#that personality and version of him as a young adult who can live on his own with limited struggles is the one reflected in most fics

[nellasbookplanet]

Book recs: black science fiction

As february and black history month nears its end, if you're a reader let's not forget to read and appreciate books by black authors the rest of the year as well! If you're a sci-fi fan like me, perhaps this list can help find some good books to sink your teeth into.

Bleak dystopias, high tech space adventures, alien monsters, alternate dimensions, mash-ups of sci-fi and fantasy - this list features a little bit of everything for genre fiction fans!

For more details on the books, continue under the readmore. Titles marked with * are my personal favorites. And as always, feel free to share your own recs in the notes!

If you want more book recs, check out my masterpost of rec lists!

Lagoon by Nnedi Okorafor

Something massive and alien crashes into the ocean off the coast of Nigeria. Three people, a marine biologist, a rapper, and a soldier, find themselves at the center of this presence, attempting to shepherd an alien ambassador as chaos spreads in the city. A strange novel that mixes the supernatural with the alien, shifts between many different POVs, and gives a one of a kind look at a possible first contact.

Nubia: The Awakening (Nubia series) by Omar Epps & Clarence A. Hayes

Young adult. Three teens living in the slums of an enviromentally ravaged New York find that something powerful is awakening within them. They’re all children of refugees of Nubia, a utopian African island nation that sank as the climate worsened, and realize now that their parents have been hiding aspects of their heritage from them. But as they come into their own, someone seeks to use their abilities to his own ends, against their own people.

The Scourge Between Stars by Ness Brown

Novella. After having failed at establishing a new colony, starship Calypso fights to make it back to Earth. Acting captain Jacklyn Albright is already struggling against the threats of interstellar space and impending starvation when the ship throws her a new danger: something is hiding on the ship, picking off her crew one by one in bloody, gruesome ways. A quick, excellent read if you want some good Alien vibes.

Dawn (Xenogenesis trilogy) by Octavia E. Butler*

After a devestating war leaves humanity on the brink of extinction, survivor Lilith finds herself waking up naked and alone in a strange room. She’s been rescued by the Oankali, who have arrived just in time to save the human race. But there’s a price to survival, and it might be humanity itself. Absolutely fucked up I love it I once had to drop the book mid read to stare at the ceiling and exclaim in horror at what was going on. Includes darker examinations of agency and consent, so enter with caution.

Midnight Robber by Nalo Hopkinson*

Utterly unique in world-building, story, and prose, Midnight Robber follows young Tan-Tan and her father, inhabitants of the Carribean-colonized planet of Toussaint. When her father commits a terrible crime, he’s exiled to a parallel version of the same planet, home to strange aliens and other human exiles. Tan-Tan, not wanting to lose her father, follows with him. Trapped on this new planet, he becomes her worst nightmare. Enter this book with caution, as it contains graphic child sexual abuse.

Rosewater (The Wormwood trilogy) by Tade Thompson

In Nigeria lies Rosewater, a city bordering on a strange, alien biodome. Its motives are unknown, but it’s having an undeniable effect on the surrounding life. Kaaro, former criminal and current psychic agent for the government, is one of the people changed by it. When other psychics like him begin getting killed, Kaaro must take it upon himself to find out the truth about the biodome and its intentions.

Do You Dream of Terra-Two? by Temi Oh

Young adult. A century ago, an astronomer discovered a possibly Earth-like planet. Now, a team of veteran astronauts and carefully chosen teenagers are preparing to embark on a twenty-three year trip to get there. But space is dangerous, and the team has no one to rely on but each other if - or when - something goes wrong. An introspective slowburn of a story, this focuses more on character work than action.

The Best of All Possible Worlds by Karen Lord

After the planet Sadira is left uninhabitable, its few survivors are forced to move to a new world. On Cygnus Beta, they work to rebuild their society alongside their distant relatives of the planet, while trying to preserve what remains of their culture. Focused less on hard science or action, The Best of All Possible Worlds is more about culture, romance and the ethics and practicalities of telepathy.

Mirage (Mirage duology) by Somaiya Daud

Young adult. Eighteen-year-old Amani lives on an isolated moon under the oppressive occupation of the Valthek empire. When Amani is abducted, she finds herself someplace wholly unexpected: the royal palace. As it turns out, she's nearly identical to the half-Valthek, and widely hated, princess Maram, who is in need of a body double. If Amani ever wants to make it back home or see her people freed from oppression, she will have to play her role as princess perfectly. While sci-fi, this one more has the vibe of a fantasy.

An Unkindness of Ghosts by Rivers Solomon

Life on the lower decks of the generation ship HSS Matilda is hard for Aster, an outcast even among outcasts, trying to survive in a system not dissimilar to the old antebellum South. The ship’s leaders have imposed harsh restrictions on their darker skinned people, using them as an oppressed work force as they travel toward their supposed Promised Land. But as Aster finds a link between the death of the ship’s sovereign and the suicide of her own mother, she realizes there may be a way off the ship.

Where It Rains in Color by Denise Crittendon

The planet Swazembi is a utopia of color and beauty, the most beautiful of all its citizens being the Rare Indigo. Lileala was just named Rare Indigo, but her strict yet pampered life gets upended when her beautiful skin is struck by a mysterious sickness, leaving it covered in scars and scabs. Meanwhile, voices start to whisper in Lileala's mind, bringing to the surface a past long forgotten involving her entire society.

Eacaping Exodus (Escaping Exodus duology) by Nicky Drayden

Seske is the heir to the leader of a clan living inside a gigantic, spacefaring beast, of which they frequently need to catch a new one to reside in as their presence slowly kills the beast from the inside. While I found the ending rushed with regards to plot and character, the worldbuilding is very fresh and the overall plot of survival and class struggle an interesting one. It’s also sapphic!

Chain-Gang All-Stars by Nana Kwame Adjei-Brenyah*

In a near future America, inmates on death row or with life sentences in private prisons can choose to participate in death matches for entertainment. If they survive long enough - a rare case indeed - they regain their freedom. Among these prisoners are Loretta Thurwar and Hamara "Hurricane Staxxx" Stacker, partners behind the scenes and close to the deadline of a possible release - if only they can survive for long enough. As the game continues to be stacked against them and protests mount outside, two women fight for love, freedom, and their own humanity. Chain-Gang All-Stars is bleak and unflinching as well as genuinely hopeful in its portrayal of a dark but all to real possible future.

Parable of the Sower (Earthseed duology) by Octavia E. Butler*

In a bleak future, Lauren Olamina lives with her family in a gated community, one of few still safe places in a time of chaos. When her community falls, Lauren is forced on the run. As she makes her way toward possible safety, she picks up a following of other refugees, and sows the seeds of a new ideology which may one day be the saviour of mankind. Very bleak and scarily realistic, Parable of the Sower will make you both fear for mankind and regain your hope for humanity.

Binti (Binti trilogy) by Nnedi Okorafor

Young adult novella. Binti is the first of the Himba people to be accepted into the prestigious Oomza University, the finest place of higher learning in all the galaxy. But as she embarks on her interstellar journey, the unthinkable happens: her ship is attacked by the terrifying Meduse, an alien race at war with Oomza University.

War Girls (War Girls duology) by Tochi Onyebuchi

In an enviromentally fraught future, the Nigerian civil war has flared back up, utilizing cybernetics and mechs to enhance its soldiers. Two sisters, by bond if not by blood, are separated and end up on differing sides of the struggle. Brutal and dark, with themes of dehumanization of soldiers through cybernetics that turn them into weapons, and the effect and trauma this has on them.

The Space Between Worlds (The Space Between Worlds duology) by Micaiah Johnson

Multiverse travel is finally possible, but there’s a catch: No one can visit a world where their counterpart is still alive. Enter Cara, whose parallel selves happen to be exceptionally good at dying. As such she has a very special job in traveling to these worlds, hoping to keep her position long enough to gain citizenship in the walled-off Wiley City, away from the wastes where she grew up. But her job is dangerous, especially when she gets on the tracks of a secret that threatens the entire multiverse. Really cool worldbuilding and characters, also featuring a sapphic lead!

The Fifth Season (The Broken Eart trilogy) by N.K. Jemisin*

In a world regularly torn apart by natural disasters, a big one finally strikes and society as we know it falls, leaving people floundering to survive in a post apocalyptic world, its secrets and past to be slowly revealed. We get to follow a mother as she races through this world to find and save her missing daughter. While mostly fantasy in genre, this series does have some sci-fi flavor, and is genuinely some of the best books I've ever read, please read them.

The Women Could Fly by Megan Giddings*

In an alternate version of our present, the witch hunt never ended. Women are constantly watched and expected to marry young so their husbands can keep an eye on them. When she was fourteen, Josephine's mother disappeared, leveling suspicions at both mother and daughter of possible witchcraft. Now, nearly a decade and a half later, Jo, in trying to finally accept her missing mother as dead, decides to follow up on a set of seemingly nonsensical instructions left in her will. Features a bisexual lead!

The Prey of Gods by Nicky Drayden

South African-set scifi featuring gods ancient and new, robots finding sentience, dik-diks, and a gay teen with mind control abilities. An ancient goddess seeks to return to her true power no matter how many humans she has to sacrifice to get there. A little bit all over the place but very creative and fresh.

The Summer Prince by Alaya Dawn Johnson*

Young adult. Young artist June Costa lives in Palmares Tres, a beautiful, matriarchal city relying heavily on tradition, one of which is the Summer King. The most recent Summer King is Enki, a bold boy and fellow artist. With him at her side, June seeks to finally find fame and recognition through her art, breaking through the generational divide of her home. But growing close to Enki is dangerous, because he, like all Summer Kings, is destined to die.

The Blood Trials (The Blood Gifted duology) by N.E. Davenport

After Ikenna's grandfather is assasinated, she is convinced that only a member of the Praetorian guard, elite soldiers, could’ve killed him. Seeking to uncover his killer, Ikenna enrolls in a dangerous trial to join the Praetorians which only a quarter of applicants survive. For Ikenna, the stakes are even higher, as she's hiding forbidden blood magic which could cost her her life. Mix of fantasy and sci-fi. While I didn’t super vibe with this one, I suspect fans of action packed romantasy will enjoy it.

Babel-17 by Samuel R. Delany

1960s classic. Rydra Wong is a space captain, linguist and poet who is set on learning to understand Babel-17, a language which is humanity's only clue at the enemy in an interstaller war. But Babel-17 is more than just a language, and studying it may change Rydra forever.

Pet (Pet duology) by Akwaeke Emezi

Young adult novella. Jam lives in a utopian future that has been freed of monsters and the systems which created and upheld them. But then she meets Pet, a dangerous creature claiming to be hunting a monster still among them, prepared to stop at nothing to find them. While I personally found the word-building in Pet lacking, it deftly handles dark subjects of what makes a human a monster.

Bonus AKA I haven’t read these yet but they seem really cool

Lion's Blood by Steven Barnes

Alternate history in which Africans colonized South America while vikings colonized the North. The vikings sell abducted Celts and Franks as slaves to the South, one of which is eleven-years-old Irish boy Aidan O'Dere, who was just bought by a Southern plantation owner.

The Sound of Stars by Alechia Dow

Young adult dystopia. Ellie lives in a future where humanity is under the control of the alien Ilori. All art is forbidden, but Ellie keeps a secret library; when one of her books disappears, she fears discovery and execution. M0Rr1S, born in a lab and raised to be emotionless, finds her library, and though he should deliver her for execution, he finds himself obsessed with human music. Together the two embark on a roadtrip which may save humanity.

Womb City by Tlotlo Tsamaase

Lelah lives in future Botswana, but despite money and fame she finds herself in an unhappy marriage, her body controlled via microchip by her husband. After burying the body of an accidental hit and run, Lelah's life gets worse when the ghost of her victim returns to enact bloody vengeance.

Orleans by Sherri L. Smith

Young adult. Fen de la Guerre, living in a quarantined Gulf Coast left devestated by storms and sickness, is forced on the run with a newborn after her tribe is attacked. Hoping to get the child to safety, Fen seeks to get to the other side of the wall, she teams up with a scientist from the outside the quarantine zone.

Everfair by Nisi Shawl

A neo-victorian alternate history, in which a part of Congo was kept safe from colonisation, becoming Everfair, a safe haven for both the people of Congo and former slaves returning from America. Here they must struggle to keep this home safe for them all.

The Splinter in the Sky by Kemi Ashing-Giwa

Space opera. Enitan just wants to live a quiet life in the aftermath of a failed war of conquest, but when her lover is killed and her sister kidnapped, she's forced to leave her plans behind to save her sister.

Honorary mentions AKA these didn't really work for me but maybe you guys will like them: The City We Became (Great Cities duology) by N.K. Jemisin, The Lesson by Cadwell Turnbull, The A.I. Who Loved Me by Alyssa Cole

[canine-economy]

Daisuke’s Death and the Invisible Abuse of “Privileged” Children

tw: extensive discussions of child emotional abuse

Another mouthwashing text analysis before I post any polished art? Shocker. But I really really appreciate the reception on my Swansea post, especially as a new account! This Daisuke-centric analysis is gonna be a quick one (< this was a lie. long read ahead!) but he is a character who resonates deeply personally with me as a victim of abuse that looked very much like his own. I do plan on doing a larger analysis of his character, but the abridged version necessary for this piece goes as follows:

Daisuke’s treatment in the narrative—both his implied home life and Jimmy’s taking advantage of him to go into the vent—is another one of this game’s excellent portrayals of normalized (and thus invisibilized) abuse. Children are often cited as one of the most vulnerable classes of people, if not the most vulnerable (I acknowledge that Daisuke is not a child, but Mouthwashing implies that this narrative of his inadequacy has persisted throughout his upbringing and, to this day, he is dictated tasks and lacks independence, treated like a dependent. His youth is also an undisputed feature of his character and, most importantly, the cast treats him like a kid). Children’s dependency on adults and our willingness as a society to accept that the adults in their lives provide the most objective perspective on these young people renders them particularly prone to abuse easily swept under the rug or “justified” by wardens who possess the power to dictate the narrative. Jimmy’s engagement with Daisuke is an extension of the latter’s vulnerability. The co-pilot’s assertion that “he’ll be fine (…) mommy and daddy have him covered” at the birthday party represents a deference to Daisuke’s parents as adequate caretakers who will ensure his longevity and comfort on the basis of their wealth. And we know that Daisuke’s parents think the same—the Q&As reveal that they believe they are doing the best to secure their son a good future. However, the same Q&As indicate that they don’t actually engage with or understand Daisuke’s interests and that their approach to parenting him is entirely understood through their personal beliefs, not those of their son. And Daisuke clearly carries that quite close to his heart. He seems to struggle with identity and acceptance, seeking validation in the form of praise. Daisuke is defined through what he can do for others and not what he independently brings to the table, because that has never mattered where he grew up. The consequences of his parents’ failure to meet his emotional needs ultimately conditioned Daisuke to be perfectly available to be taken advantage of in a corporate setting defined by capitalist attitudes and hierarchies.

While it’s not concrete to say that Daisuke grew up in an emotionally abusive household, it is most important that we cannot dismiss the possibility and that his behavior as the outcome of some obvious degree of neglect is well-aligned with this theory. Moreover, the young man who comes out of that household is easily targeted by Jimmy’s abusive tendencies as a direct result of what he internalizes growing up. Daisuke is apparently financially well-off (contextually we can’t be sure if Daisuke’s family is upper class, middle class, or somewhere in between), and with that comes privilege. Even the way he packs—multiple personalized outfits, entertainment devices, etc—reveal that he’s used to certain comforts and hasn’t yet acclimated to the harsh expectations of companies like the Pony Express. But, especially where young people are concerned, it is all too easy to allow this privilege to act as a curtain between abuse and the outside world. We can acknowledge the privilege and also recognize that it benefits his parents much more than it benefits him as a young person.

Emotional abuse is complex and extremely damaging and Daisuke *does* show symptoms of at least being constantly verbally accosted and emotionally neglected by his parents to the point of permanently warping his sense of self. It also generated his overreliance on authority figures to tell him how to keep himself safe in their world. His mother apparently insulted him to his face (“such a slacker, she said”, and being reprimanded for being too talkative [from the Daisuke teaser]), and a lot of his negative self talk (“total screw-up”, “fuck up”, etc) is reminiscent of how people define themselves by parroting what they are called after internalizing consistent externally-imposed definitions of their identity. While these are not surefire indicators of abuse and I am not willing to diagnose a situation as abusive purely predicated on these factors, the behaviors Daisuke exhibits as a result share many commonalities with those of victims of childhood abuse. In fact, just about every time Daisuke speaks about himself in Mouthwashing, he mentions his failures and his work. It’s not lost on me that the teaser for the whole character is him pondering his mother and how she might not recognize him if he isn’t noisy and obnoxious. He personally puts a lot of stock in their assessment of him as lazy and annoying, but nevertheless tries to accomplish learning through the internship. Furthermore, Daisuke takes on a lot of his mother’s pain, hoping she doesn’t blame herself for the negative things that happen to him (even though in the same scene he reveals that she’s the reason he’s on the stranded Tulpar at all), indicating that he has taken responsibility for the feelings of people in his life even when those people are not his to care for and even bear responsibility for his pain.

Now in young adulthood, Daisuke rarely seems to have any sense of self beyond his parents and his work aside from one-off quips about baseball and babes. It suggests that he has always had to prioritize his parents’ desires growing up to avoid being treated unfairly and even cruelly, stunting his self-discovery. In abusive situations, your understanding of safety and your pursuit thereof are radically impacted and we see this manifest in Daisuke’s continuing willingness to accept those in command as the pinnacle of safety over what one might consider logical, personal acts of self-preservation. He equates safety with obedience, and I contend that that equivalence suggests a lot about how his parents reprimanded deviance from their plans. And not to be that guy, but it is kind of outright cruel to dump your utterly inexperienced teenager-to-early-20-something on a 1 year, no contact, unsafe space voyage in a failing industry knowing that he doesn’t have the necessary skillset yet. That’s what his parents do when they aren’t satisfied with his progress, and it’s intense and disproportionate and alarming! Especially for the dependent! They toss him into the deep end of the corporate machine and insist he learns to swim in such an oppressive, stifling atmosphere. It’s no surprise that he drowns, especially when he himself can’t recognize this as an unrealistic expectation and tackles it with everything he’s got because his parents are theoretically always right about what he needs. I don’t think it’s a stretch to say that normalized emotional abuse from the home and how it maps onto a victim’s adult life is a topic Mouthwashing would endeavor to touch on, because visibilizing invisible abuses of power in heteropatriarchal capitalist schemes is arguably the central undertaking of the game.

I don’t think Daisuke has evil parents or anything, rather that what we accept as “good parenting” and “good mentorship” is often negligent with regard to emotional needs and can easily become a source of heavy trauma for the children and mentees if that emotional aspect is stretched too thin in the pursuit of success. Not all abuse is intentional, and the dev Q&As imply that Daisuke’s parents thought they were sincerely investing in his future. They cared, just not in the best way for his wellbeing. Because capitalism emphasizes the individualistic pursuit of success above all else, it’s no wonder that a parent would think that the best thing they can give their kid is an avenue to prosper financially. But in doing so, Daisuke’s parents deny him the opportunity to define himself, to experience agency, and to build up confidence. Effectively, they create a young man so vulnerable to abuse by higher-ups (a manifestation of abuse that is often intentional at the systemic level) that he decides to climb into that vent at Jimmy’s discretion under the pretense that he will make somebody proud. Because that’s how Daisuke has been raised to understand himself and his place—the presumed screw-up boy as a default, making you proud by doing the right thing, who has learned to pursue that achievement to avoid the condescension and disproportionate backlash (e.g. the internship itself) that comes with failure. Everything circles back to his parents’ expectations that he makes for a good worker. When the cocktail knocks Swansea out, Daisuke makes an offhand comment about getting a bad reference—even in the most dire of circumstances, he can’t stop thinking about their capitalistic expectations for his “good” future.

I find that Daisuke really is such a good subtle portrayal of how parents with resources can get away with emotionally stunting their children because we perceive their ability to put a roof over their heads, food on their plate, etc as adequate parenting and even a privilege for the child when it should be the bare minimum. Jimmy certainly buys into it, and even some of the fandom parrots that, really and truly believing Daisuke is some good-for-nothing kid who doesn’t try hard when all we see is him working, including climbing into the vents to try and help despite not being assigned the work (foam scene, not his death). I find this reception shows how inclined we are to accept those narratives of the privileged child’s inadequacy before we address the parent for not fulfilling a child’s emotional needs, which are just as important if not more than the material.

To wrap this up with a quick discussion of the symbolism of his death in the context of the emotional abuse of children (which is the reason I made this whole post but I can’t talk about this guy without going off): Daisuke getting so badly injured trying to do what’s right is a very physical manifestation of the suffering he was already going through. It is the pain of constantly people-pleasing and of holding it all in when he’s lashed out at. He gets injured at all in the pursuit of appeasing Jimmy and (theoretically) Swansea, both of whom he blindly trusts despite how they treat him because he has always been expected to just adhere to the adults with authority in his life. Being talked down to by them is not new and has never been a reason to question their judgement. Daisuke sees this as a product of his own inadequacy as implied by other people, and not of external cruelty. He was raised not to question the system for fear of repercussions.

Jimmy is perfectly situated to coerce him into a dangerous situation because Daisuke has never been taught to say no. The safest option for a scared child is to trust their mentors, and an adult Daisuke does just that. Even Swansea’s teachings of safety are dismantled by Jimmy’s tactical use of captainhood to break the camel’s back. Authority. Daisuke must always listen to authority. Jimmy knows the vent isn’t safe. Swansea tells him directly and he observes the foam incident (if from a distance). For as much as he acts like he cares about taking responsibility for Daisuke’s safety, his individualistic pursuit of “fixing” things manifests in Jimmy again taking advantage of a vulnerable person on the ship. Jimmy doesn’t reconcile Daisuke’s eagerness to help with lessons on safety like Swansea does, but rather uses it only when it benefits him. Daisuke is taught by his upbringing to accept this kind of treatment—for safety, defer to the leader in the room even if it hurts and you don’t want to do it (just like he didn’t want to be on the Tulpar in the first place).

Then, once the intern is out of the vent and mortally wounded, Jimmy applies the mouthwash (a product to be sold, hauled in the interest of the corporation) to “help” sanitize the wounds. But the sugar content negates medical utility and only worsens the pain. We can interpret this as the application of material privilege, “sweetness”, that wasn’t actually any help at all to solve the deep wounds left by emotional pains. Mouthwash rids you of the bad taste but doesn’t kill all the underlying germs. One could argue further that in this scene, the mouthwash is specifically representative of the Pony Express internship: a rare stepping stone in the corporate hustle gained through privilege and presented as a boon. Like the mouthwash, the internship is imposed on Daisuke to try and “help” him succeed and be better, but it only elevates the pain by irritating the wounds and ends in his agonizing demise. However, this fine-tuned comparison isn’t necessary to my point. I find the broad implications of the mouthwash as an antiseptic immensely representative of parents and caretakers who don’t seem abusive to the outside world but who are actually subversively hurting their children and ultimately conditioning them to be victimized by capitalist attitudes. Our deference to material comforts and corporate opportunities as indicators of wellness renders us blind to where caretakers fail to address the emotional needs of young people. At the end of the day, Daisuke is still killed by the values his parents have instilled in him. It’s always the “captain’s” (literal or figurative) orders that seal the deal and cut off any of his autonomous doubt or dictation (for example, his desire to listen to Swansea and not go in the vent). His parents’ symbolic and saccharine gestures mean very little in the scheme of creating a person who can survive the pressures of the “real world” when malicious actors (JIMMY.) and the capitalist enterprise as a whole bear down on the cracks of an emotionally taxing youth.

A/N: Maybe I’m thinking about all of this too hard, but the beauty of Mouthwashing is that I’m never quite sure that’s the case as this game feels so deliberate. Anyway, as somebody who has clinically diagnosed PTSD stemming from childhood, this has always been a really important analysis to posit and I finally found the time to put it into words. I feel like Daisuke as a symbol is often overlooked by the fandom. He’s enjoyed, yes, but not really broken down like the others are. That diminishing of his importance and his feelings about the situation also feels like a symptom of his age. But that’s neither here nor there—like I said, I believe I could do a much more in-depth analysis of Daisuke as a victim of subtle abuse but this will have to do for now. A lot of my major points have been made, anyway! Perhaps video format would be best for something longer-form. 🌺

[rockpaperimpala]

So about Netflix's the Last Airbender....

I am literally so confused you guys. You made me think I would HATE this show. And I LOVED it. Me. Known perfectionist and hater.

Katara was lovely. Yes, she started as a more soft spoken character than her cartoon version, but she was still passionate and hopeful throughout, just visibly unsure of herself. I think people were thrown off by this actress' natural way of expressing herself, which is Different from animated katara for sure, but not bad. Then she spends the whole season growing in Confidence and Fire. I Adored her fight with Paku, it really did feel like a payout of the whole season's development, and the bending kicked ass!

The Bending Kicked ass!!! The martial arts was fun and fast and creative and exciting! It looked SO good. That alone would be enough reason for me to watch and enjoy any show.

Zuko's actor was fantastic. He really captured the rage and confusion of this 16 year old banished prince. And there were so many Added moments between him and Iroh wich to me enriched their relationship. Like YES! This is why I'm watching, to see more of them, to see things done a little differently.

Iroh facing the consequences of his actions at Ba Sing Se!! That's what I'm here for!

Zuko's relationship with the men on his ship! That's what I'm here for!

The Extra layers we get to Ozai manipulating his children!

Also no one is talking about Admiral Zhao, who I had SO much fun with. I feel like they slightly fleshed out his character in a really dramatic way, really developing the hubris and frankly insane grasping ambition of someone who would kill the moon. I completely enjoyed this wilder, less controlled version of him, who comes up through the season from basically nothing and no one!

I am OBSESSED with King BUMI and his anger and disillusionment with the world! Like this was SO real. Living a hundred years of futile war would do that!!!! It is one of my favorite changes to the whole series. This new layer of emotion and character depth is what I'm here for!

Sokka was SO funny. He literally had me laughing out loud so often. That actor GETs Sokka, and GETS the way his humor is delivered. And is also able to tap into the more vulnerable side of him. People said he was "obsessed" with leadership. WHAT? That is a young person trying desperately to do his best and to try and find his place in the world, to figure what he has to offer. I loved his pride at hearing the Mechanist say that he would make a good engineer, and the sweetness of the moment that Yue's father says that he can be a hero without being a warrior. Sokka does so much growth in this series, in understanding himself and life.

And his chemistry with Suki was adorable!! I even like him and Yue (who was a totally unexpected sweetheart, despite her terrible wig)!! Like he has that same ability that Sokka has in the original to Connect with people.

Aang was great! He WAS fun loving and sweet and funny. I don't know what you guys wanted. Cartoons are always bigger and more exaggerated than live action. People's eyes swell up an, birds fly around their heads, and there are funny sound effects. That larger than life quality is the strength of animation! You have to look for different strength in live action. Like the SUBTLETIES of the acting choices. This little actor brought so much kindness, innocence, and strength to Aang.

And I FELT his frustration at being asked to do this at 12, his fresh hope anytime it looked like someone more experienced would be able to help him and no one did, and that's why he didn't learn waterbending this season, because he kept waiting for an freaking ADULT to show him the way, to help him carry this immense burden, but every adult he meets asks him for help instead, asks him to carry it himself, and then the finale hits and he realizes that there won't be any adults helping, he does have figure this out himself, and he makes the hard choice, takes on responsibility more than his years and offers himself to the ocean spirit, and he might have been lost entirely if not for Katara!

And that counter running theme to the show pays off: that he doesn't have to do it alone. He may not have more experienced guidance, because the adults have let him down again and again, but his friends will be with him, and they will figure it out together!

This is there throughout the series! Katara tells him this about learning waterbending, when he says he still wants to wait. Bumi tells him this in the palace at Omashu, and Aang sees the faith he has in his friends repaid!

I like these changes! And the show still found time for silly fun adventures and character building moments.

The show was never going to be the animated original. That is already a Masterpiece, and it frankly did NOT need to be adapted at all. I did not WANT a live action adaptation. I was adamantly convinced I would hate it. But the changes that they netflix show gave are what I Iike most about it. If I want to see Zuko say "you rise with the moon, I rise with the sun," I will go watch the animated original, because that version is perfect. And now, if i want to see Zuko say "Lu ten would have been proud to have you as a father," and see iroh pull him into a tight hug, I can watch this live action version, which is very good too. I'm going to disagree with most of the people on here and say that the Netflix's Avatar: The Last Airbender, DOES capture the heart of what we liked about the original show. It's spirit, fun, excitement, and characters. And the changes made are the reason we should be watching.

[freyanistics]

The fetishization of Hobie Brown

Side note: This post is not intended to start up the age discourse that surrounds Hobie. I am not going to get into it as this argument/debate comes up every so often and really doesn’t prove anything on either side you are on. I’m not dissuading anyone from absorbing any content of Hobie and saying it’s problematic EXCEPT for the things I’m pointing out in this post. If you see Hobie as a minor, that’s fine. If you view him as an adult, that’s also fine. Until the directors come forward and confirm his canonical age I am not going to bring up the same facts that is brought up whenever his age comes to discussion. This is just me bringing up a reoccurring issue I’ve noticed that doesn’t get too addressed by the community (and when it does it’s often pushed to the side)

The fetishization and inherently the oversexualization of Hobie Brown is not only problematic but also harmful. Black men being fetishized has been going on for decades since slavery times. I’m not going to go too deep into the history but if you’re interested this creator has a very good video discussing it.

With Hobie Brown being a darkskin black man that is part of the punk scene and comes off with a “rough” exterior you’re going to have people put stereotypes on him. Despite how he’s portrayed in the movie I’ve seen people headcanon him as this cold person who wouldn’t care about his partner’s feelings or come off as a womanizer that sleeps with a lot of partners without a care in the world. He fucks rough and is aggressive while the reader is this innocent person pulled under his spell. That’s where some of the problem delves with him being portrayed as this aggressive and sex deviant who doesn’t care about his partner(s) feelings. It’s a stereotype a lot of (mainly non black) people see black men as.

Despite the fact that Hobie in the movie shows to deeply care for his friends, even going as far as helping Miles who he didn’t even know up until now. He’s shown to be gentle when handling Mayday. Yet people still want to paint him as the polar opposite.

Take Miles G for instant. I’ve seen him get the same treatment with him being painted as a “gangster” who is aggressive and your typical gang lord despite him only having five minute screen time. While yes from that little time he does seem to be the much colder version of Miles Morales painting him out to be a thug goes into that dangerous fantasy a lot of people see black men. People (again mainly non blacks) view black men as this dominant and powerful man who is always aggressive in and out the bedroom.

The same can be said for Miguel who even the screenwriters have written him as “animalistic” and “feral”. Writing him off more as some beast than a human being.

Circulating back to Hobie there’s nothing wrong with finding him attractive the problem delves if you’re headcanoning him or viewing him as your stereotypical “hood” boyfriend who is deprived of any other emotion except for anger, jealousy, or this sex god who will beat up people for even looking at his partner. When we make these harmful stereotypes about black characters it starts to trickle down to irl and how we view actual people.

And we end up seeing shit like this on the daily. I don’t even have to explain why this is problematic.

All in all Hobie Brown is much more than just a pretty face. He’s a young black man living in an oppressive fascist society that he’s actively fighting against. He deserves to be treated more than just a sexy conveniently attractive guy but a much more complex character who’s backstory in atsv is still a mystery. If you’re just gonna sexualize him 24/7 and not see him anything outside of that you’re weird, and you’re even weirder if you headcanon with “he’s ugly but he got that big dick 🤪.”

[starryevermore]

the house of snow (1) ✧ coriolanus snow

the house of snow ✧ a royal coryo au | pinterest board | ao3

pairing: king!coriolanus snow x fem!reader

series summary: the king of panem is in search of a bride. and, for reasons you can never understand, coriolanus snow has set his sights on you. it would never be a happy marriage, you’re sure of that. but none of that matters, because when snow decides he wants something, he will do everything in his power to ensure it is his.

chapter summary: your parents are convinced that you will marry the king by the end of the social season. and so, too, it seems does coriolanus snow.  

word count: 2,764 

series warnings?: 18+ MINORS DNI, royal au, regency au, arranged marriage, rivals to lovers, obsessive!coryo, jealous!coryo, protective!coryo, eventual smut, eventual pregnancy, more tags to be added later 

chapter warnings?: no use of y/n, you cannot stand coryo, not proofread

Coriolanus Snow’s rise to the throne was something you never expected to come to fruition. When you were younger, you remembered your peers talking about how Snow wanted to one day rule Panem. At the time, you thought it was just another wild dream of a child. Something a child would say when an adult asks what they wish to be when they grow up. “A pirate!” one might exclaim. Or, perhaps, “A painter!” The sort of thing that a sensible parent would shrug off and not dedicate anymore thought to. The Snow family, as it turned out, was not particularly sensible. 

When the Former King Ravinstill died without warning, the throne was left vacant. Everyone knew that the old man had little life left in him. Yet, despite his age, he had a tendency to power through. No one thought he would have lived as long as he did, but he had. So, the Electors had not yet begun considering his replacement. No one had been prepared enough to seek candidacy. No one, except Coriolanus Snow. A few other eligible persons put forth their names, but no one garnered support quite like the young man. From a prominent family, the son of a general, had served briefly himself, intelligent, and had the financial backing of the Plinth family? There was no version of history where Snow could lose. 

Within weeks of Ravinstill’s death, Snow was crowned King. 

You did not care for politics, so you knew little of his reign. But your father seemed pleased, talking often and loudly about how the young Snow would restore Panem to its former glory. You weren’t so sure of that. Though you did not interact with him often in your younger years, you remembered Snow as someone who was self-serving. Who would pretend to care if only it could further his own interests. He very well might let all of Panem burn if it meant he could gain from it. But your father was quite pleased with Snow as King and, when word began to spread that Snow would be seeking a bride this next social season, your father pushed hard for you to woo the King. 

“If you wish to serve your family well, my little dove, you will convince the King to marry you,” your father told you the moment he heard the news. 

You all but scoffed. “I hardly think I am the sort of woman he wishes to marry. A man like him would want someone meek, someone who would not challenge his authority. We hardly ever agreed on the schoolyard, and for that reason, he never considered me a friend. How could he ever see me as a wife?”

Your father’s eyes narrowed at you. “It is your responsibility, then, to make yourself small so that he may choose you.”

“I would rather die than sacrifice my ideals, Papa,” you said. “Why can I not vie for any other’s attention? I know Lord Plinth quite well. I’ve always enjoyed his company. It would be easy to win his heart and have our family set for life. Certainly easier than winning over the King.”

He sneered, “The only thing the Plinth family is good for is their money. I want to be respected. We would be little more than social pariahs if you wed the Plinth boy.”

“I shall not marry the King—”

Your mother stepped in before you could say something you might come to regret. She placed a hand on your arm, directing your attention to her. “Never mind that now. There is still time before the season begins for minds to be changed.”

“I shall not change my mind, Mama.”

She looked over at your father, who was the perfect picture of irate. She looked back to you. “Perhaps, but perhaps not. Let us go clear our minds, yes? We should go order new gowns at the modiste before everyone else floods her with demands.”

“You cannot distract me with fashion.”

“But you would do well to pretend that I have.”

Your efforts to convince your parents that you would not, under any circumstance whatsoever, marry Coriolanus Snow did not do anything for you. Despite your best efforts, you now stood in the palace for the King’s Ball, wearing the most beautiful powder blue gown fresh from the modiste, trying and failing to hide from your mother, so that you might delay her forcing you onto Snow. For now, though, she had been distracted by a conversation with Lady Dovecote about…whatever mothers talked about. Surely some scheme that would end with either you or Clemensia as Snow’s betrothed. You rolled your eyes at the thought. 

A familiar voice said your name. When you turned, you were greeted by the sight of Sejanus Plinth, holding two glasses of lemonade. He handed one to you, remarking, “I never knew you to be one to hide from the crowd.”

“I shall hide from the crowd when my mama is convinced I shall become Queen by the end of the season.”

“Ah.” Sejanus took a drink and laughed. “Strange, isn’t it? Seeing everyone we grew up with vying for Coryo’s attention.”

Coryo? Oh, yes. That was the nickname those close to Snow would call him. You had forgotten that the two were friends. Hmm, perhaps you could use that information the next time your parents try to force a connection with Snow. Something about how getting close to his friend might make him interested in you. “That it is. It seems as though everyone has lost their minds just for a glimpse of the crown.”

Sejanus laughed again. Then he looked at you a little more seriously, and said, “If I am honest, I am surprised you are not among those fighting for Coryo’s attention.”

Your brows pinched together. “You think I am interested in climbing the social ladder? Lord Plinth, you should know me well enough that I care more for a love match than gaining a title.”

“No, no. That is not what I meant. I remember in school that you and Coryo always had a sort of connection. Truthfully, I thought one of you might have acted on it sooner when you entered society.”

“The only connection we had was that of hatred. We despised each other.”

Sejanus shook his head, his curls bouncing. “I do not think that was true for Coryo. He liked that you challenged him. He has never been the sort of person who liked people who switch their position when the tide seems to turn. He likes people who are firm in their convictions.”

You laughed. “He’s told you this?”

“Not in so many words. But you have to wonder why he always sought you out.”

“Perhaps. Or perhaps he is crueler than we all think.”

Sejanus moved to protest, but another beat him to it. “Or perhaps you judge without truly knowing.”

You froze. Oh, how you had hoped that you could have avoided him tonight! Damn Sejanus and his friendship with Snow. So much for him being your safe haven during these balls. You might as well have lit a beacon leading straight to you. Alas, you did not want Snow to see the hatred you had brewing for him. Even if you did not like the man, you would be a social pariah if you made such feelings known to him. So, you painted on a smile as you turned to look at Snow. “Or perhaps I made an educated guess supported by the evidence of past interactions.”

Snow snorted, turning his gaze to Sejanus. “Always so quick with a response, she is.”

Sejanus glanced at you, a knowing look in his eyes. If you were a mindreader, you could imagine him gloating in his mind about how he was right, that this was a sign that Snow cared for you in some way. But you only knew it to be yet another indicator that you and Snow could never, ever, get along. “Her wit has never dulled.”

“Should we see, then, if her dance skills are still equally sharp?”

Sejanus looked at you again, a brilliant smile on his face. Oh, how you wished to wipe that look off. This was not proof of anything. This did not prove his point. “I could not think of anything better.”

Damn you, Sejanus Plinth. Damn you. 

Snow held his arm out for you to take. You stared at it, not moving. “In order to dance with a lady, you must ask her. I do not recall you asking me anything.”

Snow glanced just beyond you. When you turned your head to follow his gaze, you saw your mother and Lady Dovecote watching the interaction carefully. As you looked back at Snow, he said, “Your mother would be disappointed if you did not dance with me.”

“It is amazing you became King when you are so lacking in manners.” But you knew your mother—the entirety of the ton, perhaps—would consider you insane to turn the King down so openly. So you took his arm and let him lead you onto the dance floor. 

He snorted. “You are the only person who speaks so freely to me.”

“Ah, so this is one last dance before my execution? How kind. Perhaps I was wrong about your cruelty.”

“There is much you are wrong about,” Snow said. You had reached the dance floor. The crowd parted around you, allowing you and Snow to take the middle of the floor. You faced him, allowing his hand to fall to you waist. You placed one hand on his shoulder, and let him take the other in his free hand. “It would be far too much of a shame to take your life.”

“Such a kind and gentle king.”

“Only for those who deserve it.”

Out of the corner of your eye, you saw your mother miming for you to smile. You fought the urge to sneer instead. Even if you would rather do anything else than be courted by Coriolanus Snow, acting out would not do you any favors. If you had any hope in finding a love match, you had to at least be cordial to him. So you smiled as prettily as you could. But you couldn’t help yourself from saying, “Then perhaps you should go see a physician. You seem to have lost your mind.”

To your surprise, Snow laughed. The sound almost scared you. When was the last time you heard Snow laugh? An actual laugh, at that. None of his snorts of derision or half-hearted chuckles when he was trying to charm someone. Had you ever heard him laugh before? You tried to wrack your brain, but you could not recall anything. In school, he had always been so serious—focused more on using the tools available to him to climb the social ladder rather than being a kid like everyone else. Though, you supposed, Snow was a far cry from everyone else. 

The music began to play, and Snow spun you around the dance floor. As you turned, you locked eyes with Sejanus. He wore a large grin on his face, seemingly sure that you and Snow were making nice. Why else would he have laughed at something you said? You wished you could yell out to Sejanus, tell him that he was dead wrong. 

“What is it that people say? Something about love driving people mad?”

This time, you did roll your eyes. “Oh, come off it. You and I both know perfectly well that you do not care for me. I hardly understand why you’re even entertaining this nonsense, if for no other reason than to torture me.”

Snow considered you. After a long moment of silence, he said, “I seek a bride who will produce me an heir. There are few women here who meet my standards. A woman of good breeding, from a respectable family, and intelligent enough to keep up with me. Someone who will be a good Queen and a good mother.”

“Someone that you can control.” You scoff. “You truly must see a physician, Your Majesty, if you think that I will fall in line with whatever you ask of me.”

His lips curled into a grin. Your stomach churned. “Not yet.”

The next morning, your mother promptly reported that you had danced with Coriolanus Snow not once, not twice, but three times to your father. To say he had been pleased was something of an understatement. He was certain that Snow would soon be reaching out to discuss a proposal. It did not matter how much you tried to downplay the situation—explain that he was only dancing with you for some other reason than him wishing to marry you. Your parents minds were made up. By the end of the season, you were to be Queen of Panem. 

“It’s just the nerves,” your mother dismissed as you sat in the drawing room, waiting for any suitor to call on you. “You will be more than confident once you are wed.”

You ground your teeth together. “I do not wish to marry Coriolanus Snow. I would marry anyone else. I would let you or Papa pick anyone else in the ton and I would not let out a single complaint. I cannot marry that man.”

Something just beyond you caught your mother’s attention. Your father, you supposed. “You should not say such things—” she began to say. Of course. Of course she would say that. 

“Why not? It is true. I would be miserable with him. I would rather die than be his bride, bear his children. Frankly, forcing me to marry him may as well be a death sentence.”

“Dear, you do not truly mean that—”

“And you must not know me at all if you think I am not being completely, and utterly, truthful right now. Coriolanus Snow is the last man I would ever wish to marry.”

Your mother leaned in close to you, hissing, “Stop talking right now, young lady.”

A frown settled on your face. Why was she so bothered about you speaking so freely? There was no one in the room but you, her, and a maid. Perhaps she was concerned about the maid spreading gossip with other maids and that slowly enveloping the ton. It wasn’t a non-possibility, to be sure. But why was she acting so…scandalized by your words? 

Unless…

You turned your head toward the entrance of the room. There should Coriolanus Snow, dressed in a dark red suit, holding a bouquet of white roses. Your mouth went dry. Oh, why does he keep showing up when you least expect it? “The butler typically announces when a guest has arrived,” you said. 

You couldn’t read his face. A part of you wondered if you had offended him. You didn’t particularly care about offending him, but you also knew that such an act could have dire consequences on you marrying anyone else. “He was going to, but I wanted my arrival to be a surprise.” He took a step closer to you, holding out the roses. “I just had these freshly picked from my garden.”

A part of you wanted to smack the roses out of his hands, but you had already embarrassed your mother enough in front of Snow. You took the roses, yet couldn’t stop yourself from saying, “I cannot believe a man like you could grow something so beautiful.”

Your mother let out a loud—obviously fake—laugh. “Oh, isn’t she just funny? She always says the silliest things.”

Snow chuckled. He smiled at your mother—the sort of smile that your stomach twist into knots. Like he knew something no one else did, and he was reveling in that. “It is one of her more…charming traits.” He turned his attention back to you. “As lovely as this is, I came to ask if you would like to promenade with me in the square.”

Oh, Snow. Why was he so good at backing you into corners? You took a breath and passed the bouquet to the maid so she could put them in a vase. “That would be nothing short of a delight.”

He held out his arm for you to take. You slipped your hand around his bicep, your nails digging in. If he felt any pain, he didn’t show it. Instead, he leaned down so that you could only hear him whisper, “It seems like you fall in line much easier than you would like to believe.”

[bet-on-me-13]

Stranded Danny AU

Danny gets pulled into a faraway Dimension by a Villain one day, just after the events of Phantom Planet. He is barely 15.

He has no way to get back, but he does manage to unlock the power to make Portals. Unfortunately, none of the dimensions he ends up in are his own, and none have enough Ectoplasm to open portals for very long. It takes up to a week to scrounge up enough Ecto to open a single Portal into the next dimension over.

And none of these worlds have Technology strong enough to take him home either. The few times he did find some tech that could potentially get him home, it never worked or it was destroyed before he could finish it.

He spends well over 30 years of his own Personal Timeline trying to get back to his home dimension, constantly gathering scraps of Ectoplasm and Tech until the day he eventually collected enough to build a safe way home.

But time does not pass the same across dimensions.

What to him was a 30 year long Journey, was actually just 10 for his home Dimension.

And they had to move on without him.

Sam became a Business Woman who used her money to fund Nature Preservation Organizations. She hired Pamela Isley and helped her through her powers when she became Poison Ivy (still a Villain, but secretly working for Sam)

Tucker got a high ranking job at Star Labs, and helped Cyborg come to terms with his new life when he became a cyborg. He even helped upgrade his tech a few times.

Jazz became a successful Psychiatrist, and now works under Daina Lance as one of the Justice League's top Therapists, specifically their Child Psychologist for young Heroes

Ellie took his place as a Hero and became the new protector of Amity after he dissappear. After the Justice League was formed, she joined them and became one of their best members, always working and nor really taking many breaks.

They always wondered what happened to Danny, and spent many years trying to figure out what happened to him, but never succeeded. They finally began to assume that he was fully dead after a few years of searching. They had enough time to come to terms with it.

...

So one night, while a 22 yr old Ellie is resting on one of her rare days off, she gets called in by the League about a possible Dimensional Breach near her Home Town. JLD was deployed to investigate, and she was asked to tag along since she was the Resident Hero of the area.

But she refuses, thinking it's just some random ghost trying to enter the Living Realm illegally after she began regulating the Portal. JLD would be able to handle it on their own, let her sleep on her day off!

Meanwhile, JLD has located the spot where the Dimensional Breach is about to appear. They surround the Area, and prepare to interrogate whoever is about to appear, or deal with them if need be.

Space begins to tear apart as the fabric of Reality breaks apart at the seams. And from that wound in existence, an Adult Danny steps out. He is 44 years old, and looks like a less buff version of Dan without the mustache (basically imagine Danny as Ford Pines from Gravity Falls)

The JLD can sense that he is strong, but not too much so. It feels like he is powerful, but like that power has been starved for a while.

"Who are you?" Asks Wonderwoman, ready to jump into battle if needed. "What are your intentions in this World?"

Danny ignores them. He is staring into the Night Sky, eyes wide. The Constellations he hadn't seen in 30 years were there. The stars were in the right locations. He takes a deep breath, tasting the amount of Ectoplasm in thr Air. This is it. He's home. He's finally home.

"Finally" He says breathlessly. A slightly manic Grin on his face.

"What the hell does that mean?" Demands Constantine. The grin had unsettled him, and he began preparing a few spells just to be sure.

Danny ignored him again, this time deciding to close his eyes and finally eat his fill of Ectoplasm for the first time in 30 years. He was ravenous, this was the first decent Meal of Ectoplasm he had been able to have in 30 years. He was giddy, he was so happy to finally be home.

However the Heroes didn't know what was happening. All they knew was that some guy had ripped a hole in reality, said "finally" with a crazy grin on his face, and started emitting a dangerous amount of Death Energy for no apparent reason.

Constantine reacts on impulse, trying to cast a Banishing Spell on this guy.

Danny, feeling the spell begin to pull him away from his home after he had just found it again after Thirty. Fucking. Years. Does something that he would consider reasonable.

He quickly dashes over to Constantine and slams him through a tree.

This sparks a fight between Danny and the JLD. And at first he is having some serious trouble, but as he continues to feed on Ectoplasm and recover his strength, he becomes progressively more Powerful. It comes to the point where the JLD can't keep up anymore, and call in Backup.

Ellie was enjoying her night off, but the desperate Call from JLD about a powerful Entity at the edge of Amity finally got her going.

She rushes over and slams into Danny just as he is about to attack Constantine again. Neither of them recognize eachother, since they have changed since they were kids (Danny moreso) and continue to Duke it out.

Ellie is trying to banter with him, but Danny is really angry at this point. So he resorts to his final attack, his Ghostly Wail.

He levels a good chuck of the Forest, and in the end he is standing over Ellie as his anger fades. He says "Sorry" and he starts taking a look around him to see if there is anybody else.

Ellie is on the ground, shaken because she recognized that power.

She gets up, and asks "Danny?"

Danny finally gets a good look at her and says, and says "Ellie?"

Meanwhile JLD still has ringing in their ears and thinks that Ellie just called Danny "Daddy"

(Which makes sense because of the new age difference)

[cy-lindric]

bonjour cy-lindric, j'ai une petite question. when I was a young person, I read The Three Musketeers and then eagerly started to read Twenty Years After and was so upset at what had happened to my beloved young heroes that I put the book down and never picked it up. what do you think, should I try again?

Bonjour !

After reading The Three Musketeers, I also wasn't sure I wanted to read Twenty Years After, and I took a break inbetween both to read something entirely different (The Locked Tomb, iirc). I think my reason for that was kind of the opposite of yours ; I enjoyed T3M a lot and loved the characters, flaws and all, but by the end they had somewhat crossed over the line into being Too Awful and the lack of retribution left me a bit frustrated. I didn't see it as a failing of the story - on the contrary, their strong character flaws and downfall in the conflict with Milady is one of the most emotionally intense and compelling parts imo - but I wasn't sure I felt like hanging out with these guys for a few hundred more pages at that point.

If your vision of the characters as a young reader was a very positive and perhaps idealized one, I can imagine why you might not have enjoyed entering into Twenty Years after. The illusion of glory has worn off ; the characters have separated, they live unremarkable lives, and their personalities have evolved drastically with the passing of time. It's almost a brutal return to reality.

For me though, it added layers of characterization to the point where now it's clear to me that this version of the Inseparables is by far the one I prefer.

I hope it's ok if I take the opportunity to talk at length about what I like about TYA below the cut. TL;DR : I love that Twenty Years After is a more realistic look at the big four's personalities and how they evolved while still keeping them thematically coherent, and that TYA makes them confront the reckless and cruel shit they did in their youth.

Spoilers ahead obviously.

We've often talked about how T3M is at its core a story about the end of knighthood. It's a tongue-in-cheek approach at chivalrous initiation, set at edge of the modern world, inbetween the time of ballads about knights in armor and that of adventures about journeying gunmen and soldiers. I think TYA embodies that particularly ; the story of people who have carried the last of these intense, dangerous chivalric ideals in their youths, and who have now grown into middle aged adults who need to find their place in the world.

For a good chunk of the book, the big four are separated into two teams ; that in of itself might discourage some, but imo it's genius. Instead of the natural two-by-pairings, Dumas goes for a d'Artagnan+ Porthos and Athos + Aramis split on opposite sides, which makes for good drama and develops lesser explored dynamics. D'Artagnan and Porthos form a scrappy team of opportunists with money on their minds, and Athos and Aramis a more idealistic duo fighting for a noble lost cause. I think it's a bold choice but also premium sequel writing.

I also love the way the young and wild characters we knew evolve into middle aged men ; at their core, they're still the same, but they've all changed and struggled against the sunset of the golden age in their own ways.

D'Artagnan, after knowing such adventures and subsequent rapid social ascension in his teenage years, has been met in his adult life with the harsh reality that he is, in fact, not a noble knight but a soldier on payroll. His modest origins give him little hope for any further career advancement, and he takes on a new mission in his early 40s for a man he has no devotion for and a cause he doesn't care about, simply because he is bored and broke. D'Artagnan still has his quick wits, his strategic talent, his fencing skills, but he has grown out of the excesses of pride of his teenage years. I loved meeting him again in TYA, and it made so much sense to me that his bouts of anger and aggressivity would be a youthful trait that he'd ended up taming. He also realizes now a lot of what seemed like funny adventures and necessary violence was actually kind of fucked up ; that was a shock to me, as their shenanigans are treated so lightly in T3M, and tbh it healed me a little. Grown up d'Artagnan is cunning, calculating, down to earth and realistic. My foxy little man. I love him.

Porthos, likewise, has been struck by the weight of reality. He has made the sensible choice and got married to the rich widow who sugar mommied him in the first book. Now she's passed, he is rich, but he still fails to earn the respect of the high society he evolves in because he's not high born enough. Like d'Artagnan, he's stagnating and bored and now that he goes back adventuring it has nothing to do with the queen or the kingdom or honour ; it's about getting his damn nobility title.

Athos, on the other hand, is the eternal knight : the only truly high born of the four, and still hopelessly holding on to a time gone by. It's no surprise imo that his storyline brings him into the english civil war, doomed to fail at saving a king who'll end up executed right in front of him. TYA acknowledges more clearly than ever that at 28 yo, Athos was a depressed alcoholic, and an embodiment of what an excess of aristocratic righteousness can do. In TYA, he is sober and moisturized and a DILF, and now he's running around frantically looking for absolution for his numerous crimes. It's delicious.

Aramis is maybe the hardest pill to swallow. TYA confirms the T3M hints that he isn't really the prim and proper romantic boy he acts like he is, and that he's possibly the most hypocritical and ruthless of the four. It might be a harsh one for Aramis fans who like him better as a cute bean, but I love the early onset of remorseless conniving bloodthirsty ambitious Aramis. Another harsh bit might be the evolution of Aramis and d'Artagnan not really liking each other ; they were always the least close combination, and imo it makes sense that their personalities would clash. I think it's clever and compelling conflict.

Now, obviously, if you've cared enough to read all this and if you know me a little, you know that a huge highlight of the book for me was its late-appearing antagonist, Mordaunt. Mordaunt is the son Milady had with her english husband. Because of the Musketeers' intervention, he's grown up in poverty and has been denied his father's inheritance. He's now a Roundhead working for Cromwell, and set on avenging his mother at all costs. Mordaunt, unlike his mother who was this beautiful and dangerous force of nature, is very uncool and pathetic. She was the primordial snake, he's the gutter rat. Obviously, I love that in and of itself, but it's also kind of striking image of the wretchedness of what they've done to her, a fucked up little goblin ghost come back to haunt them as they're trying to make their life worth living again. This time, their enemy is not a cunning political rival with a flamboyance of body and mind akin to their own ; it's a shitty little guy with bad skin who wants to kill the king and punish the murderers. Watch out babes, it's the modern world coming for you.

Of course, they're the Four Musketeers, and they did what they had to do, so they get together again and swear friendship and keep going their way. But they're also old guys with difficult personalities in a world that's never going to be the same. I think it's a cool book.

[cosmicalls]

if you like dead poets society, you may like these!

just for fun: a little list of movies, shows, and books i like that i feel have something in common with dps. hopefully you'll find something you'd like, too!

not in any particular order. just the order that i thought of them in really

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A Separate Peace

by John Knowles - published 1959

a coming-of-age novel set at an all-boys new england boarding school. follows two boys, Gene and Finny, and their experiences during the summer and winter sessions of 1942. talks a bit about WWII and what role the boys may have to play in that, but it stays pretty focused on the school and the emotions involved during this time in one's life. all the growth and transformation and oddly homoerotic, perhaps very codependent, friendship of a bildungsroman that we love to look for.

one of my personal favorite books, even considering that it was assigned reading. i truly believe many of you would like it and i know for a fact some of you can vouch for me

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The Perks of Being a Wallflower

by Stephen Chbosky - published 1999 movie adaptation: dir. Stephen Chbosky - released 2012

follows Charlie and his general struggles of high school and with being, well, a wallflower. from goodreads: "Caught between trying to live his life and trying to run from it puts him on a strange course through uncharted territory. The world of first dates and mixed tapes, family dramas and new friends. The world of sex, drugs, and The Rocky Horror Picture Show, when all one requires is that the perfect song on that perfect drive to feel infinite."

very emotional. that's all! i preferred the movie, but i liked the format of the book being completely in letters that Charlie was writing. they're both good! (if you watch the movie, the english teacher's name is Mr. Anderson. so do with that information what you will...!)

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Matilda

by Roald Dahl - published 1988 movie adaptation: dir. Danny DeVito - released 1996 musical adaptation: dir. Matthew Warchus - released 2022

a young girl with an aptitude for reading discovers she has telekinetic abilities at the same time she begins attending school. unfortunately, the principal is an extremely harsh woman, and none of the students seem to enjoy it there. Matilda uses her courage and newfound powers to change her environment for the better, both at school and in her abrasive home.

such a good movie, a childhood favorite. the musical has a great soundtrack too!

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Good Will Hunting

dir. Gus Van Sant - released 1997

a janitor is recognized as a mathematical genius by an MIT professor, and he goes on an emotional journey to embrace his intellect. starring Robin Williams, our dearly beloved inspiration, as the therapist Will goes to see for much of the film.

i only saw it once and my description is lacking but ooh it hurt...... just trust me on this one

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A Series of Unfortunate Events

by Lemony Snicket - published 1999-2006 tv series adaptation: aired 2017-2019

JUST HEAR ME OUT ON THIS ONE okay. it's about a trio of siblings, orphaned, who are shuttled from one parental unit to another while being followed by a man after their immense wealth. they quickly discover they are in the midst of an intellectual conflict in a secret organization. they must rely on only each other, seeing as all the adults around them are wildly incompetent and/or unhelpful. and it is filled to the brim with literary references!!

both versions have really fun and witty narration, and the tv adaptation is extremely faithful. i don't know how else to describe it without going overboard so i'll settle for not descriptive enough! just trust me. yes it is a kids' series and yes it is one of my favorites ever. it's the vibes of it all

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If We Were Villains

by M.L. Rio - published 2017

about a group of Shakespeare theater students at a very pretentious arts school who find themselves in a very high-tension dynamic following a disaster that occurs after their halloween performance of Macbeth. lots and lots of Shakespeare, lots of dramatics, and the book itself is divided into five acts.

i finished this in about two nights and it was extremely creatively inspiring. it was a bit predictable, but that's not a bad thing. it still had me clutching my pearls and dropping my jaw

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"The Artist of the Beautiful"

by Nathaniel Hawthorne - published 1844

a romantic era short story about a man who feels utterly trapped by his occupation. he would rather concern himself with the delicate beauty of nature, and he attempts to realize this in his passion project - much to the disdain of the people around him.

a bit of a sneak sorry. i just think it's just in line with neil's whole thing you know. it's a lot of long and flowery sentences but it works really well i promise

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The Breakfast Club

dir. John Hughes - released 1985

the letterboxd synopsis really says it all: "They only met once, but it changed their lives forever. | Five high school students from different walks of life endure a Saturday detention under a power-hungry principal. The disparate group includes rebel John, princess Claire, outcast Allison, brainy Brian and Andrew, the jock. Each has a chance to tell his or her story, making the others see them a little differently – and when the day ends, they question whether school will ever be the same."

i don't have much to add and to be honest! kind of a stretch for this list! but i have faith

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obviously there are other shows and movies with the dead poets society leads, but i wanted to sort of branch out a bit for the bulk of this list. i will still list the ones i had in mind though

House M.D. (2004-2012) - tv series about genius diagnostician Dr. Gregory House and his team at a hospital in new jersey. Robert Sean Leonard stars as House's best friend and head of oncology Dr. James Wilson. very comedic but also very heartwrenching.

Tape (2001) - three friends meet at a motel room and dredge up and argue over unpleasant events of the past. starring Ethan Hawke and Robert Sean Leonard.

Before Sunrise (1995) - from letterboxd: "A young man and woman meet on a train in Europe, and wind up spending one evening together in Vienna. Unfortunately, both know that this will probably be their only night together." Ethan Hawke plays one half of the lead duo.

and yeah there's a LOT more but those are the ones i've seen and sincerely recommend. not to say others aren't good but this is a (very) curated list you see.

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phew that's not as many as i thought i had in my back pocket but it's still pretty good. plus, there's some things i havent read/watched yet that perhaps would have made it but alas! such is life

absolutely add to the list if you'd like!! let's all share our favorite stories

[runawayolives]

So for baby daddy Nate: when they are older and married reader can't handle anymore and they both fight she ask for divorce but the kid hear it.? Hope you write about this.

This isn't canon, I think.

This belongs to Baby Daddy.

"I think we should get a divorce."

"What?"

"I said that I think we should get a divorce."

"I heard you the first time."

The Jacobs' household was soaked in silence, the two young adults in the kitchen after setting their kid to bed. Nate was sitting on the armchair near the kitchen island, while she was cleaning the remaining of dinner. He stood up, walking towards his wife, invading her personal space.

"Can I know where this is coming from?" The faucet had been dripping for a bit, probably because it knew breaking the silence was its new task.

"I don't think we need to be married." Her hand was gripping a damp towel, hyper-focusing in a little circle of coffee from that morning. "We aren't a married couple, we're just two adults living in a house and raising a child."

"Who's fault is that?"

"Don't blame me." The circle was finally gone. "You were the one who married a woman who never wanted you." Their eyes met for the fist time since they put their child to bed.

"Don't say that shit."

"Mommy? Daddy? I'm thirsty." Both young adults turned around to look at the small figure standing by the hallway. The way they were gripping the doorway and their half hidden body proved that the child had been there for longer.

"Mommy will get you some." Quickly she turned around to fill a plastic cup with water. "Here hon. Do you need help going back to bed?"

"I want daddy to do it." Those big brown eyes were too hard to deny, making Nate walk forward.

"Come on, Jojo, I'll read you another story." He lifted his child to his hip, somehow still dwarfing the child, as if they hadn't grown since they were still a baby.

"Goodnight mommy."

"Goodnight, baby."

The staircase was full of picture frames of the young family, at the park, the zoo, on christmas. Endless memories that his stupid wife wanted to throw away because she was a quitter and a coward.

"What were you and mommy talking about?"

"Nothing you have to worry about."

"You were mad. Is mommy in trouble? Should she sit on the step?" Jojo was the most terrifying child Nate had ever met. The big eyes, the big cheeks and their calm nature made them look like a small victorian child that had seen too much. Jojo had a normal childhood, two parents that loved them, friends, and two set of grandparents that spoiled the kid a bit too much. Normal, very normal child.

Nate thought all the weird things that came out of Jojo were her fault. She burdened their child, he knew it. Jojo played like any other kid, Jojo had the same taste buds as any other kid. But Jojo asked uncomfortable questions and would stare at you for a bit too long, as if the five year-old was trying to figure you out.

She spent too much time raising the child, got bored because she's a stupid selfish bitch and decided to treat Jojo like an adult. Too many books, too many paintings and too many museums.

Jojo loved their mom, and Nate was envious. Not because Jojo didn't love Nate, but because looking at them proved what relationships between mother and child could be. Martha hadn't been present, she was home, and she picked him up from school, but his dad was the one in charge of raising him.

Seeing Jojo and Y/N somehow was the Universe or whatever entity rubbing it his face. You had the potential for having this, but you didn't.

The white walls of his kid's room were covered in little scribbles on the wall, something they hadn't bothered in correcting as long as it was only in these walls. The dinosaur lamp was still on, spreading the room in the light green light. Some story books were laying on the ground, and some books. Original versions of classics such as Little Women and To kill a mockingbird laid besides The very humgry caterpillar and The Giving tree.

During the walk up and the small back rubs Nate was giving Jojo, the five-year old had fallen asleep, long eyelashes tickling their cheeks. The toddler was set on the brand new ocean life bed sheets, their latest obsession, and immediately started hugging the handmade-crochet whale they had made with their mom's help.

After setting the kid to sleep and kissing their small forehead, Nate went downstairs. His wife was were he left her, this time with a mug between her hands.

"If you think I'll give you a divorce and let you separate me from my son, you're way stupider than I thought."

[sokoneedsagun]

Okay listen, I get like that the person calling Dick a “golden boy” and all that is Jason, and younger siblings are going to see their older siblings like that

BUT CAN WE BE SERIOUS FOR A MOMENT BECAUSE LOOK AT HIM

So here’s a short list of things he’s done

• he wanted to MURDER Tony Zuko for what he did to his parents and Bruce had to find a better way for him to punish the man who murdered his parents

• climbed and broke the chandelier at Wayne manor as a child, a chandelier that had to be AT LEAST like 20 feet in the air

• did his whole “discowing” thing because he was angry and wanted to rebel against Bruce and be an angsty teenager (more young adult but he was like 18 [I think feel free to correct me if I’m wrong] when he did it)

• he literally killed the joker, he murdered him, he only lived because BRUCE BROUGHT HIM BACK.

In conclusion, dc please for the love of god bring this version of Richard John Grayson back 🙏

[imtheiliad]

LONG MAY YOU ROAR [bucktommy | soft & gentle | 1k] a/n: hi uhh so this randomly popped into my head, and it's the first time i have ever really written in tommy's pov so it's far from perfect but it doesn't really make sense to tell it from another so i tried something new weee. there's some bonus sweet buckley siblings implications <3 title barely has anything to do with the fic/i do not want to be too sad about it, i just love robin from ttpd and it's about childhood so it fit... well enough. tw for mentions of canonical childhood cancer and death of a child

Tommy stands in his boyfriend’s living room, beer in one hand and he takes in the decor. He’s seen it all before but he's still getting to know the man that’s fussing over dinner in the kitchen. And there is something new, resting on the tv stand, is a photo of a boy riding a bicycle, his back toward the camera. It’s the first time Tommy has noticed it. He had never seen any pictures of a young Evan before, it never struck him as strange, not very many people kept baby pictures around their adult home – that’s why this one felt somewhat strange. There were the photo booth strips, Polaroids, and school pictures of Chris and Jee on the fridge or placed in a drawer around the loft, but no other kids were present in this space. Nothing else is so formal. He figures it has to be Evan, and it was special for some reason. So he picks it up and turns to his boyfriend who is smiling and making his way over to him, finally satisfied with letting the lasagna finish baking. 

“Who is this handsome young man?” he asks, a gentle teasing lilt in his voice. 

And Evan’s demeanor shifts, he’s still smiling, but it turns sad and bittersweet. His whole body sags ever so slightly. Tommy watches as his Adam's apple bobs, he takes a deep breath with his eyes closed and steps closer. He traces the edge of the frame, his eyes transfixed on the back of the bike. “This is my brother. Daniel.” Evan swallows again. 

“You’ve never mentioned…Could he not make it to the wedding?” He asks, but there is a nagging feeling in the back of his mind that tells him that there is more to the story. 

“You could say that,” Evan responds with a dry hough of a barely there laugh. “He, he um, he died when I was little. Leukemia. I never really knew him. Our parents–” He shakes his head. 

“You don’t have to tell me anything you don’t want to.” 

“I want to. It’s just, that I haven’t told the story so far removed from finding out. I told the 118 right away, while I was still numb. And the very messy deep personal feelings version to my therapist, but I’m still working through a lot. So, I don’t know. It might be hard for me to explain it all.”

“Well we can sit down to start,” He says gently with a smile. Taking Evan’s hand, running a soothing thumb over his knuckles. Evan nods and follows his lead to the couch. 

“I just, it’s hard to know where to start,” Evan sighs. 

“What about why you only now have this picture up?” 

Evan smiles a little. “Maddie gave it to me for his birthday last week.” he clears his throat, “So, basically I didn’t even know that I had a brother until just before Jee was born.” Evan looks over at him, trying to gauge his reaction. He lets the words flow over him, and his brow scrunches, tilting his head in confusion.

“My parents kept several secrets from me, forced Maddie to keep them too, for thirty years. They all came to light when I stumbled across that picture in Maddie’s baby box. The past few years since then have been busy, and she found it again after her move and everything and had a copy made for me and had it framed. He has the right for his life to be remembered and celebrated after being a secret for so long.” 

“Why was it a secret?” He lets the question slip out, “If you want to share that.” 

“Well, um,” Buck ducks his head a little, “Have you ever seen My Sister's Keeper?” he asks, looking back at him with a questioning look on his face. It isn’t what Tommy is expecting in the slightest. But Tommy has seen the movie in question, and the dots slowly begin to connect. And Evan has this look in his eyes that tells him he’s right. 

“Oh, Evan.” 

“It just never worked for him though. Sometimes I still feel like I failed him somehow.” Evan rolls his bottom lip between his teeth. “I was always treated like a disappointment by my parents and didn’t know why until I was thirty years old, I was never going to be absolved of a sin I didn’t even know I had committed. Maddie though, she raised me. She always treated me like any kid would want to be treated. So, now we celebrate his birthday when we can and Maddie tells me about him. She always comes up with new stuff she remembers after keeping it tucked away for so long. Or how I remind her of him and stuff. It’s good for her to talk about him, and for me to hear it.” 

Tommy smiles at him at that, “I have never been under the impression that your relationship with her isn’t very special. Thank you for telling me about this part of your family.” 

“Well, you knew most of all the other members of my family before me, as Chimney likes to remind me.” Evan laughs and relaxes back into his arms, tucking his face into Tommy’s neck. “Thank you for listening.” he runs his fingers over his hands, “I wanted to tell you. I just never knew how to bring it up, or what base talking about a dead brother was.” He can feel Evan’s small smile against his neck, and he laughs gently too. 

“Someday soon I’ll tell you about my family too.” He twists his fingers in Evan’s curls. 

“Whenever you are ready. I’ll wait.” Evan places a light kiss on his jaw. 

The oven beeps declaring the lasagna to be finished and Evan groans, ungluing himself from his side. Once Evan is back in the kitchen, Tommy lifts the photo up again from the coffee table and gently returns it to its home. 

[nightcolorz]

before this episode I was wondering if they would change the timeline of Armand’s backstory since he is so much older (like 17- to thirties is a big jump), and Armand’s backstory is heavily reliant on him still being a child who is living with Marius and deprived of any life of his own prematurely. I thought maybe they would change the timeline from Armand is bought by Marius, he is living with Marius, he is turned, he is taken by the cult, since armand is an adult and there is room for him to experience deviations in his story. But, they r seemingly sticking to that format which has some rlly disturbing implications, that I rlly enjoy!

in the vampire Armand the dynamic is that Armand wants to be a vampire and Marius tries to resist this fate for him bcus he knows that it would be cruel to doom a child to that life for his own selfish purposes, but he of course eventually gives in for those selfish purposes and regrets it bcus of how fucked up being turned rlly young makes Armand. There’s another layer where Marius buys Armand with the explicit intent of turning him into a vampire when he is ready bcus he considers Armand less of a person then Bianca, his current human lover, and thinks because he is so “broken” by his trauma that the cruelty of vampirism would not hold the same implications for him (since he is functionally void of any purpose or humanity anyway). Then he goes on to regret this mindset bcus of Armand’s brilliance and resilience which proves his mindset wrong, and he takes a stressful 180 and refuses to turn Armand until ofc he does.

in the show the thematic implications of vampirism r changed in a way by the new format. It’s implied instead that Marius bought Armand with the intent of keeping a human for his sexual purposes and refuses to turn Armand because that would leverage them (especially in his adulthood) as closer to equals, which he doesn’t want bcus he enjoys Armand for his use, his submission, and his “beauty in his humanity”. His intentions in the book r, in my humble opinion, gross and predatory, but they r even more so in this version.

In the book marius’s options he considers are A: mercy (send Armand to collage like his other young apprentices, giving him the same opportunities as any other boy that he is not having sex with, and hoping that he goes on to live a fulfilled life and forget about his childhood with Marius) or B cruelty (give into his temptation and turn Armand, having him be his companion for eternity but then submitting to the cruelty of both depriving Armand of the humanity he deserves to experience and risking Armand’s descent into madness due to being turned both prematurely and of an unstable mind)

As it seems so far in the show (I could be wrong) Marius’s options with Armand were instead A: mercy (turn Armand into a vampire so that he can evolve from his role as a prostitute and experience life as marius’s equal footed lover who he respects enough to meet on an emotional level) or B: cruelty: (keep Armand as a catamite for his entire life until he considers him a broken toy and moves on to the next). In this version vampirism is the kinder option!! Which is insane but heart breaking. Amc iwtv has a habit of taking already disturbing things from the books and making them 10x worse (which I sometimes hate, but in this case kind of like). It’s as if there is no hope for Amadeo, and never was, which is just rlly a guy punch.

there also is an implication here that instead of Armand’s childish stunted mindset being caused, of course, by how young he was when he was turned, it was instead caused by how he was raised as a infantilized functional slave who is valued for his lack of agency or control, which causes him to have a sort of stunted growth. And like, God that’s horrible

[loopyarts]

I sometimes think about and ponder on how Bruce is such an overprotective yet mostly well meaning parent towards Dick. Yet Bruce is also the type of parent who fails to realise that their kid has grown up and can look after themselves and doesn’t need them for protection and guidance anymore. 

Dick and Bruce are both control freaks but for different reasons. Bruce is a control freak because he thinks that as long as he is in control of the situation that means he can protect the ones he loves from harm or losing them altogether. Because when his parents died he had no control over that. He felt powerless that he couldn’t do nothing to prevent it. Even though he was just a helpless little 8-9 year old boy who could do nothing but stand there watching helplessly as it played out before his very eyes.

While Dick is a control freak for the opposite reasons to Bruce. He needs to stay in control of himself and not let others tell him what to do and values his freedom his independence if that makes sense. All his life even with his own parents he was excepted to do as he was told, like how most children do. He wasn’t listened to in his own mind he felt responsible for his own parents death depending on the version it was because he didn’t tell them about stranger threatening Mr Haly or in some tellings he wasn’t listen to by his parents. He had no one to turn to really and much like Bruce he was just a powerless little boy. Who nobody truly heard, Dick Grayson to the world was just a child and therefore had no voice.

The only person who truly heard Dick’s voice was Bruce Wayne who saw himself in the young boy and knew the only way to save this boy from becoming like him was to get him his justice and put Dick Grayson parents killer behind bars. He became like a second father towards the young lad, family, the dynamic duo crime fighters of Gotham. Which is why Dick was able to heal and move on mostly from the loss of his parents because unlike Bruce. He had someone to fill the void that was lost when his parents died. Bruce Wayne the Batman because like a father to him a second father, in a way he was Dick light shining hope in the darkest part of his life. It’s so important to Dick development as a character and without it he wouldn’t be the same person he is today and it’s also so important that Dick time as Robin was a pretty happy one as well.

Both Bruce and Dick saved each other just by becoming each other new family. Bruce didn’t need anything from Dick all he needs from him is to just exist to remind him why he does what he does.

So imagine the hurt Dick must feel as a young adult. That his second father who heard his voice and listen to him all those years ago. Is now not listening to his voice really anymore or respecting his decisions as a young adult a man in his own right. While it comes from a place of good intentions. Dick cannot help but feel he is still seen and viewed as just a little boy by him and the crushing feeling of never truly living up to his expectations and the shadow that the Bat casts onto him. When will he ever be good enough to finally be taken seriously by him as his own man. Dick coming of age story is about finding one self in the world and crafting out his own legacy and what being a superhero means to him and him alone.

While it wasn’t Bruce intention, he did in fact put pressure onto Dick even though he doesn’t want him grow up to be like him. He values him so highly and he is glad that he grew up to be a much better man than he will ever be. He loves his surrogate son so much but with that comes fear. Like any parent he cannot help but worry for Dick future and the decisions that he makes as an adult and he will state his opinion on what he thinks of said decisions Dick makes in his life. He didn’t approve of Dick dropping out of college which caused some tension between the two of them for a good bit.

I always found Batman #330 original released in September 11th 1980 really interesting because of how Lucius fox and his son Tim Jace fox comes into play in that story Bruce compares himself to Lucius while Tim to Dick and how he cannot understand why would in he in Bruce’s eyes be throwing away his future. So when Bruce is talking all this nonsense to Tim he wasn’t actually speaking to Tim rather it’s the things he wanted to say to Dick.

Dick probably understood at that point that this was never about Tim or the thugs rather it was about Bruce who took out his own frustrations with Dick by projecting them onto Tim and the thug members. The themes and parallels to a father that being Lucius and his son Tim to Bruce and Dick within that comic book story makes it so painfully clear to me. It was about a Father who was upset with his son life choices for his future and only wants what is best for him even if he isn’t going about it in the best way possible.

The biggest hurdle for Dick and Bruce relationship as surrogate father and son is miscommunication and how the other isn’t willing to listen to the other. Bruce is the parent who always think he knows what is best which is not always the case which leads to him fighting with Dick all the time because he is blinded by the idea that his adult son might know better then him and stubbornly refuses to budge on that for a stupidly long time.

[latibulater]

im not going to spend too much time after this one post

Treister as this character-figure on the same story level as Jonas Venture. Jonas to Rusty to the twins, Treister to Hunter to Brock. this episode implies a rich history where I'm left thinking that Hunter's insecurities around inner turmoil stemmed from Treister ("Hans Brinker's thumb was stuck in a dike" "Son, whatever depravity you get up to on your own time is between you and your living god") which of course bled down to Brock, who must have tried to block out the fact that his mentor and person he respects most is constantly belittled and degraded as being foolish and girlish ("Wayland Flowers called, he wants his Madame back") because Hunter's entire character, of course, is introduced as a transphobic gag. Hunter can't escape from being a man who wants to be a woman no matter how hard Hunter begs the narrative ("I miss my breasts! Inside of me, there is a woman screaming to be heard."), the very next episode Hunter meets with Treister and is immediately shoved into the role of successor, replacement, and son. Over and over, Treister calls Hunter son, makes regular remarks into homophobic comments, and "Took guts to bust out the nest and go off on your own, son. Took balls to cut off your balls. Even without 'em, you got more true grit man-moxie on tap than any of these "yes" men and bureaucrats been runnin' the place."

Similarly to Rusty, in this regard at least, Hunter was created for a singular purpose and trying to make a new way inevitably results in Hunter right back where he started. Honestly, in the same way I imagine Jonas constantly belittling Rusty over any perceived weakness, I can easily picture a young Hunter being put through hell by superior officer Treister, for the good of god and country and the secret president. And additionally, just like how Rusty says no matter how bad a father Jonas was, he still loved him and misses him and wouldn't be who he is today with Jonas and so he can't imagine ever actually going against his father, Hunter clearly is panicking when he thinks Treister is self-euthanizing.

Even after Hunter lets go of the wheel the first time and Treister yells "What the hell are you doing?! Do not let go of that wheel, boy! There are 2,000 souls on board!", Hunter inevitably lets go AGAIN because he can't bear to hold on while someone he must've cared greatly for climbs into a shuttle-capsule. "Do not kill yourself, you crazy bastard!" "Ain't killin' myself, son." And AGAIN with the BOY. the SON.

And like, Hunter was an open joke for believing in the GCI in the 80s, so why was so many resources, a private office with an escape hatch outside, and a personal hulking assistant given? I can only believe b/c at the time Hunter was still Treister's favorite, still Treister's spy kid and most likely prepped to be his successor, despite the weird results. Then Hunter fucks up with Billy and Phantom Limb and gets sent out of country and is separated from Brock. To me, that reads as Treister getting irritated his "son" is playing dress-up on stake-outs and is getting distracted running around on wild goose chases, and it's time to find Hunter a nice, new assignment away from the only person in the entire OSI to provide back-up and believe in Hunter full-heartedly. Sending Hunter to Guam is Treister's version of sending his unruly "son" to military school, never mind the fact they're all in the military anyways.

Parent belittles non-conforming child, child grows into a bitter angry adult, becomes a parent and slowly has to Detangle and work through their past, even getting dragged back in after believing escape was possible, and now trying to do a tiny bit better by their own children. Not TOO much easier of course, cant get rid of that "walked to school uphill through snow both ways" attitude instilled. i think a main difference is that in the end Hunter was verbally loved by Treister and handed the OSI as a sign of trust, whilst Jonas spent zero screen time ever complimenting or being loving towards Rusty. So this leads to an unequal balance between Hunter and Rusty where Hunter can mind-control and take advantage of Rusty whereas Jonas and Treister were on more even-footing IMO.

Moreso, in "Any Which Way But Zeus", when everyone is passing out and checked out, Hunter is the only one still trying to come up with a reasonable plan but Treister completely interrupts and dismisses the plan out of hand. AND

AND Hunter is the only one given a 'female' code name "Kelly Clarkson", opposed to all other code names "Kenan and Kel" "Matthew Perry" "Orville Redenbacher", EXEPT of course "Topanga Lawrence" (she was an actress). Who was the only other person at the table Treister called a girl/disrespected (from a military masculinity complex)? BROCK. Hunter's protege. Previously, Treister had given a lot of respect to Brock even as a commander to an insubordinate...subordinate. "Still breathing, General Treister, sir.

No thanks to you." "Aw, you're lookin' fine, son." and the following: "Son, I believe your mind has gone AWOL. I shoulda seen this comin'.

Your work's been gettin' sloppy across the board, boy.........Why don't you come back with us so we can find you a nice, new assignment? Maybe somethin' a little easier on the ol' noggin'?"

Then the next interaction they have is Treister realizing Brock not only left the OSI but joined SPHINX with Hunter. That is all to explain why I feel like Treister is directly disrespecting them best he can while avoiding making things personal in front of power players in the villainous community. It's this whole power play exchange that reminds me of a family feud happening in front of company where the father is holding on by the skin of his teeth to not slap his kids.

Moving beyond that, Brock's own issues with masculinity are never brought up by Hunter. He gets the length of his hair mocked by others, is told constantly he's over-compensating, and is emasculated over his role within the Venture family. Never by Hunter, far as I can recall. And personally, I think Hunter nicknaming "boychick" is much softer and more affectionate than "boy" and "son" even because it's a very possessive word.

UMMMM to wrap up this post b/c idrk where I'm going anymore, I feel like Treister was a lot more influential to the background of the show than is obvious upon first viewing because he actually has been around so long and most likely has a very deep complicated relationship with Hunter that appears as Hunter unable to escape expectations of being a good soldier/son which reflects Jonas' relationship with Rusty as Rusty is unable to escape his father's infantilization of Rusty's capability and society's pre-determined expectation of him failing.

GIVE HUNTER A RX FOR ESTRADIOL SEASON 8!!!!!!!!

[wuucchoo]

Jujutsu kaisen: the good and the bad

Hello!!! I'm out here making essays about jujutsu kaisen once again! And this is most likely the last one I'll make on it :3

((This is a (almost) 4k word rant, read at your own risk >:3))

So, the manga ended - and as far as I can tell, people’s opinions on it are pretty much divided. I personally found it extremely unsatisfying for many reasons, but I'll start with the ‘good’ things first.

THE GOOD

Jjk is a story that's a battle of ideals as much as it is a battle of techniques and fists. And, based on my understanding, the ending that gege chose to go for is the one where no one was actually proven right or wrong. Everyone's ideals and way of life remained the same from the beginning of the story to the end. 

Yuji, who's ideal is to save people as much as he can, was able to do that to the very end. Yes, there were hiccups - like the moment where Megumi had to remind him what his ideal was when he almost gave up after the Shibuya incident, but he got back on track right after he heard what Megumi had to say. And so he remained the person he was from the start by helping Megumi and also trying to help sukuna too. His character is pretty straightforward so it's very easy to understand it.

Sukuna, whose way of life and ideal is to live for himself in whatever way he wanted to, did just that to the very end. He refused yuji's offer because he'd rather die than live on someone else's terms. And in the afterlife he only considered trying a different path if there's a next life where his options would possibly be different than what he had in the life he knew. A possibility of a different life, a different path - yet still on his own terms, like he always did. He didn't regret the way of life he chose, he lived the only way he knew how based on the options presented to him in that life. And if there is a next life, he wouldn't mind trying out another path depending on what his supposed next life would have in store for him - as long as he does it on his own terms, and not living through what someone else's version of happiness was. He remained steadfast with his belief and ideal until the very end.

And megumi! I have a lot to say about him so brace yourself to anyone who might read this :3

At first, I thought (after that ending) that his character was all about him wanting to live and letting other people into his life once again and all that shit idk. But now, after cashew (from twitter!) explained their interpretation of the ending I see it in a different way (but slightly the same still).

Megumi’s character from the beginning to end has always been about loving selflessly in a selfish world. As a young child, he had viewed himself as nothing but a commodity, a bargaining chip his father left behind - and his value was in the technique he was born with because that's how every adult in his life has treated him. Gojo went to find him because of his technique, the school accepted and helped him out financially because of his technique, the Zenin wanted him because of his technique - just, every adult who could have made a difference in his life failed him because whether they did it on purpose or not, all of them made it seem like Megumi’s value is only ever in his CT.

Yes, Toji was happy when he found out that Megumi kept the Fushiguro surname because of the implication that he was never sold into the Zenin - but that hardly made an impact on Megumi’s perception of his worth because he never knew who Toji even was. To the very end, Megumi’s father was ‘the dude who sold him to the Zenin as a bargaining chip’ for him ((which i hate btw, but we’re talking about ‘the good’ right now so that rant can wait :3c)). And so, as a kid who was made into thinking that he’s just a commodity - he poured all the love in his heart to the one person who loved him just because its him, which was his sister. And in so doing, he became a person who puts someone else’s happiness above his own at all times. 

Gojo tried to get that out of Megumi by telling him to ‘be greedy/selfish’, and he did try to do that during ‘origin of obedience’ where he acquired a domain - not because he wants to save someone else, but because he wants to defeat the finger bearer in front of him. And that was just the one time, moving forward - everything he did has been for someone else again. He almost slipped into the deep end when he almost killed Remi just because he can that one time, but Tsumiki (or the idea of her) stopped him. This made me think that if Tsumiki doesnt exist Megumi would have been so powerful ((and yet evil too at the same time, something to think about i guess))

In a world that rewards selfishness he chooses to be selfless and keep other people's happiness above his own - because to him seeing the people he cares about happy is what peak happiness looks like. So when sukuna tried to manipulate and shame him for everything that happened while he was possessed - he didn't entertain it, instead he decided to do the thing that got him into this mess all over again - to live for other people once again. Living for the sake of Tsumiki’s happiness, trying to save her in every way possible as much as he could, was not a stupid mistake - that's why he will go and do it again. Despite all the pain and suffering it caused him, he will try to live and love again (I'm talking love in its broad definition btw) - because loving Tsumiki wasnt a mistake he should learn from, but a memory he will cherish. 

From the very beginning, Megumi’s ideal was to save people unequally because he's not a hero, and he never tried to be - the best way he can think of living his life is to pick and choose who to save because he can't realistically save everyone. And so, this - as well as the first thing I mentioned - was his truth and he stuck to it to the end. And he did have a moment when he gave up on that, after sukuna succesfully wore down his soul through all this careful planning and risks he took from the moment he got interested in megumi. Possessing him in ch 212 (at his most vulnerable and confused moment), performing a bath ritual to drag his soul even further than it already was, killing Tsumiki so Megumi loses any semblance of hold he might have had even after doing the bath ritual, and then using his likeness to fight sorcerers. Yet despite being the one with the most reason to curse sukuna in death, he decided, not just to live his truth, but tsumiki’s as well - by choosing to think about the people he cares about instead of cursing those who wronged him.

In the end, everyone lived and died by their own truth and ideals, and no one was proven right or wrong. ((gojo, yuta and many other characters too had their ideals challenged but never proven right or wrong - but i dont wanna talk about too many characters or this would go on for days))

Looking at it this way, the ending was 'good' in its own right (and as a concept) - but the road that led up to it, and the execution for most of the scenes left a lot to be desired.

THE BAD

While I do see what gege seems to be trying to say with his story, that doesn't mean I agree with it nor do I believe that such an ending was 'earned' when the build up that led to it was lacking in so many ways.

I agree that the world isn't black and white, and no one has the answer on what the right way to live life truly was - but the villains in his story went beyond being ‘bad’, they were clear and pure evil. And yet we see zero comeuppance - both kenjaku and sukuna didn't get the karma they deserve. Because, as it seems, with all the Buddhism values and themes gege borrowed - in the world of jjk karma isn't real, or at least not for the villains. ((And nope, what naoya and the zenin went through wasn't karma - what they experienced was vengeance, imo, more than it was karma.)) That's why Megumi felt like such an incomplete character, because to complete him the way he deserves would be to answer that karma is real.

Despite all the evil things both sukuna and kenjaku did - we instead see them both rewarded (REPEATEDLY)  for being evil. 

First, kenjaku.

Most people would probably agree that kenjaku is the main villain in the story, despite how the second half of the culling game turned into mostly about sukuna - it was kenjaku's master plan that started all of this. And kenjaku was evil. Pure and unapologetic evil. The things he did to choso's mother alone, warrants him an end worse than death. He lived his long life doing nothing but make other people suffer, all for the sake of curiosity and wanting to be entertained.

And yet the ending we all saw him get was a happy one - dying with a smile on his face because finally after years of living he was finally entertained - and it all happened because he decided to play with people's lives and start a death game.

He was rewarded for being evil.

Playing with the lives of other people was not presented to be as bad as it should be when the villain who committed these crimes didn't even get their comeuppance and was instead rewarded. Just to put into perspective, kenjaku REPEATEDLY forced someone to be impregnated so he can use the cursed children for his experiment. And that is just a tiny drop in the pool of heinous stuff he did. He is beyond evil.

While his way of life and ideal was not proven correct; it wasnt proven as wrong either. Because he didnt get even an ounce of the suffering he induced onto others, instead he was rewarded with a satisfying death. Putting into perspective everything kenjaku did, its pretty insane that he got to have a death where he could have a smile on his face and be satisfied. Gege went out of his way to create an op character (with an op technique that barely got an explanation) out of nowhere with takaba just so kenjaku can have fun. This is what i mean by evil gets rewarded in gege’s story. ((i mean just look at what happened with mei mei vs what happened with nanami. Gege rewards bad people, a lot of the time. And i guess in nanami’s case it can be argued that its coz to gege, death itself is a reward, but i digress.))

And then there’s sukuna.

Where do I even begin…

Maybe at the beginning, to make things easier.

Remember what Sukuna said the first time he reincarnated? He was looking for the 'women and children' celebrating how 'it would be a massacre' - this statement from him suggests that he, not only fights people who challenges him ((like what was implied with his dialogue with Kashimo)) but he was also actively seeking out people leagues weaker than him just for fun or as sports. Which was why the minuscule lore drop we got about him by the end felt really jarring to read - especially when it came from Mahito's mouth. A character who (as far as we knew in the story) barely even knows himself, let alone Sukuna. And yet, for the sake of making things just speed up and over with, we are just supposed to believe that he knows enough about Sukuna to say that his reason for being the way he was was because of 'revenge to the world' 😭. Where did Mahito learn that? When did he learn that? We don't know, so we just gotta accept and sit through Gege's 'tell not show' way of telling a story.

Sukuna is evil, and just like Kenjaku he was not apologetic about it nor does he regret it. Every path in his life he chose was that of the evil route - there was no grey area, there was no question on whether his way of life was good or not. It was evil, plain and simple.

And yet the story Gege wrote kept rewarding him for being evil.

And it seems as if all the innocent people he killed (for no reason!) doesnt matter.

Despite how bullshit it was - he was able to steal an innocent kid's body using a binding vow that should have had him killed (or worse) and yet it did nothing to him. He was rewarded for being greedy. He then had the time of his life fighting gojo, I don't count the jumping that happened later on as him having the time of his life coz it seems to be just a major annoyance to him. And then later on died with the option to walk a different path in the next life. In itself, it sounds great - but looking at the destruction he caused... Where's the karma? 

There's none, because gege doesnt seem to think he deserves it. 

I really really disagree with this message ngl. Coz the characters in gege's manga holds more sympathy to the perpetrators than the victims themselves - and I just can't agree with it  ((coz wdym gojo tried his best 'to reach sukuna'? That shit came out of nowhere.. Like,, why was he more concerned if sukuna had a good time? This wouldnt feel so jarring and out of place if Gege took the time to flesh out the characters more. if he gave us a moment of Gojo sympathizing with sukuna before the fight, before the culling game, before Shibuya. Meaningful character interactions between Gojo and Sukuna, a convincing one, that would make it make sense that Gojo's goal when he was fighting Sukuna was to, apparently, 'reach him' and 'make him understand'. The ending we got doesnt feel 'earned' because this whole time gege never gave us anything about Sukuna's character aside from 'he's very strong and he kills people' until the last two pages of the manga.))

For gege to go with this theme and messaging, he ended up disregard Megumi's character completely and reducing him into this character who had zero feelings on the matter that directly affected him. Yes, he was apologetic and all that - but... That's it? And while i do understand (i think) what it was Gege was trying to go for with Megumi's character, the execution of it just felt so half baked and lackluster - making Megumi's character feel incomplete despite the amazing build up Gege made for his character.

((A similar thing was done to yuji's character for the sake of the 'messaging' gege aimed for, but i will get to that later.))

Sukuna's statement of 'there are consequences to being greedy' never came to bite him in the ass, despite how much it should've considering all he has done- because everything he does gets rewarded. It's like, being that evil is good coz he keeps on getting what he wanted. And like a dumbass I kept on waiting for karma to get him and it never did. Coz karma isn't real in gege's world. ((and no, him being defeated is not karma because the only thing it did is lead him towards the path of redemption - like, the victims dont matter and what matters more is the psyche of the perpetrator. I dont know if i described it properly, but eh.))

Sukuna bets his life with a binding vow? He gets rewarded with the body he wanted with zero consequences - doesn't matter that gege had to go through a MASSIVE plot hole just to get there. Because in no universe was the thing he did to Megumi (and to hana) not considered ‘harm’, but it all got shoved under the carpet because gege doesnt know what to do with that. Gege needed that binding vow to not punish Sukuna, so despite the established rules he wrote in his own story that warrants that binding vow penalty to trigger - it just didnt... because??? If it was coz 'yuji didnt include himself in the people that cant be harmed', as Sukuna guessed, then i guess yuji didnt include Megumi and Hana in it too? But doesnt that neglect the point of yuji's character as being 'kind'? 212 was a massive plothole and i think thats really where the writing began to get... bizarre.

Sukuna kills yorozu/tsumiki just to drag Megumi further into the abyss? He gets rewarded with a weapon that (surprise, surprise) saved him from higuruma's CT. A CT that before that moment, he doesn't even know about. Good thing killing tsumiki's body rewarded him with a weapon, amirite?

Sukuna never fails to show his hatred for Yuji and would always try and make him suffer whenever he gets the chance? He gets rewarded by Yuji suddenly giving him an option to live again even though the entire story Yuji had always said he would kill sukuna. And i understand its coz yuji was able to know sukuna has a soul ((coz gege gave him the power of the mc punch)) and was able to conclude that he’s still human despite the HEINOUS crimes he committed, and megumi having been possessed by sukuna the longest was able to see that sukuna was desperate to live too - so i do see where gege was going with it. It just feels like the build up towards that conclusion wasn't earned, because even though it can be understood it just wasnt SHOWN to us. All thats being done is TELL and never SHOW.

Everything sukuna does gets rewarded and it just doesn't sit right with me. Its like saying the war criminals are just lashing out coz the world wronged them, that they deserve sympathy too. Okay, and what about the people they wronged, tho? Sukuna deserves sympathy for the world that wronged him, sure, but it doesnt absolve him of the crimes he committed - he deserves karma just as much as he deserves sympathy. And yet we see him walking away from everything he did with a smile on his face, zero regrets, zero repercussions and the possibility of living a better life in his next. ???

the ending

((Im sorry in advanced if youre a yuji fan coz im gonna say something you might not like 😢))

Imagine your sister got killed by someone and then your classmate comes in and says they forgive your sister’s murderer and wants to give them a chance at a better life? That this classmate of yours would be willing to turn his back on everyone else just so this criminal who killed your sister (and so many others in cold blood) can live? That even if no one else is willing to, he would give solace to this murderer - just so this murderer gets his second chance? What would that feel, you think? Thats a pretty weird scenario you might say, but thats exactly what Gege made yuji say and do by the end there.

Gege tried to portray 'kindness' with that speech yuji did, but ((imo!)) he ended up making yuji's character sound insensitive and cruel not just towards sukuna but mostly towards his victims and to all the people that died trying to stop him.

In itself, maybe in Gege's head - it sounds like a "good" thing to say - but when you look at the chapters that happened before that, its not something yuji nor sukuna earned because yuji was not sukuna's only victim and he wasnt the only one who defeated sukuna for him to decide and say all that. Knowing the things we know about the story that led up to that moment, gege just made yuji sound selfish and cruel - by having zero regards to everyone else's sacrifice and suffering. Which is a very weird thing for gege to do because before that moment, yuji was talking about the people who died - and then disregards that in the next chapter just so gege can write those lines.

Yuji's character is far, FAR, from selfish and cruel, and yet that speech gege made him say to the dying sukuna unfortunately made him sound like that.

This would all land better IF we saw yuji SEE sukuna go through the life he had during the heian era - like maybe what he went through was enough of a reason for someone like yuji ((who was supposed to be kind)) to suddenly offer all that, knowing damn well the amount of people who would possibly be hurt by that decision.

Im really not digging gege's exploration of good and evil - coz he almost always rewards evil and make good people suffer (with zero payoff, mind you). This 'trying to understand the villain coz he's human too' route just fell flat because we were never given the chance to understand sukuna except in the last 2 pages where he was given vague lore drops - and a statement from mahito who, before that moment, doesnt even know anything about sukuna except that he's strong. How and why the world 'wronged' him, we'll just never know, coz instead of showing us, gege kept on just 'telling' instead. But i guess for the sake of just ending the story we all just gotta accept that mahito, of all things, somehow knew of sukuna's reasons. lmao?

And the reason why i keep referring to the lines as 'Gege made this character say this and that' is because by the end, and even in some chapters before that, the characters lost their identity and are instead talking through a script gege made them say. Yes, a story is essentially that - but a good story is where characters feel alive and are speaking through their own soul which the last 5 chapters of jjk lacked tremendously. The characters felt like they were locked in a fixed role gege chose for them, and then they were given scripts to say, and then they were all rushed to say those lines because of tight deadline, and they have to say those lines just so the story would end. I know i dont make sense... but it probably would make sense to anyone who have read a good story where characters actually feel alive and not just there as the author's mouthpiece.

I know this is gege's first series, and its bound to have some flaws - drawing and writing a story weekly requires immense skill and discipline, i respect his craft a lot. Its why the disappointment i felt was great, because the story in the first half had such a good thing going and so i placed such a high expectation on it. Still, for his first series, its not bad... I probably wont be looking forward to his next series though, i find im not the biggest fan of this writing style that leaves a lot of things unresolved and just lets the readers write their own headcanons to fill the void.

((if anyone read up here, uhhhh hey there! thank you for reading my (almost) 4k word rant lmao, i actually have more to say but ee.. there's too many. This is my last rant on jjk (probably) feel free to fight me on this, one thing i wont back down on is the plot hole in 212 - that was a stinky plot hole and we just went past that like, damn..))

bye for now!

[linderosse]

Cannot wait to see your new design for Echourora. I keep refreshing hoping to see you drop the design and comic.

On a proper question, what do you do with the Priestess/Shrine Maidens/Sage descendants from LttP for Wisdomverse? What's their relationship to the actual Sages of ALBW?

Hahaha I can’t wait to share it! I keep thinking of more things to draw around this little Echo|Aurora concept of mine. I’ve been working on a bunch of them in parallel so I can release them as I finish :).

I’m actually nearly done with the first bit! So many ideas, so little time to draw. I’ve been traveling a lot this week and last week, and it’s hard to draw in a moving car :)

But I can still type in a moving car, so hey, here’s an answer to your question!

I personally am merging all the characters from ALBW into their ALttP counterparts, and that includes the sages. Essentially, you can imagine that the sages from ALBW were the ones trapped in the jewels in ALttP— except one of them was replaced by Fable, because Fable is one of the sages in ALttP, but not in ALBW.

Dot in FSA gets a set of color-coded maidens of her own, so Fable doesn’t need one as well. And using the ALBW sages for ALttP is also much more consistent with the sages from OoT. Here’s a nice graphic that someone made online (not mine; I downloaded this ages ago as a drawing reference).

So, in ALttP: the sages get kidnapped/sacrificed at the start, just like the maidens were. At the end, they all come together to break Ganon’s barrier, with Fable (Zelda) as their leader.

That leads to the question: which of the ALBW sages is replaced by Zelda for ALttP, and then gets to be a sage again in ALBW? My vote goes to Seres, the priestess in blue at the end of the line— though I’m still giving her a role to play in ALttP.

In fact, I’m gonna trace where all of them could have been in ALttP. There’s a lot of fun contradictions to merge :).

Osfala

He’s Sahasrahla’s disciple/grandson, just like in ALBW, and gets kidnapped with the rest of them. This has the added benefit of giving Sahasrahla a personal motive to want to help Link at the start of the game (though of course he’s already down to help). Let’s say you can rescue/recruit Osfala in the Dark Palace in ALttP, because it’s the first Dark World dungeon and it’s near where he and Sahasrahla live in the Light World.

Rosso

I don’t think he has a counterpart in ALttP? If he does, I’ve forgotten. Guess he just gets kidnapped and rescued like the others. He can have the Ice Palace, because although I do like Rosso, I hate the Ice Palace and have to give it to someone. It’s a nice ironic choice for a Fire-aligned guy like him (since Turtle Rock is off the table—it’s Fire-aligned, but it’s the last dungeon and therefore has to be where you rescue Fable)

Gulley

Gulley is the blacksmith’s son and one of the sages in ALBW, and the counterpart of the Ocarina Kid in ALttP. In this merged version, he gets rescued from the Skull Woods dungeon, but he’s too young to hold himself together properly in the Dark World, and gives his ocarina to Legend and then dies when they reach that stump in the forest like the ocarina kid does in ALttP canon. Let’s keep that trauma for Legend.

(Note that a lot of people die in ALttP. It’s fine, dw, they’re all canonically revived at the end of the game)

But then the gang is missing one sage! How will they break the barrier, which requires seven sages total? Fear not, they have a plan. We’ll get to that later though. For now…

Oren

Oren gets to be the adult daughter of the aging King River Zora in ALttP who gives Link the flippers. This has the added benefit of giving the King Zora a reason to help Link despite the fact that his people are constantly trying to kill you. Oren gets rescued from the Swamp Palace, just like in ALBW. Water theme go brrrr.

Impa

Impa is Impa. Rescued from Misery Mire, because why not. Nothing special here.

Maple/Irene

Ah, Maple. She’s the granddaughter of Granny Syrup, the potionmaker from ALttP. Maple was added only in the GBA remake of ALttP as a reference to her appearance in the Oracle games. Her kidnapping would give Syrup an added personal motive for helping Link out.

I’m giving Maple the Thieves’ Town dungeon in ALttP because Thieves’ Town is special. Folks who have played ALttP, or who are familiar with The Secrets We Keep, may remember the dungeon boss Blind the Bandit. Blind masquerades as the captive from this dungeon and follows you— until you lead him to a special room and the light turns him back to his monstrous form.

I love the thought of a fake Maple following Legend around, pleading that she’s real, and to trust her— but Legend sees through the lies. When Legend rescues the real Maple, her dry cynicism is a breath of fresh air, and a distinct reminder that she’s the real version. It gives Legend a connection to Maple that he gets to build on more in the Oracle games.

Legend will also proceed to be traumatized by Blind twice more in the future (including TSWK), but that’s a story for another day :).

Seres

Finally, Seres is the daughter of the Priest in ALBW. In ALttP, the Priest hides Zelda in his church for the first half of the game, and dies valiantly trying to protect Zelda when Agahnim comes for her again. In this merged version, Seres was there too, and can’t do anything to save her father. This has the added bonus of giving the Priest a personal motive to want to help Link in the first half of the game (his daughter is in danger), and giving Seres a personal motive to help set the world to rights again in the second half of the game (she wants her father back).

In this merged version, Seres takes Gulley’s place in the final scene where Fable and the gang blast through Ganon’s barrier, so they still have seven sages. There aren’t really any elemental roles in ALttP and ALBW like there are in OoT, but if you consider the elements to still exist, you can think of Fable as a wildcard sage who can fill Gulley’s role, like Lullaby/Requiem does in OoT as the “Seventh Sage.”

Tl;dr:

And there you go! The ALBW seven, if they were in ALttP.

Did I overthink this? Yes. Will I change details of this later? Maybe. Was this fun to contemplate anyways? Hell yeah!

Thanks for the amazing question. I love these; keep ‘em coming, folks!

Masterpost