#stop making moral goodness into a performance WE ARE ALL ON THE SAME LEVEL PLAYING FIELD. WE ARE ALL HUMAN

[reikunrei]

it really honestly cracks me up that even when this idea of moral grayness is stated Explicitly on screen time and again, people still don’t take it to heart and actually apply it to all of the characters. yes, even our “big bad.” like, y’all didn’t realize that was the core theme of the show in season 1? and season 2? are you for real? “i’m the monster” “no you’re not. you saved me.” like that wasn’t clear enough for you? to see this little girl do bad things like kill people and call herself the monster right after doing something to help someone she just met? the fact that she opened this gate and let out this monster that killed and kidnapped people all across town and that is a Bad Thing, but she’s not a bad person for it? that wasn’t clear enough for you? and now they have to say it On Screen in the Fucking Script that there are no monsters and no superheroes, nothing is ever that black and white, and you’re STILL not??? listening??????? bye

[shoccolatine]

Do you feel comfortable with writing stuff about mental health issues. Like, MC being depressed due to a mission going wrong or something similar and hiding it from Zayne while they spiral deeper into it until he catches them doing something bad - like idk, self-harm, looking up suicide methods, something like that. Gender neutral reader would be great <3

If you don't want to write this for any reason, feel free to ignore my ask :)

mission failure.

⚘pairing: zayne x gn!reader

⚘summary: after one too many failed missions, you reach a breaking point. zayne comes to your aid. ⚘tags: sfw, 2nd person POV, gender neutral reader, mental health issues, self-esteem issues, depression, suicidal thoughts, non-descriptive/implied self-harm, mild descriptions of morbid thoughts, hurt/comfort, angst ⚘word count: 2k ⚘a/n: thank you so much for your request, i hope i did it justice! this was a very interesting write and i enjoyed it a lot. i tried to be as delicate and vague with the s/h descriptions as i could so as not to trigger anyone, but this fic still deals with sensitive content so please be safe and take care of yourself! much love 💜

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

This was it. You just couldn’t do anything right.

Another hunting mission had gone poorly. The third in a row, now. They do say all good things come in threes, but could the same be said of misfortune? It certainly seemed so. The first two mission failures had been played off as flukes, but this time…

You made the long trek back to Headquarters with the weight of a tail dragging between your legs, bearing a few cuts and bruises to show for it. Beside you was Tara, who was not quite so worse for wear and, although disappointed, didn’t quite seem to share the same sentiment as you. After all, she hadn’t been the one to let the Wanderer get away. Again.

“Hey, don’t look so down!” she says, in her usual cheerful tone. She pats your arm in an attempt to be comforting. “Can’t win ‘em all, right?”

You give her a look and a frown. “I mean, we should, shouldn’t we? It’s our job, after all.”

“No way! Those Wanderers were tough! I’m amazed we got as far into the Zone as we did!”

But we lost our main target, you thought, yet you held your tongue. There was no changing Tara’s mind once she was set on something. This mission was above her level, anyway, but with every other Hunter either stationed elsewhere or taking a well-deserved break, and Xavier being unreachable as usual, all you had was each other. It had been up to you, as the higher level Hunter, to uphold the team morale and guide you both through a successful mission. But lately, you just kept falling short. Even the most straightforward of missions went awry. Just what was happening?

The entrance doors slid closed behind you as you and Tara headed upstairs for the debrief. Your heart pounded with every step you took. Three failures in a row… Jenna was going to fire you for sure. She might as well do it now, to make space for a newer, better Hunter to take your place and finish your missions properly.

Instead, what came of your debrief was the offering of a week-long break. "Time off to clear your head and refresh," Jenna had said with hard concern, but it might as well have been an arrow to the chest. Just fire me now and get it over with, you thought. Stop wasting everyone’s time and resources and find someone else.

You didn’t need a break. You just needed to be better.

Getting better, however, came with a steep demand you placed upon yourself like a vase upon a pedestal, delicate and teetering. If Jenna wanted to give you another chance, then you would use this week to return to peak performance. You would train, and train, and train, until you were sure to succeed at every mission she threw at you. It was flawless. You’d be back at it in no time.

But as soon as you got off the train and back into your apartment, all you wanted to do was sleep. 

And sleep you did. You slept until you couldn’t think of those missions anymore, and when the thoughts inevitably returned, you slept again.

“You’re not eating enough,” Zayne said during your following check-up later that week. He stated it so matter-of-factly, like he did with any other diagnosis, never looking up from his computer as he typed something. You never knew exactly what. “Aren’t you supposed to be on a break right now?”

“How do you know that?”

“Word gets around,” he said, the beginnings of a smile etched on his face. You didn't like the idea of people knowing things like that so easily. People sure do like to talk... Zayne's hazel eyes lifted from the screen and over at you. “You need to take better care of yourself. Now is as good a time as any to catch up on your body’s needs.”

“I’m fine,” you snapped. Sometimes Zayne needed to mind his own business. Wait, but he was your doctor, and one of your closest friends… What was the matter with you? You really needed to go back to bed and stop being such a nuisance. 

Maybe it’d be better if you got out of his life, too.

You met his questioning expression and the heat of your response drained out of your face. At that, you decided you didn’t want to wait for a reply. Whatever he wanted to say to you with that curious expression of his, you didn’t want to hear it. Didn’t deserve to hear it. You quickly left his office and never looked back. If he called your name as the door to his office slid closed behind you, it went unheard.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

5 missed calls.

Your phone screen blares the message in your face, blinding against the darkness of your room and blurry against the tears that threatened to fall, that had already fallen, that fell and dried and fell again. Your fingers itch to reply, to call him back or send him a text, but what’s the point? He doesn’t really care. He’s probably just going to scold you for leaving your appointment halfway and being childish and not following doctor’s orders and being rude to him.

Not only have you messed up your job, you’re messing up your relationships now, too. When will you ever stop? Can’t it ever stop?

Your phone buzzes and lights up in your fingers as your ringtone sings into your sheets once more. It’s him again. Doesn’t he know when to quit? You watch his name as it waits idly on your screen. It gets tired of waiting, as it always does, and finally disappears. You sigh as another hot tear slips down your cheek.

Something new happens this time.

1 new voicemail, your phone screen reads. You start to slide the notification away, but against your better judgment, and before you can talk yourself out of it, you give in, tap the notification, and listen. 

The line is silent for a moment, and part of you hopes he gave up and left you nothing.

Finally, after what sounds like a throat clearing, he speaks.

“Hey, it’s me,” Zayne’s voice comes through the speaker. It’s got that usual muffled crackly phonecall texture laid onto it, but it sounds enough like him that it feels like he’s right there with you, underneath the blankets. “Are you alright? …Listen. Whatever it was I said, I didn’t mean it. You know that. I was going to ask if you wanted to get dinner, but you left so suddenly. Call me when you’re able?”

The silence creeps in again, and you can almost hear him consider saying something more, can almost see his expression as his thoughts thunder in his brain but refuse to leave his lips, but then there’s a click, and the call ends. The robotic voicemail message drones monotonously about saving the message, and halfway through, you hang up, too.

The back of your throat clenches and burns, and you barely fight back a sob as it wrenches itself out of you. Zayne was worried about you. You made him worry. You thought he was mad, you wanted him to be mad, but he’s not. He cares about you. Why…?

You dig the heels of your palms into your eyes, as if you could push back the sting of tears that rush, hot and salty, from your bloodshot eyes. It hurts, and you start to see flashes of bright white stars under your eyelids, but it’s better than succumbing to the pain in your chest. Your heart shares a galaxy with the stars in your vision, a dying star that’s fizzling out, or maybe even being consumed by the void of a black hole. How morbidly comforting. You suddenly want to rip it out.

You wonder, just how difficult would it be to separate the Aether Core from your still-beating flesh…?

You try to shake the thoughts from your mind but they hold fast. Throwing the blankets off of your body, you leave your room hobbling like a zombie, make a beeline for the kitchen, and pull open a drawer.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

It’s late at night when there’s a knock at your door. A slight rap of the knuckles. A sharp one, two. Once, then twice, and on the third knock there’s another sound, too. A rattling jingle. And it’s times like these when you curse yourself for giving Zayne the extra key to your apartment.

He calls out your name as he steps in. You barely hear him. You’re not sure if it’s because he’s far away, or speaking quietly, or if you’re just that far gone into your own thoughts that everything else around you is muted.

He might have called only once, or a dozen times, by the time he reaches your room and spots your hunched figure on your bed. He says your name again, and this time you do hear him. 

You meet his gaze, steeled with concern, and immediately regret it. 

He sees you, really sees you, and all at once your façade crumbles once more. He approaches the edge of your bed, and you turn your eyes anywhere but at him as you brace yourself for impact.

“What are you doing?” he asks, but he already knows the answer.

Zayne grabs your wrist. Yet, his touch is gentle—firm enough to grip you, but soft enough that you could pull away if you wanted. You don't. You’re far too tired to fight anymore. You continue to stare at the floor with teary eyes, but there is resignation hanging heavy on your shoulders, like a wet blanket. Zayne takes your silent compliance as an okay to pull you along with him down the hallway of your dimly lit apartment and into the bathroom.

He sits you down on the toilet. The light clack of the lid hitting the porcelain beneath from your sudden weight seemed to jolt you awake a bit; your eyes refocus and follow his movements as he shuffles through the medicine cabinet. He pulls out a few things and then returns to tend to his patient.

"Hand. Here," he says as he holds out his own. You offer yours, and he meets you halfway. He always does. He’s as meticulous and calm as always as he cleans, disinfects, and wraps your wounds, ever the doctor, but there’s a certain softness in his motions that you’re sure he reserves for only his most cherished patients. 

Only for you.

The thought rolls a warm wave over you, the once wet blanket that had been dragging you down now fresh out of the laundry and wrapped carefully around you, cozy and hot and certain. There’s still a bit of damp spots here and there, but those will also dry in time. And you know Zayne will still be here when that time comes.

Your thoughts are broken when long fingers drag against your cheek, wiping away yet more damp spots and fanning through your shining lashes.

“You need to take better care of yourself,” Zayne says, repeating his words from earlier that day. Was that really only today? This day was lasting a lifetime. As with before, his tone holds no ice. You regret snapping at him when he was only trying to help. He must feel your tension, because he puffs a breath out through his nose just then, and the warm air tickles the hairs on your forehead. He places a kiss there, the barest brush of his lips on your skin. He pushes your hair back with long warm fingers, tucking a strand behind your ear. “If you need help with that, I’m here. Always. You need only ask.”

Later still and he’s tucking you into bed and giving your forehead another gentle kiss, making you feel like a kid again. He’s surprisingly good at that. You don't know how he does it.

Zayne follows you under the covers, and leaves you an open invitation to snuggle against him, if you wish. You gratefully accept, tucking your head under his chin as he envelops you. He’s very careful not to apply pressure to your bandaged skin. 

Right before you fall asleep, he whispers a promise of breakfast tomorrow, and dinner, and whatever else comes next. A promise of staying, no matter what.

[x-authorship-x]

YOU WOULD??? OMG WHENEVER I SAY THAT I'M WRITING SHISUI/HIDAN PEOPLE ALWAYS SAY IT'S A TRASHY SHIP

Anyway. I don't actually know how well they could work in canon, but the idea for the fic is that Hidan has been around for a long, long time (in canon it's never said for how long he's been immortal iirc and I love potential immortality-based angst, also we never really see him use any chakra except for like, sticking to trees I think? So I like to think that he's been around from before the chakra people started to be born) and he used to be some sort of mercenary hired to kill people, and one day he was sent to take care of the army of a kingdom where Shisui (maybe I'll use some different name for this past version of him but I have yet to decide) was the ruler

Used to being unmatched in a fight, Hidan finds himself stopped by Shisui who is able to fight him somehow equally and so Hidan gets basically obsessed with Shisui and they eventually end up being lovers

One day Shisui, who knows will eventually die and leave Hidan alone, performs a ritual to link their souls together and make them soulmates, making Hidan promise he'll find him in every single one of his future lives (and I think I'll put some kind of soulmark on both of them as a result of the ritual to show that they're linked)

The main story takes place around the time the Uchiha coup should happen (with past memories sprinkled here and there once Shisui starts remembering his past lives) when Shisui meets Hidan during an ANBU mission and they fight since Hidan had been hired as a temporary mercenary/bodyguard to protect Shisui's target, however during the fight something happens (to be determined, I'm not super good with writing fights but I'll come up with something) that makes it so that Shisui's soulmark is revealed, after which Hidan refuses to fight him anymore

Shisui doesn't think much of it at first, but he starts meeting Hidan on every single mission after that first one (Hidan knows he can't exactly walk into Konoha, he's not stupid and I think I'll make him a bit less psycopath as well, so he waits until he sees Shisui leaving and then follows him, and since I'd put him as someone from before the chakra times he'd have no chakra for Shisui to sense him) and after a little while Shisui decides to confront him about it

I have a bit of a bullet point list after this (Hidan telling Shisui they're soulmates, Shisui not believing him, Shisui starting to have dreams/remember his past lives etc...) but that's as far as I got and it's, like, two chapters truly fully written? And that's it (because all the past stuff will be later on so I haven't actually written it as chapters yet)

It all started because I saw a fanart with Hidan and Shisui together (not romantically, they were just in the same picture) and my brain just couldn't stop thinking about them being actual lovers

I plan on making it a bit dark and go quite heavy on Hidan's romantic obsession with Shisui, and after Shisui will realize the truth I'll probably put in there some good Uchiha-obsession as well. Not on 'yandere' levels (I don't like the yandere cliché too much) but still enough to make it clear that their relationship isn't all roses and flowers (is that a saying in english? I just kinda translated a saying from my og language 🤣), they're both very unhinged and quite co-dependant with each other

And now that I talked about it with you I feel like I wanna go write more of it, so now I need to find the WIP...

Anon, look at me, right in the eyes: we are talking about fictional characters from the most ridiculous hair-brained series that has somehow gripped us all for donkey's years. Don't let anyone make you feel bad for how you're playing around with canon, it's all make believe anyway and we should be allowed to be as unhinged as we like haha

Have fun and screw the haters!

1) this whole idea is super cool!!! I'd love to see where you go with Hidan's religion and the morals of his human sacrifice and blood letting etc (there is a fascinating Sakura-centric fic out there where Sakura is converted to Jashinism, the author has some extremely interesting takes on the religion) and how it interlines with Shisui's own dubious morality within the bigger picture of Shinobi morals being fucked up like crazy to begin with...!

2) Shisui somehow beats Hidan and gets his interest? Ayyyy Hidan can't draw blood and kill him if he's not fast enough to catch him first~

3) toxic evil murder husbands... Nice, brings to mind-

Hidan kills people for his homicidal religious zealousness... Shisui looks like a saint in comparison but that's just because he rewrites the minds of his opponents so no one even knows how bad he is (🙏🙏🙏 Shisui deserves to be a human monster, as a little treat 👉👈)

4) Also this has the potential for that whole "A fell first but B fell harder" dynamic because Hidan has been loving Shisui as a lifestyle for DECADES but Shisui gets bulldozed by memories and pitches headfirst into obsession after fighting Hidan's claims for a little too long... 😩

Thanks for sharing, Anon! And good luck with the WIP, if you do decide to continue!

[herinsectreflection]

I want to talk about this scene, from Bargaining when Willow kills the fawn. You might guess from my icon that I am a big fan of this scene. It's pretty short but it sets the stage for Willow's arc throughout S6 excellently.

It opens with her in this gorgeous riverside greenery, dressed in pure white, the very picture of fairytale innocence, bathed in bright sunlight. It's such an unusual shot for the show, which almost exclusively either has shots inside or at night (for obvious reasons of being a vampire show), and that immediately makes it quite memorable. Especially as the rest of the episode is almost entirely set at night, filled with demon bikers, dismemberment, fire, broken down towers and digging out of graves. It's like this little meditative moment of peace in between all that.

Or, it would be if it didn't include a teensy little animal sacrifice.

WILLOW: Adonai, Helomi, Pine. Adonai, Helomi, Pine. The gods do command thee from thy majesty. O Mappa Laman, Adonai, Helomi.

Willow says her words and summons forth a young fawn from the trees. The fawn is another symbol of innocence, like Willow's white dress. As she reaches out and and touches the animal gently, we're reminded of the soft innocent Willow of S1, who shied away from any conflict and seemed incapable of ever hurting a fly. She's like a disney princess, sitting in the woods singing to woodland animals. Only Snow White never stabbed Bambi in the heart.

The entire plot of the previous season revolved around the blood sacrifice of a child. This is what Glory was trying to achieve, and it's what Buffy has to stop. Buffy gives her life in order to stop it. And now, Willow recreates the same event, performing the blood sacrifice what is specifically an animal child. She steps into the role that the previous season's Big Bad performed, and so tells us that this season, she is stepping into the role of Big Bad. The fawn fills the role of Dawn - the situations rhyme as well as the names do.

Fun fact - the words that Willow uses are taken from The Book of Ceremonial Magic, a 1910 book that compiled various grimoires. In this passage, describing an invocation to request something from God, Adonai/Helomi/Pine are the names of angels - specifically the angels of the East, who appear in human form dressed in lily white according to this passage - another link to Willow's costume here. The invocation seems to involve requesting these angels to appear to the caster in an intelligible form.

ADONAI, HELOMI, PINE, Whom you obey, do invoke, conjure and entreat thee, N., that thou wilt appear forthwith. By the virtue and power of the same God I do command thee from thine order or place of abode to come unto me and skew thyself plainly here before me in thine own proper shape and glory, speaking in a voice intelligible to mine understanding.

In this case, Willow is symbolically killing an actual angel of heaven, which is probably pretty high up on the villainy scale. Just drives home the fundamental Wrongness of this scene. It's also good to remember that the idea of killing one to save other(s) is a theme returned to again and again throughout the show, and the first major example of that theme in action is a certain Angel.

(Credit to this user on BuffyBoards for finding the source of these words.)

So the fawn is Dawn, and the fawn is an angel. But most importantly of all - the fawn is Buffy. Willow, in her attempts to bring Buffy back to life, first has to kill "Buffy".

WILLOW: Come forward, Blessed one. Know your calling.

The fawn is described as having a "calling" that it must "know", just as Buffy has a calling of her own, which over the course of many seasons she learns to know and accept (and eventually revolutionise and reject). It is also described as "Blessed", which in some definitions is taken to mean "one who is with God in heaven". Buffy at this point is literally in heaven (or at least some kind of heaven dimension, the theology is gratefully vague). The structure of the phrase "Blessed one" also reminds of the more relevant phrase - "Chosen One", which again would be Buffy. The spell ingredient, which we know is the fawn's blood, is called "vino de madre" - wine of the mother, implying a feminine source of power, just like The Slayer.

WILLOW: Accept our humble gratitude for your offering. In death ... you give life. May you find wings to the kingdom. In death, you give life. You might say that death... is your gift... yeah, so this really drives it home for me. Using death to give life is literally what Buffy has just done. It was core to her arc last season. And finally the "wings to the kingdom" line again plays into that heaven imagery. S6 loves this kind of imagery for Buffy, even giving her angel wings in one of the most delightfully on-the-nose shots in the show.

Buffy gave her life to give Dawn one, and with it gave a warning about the struggles of life - "The hardest thing in this world is to live in it.". This is sad but lovely advice that Buffy herself must now spend S6 gradually learning to understand herself. She learns how to deal with the crushing despair of day-to-day existence. Willow, as the Big Bad of this season, doesn't understand this advice at all. For years now, Willow has used magic as a short-cut to avoid actually dealing with her emotions (see Lover's Walk, Something Blue, Tough Love). This goes into overdrive in S6, and it starts with her desperation to bring Buffy back to avoid really dealing with the reality of her death.

In fact it goes beyond magic - Willow is also the one who uses her tech knowledge to bring the Buffybot back online. She uses all her skills to desperately fill in the hole that Buffy has left behind. This is what Willow does, magic or no. And it's sympathetic - my heart breaks every time she talks about fearing where Buffy might have ended up - but it's not totally rational or healthy either. The main problem is that Willow, in doing this, is ignoring Buffy's final words, and misunderstanding the central theme.

As said earlier, by performing this blood sacrifice of a child, Willow is betraying the memory of Buffy, who died to stop one. (Symbolically of course. Morally there are light years between killing an animal and killing a teenager). Buffy gave her life to stop a blood sacrifice, and so Willow reverses the process - causing a blood sacrifice to give Buffy her life. And she betrays Buffy's final words with her refusal to accept the pain of life and live with it. And finally, she betrays Buffy spiritually.

Remember that Willow is Buffy's metaphorical Spirit, as shown in Primeval. It is a special kind of betrayal that Buffy's Spirit breaks her spiritually in this season. She literally rips her soul out of eternal bliss and contentment, causing an existential break within her. She beseeches the fawn/Buffy to find "wings to the kingdom", but in doing so robs Buffy of her wings.

Buffy suffers brutal depression this season, and describes it many times as feeling dead inside. This kind of emotional deadness is caused directly by her ressurection (though severely exacerbated by her unresolved trauma, grief over Joyce, and generally just living under capitalism). Willow has tried to give death to bring life, but because the action is a betrayal of Buffy on many levels, the act is tainted, and perverted, like a wish on a monkey's paw. She literally kills metaphorical Buffy, and so metaphorically kills literal Buffy. Buffy has life, but said life is causing a kind of death within her.

And what does Willow get for all this? Her pain isn't fixed by all this. She just gets blood on her hands (and later on her face). It sets off a chain of events that will end with far more blood on Willow's hands. She dips a toe into a darkness, but because she doesn't understand fully the emotions that have taken her there, she can't exert any control over it. She doesn't learn a lesson here that she shouldn't try to shape the world to deal with her emotions. Instead, she learns that she has power over life and death.

Willow is clearly deeply shaken by this, but it's not nearly enough to make her change her path. She ignores the very obvious foreshadowing here - her hands literally coated in blood - and carries on anyway. She takes the wrong lessons from this moment, which she clearly demonstrates in her argument with Giles in Flooded, where she ignores his anger over how she's warped the rules of nature, and instead focuses on how awesome she is ("The magicks I used are very powerful. I'm very powerful. And maybe it's not such a good idea for you to piss me off.")

This is a small scene, but it sets up so much for Willow. It shows how far she has come from the meek girl of S1. And it shows a glimpse of the future, how she has far to go but is now on a path to become the villain she is at the end of S6. She starts it by killing metaphorical Buffy in order to save her, and will end it by trying to kill actual Buffy in order to emotionally "save" her. At every point she can justify the blood on her hands as serving some greater purpose - but the blood is still there.

[only-johnny-deppp]

“Whatever I’ve gone through, I’ve gone through. But, ultimately, this particular arena of my life has been so absurd...” 

 Johnny Depp’s NEW INTERVIEW!

Last saturday, August 14, The UK Times, released a new interview with Johnny for the Sunday Times section. It was realized sometime earlier this month, in London, probably on the same day he and Andrew Levitas were recording for the Q&A for the “Minamata” release in UK. This is Johnny’s first interview since the UK trials in London last year, and released three years after Johnny’s major interview for the British GQ Magazine. Here Johnny and Andrew Levitas speaks about “Minamata”, his future as actor and a thing or two about his personal life, although he cannot talk about the court case.

For those who couldn’t read yet, here is the FULL interview:  Enjoy.

***

“I’M BEING BOYCOTTED BY HOLLYWOOD”

Johnny Depp has a new film out this week. In the opening scene his character, the real-life photographer W Eugene Smith, says, “I’m done. I’m tired. My body is older than I am. I’m always in goddam pain. I can’t trust my f***ing dick any more. Constantly in a foul mood. Even the drugs bore me.”

I ask Depp if Smith’s despair resonated with him. Depp stops. Rocks back and forth. “That’s interesting,” he replies with painful hesitation.

“I didn’t approach playing Smith in that way… Although you bring your toolbox to work and use what is available. Having experienced...” He stops again. Depp takes any questions that might refer to his calamitous libel case last year slowly, in a mumbly, croaking drawl. “A surreal five years…”

In the film Smith needs to revive his reputation. In real life Depp’s task is even more daunting. Thanks to the judgment, everyone can call him a “wife-beater”. Now he must convince a Hollywood still convulsed by #MeToo that he’s not toxic — and that any attempt to rebuild his career is a risk worth taking. This is Depp’s first interview since the case.

We are speaking over Zoom, Depp in his London home, in front of a gold-framed painting. The 58-year-old is wearing a lot of clothes. Earrings. Floppy hat. Sunglasses. Bandana. Scarf. Checked shirt over a T-shirt with an indiscernible slogan. If you saw him on the Tube*, you might think he was off to work at the London Dungeon*, to play most of the characters.

PS. For those who are not familiar with British words: * Tube = British slang for London Underground, the subway trains. * London Dungeon = is a walk-through experience that recreates scenes from London's scary history in a mixture of live actors, special effects and rides.

Depp resumes, talking in broken sentences about the new film, Minamata, in which Smith, via Life magazine, exposes the brutal mercury poisoning of Japanese villagers in the early 1970s.

“How do we do this?” he asks rhetorically, meaning how to speak about the elephant in the Zoom. “Well, there’s no way one can’t recognise the absurdity of the mathematics.” He grins. “If you know what I mean?” No. “Absurdity of media mathematics.” He talks in riddles. “Whatever I’ve gone through, I’ve gone through. But, ultimately, this particular arena of my life has been so absurd...”

He trails off again. He is holding a big brown roll-up of some sort. “What the people in Minamata dealt with? People who suffered with Covid? A lot of people lost lives. Children sick...Ill. Ultimately, in answer to your question? Yeah, you use what you’ve got. But what I’ve been through? That’s like getting scratched by a kitten. Comparatively.”

Last July, I went to the High Court in London to watch Depp on another screen — a video from the socially distanced court where the Hollywood star was losing a libel action against The Sun after it called him a “wife-beater”. It was the grottiest showbiz trial of the century. There were photos of the actor passed out in a foetal slump, socks on show. One lengthy exchange involved faeces. Another urination, inside or outside a house, after a violent night with his ex-wife Amber Heard.

This had all been going on for a while. In 2016 Heard applied for a temporary restraining order against him. The couple had long endured a narcotic, booze-filled, childish relationship, but that does not matter — 12 incidents levelled against Depp were proved, said the judge, and abuse is abuse, regardless of how badly they both behaved. Depp wanted to appeal, but the court said no. Next April in the US he has a $50 million defamation case against Heard relating to an opinion piece she wrote about being the victim of domestic abuse. It may be his last roll of the dice.

In the 1990s Depp was a sensitive heart-throb. Cooler than DiCaprio, edgier than Pitt. In this past year he has been stripped of his status and dignity. On day three of the trial Sasha Wass QC, representing The Sun, asked Depp about daubing a penis on a painting. He could not remember. “That would be quite a big thing, painting a penis on a picture?”  Wass asked. “Quite a big thing?” Depp asked.

It was a well-delivered line, but Depp was on show. Performing. Now he is more timid, less lucid. His people say he cannot talk about the court case given the looming US trial, yet it hangs over everything. The director of Minamata, Andrew Levitas, is also on our call — as a pub trivia aside, Levitas is married to the Welsh singer Katherine Jenkins.

The two men clearly get on. “With regards to journalism, it was important for us to put across in the film the power of truth,” Levitas says. Depp nods. “The responsibility of journalists to look after citizens of the world. [Our film] coincided with the moment important publications had to put Raquel Welch on a cover to get enough eyeballs to sell enough ads in order to put something meaningful inside. A result of that is clickbait — it’s destroying the purpose of journalism,” Levitas continues.

“You said it beautifully,” says Depp, one of the world’s most pinned-up men, who built a career on magazine covers. “I couldn’t say it better than that.”

Last month Levitas wrote to MGM, which bought Minamata for the US market but decided not to release it. He accused MGM of being concerned that “the personal issues of an actor in the film could reflect negatively upon them”. Then the letter got really strong. Levitas accused MGM of failing in its “moral obligation” to release the film and said it needed to explain to the victims “why you think an actor’s personal life is more important than their dead children”. He then attached Smith’s photos of ghastly deformities that shocked the world 50 years ago.

“It’s important that the movie gets seen and supported,” Levitas says. “And if I get an inkling it’s not going to be, it’s my responsibility to say so. Where it goes from there? I don’t know. But we have responsibility to these victims . . .”

You can see why he’s passionate. The film is good. MGM bought the film because it is good. Depp is good too. He disappears into the role, far from his more recent pantomime parts. It’s being released worldwide, just not in the actor’s homeland.

Depp, who also produced the film, interrupts. “We looked these people in the eyeballs and promised we would not be exploitative. That the film would be respectful. I believe that we’ve kept our end of the bargain, but those who came in later should also maintain theirs.”

“Some films touch people,” he adds. “And this affects those in Minamata and people who experience similar things. And for anything…” He pauses, as he does. “For Hollywood’s boycott of, erm, me? One man, one actor in an unpleasant and messy situation, over the last number of years?” He trails off. “But, you know, I’m moving towards where I need to go to make all that…” Again, he trails off. “To bring things to light.”

The fact, as I think Depp knows, is that for his career, the court that matters is not one of law, but public opinion. On social media, where a lot of minds are made up, Depp’s good reputation will always outweigh the bad, thanks to his frequently blinkered fans.

Outside the High Court, as Heard arrived, I saw Natasha, 30, yell: “Get hit by a truck, Amber!” She is extreme, but the persistent way his fans demand that others think their idol is a saint shows a career revival will happen. After all, most filmgoers do not follow his private life at all. To them, he is Jack Sparrow, Edward Scissorhands. To them, he is a star — and a star can take an awful lot of heat before it burns out.

“They have always been my employers,” Depp says of his fans. “They are all our employers. They buy tickets, merchandise. They made all of those studios rich, but they forgot that a long time ago. I certainly haven’t. I’m proud of these people, because of what they are trying to say, which is the truth. The truth they’re trying to get out since it doesn’t in more mainstream publications. It’s a long road that sometimes gets clunky. Sometimes just plain stupid. But they stayed on the ride with me and it’s for them I will fight. Always, to the end. Whatever it may be.”

Depp will talk like this for ever — about his “truth”. Minamata is the last film Depp has listed on the industry site IMDb, where actors usually have half a dozen in development. So, yes, fans of the actor can see Depp in a new role now — it is a return, but is it a relaunch? The film was finished in 2019, way before last year’s court case. Is that it? His last film? He thinks and looks off to his bookshelves, at biographies of Betjeman and Olivier.

“Er...no,” he says, eventually. “No. No. Actually, I look forward to the next few films I make to be my first films, in a way. Because once you’ve...Well, look. The way they wrote it in The Wizard of Oz is that when you see behind the curtain, it’s not him. When you see behind the curtain, there’s a whole lot of motherf***ers squished into one spot. All praying that you don’t look at them. And notice them.”

I would ask him to explain, but I am not sure he is an explainer. Watch this space, I guess, but he is already taking a first step back. After we speak, it is announced Depp is getting the coveted Donostia award at the San Sebastian Film Festival next month. Some people are just too famous to fail.

~ Interview by Jonathan Dean, in London, for The Times UK (released on August 14, 2021)

[helisol]

dude im not sure you will get it after reading this either, but you Can read it now

okay so first of all do not expect me to adhere to rules of grammar or Proper capitalisation, I am writing from the heart

so it’s been said before by other people but if Quark and Odo didnt look like the aliens that they are but instead like two regular prettybois the fandom would do cartwheels over their dynamic and Not call them a crack ship. because really, their dynamic fucking SLAPS and I’m here to tell you Why.

their surface-level dynamic is “Respected and Talented Security Chief and Cunning Immoral Businessman who are in Love but pretend not to be” and that's just an off-brand version of enemies to lovers! which is excellent and for some people that’s all you really need to get invested in a ship.

but some people look at it and go “Hm, no, that’s not enough. I mean, they work as friends but it doesn’t really have to be romantic.” and to that I say you are Absolutely Valid, not everything has to be romantic.

it just so happens that these two fuckers have one of the most compelling romance stories ever, and it’d be a shame not to explore it.

so before I dive into the internalised homophobia and repression, I’d like to take a moment to talk about Quark as a character.

because if you have brainworms like me you can kind of see that its an honest to god greek tragedy.

this guy comes from a race of people where being kind, ethical and fair is considered Abnormal and Horrifying. and I’m not gonna call Quark out of all people kind, ethical or fair but,,, 

you ever notice how he’s A Much Better Person Than Pretty Much All Other Ferengi?

dont get me wrong, Quark is still a bastard, but every once in a while his True Character shines through. and I say True Character because guys,,, the way he behaves around other people is an Act. he’s pretending to be something he’s not.

he has to try so hard to be a good ferengi it’s honestly painful to watch at times. because he is a SHIT ferengi! 

he loves his friends- because that's what the ds9 crew are. they’re his friends! and it makes him miserable because that's not! normal! for a ferengi!

let’s compare Quark and Rom for a second. 

Quark reeks of self loathing because a lot of the time he just Doesn’t act like a ferengi is supposed to, and this drives a lot of conflict in the show. he knows how a ferengi should act, it’s just that he can’t!! fucking!! do it!! but he still tries and tries to fit into that mold, which straight up ruins his life on multiple occasions.

Rom is also not a Model Ferengi, but he lives without hating himself. and it’s mostly because he doesn’t care about how a ferengi Should act, he’s loved and cared for even when everybody knows that he’s a shit ferengi! because his non-ferengi-ness works to his benefit. it encourages and highlights his abilities as an engineer. the success and love he finds make it easy for him to be content with his true self. Unlike Quark, who doesn’t get unconditional love from anyone.

its so!! tragic!! because you can see what Quark is really like!! his true self!! he’s a nice guy who cares for people!

its right there all the time and it's so blatantly obvious. especially in episodes like “Body Parts”, “Bar Association”, “The Way Of The Warrior” and “Ferengi Love Songs”

his own wiki page literally calls him “a compassionate and generous man by ferengi standards” which pretty much translates to “not really a good ferengi”.

anyway so Quark is a tragic figure or whatever but we’re actually here for the REPRESSED! HOMOSEXUAL! TENDENCIES! that he and Odo both exhibit.

with characters like garak you don’t really need to have brainrot to pick up on those tendencies, because that was something andrew robinson chose to do, on purpose. 

and to be fair, Quark wasn’t intended to be Any kind of representation, not even by the actor. I’m just pointing out that he Does look and act and talk like a little gayman.

I will admit that he is Painfully Straight in the text of the show, but on a meta level he’s just. a dude who has a serious case of repressing his real personality. and taking it a step further- he also represses his feelings towards another man.

and that man is Odo.

a few things on him:

Odo is literally desperate to be a person. unlike Quark, who at least has the comfort of belonging to a society of people with a set of rules and expectations, Odo has never met anyone or anything like him in all his years of life.

like, we all know Odo basically grew up in a lab, right? 

with people who didn’t know anything about him. who he was so unalike that they literally called him “Nothing”

but he still learned to look and talk and act like them (because if he didn’t he’d feel *pain* which is very fucked up by the way?)

so we know for a fact that Odo wants to be recognised as a person- which is why he tries really hard to conform to the ideals of the society that raised him. instead of exploring his nature as a shape shifter he maintains a humanoid form, picks up a job and creates an entire personality around what he wants to be seen as. but not what he really is.

and that's the thing that causes all the conflict between Quark and Odo. the type of person odo wants to be seen as is the polar opposite of whatever the fuck quark wants to be seen as.

In the same way that Quark acts like a Normal Ferengi, Odo acts like a Normal Security Officer.  and in a cruel twist of fate, the Ferengi happens to be the antithesis of the Security Officer.

If you only look at them as the things they act like, and not the things they are, you might say they’re way too different to like each other, right? 

but,,, if you think about the fact that they’re both putting on this act,,, this performance of idealised versions of themselves,,, you can see that they are The Same. They Are Both Gay Repressed Loser Aliens Who Try To Act Like Things That They Aren’t!

Imagine you’re Odo. 

Imagine that you’re Nothing, because you’re not like anything anyone has ever seen- and because you are Nothing you don’t fall in love with anyone for years and years. since who could love something that isn’t like them at all?

But then one day this Thing shows up in your path and you just hate it. Because it’s not like anything *you* have ever seen. It’s disorderly and looks grotesque and it’s criminal to boot.

It’s all the things you learned would make a “Bad Person” It’s everything you aspire not to be, because if you were any of those things you would BE PUNISHED.

But the trouble is, eventually he’s not an “it” anymore, he’s “Quark” and you see him every day of your miserable little life because you live on the same damn station in space and it’s hard to avoid each other.

He also happens to be one of the only things in your life that are constant. He will never leave because he is stubborn and greedy and you just *hate him so much* that you’re convinced he must be doing all of it to spite you. And yet you also can’t seem to leave him alone.

So Odo Must Hate Quark. everything else is a non sequitur for him. he can’t not hate Quark.

because Quark is, and i’m sincerely sorry to apply christian fucking imagery to this, The Forbidden Fruit.

If he liked quark he’d admit some kind of moral failing. it would be the end of his act. but on the other hand...it might be a good thing, because at least he could have quark.

but Odo can never go through with biting into this apple because the consequences are horrifying to him. he could never have quark because, according to his performance, he would Never like quark to begin with.

and here’s a take for you: Odo's Brand Of Internalised Homophobia Doesn't Stem From Heteronormativity. It Stems From The Fact That He Was Kind Of Assigned Asexual At Birth.

and the show sort of alludes to this, for real! not just subtext! canon! except the writers used the wrong person. 

because instead of Odo having these Forbidden Feelings for Quark he has them for,,, Kira.

but since this is My Quodo Manifesto you’ll understand that i am 100% willing to just toss that part of canon out the airlock.

so Odo does canonically have that mindset of “no one could ever love me”  for decades he repressed any and all feelings of love to avoid getting hurt. in the show he breaks this cycle of repression when he takes a chance and enters a relationship with Kira. yay?

but we all know that aint it chief. and part of the reason why That Ship Ain’t It is the fact that Quark is Right There. and he is simply the more interesting choice for odo.

he and Odo literally share the same problem and have weird intertwined character arcs! they are both dreadfully afraid of not conforming to the ideal versions of themselves, so they reject everything that could challenge their Performance!

on some fucked up level they hate each other *and* themselves individually. and this hatred makes them reject parts of their real identities for the sake of protecting their image. which. yknow. in gay people. is internalised homophobia!

so you can see that they’re both repressing A Lot even if you view them as Friends, but the most important thing in this kind of romantic dynamic is usually,,, when the characters *stop* repressing.

and the thing is. the thing that Kills Me with these two. They Never Get That Moment. Thats Why You Need The Brainrot To See Them As Romantic.

The Ascent gives us an example of what happens when they both take their act too far. I mean, who could forget “Fascist!” and “Fraud!” That is what odo thinks of quark’s performance and vice versa, but we don’t really hear them adress the fact that they *are* playing these roles to a ridiculous extent.

We also never get an example of what would happen if they dropped their act instead of over-performing it. or rather we don’t get to see both of them drop it.

And the reason why we never get that moment is because there’s this one key difference between Quark and Odo. 

Quark knows that he’s constantly repressing his true nature and his feelings for odo. We pretty much hear him say so in the iconic root beer scene in Way Of The Warrior. he knows that he’s not a good ferengi but he keeps up his act.

So quark is aware enough to feel that sweet sweet self loathing. But Odo isnt self loathing as much as he is just self sabotaging.

and this subtle difference between them is why, at the very end of the show, we get “That man loves me, can’t you see? It was written all over his back!”

this moment is quark dropping his act and asking odo to do the same. he wants to hear a genuine Goodbye from him because they have known each other for Decades and they are Friends. but odo is so unable to express the feelings he’s been repressing all these years. that he self sabotages again and just walks away.

even though this is like. very anticlimactic. considering I just spent 2000 words talking about how Odo and Quark are Most Certainly Gay For Each Other.

The fact that their ending is so Weird is the reason why quodo is so engaging and appealing to me? especially post-canon quodo.

like, the amount of “what if’s” this ship has are Astounding.

What if either of them had dropped their act a little sooner? What if they both did, for just a moment, and it was the straw that breaks the camels back?

What if Odo comes back after a few years? What if Quark comes to get him?

What if, in that moment in the finale where Quark drops his act, Odo had returned the gesture? What if Gag-Reel Quodo Kiss.gif Real?

with the depth that I read into their relationship, those what ifs are really fun to think about.

anyway its 1 am and i’m not an english major so literary analysis is not like, my strong suit. plus most of this was written in a late night screaming session with a friend who has the exact same opinions as me. i just think aliens hot and in love. thats all.

[9layerdevilfoodcake]

Some Of A Kind

Chapter 1: Virgin in the Chapel

(Michael Langdon x reader)

Summary: When you accompany your friend to a black mass at the Church of Satan. You pick the wrong time and place to let him in on the fact that you’re a virgin, garnering the attention of the ‘chosen one’ himself.

Warnings: murder, mentions of drug use, poorly represented Satanism

Word count: 3,666 (that’s right)

//

It was a typical Wednesday night when you got a text from your friend Tyler.

‘So what do you say? Is tonight the night?’

He had been bugging you for weeks to come see a sacrifice at the satanic church. And since the first time he asked, the conversation always went the same way.

/

“I’m telling you, just one slice and then you can have whatever you want”

“You mean I can have powers beyond compare?”

“Yes” he answered back, in a hopeful tone. Clearly he hadn’t picked up on the sarcasm in your voice.

You couldn’t help but chuckle at the excitement in his voice.

“I’m sorry, you do whatever you want over there with your edgelords but I’m perfectly happy in my boring powerless existence”

“First of all we aren’t edgelords, we're satanists. We just see the world for what it is. A dreadful place full of selfish people.”

“Well I can’t say I argue with that”

“Exactly, so give in to being selfish, and start doing what you want. You work so hard, and for what a one bedroom apartment you can barely afford and bags under your eyes that are only getting bigger by the day?”

“Hey” you interrupt, slightly offended. Which only earns a laugh on his end.

“I’m just saying, you put in so much effort for no pay off, when you could do this one thing and have everything you deserve”

“What a cable package and a ‘skip the line’ pass at Disneyland?”

“I also get unlimited snacks!”

“Oh sorry how could I forget, well if one soul is all it takes to get a free waffle cone then what are we still doing here?!” You ask back, your tone full of mockery.

“Have you ever wondered why I can snort as much coke as I want and have never OD’d? Or why every girl I bring home is a certified 10?”

Actually you had, the two of you had met the year prior in a religious studies class when you were partnered to write a paper on whether morality was dependent on a god. He could barely get through a sentence without tripping over his words or looking away in embarrassment. It was sweet really, and by the end of the class you two had basically become best friends.

But about 2 months ago things started to change. There was almost always a girl leaving his house when you would come over.

You swore at least two of them you recognized from Victoria Secret runways.

One night you even saw a man leaving whose resemblance to Ryan Reynolds was suspiciously uncanny.

He got a new car without any explanation as to where he got the money, and he had so much coke in his living room you assumed he started dealing, before he told you it was just his stash for the weekend.

At first he was vague about everything, but eventually he told you the truth, or at least what you assumed was a version of it.

For his final project he wrote a research paper on the church of Satan.

You went with him to a couple of services when he was writing it, him being too nervous to go alone.

You both thought they seemed a little kooky, but relatively harmless.

Yet what you didn’t know was that he kept going back after the class ended and had gotten himself sworn in, and eventually given the honor of participating in a black mass.

Where he had sacrificed a school teacher in order to get these new “gifts”.

Now you weren’t naive enough to think he actually killed someone!

You were sure his new lifestyle was a part of some religious Ponzi scheme, and one day the debt collector would come calling.

You’ve watched enough documentaries to know better than to get involved with this.

But he is still your friend so you take it upon yourself to be supportive and let him have his moment, while simultaneously letting him know you’ll be here for him if the day comes that he gets excommunicated.

“I love you and I am so happy for all you’ve gotten, especially when you share it with me, but I’m good, really. I’ll let you know if I ever change my mind”

That dropped the subject for a while.

 

That is until a few days ago when you lost your job.

Well actually when your job was stolen from underneath you by your boss's son.

All it took was one night of bitching to your best friend for the talks of satanism to start up again.

//

So here you were bored on a Wednesday night actually considering his offer to watch a black mass.

‘Well…’

He texted back after a few minutes of no response on your part

‘Fine’

It’s not like he’s ever going to let up, you might as well go see what all the hubbub was about.

After he picked you up, you made your way to the church.

More precisely the back alley with a hidden door. Not at all unsettling.

And the rain pelting down on the robe he gave you just adds a nice ominese touch to what you're sure is going to be a long night.

Now inside you sit in a pew in the back. While the choir above you sings as the others file in.

They actually sound pretty good if you’re being honest. Maybe on your way out you’ll pick up the album you saw for sale in the lobby (for $6.66 no less).

You haven’t been sitting more than 10 minutes before the mass begins.

And in that time Tyler roughly explained what you were about to see.

You weren’t paying too much attention though. More enamored with the atmosphere.

It was a sea of red cloaks and black pentagrams. And the thunder outside appeared to clap along in sync with the crescendo or the choir.

This place seems vastly different from the shabby collection of misfits you encountered when you visited the first time. Who spent most of the service complaining and handed you a stale donut on your way out the door.

“...Y/n are your listening?!”

“Hmm Yea”

“Really?”

“Yea the guy’s gonna sacrifice some ‘innocent soul’ say a few hail satans and voilà he gets his hair back and starts getting laid again” you answer back, waving him off. You’re more interested in watching two Satanists in the front of the room give each other the “sign of the cross” gesture in reverse order.

“This is serious, the things you see might shock you but you can not react! If they think you’re some sort of threat to our secrets or even just afraid of them, it won’t end well. I’m kind of taking a risk by bringing you here”

That brings your attention back to your friend.

“So you hound me for weeks to come with you, but I’m not even allowed to be here?” You ask back, starting to wonder why you actually said yes to this.

“Well yea, I just really want you to see what I’ve seen, I want what’s best for you”

That was actually really sweet of him.

Now you felt a little bad for making fun of this so much.

That is until you see a man in the next row pull out a flask with “unholy water” written on it and rub it on his chest like Vick’s.

But before you get the chance to ask Tyler where he keeps his flask(which you're certain he has). The choir stops singing and the Priestess has the room's attention.

Everything goes as Tyler explains at first.

The “sacrifices” are brought in in their underwear. (They couldn’t even keep their clothes on, what does the devil give them a level up if the victims are humiliated before they die?) and tonight's chosen one, Phil, is about to take his position, before you hear a voice behind you.

“Wait!”

You turn your head to see an older woman rushing in, but it’s not her that steals your focus it’s who walks in behind her.

He is quite possibly the most attractive person you have ever seen. With cheekbones that could slice butter and soft blonde hair falling around icy blue eyes.

She says his name is Michael and this honor belongs to him.

You look over to Tyler to see what’s going on. He didn’t explain what part of the performance this was, was this some sort of second act surprise?

You were expecting this night to follow like a church service, watching Phil take his vows and minimal audience participation. Now you wonder if this is all rehearsed, or if the Satanist’s are partial to improv?

But Tyler pays you no mind, he can’t take his eyes off the blonde either.

It’s not until the Priestess mentions the “mark of the beast” and that he is the chosen one, that you get why Tyler is looking at him like he’s some sort of god.

Because to him he is, this guy is supposed to be the Antichrist.

Tyler says nothing only glances in your direction when he sees you’re the only one still standing, before he pulls you down to your knee like everyone else.

The rest of the performance is really top notch.

The flickering of the lights was a nice touch, but you can’t help but feel a little uneasy wondering how they keep getting the thunder to time up with everything they do.

Plus the bodies of the sacrifices fell to the ground almost too well.

How did they manage to get their bodies to look that lifeless, and why did those cuts look so deep?

But you try not to focus too much on it as you walk to the ceremonial Wednesday night potluck.

/

After the Antichrist has dismissed his followers from fawning all over him, you sit with Tyler at the end of the table and dig into your lasagna.

“So does the antichrist part happen at every sacrifice or is this one special? Is it some Satanic holiday I wasn’t aware of?” You ask, breaking Tyler out of whatever trance he appears to be stuck in.

“What?”

“I gotta say the dramatics were very entertaining, but if you really wanted to get me here all you had to do was tell me the guy who plays the Antichrist is really hot” you snicker under your breath.

“Play? Y/n your don’t understand he IS the Antichrist” he explains in a hushed voice before continuing

“That doesn’t happen every time, he really has come. This is the moment we’ve all been waiting for! Don’t you see?! I think it was fate you came here on this night!”

“Ha, why do you need a virgin to sacrifice or something?” You laugh and take another bite before you look over and see Tyler staring at you with wide eyes.

“What?”

“You’re not serious are you?”

“Well yea, what’s the big deal, I didn’t realize you were so caught up on a social construct”

“I’m not, but you can’t say things like that around here” he looks around the room nervously and you follow his path of vision until your eyes land on Michael, who’s own gaze is locked on you.

There’s no way he heard you, you were across the room and you were whispering.

Still he continues to stare with eyes that speak only of intensity. No smile, no nod, no hint emotion whatsoever.

It’s only after you raise your brows and mouth a “What?” That he looks back down at his plate with a hint of a smile on his lips.

“Oh Satan, I think he heard you. You should go” Tyler’s tone becoming more erratic by the second.

“What?” You’re sure he's joking, but when he looks at you there is nothing but worry in his eyes.

Now you’re starting to get nervous, this is too far.

He actually thinks these people are going to do something?

He’s practically shaking with fear, and because of the man in the turtleneck? Who barely knows how to hold a spoon?

Okay you’ll play along for tonight, but tomorrow you are having a serious talk, he might need professional help.

“Alright let's go then” you huff out as you start to grab your belongings.

“I can’t just leave, especially since our savior is here, but I’ll make sure everything is good and you’re not followed or anything”

“Okay, is there some sort of satanic shuttle bus that can take me home? Or should I call an Uber? Does this place have an address or should I just send them an inverted cross?”

Still unamused by your inability to grasp the gravity of the situation, he just shakes his head and hands you his keys.

“Here just take my car, I’ll get a ride later, in fact stay at my house incase you’re followed”

He’s basically pushing you out of your seat and nodding to the door.

“Okay...bye I guess”

And with that you take off down the hall.

You know you’re supposed to go straight to the car. You’ve never seen Tyler look so serious in his life.

But when you walk past the chapel you can’t help but stop. You can still see the bodies up at the altar.

Why are they still there? Was there a trap door you missed and these were just doubles?

Or were these people so committed to the role and as crazy as your friend that they had to stay in the character of “dead sacrifice” all night?

Curiosity got the better of you, the car could wait, you had to see for yourself.

Closer inspection did nothing to stifle your suspicions.

It looked so real.

They weren’t breathing, so there was no way they were still the two actors, but you had never seen fake bodies look so real.

You're reminded of an anatomy class you took last semester.

Those cadavers looked suspiciously close to these.

Just colder and with less life left in their faces.

And there was so much blood, the iron was thick in the air.

But that couldn’t be true. Your friend wouldn’t kill someone would he?

He didn’t actually think they would kill you?

If you got a closer look, if you just swiped some of the “blood” with your pointer finger it would surely taste like corn syrup and not like…

“Are you afraid?”

You whip your head around, blood still staining your finger and beginning to drip onto the linoleum. To see Michael walking in the same way he had an hour earlier. Only this time without the cloak, but with some newly added confidence.

“They’re really dead aren’t they?” You know it’s true, but you still wait for his confirmation.

“Yes, that tends to happen when you slice someone’s throat” He acts as if this shouldn’t be a shock to you. It didn’t shock any of the other members of the congregation. Yet you know without him saying it, that he’s well aware you’re not like the others. That you don’t belong here.

“So you really sacrifice people, just to get stuff” you blurt out. Still trying to wrap your head around the fact that everything you witnessed tonight was real. Perhaps you shouldn’t have taken that last crescent roll you’d seen another satanist eyeing at dinner, you definitely have a curse coming your way. That is if you live through the night.

“Well not me” Michael says, pulling you out of your thoughts and back to the present.

“Oh of course, you’re the one they do it for”

“Well my father more specifically”

“Does that upset you?” You know you should be more careful about how you proceed with this conversation, but the words leave your mouth before your mind can stop them.

The question seems to catch him by surprise as he ruffles his brow, you’re not sure if it’s in anger or just shock at your brazenness. But he doesn’t answer. Just goes on to question you.

“Have you ever witnessed a murder before?”

“No”

“How did you feel watching it before your eyes?”

“Well I didn’t feel much, considering I thought it was all fake” That earns you a smile from him.

“And how do you feel now?”

“Curious”

“Really? Not scared?”

“No. Why should I be?” You’re really digging your own grave here. But your mouth seems to have a mind of its own.

“It seems your friend would say otherwise”

“Ah so you did hear.” You say, seeing his smile grow wider. “These aren't the days of the Old Testament, virginity doesn’t equally purity. Just ask sacrifice number one over there, with a body like that I doubt she was a virgin” you laugh, partially at your joke and partially out of sheer uncomfortableness. Michael doesn’t even spare the bodies a glance, eyes latched onto you, you go on to add

“I’m no saint. Despite my sexual history, or lack thereof”

“No, I’m sure you’re not” he emphasizes by swiping some of the liquid from your finger with his own, before taking it into his mouth. Making a show of it by closing his eyes as he releases it from his lips, slow as molasses. Smiling when he opens his eyes and sees you’re practically drooling.

Before his little show can go any further, you continue with your own questions.

“Have you killed people before?”

“Yes”

“How many?”

“You don’t have the time”

He’s looking at you waiting for your response. Waiting for the shock to subside and the shrieks of terror to take over.

Instead you just pause thinking everything over.

You should be scared, you know you should.

In one night you have watched two people die, found out your friend is a murderer, and that the Antichrist is not only NOT a myth, but is standing in front of you, conversing with you like he’s nothing more than your new neighbor.

Yet you search and search in your mind for any hint of fear and come up empty. All you feel is curiosity. You must be losing it too, you feel bad for judging Tyler so harshly. Maybe it’s his youthful face and the little outburst in the dining hall earlier, but Michael seems like more than simply the ‘incarnation of evil’. He seems so...human.

And more than anything he just seems confused and dare you say, lost.

“Do you like killing people? Or do you do it because it’s expected?”

“It depends”

“Would you like to kill me?”

Now it’s his turn to take pause, looking like he’s trying to decide if he’s “in the mood” to take your life.

“Not right now”

You can’t help but laugh at that (yea you’re definitely in shock). Soon enough he joins in too, and the mood feels lighter than it has all night. You might even say you feel comfortable.

That is until the laughter subsides and you meet his eyes. He’s now staring at you with the same intensity you’d met earlier at dinner.

It’s like he’s looking right through you, into your soul. You feel on display and more than anything afraid of what he might find.

“Stop that”

“Stop what?” He says with a playful tone and a tilt of his head.

“You’re..well..I don’t know what you’re doing but I don’t like it. You’re trying to get a read on me or something.”

He just smiles at that, because of course he does.

You know there is no avoiding playing into his hand. He wants to get a rise out of you, in one way or another.

“And what do yo-”

“Y/N!”

At the mention of your name you both turn to see Tyler standing in the doorway.

Antichrist or not, the look Michael gives him is enough to send a wave of fear up your spine.

He appears as though he’s about to snap his neck through just a look(and you're afraid to find out if he could).

Noticing his anger, Tyler stops and bows before Michael, apologizing incessantly for interrupting him.

You don’t miss the twitch of Michael’s lips. He’s clearly loving the effects he has on his followers.

You just roll your eyes at your friend.

“Calm down Tyler, get up”

He just let’s your words pass over him as if you hadn’t even spoken. If he hadn’t been the one to call your name a moment ago, you wouldn’t be sure he even knew you were in the room.

Every sense he had was aimed at Michael, and it was only when his precious dark lord gave him a nod that he got up and looked your way again.

“What are you doing? I thought you were going home?” He says through clenched teeth.

If he weren’t so worried about keeping you alive he would be pissed at you for not listening.

“I was. I am” you reassure him turning to Michael.

“It was a pleasure to meet you Michael, I’ll see myself out”

You are scurrying out of the room, grabbing a frozen Tyler and tugging him along with you, when Michael calls after you.

“No y/n, the pleasure was all mine.”

You’re at the end of the hall, and in the middle of Tyler’s scolding session, when you realize there is still blood on your finger.

It feels like it’s vibrating where Michael touched you, begging you to take notice.

Just wipe it on your jeans, you tell yourself.

Wait until you get to the car and find a napkin.

Do anything rational other than what you're thinking.

As you pass through the exit door, you cave and take a taste of the crimson on your finger.

Although you can’t see him, you know Michael is smiling. You can feel his smugness in the air around you and you're sure he knows what you just did.

This started out just as me wanting to make some jokes about Michael and the Satanists and has somehow turned into a multi-chapter fic. I still don’t really know where it’s going I’m just letting it take on a mind of it’s own. If it looks familiar it’s cuz it’s been on ao3 for a little bit now, so sorry it’s not a “new” new story! If you liked it that makes me very happy, and if not I hope it was at least entertaining! Either way thank you for reading!

(I wasn’t sure who wanted to be tagged just in my Xavier fic and who did in general so I didn’t add a tag list to this one)

[saby-chan]

Fire Lord Ozai: A blood thirsty monster or the less fortunate “Zuko” of his generation?

Hello again and thank you as always for clicking and allotting some of your time to read my humble post! Since I’ve happened to notice quite an increase in posts lately regarding the controversial character and nature of the former Fire Lord, the now imprisoned fallen prince Ozai, and I’ve personally promised in my previous post that I will share my own analysis on him if people asked me to do so (which actually happened), I am here to deliver my own take on this very intriguing man’s character, while also building a potential past for him based on stuff gathered from the show’s cannon.

I would like to start this essay with what I find to be my favorite quote ever: ”Monster’s aren’t born, they are created.” ~ Naruto Uzumaki (Naruto) What I like about this quote soo much and find very inspirational is the truth it holds within its short, yet powerful message. We are often fast to judge a “book by the cover”, to reduce others to what we assume of them by their appearance or latest actions that we’ve seen them do, but never actually take a moment and wonder where they come from, if this person we soo harshly look down upon really has been this way since their very beginning?

I’ve come across many comments on social media related to ATLA, especially on YouTube videos on which people would throw with harsh comments such as “Aang being a coward for choosing to spare the villain just because they saw a dumb baby pic of them” or “Ozai is the essence of evil and even as a baby he’d been a monster”. I can’t help but wonder who hurt these people to make them be so cruel? Like, how messed up must you actually be to say that a baby, a friggin baby, is the embodiment of all evils? Or that a child was a coward for choosing to see his opponent’s last bits of humanity and opted to spare them?

Aang was soo morally conflicted about the idea of killing Ozai not only because it contradicted the morals of his people, but because he himself understood that this man hadn’t always been the cruel beast he came to met in their first and final showdown. It’s important to note here the fact that upon finding that picture, Aang was actually convinced it had to be Zuko as a baby since it looked so innocent and cute and was actually surprised to learn it was Zuko’s father. And that’s the thing, Ozai was born like us all as an innocent and sweet baby. Babies aren’t in any way evil or twisted, they don’t even have the notion of ‘good’ and ‘evil’ defined in their small, still developing minds. In fact, the very choice of the creators to add this picture in the show is meant to tell us this very thing: this man wasn’t always like this. But if he wasn’t always like this, then what happened to make him become this way?

Well, in order to find out the reason, we must go back in time to the very beginning: Ozai’s childhood and upbringing. For this next part I am going to solely focus on the show cannon, as the comics aren’t the products of BryKe and have a lot of inconsistencies to the source’s cannon (you can go and read my other post on why they fail when it comes to Zuko’s character and his family).

 From what we know and can easily deduce by ourselves just from their appearances, Ozai and his brother Iroh have a huge age gap between them (somewhere between 10 and 15 years). This has to be our first red flag: isn’t it soo odd that this family opted to have their children at such a long distance between pregnancies? It almost feels as if Ozai hadn’t actually been part of his father’s actual family planning... In other words, he was a ‘mistake’ child (I actually hate having to use this terminology, but it will become relevant to when we expand on Azulon’s relationship with his sons). Sure, some may argue that Azulon actually decided to have two sons in case something were to happen to his first born, but wouldn’t it have been more logical to have his second born at 2-3 years max distance from his first? Why choose to have your second child when you are much older and thus risk having a baby with issues, if your sole purpose of this child is to serve as an insurance that you don’t ‘run out’ of heirs? It just doesn’t make much sense, so let’s go for the moment with the possibility that Ozai was an unplanned pregnancy.

This perspective actually gives way to another very interesting aspect: remember the infamous “Born lucky...Lucky to be born” quote? What if I tell you that there is a possibility that this quote wasn’t Ozai’s personal wicked invention, but actually something he himself heard from his very own father? It had been puzzling me for a long time why he choose to say “You were lucky to be born” to Zuko, which implies that Zuko wasn’t supposed to exist. I mean, it’s soo odd that Ozai went with something implying that Zuko was an unplanned pregnancy, since Zuko was the first born. So my theory is that maybe Ozai wanted to convey a different message to Zuko when he said that quote, but due to his anger he ended up replicating the same line he received from Azulon at some point in his childhood. We never got the exact flashback when the line was delivered from Ozai to Zuko, so we don’t have the exact context that lead to it (remember, we are excluding Yang’s take on the matter from the comics).

I mean, this feels like something that wicked old Azulon would have said to his least favorite child. Okay, so let’s go with the scenario that Ozai was an unwanted child, to which we could also add the possibility that Ilah’s health deteriorated after the first birth, which makes plausible the family’s initial decision of stopping at 1 kid.

Moving on, we know from the old ATLA character wiki’s that Ozai’s character design was made with Zuko in mind, being meant to be a grown up version of Zuzu, without the scar. An interesting choice indeed and even Iroh’s letter to Zuko on Ozai from one of the ATLA books describes Ozzy in a similar way to teenage Zuko in book 1: stubborn, feisty, determined and with a volcanic personality (easy to anger and competitive), so it means that these were intentional choices to imply that Zuko and his father are more similar than we were led to believe at first glance. Maybe Ozai was the “Zuko” of his generation. Also, in one of the interviews on the royal family, BryKe stated that Ozai worked very hard to get where he is in book 3, referring to his firebending specifically (we all know how Ozzy got the throne, so clearly, he didn’t “work hard” for that), so maybe he wasn’t always the strongest man alive, with the most exceptional firebending skills out there, like Azula who showed ease in her learning, but rather someone closer to Zuko’s weaker performance as a child, building his way to success through endless hard work until he became the prodigy we know today.

Continuing with our theoretical scenario, after his birth, the second child show’s lesser skills compared to his brother Iroh (by that I don’t mean that he wasn’t gifted at all, but that maybe Ozai wasn’t as fast and great of a learner like his big bro), so Azulon opts to just ignore him and continue focusing solely on his golden child. In my headcannon I actually think that Ilah survived the birth and so she was left in charge of the younger child’s education and upbringing. At this point Iroh is already 10 or older, so he is forced to focus on his development, which prevents him from spending time with his lil brother, but just for the sake of being positive, let’s assume that Ozai still had both his mother and his big brother to keep him sheltered from Azulon’s darkness for a small portion of his childhood.

I choose to believe that Ozai had his mother’s love for a small bit of his childhood due to his willingness in the show to allow Ursa (who mind you, as the granddaughter of Roku was considered a treacherous individual) to spend a ton of time with both Zuko and Azula and share her philosophy with the children, as seeing his wife playing with their children probably reminded him of his own bitter-sweet memories he had with Ilah. They also probably spent a lot of their time near the turtle-duck pond since that pond’s existence prolly dates long before Ozai and Ursa married and had their own children.

Unfortunately, Ilah dies and little Ozai remains all alone, to be influenced negatively by his father (and even by his grandpa Sozin, we don’t really know for certain when the old man died, so he prolly was there for a short time when Ozzy was still a child). Azulon most likely blames Ozai for his wife’s death as the second birth might’ve really had a huge toll on Ilah’s already fragile body, bringing her closer to death, so he still neglects and ignores the child, if not straight out bullies and abuses him for not being on par with Iroh. This prolly leads to Ozai becoming jealous of his brother since Iroh has their father’s love, pushing them further apart. I headcannon that this jealousy between the siblings led to Ozai complaining to his dad when he finally had too much of their father’s discrimination (at a similar age to when Zuko prolly did and got the infamous line, if not younger) only to get the “Iroh was born lucky, you were lucky to be born!” line with the sole purpose of hurting him since now the child knows that he was never wanted.

When Azulon scolds very furiously adult Ozai in Zuko’s memories for daring to ask to be named crown prince, he literally says something like “What, you dare ask me to betray MY own son?!” (this is like red flag number two), line that pretty much testifies how Azulon chose to pretty much treat Ozai as if he wasn’t his son too, showcasing how much he despised his second born and favored the first child over him. Since we are on the topic of their last conversation, the punishment Azulon gave to his son alone proves this man’s level of sadism, which leads me to be believe that Ozai’s childhood was full of this type of punishments for bad behaviors that could be easily corrected trough a long serious lecture or a lesser punishment focused more on teaching him an actual lesson. 

The old wikis also mention on the page about the hall with portraits of the previous Fire Lords that it was the place where Ozai chose to spend most of his time in his youth, seeking advice from his ancestors. I mean, seriously now, if he had a good and supportive father and a present brother in his life, would Ozai had chosen to seek guidance from the dead instead of his living family? That piece of information that was easily overlooked by many proves how lonely this man was in his youth.

So for the most part of his life, Ozai grew up under the toxic influence and abuse of his tyrant father who refused to acknowledge him. Yet he managed to grow up still full of determination to one day prove his worth to Azulon and gain his acceptance (just like we saw with Zuko in book 1, who was desperate to regain his honor and be accepted by his father). But unfortunately, no matter how strong he became or how good of a firebender he was, Azulon was unmoved and unphased by his second son’s performance.

From what we could gather from the little info we received in the show, it seems that Ozai was never sent to the battle field to aid his older brother, being kept as a stay home prince, with the only occasion he actually left home being to search for the Avatar (I don’t think Iroh was sent to do his part on searching the Avatar since he strongly believed that there wasn’t going to ever be one, so it’s safe to assume Azulon assigned Ozai with this mission just to get rid of him for a few years) and the only purpose he ever served to his father was to become part of the old man’s genetics experiment in order to create strong unparalleled firebending offspring (which I am pretty sure were meant to be ‘biological war machines’ used by Azulon in the war, as he didn’t really seem to give a shit about Ozai’s children compared to Lu Ten). So just imagine the level of disappointment and dishonor Ozai must’ve felt as a man and young aspiring soldier to find out that he was going to be used like a ‘non-bending daughter’ in a strategical marriage and never get to serve his country in what he’d been taught was the greatest and most important war for their Nation.

All in all, this marriage didn’t really end up that badly because it seems he and Ursa were actually very compatible. The old wiki for Ursa states that she was a noble woman and the perfect match for Ozai, which leads me to believe that show Ursa was intended to be a very strong willed and determined woman who earned his respect. The show never stated that Ozai never wanted his first born or that he was disappointed with Zuko from birth like the comics say, so it’s safe to assume that Ursa and Ozai actually ended up falling in love at some point since they had not one, but two kids with relatively a short time in between pregnancies. 

There are actually many signs in the show that actually prove that these two loved each other and Ozai didn’t abuse his wife: from the fact that they went every year to see Ursa’s favorite play despite Ozai hating the poor performance of the Ember Island Players (I mean, what man would do such a sacrifice as to endure the same torture every single year just to make his wife happy if he never loved her?), Ursa’s undeniable and sincere love for their children (in the show it was never stated that Ursa saw Zuko and Azula as someone else’s children, so if she were indeed an abused woman who was forced to have these children, she wouldn’t have ever loved them to such an extent, especially Zuko who resembled his father the most physically), the fact that Ursa had equal rights in their marriage and raising of their children (her even scolding and grounding Ozai’s favorite child without hesitation), to the most significant scene to the Urzai ship in Zuko’s flashbacks: Ozai sitting troubled all alone in Ursa’s favorite spot by the pond, in a sad and brooding atmosphere, after he lost her, instead of celebrating what had to be the happiest day of his life since he was finally crowned Fire Lord (it’s clear who had more importance in his heart: Ursa meant more to him than the throne, so losing her outshined his achievement). In fact, Ursa must’ve been the only thing that still kept him outside of the darkness that threatened to swallow his heart and once he lost her, Ozai had nothing else to keep him on the right path.

And even as a father, it seems that Ozai wasn’t always cold and distant to his children, as his true self depicted in Zuko’s memories on Ember Island shows him caring for both of his children, even holding Zuko close to him with a protective arm on the boy’s shoulder. Except the Agni Kai, there don’t seem to be any instances in which he was physically violent towards his son before the banishment (Iroh literally let Zuko in to join that faithful war meeting willingly. Would’ve he done that if he knew his brother to be very violent towards his children in case they disobeyed? If yes, then it would make Iroh actually very questionable on a moral standpoint) and even on an emotional level, I don’t really think that he was actually abusive to him (at least while Ursa was there) because from Zuko’s conversation with Zhao, he’s adamant that his father will take him back and even states "You don't know how my father feels about me. You don't know anything!", meaning that the father he used to know showed him a level of respect and genuine affection (if Ozai were to bully Zuko since the boy’s very early childhood, do you think this kid would grow up to be so sure that his father wants him around and would he defend this bully when someone badmouths them in front of him?).

Even with Azula, despite people demonizing her from early childhood and saying that she was manipulated since birth by Ozai to become a war machine, I do believe that she shows genuine love and affection towards her father. I do choose to believe that back in the good times when the family was happy, Ozai spent quality time with his daughter, filling in the gap left by Ursa’s neglect. I theorize that the reason why kid Azula badmouthed her grandpa and uncle was because she was being very protective of her father: since she used to like spying and eavesdropping, it’s safe to assume that she prolly witnessed many instances in which the old man bullied or insulted Ozai, favoring Iroh over him. It’s a bit harder to see it that way since her snarky comments involve dark topics, but since they live in a society governed by power and war, I see them as something similar to if Azula would’ve said “Uncle sucks and he will surely be fired from his job!” or “Grandpa is old and weak, he should leave the family business to dad!”. Even the fact that the only thing capable of shattering her to pieces was her father leaving her proves how much she cared for him. Ty Lee and Mai’s betrayal was a big blow on Azula’s control and sanity, but she didn’t breakdown until Ozai discarded her after his coronation as Phoenix King. There’s nothing more painful in this world than to be left behind by the person you loved the most and was there by your side your whole life, whom you wanted to follow to world’s end and back. That was the moment Azula finally realized that the father she used to know and love was actually gone and had been in fact, long gone for years at this point.

But if Ozai cared for his family what made him change? Easy, it all comes back to the fact that his father never acknowledged him. The throne doesn’t seem to be his ultimate goal in life since Ozai discarded of the Fire Lord title very easily, tossing it to Azula without any remorse or hesitation. It was more about the meaning behind getting the crown: replacing Iroh in the line of succession was the ultimate proof of his father’s acceptance, that he wasn’t only a “mistake” and “failure” in his father’s eyes, but since Azulon ended up saying and doing what he did, backfired Ozai and made him understand that no matter how hard he tried, the old man will never see him for what he is. So yeah, for a proud man like Ozai this was a hard defeat to swallow, which in turn sparked his strong desire of winning the war and becoming the king of the world: if Azulon wouldn’t accept him even in death, then Ozai will prove to the whole world that he was above his father and his “perfect” brother by accomplishing what they never could and even better and no one was going to stop him, not even his own family.

This is what differentiates Ozai from Zuko: while both had similar upbringings, Ozai never broke away from his obsession of gaining his father’s admiration, allowing himself to fall prey to the darkness left by Azulon in his heart and abandon his true self, only to become the copy of his abuser, while Zuko stood up to his dad and chose his own destiny. If Aang were to come back around 20 or 30 years earlier, then he might’ve actually been able to save Ozai just like he saved Zuko, but unfortunately it wasn’t this way.

Do I think that Ozai could still be saved and redeemed even after the events of book 3? Definitely! Since he’s actually a broken man and still has a tiny bit of humanity left within, I think he still has a chance to change his heart. The only thing is that it’d be a long lasting process: first off he needs to spend a long time in solitude and reflect on his life’s choices and his past, understand where he went wrong and that what happened to him in his childhood is called abuse, which he ended up replicating on his own children. After he understands his wrongdoings and becomes willing to rediscover his true self, he needs to understand the truth about the war, that everything he’d known was fake propaganda and that there was nothing glorious in what he, his father and Sozin did under the excuse of “sharing their Nation’s greatness with the rest of the world!”. But most importantly of all, the only remedy that could possibly save him is love. It sound cliche, but by responding to hatred with more hate like Zuko did in the comics would never change the world “for the better” or bring it “to reality”. The only way to save both Azula and Ozai would be trough showing them the power of love, hope and empathy, how they don’t have to struggle alone and push everyone away. And especially by redeeming Azula, she would be a very important piece in Ozai’s redemption: since he had a closer parent-child relationship with Azula and cared for her the most when he did care, realizing how much he made her suffer through his actions, that would probably break Ozai enough to make him admit that he was wrong all along.

So yeah, this is my analysis on Ozai’s character using the cannon information from the show and old wikis and why I think he is just the product of a very bad environment and an abusive parent who never showed him love (if there’s a reason for why Ozai might be uncapable of showing a healthy parental love to his children is because you can’t show what you’ve never learnt yourself), being the Zuko of his generation who never got to experience the positive influence of an “Uncle Iroh” to guide him on the right path. 

You can agree with me or not on this one, but this is what I choose to believe. Maybe I am way too good by choosing to see any potential good in anyone, but I feel it’s a better way than to counter hate with more hate like Yang did in his monstrous portrayal of Ozai in The Search.

Let me know your thoughts in the comments and if you agree with anything I’ve said, feel free to leave a like and to reblog this post.

See you next time and stay safe! Bye-Bye!

Saby out.

[wanderingsoul6261]

Curtain Call (Jacob Frye x Maxwell Roth)

Author’s note: This is a oneshot between Jacob Frye and Maxwell Roth from Assassin Creed Syndicate. This game is al around an amazing one and I absolutely loved the story. Honestly, I don’t normally ship characters of the same sex (I don’t hate same sex couples. In fact, a lot of fanart I see of these types of couples are wonderful and really adorable.) But something about these two just really fucking intrigue me. 

P.S- I hope nothing I said above offends anyone. I just have a hard time finding the correct words for certain topics without causing offense. If I had said something that offends anyone, please let me know and I will fix it. 

Warnings: Character death-angst

additional information: this oneshot does feature my own Assassin Creed Oc, Ava Layton, an Assassin from the American Brotherhood that has befriended the Frye twins after they came to help her and Green stop the Templar regime. 

DISCLAIMER:This probably isn’t the best writing. But being a college student, I kind of rushed it a bit and I don’t have to time to go back to edit it, so please bare with me on this one. Another oneshot with Starrick and reader should be coming soon, so If you are interested, be on the lookout for that as well. 

--------

Darling, darling, oh, turn the lights back on now Watching, watching, as the credits all roll down Crying, crying, you know we're playing to a full house, house

Jacob stood in silence on top of a building in The Strand Borough. He clenched his jaw as he stared down at the theater before him. He was inside, Jacob knew that part very much. Sometime inside of him told him to walk away. Forget the mission that he had set himself to do and let the man inside of that theater live to see another day. Maybe he would convince Evie to do it instead. 

Jacob closed his eyes and swallowed thickly. No. He couldn’t and he wouldn’t. This was Jacob’s mess and he had to fix it himself.  As much as he was felt something for Maxwell Roth, his enemy and someone he didn’t think was possible to catch feelings for, he had to end it. He opened his eyes and looked at the female cloaked figure next to him, crouching as he assumed she looked for a way in. Jacob had asked her to help him infiltrate the theater without too much hassle and she was there on Jacob’s last mission and interaction with Roth. 

Jacob watched as Roth was about to order his men to blow the house to smithereens, just as Ava pointed out the children walking towards the workshop. He had immediately turned on Roth. 

“Wait!” He held his arm out towards Roth, who looked back at him in slight confusion. 

“What in heavens for?” 

“There are Children in there.” Jacob pointed down at them, as Ava readied in case they needed to jump into action to save them. It was something the two friends were adamant about. Keeping the kids of London safe and out of harm’s way, and this moment was no exception. Roth chuckled and shook his head, advancing towards Jacob. 

“Jacob, my dear.” he started. “Starrick uses child labor to manufacture goods. We must put an end to his production line.” 

“Yea but not like this!” Jacob argued softly. 

“Why not?” Roth argued, his voice raising slightly as he argued with the man before him. “I can do whatever I damn well please. Soon you will understand what it is to be free, as I am.” Roth walked over to the ledge and shouted down to the Blighters below them on the ground level. “Light’ em up boys!” 

Jacob ran past him, screaming “NO!” as he jumped over the ledge, tackling the larger man of the two and slicing his throat. He turned and looked up at Roth. 

“What the hell are you doing!” Roth shouted down to him, as Ava finally scaled the side of the building and down and meet with Jacob. Jealousy seemed to flash in Roth’s eye as he watched the female stand behind Jacob, who obviously agreeing with Jacob as well. 

“We’re not playing games anymore Roth!” Jacob shouted up to him. Jacob nudged Ava and the two burst into a sprint towards the workshop. 

“Jacob, we have to save those children before he does something.” Ava cried out, feeling anxious as she worried for the state of the children. On most days, she cared about the children more then she did herself. 

“Working on it Ava.” He answered back quickly, just as Roth blew up the dynamite himself.

No heroes, villains, one to blame While wilted roses filled the stage And the thrill, the thrill is gone Our debut was a masterpiece But in the end for you and me Oh, the show, it can't go on

“Jacob.” The young assassin was pulled from the flashback by his female companion. Ava had pulled her hood down, looking up at him. “Are you okay?” she asked. Jacob stared blankly at her, wondering the same thing. His eyes darted back towards the theater, but he knew the truth. He didn’t have to say anything for her to know what he was thinking about. Ava was good that way. 

“Let’s get this show on the road.” Jacob mumbled as he scaled down the side of the building. Ava watched as he did so, her heart breaking for him. He had been betrayed by someone he obviously cared deeply for. She leaped down, meeting him on ground several moments later, the two walking towards the theater. 

We used to have it all, but now's our curtain call So hold for the applause, oh And wave out to the crowd, and take our final bow Oh, it's our time to go, but at least we stole the show Least we stole the show Least we stole the show Least we stole the show Least we stole the show

It didn’t long for the two to make their way inside. Ava had went got them masquerade masks so that they could gain easy entrance without causing a ruckus and alarming their target inside. 

“Are you sure you want me here to help you?” Ava asked as they finally got entrance, looking up her friend. He stared blankly ahead over the balcony and at the stage. She searched his face for anything that might tell her that he didn’t want her here. That he wanted to do this by himself. Jacob finally let out a sigh, his eyes falling to the floor before finding her own behind the mask she too wore. 

“I want you here...” he trailed off, looking away from her before he continued, swallowing thickly once more. “In case I can’t follow through with the mission. You don’t have an emotional attachment to Roth. It would be easier for you. He needs to go.” He explained softly so that any surrounding guests or Roth’s men didn’t overhear him. Ava nodded in understanding. 

“I understand.” Ava said softly. “Are you ready?” Jacob let out a deep exhale. 

“Ready as I’ll ever be, I guess.” 

Least we stole the show Darling, darling, you know that we are sold out This is fading, but the band plays on now We're crying, crying, so let the velvet roll down, down

At this point in the mission, the two have successfully taken out the doubles that looked like Maxwell. The two now stood on separate side in the rafters back stage, watching as Roth advanced out onto the stage. Two Blighters had torch like sticks that when they blew on them, the fire expanded and lit the curtains of the theater stage on fire. 

“You’re move, Jacob, My dear!” Roth laughed as he watched the guests watching the performance scatter and run towards the entrances as the theater continued to catch ablaze. 

Ava glanced across the backstage area at Jacob, who watched Roth with sadness and what appeared to be longing. 

“If only.” Jacob said softly. 

“Burn!Burn! Burn!” Roth exclaimed loud enough for the two assassins to hear over the crackling of flames. Jacob finally looked over at Ava, giving her the signal. She nodded in understanding, leaping down and darting towards the two blighters that surrounded Roth. 

“Ava, my darling! I expected to see Jacob.” Ava glared at Roth, her eyes flickering briefly to the figure walking through the smoke behind him as she assassinated one blighter, throwing a knife at the other. 

Jacob watched as Ava darted across to the other side of the stage, taking down the last Blighter as he advanced on Roth. Thoughts invaded his mind again about how things could have been different had it not been for Roth’s morals. Jacob never had watched those kids die. He wouldn’t have been to live with himself. all this time he was seeking validation from someone after his father and the moment he finds the one he hoped could give it to him and reciprocated his romantical feelings, they turn around and betray him. Jacob closed his eyes, hearing the metal swishing as the hidden blade in gauntlet came to life, before plunging it into Roth’s back. 

No heroes, villains, one to blame While wilted roses fill the stage And the thrill, the thrill is gone Our debut was a masterpiece Our lines we read so perfectly But the show, it can't go on

“Why did you do it? All of it?” Jacob had asked, as he now cradled Roth’s body to his own, the two sitting on the stage as the fire burned around them. At this point in time, Ava could not be found and apart of Jacob feared the worse for his friend. Roth only looked up at Jacob, a hand coming to Jacob’s cheek. Jacob found himself leaning closer to Roth’s hand, closing his eyes briefly before opening them again. 

“For the same reason I do anything.” Roth answered, before he pulled Jacob closer to him, capturing Jacob’s lips in a kiss. The young assassin was caught off guard at first, being overwhelmed by shock. But as the seconds flew by, he found himself kissing the Templar below him back with passion. Then Roth’s hand fell from his cheek and his body went limp in his arms. Tears pricked the corner of Jacob’s eyes as he sat there, his lips quivering before he was interrupted. 

“Jacob!” Ava scream cut through the air as the man looked up frantically for his friend. He bid one last heartfelt good bye to the man he was once loved below him, before moving to where he heard. She cried for him again, sounding from the second story, and in pain. 

He found her near the entrance, underneath a beam of wood that had fallen. Jacob hurried and helped her out from underneath, pushing her out the front door as the rest of the theater continued to collapse. The two friends flew into coughing fits, hacking up their lungs because of the smoke they inhaled and fighting for their breaths back. 

“Are you okay?” Ava finally broke the silence as she looked at Jacob. Jacob went silent, apart from their continued coughing as their breathing slowly went back to normal and they cleared their lungs of smoke. Was Jacob okay? Of course he wasn’t. His thoughts went back to the kiss he shared with Roth before the older man passed. 

After several moments, he looked back at Ava, who’s face and hands were covered with soot and held her midsection, obviously still in pain, waiting for an answer from him. 

“I should be asking you that. You look horrible.” He answered, not wanting to talk about it, and he knew Ava wasn’t going to push for an answer from him. 

“A warm bath sounds good right now.” Ava said and Jacob agreed with her, wrapping his arm around her shoulder, allowing her to prop herself up against him. She winced in pain at the littlest movement, wondering if she broke or bruised her ribs as they walked. 

However, before the theater was out of sight, Jacob looked back one last time, which definitely didn’t go unnoticed by Ava. His heart hurt just as much as her ribs did, but he knew that all of this was for the better. Roth wasn’t going to change and he was only in the way of getting to Starrick. However, no matter how many times Jacob told himself that, it all still hurt him just a little bit more. 

We used to have it all, but now's our curtain call So hold for the applause, oh And wave out to the crowd, and take our final bow Oh, it's our time to go, but at least we stole the show Least we stole the show Least we stole the show Least we stole the show Stole the show Least we stole the show Stole the show Least we stole the show

[askabound]

HEADCANON   :    sirius    +     public perception

popularity 

there is no denying that sirius and james both had a reputation at hogwarts as two of the most popular boys in their year. this wasn’t always due to their outgoing nature, their intelligence and wit. more often than not, their mischievous affairs made them popular in both good and bad ways. though in comparison to his friend, sirius’ public image and the way he manipulated people’s perception of him differed in a lot of ways. 

at surface level, sirius is regarded as an easy going boy, an extremely sharp and intelligent wizard, and an extrovert. apart from his first few months at hogwarts in his first year of school (in depth analysis to come), sirius never struggled to be on amicable terms with his fellow gryffindors and students beyond his own house. he finds it easy to strike a conversation with just about anyone, even when there is little or nothing in common between him and others. exhibiting signs of being somewhat of a social chameleon, sirius appears to be all around a lively, tolerating and reliable presence in people’s lives. 

amiable presence 

his charm and innate charisma allow people engaging in conversation with him to rapidly feel at ease as sirius never falters, even in an awkward exchange. he quickly finds something to say to dispel the discomfort in a casual manner that betrays nothing about his true feelings (and this will continue to be a motif throughout this post) regarding the situation. it is never hard to earn a compliment from sirius, though this can often be a double-edged sword. although he generally means every word behind his compliments and praise aimed at his closest friends and acquaintances, his tone of voice changes drastically when he adopts a mocking attitude and you will be sure to know that he is being sarcastic. 

he is generally supportive of other students even if he doesn’t have the same bond with them as he does with the marauders. by nature, sirius loves to see people succeed and excel when they work hard. when they struggle, he makes sure to lend a helping hand where possible. he is known to share his notes, volunteer to help others practice spells, give tips and insofar as academic performance is concerned as this also helps him keep himself active and constantly prepared. 

he is also rather easy on the eye, as we, the readers, are all too often reminded. to get sirius to realise that this particular aspect of him factored into the attention that he received, however, is a trip and a half. this, combined with his casual nonchalant and attitude towards people outside of his tight-knit friend group, adds to the general intrigue that exists around sirius. 

suspicions 

it doesn’t help that he is who he is, the heir of the kind of family whose legacy makes him prone to attention, mostly unwanted. it is easy for some, though i expect not many, to mistake his general mischievous and impish nature for something much deeper, indicative of a darkness festering inside of him. as the only member of the house of black who wasn’t sorted into slytherin, not only did it make people generally curious about what might have set sirius apart from the rest of his family, but some students, especially those who were familiar with his family’s reputation, even wondered how long it would take for him to finally show his true colours. 

this perception of him never truly went away. perhaps people got bored of waiting for the moment the bomb would tick its final tick, or they stopped caring enough to continue observing his actions and behaviour. no matter how much sirius tailored his demeanour, how outspoken he was against his family’s values and morals, how gryffindor he was, blood was blood. this will continue to follow him for many years to come and it is this perception of sirius that ultimately plays an important role at his trial, among other things. 

antagonist 

as popular, beloved, admired and at times scrutinised as sirius is, he still has a strong penchant for trouble and painting himself in a bad light to a specific group of people. he takes matters concerning blood supremacist views extremely personally and is strongly of the belief that if anyone should advocate against them and actively fight the perpetuation of them, it is him. this is due to his proximity to people who adopt such views and his upbringing in an environment that facilitated his appropriation of them until he learned to do better. 

as such, sirius can be seen speaking out against prejudice and blood purist values, instigating disputes with those who uphold them and, in the company of his like-minded fellow marauders, even as far as concocting and carrying out pranks targeted at extremist students. he will make his detestation of those slytherins who did not rise above the prejudice they’d been raised with very clear, as sirius believes that he is living proof of the fact that it is possible to do so. however, to some of the aforementioned people who are likely to cast doubt on sirius’s true intentions, this might come across like a personal vendetta or simply an act of childish rebellion against his family that doesn’t amount to much else beyond his desire to be contrary. 

no one’s friend 

all of that being said, the important takeaway from it is that sirius appears to be one thing on the exterior for several reasons. in reality, he is rather an inhibited person where his true feelings, thoughts, fears and worries are concerned (more to come). with the exception of the marauders (his brother and his cousins too but only to a certain extent), no one else is privy to his innermost thoughts, especially his emotional states. 

it is easy for some to judge by his exterior presentation, easy going nature and popularity that it is safe to approach him and consider him a friend. that is because he ultimately doesn’t give any indication that that particular assumption is undesired. however, he will swiftly let them know that that is not the case. although he tries his best to make people feel comfortable around him, that excess of comfort and crossing the threshold between acquaintances and friends is what causes him to bring up his walls in an instant. the switch is instant and it is tangible. his demeanour changes, he feels distant and out of reach, he will begin deflecting and eventually cut people off. likewise, getting sirius to open up to you even just a fraction and making the slightest misstep results in the same treatment. to earn your way back into his good graces is a trip and a half. 

if this results in people thinking that sirius isn’t capable of caring about people on a deeper level or being a good friend, even to the three boys he spends all of his time with, this only serves as a disservice to sirius, and, years later, may even come to factor into why so many were quick to believe the accusations brought against him. this has nothing to do with his aversion to people as he enjoys popularity and attention (of a certain kind) and everything to do with the way he was raised. you can blame walburga and orion black for his impenetrable shell, as i’m sure he would want you to. 

[papers4me]

List of Intriguing Golden Kamuy Characters: (part 1)

As I read more chapters of Golden Kamuy, the characters get more fleshed out & layers upon layers of their broken selves get explored.

A general theme: is the the changing mentality of men before, a mid & after wars. How their psyche & mind change as the brutality of war breaks them apart.This manga is very unique in presenting its characters as human with degrees of good & bad in every one of them. None of these men is innocent & naive. They’re all aware of their current position as war soldiers whether deserters, discharged or on duty. Basically it is a manga abt broken men. Asirpa, the sole female protagonist, is presented as an innocent but practical character, but will she stay the same or will the hunt for gold & the worry for Ainu future change her?

Fascinating aspect: the dynamics between characters are one of the most entertaining in anime that I’ve read! truly unique. The characters, thanks to the plot, are forced to change sides & join different groups repeatedly throughout the story & each time, I discover new brilliant dynamics!!! The humor is good with a dash of adult jokes! The deadly hotel dynamics, the circus dynamics, the trip to Abashiri, the trip to Karafatu dynamics! & more, are all well-done.

Below, I’ll write very short & general broad summary of what I find fascinating abt each character. I’ll divide them into groups.  ( contains spoilers)

1.Sugimoto's group:

Saichi Sugimoto: the protagonist. A discharged soldier. He is a troubled soul who has very low self worth despite his immense desire to stay alive. His kindness contrast his violent brutality. He kills criminals/soldiers with no mercy yet he’ll put himself in danger for those he cares for. I’m especially interested in his journey to reconcile with past self. I need for him to have a journey away from Asirpa & everybody. A self cleansing path where he accepts that perhaps it’s okay for him to not end up in Hell. His own personal issues with his past & the guilt he carries coupled with his fear that Umeko (his first love & his friend’s widow) will see the monster that he believes he’s become is highly fascinating to me! How will he deal with that? & if he were to ever meet Umeko again will she sense the past Saichi or the blood drenched Sugimoto or if there will be a different Sugimoto when the gold hunt is over? Perhaps, we won’t ever know. Perhaps letting her go & letting all his past go is part of his new journey? Can you start new while ignoring the past? I need to see Sugimoto’s own journey!

Asripa: 12 or 13 year old girl who is independent & capable to sustain herself without the need of any man. This child’s young age is especially important for the story that is full of adult  & veteran men of war as she represents the hopeful future. The future is the children who shouldn’t be plagued by their parents’ sins & desires. Her father put her in the center of danger & threw a huge burden on her. His own dream that is conveniently introduced as the salvation of her ppl. A dream that kept changing with every new step he takes, a dream that clashes with other men’s dream & for them to achieve theirs, they need Asripa who is is in the middle of it all. I want Asripa to find a path that is hers, not her father’s. Moreover, I want her to grow independently from Sugimoto whom she now considers the center of her own dream. She needs to see the world & grow up as a woman before she ties herself with others for life.

 Shiraish: A comic relief convict with unique escape skills, who in the later chapters has grown immensely without loosing his comic value! I love his growth!! & yet is to come! he’s become the rational one in the group while being super silly! Very satisfying indeed!

2.The 7th Division: (aka the most fascinating set of characters)

Tokushirō Tsurumi: One of the most well-written villains that I’ve recently come across. He’s fluid, entertaining, manipulative & fascinating. You literally can’t predict his moves or even his moods! Can’t tell if what he’s saying is truth or lie. Tsurumi is the writer’s unchained character cuz while Hijikata is tied a bit by historical reference to a real character, Asirpa to the Auni & Sugimoto as her bodyguard. The writer can simply write Tsurumi freely to fit every shape & every mold. There’s even logical reason for his mood swings & erratic behavior; he lost part of his brain in a war explosion & wears a metal plate to cover the open wound. He’s extremely clever, analytical & his schemes go along way into the past. He even molded & exploited his men to his advantage. He has a tragic background & in the later chapter was able to validly show the pros & cons of Wilk & Hijikata’s plan’s while masquerading his as the more logical one. He can be a comic relief, terrifying, genuine, cunning, loving, despicable, handsome, disgusting & above all it creeps me out how alive he seems in the chapters! he’s so animated I feel he’ll leave the manga panel & invade my space!! good stories need well-written antagonist & the writer really hit it with Tsurumi! well-done.

Hyakunosuke Ogata: Another unpredictable character. Like Tsurumi, he’s given a tragic background & just like Tsurumi as well, he makes unexcused & horrible decisions. Clearly he’s mentally unstable (a running theme in GK). Ogata, in addition to being the best sniper in the show & performing well in war, chose to add innocent victims to his list. He shot his brother & even attempted to kill Asipra, any writer will make this as simply a lunatic character, but this writer chose to tie such unexcused behavior to Ogata’s unstable psyche to show that from his own perspective; it makes sense! Afterall, it’s simply “ normal” to not ever feel guilt over killing human. His brother comes to haunt him in one of the most cinematic scenes & even plays with his mind. You’d think Ogata has gone rouge against everybody? Guess again, he’s got allies. Told you it’s hard to predict!

Genjirō Tanigaki: loved, endearing & dumb. lol. he’s simply a “shoujo girl” in a historic war manga. Tanigaki started dark, torn, filled with guilt in one of the tragic background stories, but was released from his tormented soldier persona by a convict who taught him, it is okay to start a new again. Desert the army, let go of the past & start again. he’s rewarded with a wife & a daughter but not before going on a journey with the others to showcase his manly charms & naive persona! love him.

Hajime Tsukishima: Another fascinated character that silently took me off guard with how much I cared for him! I had to go back & see where did he start! He was a background character assisting Tsurumi, then slowly became a prominent character with his own fascinating background story where you feel for him & see the depth of Tsurumi’s manipulation. I can’t even begin to explain Tsukishima mentality & psyche in this short summary! he’s got depth! that’s for sure.

Otonoshin Koito: the youngest in the division & one of the youngest men in the entire cast, but got high army rank thanks to his father & joining a military academy. You wanna know how manipulative Tsurumi is? read Koito’s background story. epic! Koito is impulsive, stubborn, inexperienced & highly skilled. He’s a bit naive at times but not dumb. He’s got amazing comic relief value tied with plot importance! His dynamics with Tsukishima & Ogata & Sugimoto are brilliant! you’ll never get bored!

Tokishige Usami : another unstable character. He shares Ogata’s belief that it’s normal to not feel guilt. Through him the writer argues that whether you come from tragic background (Ogata) or loving family (Usami), not feeling the slightest guilt over killing human is not normal. Ogata kills his mother while Usami kills his friend, both were young when they did their first innocent kill. However, unlike Ogata, Usami is very loyal to Tsurumi & obsessive of him. He’s strong, skilled, deadly & very creepy!! like very~~~~ creeeeepy~

Kōhei Nikaidō: from one of the creepiest sadistic soldiers to a sad, mentally unstable & tormented shell. He’s become such a valuable comic relief! I used to shudder when I see him, now I can’t stop laughing. Hard fall for the sadistic Nikaido! lol.

Kiktua: a new addition. So secretive & appears level headed & has good sense of morals.

Airko: another new addition: Ainu soldier. Appears naive, with high morals yet indecisive.

I could say more abt each character, but this is meant to be a summary. Each character is deep & has broken mentality that led to their decisions whether excused or unexcused. The convicts & Hijikata are next! But I had to start with Sugimoto & the 7th division! cuz that’s the main dish!

[pilferingapples]

5, 21 - any thoughts on what makes for an enjoyable (for you) adaptation of a work?

5- Favorite Overused Tropes again I feel strongly these are NEVER overused , for the very objective reason that I Like Them, but : the thing where there’s diagetic BGM but you don’t KNOW it’s diagetic, it’s just music playing over the scene and then someone changes the station or takes off their headphones or w/e and it stops? gets me every single time , absolutely love it

21 (any question) oooh, what makes an adaptation enjoyable For Me... leaving aside the basic things that make any kind of story enjoyable (craft/performance/etc), I really love it when an adaptation can bring out an aspect of the story that I’d never fully experienced, or help me view the story in a new way that compliments it? 

Just to stick with Les Mis bc we all know it--three of my favorite adaptations are Shoujo Cosette; the 1925 silent version;  and the 1995 version set in the early-mid 20C. These are all very different shows/movies! 

But Shoujo Cosette has a luxury of time to spend developing Cosette’s internal life, and her relationships with other people--Valjean, Marius, Eponine, Gavroche-- in a way else I’ve seen even tries to do, and it deals with the political and social ideas of  the original in a way that is , definitely, not exactly what Hugo was talking about, but is in dialogue with that in an interesting way.  

1995 really highlights the way the same societal issues keep playing out across time, as well as how a story can resonate with different people in different ways and still be the basis for forming community; it’s miles away from being a direct presentation of the same story but summons up the moral and social questions so powerfully

1925 is very true to the novel (especially the first half!); there’s no narrative additions. But the performances for all the characters are so good that it fleshes out the characters without needing to add a single line. Like I finally feel like I really understand , on an emotional level, what Valjean is doing in the time at the Montfermeil inn?? And it’s all in just seeing how everyone moves and looks and acts. 

All three are SO different from each other, but they’ve all got that dialogue with and amplification of the original text , done with real intent and effectiveness, that for me is what makes something a good/fun adaptation as well as just a good movie/series/etc! 

[hirakdesherrani]

Scattered thoughts on Bulbbul 

(spoilers ahead)

Finally watched Bulbbul yesterday night, with my bff. We thought we needed each other’s support because we are phattus of the highest order, but there wasn’t much horror in it (as we found out later). 

Which brings me to the first thing, the trailer. Whoever edited the trailer did a splendid job, because it gave very little clue what the movie was about. I thought it was something like Stree, using horror to give a social message, just instead of comedy in that movie, this was more drama?

The movie, however, had very little horror/thrill. While the movie is one of Netflix’s better online products, it isn’t...great. Like it’s very on the surface. There are not many layers to the characters, neither is there a lot of subtext. Still, the pace is good, and the storytelling engaging. Hindi cinema, theatre or OTT, are very new in this genre, so I don’t want to be too severe here.

Things that I liked:

Tripti Dimri....omg what a revelation. Laila Majnu didn’t let us on how versatile this girl is. In the first few frames, me and my friend were commenting that why is she only sitting around, posing like a mermaid? But then with the flashbacks, her raw performance really took hold. The scene where they are sitting at a picnic and Mahendra pulls at her hair, the way she said, “Dada, na” slightly scared, but also not wanting to hurt his feelings (btw I’m very anti-Mahendra in this post), that was so well done. From there on, she owns every scene, that you can’t look anywhere else. Whether it’s the mix of annoyance and impatience when she wants to meet Satya but Binodini is taunting her, or whether it’s the scene where Indranil informs her and Satya that he’s sending the latter to London, she was so natural. Special mention to the two scenes of violence esp. the sexual assault one, because it takes a lot of guts to portray the victim in such scenes, and the scene was so difficult to watch, that we forwarded after a few seconds of it. 

That reminds me, from the moment the two brothers Indranil and Mahendra enter the frame, I knew what was going to happen, and which brother was going to perpetrate which abuse. The writing was on the nose, so to speak, with these two particular characters. Even so, Rahul Bose did the best that he could with them, but we have come to expect perfect performances when it comes to him, so not surprised here. 

The third brother, Satya, was what I would say the most layered character in this movie, surprisingly. Initially, I didn’t get why did they cast Avinash Tiwary for this role, because it wasn’t either a substantial role, or even a positive or negative or supportive role. I even thought the makers tried to cash on the Laila Majnu hangover, and hyped Bulbbul/Satya love story in the trailer. Unlike Bulbbul who loved Satya, I don’t think Satya loved Bulbbul, at least not like she did. Sure, he thought of her as his best friend, confidante, and all, but he didn’t care for her like that. It was evident when he was enamored by the idea of going to London, and didn’t notice Bulbbul’s voice breaking when Indranil informed them of the news. 

Halfway done with the film, I had made up my mind that Avinash is good with unrestrained roles like Qais, where he can completely let go, but not in subtle roles requiring controlled performances. What changed my mind was my growing dislike for Satya as the movie kept progressing. I kept thinking why does he annoy me so much, like he’s only there in a few scenes, and yet I want to snap at him? That’s when I realized how well the writers have written Satya, captured his mentality and vision, and without any overt or dramatic scenes, Avinash essayed the writer’s message.

Satya is proxy for the society in this film. He hears no evil, he sees no evil, just like our society which likes to pretend that there is nothing wrong going on behind closed doors. Satya is representative of those men, who argue whenever a woman raises her voice, that ‘not all men’ (ala that scene where Bullbul alludes to Master Dinkar beating his wife, while Satya defends the man by suggesting that his wife may have actually fallen down the stairs). In the scene where he meets Bulbbul after five years, he questions her what did she do that girl he knew five years ago, indirectly putting the blame on Bullbul for losing her childlike innocence, instead of asking her what happened to her that she became like this. Satya is classic ‘not all men’, victim-blaming abuse apologist in the film. Evil men are not just men like Indranil, who beat up their wives, or sexual assaulters like Mahendra, evil men are also those who stand by and watch, and pretend that nothing is going on, who put the onus on the woman for the upkeep of tradition, who question a woman’s morality and who act as the judge, jury and executioner of a woman’s character. Bulbbul’s dialogue is telling, “Tum sab ek jaise ho” Satya is no different from his brothers, he may not have committed and violence, but he was just as much a villain as the rest of them for willfully ignoring the evidence of his eyes. I haven’t made up my mind whether he was actually jealous of Dr. Sudip or not, or he just hated the man for being too bold to be friendly with the ‘women of his family’.

Which brings me to Dr. Sudip, the only likable man in this film. Even though at some level it is a little sad to see Parambrata Chatterjee slotted into these male guide/support to the female protagonist kind of roles (his role in Kahaani was something similar), I really do like watching him in these roles, playing them as he does with a lot of charm, subtlety, and empathy. The makers perhaps wanted to signify that there are a few men who are not completely evil, and not afraid or feel threatened in the presence of a assertive, and this case, avenging female. It’s his relationship with Bulbbul which I felt was the real love story of the film, though of course, Bulbbul didn’t harbor the same feelings for him, though she did care for him immensely. 

The other female role was that of Binodini. I know I should be feeling sympathy for her, at some level, she was also taught to keep quiet and bear all injustice, but I’m so tired of females taking out their bitterness on other females, making the lives of other women miserable, instead of directing them, rightfully, at the men in their lives and the dictates of the society. Binodini, like Satya, was a proxy for the women in the society who instead of being supportive of other women do the opposite, and help perpetuate patriarchy by teaching their fellow women to keep quiet. 

Another minor thing, like I mentioned before, from the first scene it’s evident what Mahendra’s going to do. And I wish to God that we stop with mentally ill men assaulting women. No, their mental condition does not excuse rape. Mental illness can provoke violence in a person, yes, killing accidentally or in a fit of rage, beating, pulling clothes, etc, but not rape. Rape is a specific offense that requires knowledge and intent, unless a mentally ill person has learnt it from somewhere, and even then, the fact that they drew pleasure from that violence shows that they have a sadistic instinct. Which is why I was glad when Mahendra was punished for his crime. (this is why I didn’t watch Ranjha Ranjha Kardi despite liking Iqra, because I knew they were going to excuse marital rape using mental illness). 

As such, there isn’t much of a plot per se in Bulbbul, it’s more of a commentary of our society, even though it’s set a century back, the issue of it’s choice being violence against women. Despite that, it’s an engaging enough film. It get’s through the message that the real horrors are not ghosts or witches, but what happens daily in our society. The length of the film is a huge plus, so I would suggest watching this film if you’ve some free time in the weekend. 

Also, don’t get fooled like me and my friend, it’s not horror genre. 

[scottymcgeesterwrites]

Final Fantasy VII Review

 Year: 1997

Original Platform: PlayStation One

Also available on: PC, PlayStation Store

Version I Played: PlayStation One

Synopsis:

The Shinra Electric Power Company rules over the city of Midgar, and the eco-terrorists AVALANCHE stop at nothing to try and prevent the life essence of the planet from being used as energy. Barrett, leader of AVALANCHE, hires a mercenary named Cloud Strife for their bombing mission on a Shinra Mako Reactor. Cloud doesn’t care much for the greater cause and only wants his pay. But then, after a mission goes awry, he meets Aerith, a flower girl who is the descendant of the Ancients. He quickly finds himself wrapped up in the greater conflict against Shinra.

 Gameplay:

Final Fanatasy VII utilizes magic spells via Materia – little orbs that come in a variety of colors pertaining to the natural elements. You can mix and match them on your weapons and equipment, which gives you access to different spells and stats. All your equipment varies with the number of slots for how many Materia orbs you can put in. Leveling up not only upgrades the character but the equipped Materia as well.

 Final Fantasy VII also uses an ATB system but is known for introducing Limit Breaks – finishing moves that build up after the character gets hit over time. Final Fantasy VI had a prototype called Desperation Attack – but it was very rare as it only appeared when your character had 1/8 of their total HP, and there was a 1 in 6 chance of performing the Desperation Attack after selecting Attack. I actually had no idea that was a thing until long after I finished the game, and never experienced it when I played Final Fantasy VI.

Graphics:

Out of all the Final Fantasy games, I have to say that this one has not aged well. It has the worst graphics of the entire series. The battle and cinematic graphics are passable.

(Most of the graphics power seemed to be put in Tifa’s, uh, bosom.)

But the characters in towns, the overworld, and in-game cutscenes are incredibly blocky. PC versions are supposedly sharper, but the PlayStation One version makes it nigh impossible to see any facial expressions. 

The graphics are definitely a product of its time. I always say that the beginning of 3D gaming was essentially like puberty – awkward and full of zits. It wasn’t yet at that stage where it could be aesthetically pleasing. We marveled about it when it was first released, yes, but then we cringed in retrospect.

The environment backdrops however are probably the strongest points, where they capture the industrial nature of Midgar, the reactors and other such buildings.

Story:

Final Fantasy VII became legendary the minute Square released it. Every aspect was memorable. Part of it could be due to the fact that it was the first Final Fantasy game to enter the 3D realm. Another part was Tetsuya Nomura’s character designs, which hit the cool meter to the point of sub-zero.

 The cinematics blew our minds. The opening action scene with Cloud, Barrett, and the rest of AVALANCHE attacking Shinra’s mako reactor is the most memorable opening to a Final Fantasy game. Period. Final Fantasy games really do know how to start at the right spot, no matter how good or bad the overall game is. The opening is always the best part.

Then there was the motorcycle chase. Cid’s airship. The gun fights. Battles with Sephiroth. The extra stuff to find, like summons and extra bosses. So much was jam-packed into the game.

 But the story was the primary factor in making VII famous. It’s definitely one of the better ones. Man, the story became so famous that even gamers who haven’t touched a Final Fantasy game knew the major spoilers. It is the equivalent to knowing Darth Vader’s line, “I am your father” without having actually watched Star Wars.

Aerith (Aeris in the English releases) Gainsborough – the innocent flower girl who holds the secrets of the Ancients – develops a romance with Cloud and fucking dies at the end of Disc 1 by the main villain – Sephiroth. The scene shocked everyone and practically made headlines. Everybody has seen the horrible image in one way or another.

It seems to me that since Final Fantasy V, the stories have gotten more and more used to main character deaths, ultimately transforming into a heavy-hitting TV series rather than simply a video game series. In other words – it matured. Looking back, Final Fantasy IV appears to be child’s play and a prototype of later dramatic storylines with fully realized worlds.

 Final Fantasy VII was also the first Final Fantasy game to create a world much like ours – one with cars and trains and airplanes and machine guns and even cellphones. The main city of Midgar reflects industrialization at its worst, with miles of slums and claustrophobic cities. Shinra Electric Power Company is a reflection of capitalism at its worst - a single entity in charge of so much that it’s pretty much the government. For the first time in a Final Fantasy game, you play as characters who dance between the morally ambiguous line of terrorism and activism. Funny enough, the theme of neglecting the planet resonates with us now more than ever. This game ended up being rather prophetic about the uncontrollable growth of corporations.

While the story is memorable with many intriguing elements, the plot itself is a tangled web. In my opinion, they really hashed in so many things that it’s easy to forget crucial details. It’s not straightforward, but at the same time everything does connect by the end. While Shinra is the driving force as a whole as the villain, Sephiroth takes over, then you learn about his backstory and then with the evil scientist Hojo and the extra-terrestrial Jenova and then “Weapon” and then the planet’s history and this and that and the other thing.

If I were to put Final Fantasy VI and Final Fantasy VII together and contrast them, as many gamers do, I would find that Final Fantasy VII is the summer blockbuster and Final Fantasy VI is the Oscar winner. Final Fantasy VII started introducing the sappy romance subplot to the series. A love triangle forms among Aerith, Cloud, and Cloud’s childhood friend Tifa. While there’s nothing inherently wrong with having a love triangle, the writing is like watching middle schoolers trying to express their feelings. Final Fantasy VI and Final Fantasy IV treated any romance with dignity and realism.

But maybe I’m being a bit harsh. After all, Cloud Strife did go through some suffering as an adolescent. His backstory clearly drives his antisocial behavior, so that becomes a good arc. 

The goofiest but memorable part of the story deals with Don Corneo and Wall Market and running around store to store doing tasks in order to free Tifa from Don Corneo. It ends with Cloud needing to cross-dress as a woman to get inside Don’s mansion. Because, you know, it’s not like Cloud can just break in with his sword and Aerith’s magic or anything like that. But whatever. It’s anime.

The recent Final Fantasy VII Remake for the PS4 seems to streamline the story, and actually enhances the emotions they were trying to deliver in the original. I will be talking about the remake in a separate post altogether since I’m almost done with it at the time of this writing. But there’s a lot that I want to say about comparing and contrasting the remake and the original.

The latter half of the plot takes a couple weird turns. At one point, Cloud became catatonic and confined to a wheelchair.

That part of the game became the sluggish part for me. Sephiroth also tries to confuse Cloud, which confused me. Cloud apparently suffers from some alternate subconscious mumbo-jumbo and like. . .ungh. I get an aneurysm thinking about it sometimes.

Complicated plotlines like Final Fantasy VII start showing up from here on out in the Final Fantasy series. The trend of bishonen characters also begin here, bishonen being the Japanese term for “beautiful boy.” Cloud and Sephiroth have that look. The series starts hashing in sappier romances and much more of an anime feel.

Final Fantasy VII ultimately marked the start of a new era for the series – introducing both cool and overused tropes.

Music:

Hands down the best Final Fantasy soundtrack of all.

The entire soundtrack of this game is memorable. The opening tune, with its light twinkle when the stars show up, is enough to make any gamer know exactly what that’s from.

With a story set in a more modern world, we have music that is more modern. After Final Fantasy VI had a more serious and operatic score, Uematsu displayed his love of progressive rock here. The motorcycle chase incorporates a lot of synth, which was fitting for zipping through the streets of Midgar. However, Final Fantasy VII is the first Final Fantasy game without that familiar starting bassline for the battle them. The battle theme is instantly recognizable but also radically different from its predecessors. It’s dramatic and displays danger.

Meanwhile, the boss theme is one of the best boss themes in the series, or any video game really. It’s an electrifying progressive rock piece, and it’s my personal favorite boss theme.

 The more instrumental pieces are somber, given the dreary atmosphere of the planet. The world map music is very different from its predecessors. It’s romantic one moment, soaring the next, and then dips into foreboding terror. I guess that sums up the story of Final Fantasy VII.

And we cannot leave out One-Winged Angel, which I will talk about below.

Notable Theme:

Without a doubt, One-Winged Angel – played during the terrifying final battle against Sephiroth – is the most memorable piece of music in Final Fantasy VII.

It may very well be the most popular song of the entire series. Nobuo Uematsu was inspired by Stravinsky’s Rite of Spring. It’s a whopping 30 something minute classical piece. If you look it up on YouTube and browse through it, you can definitely note the similarities. However, Uematsu didn’t want some boring classical introduction to the piece. He wanted to add the destructive impact of rock. The theme has a very distinct stamping-your-foot-down quality to it.

I had noticed a certain piece-by-piece feel of the song and that’s exactly how Uematsu composed it. This is the only song that Uematsu has composed where he created several tunes in his head and then rearranged them to make a single comprehensive song.

If you want to get technical, One-Winged Angel is the first Final Fantasy song with lyrics. The chorus sings in Latin about Sephiroth’s burning anger, with some lyrics actually taken from the medieval poem Carmina Burana. It sounds fantastic when fully orchestrated.

In Advent Children, the animated sequel to Final Fantasy VII, the music is accompanied by hardcore metal. This new rendition really illustrates the destructive power of Sephiroth. Uematsu changed the lyrics for Advent Children. They are more original now. I specifically noticed the lyrics “Veni, veni, mi fili”, which translates to “Come, come, my son.” Sephiroth is inviting you so he can kill you.

 Uematsu has stated that the original orchestration didn’t sit well with him. As I suspected, Advent Children’s hardcore metal version is the one he preferred, the one he would have composed had he the technology at the time of Final Fantasy VII.

Verdict:

Another must-play for any RPG fan, even if you think it’s overrated. It’s a must-play because of its popularity, in the same way that people are wide-eyed when you say you haven’t seen Star Wars or such-and-such other popular movie. It’s a whole lot of fun, especially in the scenes that involve other forms of gameplay, such as the motorcycle chase and even a battlefield strategy game in protecting Fort Condor. 

Direct Sequel?

Yes – first there was the CGI movie Final Fantasy VII: Advent Children.

I actually watched Advent Children before playing Final Fantasy VII. I had already known most of what happened in the game and Advent Children became a monumental craze when it first came out. Everybody was talking about it. Watching the sequel before playing the game skewers your interpretation of things. My first impression of Cloud was that he was always whiny and angsty, and meanwhile Tifa kept nagging him to move on. I felt really bad for Cloud losing Aerith.

Then when I actually played Final Fantasy VII, I saw that Cloud starts as this badass mercenary. Tifa is spunky and clearly is the better choice (IMO) but Cloud is enamored by Aerith after only meeting her briefly. WHAT? Cloud. Bro. Make a move on Tifa, you nitwit. Tifa is AMAZING.

 Square Enix then continued the story with Dirge of Cerberus – Final Fantasy VII. This video game sequel focuses on Vincent Valentine, a fan favorite of the original game.

Let me remind you about something – the original game revealed Shinra’s inner deep secret experiments, namely with Sephiroth and Jenova. Dirge of Cerberus introduces an even deeper research team within Shinra called Deepground. I don’t know about you, but it already sounds like the start of a terribly redundant string of sequels, like how the Jason Bourne movies keep revealing an even deeper level of conspiracy theories. Vincent’s mysterious background is now fully revealed. He is defined by – guess what? – another angsty lost lover story, this time with a woman named Lucrecia. Now, okay, look, maybe I’m just being a dick about these types of love stories. But when it keeps popping up within the same series in the same manner, I start asking if you have anything else to offer on your menu.

Lastly, there is the prequel for the PSP – Crisis Core: Final Fantasy VII. Of all the games in the Compilation of Final Fantasy VII, Crisis Core has received the most positive reception. If anything, play that after playing Final Fantasy VII before bothering with anything else.

 Oh, and of course there is the Final Fantasy VII Remake, which we thought wasn’t going to happen for the longest time but they finally released it in April 2020. More on that later after I finish it, and after I post my entire series of Final Fantasy reviews!

[brujahinaskirt]

@missn11​ says:

Ask and ye shall receive, fellow neonate! <3 Bear with me, because I’m about to hammer out 2000 words very quickly...

This massive rant by its topic nature is sort of Nines-critical, so lemme start by saying that, in my own way, I love Rodriguez. (I was partially self-burning in the shitpost that ignited this rant because I SEVERELY exaggerated Nines’s canonical shadiness levels in my ancient fanfiction, and for no other reason than because I was a teenage edgelord. I am appropriately embarrassed, but only by my excess and melodrama, not by Troika’s characterization. I think the writing behind VTMB’s Nines is superb.)

When it comes to Bloodlines, I think he’s one of the most psychologically interesting profiles in the game. In fact, I could never get into LA by Night because they so de-toothed Troika’s vision of him. Not to say LA by Night’s Nines was a poorly-developed character in his own right, ‘cause he wasn’t at all, but “my” Nines will always be unapologetically and only Troika’s: boiling angry, viciously pragmatic, a survivor who doesn’t let anyone too close lest they see through him, whose over-the-top confident façade cracks a little more every time his back’s against the wall. Troika’s Nines is the epitome of greater VTM’s “fallen rebel” archetype, and even though we don’t get to see it on all playthoughs, that makes it even better and more believable.

But as with all characterization in Bloodlines, we have to read between the lines and between our own play styles a bit to piece the truth of the puzzle together...

Besides the direct evidence Troika gives us—i.e. the music cues, which are a bit overbearing if I’m honest (sorry, Troika! ilu); the absence of Nines in Rosa’s prophecy re: people you can trust; and the overt warnings Camarilla-aligned characters give us about him—the biggest red flag about Rodriguez, imo? It’s twofold:

the way the characters he surrounds himself with talk about him and the type of vampire he chooses to fill his den. Namely: Nines exclusively recruits angry, spurned, mistreated people who are younger and far less experienced than he is

those messy, ugly, fleeting moments where you see his toughguy everyman personality crack

So! Starting with point one:

THE PERSONALITY CULT ITSELF

We can’t deny that Nines does not surround himself with peers. He surrounds himself with followers—people who don’t challenge him in any way, who are fanatically loyal, who openly profess their worship of him and their conviction he could never/would never do anything wrong. If you listen to how Damsel and Skelter talk about him, it’s with frightening adulation, often repeating Nines’s lines word-for-word without truly understanding the argumentation behind them. (Damsel’s the main offender here with her “IT’S A PYRAMID SCHEME… it just makes sense, you know? It just makes sense!” And then, of course, she gets pissed and refuses to speak to you when you push her into elaborating.)

Nines has clearly made himself much more than just a friend-figure or a Sire-figure to them. He’s utterly and completely mythologized by the LA Anarchs, held up next to other politically mythologized names like George Washington and Ho Chi Minh. His followers love him… but there’s a pecking order, and like good body shields, they believe their lives don’t matter as much as he matters. And they love that, too. They want to die for Nines. They’re not just willing to or resigned to it; they’re eager to die. Damsel will volunteer this information the first time you meet her. She just can’t wait to prove herself by taking a bullet for goddamn Nines Rodriguez. It’s literally how she introduces herself to new people.

And yet Nines deliberately withholds his attention and time from his followers. He uses his attention as a reward, as incentive. He rations some care and reassurance and help—makes you feel good and gives you reason to crave his attention—and then he pushes you away, back into his adoring ranks until the next “two minutes” you earn from him in which you’re special enough for such an exceptional, important, cool guy to talk to. That’s a classic manipulation tactic, and a classic personality cult tell.

And Troika is so damn fuckin’ brilliant about it because they don’t stop at showing us that an Anarch-aligned fledgling might feel this way—no, they make the PLAYER also feel this way. On our first playthrough of Bloodlines, we’re desperate to talk to Nines. We want the reward. “Let me finish the plaguebearer quests… let me run to the Elizabeth Dane… I hope Nines talks to me again now! Quick, to the Last Round! Maybe if I say the right thing to make him like me, he’ll give me another free EXPERIENCE POINT!” (iirc he’s one of two characters who will do so, and the only one who gives multiple points.)

But at the end of the day, Nines is indisputably the leader of the Anarchs, and even fledgling figures that out. (“Sounds like you’re the Prince of the Anarchs.”) He’s very much the Baron of Downtown LA, even if he won’t use that language. As for the grating day-to-day management and leadership stuff that might make him somewhat unpopular among the Anarchs, though? He fobs all that stuff off on Damsel!

Damsel, his Minion No. 1—whom a lot of players will hate on their early playthroughs, because she assigns tough missions with little to no reward. Damsel, who has no real power role in the Anarchs and functions only to serve Nines. You help Damsel, and you do Nines’s work—i.e. you do the work of the Barony of LA—and he doesn’t even have to take the admiration hit by having to ask you himself.

There’s only one non-follower of note around Nines. It’s Jack, and by his own words, he’s not one of Nines’s people; he disparages them, in fact. And we’ll notice that Jack—who is stronger, older, and wiser than Nines—very much doesn’t talk about Nines the same way Nines’s followers do. While Jack doesn’t directly insult him and occasionally defends him, Jack also has a downright shocking response to the announcement of the Blood Hunt. When fledgling desperately asks what they can do to help Nines—Jack says, word-for-word: I could give a damn.

Something ain’t quite right about this place.

Moving right along:

NINES IS A FAKE ALPHA MALE WHO KNOWS HE’S GOING TO DIE

Part of why Nines is so attractive to someone scared and weak like our fledgling (or Skelter or Damsel) is that he seems utterly fucking untouchable—like nothing scares him, and that must be reassuring when two of your age-old enemies are moving into town. But Nines’s tough, cool, Devil-may-care persona outs itself as a protective shell, too… and this is another thing I think Troika handled so subtly and so well.

You’ll notice that even Nines’s voice is dramatically different in a couple different situations: when Ming Xiao is borrowing his body, when he’s afraid, and when he’s distracted or deeply disturbed. (A successful Malkavian mind read will really slam a crack in his coolguy persona. For a second, the nonchalance shatters and he childishly screams SHUT UP!)

But whether you Malk him or not: In those isolated moments, the Coolguy Nines Rodriguez we normally see frays. Physically, even! His accent loses its burr (that ballsy rural American everyman accent), shoots up to a higher register—and reveals a much softer voice than the one he uses in front of other people. No wonder; part of Nines’s charisma comes from his performance of masculine confidence, and even if it’s not a toxically patriarchal masculinity in the way we often picture it, the fact this performance cracks at all shows it’s not his genuine self. He’s acting. In the way a lot of toughguy men do—but for Nines, whose survival depends upon attraction now, he’s acting toughguy for his very life.

I think those little fray-under-pressure moments are the “real” Nines, or as close as we’re going to get: scared, desperate, worn-down, and very aware of his doom.

Now, all that said…

BLATANT FALLEN REBEL CONCEPT APOLOGISM

I don’t think we can quite throw Rodriguez into the same Mean Monster Morality Dungeon for Evil Vampires as other Big Bads in LA. This is where motivation comes into play, at least for me. We know Nines can be merciless and violent, and he doesn’t hesitate to sacrifice his own soldiers (namely, um, US!) to protect his holdings. But he does seem to have a twinge of genuine anger over injustices wrought upon “little people” (look no further than Nocturne)—one that seems like it stems from a sense of right v. wrong rather than sheer pragmatism. This stands in stark opposition to the rationed pacificism of characters like LaCroix, who simply doesn’t want the headache of cleaning up a pile of dead humans on his nightly to-do list.

Nines also, of course, just doesn’t have the same kind of disaster reach other Bloodlines Big Bads do in how much harm he can cause. When LaCroix gets up to some bullshit, he crashes the national economy. Nines, like, crashes a car into a corporate office window or takes over a street or something. Can’t really compare the two when it comes to the scale of damage done.

And even Nines Rodriguez is, for all his strategy, still an honestly angry person. Not all of him is fake—what’s troubling about him is what he’s willing to sacrifice and do to satiate his anger-passion. It’s the standard Brujah emotional-moral struggle. Even though I agree with much of what he says about bloodsucking late capitalist vampires (tbh he seems to hate vampires in general!), one wonders if it’s not partially the anger-passion that’s warped him into the façade of a noble leader he’s become. It’s not a pure anger anymore; he’s weaponized it in selfish, unhealthy, destructive ways.

But if he’s a fallen rebel—and since he is still apparently capable of some genuine anger and sadness—then we can infer he wasn’t always like this. He fell, and narratively, that’s key to understanding Clan Brujah. Maybe he fell in a way all of us angry rebel-types risk falling if we let our hatred of the bloodsuckers in real life outgrow and consume our care for the real-world little people.

I think we also have to appreciate that—as far as we know—the shady shit Nines does, he primarily does to prolong his power. But for a threatened Anarch like Nines, power doesn’t mean expansion or accumulation as it might for an ascending Ventrue; it primarily means survival. The Camarilla and Kuei-jin incursions into LA have numbered his days, and he can’t possibly have any delusions about this, no matter how much he swaggers. So he does what he can do with the skills and limited resources he has. He corrupts vulnerable, angry, abused people by giving them the appearance of friendship, family, and hope they can become stronger—much like effective gang leaders do.

If he’s morally nastier than other power-players like LaCroix in some way, imo, it’s here. It’s the intimacy with which he manipulates the people around him. LaCroix may lie to you; Strauss may withhold information from you; Ming Xiao may double-cross you. But none of them ask that you love them. That’s not their goal; that’s not how they operate. None of them expect or encourage anyone to happily die for them of their own free will. If they get you killed, you’ll die resenting them—resenting that you had to die, at all.

But when you die for people like Nines Rodriguez, you do it willingly, if only because you believed he cared somehow and that he’d fight tooth-and-nail for you, too. You believed that you were a member of his little outcast family—or that you would be, if you just proved yourself a little bit more. If you just fought a little harder. If you were just a little happier about having the chance to die for the cause. Maybe if you die for Nines, then Nines will love you, too.

I don’t think he does. I don’t think he will. If he’s a true fallen rebel archetype, I don’t know if he can anymore.

That’s enough Anarchs for now! I’m gonna peace out with some copy/pasted lyrics from the theme song of Nines’s den: the ballad of the charming and vengeful Lecher Bitch. Stay sharp, my little Bloodlines fanatics!

Tell me your story Don't worry, I've been there Crown me your savior Don't worry, I'll be there

[Chorus] I said hey You're coming all the way I've got some hell to pay I'm diggin' all the way All the way down I said hey You're coming all the way I've got some hell to pay Gonna rip you every way On the way down again [Bridge] Don't belong lording above me Won't be hard to pull you underground It won't be long 'til you love me And I'll be coming at your back To break it down

[ceescedasticity]

outline: jin guangyao’s hoarding problem, part 1

I am STILL NOT WRITING THIS.

Cast:

Jin Guangyao, schemer extraordinaire. He’s got a lot on his plate right now, scheming for the Jin Sect’s advancement, scheming for his personal advancement within the Jin Sect, trying to get Qin Cangye to let him marry his daughter, trying to juggle his sworn brothers, wrangling weird 13-year-old Mo Xuanyu who his father dropped on him as some sort of power play, wrangling Xue Yang insofar as it is possible to do so, promoting research into demonic cultivation, and on and on and on. Jin Guangyao, as no one will ever let him forget, was not born rich; he understands that you can’t just go throwing things out when you might want them again later; and in this universe he’s let that reluctance to discard outweigh his caution.

Wen Ning, conscious fierce corpse. Keeping Wen Ning was always the plan, even when plans to control him didn’t quite work out. Because he’s a really good conscious fierce corpse. Maybe they’ll work out controlling him someday. Maybe he’ll be good as an example. They went to a fair amount of trouble faking his destruction, so no sense wasting that. (Wen Ning, for his part, is… not happy. Even when they’re not trying to control him, he is not happy. But he is not making trouble if he can avoid it, because…)

Wen Qing, really outstanding doctor. Jin Guangyao cannot understand why his father was planning to execute her – she’s such a good doctor! Groundbreaking! Sure, she has some inconvenient morals, but she’s simple enough to leverage, just grab some family members – Wen Ruohan kept her in line for years. Why would Jin Guangshan not try to obtain such a valuable resource? It’s probably because when he looks at a woman he stops after the boobs. Anyway, now Jin Guangyao has the opportunity, and it’s easier to fake her death than Wen Ning’s (just have to kill a heavily bruised woman in Wen robes, rather than something that passes for a fierce corpse). She can be kept in line just by threatening Wen Ning’s non-life as the stick, and for a carrot, taking the nails out of his head when they’re not actively experimenting. (Wen Qing is sick to her stomach. Although not everything she’s been required to do is bad–)

(Off stage, but alive, is Jiang Yanli. Jin Guangyao likes her more than he likes most of the Jin Sect, he didn’t want her dead – and whisking her away to a mystery doctor who saved her life means Jiang Wanyin owes him. Big. —He doesn't want her angling for any kind of power/regency after Jin Guangshan dies, so he's been making sure there are plenty of rumors that she's physically and mentally fragile, and his leverage over Yunmeng Jiang is better with her in Jinlintai so he's angling to maintain that, too, but unlike that other idea he's not blackmailing her. This is probably a mistake.)

Wei Wuxian, Yiling Laozu. Smuggled back to Jinlintai at least half dead, and really wanted to get all the way there. Didn’t really change his mind on that until after he got conscious enough to process that (a) Wen Qing and Wen Ning were alive(ish), and might be punished if Wen Qing couldn’t save him; (b) Jiang Yanli is alive, but in Jinlintai, which means not safe. Even after he’s trying, though, he’s in for a long convalescence – especially without a core. (Which Jin Guangyao has figured out and, worse, figured out the reason for.) Wei Wuxian is claiming he couldn’t possibly recreate the Stygian Tiger Seal outside the Burial Grounds and/or without all the pieces and/or while he’s still so weak. The last one is true, the others are… not completely false? He certainly couldn't make it like it was before.

Mo Xuanyu, weird 13-year-old. Inexplicably if usefully devoted to Jin Guangyao. Jin Guangyao doesn’t trust him to do more than some very basic reading on demonic cultivation, but when the secret prison acquired the gravely wounded Wei Wuxian it became important to have someone other than Xue Yang checking on things, refreshing supplies, and getting Jin Guangyao immediately if necessary. Mo Xuanyu also likes Wei Wuxian, and Wen Qing, and Wen Ning, and (for some reason) Xue Yang. Not enough to impact his devotion to Jin Guangyao, though.

Xue Yang, spite elemental. (This Xue Yang has never worked for Wen Ruohan – I may keep the Yin Iron in this universe mashup, it just had no particular connection to Xue Yang.) Half feral (at least). Demonic cultivation natural talent. Delighted to have the opportunity to independently recreate the Stygian Tiger Seal, not that it stops him badgering Wei Wuxian for tips. Big fan of “better to ask forgiveness than permission”. No, that’s not it. Big fan of “better to say ‘yeah, I did it, what are you gonna do about it?’ than ask permission.”

WQ, WN, and WWX are full-time imprisoned in some sort of secret dungeon/basement/hidden complex in Carp Tower. MXY and XY are in and out a lot. JGY less so because he has a busy schedule.

So, moving forward:

Wen Qing is trying to keep WWX alive. WWX is cooperating halfheartedly.

Xue Yang is trying to recreate the Stygian Tiger Seal. WWX is cooperating hundredthheartedly.

JGY picks up that WWX is not being entirely sincere in his cooperation. He decides to show that his threats have teeth, in a very mild way. He plays some 'healing music' for JYL.

JYL has a bad week.

WWX becomes somewhat more cooperative.

(JYL is aware enough of her own body and mind and has enough of an ear for music to say — extremely politely, and not implying (or suspecting!) any malice — that she thinks JGY may need a little more practice.)

(JGY decides he needs to be a little more conservative with his use of the Collection of Turmoil, and maybe, say, not teach any bits of it to people who are not definitely on his side, no matter how innocent and gullible he thinks they are.)

(Nie Sect's trip to the Sword Hall can't be said to go well by any stretch of the imagination, but it's not an almost-TPK either. No one unwittingly kills or spiritually poisons anyone they love. It doesn't make much difference in the timetable of NMJ's decline, really. It doesn't make as much of a difference as you might expect in the timetable of NHS Figuring Shit Out, later on. It does make a difference in the experience level and cohesiveness of Nie Sect's inner-ring disciples. It does make a difference in NHS's emotional health and support structure. It may in fact make a difference in whether JGY is going to get out of all this alive. But that's later.)

When the reconstructed Seal is mostly complete, Xue Yang takes off to Yueyang to "test" it. He may or may not have informed JGY first. Let's go with 'not' (not out of any concern that he'd disapprove, Xue Yang just doesn't want to bother).

So here's the thing. The Seal is not a loyal tool. Insofar as it has a consciousness and feelings it's kind of pissed off at WWX anyway. But he is still its original creator, and this time he's alive, and this time he was extorted into helping reconstruct it, and this time — unlike when he was forging it the first time — revenge doesn't even really make the motivation list, so it's not quite the same reconstructed Seal. It's not a benevolent tool. It doesn't like people. It doesn't want to help people. It doesn't have principles. If Xue Yang just stood outside and ordered fierce corpses to slaughter everyone in the Chang compound, the Seal would have cooperated eagerly.

But obviously Xue Yang isn't about to just stand outside, he goes in and gets his hands dirty, and when he tries to use the Seal to directly, personally attack a child, something goes… sideways. There's an explosion which blows a large hole in the side of the house. Some of the corpses attack Xue Yang. The Seal levitates six meters up into the air and won't come down until grabbed. It's very annoying. Xue Yang makes sure there's no one with a golden core left and sets the building on fire and leaves in a very bad mood.

There are only like a dozen survivors total, no adult cultivators, and the one surviving kid who saw him is too young to give any kind of useful witness statement, but still.

He goes back to the basement and blames WWX for the unsatisfactory performance of the Seal. WWX's response of "Good" didn't deescalate things any, but he probably would have gotten the shit kicked out of him regardless.

Someone interrupts before he can actually beat WWX to death (which had better not have been WWX's plan, says WQ). Right. No core, already seriously injured. Xue Yang gets Wen Qing, who has to do surgery for flail chest. Xue Yang makes a surprisingly good surgical assistant.

JGY gets back from wherever he was (Qinghe playing fake!Clarity? Laoling trying to get a date?) and is like. I was gone for two days.

Xue Yang does not deny almost accidentally killing the only available Yiling Laozu, but blames it on WWX being too fragile due to being coreless and injured.

Maybe if we gave him someone else's core he would be sturdier?

Jin Guangyao doesn't immediately shoot it down. Wen Qing tries to — WWX would never survive the procedure in his current condition, and the donor has to be willing, does JGY really want to sacrifice someone loyal for this questionable gamble?

No, he doesn't. At least not right now.

Xue Yang says he's taking time off. JGY tells him not to get caught.

He gets caught.

Trial, commutation, official imprisonment, and now Xue Yang is stuck in the basement with the others basically full-time. He's seriously trying to convince Wen Qing to teach him surgery. She's appalled, but on the other hand would surgical skills make him any more dangerous than he already is? And it keeps him from sticking nails in Wen Ning's head.

While she's distracted Wei Wuxian is trying and failing to convince Wen Ning and/or Mo Xuanyu that he is recovered enough from the flail chest to walk around. He is failing.

Jin Guangyao is spending a lot of time in Qinghe…