#that i think reflect his ending or his whole arc

[izzy-b-hands]

Memorial icon change to Tits Out Izzy. Would he appreciate it? Potentially, but he'd also still probably call me a twat for it (and I would be honoured 🖤❤️)

[welcometogrouchland]

Noticing that TV and film will often have a character either have had an abortion in the past that isn't showcased on screen (and just used as part of the character's ~fucked up and twisted backstory~) OR contemplate getting an abortion in the present day but not to through with it. Just once I want to see someone delete that fetus within the events of the plot and not be like. Extremely majorly punished for it and/or be in the wrong

[lemongogo]

why do i love the conflict more than anything else . the misery . the incompatibility that spreads like oil slick . wanting so desperately for resolution that never comes . hmmm

[sskk-manifesto]

ಥ‿ಥ

[tori-artemis]

Oh this is a great question to think about! Tbh I had a lot of hopes back when the series was premiering (and before when it was just announced), so to go off of those... well first off, I really really wanted an exploration of Loki's trauma, his past and even his psyche. Like I know a psychological thriller/horror probably wouldn't have been in the cards for a Disney+ show, but tbf I feel like the creators of Wandavision touched on aspects found in those types of genres (if in a PG 13 kind of way) so I don't think I was too off base for hoping to see something like that for Loki. (Not to mention the ridiculous comparisons to films like Se7en and The Silence of the Lambs that Mike Waldron kept making... but I'm not gonna get into that rant again.)

I think I would've put a lot of focus on what the hell actually happened to Loki when he fell into the Void and disappeared for an entire year or so, and how he ended up encountering Thanos and the Black Order, how that all went down, etc. Either through flashbacks, or (possibly altered) memories, or Loki recounting those events interview/interrogation-style (and being an extremely unreliable narrator in doing so, like for instance saying something like "I made a deal with Thanos and worked with him willingly" and then at some point you see into his head through flashbacks/night terrors and realize that clearly wasn't the case, just stuff like that). The possibilities were endless tbh, like there's just so many creative opportunities to explore that one aspect of Loki's backstory. And since that's such a burning question to me (and many other fans tbh) still to this day, I feel like that'd be the first thing I'd want to tackle.

Another important thing I'd want to include would be Loki's gender fluidity and his bi identity. Like I don't think it necessarily has to go with Loki referring to himself as bi, like I don't think he has to say the actual word "bi" in order to give any meaningful kind of rep?? Especially now that Agatha All Along has come out, I feel like I'd want to approach Loki's identity in a similar type of way, just unapologetic, and as authentic as possible to his comic book counter part. Like hell, he can have hang ups with those parts of his identity (which would actually make sense, being from Asgard and since he already has a lot of self-loathing issues in general due to being Jotun).

I wouldn't mind that, especially if it was done in a non-typical way, like maybe it's not being sexually intimate with men/males that's looked down upon on Asgard, but - similar to the Norse apparently - it's on what role they play, or basically who's the "bottom" - that gets shamed, or maybe same sex relationships aren't looked down upon at all on Asgard, but giving birth/getting pregnant while being/presenting as male is, bc it's seen as unnatural, and then let Loki go through an experience where he develops deep rooted insecurities about those aspects of his identity due to Asgard's cultural prejudices. And like this doesn't even have to be explicit (tho after the birth scenes in both Wandavision and especially Agatha All Along I can't help but roll my eyes at ppl having a hang up with Loki going thru something like this, especially if they were totally okay with Wanda and Agatha having birthing scenes, but anyways). It can be something as simple and as subtle as Loki finding out he's pregnant (maybe he can magically feel the fetus growing inside him, or he can hear the heartbeat/etc, or maybe it's as simple as having morning sickness and/or a change of diet). And it just ends up with him drinking tea/potion (due to pressure from Odin/Frigga/society, or maybe he's not ready and seeks it out himself) which gets rid of the baby, but again it's done in a very non graphic way. Of course the whole mpreg thing is just an example, and doesn't have to be in a series about Loki (that's what fanfic is for!) but basically: let Loki be queer, he can have hang ups about being queer, and tbh I'd want the hang ups to be kind of different from the usual discussions/portrayals of queerness in media mainly bc Asgard's an alien/fantasy society so I'd want their cultural norms to be pretty different from ours (human society in general), but overall just let Loki be queer, goddamnit!

Furthermore, I'd want to explore Loki's self loathing in particular, and see his view of himself change as he develops and grows throughout the series. If he encounters other versions of himself then I'd want to see what that would look like... and preferably done differently from how the show approached it (regarding Sylvie). Like I don't want him to just, I don't know, praise his other self up the way he ends up doing in the series (I know he also fought with Sylvie at the beginning but tbh I couldn't really take their rivalry seriously, it felt very sibling-like - which I actually enjoyed at the time, mind you, but a reflection of one's internal self-hatred it certainly is NOT, and like overall the whole dynamic just didn't work for me bc I find those two characters so undeniably different from each other and therefore it doesn't really work as a metaphor for self hatred/self love, but that's neither here nor there).

Like - let it be messy! Let it actually be vitriolic and hateful if that's what the series is trying to convey. Let Loki be angry, let him rage, let him lash out - at versions of himself and at other characters, like c'mon! This is a character that has a lot of inner darkness and has suffered through a lot of trauma and has difficulty trusting others due to said trauma (especially if we're going with Avengers era Loki) so how about we Show That.

Tbh I wouldn't have minded for Loki's main villain (both in the series overall and wrt the lead character) to be a version of himself. (As long as it was portrayed in a thoughtful way, like don't just make him evil please, in fact he doesn't even have to be evil at all - he doesn't have to destroy or conquer other worlds, he could literally just be out there destroying all versions of Loki, which would force our protagonist to fight/confront this person hunting him down). Like I think there would be so many possibilities for all of the ways a protagonist could deal with a "villain" - or rather, an antagonist like that. Some far more darker than others, depending on how you want your story to go. Like it could end similarly to the Agent of Asgard comics (where I believe Loki ends up forgiving and embracing his "evil" self... tho I've not read the comics so please feel free to correct me if I've gotten something wrong). Or if I were writing this series, I would've just had Loki forced into a position where, after being worn down to reaching his emotional breaking point, and in a fit of sheer rage, he'd end up brutally murdering the antagonistic version of himself, in the ultimate form of self destruction, and then I'd have him reeling from the internal consequences of such an extreme form of violence done against himself - but that's just my ridiculously morbid psychological-horror-loving ass for you. I'd just want to completely unravel him ngl, before having him overcome the impossible by rebuilding himself once more (w/ a little help from his newfound friends)...

If the TVA had to be involved in some way, I'd want to approach them as an ominous totalitarian organization, and if Loki were to be tortured by said organization, it most certainly would NOT be portrayed as some throw-away-attempt-at-comedy-type-of-scene (AHEM). I'd go for a darker tone overall, and Loki's torture at the TVA would be portrayed with all of the horror demanded by those types of scenes dealing with that kind of subject matter.

Tbh I have so many ideas for a Loki-centric show, some that involve the TVA and some that don't, but there's just so many threads and I don't want to make this any more convoluted than it already is, so to put it simply: I'd want the focus to be on Loki first and foremost. If it's called Loki, then it should be about the main lead, similar to how Agatha All Along was about Agatha, and Wandavision was about Wanda. (Which means, if the TVA has to be involved, then they would be secondary to the series' main focus - which would be on Loki and his relationship with himself.) Secondly, I'd want to see his trauma not only brought up, but fully explored. Which includes his traumatic upbringing (Odin's A++ Parenting, Frigga's enabling, family dysfunction, Asgard's toxic social/cultural norms) as well as the horror he experienced in the Void and on Sanctuary, maybe even some events in the first Avengers film, but seen through Loki's eyes this time. And I'd just want Loki to be queer, so if he's bi then let him have previous (or current!) relationships (or flirtations) with men (or attraction towards men) as well as women, if he's gender fluid then Show. That. Whether he physically transforms into a woman at times, or through his inner monologue where he refers to himself with different pronouns even if his gender presentation hasn't changed, or even his ambivalence towards being trapped/labeled in a one-gender-ticked-box, but Show. It. That part of his identity deserves to be shown, especially in a series where Loki's the central character.

If you yourself could’ve directed/wrote the Loki series, what would you have done differently? What would you have wanted to see in a series about Loki? What would you have focused on? Would the series take place somewhere other than the TVA? Which characters would you include? What would be the end goal? What aspects of his character would be explored?

[clare-875]

I Don't Want to Move On (Sanji x Reader)

_____ Pairing: Sanji x Female Reader Summary: When Sanji leaves you to marry Pudding, he shuts you out, and you don't know how to forgive him when he returns. Warnings: SPOILERS for Wholecake Island Arc, Angst to Fluff A/N: (h/c) = your hair colour [One Piece Masterlist] _____

You stop and look up, the quiet of the space between you and him bringing forth an awkwardness you were not used to. You were on the Sunny, in the doorway of the kitchen and your boyfriend was facing you with deep remorse reflecting his eyes. Or was he your ex now? You didn't know; you didn't even want to think anymore.

He had left you for her. He had hurt you. And no matter if his reasoning was credible, in the end, he had shut you out and left you to pick up the pieces. You know now that Sanji's family - if he could even call them family - were nothing of the affectionate and caring sort. No, they were emotionless and unkind, arrogant and vain; nothing like the man you loved.

You know that this whole scenario probably brought more agony to Sanji than it did to anybody else. But it didn't change the fact that you didn't know how to face him anymore, or how to talk to him. The words he spoke to you when you had finally caught up to him were raging in the back of your mind. Words that though perhaps false in that moment, still brought pain to ever hear from his lips.

"It was all an act... I could never love a low-life like you."

Was it really? Was it really all an act?

Then what were the nights spent buried in his arms, warm and safe and adored? What were the days spent laughing in the kitchen, the generous caresses and murmured words of devotion? What were the quiet moments spent together, where you thought you needed nothing more than him and his love? What were all the promises and bold whispers?

How many times have you heard him say "I love you" and how many times have you returned the sentiment? Hundreds and thousands of kisses were exchanged and a million times your hands held his. So many times, he pledged his loyalty, looked only to you, caressed only you. How many times had you seen that spark of joy and light reach his eyes, because they reflected the tenderness in yours?

Was that all an act too?

Now you found yourself avoiding him, and his faint calls of your name. You and your crew may have escaped Big Mom, and your friends may have found forgiveness for Sanji's actions. But you didn't know if you could do the same so easily. How could you when his words were spat like fire to your heart? How could you when he left you to marry another woman?

How could you when he shut you out so easily?

"Lov-" Sanji freezes, cold sweat on his face as he looks at you. He had never seen you look to him so devoid of the emotions he was so used to seeing. "[y/n]..." his words are a murmur, hesitant and ashamed. You fight the tears that want to travel down your face at the sight of him. He seemed lost, even when he had retaken his solace back on the Sunny and Luffy's crew. He looked pale and worried and regretful. But was that all an act too?

"Please, can we talk?"

Your heart tugs low at his words.

"I- I don't know, Sanji." His eyes spark just for a moment at the sound of your voice directed at him, after days on the sea without even an utterance. "You hurt me, you left me, I-" You swallow harshly as you watch the way his brows furrow in what seems like genuine pain. "I don't know how to move on from that."

You turn away swiftly, trying to get out of the doorway and out of his presence but Sanji is quick to his senses. He reacts desperately, holding your arm in his hand, causing your movements to halt. You look up at him, the tears now rolling down your face mirroring the ones brimming in his eyes.

"Please love, I don't want to move on from you..."

.....

When you arrived at Zou along with Luffy's group after the exhausting events at Dressora, you never thought you would find your boyfriend missing. Never did you dream.

And yet that was your reality.

Nami had rushed to you alongside Chopper, her bright facade faltering once she saw you and her Captain. She had flung herself into Luffy's arms, but her tearful eyes looked only to you.

"I'm sorry...Sanji's..."

Her words and actions already caused the rhythm of your heart to stutter but when she showed you the letter you felt it slip from your chest.

'I've gotta go see a woman. I'll be back.'

The words on the blank sheet of paper were plain and simple. He would be back. But who was this woman, and why was she of such importance he leaves without a trace or word to you?

It is Luffy who breaks the silence.

"Does, 'gotta go see a woman' mean... he's gonna get married?"

Your heart tugs fiercer at your Captain's words, and Nami is quick to strike his head in vexation. "Luffy!" She scolds, before offering a hand to your shoulder in comfort. "That's not necessarily the case..." You look up, and Nami avoids your gaze in regret, you know that there is something else she wants to say. "... but it seemed like he was determined."

"But he's with [y/n]! That's not allowed!"

Nami chastises Luffy again for his insensitivity but you quickly cut her off. "Nami," she looks at you in surprise at the calmness of your voice. "It's fine. He said he'll be back, didn't he?" She nods hesitantly at your words as your crew looks at you in concern.

"Then, he'll be back."

Your friends all stare, unsure of what to say, but as Brook speaks up, you feel your hopes wither slightly. "But, [y/n]-san, the bride is the Emperor's daughter. Of course, Sanji refused the marriage immediately. But that's what troubles me." The apprehension inside of you churns more and more. "It won't be easy to decline such an invitation. What do you think Sanji would do in a situation where he cannot escape the marriage?"

You think of your boyfriend. He was kind, generous and caring. But you had seen instances of him with traces of sadness in his gaze, only for him to brush you off when you asked if something was wrong. He never really knew how to accept the love that you so willingly offered him, and only time made him better at it. But this: this marriage with the daughter of an emperor too powerful for you to even fathom to defeat. You knew the answer to Brook's question quicker than Chopper had replied.

"He's the kind of guy who'll try not to cause us any trouble so he'd try to separate himself from us."

Nami nods slowly, and the ache in your chest builds the franticity within you. "When he tossed us outside, he could've gotten away too. When he wrote the note, I think he'd already made up his mind to go by himself." She meets your regard and you see the discomfort in her irises. She can see your concern, but it soon turns into a fierce resolve.

You had to at least try to get him to open up to you; to talk to you.

You would do anything for Sanji. You had to go see him and stop him. Surely, he was not doing this of his own free will, surely there were layers to this marriage and he obviously had his reasons why he must concede to them. So, when Luffy had shouted that he would go meet with Sanji and talk to him, you had agreed instantly despite the anxious murmurs of the crew.

"You're facing an emperor!"

Their concerns were valid but your worry for your boyfriend was more significant. He would never hurt you, or that's what you thought when you had joined Luffy, Nami, Brook and Chopper on your journey to Whole Cake Island. Surely he would open up to you as you had done to him so many times before. Surely he would come to his senses the moment he laid eyes on you. You could not fathom anything otherwise.

How wrong you were.

.....

When Sanji saw you, Luffy and Nami, for a moment his heart was overcome with hope, but it diverted immediately to utter fear and despair. His heart rate raged against his chest and in the presence of his brothers and father, his trepidation only grew.

Why were you here? Why were you here where he could not protect you?

When Luffy had flung himself onto his carriage with his wide smile and optimistic words, his mind could only pitch what was on the line. His hands were set to detonate if he even desired to leave, those on the Baratie were in jeopardy and you; the crew. He could not let you live a life under the rein of an emperor he knew would show little mercy.

He loved you; God did he love you.

But you just couldn't be here.

When Sanji had kicked Luffy from the carriage, you had watched, heart in your throat and completely stunned. You could hear Nami shouting at Sanji, "Hey! What are you doing Sanji-kun!" But when Sanji met eyes with you, he knew the only way to get you to leave; the only way to protect you was with words that would make you despise him.

"Get packing, you low-class pirates!"

You are voiceless at the way his eyes could contort to a way that shone with such disdain.

"My name is Vinsmoke Sanji. I'm a prince of the Germa Kingdom! I'm sorry for keeping it a secret. I thought that it'd make you miserable. The difference between our standings couldn't be clearer. If I stay here, I can spend money and use soldiers and servants as I like. Going back to that crappy ship with you... or staying here, marrying Big Mom's beautiful daughter."

Your heart falters as you hear the words slip his lips.

"It's pretty obvious which is a happier life. Don't take the note seriously. I won't go back with you! I can't believe you've come all the way here."

There is a silence that lingers on your behalf, and the way Sanji looks to you - to all of you - makes you want to wither and perish. You can hear Luffy shouting to Sanji in complete denial of his words, anger morphing on his face. Sanji approaches slowly as Luffy refuses to go away, and even as he leaves the carriage his expression does nothing to falter.

"I don't know what made you come, but I appreciate that you took the trouble. Having said that, if you really think about me, you should've done the opposite. Rather than being with you guys who are poor and weak, it'd be better to be part of the rich and powerful Big Mom Pirates. I'll be happier-"

"SHUT UP!"

Your words reach the air, interrupting your boyfriend's words before you can stop yourself. Sanji's heart lurches at your anger-tainted words, and yet he finds himself silently begging that you would leave quietly. However, you are too hurt to answer his prayers. You rush forward, past Luffy and Nami who calls your name hesitantly. You move until you're in front of Sanji, hands balled into fists by your side.

"Shut up! You can't mean that! Sanji-" Your words start to wilt the more you see his unbending stare remain on you, piercing and urging you to hate him, but you wouldn't. "How can you say that, Sanji? I know you; I know this can't be what you want. Just tell me the truth, we won't run, we'll fight whatever it is that you are fighting. You don't have to protect me from anything... I just want to be with you. Please Sanji, I love you, I know you love me too-"

"You actually believe that?"

You freeze when Sanji speaks to you, eyes unwavering, shaded expression, persuasive words. "What? Sanji stop, what are you-" But when you look up he is looking at you in a way you could not fathom to be true. Such contempt and hostility, and a hint of mockery. "You actually think, I care about you? That I want to protect you?" You shake your head slowly as aversion starts to build up within you.

"You're a liability, [y/n]."

"I was bored and miserable with you. The emperor is giving me a chance with her daughter, a woman who could actually make me happy. Who are you to deny me that?" You grit your teeth, anger taking hold of you, as you step forward and grasp the collar of his shirt in your hold. Sanji's eyes flicker with a moment's surprise before returning to the deadpan stare that you begin to despise.

"You're lying," you say, but Sanji does not falter. Your tears start to pour down your face as you look at your boyfriend devoid of his love. "Come back to the Sunny with us, Sanji. Let me in Sanji. Where's the man I fell in love with?" Sanji doesn't think that he loathed himself more than he did the moment he stared back at you, desperately trying to keep his own tears at bay. How could this be the way he says goodbye to the love of his life?

"It was all an act. Of course, I could never love a low-life like you."

At his words, you think you feel something break deep within you. Your hold goes limp on his collar and your eyes are wide in shock. Tears pour down your face, but suddenly you feel numb and you think you can actually hear your heart break. You hear Luffy's rage from behind you along with Nami's shouts of outrage. You can hear the muffled laughter of Sanji’s brothers beyond the carriage at your crestfallen expression.

Nami drags you back to her. Sanji fights Luffy so that he would make him leave too. But you feel so hollow you hardly even register the events that take place around you. When Luffy falls limp to the ground you still look numbly to the man in front of you.

Nami's slap was sharp against Sanji's cheek, but what twisted his insides more was the fact that you did nothing. Instead, you looked at him with the most barren expression he had ever seen from you. An expression he fought to keep from touching your face was placed in front of him because of him. Sanji almost broke, but he could say nothing. "Goodbye. Sorry- we should've never done this." Nami's words are harrowing to his ears, but again he could say nothing. She instantly went to your side uttering comforts but he no longer saw your face.

In his mind, he screamed at you to stay. He screamed that he wanted to be with you for eternity. That he loved you like nothing else in this world. He never wanted to leave you, he never wanted to marry anyone but you. The days spent chasing women were left behind in the past like specs of dust. You were all that had encompassed him. You were all that made him feel worthy of love and life and warmth.

His shock when he learnt that you, actually felt the same was like the feeling of his heart retching free and soaring through the sky. He never thought a day would come when a woman he loved as much as he loved you, could return that same devotion. He was in heaven. Every day with you was heaven. He never even dreamt that a goodbye would come, because he would rather perish than let it become reality.

He had made his worst nightmare come true.

All because he couldn't let you in. He couldn't hurt you. He wouldn't let the burdens on his back be the burden on yours. He doesn't want to cause you misery because of a choice he made or a past that he runs from. You were his angel, and he felt as though reaching out would taint your heart and your outlook on him.

And so, he left.

His brothers laughed and shouted absurdities, but he didn't look back.

"Damn Sanji, you sure had some tasteful women on your crew."

"Yeah call back the chick with the [h/c] hair! If you don't want her I might entertain her for a night or-"

"Shut up!"

Such fury fills him at his brother's words that he loathed their beings almost as much as he loathed himself.

Luffy's words that he would stay unmoving until his return echo through the distance placed between you both, and that is when he lets his tears slip. But his tears aren't for his Captain, they're for you. You and the life he thought he was so blessed to share with you. He had thought so stupidly that maybe all the turmoil he had faced in his early life was because you would be waiting in the future, and be a hundred times worth the despair he had felt.

But of course, it would all be stripped away. You wouldn't forgive him. He wouldn't forgive himself. He would have to live with the fact that the love of his life was gone for good, and along with you, any ounce of love he felt in his heart.

.....

"Stop Dreaming! Will I Marry that low life? No way!"

"That idiot played right into my hands. And fell for me."

Isn't it funny, how you don't realise the damage your words can do until they are thrown back at you?

Was this how you felt when he had thrown your love away?

No, it must've been worse because these were the words of a woman he couldn't love, but you; he had loved you and you had loved him. The words from his fiancé sounded shrill and sharp against his ears, but he could not even compare how he would've felt if those words were from you.

Sanji felt the energy leave him as suddenly as his hopes to move on from you and the crew had come. What was wrong with him? Leant heavily on a wall he listens as this woman berates him for his stupidity. But he deserved it. That's what he thought.

He had left the days of chasing women long ago, but he found himself forcing himself back into the rhythm just to push the thoughts of you from his head.

Yes, I'll cook for pudding-chan.

Yes, I'll just revert to Sanji. The Sanji who loves women.

Yes, I'll forget, I'll move on.

But the dish he made for Pudding was the abundance of favourite foods of his crew. The one in larger quantity was yours. '[y/n]...' Sanji retched himself free of your image for only a moment but his heart jolted laboriously against his chest. He missed you. But then, he'd remember the flash of your downcast eyes shining in utter despondency and in the absence of the love he usually saw in them.

He didn't deserve you.

But when he hears Pudding's words mock him of his love and being. He did nothing but miss you. Miss your kind words and gentle touch. Miss your honest love and your silent comforts. Miss your joy and laughter and the glimmer in your eyes when he cooked something for you.

Fuck, he missed you.

Sanji crumbles, flowers lost from his grip and food long forgotten. He reaches for a cigarette; he was on his last few having gone through them like nothing these past few days. But as he reaches the lighter and flicks and flicks and flicks again, there is no light. When finally, a glimmer of hope prevails and he sees his cigarette catch fire, it is out in an instant by the pouring rain.

The vision of your smiling face is lost along with it.

One tear slips past his face, followed by another. His heartache was almost unbearable as he felt himself move away. Anywhere was better than listening to the words of the woman he was betrothed to. But the place he wanted to be in most was the embrace of the woman he loved.

.....

Now you are standing there, in his grasp and in front of him, but your eyes were filled with a pain he feared he couldn't ever undo.

"Please love, I don't want to move on from you..."

Your eyes meet his and he sees an emotion he had never seen in your gaze: hesitation. You were usually so sure with him, so usually knowing that he was your safe space and your comfort and all you could need. Sanji hates that he had stripped that all away.

You begin to speak but he is quick to cut off your sparing words.

"Sanji-"

"I never loved her."

Your eyes shoot open as his words tumble like boulders from his mouth.

"I- I only love you. Those words I said to you, I didn't mean a single thing. I don't hate you, I wasn't miserable with you, I was the happiest I had ever been and I was stupid to give it up so quickly. I was a coward. I-"

A tear slips lonely down your cheek, but you are surprised when you feel slight anger ignite in your system rather than resistance.

"That's what you think I'm angry about Sanji?"

The man in front of you freezes mid-sentence, his anxious eyes giving way to utter confusion.

“I-“

"That's what you think hurt me?"

You let out a soft, emotionless laugh as you look to the ceiling and back to him, eyebrows furrowed in frustration.

"I wanted you to let me in, I wanted you to let me help you. I told you not to protect me, I told you to let me fight with you but you didn't."

There is a silence that unveils the sentiment of truth in your pain. Your own boyfriend had left you with bitter words, but what had torn your heart to shreds was the fact that you thought he did not trust you to carry his burdens as he did yours. You thought that a relationship with him would concur to you being his person as much as he was yours and yet he had shut you out and walked away.

"You pushed me away."

Your last words to him are quiet, and the pain exceeds what you can hold back so tears start to cascade quickly down your face.

"Sanji-"

He moves before you even have the chance to continue, your broken words causing his own chest to squeeze painfully. He pulls you close to him and in an instant, you are engulfed in his arms and your senses are filled with his familiar scent and warmth. You tremble slightly as you push your face deeper into his chest, and his face buries itself into your skin.

Sanji feels his heart contort painfully as it goes from warmth to agony.

How can a woman such as you exist?

Your kindness he didn't deserve? Your love and consideration he had hid himself from? Your devotion to him? All this time he had thought the words he spoke to you were what caused the distance between the two of you. But you were hurting because he had not trusted that you would accept him and comfort him and carry his hardships as yours.

"I'm so sorry love. I- I just didn't want you to know. I didn't want you to see how pathetic I was in my earlier life. I didn't want you to see me differently. I didn't want to burden you or cause you hurt."

Your tears start to slow and your heart rate steadies as you find solace in the chasms of his arms. "I know that I just-" Your words stumble into your soft cries.

"I just wanted to help you."

When Sanji pulls away and looks into your eyes, he finds in them a glimmer of hope. Could he dare to ask for your forgiveness? When he moves next it is out of all the love he has for you in his heart, all of his regret and sorrow and devotion. His breath is hot against your lips before they connect, deep and soft and passionate. He brings your form closer to him, his touch like fire on your skin.

You finally respond.

A hand carves its way into the depths of his blond hair as you pull him impossibly closer. You move desperately against him and pour all the fondness and misery you held onto into the kiss. It lasted for long moments, the pressing of your mouth to his, the warmth and the love. When you pulled apart his head rested on yours, his affection still lingering on your skin. Your breaths were uneven.

"My love, forgive me."

When his gaze meets yours, it is filled with his pure, honest intention. Yes, the division cast between you may take more than a kiss to heal. Yes, the trust shared between you may have to be built from a hundred conversations and reassurances. But the love that the both of you had was true, and you knew that neither one of you would be moving on from the other. So, you smile tenderly and sadly at him as you tug his face to yours and connect your lips softly and deliberately.

In your mind was one thought.

You'll both be just fine.

[gods-perfect-idiots]

Okay bear with me folks, I have some ~thoughts~ about the Vanessa/Wade relationship (or frankly lack thereof) in Deadpool & Wolverine. I should start by saying that I am analyzing this with the (likely erroneous) assumption that everything on screen is 100% intentional and mindfully written to deepen the characters and inform their arcs. For the record, I don't necessarily believe that's true - there is certainly room for mistakes, lazy writing, confusing plot elements, or in this case, sidelining a potentially strong and important character for nebulous reasons (I'm guessing scheduling conflicts + run time concerns + actor's strike complications but idk for sure). (Also thanks to @gossippool and @kendyroy for encouraging me to post my thoughts instead of just rambling in the tags in the first place, y'all are the realest)

Long rambly post below the cut fyi

Now, granted, it has been a while since I watched the original Deadpool so I am not as well-versed in their early relationship as I am in the handful of scenes Morena Baccarin has in dp3, but I do think it is pretty canon that Wade generally struggles to express his deeper worries and feelings (without filtering it heavily through crude humor, sex, and pop culture references of course), especially after the events of dp1 and the physical and mental damage he sustains, and Vanessa is frankly no exception despite how much he cares for her. The entire first movie hinges on the fact that he doesn't really believe she could love him in his post-Francis mangled state, which is pretty contrived imo given that the film has established already how bonded they are, and she doesn't strike me as being written to be so shallow as to reject him based on a physical deformity. I mean iirc she wanted to stick around through chemo despite him being literally riddled with inoperable cancer, so she clearly is in it for the long haul (at least in dp1), messiness and all.

Now, in dp2, obviously she is shot and killed early in the film, and Wade spends much of the rest of the film wallowing in his very profound grief, trauma, and guilt over losing her due directly to his violent lifestyle. He goes to prison, he basically gives up on life and seems very resigned to dying once he has the power suppressant collar on, even excited to do so so he can be reunited with her. She is mostly sidelined as a Fuzzy Dead Wife trope basically, but the important thing here is that he spends weeks if not months in the throes of despair over losing the love of his life just as they were trying to start a family, and trying to reach across the boundaries of death to be with her.

Now, my first couple times watching dp3 I was frustrated by the trite narrative presented in the interview scene towards the beginning - specifically Wade's whole "my girl is getting tired of my shtick and I need to show her I matter". It felt contrived and disingenuous, and I just brushed it off as iffy writing, a means to an end, but the more I reflect upon it the more I think it is based in an emotional reality that is just handled with a very light touch by the film in favor of fanservice and Poolverine content (NOT that I'm complaining in the slightest - I think this movie is a masterpiece in many ways, albeit a flawed one but that's beside the point here), which for the record I am not against because I think it lends it an air of realism. This is Wade's story after all, Vanessa is a part of it but it is ultimately about him and his journey.

Basically, I think the combination of what happened to him in dp1 (the brain damage, the trauma, the awareness of the fourth wall, etc) followed by the events of dp2 (Vanessa's death, his grief and the associated guilt and trauma of being the direct cause of her death) led to an unbridgeable emotional gap between the two of them that ultimately leads to their breakup.

It's important to note that I don't think Vanessa has any recollection of her own death, given that Wade goes back and saves her before she can take the bullet, and so of course she can never fully fathom what Wade went through grieving her and their life together and their potential family, for however long he spent between her death and bringing her back with Cable's device. She can try (and she clearly does in the one scene I'll talk about next) but I fear she accepts, maybe even in that scene, that she can never succeed. He is beyond her reach by this point, and vice versa, his experiences having fundamentally changed him.

The one scene we really see from their relationship between dp2 and dp3 is the one where Cassandra mind-gropes Wade in the Void and we see Vanessa struggling to reach Wade across this aforementioned gap - she wants him to open up, she wants him to share what he's going through, she wants him to be the person she initially fell in love with (not even selfishly - to her nothing has changed really, because to her no time has passed). But not only does he not understand what she's really asking for but he responds in such a way that makes me think he has unprocessed issues that are only tangentially related to what she's saying - ie the stuff about mattering, about asking her if she even wants to be with him, etc. And he's not the Wade Wilson she met back in dp1 anymore. He watched her die and grieved her and brought her back, believing it would make everything go back to normal and they could resume their life together as if nothing had changed, but he has been fundamentally changed in a way that she can't grasp, even if he WAS good at externally processing his trauma openly without the artifice of wry jokes. She didn't "come back wrong" - instead, she came back exactly the same as before, but HE'S different now. Not wrong, per se. But changed.

It's an interesting scene because it's obviously a memory, and a crucial one at that, but you can see how Wade is misunderstanding what she's saying, viewing it through the prism of his own lack of self-worth and his own hopelessness - he takes away that she thinks he doesn't matter (even though like he says she didn't actually say that, but I don't think Cassandra invented that wholecloth - I think she pulled it out of his psyche because that's what he believes deep down, hence why his fixation on mattering even though she never said those words exactly), he takes away that she doesn't want to be with him, that she thinks he's nothing. Which would be frustrating as an audience member to witness as a pretty simple misunderstanding which could potentially be solved with one conversation, but it feels believable to me that these two people who have shared a great love would be fundamentally separated by unimaginable, cosmic trauma, and the on conversation they would need to have to rectify the misunderstanding is one that is impossible for Wade to verbalize and equally impossible for Vanessa to conceive of. It was one thing when they had shared trauma like violence and SA in dp1, but what Wade has gone through in dp1 and dp2, humor aside, is unfathomably traumatic, brain-breakingly so even, and that's not even factoring in the possible mental illnesses he now struggles with (I've seen folks suggest schizophrenia, DID, depression, etc. but I won't get into armchair diagnosing a fictional character here - suffice it to say he is canonically unwell as a result of what has happened to him, and yes it manifests as quirky fourth wall breaks and cheeky one-liners, but within the universe of the movies he is undeniably profoundly mentally ill, and that includes this humorous alter ego he created to cope with his trauma).

I think off-screen Vanessa probably really tried to reach him, maybe for years (the six year gap implies to me that they didn't break up immediately, that they tried for a while to stay together), trying to get her Wade back, but that Wade is gone. He struggled to express that to her until eventually he started to feel rejected because he couldn't express his trauma or how much he has changed, because even he can't fully conceive of the gulf that has formed between them. The truth is, he WANTS to be that Wade again, for her and for himself, but that Wade died when she died. Or maybe he had already started dying when Francis got a hold of him in dp1.

Anyway, all this is to say, I think Morena Baccarin WAS criminally underutilized in dp2 and dp3, but I think there is a strong argument to be made for the believability of their breakup regardless. I think even relationships built on enormous love can crumble due to trauma, and what Wade suffers over these movies is mind-bogglingly enormous trauma. It's especially heartbreaking that he blames himself for their relationship ending, talks like she just got tired of him, thought he didn't matter, whatever. But it is a credit to him that he never seems to feel anger towards her about it. He doesn't seem to feel entitled to her, though he longs for her and what they had and what she represented (hope, love, a future, a family), but ultimately she becomes more of a symbol of what he lost when he gained his powers, because let's be super fr right now - even if they had succeeded in having a baby, not only would they have lived in fear of her or the kid getting killed, but ultimately Wade would likely outlive both of them even if they managed to die natural deaths. The moment he gained his powers he was already destined to lose her, which is heartbreaking because she was the only reason he opted for the treatment in the first place - so he could stay with her.

I think a big part of Deadpool & Wolverine is watching Wade continue to process his own motivations (vis-a-vis Vanessa but also his other friends) and how he does eventually let go of the idea of "mattering" in favor of just saving the people he cares about (*cough* and being saved right back *cough* by Wolvie, as the final line and shot implies). And in the process he finds someone new who cares about him, who thinks he matters, who tries to sacrifice himself for him and his friends after mere days of knowing him, who comes home with him at the end of the story, who breaks his own centuries-old patterns, who has also experienced unimaginable grief and trauma, who has struggled with wanting to die and being unable to, who not only matches his crazy but matches his FREAK and also not only won't die on him but CAN'T die on him - and more importantly cannot be randomly killed by a stray bullet.

Idk if any of this makes much sense but I do think if you read between the lines and consider the potency of trauma and grief, guilt and emotional damage at play here, Vanessa and Wade's off-screen breakup is actually pretty realistic, and really heart-breaking to boot.

You can tell she still cares about him in so many ways - she shows up for his birthday party, she shows up to his welcome home party at the end, she finds excuses for physical contact multiple times, her eyes get soft when she looks at him, but there is a distance there that Morena Baccarin does an incredible job of portraying. She cares about him deeply, she has mourned the loss of their potential life together, she has let him go and accepted that the Wade she fell in love with is gone, but she wants him in her life even though she's moving on because she realizes he's gone somewhere she can't follow (literally and figuratively). And she wants him to be happy which is why I fully believe she would immediately clock the Poolverine of it all and not-so-subtly encourage them to make it official.

Anyway. Poolverine forever. Nothing against Vanessa at all - I think she delivers a nuanced and beautiful performance, I think their relationship is sweet and heart-wrenching in large part due to her acting chops, especially given how little she is given to work with - but I think their relationship was sadly doomed from almost the very start, because Wade becomes this traumatized superhuman and Vanessa would always be at risk in his orbit, but also would always on the outside of his multiverse superhero experiences. I think it's weirdly beautiful, even if I am filling in a lot of gaps and giving the writers maybe undue credit.

Anyway... thoughts? Please DM me or write in the tags, I am feral about this movie and just want to talk about it with anyone haha. If you have further insight into these characters too I'd love to hear it - I am by no means an expert in these movies or characters!

[emdotcom]

Man. The Herobrine really is summat else. We got:

A glitch of a ghost in the machine that causes every error in the game

The White Eyes character, stemming from a texture error, which becomes associated with the cave noise & eventually leads to the creation of the Herobrine myth

Transgender swag

The fucken. Brocraft stream that links to that ONE image & implies that either you or Herobrine are "asleep" & dreaming

The way that Herobrine myths kicked up due to the TF2 influx, after the devs made mention of the game

Every single unexplained structure in the game, all abandoned, all without a clear group that created them can & will be associated with Herobrine

The mineshafts. The ruined portals. The deep dark. It's kind of like a story, told in three arcs, if you squint right

Like something that used to live there, toiled in the soil along with the worms

Like something that got locked away, that wants to go back

Like something that needs to be kept out

Every single zombie looks like Steve. Does that say anything? Does it imply something about Herobrine, another reflection, but maybe a bit more sentient? With teeth that are a bit more sharp, with a malice that is a bit more cold?

Mojang putting the "Removed Herobrine" note in for YEARS, then one day dropping it, only to bring it back 3 years later

N*tch being scrubbed from the game's lore, so he's also (sometimes) scrubbed from Herobrine's lore, leading to alternate origins

He is the first player. He is the ghost of a fellow player. He is an architect, a miner, a builder. He is a friend to all the mobs, & an enemy to those that take all the trees & never replant the saplings. He is a curious onlooker, probably harmless. He is a deep loathing. He is a danger, a legend, just a myth, but is he?

The way that people's opinions of Herobrine have shifted through years, like a litmus test for Minecraft players as a whole

It starts with the eerie feeling of being in a room you KNOW should be empty, but feeling eyes on you, anyways & ends with a sad type of goodbye, a dreamer seeking a dreamer condemned

The way he's more quiet, more calm, less prone to the griefing & attacks he was once known for, like his fire has cooled with time

The Minecraft end poem. Maybe. Do you think Herobrine ever got to hear those words? "I love you," & "You have played the game well"?

The person with the Herobrine username, which has had the catboy Herobrine skin on for years o7

[disappointment-comics]

i think i’m just sad that none of them got to grow before they died

luther was still living in the manor, which he’s always done for his whole life. so much of his arc has been about outgrowing this place and learning to leave. but he still winds up in the ruins of the place he grew up in. i could’ve believed it as a character choice IF we hadn’t already seen luther figure out how to live independently in the world in dallas. instead it was a regression

diego deserved to break the cycle of abuse!! he’s always been softer than he lets himself be, the role of father should’ve been a really big thing for him. and yet he ends the season without his kids and with the whole mess with lila and five. they spent the whole season trying to convince me he was a loser and a failure when he seemed really normal and trying his best. which is exactly what he was as a child, designated number 2 and never good enough.

i was a big s3 allison defender but then they did NOTHING with all the big swings they took with her character, so it was all for nothing?? ray walks out?? (which seems so ooc for him but i guess it was an actor scheduling thing) no conflict with claire very little resolution with her family and no introspection into what her choices and control issues mean for her.

klaus had this whole storyline with his powers and then didn’t get to use them at all… like that’s literally insane. it felt like they were really setting klaus up to reflect on his relationship to addiction and the parts that are and are not related to his powers, but then it just stops. he doesn’t apologize, he doesn’t get comforted, doesn’t learn to save himself, and he just dies, which is such a waste of a character that’s always represented an interesting blurring of life and death. i really would’ve liked to see klaus get some autonomy this season, since so much of his life is other factors making decisions for him, but nope.

five. i don’t even think i have to say anything here.

ben loses so much character autonomy halfway through this season. he’s another character who’s always been at the mercy of others, maybe most of all, and he doesn’t even feel like a main character in the season ABOUT him.

viktor has some moments with getting to confront reggie, but even those fell flat for me tbh. the line from reggie saying “you deserved to wear the mask” just proves that none of them ever understood that NONE of those children should’ve been in the masks in the first place. vik had built a genuinely good life for himself and didn’t get to keep it. dying as an umbrella martyr is not revolutionary when they’ve all been doing that their whole lives. living as a happy, normal person is actually much more radical. also he should’ve got his violin back.

[cognitiveleague]

Something I really enjoy about the Dressrosa arc is the narrative comparison and contrast presented between Law and Doflamingo.

Oda, especially post-timeskip, devotes a lot of storytelling to looking closely at protagonists and villains alike, asking the audience to join him in exploring questions of “what made them like this?” and “does it matter what drove them, at the end of the day?”

And Dressrosa is one of the places where those questions hit the hardest for me, because one after the other, he shows us two children — both having experienced a fall from (different degrees of) privilege and into incredibly traumatic situations at a young age, both victimized for things they had no means of controlling as children. Law and Doflamingo are both shown as being radicalized by that trauma and loss of control, rejecting the gentler values their parents tried to instill in them because they reached a point of not being able to see a point in compassion, or hope for any justice but revenge.

In the present, Doflamingo hasn’t really known for a very long time who Law truly is, but in a sense, he wasn’t wrong when he saw himself in the way a younger Law reacted to the loss of his former life by wanting to lash out at the world. In that moment, there was something in Law that DID reflect his own wounded inner child’s rage, and in a strange way, he clung to the connection he felt with that worst possible version of Law long after Law had discarded it and moved on.

The question implied there is “what made them different in the end? What redeemed Law, and what (if anything) pushed Doflamingo past the point of redemption?”

While the second question (as is often the case) is up to a lot of interpretation, the answer (as with Big Mom in the following arc) seems to me to lean toward “while his choices were his own and he ultimately has responsibility for them, it’s also true that when he was young and vulnerable and poised to go down a path of destruction for himself and everyone around him, the adults in his life used his brokenness to their own selfish advantage, encouraging him along that path instead of teaching him better; whether or not it absolves him of ANYTHING at this point (and it certainly doesn’t absolve him of EVERYTHING), there is a tragedy in the fact that we will never see who he might have been if he wasn’t encouraged and enabled to embrace his worst impulses.”

That tragedy is a core part of Corazón’s story — Corazón’s big brother who never grew past fear and rage and clinging to the selfish comfort of the memory of how easy their past life of privilege had been, who thought he loved him on some level, and who on another level probably knew he never developed the capacity to truly love anyone but himself. I think it’s probably why Corazón didn’t pull the trigger fast enough, when it came down to it — even after seeing what a monster his brother had become, even after dedicating his whole adult life to stopping him from hurting even more people, part of him still remembered the wounded, frightened child in his big brother, and the times he’d tried in his selfish way to protect him. Something in him still had sympathy for that child, and wanted, if not to believe, then at least to hope (even against all evidence) that enough of him was still in there that HE wouldn’t pull the trigger without hesitation, either.

We know how that story ended. It was far too late for his kindness to save Doffy by then, if it had ever been possible — there might have been something left in him that could feel something akin to regret over killing Corazón after the fact, or at least greedily resent the loss of him, but if there was, it wasn’t able to stop him.

But in the end, Corazón’s kindness — his compassion, his determination to believe that even a deeply wounded, deeply flawed world was worth placing his hope in and fighting for, his unrelenting love — was worth it, because it saved Law. It was enough to save the bitter, broken child Doffy saw so much of himself in.

Corazón took Law away from the adults who would have enabled him the way Doffy was enabled at his age, and put in the hard work of showing him, day after day, that while his pain was worth acknowledging and sympathizing with, he was worth more than just revenge — he was worth love, and healing, and the fight for a world better than the one that had hurt him so badly. He taught him not a naïve hope like the one the adults in Flevance had tried to give him, but a stubborn, bitter hope, one that laughed and spat a bloody declaration of victory right in the face of the enemy even when their backs were to the wall, hope with its teeth bared in defiance of a world that Law already knew to be unjust and pitiless.

That is what made Law’s story end differently than Doflamingo’s, and how we ended up with the version of Law that we and the Strawhats get to know - a man determined to trudge on, in spite of his own pain and disillusionment, as the bearer of lights that would otherwise be lost, those left in his hands by people he saw (still sees) as having been kinder, gentler, more deserving than he was of survival. A man who covered his body with reminders of the love that dragged him kicking and screaming into the light when he’d given his own heart up for lost, who named his crew in honor of that love, who devoted the rest of his life to making sure that love and that sacrifice mattered. A man all too familiar with his own worst impulses, who struggles to see or to trust in his own kindness, but who has chosen to be a defender like Corazón was to him, to be a healer like his birth parents were to those around them, to be not a tyrant like his former mentor, but a leader who loves and respects the people who follow him, and who is genuinely cared for by them in return.

And, despite his own misgivings, despite not being someone who reads to strangers as warm or caring, he is kind. He has chosen, through the love that was shown to him, to be a genuinely good man — faithful and just to his friends and allies and those he’s seen wronged in front of him, unwilling to demand sacrifices of others that he wouldn’t give of himself, determined to fight back against the ugliness and apathy and cruelty of the world, to wrest every bit of hard-fought justice he can from life not only for himself, but for others who have been crushed down by life.

It’s thematically fitting that he specializes in surgery, even completely aside from how suited his power is for it. As a character, his narrative is fundamentally about having chosen to become someone who can offer the world a surgeon’s sort of kindness —not warmth or softness, usually, but the mercy of a sharp, careful blade, a steady hand, and a clear understanding that sometimes, you have to roll up your sleeves and do the ugly, messy work of cutting away what’s too damaged to save before the healing can begin.

[casscainmainly]

Thinking about Cass being shunted off to Hong Kong and having all sorts of feelings about it again.

I think Gates of Gotham is the only series (besides bits of Red Robin) to even touch on how Cass reacts to it.

Gates of Gotham #1

When Dick tells her he didn't know she was back, Cass responds "I'm not". This is mostly referring to the fact she's back for a mission, but it also sheds light on how she's feeling. She doesn't belong in Gotham anymore, not the way she used to. In Red Robin #17, we see she was fighting without a Bat symbol, until Tim gives it back. Bruce sending her to Hong Kong wasn't just a geographical distancing, but an ideological one as well (whether he intended it or not). Cass understood him sending her away as a rebuke of her right to the Bat mantle.

Gates of Gotham #2

How does Cass feel about being 'relegated to Hong Kong'? She sidesteps Damian's comment here (mostly 'cause she knows not to engage), but her silence indicates it's not an easy answer. I wonder if there is some resentment/negative feelings towards Bruce.

Gates of Gotham #4

This exchange is so interesting if you look at it through Cass' perspective. Dick is grappling with his insecurities about not being a good enough Batman, and says "if you don't belong [in Gotham], she'll never keep you." Dick and Cass both don't come from Gotham - his comment unintentionally reflects on Cass' ability to be Batman as well. And given that Cass just returned from Hong Kong, it makes her feel even more like an outsider.

So her response - "you're[...] wrong.[...] It's not about the city. It's about how you choose to see the world. Everything else is just an excuse" - is not only addressing Dick's problems, but also her own. Her whole story is about choice and agency, and here she's making it clear: upholding the Bat mantle is their choice. No one can take it from them, not the opinions of Gotham citizens, not their own insecurities, not even Bruce himself.

Gates of Gotham #5

Cass asserts her desire to stay in Gotham (a decision tragically followed by the New 52, but I'll ignore that for now). Where Dick's arc ends with him telling Bruce he can be Batman, Cass doesn't interact with Bruce at all - her right to the Bat mantle no longer requires a Bruce stamp of approval. It shows the difference in Dick and Cass' approaches to Batman (Cass' loyalty is to the symbol, Dick's loyalty is to the man), but also highlights Cass' growth. She chooses to stay in Gotham because she wants to, not because of anyone else.

I'm not actually sure if her feelings on going to HK are elaborated elsewhere, so if anyone has more info please let me know!!! But I think it's very interesting that her first entry into Gotham is in defiance of David Cain, and her re-entry into Gotham is, in this interpretation, in defiance of Bruce.

[cynthiav06]

Respectfully, did Percy Jackson even have any character development throughout the original series?

He doesn't have any flaws. He chose to take the prophecy from Nico, but he was always going to be the prophecy child.

He's good at the start and good at the end with no development unless you count being traumatised and depressed from a war as development, which it's not.

Not trying to be rude, sorry if I seem rude.

Worry not. It's a perfectly reasonable question and should usually be applied to most character studies. Also, buckle up. This is going to be long. Very long. It took me a while to get the time to post this and even more time to actually get my thoughts together. Like a lot of time. (To anyone who doesn't want to read the horrid mess of a post this is there's a partition at the end, after which all the most important points are summarized. ) Just skip to that, but hopefully, someone reads this whole thing because it took me eons to write.

I can see why you think that way, and it is contributed more so by Rick's absolute incapability of not recycling the dead horse that is the original pjo dynamics. He has inhibited character growth from almost every single character where all their epiphanies and character change in the end amounts to nothing, and they regress back to how they used to be, and any and all deviations their personality had are either dismissed or suppressed.

Percy is the victim of the latter. In the first book, he was a child, not particularly concerned with saving the world or being a halfblood. His life had been worse enough, and the halfblood situation had made it abysmal. Percy was living goal by goal. He wanted to get through the field trip, then through the semester, then through the Gabe interactions all so he could finally see his Mom, the one good thing about his life. Then that upends completely, and his only reprieve, the trip to Montauk, his safe place becomes the start of a series of grand tragedies in his life.

Sure, he stayed at the Camp, not willingly but for safety. He had nowhere to go, his life had been turned upside down, his mother was dead, and he wanted to go home, to have his mother back. He couldn't have cared less about the Gods and the world ending, but as soon as Chiron mentions Underworld, Percy is back on solid ground. He has a goal again. Get Sally back. He does everything to reach that goal. He fights monsters, prays to a godly father he refused to acknowledge beforehand, manipulate the press and the Gabe situation, bargain with immortal deities and such, and negotiate his way out of most of those bargains. All the while keeping in mind that he has a traitor to deal with, but Percy is the definition of "deal with one thing at a time. If it's not an immediate concern, it can wait." He does all that and is rewarded for it by being able to live, getting his mother back, and a taste of the life he has doomed himself to, and he almost seems to accept it. He even wonders if Camp Half Blood could be his home.

We see Percy do this throughout all the books. He is constantly changing his intentions, his goals, and his opinions on everything. He is also caught in his internal conflict of being with or against the Gods. The thing is, Percy has very little time for reflection as he is jumping from one existential threat to another, and yet he still manages to grow in the small ways. You need to see it individually book wise rather than over the whole series as Rick messes up terribly with character arcs and developments of literally every other character.

He begins by not caring about Poseidon's existence or his proximity, but in the end, he, too, is beholden to the intrinsic need of having a father. He, too, wants Poseidon to care for him like a father and is therefore hurt by being called a mistake. He knows Poseidon claimed him as a weapon against Zeus so he could rectify someone else's mistakes and restore Poseidon's reputation; who if not Percy would understand this manipulation the best? But the best lies are the ones you want to believe in, and so Percy keeps his silence because, of course, he wants to believe his father genuinely cares for him and loves him. Who doesn't?

He didn't want to be the hero, but by the end of the first book, when he is called one, he doesn't dislike the feeling. He accepts if only a little that this is to be his life now, and as the series progresses, he adds to the pros and cons.

In the Sea of Monsters he is very happy that Gabe is gone and it's just him and his mother again but by the end of it he has gained a new family member in Tyson and is very happy of the fact. He even manages to get over his initial hostility of Clarisse somewhat when he understands her situation.

Titan's Curse is all about Percy learning about the number of forces at play in the world of demigods. He tries to get along with the Hunters and Thalia; it doesn't work. He ends up almost losing Annabeth, someone who he considers a close friend by now. And so we see Percy spiral a little, show more of his anger issues as he interacts with Thalia or even Young Nico just after Annabeth falls from the cliff. Angry and impatient, he goes on his own quest.

I know most readers remember it as Percy, Annabeth, and Grover or the main cast always working together, but it's almost never like that. Somewhere along the way, Percy always ends up doing his own thing, which works because he best works on improvisations. It's Percy's plans that always end up working the most more so than Annabeth's. Just putting it out there.

Then it's just Percy having the worst month of his life. Annabeth is in mortal danger. No one seems to be hearing his opinions between Thalia and the Hunters. Then Bianca dies and Percy because he is Percy is completely and utterly guilty over it.

Note that Percy says he will do his best to keep Biancs safe and not outright promise to keep Bianca safe. But his non-existent self-esteem and other factors withstanding he blamed himself for it completely. Then Zoe dies, and Percy has lost yet another person he thought he needed to keep safe.

Percy is angry at the gods, but he is not surprised by their actions. But he is Percy, and he is determined to change the ways of Olympus, so he pressures the Council and his father to keep the Ophiptaurus, the very creature that threatens to topple their rule. It's his small was of rebelling, and Percy is always rebelling against the gods in his own way, almost never playing into their hands because as much as he despises Luke, he agrees with Luke too and unless he finds a better way to deal with the situation than what Luke is employing he too would have to one day follow in Luke's footsteps.

Now Percy, who trusts Chiron, even thinks of him as a secondary father figure realizes that Chiron for all his compassion for mortals and demigods will always in the end do the bidding of the Gods'. So he makes the snap decision to hide Nico's parentage from Chiron and from everyone else because Percy realizes no matter how much he loves or cares for certain people in his life, they are beholden to answer to a higher power he cannot gainsay, so he will have to take some secrets to the grave. He learns that in the end, some things he needs to shoulder himself.

And of course, the guilt of Bianca's death is no lesser, so he does the only thing he thinks can give him some relief from it. He takes the prophecy for himself, saving Nico and hoping it's enough to alleviate himself of this bile inducing sensation in his gut called guilt that is swallowing him whole.

Now, the Battle of Labyrinth is the most crucial. This is the book with maximum stress on Percy from all ends. From Sally dating Paul and Percy having to prove he is worth Paul's confidence in him in Goode, from Annabeth who is quite literally snippy and passive aggressive through the whole book either due to Rachel or due to her own prophecy even though Rachel and Percy are the two people who got them all out. Then there's the Nico situation. He knows Nico is spiraling, which is making Percy spiral and further strengthening his own guilt. And on top of all this, the Luke situation. Percy is literally caught between an enclosed space, with all four sides closing in on him rapidly while he is fending off mortal danger.

All this repressed tension is fully let loose when he explodes Mt. Helen's. And this is the tipping point. Percy wants to take the choice of Calypso's Island if only briefly and not because he loves her or anything of the sort but because it's his one escape. From everything from his own doomed prophecy. Yet again, Percy is trapped by his own fatal flaw. Personal Loyalty. So he chooses to carry out his responsibility because he has given himself no other choice.

If that wasn't enough of self-realization, he is faced with the horrifying realization of the devastation his power has wrought. His loss of control has single handedly released the greatest threat to Olympus. Hephaestus tells Percy he doesn't know the limits of his own, and by the gods, does that terrify Percy. Up until now, Percy knew his powers were dangerous, but now he knows that he is also dangerous; that he is the real danger. And it's not a reality he wants to ever confront, so he coils his power and holds it tight in a leash. (It's why Percy's burts of power always begin with an unraveling sensation in his gut or something breaking inside himself)

He is somewhat soothed by Poseidon's reassurance because not only does Poseidon not blame him, he also solidifies Percy's faith that he is doing the right thing. And if Poseidon sprinkles in the fact that Percy is the favorite child then who is he to deny himself the comfort of such sweet lies because, of course, Percy thinks it's a lie and of course Percy basks in it. He knows better than to trust gods, he knows better than to trust even his own allies because at the times like this, they will do and say anything to appease him, after all the fate of Olympus depends on him, does it not? And neither the Gods nor the demigods will risk a falling out with him at times like this.

He asks his father if he can help but is denied because he is needed here. Then he does his job as told, and Charlie dies. It's on him. He is struck with twice as much guilt. Over Beckendorf, and then over the state of Atlantis. He asks again if he can help his father and is denied again yet scorned by his father's family, for he can't even help them with the mess he started (or so he believes).

This is why Percy goes with Nico's plan of using the Styx. Because he assumes Nico of all people who already hated him has no reason to curry for his favor. But he makes a mistake. After all, Nico needs his father's favor, and Hades needs Percy gone. Percy can't really blame the kid, but he does anyway because why not? He is angry, he is furious, and everything is slipping from his fingers. He is going to die. Everyone is going to die, and it's all on him. It's all his fault, AGAIN. So he rages at Nico because for at least one single moment, he wishes this were someone else's burden, especially Nico's, but Percy's taken it for himself, and it's too late to back out now.

So he fights and manipulates and negotiates. Titans, River gods, his own demigods. Because don't forget Percy knows there's a mole and that's also his problem. Everything is his problem. All that work and so many dead. Silena, Michael, Ethan, and many more on both sides, and he is trying everything he can to make it better to fix things because, again, he thinks it's his fault. Imagine doing all that, and Rachel tells him he is not the hero, and Percy bristles because no, he doesn't want to be a hero, but of course, it offends him. Because, if he's not the hero, then it's not his burden, and then what the hell is he doing all this for if, in the end, he is not the hero that can save Olympus? Does that mean he read the prophecy wrong, and now he is going to get everyone killed because he wrongly assumed he isn't the hero. He is angry and impulsive, and he snaps at even Hermes. Because now HE is spiraling.

And somehow, it's all over with Luke killing himself, and it dawns on Percy, the truth. So despite all the hate because why wouldn't there be hate, Luke has singlehandedly tried to kill Percy more than Percy can count, and he calls Luke the Hero. Makes the choice because he believes in Annabeth's faith and Hermes's faith in Luke. It pays off and that's all that matters.

Finally finally it is all over. the Gods owe him, and finally, he has an answer on the path he wants to take to change the gods. He denies immortality because he is Percy Jackson, he is Sally Jackson's son and he knows better than to let others dictate the flow of his life, because he has better plans than wasting away inside for eternity, dancing on someone else's tune. He fights for the demigods, the non-Olympian gods and their children who Olympus has failed to do justice to, for Nico, and in some way for himself.

Then it's not over at all because Rachel has taken Blackjack and Percy knows the truth of the Oracle and he loves Rachel far too much to let her even try. But it works and she is okay; he can't be with her but she is alive and she is okay and Percy is extremely grateful for that.

But then there's a new prophecy, and even though he tries to find some peace with Annabeth, he knows it's not over. It's never over for him. But he can forget about it until he can no longer afford to ignore it.

___________________________________________

Of course, Percy repressed his trauma. The last time he let it out, he released the literal bane of the gods out. Do you think Percy could live with something like that happening again? What choice does he have? There's no one who can understand him. NO ONE. Not even Annabeth.

You can see him accept his role as a leader and grow more into it. In son of Sobek or even in Son of Neptune. He is more serious and more authoritative because he has so many people depending on him, so many expectations hanging on him. We can also see Percy's anger issues get out of hand. He is spiraling, the readers know he is spiraling, and Percy knows, but he can't do ANYTHING. HE IS LITETALLY DYING OR BEING ATTACKED, HE CAN'T, HE JUST CAN'T.

BUT WE KNOW IT'S THERE BECAUSE WE CAN SEE HOW MUCH PERCY HAS GROWN INTO SUICIDAL TENDENCIES. AND HE CAN'T ACT ON THEM MOST OF THE TIME BECAUSE OTHER PEOPLE ARE DEPENDENT ON HIM AND HIS FATAL FLAW WON'T ALLOW HIM TO PUT HIMSELF OUT OF HIS MISERY.

BUT WHEN HE HAS DONE EVERYTHING HE POSSIBLY COULD, AFTER HOUSE OF HADES, HE LETS POLYBOTES'S POISON CHOKE HIM, ALMOST KILLING HIM IF JASON HADN'T INTERVENED. THANK GOD FOR JASON GRACE.

Percy was this sassy, heavily independent, "I do my own thing" kid and now he is someone with more responsibilities than anyone with most of his free will stripped and most of his hopes ruined or deemed impossible. IT'S TRAGIC AND IT'S EXCRUCIATING AND HE CAN'T DO ANYTHING BECAUSE HE THINKS IT'S MAKING OTHERS HAPPY. IT'S SUCH A HORRIBLE SITUATION. IMAGINE BOOK 1 PERCY? HE WOULD HAVE LET IT BLOW UP IN EVERYONE ELSE'S FACE BEFORE HE EVER LET HIMSELF BE SO BROKEN.

I have seen so many people say how Percy is the standard hero who is always good and never makes bad choices, and I wonder which books they read. Percy always makes the supposed "right" choices at the cost of himself. His fatal flaw enabling his moral compass and the sheer guilt of the lives lost. He can't escape. He hates the gods, he hates the quests but he loves his family and friends so dearly, there's nothing he wouldn't do for them which means Percy is suffocating, drowning, choking in his own misery, his repressed trauma,his self loathing and being crushed to death by the weight of lives, responsibilities and expectations only he can hope to fulfil.

And one day Percy won't be able to take it. His lapses of control will increase in magnitudes so great, his inner rage will level the world. Destroyer, like Athena predicted, Destroyer like Kronos wanted and Destroyer like his name means.

Not every hero needs a villain arc. Percy is inspiring because after all this shit and all these horrors. He is still good, but WE NEED TO UNDERSTAND THE TOLL OF IT. PERCY IS STILL GOOD BUT AT WHAT COST? LOOK WHAT IT'S DONE TO HIM.

Rick has such a great potential for an arc like that but he is going to fuck it up, I know he is but I hope readers realize where it's all leading to and how much Percy has changed and how much he has sacrificed. Also, @hermesmyplatonicbeloved , @ogjacksonsimp , @cynicalclairvoyantcadaver , @helenofsparta2, @fourcornersofcreation thoughts? Did I stray too far from the canon, or am I getting it right at least a little? Because this post took days, I have no idea what it has devolved into.

[mrs-gauche]

On a more serious note regarding the "Solas is like the devil on your shoulder constantly trying to make you make bad decisions".. I think @corseque made a good point, in that Fen'Harel in Dalish legends is known for giving cunning advice that, in true trickster fashion, may lead to a helpful outcome, but always at a cost or in a twisted way. We talked about how Solas might try to prevent Rook from trusting their companions because of his own issues/experiences with betrayal or that he might try to use Rook as a piece on his own "chess board".

But I think this also goes back to the mage origin in DAO and you being tested by Mouse, a pride demon, and how the greatest danger of the Fade is, after all, careless trust. I'm also thinking back to this banter between Solas and Vivienne, in which she literally said that he "sounds like a pride demon" trying to tempt you to "leave the path". Or Cullen saying that no demon will ever possess him because he is "too much like they are". Given that Solas literally translates to Pride and the Dread Wolf itself being described as a pride demon, this "devil on our shoulder" might end up being like one big test for us to pass throughout the story, much like the Harrowing in Origins. And building on that, there's also still this crucial piece of dialogue from Solas himself, talking about the perception of spirits and demons:

"The Fade reflects the minds of the living. If you expect a spirit of wisdom to be a pride demon, it will adapt. And if your mind is free of corrupting influences, if you understand the nature of the spirit, they can be fast friends."

In DAI, Solas was already a reflection of how you treat him. If it's true that, what the devs seem to be hinting at, we actually get to learn and see what happened in the ancient past and who Solas was before he "called himself Pride" (keeping in mind that Rook doesn't know anything about Solas as a person at the start of DA4), and we come to "understand his true nature"/original purpose/true name, then the above quote might be an analogy for how the relationship between Rook and Solas can develop and how we can influence Solas' character arc (on top of the relationship between him and the Inquisitor already having a huge impact on him?).

And if you think about it, it's so brilliant how they seem to put a spin on the whole thing now, by having the "pride demon" be the one who needs to trust the one who dreams. Or rather, expecting the pride demon to be a spirit of wisdom, and not the other way around.

The idea that Rook challenging/rivaling Solas by going against his "devil on our shoulder" advice/proving him wrong/"pass the test" and not expecting him to be that pride demon after Rook comes to understand his true nature/original purpose, could lead to him being more likely to "adapt", open up and learn how to trust again is so beautiful to me, but that could also mean a challenge for us Solas fans if we have to (at least in the beginning) bump heads with him in order to see that development. 🥲😂 Either way, Solas is truly in for the most intense kind of therapy session.

[melrosing]

so stuff I’ve not liked about the finale and S2 more generally…. unfortunately it’s a lot and i'm thinking i might need to say this in several parts but first and foremost: the pacing really was shit and i don't just mean there weren't enough action scenes i mean the whole season they've had almost nothing to say about these characters and have just been making us think they do by having them repeat the same ham-fisted monologues about power and peace and the cost of war and whatever whilst moving at a glacial pace from one minor plot point to another and by the end of it most of these characters STILL haven't changed, and where they have it feels undeserved, and yes they really are at roughly the place they started so what have they even got to show for these eight hours of TV?? like damn

and I do get that the writer's strike has really effected them here and HBO hacking two eps off their season affected them too and that really can't be helped. but the pacing has been pretty poor from kick off and I can't just put it down to this being a more 'internal' season. i do not care about big battles. it's fine to have a season of a show that’s more about the characters’ interiority rather than plot action. that’s the exact reason why I like AFFC so much.

but these characters barely have interiority like idk what to say. some like Rhaenyra, Jace and Alicent have been spouting the same monologues every episode about wanting peace/wanting agency/wanting peace again etc etc, and the more interesting moments like Alicent's apparent suicide attempts, Rhaenyra's butchering of the dragonseeds etc... I mean where IS the interiority here?? unless they are spelling out a character's thoughts in the most literal way they can (as per Jace's diatribes about the dragonseeds), they leave their audience to do absolutely all the work by showing us nothing, and just leaving us to figure that the characters must be having some kind of thoughts but y'all can decide what they are.

and even Daemon, whose entire ARC was about his interiority.... like look I was so so ready to love this arc. i love fucked up little dream sequences. i love harrenhal. i was really enjoying the angle they took with alys. i was here for it. but now we've seen the whole of his S2 arc, im going to say yes, it was intended as a redemption adjacent kind of arc, and it isn't a very good one. Daemon has a handful of weird dreams, gets shouted at by some Riverlands folk, and he's a changed man.

consider the character everyone compares Daemon to (and who I'm always more than happy to talk about) and that's Jaime. and look at the sheer ground covered in ASOS: Jaime breaks out of a dungeon, Jaime meets a younger version of himself, Jaime gets his hand hacked off, Jaime reveals his anime villain backstory in the bath, Jaime deals with Roose Bolton, Jaime has a weird weirwood dream, Jaime fights a fucking bear - and at this point we're still only about halfway through.

now in contrast, what have they actually managed to do with Daemon this season. where has that finale moment with Rhaenyra been earned. this is not slow pacing for the sake of powerful character development, it's slow because they don't have anything else to say.

and also look at the state of characters like Aemond who seemed really promising in S1, yet in this season he barely reflects on the fact that he hadn't meant to kill Luke, and this war is an accident that he started, etc etc - he's just a killing machine lol. there were some nice touches in there, like i say i enjoyed Helaena telling Aemond how he'll die in the finale. but I no longer trust these writers to do anything with their more inspired ideas because they just consistently fail to do so.

look at Baela!!! like my god, has Baela had the opportunity to do anything except A) what she's told and B) counsel men on their feelings. she has like one moment looking at Daemon and you feel like the series is going to explore how complex it is to be Daemon Targaryen's daughter.... but my god they never do!! so where IS this interiority we've spent eight episodes on! what have they got to show for it!!

and i talked more weeks back about how frustrating i've found the writing of women more generally in this series and as of the finale I am finding it so egregious and so condescending. women want peace. women want to protect their children. women are tired of men. women are tired of war. women are trying to end this war peacefully. women are pacifists. women hate violence. and so on and so on and so on like jesus christ who am i even talking about here. even i don't know. it's so boring. it's so dry. and it requires female characters to always be the paragons of virtue, never do anything truly condemnable, never be unlikeable, never fucking anything except stand around saying how much they hate this. im bored of it and it makes me angry that they would do this in a series that specifically seeks to make everyone grey and everyone complex - they keep suggesting that might extend to the women before abruptly shutting it down again. see Alicent and Rhaenyra even STILL, after EVERYTHING, trying to peacefully shut down the war for the sake of love and friendship in the goddamn finale. I don't believe it anymore!! it's not cute! it's just dull!!!

and finally that just kind of brings me to how shortsighted a lot of the plot developments seem, when you see how the characters fail to reckon with their pasts or shit that just happened. Rhaenyra and Mysaria make out, and then that's never mentioned again and the tone never changes between them. Rhaenyra is done thinking about Luke. Helaena is done thinking about Jaehaerys. Aegon actually didn't mention Jaehaerys in the list of things he's 'lost' in that finale. Alicent's relationship w Viserys was just now condensed to 'we were fond of each other but he always liked your mum better'

like idk it's just. if this season's pacing is all about giving characters the chance to change and grow into the people they'll be when this war REALLY kicks off.... do it. write it. do not just write the same monologue a dozen times and hope it'll hit harder with each. doesn't work like that. sorry.

[protect-namine]

yingdu episode 2 thoughts:

for a show about time travel, it's surprising that link click went two seasons not focusing on the butterfly effect. S1 and S2 were very strict about making closed timeloops, because the overarching theme has always been: "past or future, let them be"

yingdu is the first time we actually have the butterfly effect as one of the main themes of the season

we now know from YE2 that whenever the screen shows up in black and white, there is a change in the timeline. events happened differently in a previous iteration

if we are to believe lu guang's time travel rules from S1 (which, imo, are still suspect, but whatever), then some nodes will alter the future irreversibly (like with xu shanshan) and some will not as long as the "critical event" still happens (like winning the basketball match in the earthquake arc — none of that mattered, since the earthquake will still happen)

so here's my best guess so far:

this frame shows up immediately before lu guang asks cheng xiaoshi what he's hiding. there is a distinct lack of red string

so I think cheng xiaoshi not asking about lu guang's abilities is still okay as a timeline change, because he's gonna ask them eventually, or lu guang will tell him eventually. it's a change, but a fixable one.

(edit: like when he tells him later in the vivian case)

when cheng xiaoshi doesn't ask lu guang to use his abilities on the photo, the red strings start appearing.

and of course, once they decide to actually go to bridon, it's just a whole mess

idk, I think this might be one of those "critical events" that cause a butterfly effect.

so my questions are:

did they NOT go to bridon in previous timelines? or maybe cheng xiaoshi went there before but like... in a dive... and not in the present? or it was under different circumstances? whatever the case, lu guang is clearly not happy with the change, nor was he expecting it

the timeline already changed as early as the afternoon of the anime con at least. since cheng xiaoshi didn't ask lu guang to explain his abilities -> he doesn't know what exactly lu guang can do with a photo -> he doesn't ask him to look 12h into the bridon picture. (edit: I forgot lu guang told him after the vivian case, nvm!) we've theorized that this could be because this is a future!cxs diving into the past, and there's also cheng xiaoshi with the gold eyes in the vivian case. I think this is still the case tbh, but I also want to explore another theory: there was a timeline change even earlier than this that is causing the butterfly effect. which is our actual theme for this season.

I am still not sure what exactly that change is, but it's most likely during their basketball meet-cute.

possible callback to S1E4:

then again, their conversation was interrupted because someone sent them a message about the fraud cases in bridon. so it could be liu xiao is messing with the past just as much? maybe? though I don't think a small interruption like that could make cheng xiaoshi forget to ask lu guang to use his abilities...

anyway, it's just a thought. as much as I love the idea of future!cxs messing with the past like lu guang, I also love thematic stories, and I think "(trying to fix the) butterfly effect" is an interesting contrast to "past or future, let them be" and reflects the contrasting arcs lu guang and cheng xiaoshi are going through.

but I really don't know with this show. we don't have full context, so anything could happen, really...

edit: oh I just found out that some people are interpreting the red strings as lu guang's attempts to control the timeline, which is the complete opposite of what I think lmao (to me, the strings symbolize the lack of control he actually has in the timeline — hence why he actually tries breaking them off at the end of the episode). guess we'll see in future episodes which one is correct...

[anthurak]

So by this point, I think many of us are likely familiar with the idea that the breakup of Team RWBY at the end of Volume 3 is meant to thematically parallel the breakup of Team STRQ in the wake of Summer’s death, ie; Ruby falls into a coma for a few days while Summer disappears and then both their teams fracture. Along with a popular sub-theory that Blake leaving Yang after the Fall is meant to parallel Raven leaving Tai.

But the thing is, if Ruby falling into a coma at the end of Volume 3 is meant to parallel Summer’s (supposed) death and the way this loss caused the fracturing and breakup of their respective teams, then Raven’s actions DON’T really parallel Blake nearly as well as a lot of people think.

And in fact, I feel like Qrow could potentially have paralleled Blake’s actions FAR better.

Like people talk about how Raven ‘abandoned’ Tai just like Blake ran away from Yang after the Fall of Beacon. Except if the point of parallel to the Fall of Beacon is Summer’s death, then the parallel doesn’t work because Raven was ALREADY GONE from Team STRQ by the time Summer disappeared. To the point where Tai, Qrow and Ozpin had (and still have) NO IDEA she was even involved in whatever happened to Summer. Raven can’t exactly have abandoned Tai just like Blake did to Yang if Raven wasn’t even around.

Instead, as I’ve discussed in the past, I think Raven’s actions following Summer’s ‘death’ potentially line up far better with WEISS. Like if it turns out that losing Summer was what actually drove Raven to return to her tribe, then that lines up very nicely with Weiss being taken back to her family/Atlas in the wake of the Fall of Beacon: Both return to the shitty, abusive family that raised them. And given how much of Weiss’s character is tied up in her family and their ‘legacy’, then the way Raven eventually took over her tribe makes her an ideal foil; effectively representing a Weiss who did eventually take over the Schnee family and company, but in the process internalized all the pain and trauma her family gave her.

And as for a cherry on top; if Ruby falling into a coma after the Fall of Beacon is meant to parallel Summer’s supposed ‘death’, then what was one of the last things Ruby did at the Fall?

Run off on a special mission with Weiss, just like we now know Summer did with Raven.

Now going back to my point about how Raven was not even around to abandon Tai just like Blake did to Yang, you know who WAS presumably around when Summer ‘died’?

Yeah; Qrow.

Let’s consider what exactly Blake actually did following the Fall of Beacon beyond just a surface-level reading: Yes, she did go back to her family, similar to what Raven may have done, but given that the Belladonnas are NOT actually shitty and abusive, I maintain that Weiss is still the better parallel to Raven. Instead, let’s consider Blake’s whole arc across Volumes 4 and 5 relating to the White Fang: At first being depressed over loss and perceived failure before being inspired to start working for a better cause, in this case pushing back against and stopping Adam’s takeover of the White Fang.

So I have to wonder; what if this reflects what Qrow did with Ozpin and the conspiracy following Summer’s ‘death’? Maybe Qrow and his teammates had helped Ozpin in the past and knew what he was doing, but what if THIS was the point where Qrow became fully committed to Ozpin’s cause and joined the Ozluminati full-time? Perhaps seeing it as a way of ‘honoring’ Summer’s memory.

Instead of staying with the one teammate he had left (and possible partner) who was now in a massive depressive spiral AND had two kids to take care of.

It starts to make Qrow and Tai feel a lot like Blake and Yang, doesn’t it?

This is one of the big reasons why I think Qrow and Tai are the REAL foil to Bumbleby on Team STRQ. They effectively give us a look at a version of Blake and Yang whose relationship failed. Or rather, were never able to ‘take the next step’ and actually form their relationship.

Qrow is a Blake who fully internalized her self-loathing and belief that she didn’t deserve Yang or that Yang was better off without her and has simply been pining for Yang from afar.

Meanwhile Tai is a Yang who likewise fully internalized her fears of abandonment and fully resents Blake for leaving her or may not have ever even fully recognized her feelings for Blake in the first place.

Essentially, Qrow and Tai are the version of Blake and Yang who weren’t able to work through all the problems, issues and baggage which allowed them to actually start their relationship. Like a Blake who didn’t get that vital pep-talk from Sun at the end of Volume 4, or a Yang who likewise didn’t get that vital talk from Weiss in Volume 5.

Which in turn leads us to what I brought up earlier with Qrow joining up with the Ozluminati full-time, essentially representing a Blake who threw herself into reforming the White Fang instead of returning to Team RWBY and reconnecting with Yang. Meanwhile Tai simply throws himself into a deep depression, grief and ‘moping’, ironically all the things he would later accuse Yang of doing (at some point I’m going to do a post on just how much PROJECTING Tai has likely been doing…)

So now Qrow and Tai have this low-key toxic relationship where Qrow is more-or-less aware of Tai’s extremely dysfunctional parenting but has also been enabling it and a lot of Tai’s unhealthy coping mechanisms over the years because he’s been pining for Tai ever since their Beacon days and still is pining in a very depressed, self-loathing ‘I don’t deserve him/to be happy’ way and also doesn’t want to risk conflict with his former partner and also the only teammate he has left.

Thus Qrow keeps his distance and just goes along with Tai’s dysfunctions and/or lets Tai push him away. Which in turn just reinforces Tai’s abandonment issues.

And Ruby and Yang are still stuck with utterly dysfunctional parental figures.

Oh, and if you need more proof about the deliberate parallels between Blake and Qrow…

Then how about the whole damn song where they sing about how they’ve always felt terrible about themselves but now things are looking up for them.