbing salt in Orel's wound when he was grounded from going to church,

And telling off Figurelli at the wedding reception the day they'd met. 

Let's take a moment to focus on Help. 

This episode can be easily seen as the beginning of Clay's downfall. 

When Clay is first seen in Help, he is very unlike the man we've come to know until then. 

He is careful, withdrawn, and perilously pious; suggesting that even drinking was a sin when asked why he didn't drink drinks. 

His delicate persona falters easily, however, as Bloberta's encouragement shows him the possibilities that alcohol can provide.

It is this moment that Clay becomes more recognizable to the audience. His first exposure to alcohol helps him “out of his shell”, and his initial action is to tear down someone else to raise himself up.

“...That dummy had no idea until I told them the score.”

He becomes a bad person when he's drunk.

But that shared intimacy over a common enemy was enough to keep Bloberta happy at first, until he reveals he has no interest in marriage and instead begins to show her who he is.

Cruel.

“I think he forgot yours.”

Treacherous.

“Yeah, could be…”

Greedy.

“They're mine!”

“Filthy.”

Even so, Clay gave her a reason to believe she had value by saying she was helpful. So her mind was set, and he was just as easily swayed to marry her as he was to start drinking.

And with that, we know why he drinks. He regrets his marriage to Bloberta, and his day to day life with her, but needs to maintain face with the people of Moralton. His determination is touched on in another rant he has toward the end of the series, but let's wait to talk about that.

First, it's important to ask “why is Clay like this? What makes him behave the way he does when he drinks?”

This is answered in the next episode: Passing.

(Part 2)

[janecrockeyre]

scum villain is a greek tragedy disguised as a regular tragedy disguised as a comedy disguised as a danmei

this is going to be long, and this is only PART ONE.

a.k.a, Analysing the plot of Scum Villain’s Self Saving System through Aristotle’s Poetics, because I Have Mental Issues

Part One: Introduction and the Tragic Hero

Scum Villain’s Self Saving System is a tragedy disguised as a comedy, unless you’re Shen Yuan, in which case it’s a mixture of a romance and a survival horror. It's a fever dream. It's a horrible, terrible book that made me feel new undiscovered emotions when I finished reading it. 

The thing is... SVSSS shares characteristics with some of the most famous tragedies in the West, such as Oedipus Rex, Medea, Antigone, the Oresteia... if you haven’t read these, I’ll explain everything. But the gist of my argument is this: SVSSS is the perfect tragedy. In triplicate. 

Tragedy as a genre is old as balls and so it has meant slightly different things to different people over the last few thousand years. I'll be focusing on ancient Greek tragedy, which was performed at the yearly Festival of Dionysus in Athens during the 500-350s BC (give or take a hundred years). Aristotle, when writing about this very specific subset of tragedy, had no idea that one day Scum Villain would be written, and then that I would be using his work as a way to look at Shen Qingqiu’s Funky Transmigration Mistake. Anyway!

Greek tragedy greatly influenced European dramatic tradition. I have a lot of opinions about white academics idolising and upholding the classics as the "paragon of culture" but I'll withhold them for now. I have no idea if MXTX has read Greek tragedy or not, so don't take this as me saying they are writing it. 

In my opinion, tragedy is a universal human constant. We are surrounded by pain and hurt and none of it makes any sense, so we seek to process that pain through drama, art, literature, etc. We want to understand why pain happens, and how it happens, and try to make sense of the senseless. The universe is cold and cruel and random. Tragedy eases some of that pain. 

On that note: Just because I am analysing Scum Villain through a Greek lens doesn't mean that it was written that way. I'm pasting an interpretation onto the book when there's probably a very rich and deep history of Chinese tragedy that I just don't know about. If you ever want to talk about that, please, god, hit me up, I would love to learn about it!! 

Anyway, tragedy. MXTX is excellent at it! Mo Dao Zu Shi? Painful dynastic family tragedy. Heaven Official's Blessing? Mostly romance, but she managed to get that pure pain in there, huh? 

But in my opinion, Scum Villain holds the crown for the most tragic of her stories. MDZS was more of a mystery. TGCF was more of a romance. Neither of them shy away from their tragic elements. 

Scum Villain would fit right in between the work of Sophocles, Euripides and Aeschylus. How? Let me show you. Join me on my mystery tour into the world of "Aristotle Analyses Danmei..."

Part One: The Tragic Hero

What is a tragic hero? Generally, Greek tragic heroes are united by the same key characteristics. He must be imperfect, having a "fatal flaw" of some kind. He must have something to lose. And he must go from fortune to misfortune thanks to that fatal flaw. 

There are two (technically three) tragic protagonists in SVSSS and all of them are tragic in different but formulaic ways. Each protagonist has their own version of “hamartia” or a “fatal flaw”. 

Actually, hamartia isn’t necessarily a flaw - rather, it is a thing which makes the audience pity and fear for them, a careful imperfection, a point of weakness in the character’s morality or reasoning that allows for bad things to happen to them. For example, in Oedipus Rex, the king Oedipus has a “fatal flaw” of always wanting to find the truth, but this isn’t exactly a flaw, right? Note: this flaw can be completely unwitting, as we see with Shen Yuan. It can also be something that the protagonist is born with, some kind of trait from birth or very young. 

Shen Yuan

Shen Yuan’s “hamartia” is his rigid adherence to fate and his inability to read a situation as anything but how he thinks it ought to be. He believes that Bingmei will grow into Bingge, and it takes several years, two deaths, and some truly traumatising sex to convince him otherwise. 

Shen Jiu

Shen Jiu’s fatal flaw is his cruelty. It is his own sadistic treatment and abuse of Binghe which directly leads to his eventual dismemberment. This is kind of a no-brainer. Of course, it isn't all that simple, and as an audience we pity him for his cruelty as much as we fear it because we know it comes from his own abuse as a child. This just makes him even more tragic. Delicious. 

Luo Binghe

Luo Binghe’s fatal flaw is a complicated mix of things. It is his position as the “protagonist” which compels him to act in certain ways and be forced to suffer. It is his half-demonic heritage, something entirely out of his control, which sets in motion his tragic reversal of fortune when he gets yeeted into the Abyss. He also, much like Shen Yuan, has the propensity to jump to conclusions and somehow make 2 + 2 = 5. 

As well as having their respective “flaws”, all three protagonists match the rough outline of a good tragic hero in another way: they are in a position of great wealth and power. Even when you split the different characters into different “versions”, this still holds true. Yes, Luo Binghe is raised a commoner by a washerwoman foster mother, but his dad is an emperor and he also ends up becoming an emperor himself. 

Yes, Shen Jiu is an ex-slave and a victim of abuse himself, but Shen Qingqiu is a powerful peak lord with an entire mountain’s worth of resources at his back. 

Shen Yuan is a second generation new money rich kid. 

Bingge is a stereotypical protagonist with a golden finger. Bingmei is a treasured and loved disciple with a good reputation and a privileged seat by his shizun’s side. 

In a tragedy, having this kind of good fortune at the beginning of your story is dangerous. Chaucer says that tragedy is (badly translated into modern english) “a certain story / of him that stood in great prosperity / and falls out of high degree / into misery, and ends up wretchedly”. If we follow this line of thinking, a good tragedy is about someone who has a lot to lose, losing everything because of one fatal point of weakness that they fail to address or understand. 

If we look at Shakespeare, this is what makes King Lear such a fantastic tragic protagonist. He is a king in control of most of England, who from his own lack of wisdom and excess of pride, decides to split his kingdom apart to give to his daughters, favouring his murderous, double crossing progeny, and condemning his only actually filial daughter to death. He loses his kingdom, his mind, and his beloved daughter, all because of his own stupidity.

This brings us to:

Part Two: Peripeteia

This reversal of fortunes is called peripeteia. It is the moment where the entire plot shifts, and the hero’s fortunes go from good to bad. Think of it like one of those magic eye puzzles, where you stare at the image until a 3D shark appears, except you realise the shark was always there, you just couldn't ever see it, waiting for you, hungry, deadly, always lurking just behind that delightful pattern of random blue squiggles. 

Each tragic hero has their own moment of peripeteia in SVSSS, sometimes several:

Shen Qingqiu

In the original PIDW, SQQ’s peripeteia presumably occurs when he finds out that Bingge didn’t perish in the Abyss but has actually been training hard to come and pay him back. There’s really not much I’m interested in saying here - as a villain, OG!SQQ is cut and dry, and the audience doesn’t really feel any pity or fear for him. As Shen Yuan often mentions, what the audience feels when they see OG!SQQ is bloodlust and sick satisfaction. There is also the trial at Huan Hua Palace, which I will talk about in Shen Yuan’s section. 

Shen Yuan (SQQ 2.0)

One of SY’s most poggers moment of peripeteia is the glorious, terrifying section between hearing Binghe for the first time after the Abyss moment, and getting shoved into the Water Prison. 

“Behind him, a low and soft voice came: “Shizun?”

Shen Qingqiu’s neck felt stiff as he slowly turned his head. Luo Binghe’s face was the most frightening thing he had ever seen.

The scariest thing about it was that the expression on his face was not cold at all. His smile wasn’t sharp like a knife. Rather, it showed a kind of bone-deep gentleness and amiability.”

This is the moment of true horror for Shen Yuan, because he knows what happens next: the plot unfurls before him, inevitable and painful, and he knows that death awaits him at Luo Binghe's hands (lol). Compare it with the bone deep certainty with which he faces his own downfall during the sham of a trial later in the chapter (I’ve bolded the important part):

“In the original work, Qiu Haitang’s appearance signified only one thing: Shen Qingqiu’s complete fall from grace. [...] Shen Qingqiu’s heart streamed with tears. Great Master… I know you’re doing this for my own good, but I’ll actually suffer if she speaks her words clearly. This truly is the saying “not frightened of doing a shameful deed, just afraid the ghost (consequences) will come knocking”!”

After the peripeteia is usually the denouement where the plot wraps up and the threads are all tied together leaving no loose ends, but because this tragedy isn’t Shen Yuan’s but the former Shen Jiu’s, it’s impossible to finish. 

Shen Yuan cannot provide the meaningful answers that the narrative demands because 1) he doesn’t have any memory of doing anything, and 2) he wasn’t the person who did them. Narratively, he cannot follow the same path as the former SQQ because he lacks the same fatal flaw: cruelty. 

This is why Binghe doesn’t kill him - because he loves him, rather than despises him. And this is why Shen Yuan has to sacrifice himself and die for Luo Binghe in order to save him from Xin Mo: because the narrative demands that denouement follows peripeteia, and SQQ’s fate is in the hands of the narrative. 

(Side note: I believe that this literal death also represents the death of OG!SQQ's tragic arc. The body that committed all those crimes must die to satisfy the narrative. SQQ must die, like burning down a forest, so that new growth can sprout from the ashes. After this, Shen Yuan's story has more room to develop instead.)

It must happen to show Bingmei that SQQ loves him too. And this brings us to Bingmei.

Bingmei

Bingmei has two succinct moments of utter downfall. The first is a literal fall - his flaw, his demonic heritage, leads his beloved shizun to throw him down into the Abyss. From his point of view, SQQ is punishing him simply for the status of his birth. He rapidly goes from being loved and cherished unconditionally, to being the victim of an assassination attempt. 

He realises that he is totally unlovable: that for the crimes of his species that he never had a hand in, he must pay the price as well: that his shizun is so righteous that no matter what love there was between them, if SQQ sees a demon, he will kill it. Even if that demon is Bingmei. 

The second moment is when SQQ dies for him. Again, from his point of view, he was chasing after a man who was struggling to see him as a human being. Shen Qingqiu’s death makes Bingmei realise that he has been completely misunderstanding his shizun: that SQQ would literally die for him, the ultimate act of self sacrifice from love: that SQQ loved him despite his demon heritage. 

Much like King Lear holding the corpse of his daughter and wailing in sheer grief and pain because he did this, he caused this, Bingmei gets to hold his shizun's cold body and cry his eyes out and know that it was his fault. (Kind of.)

(Yes, I’m bringing Shakespeare into this, no I am not justifying myself)

Maybe I'm a bit sadistic, but that scene slaps. Let me show you a comparison of scenes so you get the picture. 

Re-enter KING LEAR, with CORDELIA dead in his arms; EDGAR, Captain, and others following

KING LEAR

Howl, howl, howl, howl! O, you are men of stones:

Had I your tongues and eyes, I'ld use them so

That heaven's vault should crack. She's gone for ever!

I know when one is dead, and when one lives;

She's dead as earth. Lend me a looking-glass;

If that her breath will mist or stain the stone,

Why, then she lives.

[...]

 KING LEAR

And my poor fool is hang'd! No, no, no life!

Why should a dog, a horse, a rat, have life,

And thou no breath at all? Thou'lt come no more,

Never, never, never, never, never!

Pray you, undo this button: thank you, sir.

Do you see this? Look on her, look, her lips,

Look there, look there!

Dies

Versus this scene in SVSSS: 

Luo Binghe turned a deaf ear to everything else, greatly agitated and at a loss of what to do. He was still holding Shen Qingqiu’s body, which was rapidly cooling down. It seemed like he wanted to call for him loudly and forcefully shake him awake, yet he didn’t dare to, as if he was afraid of being scolded. He said slowly, “Shizun?”

[...]

Luo Binghe involuntarily held Shen Qingqiu closer.

He said in a small voice, “I was wrong, Shizun, I really… know that I was wrong.

“I… I didn’t want to kill you…”

PAIN. SO MUCH BEAUTIFUL PAIN. Yes, I know Shakespeare isn’t Athenian, but he was inspired by the good old stuff and he also knew how to write a perfect tragedy on his own terms. Anyway. I’ll find more Greek examples later.

This post was a bit all over the place, but I hope it has been fun to read. Part Two will be coming At Some Point, Who Knows When. This is a bit messy and unedited, but hey, I’m not getting paid or graded, so you can eat any typos or errors. Unless you’re here to talk to me about Chinese tragedy, in which case, please pull up a seat, let me get you a drink, make yourself at home.

ps: if you want to retweet this, here is the promo tweet!

[rays-animorphs]

Wanting out isn’t a Cassie only thing in fact — Marco wants out in book 5, Rachel considered leaving in idk 7 I think, again Tobias was flat out suicidal in book 3, which is not primarily about wanting to leave the fight but would have that effect. Also, Ax’s personal honor crisis in book 8 effectively involved him leaving the Animorphs and having them all go “yeah, not happening”, which was good for Ax because he fully expected his mad dash at vengeance to kill him, but what I mean is there’s definitely a pattern of tries to leave/gets sucked back in. Even paragon of heroism Elfangor gets a desertion/reenlistment storyline. As far as I can tell, only Jake so far has not, and the only characters who have gotten leave? yes storylines are ones who were new to the story — Erek gets to opt out of the actual violence side of the war in book 10 and David, well, doesn’t get anything he wants but is definitively out of the Animorphs as of book 22.

I think these can all be understood as variants on a theme. Elfangor iirc gets basically strongarmed by the Ellimist. Rachel gets a lighter touch persuasion that sticking around can make a real difference. Marco…his situation is perhaps open to interpretation, whether it was more about him getting a bigger perspective or simply that what mattered to him (his family) was no longer pulling him out of the battle but instead pulling him in. From where I stand it looks like the latter, in which case Marco had the war follow him home in a much worse way than Cassie did.

(Actually Jake has a very gentle moment of wanting out in book 1. After they escape the construction site, Jake just wants to forget. It’s Tobias driving the plot forward there, he’s the one who morphs first and convinces Jake to try morphing. It’s unclear what would have happened without Tobias pushing Jake back into the conflict. You could argue that doesn’t really count. For one thing, they didn’t even have a name for themselves yet.)

So, there’s variations on how strongly they’re pulled back, and variations on what kind of place the attempt to leave is coming from, from “eh understandable” to “incredibly self-destructive”, but interestingly, none of them seem to be wanting to leave from a genuinely good and healthy place or one firmly grounded in their values. Erek leaves because the psychological pain of killing was too great. Marco wants out because his dad is fragile and he thinks (with good reason) his dad couldn’t handle him dying — and I think Marco’s dad’s recovery is essential to him not expressing an interest in opting out after that point. He doesn’t stop being the second-guesser, but he does always go through with things after that…although, come to think of it, I don’t remember Marco taking on the role of the one who complains that the plan is “insane” in any of the more recent books, so maybe he did stop being the second-guesser after all.

Elfangor leaves because his faith in his people is shattered by his interactions with Alloran, and his faith in his ability to do more harm than good is shattered by him (inadvertently) contributing to the rise of Visser 3, and what happened to Arbron probably didn’t help either. And while it’s completely understandable that he leaves the war, the narrative presents it as a mistake, and his return as heroic. And I think this is the general pattern in all of these instances: fighting is heroic, leaving is often completely understandable, but never actually the right decision. (I don’t have to agree with the narrative to accept that that’s what it’s saying.)

So, Cassie.

Was I still an Animorphs?

Yes.

It meant I would have to fight sometimes. But being an Animorphs might also let me find other small victories for peace. Amid all the conflict and fear and rage, I could still look for the enemies who might become a friend.

It wasn’t a perfect answer, but it was the best I could do.

That does support the idea that the big deal of book 19 for Cassie was not saving Karen from being Controlled, so much as it was saving Aftran from being a Controller. (Again, I’m not agreeing with this stance, I’m attempting to accurately understand what the book itself is trying to say.) This is also backed up by how we see much more of Aftran as a person in the narrative than Karen as a person.

I think it’s meant to be a story about how Cassie got overwhelmed by the immediate visceral amount of violence involved in fighting the war, left, and found something that allowed her to feel OK with coming back (in the book’s view, doing the right thing.)

But…there’s over 30 more books to go, and it’s possible that this book will look different in the context of the full story. We’ll see.

[dvasva]

I have a lot of complicated emotions about jgy that i wont get into now but i will say. Really i think peoples dislike of him comes down to who he ends up benefitting and why he hurts other people. because while wwx hurts a lot of people, we tend to view this in a more forgiving light because of something I like to call The MXTX Cycle Of Self Sacrifice And Tragedy in which an mxtx character does a big self sacrifice thing for the benefit of another character but it ultimately leads to a worse tragedy. Examples include: WQ and WN giving themselves up to jgs, only for wwx and the wens to still die, jiang yanli dying to protect wwx only for wwx to go crazy cause of her death, wwx giving jc his core only to be forced to use demonic cultivation, jc running out to save wwx fro. wens only for his core to be destroyed etc etc (there are examples in svsss and tgcf too but this is an mdzs post so i will refrain).

Some characters, imo, are kind of excluded from this cycle of Tragedy and self sacrifice, and they usually tend to be either the characters that are meant to escape this cycle of tragedy, like the juniors, OR characters who make decisions that are only meant to benefit themselves. They may make sacrifices but the sacrifices at the end of the day aren't for the benefit of other people. Theyre caught in another cycle, a foil to my MXTX Cycle of Self sacrifice and tragedy, one might say. I havent had a chance to fully define this cycle or name it but maybe i will one day.

In any case, the most moral thing you can do in mdzs, and in a lot of cultivation novels in fact, is to have Unwavering Morals. Lan Wangji is considered a paragon of morality by both the internal characters and us on the outside because he neved falters. He scolded Wwx when others praised him, and stood by his side when the world turned against him, and never compromised his own morals and decisions for any selfish reason. Wwx is the same way, despite all the tragedy, and thats why wwx and lwj respect each other from the start. AND this doesnt necessarily mean that they are making the 100% pure, unproblematic uwu they did nothing wrong decisions, this is entirely that they do not compromise what they feel is right for the sake of public opinion.

Jgy, on the other hand, is immoral because of his lack of Unfaltering Morals. He will cross any boundary he may have, change any opinion, adjust any morality, and compromise his own feelings in order to achieve greateness. To the point where a lot of times it feels like he doesn't have a sense of personal morality, only a sense of desire and ambition where anything is negotiable as long as the outcome is what he wants.

And this isnt to say none of his decisions were GOOD or didn't Benefit the Greater Good, cause its clear he did a lot of positives for cultivation society as a whole. Wwx comments how the guy is likeable and at the end of the novel, wwx doesnt really habe any personal gripe with Jgy. And you could say 'Wait! jgy does a lot of stuff for the sake of his mother, doesnt that count as self sacrifice?' but his mother kind of serves as an extension of his own ego, a dead justification for the things he does rather than a person in the story who contributes. she is the same as the guanyin statue with her likeness, passively watching over the plot, dead and unable to voice any opinion and unable to be someone who things are sacrificed for. Inherently separate from the cycle of self sacrifice.

Jgy and wwx are foils, is what it boils down to. Which doesnt mean theyre the same or make the same decisions, but their actions and decisions contrast with each other to point out and emphasize certain character traits and details. They have similar backgrounds, but make the opposite choices and yet their outcomes end up almost the same. Cycles yada yada yada.

Also, postscript, nobody likes jgs and while jgy doss eventually kill him, i think some people who dont like jgy are still pissed that he ever helped jgs for any reason, which is so valid. i hate jgs too.

MXTX: so the story starts with the main character's death. Then we unravel his story and how he tried his best but had to resort to fucked up methods in order to create real change and save lives, how society supported him while it benefited them and then turned on him when it was convenient, how his complicated social status of being gentry-adjacent was intrinsically tied into every decision he made AND how he was judged before during and after those decisions, how he experienced abuse and abandonment and support and love, saved lives AND killed people. He sacrificed everything but never compromised his ideals once, and it got him killed.

MXTX: and then we close the story on the death of this other guy, who we're also shown having gone through ALL THAT SAME STUFF, except this guy compromises every single time and that ALSO got him killed.

MXTX: neither of them were killed because it was "right" to, or because they were "evil", but because those with power in society were done with them. Their past actions were used to excuse their executions, and it's kinda fucked up actually, wouldn't you say?

MDZS fandom: 1 billion years of meta on why JGY is an irredeemable villain, and WWX is a pure cinnamon roll

[sneverussape]

What kind of person do you think lily was? There's a lot said about her in the series, but i have trouble reconciling pure, shining paragon lily with someone who would marry someone that spent years tormenting her friend, 4 on 1.

ooh boy this will be a LOT. i can't even promise it will be coherent but i'll make an attempt to be. (going under a cut to save us all the grief).

first off, i think it's fair to state that one of the biggest drawbacks of lily's character is how she was written. she is a plot device. she exists to boost other characters’ narratives: she's simultaneously the Rich Boy's trophy wife, the self-sacrificing mother of the Boy Who Lived, the best friend slash lost love of the Fallen Hero, and, at the same time, also no one at all. lily is a character with little to no background and character development that she can barely stand on her own two feet without any of the associated (usually male) characters to prop her up. it absolutely sucks but that's how it is. that's how jk wrote her.

given that and working with the scraps that we do have, my opinion of lily is...complex. i try to give her justice by trying to understand her context, the workings of her mind, and the possible pressures she was subjected to, but it can be challenging especially since lack of canon pushes you into a space where you have to put them in Either/Or situations. my opinion of her has also changed as i got older. when i was younger (i read the books waaaay back, as they were getting released in fact) i only saw her as an extra character (i was most interested in snape, if that's not obvious enough, but neither did i think snape was 'obsessed' with her as a lot of hp fans now think). i saw her and snape as good friends who had had a falling out, and that he'd probably had a crush on her at some point, and it got naturally overtaken by guilt etc when she died. then when i reread some chapters containing her, i was quick to put her in the Bad Friend camp. i don't think that now. i think that she, like snape, was a complex human being who made a lot of questionable decisions but shouldn't be entirely vilified for them.

my main thoughts of her that are kind of built on material from canon as well as what jkr has said herself:

- she was not posh. she grew up in cokeworth, in the same town as severus. i don't think she was middle class as a lot of fics portray her. i think the evanses were slightly better off than the snapes but they were all working-class, and living was a day-to-day struggle. the kids spoke in the local accent, their clothes were all worn and patched over, there were no green spaces or public infrastructure for kids to safely play in, and they were all mostly running wild about the town since all their parents had to work. food was something to be thankful for because there was never enough, and sometimes they had to share with their neighbors. that's the kind of setting i think lily and severus grew up in, although severus suffered abuse on top of it all. it's possible that lily did too because of the setting (post-world war 2, poverty, adults dealing with repressed trauma from the war, etc) and it wouldn't even be that surprising if she had been;

- she and petunia got along fairly well up until the point lily found out she was a witch and, as a result, became friends with severus. it's stated in canon that petunia had also wanted to attend hogwarts with them, going as far as writing to dumbledore to allow her admittance. her jealousy upon his rejection had festered and grown into outright hate that she projected onto harry as an adult, but i don't doubt that she continued to love lily even after her death and despite how she treated harry. i think as kids they had stuck together and were very close, but magic had torn them apart. suddenly lily had a world of her own that petunia wasn't welcome in, and that would have hurt. pottermore stated lily attended vernon and petunia's wedding or engagement party but james made a right mess of it. i think lily TRIED to maintain their relationship but external factors always got in the way. i don't doubt she had also loved her sister very much;

- i don't think she had any other friends. she may have had a lot of acquaintances but i think her only real friend, the one who saw her for who she really was, was severus, and i think, at a certain point in their lives, she saw that as a weakness and resented it;

- i think, from the interactions we saw in canon of lily with other people, that lily had a penchant to please people, especially the ones who ranked higher than her in terms of power dynamics - petunia (who was the older sister), professors (sluggy comes to mind, the head of slytherin with a lot of connections), even the marauders whose actions she defended. it's not necessarily a bad thing, but i've always seen it as her being borderline manipulative. i noted that she wasn't the same with severus (based on their conversations, especially the ones in 5th year, before SWM) because he's lower than her in a lot of aspects, being a slytherin and quite likely of a lower social standing. she could boss him around and tell him to piss off and he probably wouldn't have minded. she actually strikes me as someone who could have been in slytherin; a perfect arrangement, save for the fact that she was a muggleborn. i think lily knew her place and the cards she was dealt with more than anyone, but she was also determined not to stay there;

- this brings me to the point as to why she ever went out with james potter in the first place. i think her friendship breakup with severus was inevitable because they were in the middle of a burgeoning war and both of them were being pulled to opposite and opposing ends. as an added complexity, i think she also wanted to be better than being muggleborn lily evans of cokeworth, best friend of the evil greasy slytherin git, and her way out was to associate with housemates who were in the upper echelons of power. like, we don't even know what her life was like in gryffindor tower. ron was poor, but he was also a pureblood, so that may have saved him from ridicule. but what if you were a poor muggleborn, with a northern accent to boot? in the same way severus trained himself to be more posh, lily could have done the same and could have furiously tried to blend in. maintaining a friendship with severus would have ended in heartbreak as there were too many risks and it likely outweighed the gains. this was the wizarding world too which is much much smaller than the muggle world and relied on connections more than anything. openly siding with the marauders would have saved her skin and secured her a future (which, as we all know, was forfeit anyway but whatever);

- jumping to the jily relationship, i honestly think it was also not one that was meant to last. iirc jkr projected a lot onto lily, so i'm surmising jily reflected a lot of her own failed relationships. i think james and lily had a less-than-ideal relationship, one that involved abuse (verbal, emotional, mental, physical, take your pick, but at least one form of it), and i think she may have been unhappy in the last year of her life, living in hiding with none of her own friends (if they even existed) and seeing no one else but james' pals. her only light in that darkness was likely harry as she couldn't even see her own family. i think, during those times, she thought a lot about the home she left behind and, as a consequence, her lost friendship with severus. she probably missed him, and i'm sure she must have been very lonely.

in sum, i don't think she was the Virgin Mary figure a lot of hp fans paint her to be. imho she had her own questionable but utterly human moments, and i just tried to fill in the blanks as to why she would have acted the way she did. i don't think it was easy to be lily evans at all, and majority of the 21 years of her life was likely a struggle.

[otonymous]

Kissed By The Baddest CEO (MLQC Victor x KBTBB - NSFW)

Description: Old flames and prospective lovers threaten to derail your budding romance with Victor before it even begins.  How will you extricate yourselves from a web of misunderstandings?

Warnings:

NSFW/18+: Explicit/graphic language — reader discretion is advised.  Potential Trigger Warnings: profanity, jealousy, angst, exes, mentions of alcohol, bone fetishes, rough sex, 69 sex position (oral sex), mirror sex, vaginal intercourse, swallowing, size kink

Mild spoilers for Victor’s family history (MLQC); slight bending of MLQC & KBTBB canon universes via creation of original side character

Word Count: ~10K words (please set aside a good chunk of time for some fluff, angst and smut 🤣)

Author’s Notes:

First of all, a GIANT thank you to the super gracious @lin-ful​ for commissioning this Victor piece from me.  You are an absolute joy to work with and I really appreciate the fact that you gave me carte blanche to basically do whatever I wanted 🤣  I really hope you enjoy the read!  (P.S. I would never be so sadistic as to ever make you choose between Victor and Eisuke, so please rest easy 😆)

This story is especially significant to me as a writer because it represents the culmination of a number of milestones: the first time I’ve created an original character, my first attempt at writing a crossover story, the first time I’ve written in both first- and second-person perspectives.  It is also the longest single piece I’ve ever written.  That being said, please note the warnings listed above and happy reading! 😊

Nb. This is a work of fiction.  Names, characters, and incidents are used fictitiously and any resemblance to actual persons, living or dead, is purely coincidental.

Chapter 1: Hello Diana

“Really Vic, I thought you were beyond name calling by now.”  

Her voice is sultry and low, smooth in your ears like the whiskey in her tumbler.  Completely at ease in a couture Givenchy pantsuit that likely cost more than one of your production budgets, she sat with her legs elegantly crossed in a leather armchair, tipping her glass to vermillion lips.  And as the flames danced in the imposing marble fireplace of one of Shanghai’s oldest and most exclusive supper clubs, they reflected off an enormous ruby ring gracing her middle finger.

Victor scoffs, taking a sip of his own whisky and glancing at you as you follow suit with the virgin cocktail he ordered on your behalf while you were in the restroom.

He was so infuriating at times, but at least it wasn’t warmed milk.

“First of all, you weren’t meant to hear that.  Secondly, I hardly consider ‘dummy’ name calling.  Far worse exists when it comes to options, as I'm sure you can attest to, Diana. You’ve used quite a few in your day.”

Amusement spreads across her fine features as she throws her head back in laughter, the sound enticing even as it disrupts the low chatter in the room.  However, none of the men looking her way seemed to mind.  She was brimming with so much joie de vivre that even you weren’t immune to her charms, smiling despite the anxiety that sat heavy in your chest from the very moment Victor introduced you to Diana Shum that evening.

You didn’t quite know why you felt ill at ease, especially towards someone who was doing you a favour by brokering a major deal on behalf of your company.  Well, more like doing Victor a favour, since he was the one who made the request.  Perhaps this was how all men felt in the presence of such a woman: elegantly confident and unapologetically vivacious, drawing attention everywhere she went.

“Are you still dredging up stories from our Oxford days, Victor?  Not very gentlemanly of you.  How do you put up with him?”  Diana turns to wink at you and the spotlight of her attention makes you feel like the only other person in the room.  “Let me assure you those boys deserved every insult in the book; one-track minds and transparent to boot.  They should consider themselves lucky I even acknowledged their sad existence.”  

“Di, you made the Prime Minister’s son cry.  You should’ve seen those puffy eyes the next morning at the swim meet against Cambridge."  

Victor raises his brows, subtle amusement colouring his expression.  And simple though it was, the sight of his handsome face so transformed by the faint smile on his lips made your heart race.  

No, there’s no way.  It’s probably just the fatigue catching up to you.  The flight to Shanghai from Loveland City must’ve been more taxing than you initially thought, even though Victor had graciously offered to let you hitch a ride on his private jet.  You place a hand on your chest, trying to calm the frenzied rhythm of your heart.  The gesture goes unnoticed by Diana but Victor throws a worried glance in your direction.  You smile to ease his concerns.  He furrows his brows.

“Oh please, I should’ve ripped him a new one with the way he tried to get frisky on our date.  He’s lucky I didn’t call Soryu to deal with him and his wandering hands.”

A sudden change seeps into Victor’s eyes, dark irises softening as if focused on something miles away.  “Soryu.  How is your cousin doing, by the way?”

Diana leans back, taking another sip of her drink.  “You’ll see for yourself soon enough.  I take it you are accompanying this lovely producer to Tokyo to meet with Eisuke and wherever the Ichinomiya heir is, Soryu isn’t far behind.  In all honesty though, Vic, surely you would know better than I.  Weren’t the three of you thick as thieves during prep school?”

You perk up at the topic of Victor’s childhood.  It was a rare chance to learn about the formative years of this stone-faced man before he became the slave driver of Loveland Financial Group.  

“I was only there for a year and a half with Soryu and Eisuke before…before my mother passed.  My father sent for me shortly afterwards.  I haven't seen them since.”

Deep voice trailing off, Victor’s gaze shifts to the fireplace where it remains, as if hypnotized by the flicker of orange flames.  And as the silence stretches on, you become disconcerted to see him so uncharacteristically lost in his thoughts.  You reach out to touch him but Diana beats you to it, laying a delicate hand on top of his much larger one as it rests on the leather armrest.

The gesture is ridiculously small for how much it blindsides you — the sight of her hand on Victor’s dazzling like the light reflecting off her ruby ring.

He blinks at the touch, long lashes fluttering in the split-second it takes for him to compose himself and suddenly, the unflappable CEO is back again.  

“I’m sorry, it’s been a long day and we should probably call it a night.  But you have my thanks, Diana, for setting up this meeting with the Ichinomiya Group.”

It was Diana’s turn to scoff.  “Can we please dispense with the formalities, Victor?  Soryu mentioned Eisuke was having difficulty finding the right people to make this documentary on the anniversary of his Tres Spades Tokyo hotel, so it was serendipity that we bumped into each while on business in London.  It’s a win-win situation.  Meant to be.”

Meant to be.

There is a spark of something in Diana’s eyes when she makes that last statement.  It stays with you long after you part ways with Victor for the night, lying awake in your hotel room as you wondered whether the LFG CEO was already asleep in his.

Chapter 2: SOS

“You’re awfully quiet.  Should I take this to mean that you already know everything about Eisuke Ichinomiya and his chain of luxury hotels?"

Victor speaks without raising his head, leafing through the documents on his lap and stopping periodically to leave his signature with the same gold pen that marked up your reports. Its barrel glowed warm, reflecting the soft lights of the cabin of his private jet, en route to Tokyo from Shanghai.

Letting out a shaky breath, you try to steel yourself despite the rising heat in your cheeks.  Because after a night spent tossing and turning in your hotel room, you arrived at a conclusion so absurd it could only be true:  

You were in love with Victor Li.

Against all odds, the bane of your life had become your biggest ally and mentor.  All the pieces of the square puzzle that was the LFG CEO had fallen into place to form one coherent and beautiful picture:

His exacting demands transformed into standards of excellence, his workaholism a paragon of commitment and dedication.

And though you were loathe to admit it, each soft utterance of “dummy” leaving his lips made the corners of yours turn up in the goofiest of grins.

Oh god, how did it ever come to this?!  Where and when along the rocky path of your working relationship with the slave driver did you fall in love with him?  But that wasn’t even the worst of it.  If your intuition about the previous night’s events served you well, the beautiful Diana Shum was also enamoured of him.

You turn to Victor, meaning to inform him with utmost confidence that you had already conducted extensive research on the Ichinomiya Group’s charismatic CEO and his chain of casino hotels.  You even thought to throw in a snarky reminder that he himself had been marginally impressed with the presentation you gave on the topic back in Loveland City.

“Are you close to Diana Shum?”

Was NOT what had you meant to ask.  Especially in a voice that cracked like a 12 year old pubescent boy’s.  And if there was a way by which you could’ve drowned in a bottle of water, you would’ve gladly done so.  Instead, you settle for gulping it down, trying to keep your stupid mouth from spewing more nonsense in front of the man who was your de facto boss.

“Ahem.”  Victor clears his throat, long legs uncrossing as he shifts in his seat.  Out of the corner of your eye, you catch the muscles of that chiseled jaw settling firm.

“I-I’m so sorry.  It’s none of my business.  You don’t have to answer-"

“I’ve known her for a while, if that’s what you’re asking.  She’s a classmate from university and also a cousin of a friend of mine from prep school, as you’ve probably gathered from yesterday’s conversation.  Since graduation, she’s taken over her father’s role as CEO of Shum Property Developments and we’ve partnered periodically on various business ventures…”

He continues and you nod at the appropriate times, half listening as a million thoughts filtered through your head: your surprise at how unusually verbose Victor was being, the relief you felt to see that he was as determined to avoid your gaze as you were his.  Because the truth was that the longer he went on about Diana — so beautiful, polished and charming that you couldn’t find it in yourself to hate her even if you tried — the harder it was to keep the clouds from darkening your face.  And when Victor says,

“Not like it has any bearing on anything now, but we also dated for a short period of time…”

…It hurts to breathe.

Finally turning in your direction, Victor fixes you with a scrutinizing gaze.  “Why do you ask?”

“Oh, um, I just…wanted to know a bit more about the person who helped me and my company.  So I can better thank her later.”

You speak without meeting his eyes, hoping to placate him with a quick smile as you pretend to rummage through your purse.  Thankfully, he drops the topic, returning to his documents.  And though the rest of the plane ride is spent in near silence, the thoughts in your head have never been so loud.

Chapter 3: Sexy Bones [Victor]

She wore that dress today.  The same one she had on when she impudently stormed my office to insist that I give her company a final chance before pulling funding:

Fitted to conform to every curve, yet formal enough to be professional.  Beautifully sensual in her usual understated way.  My favourite shade of red.

“It’s my go-to outfit when I need a confidence boost,” she told me once in between bites of pudding at Souvenir.  “It makes me feel like a queen, like I can do no wrong.  Perfect for business meetings I just have to nail, you know?”

“Dummy,” I had said then, feigning dismissiveness so she wouldn’t pick up on the way my eyes kept drifting towards her lips, so soft and plush I couldn’t help but wonder if her kisses would carry a hint of caramel sweetness.

It was true that the girl could be incredibly dense at times, playing at being queen when she already ruled my heart.  Or how oblivious she was to the fact that the British doctor was completely smitten with her during today’s meeting at the Tres Spades Tokyo hotel.

Dr. Luke Foster.

Completely absorbed in reading through what looked to be like a stack of medical journals, Dr. Foster had largely ignored us while Eisuke and Soryu made quick work of introducing the eclectic mix of other associates in the room:

Ota Kisaki, the so-called “Angelic Artist” whose work I was well-acquainted with, having previously spent a small fortune on his painting, Koro of My Kokoro.

Baba Mitsunari, a charming man whose handsome features were made all the more striking by the black fedora and red suit he wore.  The girl pointed out that he bore an uncanny resemblance to the cashier we saw at a convenience store earlier that day and I had to agree.

They glossed over a man named Mamoru Kishi, apparently sound asleep in one corner of the room with his face covered by a newspaper and a full ashtray by his side.

Finally, they came to Luke Foster, a blond-haired man with the air of an English gentleman.  Eisuke explained that Dr. Foster was the hotel’s on-site physician as well as a fellow alumnus of our prep school, apparently having left for reasons no one wanted to articulate the year before I transferred in.

And when the doctor finally looked up at us from his readings, his eyes took on an almost maniacal quality to see the girl standing by my side.

“Those proportions, those angles….perfect…absolutely perfect!”  He exclaimed as if in a daze, standing up suddenly and causing the reading materials to spill from his lap in the process.

He looked completely unhinged, almost like a zombie as he reached out a pale hand towards her collarbones of all places.  I stepped in front of her on reflex, only to have the doctor fix me with a piercing gaze as if he had just become aware of my existence and found it thoroughly offensive.

“Annnnd there he goes again,” Ota’s tone was one of exasperation, but there was no mistaking the amusement in the smirk that spread wide across his face.

“Ooh, Lu’s got a new victim!  Maybe now he can finally stop staring at the Boss’s girl every time she comes in to clean the penthouse!”  Baba chimes in, fingers stroking at his chin as if hatching some mischievous plan.

“Will the lot of ya shaddup!?  I’m tryin’ to sleep over here…zzz…” The man with the papers over his head gave a muffled shout before promptly rolling over onto his side.

Soryu just sighed, running a hand over his face.  And just when I began to worry that the girl was scared out of her wits, having wandered into this strange den of wolves, she surprised me by chuckling under her breath.  

Did the dummy find this funny?

“Tch, ignore them, Victor.  Let’s just get on with the presentation,” Eisuke said as he took his seat at the head of a long table.  The girl straightened up and immediately got to work, transforming into the consummate professional she always was when it came down to business.  I couldn’t help but feel a sense of pride as I watched her nail her pitch.

Taking a surreptitious glance around at her rapt audience, I stopped at Luke.  The intensity of the doctor's stare made me uneasy, the way those blue-grey eyes hovered above the scooped neckline of her red dress, tracing along her collarbones as if he were caressing them with his gaze alone.  I mentally berated myself for not putting my suit jacket over her shoulders before she got up there.

And though it was spoken under his breath, Dr. Foster’s murmur of “sexy bones” rang loud and clear in my ears.

Chapter 4: In A (Traffic) Jam [Victor]

“Victor, you won’t believe my luck!  Not only did we cinch the Ichinomiya account, I also found the perfect candidate to appear on our Mystery Finder show!”

The girl was practically breathless on the other end of the line, words jumbling together as they came a mile a minute.  And though her enthusiasm is as infectious as it is adorable, I remind myself to play it cool.  “Really.  And who might that be?”

“Dr. Foster!”

HONK!

I swerve back into my lane on reflex, narrowly avoiding an accident as the driver next to me flips me the bird before speeding away.  My heart raced, beating fiercely against the cage of my chest, but it had little to do with my near brush with death.

At this moment, I was more concerned with a man who looked like Death himself.

“Oh my god, Victor, what was that?  Are you okay?”  The concern in her voice is palpable and it makes me think of how kind and tenderhearted she is, of how easily someone could exploit that to their advantage.  “This is a bad time, isn’t it?  I’m so sorry, I’ll call you ba-”

“Don’t worry about it, just some idiot not paying attention on the road.  And what's this about, ahem, Dr. Foster?"  The name itself was unsavoury, sticking in my throat until I spat it out.  I hoped the vitriol escaped her notice.

“Okay Victor, get this: it’s like the man has X-ray vision!”

She whispers for dramatic effect, and my grip tightens on the steering wheel as I picture those slate grey eyes sweeping over the curves of her body, a lewd expression falling over the doctor’s features.  He was a handsome enough man, that much was true; intelligent and a first-rate surgeon according to Eisuke and Soryu.  Goldman confirmed as much when I had him dig up all available information on Luke Foster.  On that basis alone, many women would find him to be an extremely attractive suitor and ludicrous though it is, I can’t help but think the worst.  Luke had been quite open in his admiration of her, especially her collarbones.  What if she returned the sentiment?

In retrospect, it was a horrible idea to leave her to her work (and that wolf) in Tokyo while I returned to mine in Loveland City.  While she had the company of her coworkers, clearly none of them sensed the danger in Luke Foster that I did.  I no longer had the right to call her a dummy when I was obviously the idiot here.

“I’m telling you Victor, he can just look at somebody and tell you everything about their bone structure.  It’s too accurate to just be guesswork!  Apparently, he can remember anyone he's ever laid eyes on based on their bones.  It’s incredible.  I’d love for Professor Lucien to meet him.  If only he had the time to fly out to Tokyo…”

The girl continues and I catch sight of my furrowed brows in the rear-view mirror, deepening the longer she goes on and on about men who weren’t me.

“…He’s already agreed to be a guest on the show!  But…he did make a rather strange request."

For a moment, I can barely breathe.  The skin over my knuckles blanches as it stretches tight, my grip on the wheel growing harder as I brace for unwelcome news.  God knows what she would’ve agreed to in my absence.  Filled with a sense of dread, I had to know all the same.  “Which was?…”

She pauses, the hitch in her breath subtle but speaking volumes nonetheless.

“Just say it, dummy.”  I soften my tone in encouragement though my mind was already racing, thinking of all the ways my legal team could dissolve a contract should the girl have already signed papers.

“Well, he…he asked if he could examine my body in lieu of payment for appearing on the show.  You should’ve seen him!  He was so desperate he was practically begging and I…I just couldn't say no."  

MOTHERFUCK!

Chapter 5: Role Model

“STUPID VICTOR LI!”

You had meant to throw the rolled-up magazine in dramatic rock star fashion, sending it flying across your suite at the Tres Spades Tokyo hotel to give at least a resounding smack as it hits the wall.  Instead, it flutters to the carpeted floor, barely a few feet from where you lay sprawled out on a bed much too large for a single person.

And from the surface of that glossy cover, Victor’s handsome face — all sharp eyes and chiseled jaw - staring up at you from beneath a headline that read: "Man On Top: How Victor Li Conquered The Business World.”

Man on top.  What a tease if there ever was one — especially since you’ve developed the recent habit of falling asleep to the fantasy of having the broad expanse of Victor’s muscular chest hovering over you.

“The only thing he should be on top of is ME!”

Your voice echoes in the room, empty save for you.  Even still, your cheeks burned from embarrassment over the absurdity of your current situation.  Victor Li didn’t belong to you.  Not when he had someone like Diana in his life.

Victor and Diana.  Diana and Victor.  A perfect match regardless of how the pieces fit.  And for an instant, your anger flares to remember the nonchalance in Victor’s voice when he told you that their past history as lovers had no bearing on the present, as if they didn’t look like they belonged together when you saw them just now in the lobby of the hotel, moments after you purchased the magazine with Victor’s face gracing the cover from one of the shops.

Practically ecstatic in your surprise to see him there at the Tres Spades, you were just about to call out to him when his name died in your throat, choked by the sight of the woman at his side.  Victor was escorting Diana to a limo waiting just beyond the revolving doors.  And the last thing you saw before the chauffeur pulled away was the two of them slipping into the vehicle together.

He hadn’t even told you he was coming to Tokyo.

It was only after you became aware of the fact that you were blocking the entrance to the shop that you recovered from the shock, murmuring apologies as you pulled yourself together just enough to make your way back to the safety of your hotel room.

Rising up off the bed, your feet sink into the lush carpeting as you pad over to where the magazine lay.  You pick it up and smooth out the crinkles, fingers tracing the outline of Victor’s profile as you do — gentle, as if you were touching the man himself.  And when your nose begins to tingle, you know it won’t be long before you feel the familiar sting of tears behind your eyes.

“Think you could stop being so nice to me, Victor?  You’ll give a girl the wrong impression.”  

Heaving a sigh, you slip the magazine beneath a pillow on the bed.  A quick glance at the clock on the bedside table told you it was almost time for your dinner date with Dr. Foster.  Sitting around moping wasn’t an option, at least not tonight.  Lightly slapping your cheeks, you push the image of Victor and Diana out of your head and get ready to step into the shower.

Chapter 6: Hard To Swallow [Victor]

“I’m glad you remembered that you owe me a dinner, Victor Li.  And though I practically had to drag you to this restaurant, I guess the means don’t really matter if the end result is the same.  But still, what a lucky coincidence that we bumped into each other again at the Tres Spades of all places.  Now that’s something to drink to.”

Diana holds up her glass, Cabernet Sauvignon swirling as it meets mine with a delicate clink.  Under the table, the tip of her stiletto pushes against my oxfords before sliding past my ankle, inching its way up my leg.  I pull away, watching those red lips spread into a smile as I do.

“You might be the first man who’s ever been able to resist me.  Has anyone ever told you you’re one stubborn asshole?”

“I wouldn’t have it any other way.”

She laughs at that, taking another sip of her wine before setting it down.  “So, tell me about her.”

“Her?”  I focus on cutting into my Kobe beef, already aware that Diana will see through my bluff.  She always did.

“Surely there must be another woman if you keep turning me down over and over again, Victor.  A girl has her pride too, you know.”

“We are not getting back together, Diana.”

“Tsk, you’re no fun, Vic.  All work and no play, all the time.  I’ll have to remind myself of that the next time I start entertaining thoughts of calling you up again.”

She pouts, but it isn’t long before her eyes take on that familiar spark of mischief as she continues.  

“But seriously, tell me about your cute little producer.  That is the girl you keep rejecting me for, I presume.  I need to know about the woman who’s finally managed to infiltrate the entirety of Victor Li’s notoriously impenetrable heart.  She must be quite the lover if she’s got you wrapped around her little finger like that, pulling strings with all your friends left, right and centre.”

It annoys me to no end that the mere mention of the girl is enough to reduce me to a swooning idiot.  I fight to keep the smile off my face.

“You’ve got the wrong idea.  She’s not my lover.”  

Diana begins to protest, but her words are lost on me because I’ve stopped listening.  In fact, the only thing I can hear is the blood rushing in my ears, propelled by the adrenaline racing through my veins to see him enter the restaurant.

Dr. Luke Foster.  

WITH MY DUMMY, NO LESS.

And my dummy looks…absolutely gorgeous.  Her hair is done up, leaving her graceful neck and collarbones exposed in a little black dress I’ve never seen her wear before, I realize with not an insignificant amount of jealousy.

But wait…collarbones?!

Sure enough, that surgeon is staring at her clavicle like some kind of pervert.  The sight alone incites the beginnings of a dull throbbing in my temples, no doubt exacerbated by the vice-like clench of my jaws.

I follow them with my gaze as they are led to a table for two; fixate on Luke’s face even as the sommelier arrives to make his recommendations to the pair.  The doctor stares at my girl like he couldn’t care less about the meal, as if the only thing he hungered for was precisely what I myself had desired for so long: the woman.  And she—

Just looked my way.

Surprise etches itself onto her beautiful features — the brows I had dreamt of one day lightly running a fingertip over while she sleeps lifting into a delicate arch.  And why shouldn’t she be surprised?  I had given her no indication that I had rushed over to Tokyo from Loveland City as soon as I heard what Luke had requested of her.  

But there is no nod of acknowledgement, no smile in greeting.  Just her, looking away as if she hadn’t seen me at all, her smile apologetic when she retrains her attention on the doctor.  And while it was only for a fraction of a second, I could have sworn her eyes carried a hint of sorrow.

Or perhaps I’m projecting.

Because her obvious avoidance feels like a rebuff, a sucker punch to the gut.  She’s never blatantly ignored me like that, no matter how wound up she was even during those times when I verbally tore her sub-par proposals to shreds.  The feeling of rejection sits heavy on my chest, the tie around my neck much too tight.

“Victor, are you all right?”

Diana’s voice cuts through my thoughts.  She is looking at me curiously.  I reach for my glass of wine, suddenly feeling like I was on the verge of choking.  “Of course, what could possibly be wrong?”

“ ‘What’s wrong’ is the fact that you haven’t listened to a single word I’ve said for the past ten minutes.  Even if there’s no chance we’ll ever get back together again as you so adamantly insist, the least you could do is pay attention to the person you’re sharing a meal with.”

I take a deep breath, more than a little disconcerted by the girl’s ability to affect me.  “Of course.  My apologies, you’re absolutely right.  Please, continue.”

Across the candlelit table, I look Diana in the eye, resolved to keep up at least the pretence of being interested in what she had to say when all I wanted to do was storm the table where Luke sat with my girl.  With each sideways glance in their direction, my grip tightened on my utensils to see them chatting, seemingly engrossed in the world’s most interesting conversation.

And when she hands over a manila envelope to the doctor, my heart skips a beat.

Could it be…marriage documents?!

One tiny corner of my brain berates me for how ridiculous I am being but when it comes to her, I simply can’t help it, and the fantasy in which I casually stroll over, flip the table onto Luke Foster and steal my girl away in a bridal carry becomes so vivid in my mind’s eye, it almost seems like a good idea.

Diana excuses herself to use the restroom and I pounce on the opportunity to send the dummy a text:

“MEET ME AT THE BAR IN THE TRES SPADES HOTEL IN AN HOUR.  DON’T BE LATE.”

Chapter 7: Choked Up

“Is there something wrong, Dr. Foster?  You haven’t touched your meal.”

You do your best to school your expression into one of polite neutrality as you take in the strange sight of the pale, blond-haired man shaking out an alarming number of pills onto the palm of his hand, tapping loudly on a bottle seemingly produced out of nowhere.  He pops them all into his mouth at once and you pray you won’t have to perform the Heimlich maneuver as he chases them down with a few gulps of water.

A smile spreads across the doctor’s lips as his eyes fall upon your collarbones once more.  You were used to feeling like a third wheel by now, even when alone with Luke Foster, given his penchant for carrying on conversations while staring intently at your bones.  But you took no offence at his behaviour, especially after Baba’s attempts to give you insight into Luke’s peculiar mannerisms:

“Try not to take it personal, Miss.  Lu will look at anyone who’s got beautiful collarbones.  It’s a well-known fact that he’s obsessed with the boss’s - he's even framed the X-ray films of Eisuke’s bones.  He likely just wants yours to add to his collection.”

Strange though it was, the request that Luke be allowed to have X-rays films of your collarbones in exchange for appearing on Miracle Finder was innocent enough.  Certainly nothing that warranted the stony silence you received on the other end of the line when you called Victor the other day to tell him that Dr. Foster wanted to examine you.  After a brusque “I have to go,” he had hung up.  No goodbyes, not even a mutter of “dummy.”  

But Luke Foster had been nothing short of a perfect gentleman, never once laying a hand on you.  Moreover, he even insisted on paying for tonight’s meal despite the fact that you had invited him as thanks for appearing on the show.  

“Please, just call me Luke.  Vitamins and water are all I need to survive.  I only ordered because Eisuke said it might be awkward if you seemed to be the only one dining.”

“I-I see.”  You smile, taking another bite of wagyu.  And for a moment, you are too wrapped up in the blissful way it seemed to melt on your tongue to be disconcerted by the strange events of the evening.

You weren’t, however, too distracted to continue throwing surreptitious glances in Victor’s direction, fighting to keep composed each time Diana’s laughter carried over to your table.  What were the chances that you’d find yourselves at the same restaurant in all of Tokyo?  You know that he knows you are here; even Chik couldn’t put on a performance convincing enough for the LFG CEO to believe for a second that you didn’t see him.

With your dismal acting skills, you definitely didn’t stand a chance.

“You’re in love with him.”

COUGH, COUGH!

You clear the steak lodged in the back of your throat with a few hacking coughs, half of your face hidden behind your napkin as you tried to be as discreet as possible, the words “Death by Wagyu” flashing through your mind.  After soothing your throat with a sip of wine, you ask:

“I beg your pardon?”

“You’re in love with that man sitting just over there with the woman dressed in red.  That Victor fellow who accompanied you to that first meeting with Eisuke.”

For someone who seemed to pay very little attention to matters that didn’t concern bones, Luke Foster was surprisingly perceptive.  Or maybe you weren’t as discrete as you thought you were and it was obvious to all but yourself that you were staring at the golden couple.

“I…how did you...what makes you—”

“Please pass this message on to him for me.  If he doesn’t treat your collarbones with the respect they deserve, he can’t blame me for swooping in to take his place.”

Then, for the very first time that night, Luke Foster looks you in the eye, the intensity in blue-grey irises making your breath hitch when he says: “Until then, I hope you find happiness with him, Sexy Bones — especially since he also seems to be exceedingly fond of you.  Quite the annoyance, really.”

And for the very first time that night, you smile freely, naturally, at Luke, blushing hard as you contemplate his words.  Suddenly bashful, you drop your gaze only to catch sight of the manila envelope you brought with you.  You pass it across the table to him.

“Here.  Your payment for agreeing to appear on Miracle Finder.”

The expression on Luke’s face can best be described as euphoric when he takes the films from you, momentarily excusing himself from the table as he murmurs something about requiring brighter lighting to examine them.

That is when you hear the buzz of your phone from inside your purse.  And when you finally fish it out, you see a single text from Victor, commanding as always:

“MEET ME AT THE BAR IN THE TRES SPADES HOTEL IN AN HOUR.  DON’T BE LATE.”

Chapter 8: Green-Eyed Monsters [Victor]

“Another whiskey on the rocks for you, Sir?”

I nod to the bartender, watching as he chips away at a block of ice to produce a perfect crystalline sphere — still spinning in the glass when he pours the amber spirit over it like a libation.  It almost takes my mind off the fact that the girl is late.  By exactly ten minutes, according to my watch.  And for a moment, I’m gripped by a sense of panic when I consider the possibility that she might not come.

She never did answer my text though I knew she saw it — having witnessed her reaching into her purse to pull out her phone seconds after I sent the message.  And while the logical part of my brain is telling me I’m being an absolute idiot, worst-case scenarios are already running through my head: the girl is side-swiped by a car while crossing the street, or somehow managed to fall into an open manhole and is currently standing knee-deep in sewage.

Or maybe she is pinned to the wall in a dark corner somewhere, hemmed in on either side by the gifted hands of a world-class surgeon by the name of Luke Foster.

I lift the glass to my lips, too impatient to even savour the smooth burn of the drink as I reach for my phone to send her another text.  That is when I see her:

Cheeks flushed and chest gently heaving as if she had rushed to get here.  An errant lock of hair falling from her up-do, framing that beautiful face like I had dreamt so many times of doing with the palm of my hand.

She makes her way towards me in that dimly lit bar, and though I’m aware of the faint ticking of the second hand of my watch, time may as well have stood still.  Because I could have lived in that moment forever, gazing upon the light in her eyes as if they held every last star in the sky, as if those heavenly bodies had fallen just for her in precisely the same way I had: deeply, irrevocably.

And I know there is no turning back.

“Victor, sorry I’m late!  What are you doing here in Tok—”  

“Why did you ignore me?”  My voice comes out stern, even to my ears, and I curse myself for losing my cool around her yet again.  The girl furrows her brows, eyes dropping from my face to the half-empty glass of whiskey sitting on the counter.  And when she looks up again, something in her countenance has changed — soft surprise giving way to a hardened expression.

“If it’s the text you’re referring to, I’m here now, aren’t I?”

“That’s not what I’m talking about.”

She looks away, refusing to meet my gaze as she perches on the stool beside me.  “Surely you wouldn’t have wanted me to interrupt your dinner date, especially when you and Ms. Shum seemed so intimate.”

Intimate?

The bartender approaches, interrupting our conversation before I get the chance to formulate a reply.  “What can I get for you, Miss?”

“She’ll have a glass of warmed milk—”

“Whiskey.  On the rocks, please.”

She speaks over me, turning slightly in my direction as she does.  I ignore the murmur of “Ladies’ choice” from the bartender as well as the smirk on his face as he begins preparing her drink.  The thinly veiled challenge in the girl’s expression — elbow propped up on the counter with her chin resting atop a loose fist — only serves to highlight how incredibly alluring it is when she pushes back.

“Hmm.  Bold.  Since when did you start drinking whiskey?  I don’t think you need me to remind you of your non-existent alcohol tolerance.  Besides, didn’t you already have enough to drink at dinner?”

“There’s a lot of things you don’t know about me, Victor Li,” she says, reaching for the glass the bartender sets down before her.  She takes a moment, staring at the rich, golden hues before finally taking a sip.  I fight to keep the smile off my face when hers pulls into a grimace from the sting of the alcohol she clearly wasn’t familiar with.  Dummy.

“I’m surprised you even noticed me at all, not with the lovely Diana there.  But I guess old wounds really do have difficulty closing, no matter how much we say they’ve healed.”

“You’d have to ask for the expert opinion of your overly friendly doctor about that.”

“Excuse me?”  She sets her drink down a bit harder than likely intended, sending the liquid sloshing about the glass to kiss the pink of her lipstick imprinted on its edge.  

I don’t like where this conversation is going, the ill-disguised barbs only serving to increase the tension between us.  It was foolish to have what should’ve been a very private discussion in a public space but, as always, the thought of her and Luke together is enough to make me forget my place and position, throwing caution to the wind and behaving with reckless abandon.

And still, the heat beneath my collar goads me on.

“Luke Foster.  The one you’re so enthralled with that your manners seem to have been completely swept from memory.  I presume that’s the reason why you didn’t acknowledge my existence when you saw me in the restaurant.”

Her eyes widen in disbelief as she leans in close, voice dripping with sarcasm: “Just like how you didn’t remember to tell me you were coming to Tokyo?  Or maybe you weren’t planning on telling me at all, since it clearly looked like you weren’t here on business.  But then again, I guess your business is none of mine.”

I don’t know whether I want to push back or kiss her senseless.

Instead, I settle for a deep breath, trying to keep my frustration in check.  Having a heated argument with her was not how I had intended my evening to go.  In fact, my entire day had not proceeded as planned, and if I hadn’t been accosted by Diana as soon as I stepped foot in the Tres Spades hotel, I would have been having dinner with the woman who occupied all my thoughts, all the time.  At the very least, I could’ve saved her from the clutches of a pervert doctor.

I glance in her direction, study the beautiful melancholy of her silent profile as she watches the ball of ice slowly melt into her drink.  Then I take another sip of mine, steeling myself for reparations I desperately needed to make.

“I am only going to say this once, so listen closely.  Diana Shum and I dated shortly after graduation for all of two months before we decided to part ways on amicable terms.  We make for much better business partners than we ever did romantically, and while she has expressed occasional interest in rekindling our relationship, I have never been of the same mind.  I can assure you this will never change.

“The reason I came to Tokyo is not because of her — professional or otherwise — but because I was in a rush to prevent a certain dummy from doing anything she’d regret later on.  But…”

I knock back the rest of my whiskey, emptying the glass.

“…I’m afraid I’m too late.”

She looks at me now, eyes wide as if she were still processing the words.  Her next question comes on a whisper: “Why would you be too late?”

And it is my turn to look away.  

“Well, you seemed to be pretty intimate yourself with Dr. Foster during your dinner date.  I can only presume that…”

The girl moves closer and I can’t help the way my eyes are drawn to her mouth — the tremble of her lower lip, full and pink and lush.  Without thought, I allow my gaze to trace along the graceful column of her neck, settling at the delicate notch between her collarbones and in that instant, I come to a visceral understanding of the extent of Luke Foster’s obsession, for mine was magnified a million times over:

I yearned for the entirety of this woman before me — needed her for myself, now and forever.

“Presume what?”  Her voice is low, shaking.

“I can only presume that you’ve already allowed him to…examine your body.”

There is a moment of silence — each torturous second seeming to stretch into eternity to smother the last embers of hope.

“I have…”

Oh god.

“…given him X-ray films of my collarbones as he requested.  That is all.  He’s never touched me, not even once.  I took him out to dinner tonight so I could give them to him as thanks for appearing on the show.”

Petty.  Sheepish.  I felt all these things, but none so powerful as the staggering sense of relief that washes over me to hear her say these words.  Closing my eyes, I let the revelation sink in, finally feeling like I can breathe for the very first time that night.

Chapter 9: The Big Bang

You don’t quite know what made you do it.  

The ambience of the bar, perhaps: sultry jazz and flickering candles purposefully placed to create just enough shadows for a veil of privacy.

Or maybe it was the crestfallen uncertainty that painted the handsome features of Victor Li’s face, his sudden display of vulnerability both novel and endearing.

Most likely however, it was the way in which his downcast expression morphed into one of ecstatic relief when you told him that Luke Foster had not laid a single finger on you.

Because when Victor tilts his head back, eyes closed and sighing deeply as if some unfathomable burden had been lifted, you cannot help but bring your lips to the Adam’s apple bobbing along the length of that strong, thick neck.

Cedar wood and pine.  

The notes of his cologne are so familiar you didn’t realize how much you missed his scent until you literally came face to face with it.  Victor is warm, so very warm beneath the skin of your lips.  And under your touch, you become vaguely aware of the fact that the rise and fall of his chest has stilled.

At any other time, you would’ve questioned your sanity for how boldly you were behaving, especially towards someone who was your boss.  You had never been one to put yourself out there when it came to matters of the heart.  Something about the moment however, about Victor, made you feel like the one thing you could not do was let this chance pass you by.

So when you hear that shuddering breath, feel the faint scratch of his five o’clock shadow when he nuzzles against you in return, you know you’ve made the right gamble.  Being with Victor Li feels right.  And the surreal sense of belonging you find within the embrace of his muscular arms gives you the courage to say, “You must really believe I’m a dummy if you think I’d let any man other than you touch me.”

He slides a finger beneath your chin, gently lifting until all you can see are those jet black eyes, swimming with heat and emotion.  The sudden silence of your surroundings sinks in: no more music, no idle chatter.  Not even the rustle of limbs moving about in the dimly lit bar.  And there, in the strange privacy of suspended time…

...Victor kisses you.

                        *                                     *                                      *

“Are you sure…this is…what you want?”

The deep timbre of Victor’s voice sends a thrill vibrating along the surface of your skin as he questions you between kisses — laid on your mouth, the line of your jaw, the pulse of your neck.  His firm body presses you into a corner of the elevator, empty save for the two of you writhing in unison against a mirrored wall.

Each movement of his soft lips against yours is purposeful, imbued with meaning: longing in the gentle teeth that nibbled on your lower lip before drawing it into his mouth, in the sensual slide of the tongue that sought yours.  Affection obvious in the hands that rose to cup your face, thumbs tracing circles on the apples of reddened cheeks to tell you in no uncertain terms that Victor Li belonged to you as much as you yearned to belong to him.

So you had no qualms about answering in the affirmative, nodding your head because the press of Victor’s muscular thigh between your legs already left you breathless and wondering whether he could feel your wet heat seeping through your panties.

And all he really did was kiss you.

Ding.

The elevator stops at your floor and even before the doors slide open, Victor has hoisted you up, wrapping your legs tightly about his tapered waist and whispering into your ear, “Which room?”

You knew Victor was fit, had seen him move fast and effortlessly through the waters of his Olympic-sized swimming pool that one time he had you deliver a report to his mansion on a Sunday.  And yet, you could not help but admire the sheer perfection of his physique — the bulk of his biceps, flexed beneath strained layers of clothing; the ease with which he carries you all the way to your suite.

And when he sits you down upon the king-sized bed, you wonder if it is, in fact, too small for all the things you cared to do with him.

The LFG CEO shrugs off his suit jacket, loosening his tie just enough to pull it over his head before dropping to kneel at your feet.  You watch him reach for you, shiver when he caresses the sensitive skin behind your knee with a light graze of gentle fingertips.  Large hands trail down your calf — touch barely there and teasing — until his palm finally cups the heel of your stiletto to slide it off your foot.

He looks up at you then, the intensity in ebony irises rendering you still and mute as you patiently await his next move despite the frenzied pounding in your chest.  There is a stroke of something almost feral in the dark depths of the gaze that falls heavy upon you — searching your eyes, lingering on your lips…tracing the neckline of your dress.

“I’ve never seen you wear this dress before.”  Victor says, taking the same amount of care to remove the shoe from your other foot.

And if you were able to think straight under the influence of his touch — the hands that pushed back the hem of your dress as they roamed higher and higher up your thighs towards your heat — you might have found it strange that Victor was choosing now, of all times, to comment on your wardrobe choices.  As it was, you answered without second thought: “It’s new.  I bought it especially for tonight’s dinner.”

Victor stills and when he speaks again, there is a faint tremble in that voice, as if fighting to contain some unfathomable emotion.  

“The doctor couldn’t stop staring at you.  I know because I was the same way.  I couldn’t look away from the moment you stepped foot in that restaurant.”

The revelation leaves you silent, waiting with bated breath for Victor to continue.

“Forgive me…”

Fingers entwine with fabric, gripping tight.

“…but I can’t stand the thought of you looking so beautiful for anyone else.”

RRRIIIIPPPP!

You fall back, wincing at the sound even as you feel your body respond to the sudden shock of having your dress torn right down the middle.  Victor’s display of brute strength was so at odds with the façade of composure he was synonymous with and yet, there was no denying that you were incredibly aroused by this show of power — by the fact that he was now straddling you on all fours like some wild beast, tearing away the rest of your undergarments to leave you completely bare.

You’ve never been so desperate to feel him inside you, deep and rough and untamed.  The thought throws you into a frenzy of lust.

Digging your fingers into the front of his dress shirt, you yank it open to send buttons flying in haphazard directions, but the only thing that concerned you was the sight of that broad chest and muscular torso, so impressive it actually elicits a moan from your lips and a smile from his in return.

Propping yourself up onto your knees, you press against him, flesh to flesh — one hand running over the burning surface of his skin even as the other tugs at the buckle of his leather belt, impatiently moving to palm him when his dress pants fall and gasping to finally see and feel the full extent of the LFG CEO:

Victor Li is rock hard and intimidatingly large.

And the sight makes your mouth water.

Sinking onto your heels, you trail your lips along Victor’s chiseled body, tongue teasing at his nipples as you do and relishing the catch of his breath in his throat.

But just as you begin to lay kisses along the deep V of his abdomen with the intent of tracing lower and lower, Victor stops you, puling you up for a kiss before laying back on the bed and positioning you above him…

…with his face between your legs.

“This way,” he says, voice muffled, and you might have commented on his inability to relinquish control even in the bedroom were it not for the sensation of his flattened tongue sweeping hot and wet along the seam of your already dripping pussy, teasing from end to end.

The sensation is so intense it’s almost unbearable.  You throw your head back, mouth dropping in a silent scream as you sink onto Victor’s face, fighting the instinct to grinder lower onto that talented tongue despite the encouraging grip of Victor’s hands, strong on your hips and thighs.

“I’ve wanted to taste you…for so long,” he murmurs, sucking the swell of your clit into his mouth and humming in approval against moist flesh to hear you moan above him.  “Your flavour is absolutely exquisite.”

Gathering your wits, you fold forward — intent on giving just as much pleasure as you were receiving.  Victor twitches once within your grip, not quite contained by the circumference of your palm and fingers, running up and down the sizeable length of his cock, hot in your hand like his breath on your slit.  And after placing a few wet kisses on the smooth, hard head, you open your mouth to taste him.

The tepid salt of his arousal.  The groans originating from deep within Victor’s chest each time your lip brushed past the tender underside of his cock.  The subtle rhythm of his pelvis, lifting in time to your mouth swallowing more of that solid shaft, quickly becoming slick with your saliva.

And then you catch sight of your reflection in the mirrored closet.  See the bulge of Victor’s bicep as he grips your hip, the flex in the muscles of his neck when he lifts to bury his face deeper into your folds.  See yourself: hair disheveled and eyes half-lidded, drunk on sex.  Observe the messy smear of your lipstick as your mouth stretches to accommodate more and more of your boss’s cock.  And when the tip of Victor’s tongue begins its relentless tease of your clit, you watch as a most debauched expression falls over your features, the tension in your body breaking as you find release on his lips.

You are still shaking when he enters you, sensitized by an orgasm that left tiny sparks of electricity running along every nerve, priming you for second helpings.  A true paragon of patience, Victor Li takes his time, deliberately slow as he pushes — savouring the sensation of drenched, swollen flesh parting just for him.

It was almost unfathomable that you could experience such extreme pleasure, each powerful swing of Victor’s hips driving him deeper into your body — hitting just the right angles until your very senses were extracted along with your second release of the night, running slick between your legs to ease the slippery slide of your bodies.

It draws out Victor’s own, your lover moving to pull out moments before you surprise him by taking him once more into your mouth — gaze locked onto those dark eyes from below as you taste him on your tongue, euphoric to see him bite his lips when your lick yours to swallow every last drop.

Chapter 10: Pillow Talk

Beep Beep Beep Beep.

You roll over, eyes still closed as you reach out to hit the snooze button on the alarm clock.

Except your palm comes down on warm flesh with a resounding smack, echoing throughout your hotel room and accompanied by a deep voice that says, “Are you finally awake, Dummy?”

Your eyes shoot open to see Victor lying naked in bed next to you, a splotch of red blooming on his chest where he had been attacked.  He sets his phone down to hand you a glass of water from the bedside table, and even though memories of the previous night come rushing back to burn your cheeks, you cannot help but notice how glorious he looks bathed in morning light.  You hope he doesn’t see the way your hand shakes when you accept the glass from him with a meek “Thanks.”

Victor clears his throat, waiting for you to finish drinking before he says, “That was the fourth time you slept through the alarm.  I’ve already informed your colleagues you’ll be taking the day off.  We didn’t get much sleep last night and I think you’ll need some time to…recover.”

You bite your lip, turning sideways to feign a sudden interest in the curtains so he wouldn’t see the giant smile spreading onto your face.  It was almost surreal that Victor Li was your lover, and if it weren’t for the exquisite soreness you felt between your legs, you would’ve been hard pressed to believe it for yourself.

The sheets rustle and before you know it, Victor has his chest pressed up against your bare back, laying a soft kiss on your shoulder before he rests his chin on it.

“How are you feeling?”  He asks.

“Okay.  Pretty good, actually.”  It was too early in the game to tell him you were already doing cartwheels in your mind.

“Good.  I’m glad to hear that because I found this under your pillow…”

He places something in your hands.  Your eyes widen when you recognize the magazine with his face on the cover.

“…And this ‘man on top’ wants to know what it feels like to have this woman on top of him for the rest of the day.”

You’ve made it to the end! 🤩 Thank you so much for reading!  Check out more of my work here! 📚 

[iturbide]

More character meme stuff for you. Since Lyon is back on my mind thanks to the new banner, can I hear your thoughts on him please?

Also Ashe please.

You know, with him as the 4-star focus this was not what I was expecting this morning:

So I am all on board with Lyon

How do I feel about this character?

Lyon gets me right in the heart.  Just...his whole story is tragic, when you really think about it.  This young man who is himself intelligent, talented, and capable, but who feels inadequate next to his dearest friends that he loves with all his heart, who feels the crushing pressure of responsibility for his people and his country in the wake of his father’s death and knowing that disaster will soon strike, who falls specifically because he was trying to find a way to prove his worth and save everyone and ended up being manipulated by an unfathomable power.  His kindness and compassion, both admirable traits in and of themselves, ended up becoming a fatal weakness when they allowed Fomortiis the foothold he needed to take hold of Lyon, and from there every good and kind and noble aspect of him ended up twisted beyond recognition.

There’s something about characters with crippling inferiority complexes that draws me in.  I end up feeling deeply for them, wanting the best for them, hoping they’ll succeed and cheering when they’re able to acknowledge and accept their own personal worth...or mourning when they’re not only unable to overcome their self-doubt, but end up becoming victims when it’s exploited by outside forces.  Takumi hits me in very similar ways, especially for Conquest, but Lyon’s story is really heartbreaking for how we see the monster Fomortiis makes of him specifically through the eyes of his dearest friends.

Who do I ship this character with romantically?

I...don’t know actually.  I’m not super familiar with Sacred Stones on the whole, so I’m not really familiar with who would be possible or reasonable.  I know that Eirika and Ephraim are both popular partners for him, and there’s definitely an appeal to both of those options, but I don’t know if I prefer one or the other, if there might be someone else out there who’d be good for him, or if I even want to ship him at all so much as give him a chance to find his own happiness for himself.

Who is my brOTP for this character?

Eirika and Ephraim, definitely.  Regardless of the romantic side, his friendship with those two is absolutely integral to him and I love the idea of their friendship and how multifaceted it is, fueling both his love for them and his jealousy of them in equal measure.  I’m also really keen on the idea of him being friends with Knoll, since Knoll wants to restore Grado specifically because he wants it to become the nation Lyon truly wanted to make; that says a lot to me personally about the relationship they had, and how much Knoll admired Lyon (especially since he canonically disappears as soon as that work is finished).

What’s my Unpopular Opinion™ about this character?

Are there popular Lyon opinions?  I haven’t played Sacred Stones in years at this point: I vaguely recall borrowing it from a friend and I’m reasonably sure I played it through, but the only record I have of it is in some old unfinished fic bits living on an old computer that are directly related to that playthrough. 

How popular is the opinion that Lyon’s story is pretty much perfect?  Because from everything I’ve seen and read it honestly sounds like they handled his arc perfectly, from his motivations to his downfall.

What’s one thing I wish would have happened with this character in canon?

This is kind of a tough one because I don’t really know Sacred Stones all that well as a game.  My memories are very fuzzy and mostly involve realizing that Myrrh’s dragonstone had limited durability which meant I couldn’t use her in every battle and I was sad about it because dragon girl.  I guess if there’s anything...from what I understand, Lyon is recruitable in some side dungeon if you manage to beat this outrageous hardmode three times?  And yet he has no supports or dialogue.  Like.  What’s even the point if the party doesn’t get to talk to him?  Either don’t make him recruitable or put in dialogue because after everything that happened it’s a crime not to have him say a word.

And also Ashe because I love him

How do I feel about this character?

Ashe is absolutely one of the stand-out characters in the Blue Lions roster and the game on the whole, in my opinion.  His story is honestly fascinating: from a normal commoner kid with siblings and loving parents to an orphan stealing to ensure that he and his siblings could survive on the streets to the adopted child of a minor Kingdom noble with aspirations to be a knight and then back to an orphan thanks to Rhea who’s forced to fight for the Empire depending on your route.  That’s an absolutely wild ride.

Ashe could have been a really tragic character who leans heavy on the sympathy, but he doesn’t.  While there are undeniably tragic elements to his story, especially in the Academy Phase as we’re forced to fight his adoptive father on Rhea’s orders and steal the only parental figure he has (you find him in the cathedral a lot after that, for understandable reasons -- his crisis of faith must be monumental), he never gives up his aspirations to the kind of knight they write stories about.  This is a kid who has resorted to thievery frequently in the past, and his goal in life is to rise up from that low point in his life and become a shining paragon of chivalry and virtue helping the people.  And he puts his money where his mouth is, too: call him gullible, call him naive, but when he sees someone in a bind -- even a thief, claiming he’s been reduced to that to buy medicine for an ailing child -- he always helps out as best he can.  He doesn’t look down on people for their worst moments: he tries to lift them up so they can reach better ones, the same way he was lifted up by Lonato.  With his kindness and his compassion and his earnest ambition, I think he has an excellent chance of succeeding and becoming a knight of story and song.

Who do I ship this character with romantically?

TRICK QUESTION once again, I do not have any ships for Ashe.  I don’t have ships for most of the Three Houses kids, and while I love Ashe dearly, none of his supports really grabbed me romantically.  If I had to pick anyone, it would probably be Caspar, because their Supports are stellar: despite how rough the C is, the B turns it all around on its head and makes both of them realize that they were both being way too serious about the whole thing, and the A is sheer perfection as they realize they’ve both been spoiling the cat silly.  The idea of them going on endless adventures together, balancing each other and bringing out the best in one another, is so charming to me, and I could easily see them as lifelong partners.

Who is my brOTP for this character?

PETRA.  I love their Support chain so much and the fact that in their paired endcard she literally creates a whole order of knights in Brigid specifically to help him fulfill his lifelong ambition?  Get yourself a friend like that wow.  Also Annette: I love their Support chain and how even though the both of them are so scared of that very unsettling tower, he still goes and braves it a second time for just to find a treasure that she dropped in their initial flight.  That’s just so sweet okay I love how they get along and how close they are as friends and how they’ll pull out all the stops for one another.  Also, I have a major soft spot for his supports with Dedue because Ashe and Dedue cooking together is excellent (and also his supports with Felix are so charming and definitely show Felix in a better light once the B rolls around).

What’s my Unpopular Opinion™ about this character?

Okay so I think I got this one from @anankos but Ashe is really skilled with a knife.  Sure, everybody loves to gush about the precious cinnamon roll, but he can and will cut you if he has to; old habits die hard and he probably has a knife on him at all times just in case he gets in a tight spot, either where he can’t use or doesn’t have his bow.  Ordinarily he would use it for things like hunting and cooking as required, but he’s definitely used it as a cutpurse, and under pressure he will use it to stab someone if it will give him a chance at survival he otherwise wouldn’t have.  Don’t mess with the kid basically.

What’s one thing I wish would have happened with this character in canon?

This is so small and so minor but I wish we could have seen more of his emotional journey after the loss of Lonato.  I know it’s a really early game event, but given that certain supports can be locked until certain narrative points (like Leonie and Byleth’s B, which focuses directly on the aftermath of Jeralt’s death), I think it would have been beneficial to have shown the impact that death made on him, especially in regards to his view on the church.  Having supports with Seteth could have been great, too, especially given some of his views on the Church as a whole.

Give Me a Character  

[thechildofstark]

Fuck John Walker (and also some other stuff): A Response To Episode Four

WARNING: some bad language, death mentions, violence mentions, blood mentions, racism, spoilers for for ep 4 of tfatws 

DISCLAMER: I have some Opinions about various characters. These do not extend to the actors, who I’m sure are lovely and should be treated with the dignity, privacy and respect that they deserve. 

“Fuck John Walker” was originally meant to be the subtitle. I decided on it when he screwed up the op for Sam. It got ungraded during the final scene, because nothing else could possibly compare as a necessary title to this post. 

Essentially, some (out of order) thoughts on episode 4:

~*Sam and Bucky, working together*~ (pretend this is a musical jingle)

The contrasting ways that they interacted with the displaced

While the incredibly valid argument can be made that Sam is the least privileged of the group (I’ve made it) it is obvious that he has had the most structured civilian life: approaching the people he comes across openly. Yes, he is polite and calm, but the closest thing to this he has personally come across in the past (that we know of) would be the war vets he worked with and the critical difference is that they wanted to be there. From what I remember of Sam’s groups they didn’t seem to be a sort of mandatory requirement: you came because you chose to. Or at least, you came prepared for the situation. Here, Sam is an outsider and an unwelcome threat. These people are not going to open up to him. 

Bucky is quieter, but still quite straight forward in the way he presents himself. I think he may show a little more care for the environment he is in than Sam but that isn’t saying much. Yes, he has experienced much worse things than Sam but we still see his unfamiliarity with this sort of situation paired with some less than stellar social skills really not working in his favor. 

Look, I love both these 2 to death. But this is not what they know. 

Zemo on the other hand quite likely lived in a place similar to this after his family was murdered. He shows an understanding of how this sort of situation would work, going to children who:

a) wont necessarily peg him as an outsider

b) are bribable

also I think he was genuinely super glad to give those kids that candy and money. He would have been such a good dad. now I have Zemo feels. somebody help me.

The inclusion of the Dora Milaje was incredibly awesome, and not just because I simp for powerful women. Narratively, this was the perfect place for them to join the party and assert their right to apprehend Zemo. 

Bucky speaking Xhosa (i think it was?) is very cool

 I would like to take this moment to formally state that Caption John Walker is a motherfucking asshole. 

It was also really nice to see Sam’s therapist skills, that worked against him earlier really help him here. 

I liked seeing that more human side of Karli, and having her interact with the “enemy” and have serious conversation about what everyone is doing.

Until Captain Insecurity has to destroy the op because he doesn’t trust the people he chose to work with, no one has comms or anything I guess?

Also Walker deferring to Bucky for team decisions over Sam, talking over Sam and acting like he knows better than Sam?

I smell racism in this Chili’s tonight

It was also really interesting to get a more in-depth look at how Zemo views supersoldiers. Nearly all the ones that he has either heard of or interacted with (destroyed) had either volunteered for the serum or were so brainwashed that it didn’t make a difference. These people are a dangerous enemy to be eliminated, alongside people like Dr. Nagel. His entire worldview is focused on their destruction that the idea that one of them could be a normal person is impossible to him. The only exceptions acknowledged are Steve (paragon of saintly virtue) and Bucky. 

And the fact that after his family died and his country devastated he would most likely have fixated on both the Avengers and the “concept” of a superhuman being as something to blame for his loss. His refusal to concede his position to Sam isn’t just arrogance, although that seems to be a part of it, but the fact that he has spent so much time and energy in destroying both the Winter Soldier program and most likely other similar operations, along with the Avengers that this hatred and belief in the danger has most likely become one of his core beliefs. To change this would be to question his vendetta against the Avengers, to question his actions against the Winter Soldier program which he knows was a horrible thing, and to question why he has spent the past seven years in maximum security prison. This isn’t something he is ready to do yet.  

The fact that Bucky is a noted exception is something that stands out to me. Zemo knows that Bucky is a good person, regardless of the serum. 

Bucky is also the only main character (that I can think of) that was injected with the serum against his will. The fact that he didn’t seek it out could quite likely be part of the reason that Zemo doesn’t look down on him for it - it is framed that the sort of person that seeks out that sort of strength/power would be a “supremacist”, someone who would use their abilities to harm and subjugate others.

And while we are at the apartment may I say how funny it is to see Zemo just. Literally being Sam and Bucky’s sugar daddy. He transports them and houses them and makes them fancy tea. It’s possible he’s providing them with clothes. Either way, love it. Cannot wait for the boys to work it out.

Sam and Lemar’s responses to being offered the serum are an interesting juxtaposition to how they view the concept of supersoldiers. They have both experienced hardship and survived war but Sam is the one that has gone up against Gods and monsters and he wants none of that, thank you. 

And Lemar is so comfortable with saying yes because it isn’t actually being offered to him. Walker expresses some hesitation in their discussion because for him, it isn’t hypothetical. This is something real that can and will effect him for the rest of his life and he wants to make the “right decision”.

The return of Erskine’s belief that the serum not only effect the physical but the mental, emotional and (possibly?) spiritual. This isn’t something that’s really been touched on outside of The First Avenger and I liked that it turned up here. But the fact that it was the reason Walker felt comfortable taking the serum? Eww

The Dora Milaje kicking names and taking ass is super awesome. They are so incredibly skilled and have such amazing teamwork and are also super beautiful I love them 

Sam and Bucky just. Watching. Enjoying the show. Absolute kings. 

Zemo being the sneaky little sneak that he is :)

One one hand, Bucky losing his arm in the fight was very awesome. One the other hand, he has a long history of complicated bodily autonomy in relation to that arm so........  Neutral opinion it is then 

Karli, honey, I really want to like you but can you please keep the mans family out of it. Okay?

And another thing that this show made me think about: kids left to fend for themselves after the Blip (uuuurrrggh it hate calling it that. stupid canonical name). I think it’s good that at least some people took it on themselves to take these children in, to give them good lives and families.

The way that Sam has incorporated his wings into his combat style is very cool

Okie dokie can’t avoid it forever lets get this over with. 

LEMAR MY BEAUTIFUL SON NOOOO

those fuckers (the writers i mean)

Side note: did they really have to make the first main character death of the series a Black “sidekick” character? No. No they did not. 

Side side note: I understand that this is a perfectly valid way (ew) to “advance the plot” but I can and will be annoyed about it

And now we really get into the shit. But...........................

As much as I absolutely unequivocally hate John Walker I actually like the thematic parallels of how they did this. All throughout The First Avenger Steve is adamant on how he doesn’t want to hurt anyone, he just wants to stand up to the bullies. It’s only after Bucky dies that he says he wants to kill all the Nazis and really get into the horror of it all. The fact that John, who has absolutely been on the edge for the entire episode if not longer, only loses it after Lemar dies?

Because Lemar is arguably meant to be that stand-in for Bucky in the eyes of the public, and they are obviously close friends..........

Just - 

I feel I may have accidentally been slightly nicer than I planned to Walker in this post. I’m not sure how I feel about that. 

But C****** J*** W****** is NOT Captain America. Up until now I’ve been calling him “Fake Cap” in my head and to my family, but he doesn’t even deserve that honor. 

And the blood on the Shield. Dear god that was horrible. 

And the fact that, as it was pointed out in this very episode, this man fully represents everything that is Captain America, to the world. He isn’t only tarnishing his own legacy, he is also destroying Steve’s. And to some extent, Bucky’s. The whole reason that Bucky Barnes is considered a “Superhero” is because, at least in America he is known as “Cap’s Best Friend”. He was marketed that way for over half a century, and after the whole “Winter Solder” thing, goodwill or no, brainwashing or no, this could end very ugly for him. Not to mention that Steve Rogers is most likely to be forgotten to history in favor of this freak. 

And on that note, where the fuck is Steve? This is set only 6 months after Endgame, if he had died we would know. So what the hell is he doing? Because I know he got perpetual brainrot going back in time to be str8 and boring but dear god if the show tries to tell me that he’s just chilling in some senior’s center in Alaska I will actually call bullshit. Steve Rogers would never. Okay this is a whole separate post on my thought on Steve. Watch this space I guess. 

And while we’re all here, Bucky Barnes needs a goddamn boyfriend. I’ve done some thinking, and here is a compiled shortlist: 

Sam

Zemo

De-aged Steve (he would be higher but I’m still mad at him for the whole “vanishing without a word to relive Jim Crow and the Lavender Scare. :/ )

IN THAT ORDER. 

That’s all folks. 

Feel free to send me asks if you want clarification or extra details on anything. 

And finally - 

the thing we all came to see:

FUCK

JOHN 

WALKER

fin

[antibioware]

My final thoughts on Mass Effect: Andromeda (a 3 years late review)

So I spent the past week and a half playing a game I paid 13€ for, one that I promised myself I wouldn't touch but that in the end I gave a solid try to anyway, because I was willing to give Andromeda the benefit of the doubt. Because I'm aware that sometimes I'm a bitch, and that the Mass Effect trilogy had its own problems too, but I still regard it as one of the best gaming experiences of my life.

It wasn't as bad as I had expected it would be, but that doesn't make it good. Above all else, Mass Effect: Andromeda is a game that could have been interesting, had the creators actually cared to make something out of it outside of just “Dragon Age Inquisition in the Mass Effect universe”.

I wanted to write a more coherent post about what I didn’t like about it, aside from just shitting all over it like I’ve been feeling like doing since the canonical bury your gays in the game slapped me in the face. So here it is, an overlong post about a 3 years old game.

Before getting into the main elements that I disliked, I wanna preface this post by saying that I enjoyed parts of the game. The main characters, while not as well characterized as they could have been (no Bioware character ever is), grew on me the more I played the game, and by the end were the main reason why I kept playing. Unlike DA:I, the writers did a really good job building up the found family trope in this game, and while it turns corny at times, it’s very heartwarming. I think many of the planetary settings in Heleus were stunning to look at, to the point that I didn’t even mind all that much having to drive from point A to point B.

I didn’t hate the game, and I’m speaking from the point of view of someone who enjoyed it, but not enough to simply accept its many flaws.

The problems with the gameplay itself

There are three main things that I don’t think work well and are up in your face since the first seconds of the game: the game interface, the fight mechanics, and the open world aspect of the game.

◦ The first impact I had on Andromeda, right from the first 2/3 hours of playing it, was that it was very cluttered and very, very confusing. I had just finished playing ME3 and I had issues understanding how to move without having a proper map onscreen, how to read throught the thousand tutorials for the 100 new, useless elements they added to the game that are either reused from ME1 or taken directly from DA:I. The game didn’t need a crafting system, especially not one DIVIDED IN TWO DIFFERENT SECTIONS, it didn’t need an inventory system, and especially it didn't need to have the sheer amount of sidequest it had.

◦ The fight mechanics + leveling up/classes system is a hot mess. I understand they wanted to try something new, and in part they did make the fighting feel more fluid, but not being able to rely on teammates for necessary stuff like overloads/specific powers that you need during fights severely impaired the strategic element of the game. Now it’s just a third person shooter with teammates dying left and right because you have 0 control on how they fight, aside from putting them in one place or another.

The fact that you can only use 3 powers at the time is a consequence of the confusing leveling up system. Because you can have an endless amount of powers you can give your character, they needed to find a way to make them not too overpowered. The problem is…. You had more powers to use in-game in ME1. It doesn’t work so well.

When the fighting mechanics in ME3, a game that came out in 2012, feel way fluider and more enjoyable than the ones from the game that came out in 2017, something is very wrong.

◦ Open world games are a challenge, because too many developers don’t understand that turning a game into an open world doesn’t make it good, it just makes it bigger and slower. It was a problem with Dragon Age Inquisition, and it’s a problem here with Andromeda - with the only good aspect being that at least Andromeda gives you a decent car to explore the planets.

ME1 had some level of open world-ness, and there was a valid reason why ME2 and ME3 got rid of the concept: the maps you’re given are a big, cluttered mess of nothing. You have several thousands sidequests, many of which incredibly similar to each other, and nothing fucking else. Sometimes you will accidentally stumble upon something interesting, and then return to a 6 hours drive into the nothingness that keeps repeating over and over again.

It got to the point I almost stumbled upon the endgame because I got exhausted of running around doing errands, and I tried continuing the main plot, only to realize I was almost done with it. That was it.

Empty self-referencing

This is the term I used to describe my girlfriend why the way the game made call backs to the previous games bothered me so much. Call backs aren’t new to the concept of the game (the Mass Effect trilogy literally lived on characters returning from previous games, referencing things that had previously happened, etc.), but because this game wanted to be a separate thing from the ME trilogy, it couldn’t use this sort of material. And that’s completely fine! The game wanted to be its own thing, I was happy about it at first, because the trilogy was over and done for. If Mass Effect was indeed gonna continue, it needed a fresh start.

The problem is, it also needed to remind players that it’s a Mass Effect game, the game from which Commander Shepard came.

So, how to solve this matter? Well, instead of referencing stuff that actually happened in the trilogy, it solves the referencing aspect by putting a bunch of relatives of characters from the trilogy in the game. You get Conrad Verner’s sister, Nyreen Kandros’s cousin, a lost illegitimate son of Zaeed Massani, a brief cameo of Garrus Vakarian’s dad, a krogan on New Tuchanka being from clan Urdnot, and so on. And it was funny the first time or so, maybe even the second, but at some point it just turned awkward, and I started asking myself, “is this it? Is this all that’s left of the trilogy, just a bunch of big name characters to remind the player you belong from the same universe?”. The brief way they referenced back to Shepard was also very awkward and felt... out of place, with the rest of the game.

A couple call backs I really liked were:

Liara being acknowledged for her work as a Prothean researcher and being in contant with Ryder Senior, without much reference being done to her time in Shepard’s crew. It was good, seeing her from an outsider perspective.

The fact that Avitus Rix, being a turian ex-Spectre, knew Saren and was in fact his disciple.

Both these elements are things that make sense and tie the game back to the trilogy beyond just going “hey, this x character is the relative of this other x character, isn’t it crazy!”

The plot, and the problem with binary choices

It’s easy to make fun or critique the game struggling to find its own plot after something as big as the ME trilogy was. But Bioware isn’t an indie developer, it’s a huge fucking company, and they could have done better.

While I liked the design of the Remnants architecture and enemies, putting a plot point revolving around an ancient, long lost alien civilization who was much more technologically advanced, sounds a lot like a bad repeat of the Protheans.

I liked the Angara conceptually, but I didn’t like their design all that much and I often found it hysterically funny that angara are supposed to be a deeply emotional race, when the animators left them stuck with those mono expressive faces and unemotional eyes.

And on top of all of this, the kett are boring villains. The exaltation progress is really just a bad repeat of how Reaper indoctrination worked, and the way they talk reminds me of the big bad templars from the Dragon Age universe. It’s literally nothing new, and because of it, it’s boring.

When I was playing the endgame, all I kept thinking was “this is it? this is all they came up with? for real?”. I liked the twins aspect of the endgame, but aside from that, it didn’t feel satisfying.

And now comes the reason why it didn’t feel satisfying: the game got rid of the Paragon/Renegade system from the trilogy, and because of that, they also got rid of the possibility of additional problem-solving solutions during big choices. 

In Andromeda, almost every major quest has a binary choice attached to it: choose this or that. Burn the facility or save all the angara but leave the facility standing. Save the krogans or Raeka. Pick Sloane or Reyes. Keep Sarissa as the Pathfinder or not. Etc.

in the trilogy, complete, important binary choices were rare (choosing Ashley or Kaidan is probably the biggest one) and the consequences had long lasting effects. Not all of them did (saving or killing the rachni in ME1 and rewriting or destroying the geth in ME2 didn’t have so many long term consequences in ME3, for example), but a great deal meant big changes in the following games.

The issues with these choices in Andromeda? None of them matter. Characters will get angry at you for going against their will in a single dialogue line, and then never mention it again. The opinion on the Nexus won’t change if you expose Spender, Addison’s connections to the Exiles, or Nexus people targeting the angara. None of your companions will betray you or leave you for going against their will during their loyalty missions.

A Mass Effect game with choices that don’t influence the final result of the game feels like a joke, and while I know in many ways the trilogy also had a problem on this matter on some parts, dead characters stayed dead and betraying a friend’s trust meant losing them in the near future

The unavoidable part where I mention the issue with LGBT rep in this game because I’m a nonbinary lesbian and I can’t detach that aspect of myself from how I consume media

Endless gays and trans folks out there have already written this sort of matter so as my last point of critique, I’ll make it quick. Bioware has a long story with homophobia and transphobia in its character writing - this without mentioning the huge problems with racism in the character writing, too. Many gay/bi women in Bioware games are written by the same homophobic straight cis man with a lesbo fetish, AKA Lukas Kristjanson, and that alone gives a really good feeling on why such issues exist.

The original Mass Effect trilogy had very little gay romance options, out of the amount of romance options: as of ME3, there are two main gay romance options for fShepard (Liara and Traynor, without counting the mini-romances that were put in the previous games for pure fetish fuel) and two for mShepard (Kaidan and Cortez, both only added in the last game).

Andromeda wasn’t... the big breath of fresh air in the representation department they tried to pass it as. There are more romance options, but for once, there add to add another m/m romance option later on because the only gay romance available were with minor NPCs, and there’s an issue with the amount of content gay romances get compared to main het romances.

There’s a single trans NPC, and it's a random person you meet who tells you her deadname and the reason she transitioned right away. Ugh.

And now we come to the bury your gays mission that made me almost uninstall the game: the mission to find the turian Pathfinder with the help of his partner, the previously mentioned Avitus Rix,  who also happens to be the first gay male turian character in the game (the first gay female turian being Nyreen Kandros, who dies btw). You invest time to trace back to the turian arc, while listening to Avitus talk about how important the turian Pathfinder is to him, you realize pretty fast they’re lovers, and when you find out the turian arc, it’s all to discover that the Pathfinder is already dead. Not a choice in the game that could accidentally kill him, like with Raeka, or an active choice you make to keep him in his role, like Sarissa. He’s already dead, and you’re left with Avitus alone and mourning.

The game is from 2017. This sort of bullshit is unacceptable, and I will keep screaming it until Bioware manages to pretend like they care about their LGBT fans.

To end this mess of a post - Mass Effect: Andromeda lasted me a total of 50 hours of game, and in a way, I’m glad I got it out of my system. It was a delusion, but at least now I can cross it off my list and go back to playing other stuff. I understand that this is a game many ended up liking, and I’m sad I can’t say I’m among them, and that I couldn’t even fully enjoy the game at times. Also I promised myself I wouldn’t mention this but goddamn the facial animations of the game were so ugly.

DESPITE THIS, I really loved the characters, and I very much enjoyed Vetra’s romance, which was the main reason why I bought the game. 

[lena-in-a-red-dress]

Lena, Paragon of Humanity (a Supercorp alt. Crisis story), Part 1 of 2

[Warning for blood, violence, assault & battery, character death (temporary, but not resolved in this installment)]

---

Appearing on the Waverider and being declared the Paragon of Humanity is a shock for Lena in and of itself. If she had her preference, she'd be back on the Legion ship helping the so-called superfriends than be here among strangers facing an insurmountable challenge. 

But that shock wanes when-- with a sharp twist of the knife still lodged between them-- Kara volunteers even more information. "There's something you should know--" "Hey, sis." Ever the slave to his congenital need for dramatic flair, Lex thwarts Kara's voluntary truth for a second time by strolling into the too-bright room, hands tucked in his pockets with a shit-eating grin. "Miss me?"

Lena's blood runs cold as she stares, stunned, at the apparition of her brother. She's allowed a single heartbeat to wonder if the verse-warp scrambled her brains. There's no precedent that she knows of for reality jumping on the scale she'd just used-- sudden onset schizophrenia isn't beyond the realm of possibility. 

But Kara's jaw tightens irritably at his entrance, a confirmation that she sees the apparition as well, and her deep loathing for the ghost walking among them. "The Monitor revived him," Supergirl tells her, an explanation that explains nothing. "I don't know why but--" "I killed him, Kara," Lena whispers. "I swear to god I shot him in the chest I watched him bleed out--" "Never been more proud of you, ace," Lex supplies, with a grin that would almost be genuine if not for razors edge lurking beneath it. "It's rare that anything surprises me, but you did. Brava." Kara grips Lena by the hands and tugs her into the corridor, out of Lex's line of sight. As soon as his spell is broken, Lena's capable of conscious thought again, and she pulls away with a muttered curse, this time not meant for the hero. "What the fuck is he doing here," Lena demands, anger overwhelming her shock. She clings to it for dear life, because she's afraid of what will be left if it fades. Nothing, is what she fears. "What the fuck, what the FUCK," she mutters all the way down the corridor to the lab she'd first arrived in. "What the fuck, Kara!" "I know," Kara says quietly, having followed her pace for pace. "I almost killed him myself, but the Monitor says--" "Lex Luthor is still of use," the Monitor delivers himself, appearing in a flare of white light. "Fuck you," Lena snarls at the stranger, too angry and too shattered to be daunted by the display of extranormal abilities. Seven billion people on Earth-38 about to die, and you chose HIM?! A literal monster?!" "His resurrection was necessary--" "Anything he can do, I can do better. If you have me, you don't need him." But the Monitor is not swayed. "Neither of you alone can undo what has been done. If you are to return the universe to its rightful form, you must set aside the bygones--" "Bygones?" Lena exclaims. She shakes her head. "No. In fact, set aside this: your 'paragon of humanity' refuses to stand in the same room as him, let alone work with him. Either he goes, or I go." In the end, it's Kara who smoothes things over. She gestures for the Monitor to let her have a shot, and he disappears to give them a moment of privacy. Lena braces herself heavily against the console with both hands, trembling with more than just fury. When Kara finally gets a glimpse of her face, it's heavy with despair. "All those people," Lena whispers. "All those people, and he's the one who cheats death." "I know it's not fair..." "We don't know if James made it to a ship," Lena says abruptly. Her eyes close against sudden tears. "Boarding was such chaos, there's no passenger manifest for any of the ships that made it through. No one knows if he made it." Kara's heart lurches, but she remains calm. Strong. She places a warm hand on Lena's shoulder, and to her surprise, Lena doesn't pull away. "If what the Monitor says is true... if you can bring the universe back-- don't you think it'll be worth it? You're his sister..." Lena doesn't respond right away, and when she does her voice shakes for a whole other reason. "All my life, I was an orphan. But I wasn't. I was Kara Danver's best friend," she mutters, half under her breath. "But I'm not. Then I was the woman who murdered her own brother. But now I'm not even that anymore." Lena shrugs. "If I'm none of those anymore...what else am I?" But Kara doesn't say that. She curls a hand around Lena's wrist, silently willing to look at her. "You're Lena Luthor," she tells her friend, offering a small but genuine smile. "And you're still all of those things. For better or for worse. And you're still my best friend. That never changed, Lena." Lena shakes her head against the claim, but her fingers grip Kara's tighter. With a soft huff, she straightens to face the challenge at hand. "Right. I still killed my brother in cold blood," she says, her voice sharpening into a new edge, "and that's not a thing Lex Luthor forgets. Has your Monitor considered the fact that he'll return the favor the first chance he gets? His still of use Lex Luthor will murder his paragon of humanity?" Kara wraps Lena in a firm hug, one that Lena finds herself returning after a moment of silent hesitation. She's still angry, her chest still hurts with the ache of Kara's lies, but their world was just destroyed, and Lena's identity feels like it's following on Earth-38's heels, and the warm circle of Kara's arms feel like the only thing keeping her atoms together. "I won't let that happen," Kara vows. "I promise." However intimate their moment of reunion, it's still the end of the world, and at the end of the world heroes and paragons have greater duties than promises to each other. While Lena works with Lex in the lab, Kara and the remaining paragons fulfill their own roles. It pulls Kara away from her watch dog duties, pitting her against the anti-monitor while Lena finds a way to restore the multi-verse. The solution is relatively simple. They have the Book of Destiny, but not someone guaranteed to survive the encounter with their sanity intact. Of course, Lena has someone who can. Hope. Lena and Lex restore the AI saved on the thumbdrive, and then divide & conquer to alter Hope's programming while generating a means to let her interface with the Book of Destiny. Lena suspects that the ordeal will fry Hope completely (along with every other electrical component in the lab, if not the entire ship) but Hope is ready and willing. It is what she was created to do. Working with Lex while being completely devoid of any softness towards him is a new experience for Lena. Her wariness gives her new independence, and allows her to interact with him on equal footing. Their banter is familiar, but sharp, and her new ease with herself gives Lena a new sort of comfort. It feels almost... normal. When Hope is ready and Lena pushes the button, she and Lex are alone on the ship. The others have taken a jump ship to face the anti-monitor directly, and honestly, Lena believes it's their best chance for survival, considering that even if their plan works, the energy wave from the Book of Energy could tear the ship apart. The surge of energy rocks through the ship. Sparks fly, the lights go dark, and it's a long moment before Lena can believe they're still alive. "Gideon?" It takes a long while, but Gideon comes back online with a garbled voice but some external sensory capability. "All matter-based realities have been restored." Elation bubbles up inside Lena, and she turns to Lex with a broad grin that shines with triumph. "It worked! We did--" She turns into her brother's fist as he shoves it deep into her abdomen. The blow knocks the breath from her, and Lena's ears ring as she slowly comes to the realization that Lex hasn't punched her. Fists clutching at his lapels, Lena turns her gaze down between them, where his hand curls around the bloody hilt of the knife protruding from between her ribs. She gasps, staggering, only to be steadied by her brother's gentle grip. "You did it, ace," he delivers. His voice is devoid of emotion-- of rage, of pride, of hate. His tone is perfectly congenial, and it chills Lena to the bone. "I knew you would. And now that you've served your purpose--" With a vicious tug, Lex pulls the knife from her flesh. A grunt pulls from Lena's throat, only to be strangled once more when Lex plunges it back in. "No one will miss you." When Lena sags, Lex props her up, tipping her chin up so their eyes meet. She stares into his fathomless gaze as it regards her with disdain. "The Paragon of Humanity," he sneers, but then softens with rationality. "I suppose it's fitting. You certainly embody all that it is to be human. Fallible. Weak. Governed by emotion." Each point is punctuated with another thrust. Each one drives more of the breath from Lena's chest, until she has nothing in her but an empty hollow. "You are alone, Lena," Lex murmurs in her ear, holding her close. "And more than that, you are mortal." With a final twist of the knife, Lex rips the blade free and tosses it aside. It clatters into the shadows, far beyond her reach. He releases Lena as well. A small shove sends Lena staggering against the console, but her efforts to catch herself are immediately thwarted by hands that grip her head and slam it against the pedestal. Lena hits the ground blindly, her sight stolen by the darkness and ebbing consciousness. Lex's foot slams into her belly. Once. Twice. And then there's utter stillness, broken only by Lena's own grunting gasps for air. "I congratulate your tenacity, Lena. Watching you pulling that trigger-- it was the most Luthor I'd ever seen in you." Lex crouches beside her, stroking the side of her head. Lena doesn't even have the strength to flinch from his touch. "When I negotiated your survival in exchange for availing my services to the Monitor, I won't pretend that it wasn't because I needed your intellect. You are truly brilliant. The efficiency of your mind, your intuitive leaps of logic-- you've come a long way from the little girl I taught to play chess." Lena blinks against the throbbing of her skull, dislodging the tears that have gathered on her lashes. They drip across the bridge of her nose, and fall soundlessly to the floor. Her brother's fingers brush the hair from her temple, smearing blood across her skin. After a moment, his hand tightens cruelly. Her mind has disconnected from from her body-- Lena imagines she can see herself as Gideon must: a pathetic, pile of flesh and bone bleeding out under the heel of a monster. But then her imagined gaze catches on the dark shadow encircling her own wrist: a watch. The beacon. She watches her fingers reach blindly for the watch face, and then blinks back into her body just in time to see her brother offer one last kindness. "In the spirit of that efficiency," he delivers smoothly, "know that I would never condemn to you outlive your purpose." Just as the tip of her finger brushes the sigil on her watch, Lex picks her head up with both hands and slams it against the floor. There's no pain. No fear. There's absolutely nothing. --- Kara returns to the Waverider with victory in her throat. Their communications with the ship have been disrupted, but they can see that it's still intact, and when they dock, the newly awakened hope inside expects to find Lena on the far side of the door. What they find instead is a dark and empty ship, utterly silent save for the ear-splitting alarm only Kara can hear. "Lena." Her heart pounds thunderously, pulsing against her vision as she strains to look through the bulkheads that stand between the docking bays and the lab. The energy wave has disrupted something in the make up of the metal hull-- Kara can't see through it. She starts to run, panic overtaking her as she realizes that the only heart she can hear beating over the beacon's shriek is her own. The lab's door won't open-- sabotaged by Lex on his way out. Kara punches through it with her entire body, and the metal tears like aluminum foil under the impact. Inside she finds silence, blood, and Lena. Kara knows before her hands make contact that she's too late. Lena's too pale, too silent, and when Kara scoops Lena's upper body into her lap, her friend's body feels empty. "No," Kara's vocie shakes. "No, no, no, Lena, please..." A flash of light pierces the darkness, and the Monitor appears, his features grim and impassable. Kara glares up at him through her tears, her anger reaching for its only available target. "She told you this would happen..." she croaks. "SHE TOLD YOU!" A blast of heat vision crackles ineffectively against his breastplate. The rest of the crew fills in around him, and murmurs of dismay cloud the air around them, shocked at the violence visited on one of their own on the cusp of victory. "She told you," Kara echoes, hugging Lena close to her chest, "and you still insisted on keeping her killer here. Because his use outweighed the threat he posed." "Lena Luthor's loss is tragic," the Monitor intones, bending to one knee to meet Kara's gaze. "But she fulfilled her purpose, as did her brother." "Yeah, but it's her brother who gets to keep breathing?" Kate demands, catching Kara's anger and fueling it with her own. "Where's the justice in that?" "Lena dealt the first blow," comes the flat reply. "I am not responsible for the actions between mortals--" Kate grabs him by the cowl and hauls him up, away from Kara. Away from Lena. Scowling, she shakes her head. "This time you are! YOU brought him back, YOU insisted on keeping him alive! Lex may have been the one to murder her, but Lena's blood is on your hands too." "Kate," Kara breathes, her chest quaking with the effort to keep her wits about her. "The book... bring me the book." An electric surge of hope surges in Kate's chest, and she releases the Monitor to sweep towards the interface, where the book lies under a neat of sensors and wires. Just as she reaches for it, it dematerializes like so much ether. "What the fuck--" She whirls to face the Monitor, who draws himself unapologetically to his full height. "The Book of Destiny cannot erase the sins of the mortal world. It's power is too dangerous--" Kara coughs a laugh, her cheeks streaming with tears. "Lena used that book to save the universe. ALL the universes. She of all people--" "I am sorry for your loss," the Monitor cuts in. "But my task is now complete. It is time for me and the book to remove ourselves from the timeline, before reality is forever altered." "No, wait--!!" He disappears without another word, leaving Kate to tackle nothing but air, and Kara reaching for a hope just out of reach. They stare at the vacated space he'd just inhabited, and not for the first time wonder if they'd been helping a good guy after all. It certainly doesn't seem like it, when the engineer of their salvation lays dead in her hero's arms. Kara's features fall, a mask of stunned and empty disbelief. For long minutes no moves. No one speaks. Finally, Kara numbly reaches for the watch on Lena's wrist. Her fingers brush cold skin on their way to the el mayarah still pulsing with a faint glow. With a single press, the sound in Kara's ears cut out, silencing the beacon for the last time.

[hobbitkiller]

She-Ra, Supergirl, and Tangled: A Tale of Three Female Relationships: Part 3

*SPOILER WARNING FOR SHE-RA, SUPERGIRL, AND TANGLED: THE SERIES*

Previously on “A Tale of Three Female Relationships” AKA HobbitKiller clearly misses grad school but not enough to find secondary sources for a multi-part tublr. post (or thoroughly proofread):

In Part 2, I discussed the impact narcissistic mother figures, resentment for chosen ones, and repressing emotions has had on three female relationships in three different series: Adora and Catra from She-Ra and the Princesses of Power, Lena and Kara from Supergirl, and Rapunzel and Cassandra from Tangled: The Series/Rapunzel’s Tangled Adventure.

These posts are a deep dive into where these relationships went wrong and will eventually culminate in a discussion of what these relationships say about the portrayal of female characters and female relationships in media.

For today’s installment, I will be covering two subjects: Blond Bulldozers and I Don’t Care (I Ship It). WARNING: This one gets reallllllly long. Like, possibly multiple sittings.

PART VI: BLOND BULLDOZERS

In my first post in this series, I jokingly mentioned that one half in all three of these relationships is a superpowered blonde who saves the world.

There are of course many implications in the fact that, though all three of these shows strive for increased diversity compared to their source material (It is also interesting that these are all shows based on pre-existing franchises), the main character continues to be a fair-skinned blond woman. 

That’s mostly a matter to be discussed another day, but I do find it interesting that all of these relationships feature one blond and one not-blond. Lena and Cassandra have black hair, and Catra is...well...a cat-person. Beyond that, the blond is not only the hero, but is typically depicted as morally superior and more righteous. Kara, AKA Supergirl, was literally declared the “Paragon of Hope” in the latest CW crossover, Crisis on Infinite Earths. That title could just as easily have gone to Rapunzel whose chief characteristics are her optimism, desire to see others achieve their dreams, and belief that everyone gets a second chance no matter their criminal past and exploits (seriously, everyone in Corona--the name of the kingdom unfortunately for right now--gets one total pardon as long as they’re sorry even if the tried to kill multiple people). Adora is a little less cotton-candy that Kara or Rapunzel. She has the same moral righteousness, but actually has more of an edge to her than many of her friends due to her upbringing as a child soldier. Still, all three blondes are meant, for the most part, to be the moral center of their shows.

But, the thing is, when I look at these relationships, I can’t help but think of another popular blonde/not blonde friendship that went wrong:

Ahhh, Wicked, the prototypical female friendship story for so many of us. Wicked aims to take this classic dynamic of the morally pure blond protagonist and their dark-haired frienemy and turn it a bit on its head. Throughout the musical, Glinda is treated as pure, superior, and good because she is flattering and pretty. In reality, Glinda is often selfish and lacks the courage to stand up to people and systems she believes are wrong. Elphaba, on the other hand, is treated like an outcast because of her green skin and social awkwardness. Yet, for most of the musical, she is the one with the moral righteousness. She is labeled “wicked” by those in power for challenging them and standing up to them.

We’ll discuss Wicked more in the finale of this multi-part post.

For now, I’d like to contrast that relationship to the three being analyzed right now. None of these three shows goes as far as Wicked did to undermine this trope of the perfect blond versus the darker brunette. This makes sense as none of the three properties is seeking to deconstruct their source material or turn it on its head in the way Wicked aims to do so for the Wizard of Oz (the movie more than anything else). They seek to update and diversify certain aspects to be sure (someone heard loud and clear the criticism that there are no people of color in Tangled), but not to challenge them.

That being said, each show does try to layer in flaws in their blond protagonists approach to relationships. These flaws tend to be more subtle than those of the people around them, perhaps to protect said blondes from becoming too unlikeable, but they are clearly there.

In the last post, I talked a lot about the resentment of the non-blondes in these relationships and how that helped lead to the relationships falling apart. Those characters are also much more the aggressors in said relationships and are much more set on taking down the other party.

However, the blondes in each relationship are not without blame for it falling apart.

In the previous post, I discussed how being friends of a so-called “chosen one” or “golden child” can breed resentment. I also mentioned that raising someone as a “golden child” is its own form of abuse. It creates a level of unrealistic expectations to always be perfect and responsible. It can be the same for a “chosen one.”

Adora, Kara, and Rapunzel all feel a tremendous amount of responsibility as the “saviors” of their respective worlds. This manifests itself in a need to constantly “fix” everyone else’s problems. Adora frequently describes her need to fix whatever goes wrong in the Rebellion. Kara feels it’s her job to fix things so much that she contacted her former boss’s estranged son behind her back to try to reconnect them. Rapunzel frequently becomes involved in the personal lives of her friends for the sake of fixing their problems.

To an extent, this is a good quality. All three of our blond saviors have good hearts and don’t want to see anyone else suffer, partially because all of them have suffered their own childhood traumas from being raised as a child soldier to witnessing one’s entire planet and species destroyed to being held prisoner for 18 years.

However, as the title of this section suggests, all three of these characters tend to take a bulldozer approach to their involvement with their loved ones’ lives. This creates tension in many of their relationships, not just those discussed in these posts. Adora’s attempts to help her friend Glimmer after Glimmer becomes queen come off as controlling and as though Adora doesn’t respect Glimmer’s position of authority. Kara, in addition to the incident with her boss’s son, had also tried to control the life of another alien (and eventual boyfriend), Mon El as well as did things like break into her sister’s apartment when she was sad. Rapunzel promises to fix everyone’s problems, which leads to friends feeling betrayed when she can’t follow through. She also frequently intrudes in Cassandra’s life and plans.

One of the most threatening things for people like Catra, Lena, or Cassandra is to feel as though they do not have control over their lives. When you already have trust issues, feeling like someone else is trying to control you can feel like you’re being trapped. Control is particularly important to Lena. In many ways, she has the same feelings of responsibility as Kara. Like Kara, Lena, having been raised by one of the most powerful and influential families on the planet, feels a sense of responsibility to be a world leader. She feels that even more keenly in light of the villainous actions of her mother and brother--that she has to restore honor to the family name. As discussed in the previous post, this feeling in Lena manifests itself in her actions towards her friends through buying them things or trying to solve problems for them such as buying Kara’s and James’s place of work, Catco, to save it from being purchased by a scumbag.

This need to take back control of her life and legacy, to me, is why Lena reacts so drastically to discovering that Kara is Supergirl. Being mad at Kara for keeping secrets is, frankly, hypocritical on several counts. Not only does Lena keep many, many secrets from Kara throughout the show, but she is also fine with the fact that Alex, Kara’s sister, never told Lena explicitly that she was an agent of the Department of Extranormal Operations (DEO). Of course, the reason why Lena wasn’t mad at Alex is because Lena had already known who Alex was, thus giving her power and control in that relationship. Finding out that her friend had successfully hidden her identity for years and had been influencing events without Lena’s knowledge took away the control Lena felt she had over that relationship.

Cassandra also feels a keen lack of control over her life and her relationship with Rapunzel due to the fact that Rapunzel is both her monarch and direct employer. Cassandra serves Rapunzel and that is the first avenue through which they formed a relationship. Early in their relationship, Cassandra resented Rapunzel’s attempts to become friends and said the chance of a Lady in Waiting and a princess becoming friends was a million to one. Rapunzel, by nature of being “irrepressible” (as her friends call her), manages to worm her way into Cassandra’s heart to the point that Cassandra almost forgets that she and Rapunzel are not equals.

What I find interesting about both Cassandra and Lena is that they both, in some ways, considered themselves the protectors of their naive blond friends. While it’s true that Cassandra always knew her station was below Rapunzel, part of her job early on was teaching Rapunzel how to be a member of the court--what to do, when to curtsy, who was who, etc. In fact, Rapunzel had so little exposure to the outside world, Cass was partly responsibly for teaching her how to interact socially in general. There’s also the added factor that Cassandra is 4 years older than Rapunzel, which can seem like a lot at their ages. Lena, as previously discussed, saw herself as a major figure in shaping the future of the world. She went out of her way to help Kara by buying Catco and tried to protect Kara if they were ever in physical danger together.

Both of these characters suffered from an abrupt challenge to the relationship roles they previously thought they had. Cassandra in this scene and Lena when Lex tells her that Kara is Supergirl.

It’s interesting that, in that scene, Lex emphasizes the idea that Lena has been a fool. (And, fair enough, I’m pretty sure everyone who’s ever watched the show found it hard to believe that Lena never once realized her best friend was Supergirl. I mean...really, glasses?) But this idea, that she had been a fool plays right into Lena’s fear of losing control. It’s the idea that someone else was pulling strings while she was oblivious that taps right into her deepest insecurities.

Catra’s issues with feeling controlled by Adora are mostly revealed in the episode discussed last post called “Promise.” They come up again in the third season finale when Adora tries to convince Catra to come with her and leave a world that is crumbling out of existence and Catra declares that she will never  go with Adora, and that she won’t “let you win” and “would rather see the whole world end (which it’s doing BTW) than let that happen.” Catra believes the way to get control back from Adora is to “win” at any cost. 

In the end, this idea of “winning” becomes part of all three relationships. It’s no longer about working together or “us against the world” for the not-blondes who have felt crushed under the weight of their friends. Now it’s about achieving their goals in spite of the collateral damage.

And the most frustrating part is that the blondes are largely oblivious to the fact that they make their friends feel this way or that they are overstepping boundaries. They just think they’re doing the right thing because they’re “taking care of” or “fixing” the problem. They’re so concerned with taking care of or protecting their friends, that they don’t realize how patronizing and condescending that can feel.

So, even as these relationship turn so sour, why are so many people not only rooting for the friendship to return, but for our ladies to go the next level beyond?

PART VII: I DON’T CARE (I SHIP IT)

I sometimes wonder how the greatest point of contention, the biggest source of toxicity, and the most exhausting part of fandom became shipping. I have seen more nastiness among fans and toward creators and actors about shipping than just about anything else.

Shipping has a long history in fandom, though that term is relatively recent. People have been writing fan fiction about Kirk and Spock getting together since the show was on and fan fiction was written and shared at either in-person gatherings or through semi-underground fanzines. 

And, trust me, I’ve been in the trenches of a ship war. Back when Avatar: The Last Airbender was airing, I was a hardcore Zutara shipper. And, to be more honest, it made me a jerk. Part of that is just because I was a teenager at the time, and teenagers don’t always realize the potential impacts of their actions due to brain chemistry etc, etc. But still, the intensity with which I argued that my ship either would or should become canon when the creators of the show clearly preferred the other relationship embarrasses me when I look back at it.

These days, fandom shipping has gotten even more complicated and contentious.

Back when those women (and it was mostly women) were typing their Kirk/Spock fan fiction and mailing it to other fans, they knew Kirk and Spock would never actually get together on the show. That was the case for the majority of fandoms until very recently--that there was no expectations of actual canon lgbtq representation. People could claim there was deliberate subtext or coding, but very few, if any people, expected shows to actually have openly lgbtq characters.

Then, it started to actually happen. Not just in a, “the actor said they saw their character as gay” or “the creators said they coded that character as gay” way. Characters actually started being lgbt on screen in ways that weren’t demeaning or stereotypes. Major characters, too.

For me, a big moment that gave rise to the hopes of many that their lgbt ships might actually have a shot at being confirmed as canon was, funnily enough, the sequel show to Avatar: TLA, The Legend of Korra.

The above was the closest the couple got to an on-screen intimate moment, and some fans didn’t believe it was romantic until it was later confirmed by the show creators. Nickelodeon was only willing to go so far, after all. The followup comics, however, are much more explicit with the relationship and the two share multiple kisses and intimate moments.

Many fans argue that Korrasami (as the ship between Korra and Asami is called) was too subtle to be considered real representation. But a wave could certainly be felt throughout the world of animation afterword. Shows became even more bold about confirming lgbt characters or at least became less subtle in their coding. 

And suddenly, the idea that a main character’s finale pairing might be anything other than straight became a real possibility and, in some cases, an expectation.

In addition to the growing visibility of lgbt relationships in media, another change was slowly taking place within fandom. 

For much of modern fandom, the most popular ships have been male/male (mlm). Back when I was getting into fan fiction (because I love reminding people that I’m old), this was called “slash.” Slash was exclusively a term for mlm relationships. Same-sex relationships between women (wlw) were labeled “fem-slash,” and were much more rare.

Multiple people have discussed theories for why mlm was, and continues to be in many cases, the most popular type of ship. Some believe it has to do with the prevalence of straight women in fandom who might fetishize mlm relationships. While I have no doubt that’s partly true, I believe the other common argument has a great deal of merit: there were more mlm ships because male characters were more interesting and more prevalent. 

Star Trek: The Original Series had only two main female characters and neither of them was given close to the emotional depth as Spock or Kirk. Lord of the Rings, which was one of the most popular pieces of media on which to write fanfic when I was younger, has so few women the movies had to add in a boat load of new scenes for Arwen.

Recently, though, not only have more shows invested in writing dynamic, interesting female characters, but they have included multiple diverse female characters with relationships with each other and not just the men in the shows. 

So, not only do more people ship wlw ships, but more people expect to actually see those ships represented in their media. Never before has a wlw ship becoming “endgame” seemed more possible.

In many ways this is fantastic. More representation being not only more possible but more expected is absolutely necessary for our media to progress and grow. This has, however, lead to some growing tensions in communities where shipping has, in some ways, become its own form of activism, which means that there is not only people’s personal feelings and preferences for ships on the line, but people who feel that fighting for their ship to become canon is a proxy battle for their own acceptance. 

All three of these wlw ships mean a lot to the people who ship them, and all three have been met with the desire, and occasionally demand, of canon validation as well as a heady mess of coding, accusations of queer baiting, and the lingering question of which, if any, relationships might get the same, and hopefully more explicit, validation that Korrasami had.

Let’s start this deep dive into these relationships as ships with the one that has, in canon, already been resolved.

Yep, that’s definitely a Disney twirl going on there.

One of the first points often made when the validity of a mlm or wlw ship is questioned is that, if you say an m/f couple do the same thing, no one would question that it was romantic. This makes it interesting, and sets off the shipping alarm for anyone who’s a fan of wlw ships when Tangled: The Series goes out of its way to not only give Cass and Rapunzel (ship name: Cassunzel) romantic moments like the above “Disney twirl,” but also directly parallels relationship moments that occurred between Rapunzel and her canon boyfriend/future husband Eugene (AKA Flynn Rider).

Look familiar? It’s almost a shot-for-shot remake of Rapunzel and Eugene meeting for the first time. In this episode, Cassandra accidentally wipes Rapunzel’s memory to the point where Rapunzel thinks she’s still in the tower. It plays out, in part, as “What if Cassandra had found her instead of Eugene?”--something every shipper had doubtless already asked themselves at least once.

Another major moment of paralleling between the two relationships is the endings of both the movie and the series. 

Eugene dies in the end of Tangled only to be resurrected by Rapunzel’s love. Cassandra dies in the series finale of Tangled: The Series, only to be resurrected by Rapunzel’s love. And it is love, that much is very clear.

The only debate really, is whether it’s romantic or platonic love. 

Cassandra and Rapunzel never get official validation in the show or by the executive producers. The most confirmation fans get outside of the text of the show are comments made by some people who work on the show saying that they deliberately coded Cassandra as gay as they could whenever they could.

Yet, for the most part, the creators of this show are largely given a pass by Cassunzel shippers for not making their ship canon. Most understand that, as a Disney property, many hands are tied, particularly given that, due the previous establishment both form the end of Tangled and from the short Tangled Ever After that Rapunzel and Eugene do get married. The reaction seems to largely be that Disney and the show got about as close to confirming it as they could without doing so.

So let’s transition from the show that met, and in some ways, passed expectations to one that has set expectations super high: She-Ra and the Princesses of Power. 

She-Ra is perhaps one of the most lgbtqia coded shows out there right now. The first season even ends with them saving the day with a rainbow.

Here is show-runner and executive producer Noelle Stevenson on queerness in her life and She-Ra:

Yet, despite these deliberate attempts to show representation and to challenge heteronormative ideas, the show has yet to show any of its primary characters or even second tier characters in queer romantic relationships. We have seen a few parents, one pair on in a photo, and their is one married couple of women, but none of these characters are prominently featured on the show.

She-Ra has set expectations incredibly high and has yet to deliver.

Even so, part of what sets She-Ra apart from the other two shows discussed here is that there are multiple queer shipping opportunities. Catra and Adora (ship name Catradora) are one of, if not the, most popular ships, but both Catra and Adora have other female characters with which they could be just as easily shipped.

On the one hand, the pressure is pretty high to establish at least one major queer ship before the end of the show. On the other hand, the pressure is much less that the ship specifically be Catradora.

The near-certainty that there will be one or more wlw ships confirmed before the end of She-Ra means, to me, that Catradora has the greatest chance to become canon.

So, there’s Cassunzel that never really had much of a chance for canon confirmation and Catradora, which has a better chance of becoming canon, but also has less pressure to become THE ship. Where does that leave Lena and Kara?

Anyone who has been in the Supergirl fandom knows that it can feel like a battleground. While all fandoms tend to have their issues, Supergirl’s can be so contentions that it, frankly, makes watching the show less fun. This doesn’t all fall on one groups shoulders, I’ve seen nastiness from many sides over different issues. However, the biggest point of contention tends to center around the potential ship of Lena and Kara (Supercorp). 

Supercorp, as a ship, is completely valid. Kara has way more chemistry with Lena than she has had with any of her male love interests, and two of those guys were played by people whom actress Melissa Benoist was actually in relationships with (though the first was an abusive dirtbag, so lack of chemistry probably makes sense there). Lena once thanked Kara by filling her entire office with flowers. There are cuddles, and Kara’s unwavering (until recently) faith in Lena’s goodness. It’s hard not to ship them.

The issue in the fandom, is not so much that people ship Supercorp (though there are increasingly more people who have issues with the ship itself, which is something I’ll address about all three of these ships in the next post) but the vehemence with which some who ship Supercorp approach whether it will be endgame.

In a way, the frustration is understandable. Supergirl is, in many ways, a show that has made a point of including LGBTQ representation. The second season featured a multiple episode story arc of Supergirl’s adoptive sister Alex Danvers (I will stan her until the end of time) realizing she was a lesbian, coming out, and eventually starting a relationship with another woman. Supergirl also made headlines for featuring the first live-action trans superhero on tv with the introduction of Dreamer in Season 4. The trans actress who plays Dreamer, Nicole Maines, has even had input on how the character is represented including a recent episode that discussed the often ignored violence targeting trans people, particularly trans women of color.

She-Ra and Supergirl have different approaches to representation. She-Ra takes place in a fantasy world and appears to take the approach that nothing about identity or sexuality should be assumed about anyone. There is no heteronormativity in Etheria, yet no major characters are in non-m/f relationships. Supergirl on the other hand, is set in a world more similar to ours which has heteronormativity, homophobia, and transphobia, which leads to the show making episodes and story-arcs specifically about those topics while also somewhat constraining the show. There are arguments to be made about the worth of both approaches and both can serve a purpose for viewers, particularly young viewers, who are searching for characters like them in media.

So, why are the people behind Supergirl so often accused of homophobia?

I mentioned in the Blond Bulldozers section that it is a bit telling that all three shows being discussed here attempt to create diversity while having the whitest, most mainstream character as the lead. There are many who would argue that the true values of the shows are represented by their main characters, and that the rest are window dressing to try to make the show look good as a form of tokenism. The point being that shows won’t really show a commitment to diversity until the main characters are just as diverse as the rest of the cast.

These are all valid arguments. 

A less valid argument is the claim that Supercorp is being deliberately baited by the creators of the show. Queer baiting is a term that seems to have a lot of subjectivity tied up with it. The general idea is that it is when creators purposefully use queer coding or other means to inspire queer shipping of characters as a means to draw in the queer community to their show but then never delivering on that potential.

In some ways, all three of these shows could be accused of queer baiting. The direct parallels in between Cassandra/Rapunzel and Eugene/Rapunzel were no accident. The coding and “anything can happen” while very little does on She-Ra is much the same. And Supergirl is trying to center a large part of the show around the relationship between Kara and Lena, a relationship they know many of the fans see as romantic.

Yet, to me, Supergirl, is actually a less guilty party, at least when it comes to Supercorp. One can, again, argue that the canon LGBT ships and characters exist to pander and draw in those audiences, but Supercorp, I believe, genuinely came out of a place of wanting Kara to have a strong female relationship with someone other than her sister, mother, or boss, and I’m sure this falling-out was in the plans fairly early on.

Has the show completely shut down the idea? No, I don’t think they would be foolish enough to do that. But I don’t believe that it rises to the level of baiting. Shows like Sherlock or movies like Pitch Perfect 3 are, to me, much more egregious examples.

Still, as I said, I can understand the frustration of Supercorp shippers, I just feel like the level of anger directed by some not just at the creatives who make the show but at other fans as well is not fully justified. (And yes, I know “not all Supercorps” and I also know other fans have been jerks. Sanvers shippers who are being asses about Kelly are just as bad.) And who knows? I’d never say never to the ship maybe becoming canon eventually after Kara and Lena work out their issues.

That being said, all three of these ships, regardless of canon status, are incredibly popular, and I want to examine more of what that is and the reason some people are wary of these ships and the potential messages they send. This leads me to our topics for our next installment:

MY WIFE IS A BITCH AND I LIKE HER SO MUCH

and

POISON PARADISE

I will try to make the next one shorter. Also, sorry for typos, I did not give this a thorough read-through. I used all my brain power just writing it.

[janiedean]

I really, really love your metas! In "Why a Jaime/Brienne Endgame in the Books Makes More Sense Than One Might Think, Based on Previous Works of GRRM's" you wrote, that you have endless reasons to assume that both, J and B, will survive the whole series - can you please name some? Aside from this mentioned meta I've only read an explantion of the weirwood dream, which can be interpreted in both ways. Or can you link a good meta that explains other reasons? Thank you very much!

hey!

first of all thank you so much, glad that you appreciate my rants. ;) that said, sure I can go in-depth. in order (btw @ginmo has written also some excellent meta about this, just check on her blog), and also counting the weirwood dream which I’ve ranted on at length in that specific meta:

now, the first thing is how grrm strategically placed these two in the narrative, in the sense that:

brienne has spent her life being passed for a joke and she desperately wants for someone to see her worth as a person and she’d about kill herself for the people who manage to get as far as to gain her trust/love, jaime has spent his life loving people without getting much in return and with that trust being used/abused/thrown away and everyone taking it for granted... and we’re assuming they’re not set up to be together when as stated grrm has written them as romantic from the first moment?

(also, jaime’s entire first chapter in asos is basically ‘I find brienne attractive but since I never considered that I could be attracted to anyone but cersei I can’t understand I’m attracted to her so I’ll stare at her and think she’s ugly all along even if I really am attracted to her. brienne’s issues are also rooted in the fact that no one sees her as attractive. jaime does. hmmm?)

both of them start from a miserable situation from which they’re finding their own way up, not down - jaime is more obvious but brienne is too because she starts at the point where she’s so starved for recognition she would die for someone who just was nice to her but didn’t really gaf about her and now she’s... well, becoming a knight because sure af that is happening, I’m sticking with the theory that the knighting is book canon too -, and if they both end up miserable or one of them does it doesn’t work;

both of their chapters have heavy foreshadowing concerning possible marriage/having children/finding love - jaime wants to father his kids and at some point resents that other men are husbands and fathers but not him because he was always the warrior and he doesn’t say it happily, brienne is half-glad her first betrothed died because she thinks she’s not suited to typical feminine things/to fit into a woman’s role in society but she’s also sad at thinking she will never have children, these two are going to get together very soon, and I’m supposed to think they’re set up for failure? k but I can respectfully disagree;

also, this goes back to that meta I wrote in which I said that grrm does not do grim for grim’s sake and he’s actually way less cruel than it seems, likes a good love story and has more than once finished his other books with satisfying resolutions to that kind of storyline, but adding to that: in comparison to whatever calvinist crap message hbo wanted to send, I have to inform y’all that grrm is a currently agnostic lapsed catholic and it’s exceedingly clear in the way he explores/deals with redemptive themes.

now, let me break the jb narrative for a moment to inform you of a few things that as an atheist born and raised in a 99% catholic country whose literature’s funding works are heavily based on catholic themes/on stories rooted in catholicism:

the ‘you need to die to be redeemed’ narrative is 100% bullshit according to catholic morals and on top of that it’s opened to anyone at any time;

like, the basic distinction between catholic and calvinist approaches to the topic (and I can’t believe I’m defending catholicism but nvm that) is that calvinism preys on a narrative where your negative qualities define you and you cannot escape them (which is because calvinism accepts predestination ie the idea that seeing your lot in life you can deduce if you’ll go to heaven or hell, so if you’re poor/unsuccessful/you committed mistakes/a crime and so on you’re not redeemable and it’s proof you’re damned) and that meant that in societies with calvinist background the death = redemption narrative is extremely popular because it’s seen as ‘hey this person is wretched and they suck so they couldn’t have lived anyway and they did something good with it for once and it’s the best they could hope for’. catholicism, at the contrary, works on the basis that as we all have free will we can change for the better and if you repent for your sins/past wrongdoings/mistakes then that’s enough to be redeemed and if you do it on your deathbed.... you can still go to heaven, you’ll just have to atone for your wrongdoings (that’s the entire point of purgatory’s existence ie making people who repented near death or too late to gain heaven atone for their sins before they can enter heaven). and the moment you repent then you’re free to start your new life and do better and gain your place in heaven, which you’ll obtain in virtue of having turned a new leaf;

(again: not to be that person, but in luke’s gospel one of the two thieves crucified with him is like ‘can you save us since you’re the son of god’, the other thief is like ‘please he has done nothing and we have sinned we don’t deserve to be saved just please remember us when you go back to your father’ and jesus tells the second thief I won’t need to remember you because you’ll sit at my right. also, in dante’s divine comedy there’s a guy who had been excommunicated in the middle ages waiting to get into purgatory for having repented on his deathbed and in manzoni’s the betrothed ie italy’s funding novel the character who’s objectively better written is a dude so heinous for his crimes that he’s called THE UNNAMED and the moment this guy gets doubts and wonders if there’s any hope for him left the local arcibishop leaves everything saying that the moment someone like that is in need then they’re more important than his own parish, goes to receive unnamed guy, tells him that just wanting to be better is enough as far as god is concerned and he’s saved as far as he cares. like, as much as catholicism sucks for the entire rest of it and for how much the catholic church is the worst ideologically the fact that everyone can be redeemed is the basic staple of the entire thing.)

now, given the ^^^, this is where I tell you that most lapsed catholics/people who left catholicism for whichever reasons usually grew up catholic and if you grow up catholic you spend your first twelve years in church at least and if your parents/people around you are also catholic you will absorb it, good and bad, so if grrm grew up catholic, he grew up with that background. (I could again rant for hours about how atheist writers who grew up catholic differ from atheist writers who grew up protestant/calvinist because if you compare grrm and idk kurt vonnegut it’s glaring but this isn’t the place for it so nvm let’s go on)

now that I’ve told you this, I’ll get back to jaime and brienne’s canon survival chances. I needed to tell you that because...

all of the stories with redemptive themes in asoiaf (jaime, theon, sandor, whoever) are not by nature calvinist. whatever d&d think or hbo thought, none of them are written in a way where death is their best option/their only way to achieve redemption/to finish their story with dignity. theon has gone through hell and back and left and regained his sense of identity, he’s not built to die now, sandor has freaking gone to rehab and I’m 100% sure he survives the series and gets closure, while jaime is exactly a poster child for the above stuff I described. like, jaime is someone who’s fundamentally good who had the misfortune to spend his entire life jumping in different kinds of abusive situation one to the other (tywin’s parentage in general, his relationship with cersei throughout at least from the moment they were *experimenting* and like hell I’m going back on that sorry not sorry, guarding aerys, being with cersei at *her* terms and being forced to relieve his trauma all over and not having his needs met etc., tywin potentially ruining his only healthy relationship [with tyrion] and so on) who in turn has done exceedingly bad things/taken bad decision/committed heinous deeds that he regrets having done out of his bad reaction to all of that, not treating his ptsd and basically deciding to stop giving a fuck and embrace being the horrid person everyone thinks he is... until he meets brienne, remembers who he wanted to be because she’s posing an example of it and decides on his own to try and be better, which is... exactly... the entire fucking point. the moment he decides to try and be better and reclaims his dreams/the person he wanted to be/tries to do good he has automatically achieved a narrative status where he chose to be better and therefore the narrative is giving him a chance to be that, and usually those stories are meant to.... have the message that you can be better than the bad things you did and you can turn back the page at any point. like. jaime is written to show you that it’s not too late to get your shit together and not letting others/your surroundings define who you are;

on the other side, brienne is presented as extremely sympathetic from the beginning. also, grrm is very good at describing how shitty is your life if you grow up a woman who is not standard attractive, that everyone laughs at and who has endless insecurities for it.... and she’s the paragon of knighthood/everything good about chivalry in the goddamned series. brienne is legit one of the best people in these books and it’s not because I stan her - she’s kind, she’s just, she’s brave she’s everything a knight should be, she’s willing to change her mind when she misjudged people, she’s forgiving and life threw her crap all along and she’s still persevering from it. brienne is written in a frankly painfully objective way to eventually succeed at what she wants. if in affc she’s crying because she feels like she’s too much of a freak to be her father’s heir and she’s not woman or man enough for anything, the entire narrative point is that she has to succeed at both being a knight and a lady otherwise grrm can’t plant hints and believe me he can;

this means that jaime is headed on a redemptive path which in that kind of story when written by catholics or former catholics never ends up badly (also, aside: redemption is good for everyone and it can’t be just ONE character having it, you don’t buy it at the supermarket, so saying that if jaime has it then tyrion or theon or sandor or whoever can’t have it is just poor reading, people change all the time irl and in narrative you aren’t obligated to redeem one and kill everyone else) or in death, brienne has been written to succeed in her endeavors after she suffers a shitton and I think stoneheart has to be the worst and the end of it (in the sense that after that situation is resolved the way for her is down, not up). which if I do the math and we have stated they’re headed for romance, means the both of them should have a chance at a future together;

also, I can go and tell you that their asos road trip ending with harrenhal is bursting with symbolism that includes death and rebirth - not going into the weirwood dream and sticking to the basics... guys, jaime starts as a prisoner, then ends up losing a part of herself he thinks define him but in truth only defines what he thinks he is (and he’s not ie cersei’s double, the kingslayer, the person who has to drive himself crazy to protect everyone else), then ends up almost dying and sitting in the middle of his own filth for the entirety of the trip (and even then he does good things ie saving brienne from being raped *cough*) and then ends up in a scalding hot bath where he confesses his most well-kept secret and source of 50% of his trauma to someone he trusts regardless of how much he likes it or not, faints and then wakes up again when everyone thinks he might be dead. symbolically, I think it speaks for itself. thing is, during the entire thing *brienne* is there alongside him and while she’s also getting her own share of trauma/ptsd (I mean brienne has totally bloody mummers related ptsd and I’ll die on that hill) she physically is the reason he survives it - she cleans him up, she gives him enough pep talks to convince him to live, she hears his confession, she changes her mind about him for it (but imvho she had after he saved her from being raped because that’s where she calls him ser for the first time) and she catches him in the bath when he faints which is.... fairly symbolic in itself, and she is the one who puts him back on his feet after. like, while jaime’s choices after are all his own, his symbolic journey through his own physical/mental filth he has to go through during asos succeeds because she helped him even if she didn’t know she was doing it, and like... guys, there’s a reason why in the weirwood dream the brienne in jaime’s head which he has conjured and who is basically what jaime sees brienne as in that moment, not necessarily the real one..... keeps on telling him all the time she’ll keep him safe/protect him and she basically tells that to anyone he feels threatened by (or his subconscious feels threatened by), and as stated before, jaime lannister has never, until that point, assumed that *he* would be in the position where someone else gives a shit about him to the point where they will defend him rather than in the position where *he* is the person that has to protect everyone else regardless of how much appreciation he gets in return. like, excuse me but if I was writing my own book I wouldn’t put this much work and care and this symbolism in these two’s history if I meant to kill one of them off or to not have them be happy in the end.

like, the point is: grrm is an extremely meticulous writer with an astonishing attention to detail and who put in book two shit that made extra sense when reading book FIVE, see theon saying he wouldn’t go to his death wearing dirty clothing in acok which makes you go like ‘....... why’ the moment you read his adwd chapters. no one, unless they have a penchant for sadism, would put that much work with those themes in that specific kind of story if then it doesn’t deliver. or, in different words, using a character I love as well so no one can accuse me of being impartial: when grrm put the same kind of work in catelyn’s chapters from got to asos and then you read them knowing about lady stoneheart and the red wedding, it’s obvious that he built her up for being an extremely tragic character and that she was destined to die regardless of all her efforts to save her family (same for robb but we’re talking pov characters). but catelyn’s storyline doesn’t have redemptive themes. it’s about regret, loss, loving your children but being imperfect/not being able to be there for them, and so on. catelyn’s storyline never promises you a happy ending from the moment ned dies and probably even before then. catelyn’s storyline promises you endless suffering and that’s fine because that’s her point in the narrative.

on the contrary, brienne’s tells you ‘hey there’s this girl who has had it like shit all her life without deserving it and whose worth no one sees because she’s ugly and who at the same time is actually a genuinely good person who’s trying her best and okay, she’s gonna suffer but she’ll come out on top while getting what she wants which is recognition as both a lady and a knight’ and given that brienne is also an extremely rare rep (say what you want, cishet unattractive women with her issues and her backstory are basically only less rare than unicorns in media) that I’m 100% sure grrm knows speaks to a lot of people (because he writes her too well to not know), if brienne doesn’t get that after all that shit, the narrative would not deliver on a fairly huge promise.

even worse, jaime’s tells you ‘hey there’s this guy who has been an abuse victim to at least three different people who doesn’t even realize it and whose life is so fucked up you’d need fifteen psychology textbooks to even start grasping it and that everyone sees as the worst person ever and who has ended up believing he is out of not managing his trauma well and hey look at him going through an insane amount of extra suffering but coming out of it wanting to be better and sort of succeeding and hey he has setbacks but he’s starting to see himself as his own person and he’s out of his #1 worst abusive relationship and he can decide what to do with his life now and you should root for him’, which means that if he dies or worst of all dies like in the show (but that’s not happening) the narrative doesn’t deliver on a huge promise and gives you the message that you can’t escape your mistakes and the abuse you received...... which is not the message grrm likes/wants to pass. like, I’ll die on that damned hill.

and to finish it, that was for them as single characters, but going back to the beginning: love is a fundamental part of both their storylines. as I said in the beginning, brienne suffered because she wasn’t loved enough and would die for anyone she loves herself without even expecting anything in return because she thinks no one will love her like that, jaime suffered because he loved too much without getting anything in return (or better, getting cersei’s abusive crap for his entire life) and he turned it into something toxic that’s not what he thinks it should be (he sees his and c’s relationship as the best thing ever where they’re soulmates because she sold him that narrative, but that’s not the kind of rship where you *turn your partner’s blows into kisses* which is actual text). at this point, the narrative is telling you ‘oh hey here’s two damaged people who actually would be very good together because their personalities match in that sense [as in, brienne would thrive with someone who loves her that much openly and finds her attractive and respects her for all that she is and jaime would thrive with someone who would appreciate that tenfold and who’d love him back just as much and who’d die for him - canon! -, and it wouldn’t be the kind of rship where anyone’s blows turn into kisses unless they were friendly sparring before] and oh hey look at that they’re in a storyline where they both influence each other greatly and oh wait he’s attracted to her and she thinks he looks like half a god and she’d die for him and he was willing to get mauled by a bear for her and they’re obviously meant to hook up’, which automatically promises a resolution where they both get what they want or you basically spent all your time rooting for it.... for nothing. which would not give anyone reading it satisfaction unless you hate jb that much, but I’m 100% sure that most people reading asoiaf casually would not hate it that much and grrm likes that trope that much to not deliver on it.

so, tldr: if one of them dies or if they aren’t endgame with a reasonable happy-ish ending for the both of them, the entire narrative fails to deliver on the promises of their individual storylines and their shared one, and there’s nothing in grrm’s writing that suggests that he would not deliver on it. I mean, if it was stephen king I’d hold my breath because I love steve but imvho his endings suck 85% of the time and he manages to do 180° turnarounds that have no sense whatsoever, but it’s grrm, not stephen king, and everything of his I’ve read that actually had an ending ended in a way that was coherent with the overall storyline and maintained its promises, so here, the above is pretty much the summary. hopefully I haven’t exhausted you. ;)

[gigi-sinclair]

Sins Not Tragedies (rated G, implied Jopson/Little, future Hartnell/Irving)

AKA “Haven’t you people ever heard of closing the goddamn door?”

For @theterrorbingo square “there’s nothing to be afraid of.” And it was supposed to also be for @zaphodbeeblebro, but it kind of got away from your prompt, so I’ll do another one for you later!

CW for period-typical attitudes. Title, naturally, from Panic! At the Disco

John Irving is not a fool.

He is no innocent, either, although he knows many people think it of him. He is familiar with the weaknesses of men. He even has sympathy for them. That is, after all, why he sought to rehabilitate Mr. Hickey and Mr. Gibson himself, rather than turn the matter over to the captain, as protocol demanded. His mercy was justified, it seems. Mr. Gibson has not complained of any further assaults, and it does not appear Hickey has turned his deviant attention elsewhere. Perhaps the flogging, unpleasant as it was, proved just the lesson he needed.

This, however, is something else. Rather, it is the same thing, but John cannot possibly react to it in the same way.

Hickey and Gibson are men of the lower ranks, of the lower classes. As is Jopson, for all his extreme familiarity with the captain. In everything, they require a guiding hand, a patient teacher. They cannot be expected to have the capacity to withstand temptation—and John can acknowledge its lure is all the stronger after so long here in the ice—without the help of their moral superiors.  

Lieutenant Little should require no such assistance. The man is a first lieutenant. Soon to be a commander, if the Admiralty hasn't already decreed it. There is no excuse for what John glimpses as he passes the storeroom late one night.

The ship is all but abandoned now. For some reason, all three lieutenants—Little, Hodgson, and John himself—remain on Terror, even though only Lieutenant Le Vesconte and Captain Fitzjames are left on Erebus, but the crew is scant. They have suspended the formal system of watches. Still, the creature is out there, and they must remain on their guard. John comes down from the deck after spending long hours of staring at the ice, alert for the creature from Hell. He should go directly to bed, but he needs a cup of tea to warm him up. He heads for the galley, passing on his way the captain's pantry.

This little room, Mr. Jopson's territory, is usually sealed off from everybody else. Today, the door is ajar. Curious, John approaches, with a mind to shut it if there is nobody within. Instead, he sees what he immediately wishes he had not.

The room is dimly lit by a single candle. It is enough for John to make out the figures of Jopson and Little standing face-to-face, much more closely together than even the small pantry necessitates. Edward's arms are around Jopson's waist, while Jopson's hands rest on Edward's shoulders.

There is nothing inherently scandalous about their placement but, again, John is not a fool. Edward's position is not to prevent Jopson from slipping down the perpetually slanted floor. Jopson, while an attentive steward, is not brushing lint from the lieutenant's lapels. This position speaks loudly and clearly of illicit intimacy, and John at once feels unwell.

Abandoning the idea of tea, John retreats to his bunk.

He has to inform the captain, but, at the moment, Edward himself is captain, and, until now, doing a fine job of it. In all the years they've known each other, Edward has never struck John as weak, or as at all lacking in character or morals. If anything, he is one of the most upstanding officers John has ever met. He is the last person John would have expected to fall prey to such deviant desires. If someone like Edward can fall, John thinks, twisting his hands anxiously, then what hope does anyone else have of resisting?

John sleeps very poorly. In the morning, while he is hungry, he cannot bring himself to go to the wardroom for breakfast. He does not know how he is meant to face Edward or Jopson, how he is meant to make polite conversation with them knowing what he knows. Instead, he buries himself in that which he has always found most comforting: his Bible. It helps little. His mind, quite unbidden, keeps returning to what he saw, and, more salacious yet, that which he did not see, but which was implied.

When a knock comes on the door, John starts. Of course, it is only Gibson, here to help him dress for the day.

“Mr. Gibson,” John begins, as Gibson fastens his stock about his neck.

“Yes, sir?” Gibson looks at him with his wide, pale eyes, and John realizes he does not know what he wishes to say.

He lands on, “Thank you.” It sounds awkward. The way John feels.

“Of course, sir.” Gibson nods and excuses himself, leaving John once again alone with his ceaseless thoughts.

But not for long. Scarcely minutes after Gibson's departure, there is another knock on the door. Mr. Hartnell looks in, the sight of him reminding John, for the first time, that they are meant to meet today.

“I beg your pardon, Mr. Hartnell,” John says. “I had quite forgotten our appointment.”

“No trouble, sir.” Hartnell looks poised to leave. John can't blame him.

The idea of John helping Hartnell come to terms with the loss of his brother through Bible readings would have been a good one, if Hartnell himself seemed at all inclined to want it. He never has. He comes to John's cabin diligently three times a week, sits and listens to John expound upon the Biblical themes of love and forgiveness, but the fidgeting and the chewing of his thumbnails indicate quite clearly that he longs to be doing something else, probably far away from John. John, unsure how to react to this, has bullied on, convinced he is doing the right thing by offering a subordinate the natural, God-given wisdom of a man of a much higher social position and rank. In the cold light of all he knows now, John has to wonder if he was ever right to interfere at all.

“We ought to stop this,” John says, his heart as heavy as his sigh.

“For today?”

“For good. I am no physician, Mr. Hartnell, nor am I a Biblical scholar. I have offered you all I can. It is time for you to seek solace elsewhere.” Harsh perhaps, but true, for Hartnell's own sake if nothing else. Hartnell's face falls. He is a very handsome man, John notes, not for the first time, and therein lies the true crux of this matter.

John always thought he was immune to Thomas Hartnell's charms, as copious as they are, because of who John is. His faith, his background, his rank, all are sturdy armour against sin. But Edward, while not as overtly religious, is just as Christian, and even more highly placed than John. He, quite obviously, has succumbed the lure of a much lower-ranking man.

Rather than flee as he should, Hartnell steps inside, and casts his gaze across John's walls. “If you don't mind me saying, sir, I've always liked these paintings of yours. That cat's the spitting image of my sister's moggy.” Hartnell nods at one of the paintings. A black and grey cat, it was an experiment in monochrome painting, and not one of John's great successes. “Old Tom, we call him.  It's quite a thing, to have to share one's name with the cat. I suppose I already share it with half the men I meet. The occasional animal oughtn't make much difference.”

John blinks. “In Australia, we had a bull called Red John.” A huge, ornery beast. John hasn't thought of it in years. It was an ill-tempered old thing that fathered more calves than any other in the area. An irony which, at the moment, does not escape this John.

“Well, now, sir. That is a namesake to aspire to.”

Despite himself, John laughs. It makes Hartnell smile in turn, which sends something soaring in John's breast. “You have helped me, lieutenant,” Hartnell goes on. “Even if it doesn't seem like it. I ain't...I'm not half as addled as I was before I started seeing you.”

“That is kind of you to say.”

“It's the truth.” He bites his lip. John immediately looks away. “You are a good man, sir. One of the best.”

John cannot be silent. “You say that because you do not know me.” Does not know the dreams he has been keeping at bay by clinging to his rank, his position. Has not seen the lake of depravity into which John knew—absolutely knew—he would never dip a toe, until he found Edward Little, of all people, splashing about right in the middle of it.

“I think I do.” Hartnell's expression is so earnest, John wonders, for a moment, if he really does see right through him, and, more amazing still, is not utterly disgusted. “I can come back this evening, if you're too busy now. I would very much hate to miss our discussion.”

“Yes,” John hears himself saying. “This evening.” Perhaps everything will be as it was by then. Perhaps the genie will be back in its bottle, and all will be forgotten. Strangely, that thought doesn't make John as happy as he would have expected it to.

Hartnell's smile grows brighter, making him radiant even in the weak Arctic light. “Until tonight, then, sir.” He turns to go.

“Take the painting,” John blurts out. Hartnell stops. His cheeks burning, John takes the monochromatic cat from the wall. “If you like it, that is. Could be something to remind you of home.”

“Thank you, sir.” Hartnell gazes at painting as if John has presented him with an artistic masterpiece. It's prideful, but John's heart swells to see it. “For everything.”

When he's gone, John brings out his watercolours. He's not sure what he is going to paint, but despite it all, he has an urge to make something joyful. Perhaps, John thinks, Edward is not an infallible paragon of virtue. Perhaps none of us are. And perhaps, he adds, even though thinking it may well be Arctic madness or the beginnings of scurvy or brain fever or some other deadly malady, it is possible to live on regardless.

[that-shamrock-vibe]

TV Review: Crisis on Infinite Earths (Spoilers)

Part 3: The Flash

Spoiler Warning:

Overview:

Okay, now that is how you do a cliffhanger! While this crossover may not be delivering on a couple of really built up plot points, I’m talking 5 year build-up, as a whole the episode has still managed to kick the gear up and, quite fittingly being The Flash episode, accelerated the story and the anticipation for what is to come in the two-part finalé next month.

But with all but several individuals remaining in reality, is it really down to seven Paragons to save the Multiverse?

Vibe Returns:

I can’t decide whether I’m thrilled or annoyed Cisco has his Metahuman powers back, because whether or not he wanted them...let’s face it he didn’t, he now has them and I don’t think they’re going anyway.

On the plus side, I am happy with this as it gives him something to do, I mean seriously if you’re just going to have a non-powered tech whiz, bring back Felicity Smoak. Cisco is Vibe and he should always be Vibe.

Also he didn’t seem to contribute much to the science in this episode, I mean okay he seemingly helped Ray with his Paragon Detector when Team Flash arrived, who by the way contributed nothing in their own episode as a whole, but even when they were down in the Anti-Monitor’s lair...the reason for him to have his powers back was simply to open the door? Because he didn’t contribute any assistance in destroying the Antimatter Speed Cannon.

I am still waiting to see what The Monitor’s dynastic plan is for bestowing Vibe with his powers again because, we know he’s not a Paragon and as I said all he did was open a door.

I don’t know whether or not Carlos Valdes has served his purpose in the Arrowverse and after de-powering should have simply left last season, but I don’t really see a use for him anymore.

A Flash of Black Lightning:

Alright so Flash, Vibe and Frost go to the Anti-Monitor’s lair where Pariah arrives to bare witness to great pain because that is his job now.

It’s not until we get into the lair that we realise what this great pain is because it is revealed that powering the Antimatter Speed Cannon is The Flash...of Earth-90. John Wesley-Shipp is back after randomly disappearing during Elseworlds but I choose to believe it was for this purpose.

Barry saves Earth-90 Flash from the treadmill of torture but the Anti-Monitor has a fail safe of simply having the cannon blow up wiping out reality instantly if no one is powering it, this leads to what could have been quite an emotional moment had I not predicted the outcome as soon as we saw who was originally on the treadmill.

So Earth-1 Barry sees this moment as his time to “Vanish in Crisis” by reversing the speed of the treadmill thereby destroying the cannon.

While this is going on, Pariah brings in Jefferson Pierce aka Black Lightning from “His Earth”...despite being on the same network his is the only Earth we don’t get a number for...and to temporarily prevent the cannon from blowing up and wiping out reality, he is instructed to either absorb the energy or stabilise it.

As Earth-1 Barry says his “emotional” farewells to Cisco and Caitlin, Earth-90 Barry seizes the opportunity to temporarily steal his speed so that he can be the one to return to the treadmill and “Vanish” stopping the Antimatter...because as he pointed out that newspaper article that we have seen now for 5 years and been reminded of constantly said “The Flash Vanishes in Crisis”, it didn’t say which one...

I call bull! I am sorry but they built this moment up for 5.5 seasons, numerous mentions and the last half a season has been all about the emotion of Barry destined to die in Crisis...yet now he doesn’t die and John Wesley-Shipp’s version who has only been in it once before does?

This “emotional” moment of Earth-90 Barry remembering his wife Tina with a clip from the 90s Flash series was only serving to those who remember that series and as someone who was born a year after it finished I have to say I did not. I contemplated it after the crossover last year but decided not to.

So Earth-90 Flash is now dead and was the prophesied one who “Vanishes in Crisis”, Earth-1 Flash reunites with Iris and Black Lightning joins the crusade.

Dealings With the Devil:

Meanwhile Diggle finally learns that Oliver died and was brought back by the Lazarus Pit as well as Lyla going missing and the need to find Oliver’s soul...because you miss out on two episodes and suddenly you’re out of the loop.

He, Mia and Constantine travel to Earth-666 in the City of Angels Los Angeles, why? Well it seems Tom Ellis is a rather good liar despite his character never lying because Constantine is acquainted with none other than Lucifer Morningstar.

Now I saw an interview just after watching this episode that Tom Ellis did with ET which I will link to here, basically how they’ve made up for the fact that Lucifer is supposed to be ruling hell is that where we meet Lucifer here is during that 5-year period before the start of Season 1 of Lucifer and before he meets Chloe Decker and starts working for the LAPD.

Anyone thinking this is simply a Lucifer doppelganger is incorrect because while there can be doppelgangers of Earths, Humans and Aliens, there is only one Heaven, one Hell, one Limbo, one God and one Devil just as there is only one Monitor and one Anti-Monitor. 

Lucifer presents Constantine with a tarot card which grants temporary passage to Limbo but expires quickly which would damn the users souls for all eternity. Oliver’s purgatory is, surprise surprise, a version of Lian Yu and when the trio reunite with Oliver it is Diggle that breaks through to him.

The only issue with bringing him back however is that a new player appears Jim Corrigan, now as Constantine points out this is not Earth-1 Jim Corrigan as that is Emmett J. Scanlan from Constantine and you don’t mess with Scanlan...although it would have been cool to see Lobo in some form here.

No, this is Stephen Lobo...ironic...and he has become The Spectre...who I know absolutely nothing about other than Corrigan is the first of three hosts of Spectre in the comics with the other two being Hal Jordan and Crispus Allen and that one of his enemies is the Anti-Monitor.

However, Lobo seemingly passes on the Spectre to Oliver through a flashing eye sequence and the trio who risked their souls to come and save his vanish leaving Oliver to wander off with Corrigan...what does this mean? We shall find out hopefully.

Paragon Peril:

Alright so, I have no clue how to feel about the Paragons, I said I would wait to make up my mind until all seven had been revealed and now they have.

In addition to the Paragons of Hope, Courage, Truth and Destiny being Supergirl, Batwoman, KC Superman and Sara, Ray’s Paragon Detector reveals that the Paragon of Honor is Martian Manhunter, the Paragon of Love is Earth-1 Flash and the Paragon of Humanity is Ryan Choi...who?

I will get to him shortly but I want to point out that Mar Novu in his rather expositiony voice stated “These Paragons are spread across the Multiverse”...well his dress is clearly on too tight because four of these Paragons are from Earth-1, two are from Earth-38 and one is from Earth-96...how far spread is that exactly?

As for Ryan Choi, who lives in Earth-1 Ivy Town, all I know about him in the comics is that he is the second Atom and an admirer of Ray Palmer. I know him best from Injustice 2 and to be honest think as much of him as I do Ray so...not a lot.

Also the fact he has a wife and daughter reminds me too much of Scott Lang’s Ant-Man, He doesn’t even have a family in the mainstream comics and the fact this is one comparison where Marvel did it first it’s annoying.

My other note is I know Ray is at least stepping down as a main character in Legends of Tomorrow this season, so if they’re setting up Ryan to be the new Atom they’re going to need to establish his likeability a whole lot better.

Anyway, Iris, Ray and Elongated Man...because he needs something to do, go and recruit Ryan Choi who only agrees after Iris reasons with him on a human scale.

Back at the Waverider, everyone reunites as Barry, Cisco and Frost return to inform them all that Earth-90 Flash saved the remainder of the Multiverse, Earth-1, by sacrificing himself. KC Superman has been trying to save other Earths but failing, Constantine, Mia and Diggle return to tell everyone they failed and the attention turns to the fact they now have all seven Paragons.

However, this is where it gets interesting!

So Lyla/Harbinger has been missing all episode and we as fans know she’s with the Anti-Monitor. When she does eventually appear on the Waverider she originally seems to be fine...but then it goes horribly wrong as she is revealed to have been taken over by the Anti-Monitor and, just like in the comics, kills Mar Novu and uses the energy from that to wipe out the rest of reality.

But just before his death, Mar Novu encourage Pariah that this is what he is truly meant for and Pariah discovers he has the ability to transport all seven Paragons to a place the Anti-Monitor cannot reach, the Vanishing Point.

So the seven chosen are saved while everyone on board the Waverider is obliterated. But then it gets even twistier as it is revealed that while in possession of the Book of Destiny, Lex Luthor foresaw the seven Paragons in a safe space and so decided to rewrite himself as the Paragon of Truth which causes KC Superman to switch places with him...meaning Lex Luthor is now the Paragon of Truth...

So just to clarify that is now 4 Paragons from Earth-1 and 3 from Earth-38...the main Earths heavily featured in the Arrowverse in a crossover that features literally every DC Continuity in film and TV...can you see why this plot point pisses me off yet?

This is the cliffhanger we are now left on until June 14 when Arrow and DC’s Legends of Tomorrow return, all I can say I hope for right now regardless of the outcome is that we see Martian Manhunter actually be Martian Manhunter because so far in this crossover I have just seen John Jones/Hank Henshaw.

So that’s my review of Crisis on Infinite Earths: The Flash, what did you guys think? Post your comments and check out more DC TV Reviews as well as other TV Reviews and posts.