#the amount of people who love this series as much as i do is making my heart go doki doki but at the same time it hurts

[essektheylyss]

idk I kind of feel like I'm an idiot bc I actually enjoyed cr 3 from the jump to the end but like the blogs who follow bc I feel they are definitely more articulate and insightful than me are like "the whole thing was meaningless and pointless! matt fumbled everything!" so maybe I'm wrong to have liked it all? I'm not really sure where I'm going with this sorry

I think one thing to keep in mind is that many (and in fact, I would argue, most!) people who are critiquing the story and construction have also generally enjoyed the campaign as a whole! Certainly I don't know anyone who stuck it out through the end who did not overall enjoy watching it, for various reasons; I know there are people who hate watch, which I think is an absurd and honestly really stupid waste of time, but from my experience they are normally making snide and vicious tweet-length posts rather than long considerations of what isn't working for them.

There are also a lot of levels of critique—I've greatly enjoyed a lot of moments in isolation that I simultaneously felt weakened, contradicted, or even actively undermined the structure of the story as a whole, but those moments were still really fun and interesting beats. The Arch Heart's cameo comes to mind, as does, in hindsight, some of the construction of the post-Solstice split, but there are plenty of others of higher or lower impact on the story. In the finale the Raise Dead falls into this place very strongly, so I'm going to talk about it at length for a moment, since it was an absolutely stellar moment for me personally and as such I do think it serves as very illustrative of an example where I simultaneously fucking love a moment while finding it worth significant critique. I think it also touches on the critiques you're referring to, which I would summarize overall as the idea that many of the outcomes feel influenced negatively by pulled punches on the part of the DM rather than a flaw of one player or another. (Also, I want to talk about it cuz I love it. :3) This got very long but I think that to your point, it is worth examining in this amount of depth.

First, the good: it is an absolutely phenomenal culminating point of an arc that was only really concluded in summary; I have, as noted earlier this week, written at length about how Essek is never situated as a protagonist, which is functionally fine and even good. He ends up tied very strongly to Caleb's arc, and moves in the narrative in such a way after 2x97 that allows Caleb to reach a concluding note, and strengthens that narrative. So we only really hear about the outcome of Essek's choices, his inevitable leave from the Dynasty, in the summarization of the campaign 2 epilogue. This is not inherently a problem, because he is not a protagonist. But this moment does functionally create a material representation of that denouement, and in particular the tension between the outcomes of his poor choices and the better—potentially even good!—person he is trying to be as a result of the Nein's influence, which does strengthen his arc in its own right.

This moment also, hilariously, bears out my argument from this post. That the resurrection should only work with this intervention, particularly while the Nein are involved, does follow through on the Nein's general positioning within Exandria. Essek's leave happening without a fight (and, frankly, with only one attempted Counterspell) both makes for a very well-paced moment and also maintains the overall sense of story that the Nein impart when they are on screen; I'm thinking again of how their Ruidus episodes feel, much like their campaign and their post-campaign one-shots, like an intrigue action thriller series, and this fits well in that framing.

So overall, it is a fantastic moment... for the Nein. The Nein are not the protagonists of this story. They exist in the world, and are such active agents that they do continue to develop and exert motion on the narrative into this campaign, and frankly, I think this would have been fine if the party given ownership of this story and campaign did not abdicate their responsibility for it with unfortunate frequency. They do not exert a strong control over their story, which is at odds with the fact that the Nein do, and are present and also involved by the nature of their ending. It completely overshadows Ashton's heroic moment, in that the culminating action beat of this sequence is Essek getting away, which kind of takes the wind out of the sails of the Hells' involvement in the gods' outcome. It doesn't negate it, certainly, but it does refocus the story from them to, for some reason, Essek. So in this sense, it occurs at the expense of the Hells.

I find that while the handwaving of using dunamantic intervention to push Raise Dead beyond its limits (if indeed the reason it didn't originally work was because Ashton's brain was essentially gone) fits fine and even well within the framework of the Nein's story, and an NPC being able to do so without a roll is fine, since NPCs are vehicles the DM uses to guide the story, this is a significant divergence from the overall mechanics of the world at large; even the Nein had to do a full ritual for the resurrection of their tiefling. Matt put those mechanics in place specifically to create narrative meaning behind resurrections, which can feel very unmotivated and like a get out of jail free card in D&D, and while it's been noted that this would've really strained the runtime beyond its existing length, prioritizing it at the cost of, for instance, more truncated end notes for the Nein and Vox would've bolstered the Hells' presence in an ending to their own story that even many of their fans felt was ultimately lacking.

Giving the resurrection full weight would've also given Ashton's sacrifice and the Hells' involvement more narrative weight; the reason the other parties are involved at all is because the Hells were truly running on fumes by that point, but any lack of involvement this created could've been alleviated by having them directly involved through pre-established ritual elements that are not contingent on them having any mechanical offerings. So this moment sits within the context of critique that I agree with: that it felt like a pulled punch that ultimately also served to decenter the Hells within their own narrative, when it could've been used with more deliberate narrative force.

At the same time, I fucking love it, and watched it four times in a row yesterday, because it is so good—and it is, as I described, narratively and thematically coherent in one sense! And I think that is one issue of the campaign: many, many great moments are excellent and coherent in a certain framework but are weaker to varying degrees when considered as one piece of a larger whole. There are so many frameworks at play in this narrative, and not enough direct intervention to manage those as frameworks rather than as a single story, but at the same time, I think those frameworks are far more apparent if you're really looking for them, and that's much more difficult, if not impossible, when you're in the midst of them and telling the story.

I also don't think this means one cannot critique this; in fact, I would say this is more an issue of being a serialized narrative than an improvised one, which is often how critique of it has been pushed back against within the fandom. I was thinking about this as I'm currently in a course on, quite literally, how to critique comics, and we discussed this week how Marjane Satrapi said in an interview after making the film adaptation of Persepolis, which was first a serialized comic, that she ended up preferring the film, and I speculated that was because with a film, one has the ability to make a more cohesive narrative purely by virtue of the fact that with a serialized form, you cannot go back and make retroactive edits when new developments come to light. This is something that long-running comics must constantly navigate (as do many long TV shows), and in extreme circumstances such as decades-old comic franchises, ends up resulting in infinite timelines and hand-waving, which becomes so ridiculous that at this point it's a meme. In that scenario, though, it is not presented as a non-contradictory story, let alone a cohesive one.

Many of the critiques of campaign 3 are operating within the idea that this is presented as one overarching narrative. (And honestly, comics and other narratives that don't utilize that presentation are also still critiqued on that merit by people who greatly enjoy the texts they're critiquing anyway.) Within that context, I feel that the framing of the Raise Dead, as well as much of what would be my critique of the other pieces I referenced (the Arch Heart's cameo and some of the party-split sections) if I was to do the same kind of rundown of those, actively undermine this presentation by introducing and forefronting too many conflicting frameworks that are not interwoven well enough to create a single, cohesive overarching narrative.

This is a very long-winded way to illustrate my point, which is that I would really encourage reading critique not as a lack of enjoyment of the campaign, let alone a suggestion that no one should've enjoyed it (and if you did, then you're not smart enough to know better), but as a way to engage with the text(s) as presented within one framework or another. I think this is sometimes obscured in online fandom spaces, where we're not engaging in critique in as formal of a sense as one would in, say, an academic setting, where the norms generally dictate the framework one is using is explicitly stated if not fully delineated within the critique, but it is, more often than not, still implicitly present within the critique.

And as a final note, I would also really urge everyone reading others' opinions on something they enjoy to resist the urge to elide their own opinions from the conversation, even if you don't feel as articulate or as well-versed in critique. Critique is a trained skill, so it is certainly something one can pick up if they are inclined, and at the same time, someone doing it does not mean they are inherently right—and in fact, with all argumentative writing, it is up to the reader to consider the argument and decide whether or not they agree with it. (You can decide that you disagree with me about the Raise Dead! Just because I wrote a thousand words on it does not inherently make my interpretation truth; it's just an interpretation. You get to say whether or not you think my interpretation makes sense based on the evidence presented.) Even here I'm using the framework of some critique that others have made, but I don't delineate in full myself. In doing do I'm not presuming that you agree, but I am presuming that you've read it and know what I'm referring to. Strictly speaking it's also not even saying that I take that critique as true; it's saying that I feel the conclusions drawn are applicable as a basis for my argument. If you wanted, you could even say that you feel that my argument is irrelevant to you because you don't feel those critiques are true! But you ultimately do have to be the one to decide any of that, which does involve a balance between a confidence in the formation of your own opinions on the text and an openness to entertaining others'.

[tubbytarchia]

Ngl I kinda hate it when you talk about lizzie cause you always talk about this version of her and the fandom that's so utterly foreign to me as a lizzie fan, it always feels like a damned if you do damned if you don't scenario where she isn't allowed to interact with men and ignoring all the depth of her character in order to overanalyze specific events or headcanons in a vacuum and then saying it's ignoring her character and misogyny, as well as ignoring the irl misogyny that shapes the cc's choices for their c's. Big sister and protector is a title she bestowed upon herself and it should neither be dismissed as "just that one time " (because so much of everyone else's characterization is based on things that were "that one time" and it is also something both her and jimmy choose to quite fondly call back to) nor incongruent with her character at someone who loves a good "i meant to do that" and self-agrandizing herself. It feels more like you have to ignore several years worth of both hers and jimmy's story and characterization and also the more problematic realities of the situation (such as it being lizzies second season, while it had been jimmy's 5th season of an incredbly prominent ongoing plot point, and that lizzie's external interactions of note were, outside of our power and for various reasons, primarily with men, among other things) to boil the whole situation down to its most barest of bones of "people make lizzies death about jimmy". Which I find an untrue twisting of the actual concept most of the time but acknowledge it is sometimes simplified to, and there are aspects of misogyny in lizzie's portrayal, but you frame it in a way as if the concept itself is inherently misogynistic and purely a fandom issue. The fact is that no matter who it was, the first first death that wasnt jimmy was always going to be a bit about jimmy, there is no avoiding it and no seasonal plot that was going to overcome that fact, and lizzie is a good friend whos become his sister who explicitely had a plot about wanting and failing to protect him, who had a significant interaction with him not long prior where he killed her accidentally, and died while specifically targetting a man who was both jimmys tormenter and joels rival whom she randomly selected to be her target, and died due to a tripping failure which has already been previously interpretted in the past as being tied to fate, and the in game reactions being cpnfusion, happy/shocked jimmy managed to not be out first, and swearing to avenge her death. You'd be hard pressed to believe these things wouldn't be still true and play out the same if she was a different gender, and most of them would still happen even if she was an entirely different player. Nevermind the copious different interpretations that fall within the framing of it as a seablings moment, from wanting to give an accidental death more meaning and connecting dots (because thats most of what fandom does with an ad libbed story like the life series to begin with), to simply enjoying the poetic irony of both seablings being the first out, lizzie showing her true cringfail colours now that shes returned to the series, to tying it into the fact that yes she didn't do it onl purpose, but she absolutely would tell people and even herself that she did just to retain her dignity in the same way a cat who missed a toy stops chasing it and starts grooming themselves like they never meant to go after it in the first place.

And also, like, you ARE a Jimmy person also, so I'm not surprised you primarily interacted with stuff that involved Jimmy. As a Lizzie fan I saw plenty that was to do primarily with Lizzie, and yeah there was a significant amount that involved Jimmy. I didn't see any one of the people who complained about that fact actually go on to make works without Jimmy. I did see other Lizzie fans before and after making such works, and the works that did involve Jimmy being works with deapth and love for their specific relationship, stories, and personalities. I saw plenty of people who hadn't watched Lizzie at all suddenly become interested and retroactively watch her series, and of course the works the made before doing so weren't centred on her, because they were coming from different povs and didn't know as much, and their works after became more in-depth and come out the gate swinging during wild life where she stole the spotlight for much of the season.

I don't know as much about Pearl and Gem's fandoms. But I do know that Pearl is frequently treated as a wet cat and a little crazy, but also she loves playing particular characters like postwoman and cleaning lady that specifically utilize their responsibility to enact chaos through malicious compliance. And Gem takes open pride at being smarter and less ridiculous than everyone else even while actively doing the same things as them, she loves going "youre crazy!... I'm in." And she's pulled a "stupid boys" move several times. Which is to say, whether you consider it a product of misogyny or not, it is an aspect of their characters, they don't live in a cultural vacuum and by the nature of the series where they are only partly roleplaying and each character exists within the framework of their cc's biases, you cannot just analyze their actions like its a typical narrative with a single author you can point to and say they poorly write women. And you cannot blame fandom when these aspects of their character are represented, and while some do do so to the exclusion of the rest, 5am Pearl is the only life series plushie for a reason. Nevermind the difficulties of analyzing what people an fandom think of characters based off of the popularity of certain art and umbrella narrative concepts from fanwork posted excitedly in the moment without going to each individual and asking them what their full thoughts are on a character assuming they have the ability to articulate their opinions and thoughts properly. I'm sure those people who complained about Lizzie's death being tied to Jimmy had a LOT of thoughts about Lizzie, but as I said none of them actually bore fruit in the form of fanworks. Most people do not have time or ability to convey complex ideas, what you see at any given time when searching through fanart and short text posts in particular are the most resonant, dramatic, small thoughts and moments that touched something in someone enpugh to inspire.

That is to say, as a Lizzie fan, one of the reasons I love her is the exact trits that lead to her choosing to become Jimmy's big sister in empires 1 in the way that she does. Her paper thin often facade of respectability and dignity, her failures despite it, her talent for mixing drama and comedy, her ability make up stories that often agrandize herself, her instant chemistry with most anyone, her ditziness and distractedness, her ability confidently declare facts even when theyre completely false, her ability to tie coincidences together into a coherent story. And absolutely all these things are also relevant to why I and others find framing her secret life death in a seablings light to be compelling. Personally, for me, I love that her death connects her to others when her time in secret life was so lonely. It can be bother angsty and, because these games don't end at the persons death, comforting and sweet. And I don't know anyone who was compelled by the potential character connection who wasn't also compelled and even directly spurred on by her as an individual. To boil it down to "she died for a man's story" is both untrue and removing it from its context, the especially when half the context is 2 narratives Lizzie herself crafted for herself and the result was something she herself enjoed enough to play into to craft a 3rd narrative in the next series.

Anyways... I know this won't change your mind. I don't expect it to. I'm just so tired of shallow takes and people who aren't even Lizzie fans talking about Lizzie's narrative through the context of the small snippet of what they see from other non-Lizzie fans based off immediate gut reactions that often stifle the way people talk about the women in this series to ironically complain about how people talk about women in this series. The feminist analysis in this fandom feels so... shallow. Like it begins and ends with the bechdel test as applied to more conventional works of fiction. Big sister bad, women interact primarily with men bad, people see women as responsible because misogyny. No further depth or context despite the endless paragraphs dedicated to these ideas, especially once theyre disseminated out to use against other fans to tell them theyre creating fanworks wrong.

Because of how politely this is written, it took me a few rereads and external evaluation, but I recognize that you're criticizing me for the things I criticize. All your ask really boils down to, is defending fandom practises that I criticize because I disagree with them. Like that of making Lizzie out to be a one-note character. You make good points, you speak the truth. The fandom IS like this. And that's why I criticize it. Because I don't like it. You're absolutely right that you haven't changed my mind

People are allowed to have their fun, I do not police people. I do not maintag my opinions 90% of the time. I'm allowed to voice my disagreements. You pointed out that a lot of fandom goers just don't care to dwell deeper into characters, that's fine. But I do

I think it says something when you have to make Lizzie's character about a relationship that was canon in ESMP1 and bears little to no actual presence elsewhere like the Life series. I don't care whether people headcanon her and Jimmy as siblings even in traffic, the issue is that she gets little to no characterization outside of that in SL, a series in which their only notable interaction was Jimmy killing her. Lizzie deserves an identity outside of "choosing to be Jimmy's sister". (She'd also gone out of her way to try and kill Scott because of Joel, it wasn't random.) And this type of treatment is detrimental to Jimmy too. Just as the misogyny in the fandom is always detrimental to the men also. Quoting one of my evaluation friends: "They aren't inherently wrong, you cant detach the men from the story and have it be the same but also to take an already interesting moment and story beat and just start piling unnecessary 'sibling' stuff onto it kind of ruins the drama and tragedy of the death itself"

Of course women can have meaningful connections with the men. It's not bad or misogynistic. I talk about Pearl and Scott's dynamic constantly and have never seen nor received a complaint about Pearl's character being made to be all about a man. Think about the relevance between those two vs Jimmy and Lizzie in the Life series

I talk about Lizzie frequently because I like and care about her character. I'm not saying that the people I disagree with don't. Clearly you care a lot too. The sentiment that people are just creating based on something that left a big enough impact on them to inspire, eg Lizzie's SL death, is very fair, but I can still disagree with it. I mourn that more people don't take that newfound interest to indulge in Lizzie's POV more, and that because of people's tendency to absorb characterization from the fandom to feed back into itself, that's all a lot of them know and care to learn about ("Lizzie taking a bullet for Jimmy" and all) and how so many characters (not just the women) in my opinion end up being absurdly one-note in their analysis and opinion pieces for being players in a death game (+ the practise of often shunning people who dare touch upon anything less desirable or popular in their analysis like abuse)

If it were a guy in Lizzie's shoes, characterized the same way that I disagree with - I would still disagree with it

I've explained it before but no, it's not misogynistic to credit the women for their successes, to point out when they're smart or protective. I see it as misogynistic when women exclusively are being accredited to successes that are not exclusive to them constantly to label them as the leaders of their groups, labelling them motherly or big sisterly solely because they're thought to be better than their male counterparts, viewing all the women as the best players specifically, etc

Lizzie's death was always going to be tied to Jimmy, yes, by the fandom, and I just don't like that personally. I don't want to resign myself to something because it "was going to happen anyway". I don't want to resign myself to approving of what little Lizzie gets in the way of the fandom because it's better than getting nothing. I shouldn't have to settle for more canary analogies than actual Lizzie centric content that barely exists. And I mean actual Lizzie centric content, I haven't seen any uptick of it that you speak of. That's all any of this really comes down to. You and I might both be avid fans of Lizzie's character but we're gonna have to disagree

[cksirface]

Touching on this once more, I think people tend to forget that Remus himself is really just Roman sans pride.

Roman put himself in front, as a mascot for Thomas and as the ‘most important’ side in Thomas’ life. By doing that, he starts to think that Thomas has expectations of him and these expectations that Roman has made for himself cause him to feel jealous and upset in times when Thomas is focusing on things that aren’t related to him (think; crofter’s episode) and I believe it’s because Roman tries very, very hard to appear the way he does. He trains himself to talk fantastically, he trains himself to be just the right amount of sassy because it’s what he thinks Thomas wants to see from someone who is the poster board for creativity. However, these expectations hurt him so much because he has pride. After years of playing his role so well, he takes pride in it. He develops an ego.

Why am I bringing this up? Because it’s important to note that Remus is just Roman but with a different kind of creativity. Roman has this pride because of repeated emotions, he developed this himself and it isn’t related to him being creativity because Remus does not have this. If it was related to being creativity then Remus would have this ego and pride as well but he doesn’t. This is proof enough that Roman’s pride is a learned trait.

It’s also important to talk about the fact that Roman and Remus are considered counterparts because they are so alike. No one else in the series has a direct counterpart like that do. Logan, as an example, can cancel out every emotion based side so he does not have a set counterpart. None of them do. Except for Roman and Remus.

There’s a layer to what Janus told Roman (I can’t remember the episode) that I think is glaringly obvious with this mindset. “If it wasn’t for the lack of a mustache, I wouldn’t be able to tell who the evil twin is!” (Or something along those lines, paraphrasing here) Janus says this in a way to poke at Roman, that he isn’t being very prince-like which harms Roman’s ego. However, there’s also a layer of Janus acknowledging they are so similar that makes this statement not a lie but more of a matter of Janus’ own opinion. Obviously, none of them think Roman is evil but looking at it in a way that Janus is staring an opinion would probably hurt worse. Roman knows he and Remus are alike, and hearing that and seeing that layer and realizing that the statement wasn’t a lie but an opinion held by someone who has been watching them for who knows how long hurts much worse.

Remus is Roman, Roman is Remus. They were simply put in different circumstances because of the kind of creativity they have. Remus isn’t respected, Thomas didn’t even know he existed until the first intrusive thoughts episode. Remus has expectations from no one because of how he acts. It’s also important to note that Remus is not dumb. He’s smart enough to recognize patterns and see what makes people tick, an example being Logan. Roman can be smart too but hew doesn’t use this because of this role that he tries to play whereas Remus has nothing to hide. He has no motive other than being curious about things or just doing something because he wants to.

This is also why I think that Remus is a very flexible character. All of the sides in sanders sides (as I mentioned in the og post) have something that clouds their judgement. Patton has his emotions, Roman has his pride, Virgil has his own anxiety, Logan has his want to be listened to, and Janus (similar to Logan) has his tricks (he knows they are destructive to the other sides trusting yet he still does it, clouding his own judgement.). Remus? Well, hew would have ego if it wasn’t for the fact that he doesn’t.

Remus is not clouded by these things. This also makes him such a flexible character in my opinion because of his lack of motive. He’s curious, that’s a motive, but it’s also very broad. It encompasses a lot. This is why I love when Remus is mentioned in stories because people don’t realize how flexible his character is.

Remus has hidden angst? You could do that because we don’t know much about him.

Remus develops a genuine bond with another side? It started out as curiosity before he genuinely started to like them.

Remus has ties with the orange side? Why not!

His character is the most flexible in the series and people take him for granted and it saddens me deeply.

I want to talk about Logan and Remus’ relationship for a second. This can be viewed romantically or platonically. (Side note, I have not watched anything past the intrusive thoughts episode where Logan’s eyes turn orange! I have no knowledge from that point on because I took a break in the fandom and am trying to work through the rest of the series slowly!)

One thing that I would like to think happened is that, after the intrusive thoughts episode, Remus started to become fascinated with Logan. And Remus is no stranger to poking and prodding until he gets what he wants, which in this case in Logan talking to him. This mostly just started off as Logan pushing him away or getting varying levels of angry.

Eventually, Logan lets Remus speak. Of course, it’s like talking to a brick wall, but he wasn’t pushing Remus away. Progress.

This keeps happening until Logan gives little slivers of information as well. What does Remus do? He takes this little information and builds off of it. It surprises Logan, usually others tend not to listen to him at all. But Remus, remember, is Roman’s counterpart. He is just Roman but darker and without the ego. Remus does not have this pride that clouds Roman. Each of them have something that clouds their judgement, Patton being his emotions, Virgil being his own anxiety, and Roman, most notably, being his pride. Remus doesn’t have this issue. No one respects him, he had no expectations or pride to speak of.

This reminds Logan of the early Roman, the one that wasn’t so prideful and just fantastical. Logan starts to crack, his walls start to fall. Progress.

This then mounts to Logan wanting to be around Remus. Remus reciprocates his talking and builds on it. They word vomit to each other and listen intently each time.

I think that Logan would act genuinely around Remus in private. He would act weird, he would let himself let loose, he would let himself act illogically. Remember, Logan can act illogically. He has before when he has these bouts of anger. He lets himself be illogical around Remus, he lets Remus be unapologetic about being his trait, intrusive thoughts. It’s a safe space, a judgement free zone.

I really like the version of them I’ve made in my head ! :^)

[secriden]

*cracks knuckles* Okay lets talk about the elephant in the room: Style going to the support group for those who've suffered loss and telling what appears to be a fake story about losing his pet dog.

I'm going to point out a few things that I think provide a framework for Style's actions here. Not because I think it excuses what he did, but because I think a nuanced read is what the character deserves.

Point 1: An irresistible opportunity

The subs put the "Support Group for Loss" on the image in the notebook, but I'm not sure there's anything to suggest that Style would've known that was what this image represents until he showed up and saw the sign on top of the door.

In episode 2, Bison says, "He plans everything down from years, months, weeks to days" and then tells Kant:

So Style is literally just going to addresses/locations at given days and times, potentially not knowing what to expect. And as much as Fadel is certainly attending this meeting as a response to having that heartbreaking flashback (😭), this is also something he attends regularly and has planned to attend way in advance. So Style has no reason to think Fadel is attending this meeting because of a recent resurfacing of his pain.

What we, the audience, and what the characters know are very different things.

Now, should Style have turned his cute ass right around once he realised what this meeting was? Of course he should. But that wouldn't have been true to Style's character. We've been told by his best friend that he is "crazy" and been shown repeatedly that he lives right up to that description.

Style is impulsive. He's all base instinct and he acts on his desires without thought or contemplation. And by this point he is desperate for a deeper connection with Fadel. He's fascinated, captivated by the mystery that is Fadel and this is an excellent opportunity to finally see behind the wall Fadel so carefully maintains.

When Style sees the sign above the door, Style looks at the notebook (which, again, shows nothing but people sitting in a circle with the words RISE UP) like he's just realising what it means. He then gets this amused, almost rueful look on his face (like he's thinking "am I really going to do this?") before it shifts to determination and he walks through the door.

(My soul for the ability to once again gif something because FUCK Dunk is doing SO MUCH in this show!!)

To Style, this is just too good of an opportunity to give up.

Because let's be real, Fadel is so clearly lying and hiding something:

Fadel is shady as FUCK. He is simultaneously actually a really good cook (Style finally tries his burger so he knows, now), and also has the skills to work at a strip host club, and also can take on 3 guys in a fight, and also can break a man's arm with his thighs. Can you honestly blame Style for losing his mind just a little bit about wanting to get his hands on something, anything, to figure this man out?

Style is being absolutely consistent in his persistence to understand Fadel. This isn't about the car or about finally 'winning' the fight (thank you @airenyah for giving such a detailed framework to understand what Style's been doing until this point) anymore. This is about Style wanting to know Fadel himself.

Point 2: The potential implications of the setting

Now, what might give us a bit of insight as to why Style is this way? I have a theory (albeit one that could prove to be very wrong, but hear me out). I think this whole entire show is set in what could potentially be quite a small town/suburb.

There's a few things that make this theory plausible:

(1) Fadel and Bison are in hiding after Bison blew their previous cover. They're probably on the run from some section of the authorities and so it makes sense to settle in a quiet/out of the way place.

(2) Style seems to be really familiar with the people in the area. Like he grew up there and its the kind of small town where everyone knows everyone and everyone is in everyone else's business.

(3) Style is clearly the darling of the market aunties and uncles.

Style just lost her a sale and potentially a loyal customer, and she's still rooting for him? In episode 2, when Style asks the uncle to let him borrow his cart, it takes nothing but his word for the uncle to give Style his entire cart of produce for his ridiculous scheme.

Style is so clearly someone they all know well and have great affection for, and a very plausible explanation for this is that they all watched him grow up and the entire market (town/village) is fond of him.

And honestly?? Yeah, we see the way Style is actually quite sweet in that careless, guileless, thoughtless way. He goes the extra mile to fix his mistake with Fadel by replacing his car parts for free in episode 1. He helps out by taking orders in episode 2 without being asked and takes it seriously. In episode 3, he tries to drive more business to Fadel's store (bless him, he so clearly does NOT understand how restaurants work, but he MEANS well!!), and can we all acknowledge that it works?? He understands how to appeal to potential customers in the area because he knows the people there. It's not (entirely) his fault that Fadel wasn't remotely prepared for an actual rush crowd and Bison was off getting kinky with Kant and not doing his (fake) job. He is so clear about not judging Fadel's host job and tries his hardest to help him (to absolutely NO effect, but still) when the 3 guys gang up on Fadel.

Style is so loved and more importantly so very loveable.

Point 3: What this could mean for Style's character

So, potentially, Style is someone who grew up in a small town, who has been well loved, potentially spoiled and coddled, but also very much kept within the confines of the narrow viewpoint that a quiet, country town places on you.

It's in the way his dad scolds him as if he was still a child when he's at least in his mid to late 20s. It's in the way Style was so mad at Fadel for scolding him ("thanks for the lecture, dad"), like that hit a sore point for Style. It's in the way no one in the market takes him seriously; they're fond, but he's still a kid in their eyes. It's in the way he has an abundance of free time like he doesn't REALLY need to work at his dad's shop. It's in the way he sees Fadel beat 3 guys up with ease, starts wondering if Fadel is an assassin or a hitman, and is completely unfazed like he doesn't quite have a handle on reality.

It's in the way his best friend is a man who has no qualms about lying to him and putting his life in danger, and how Style seems to have no other friends or people (aside from his dad) in his life.

@wuxian-vs-wangji made a comment to me about Style being desperate for a meaningful connection, and I think she hit the nail on the head. Because along comes Fadel, a mysterious stranger with a suspiciously versatile set of skills who is also very hot and keeps giving Style these wonderfully complex reactions? Who sometimes wants nothing to do with Style, but at other times seems to be at war within himself about desperately wanting him? Who treats Style with anything but apathy?

This is catnip to Style; he never had any hope of resisting this.

Breaking news: Style is a complex and imperfect character...

Here's the thing, though: he was never going to try. The show has been incredibly upfront about who Style is as a person. Regardless of whether I'm correct about why he is this way (ie. that he is very much the product of the environment that didn't know how to handle a kid with Style's personality), episode 3 shouldn't have surprised anyone about Style. He's been incredibly consistent and true to himself.

He wants Fadel and he's "crazy" enough to go all in, no holds barred about it, and the Support Group was the biggest doorway to finally discovering something REAL about Fadel.

And its not just about sex or to prove his superiority anymore. Because if it was just that, then Style would have reacted very differently to their first time.

In this scene, Style is pleased and evidently enjoying himself, but he isn't exuberant. He isn't overcome with joy. If anything, he was more happy and excited when Fadel let him help out in the diner (I mentioned this in the tags in this post too) than he was when Fadel is literally fucking him. He lets Fadel set the pace; barely moves to touch Fadel except to hold him close. Almost like he doesn't want to accidentally mess this up, like he's worried he'll take too much, so he'll take what Fadel gives him and no more (please appreciate @braceletofteeth's amazing tags on this post). For a character that has been so aggressively on the offensive, this is shocking until you realise that sleeping with Fadel - while it's a step in the right direction - isn't Style's end goal anymore.

And he makes that abundantly clear in this episode:

Does Style even fully realise the weight of this desire? I doubt it. But I do believe that Style is in earnest. He doesn't fully understand his own feelings, but he also doesn't really care to either. All he knows is that he wants Fadel, wants his attention and his passion and his focus and his heart.

...but Style is also kind of, sort of, perfect.

Because he's exactly, precisely, breathtakingly exactly what Fadel needs.

Because Fadel is hurt and broken and bleeding inside. Because Fadel is barely holding it all together for Bison's sake, but has already given up hope for any true happiness for himself. Because Fadel can't trust anyone or anything in his life, when he's been used and used and used by the family who should've loved and cared and protected him.

Because it's going to take nothing short of this kind of unwavering, unshakable, uncomplicated determination to give Fadel even a chance of healing and opening his heart to love again.

[acid-ixx]

https://www.tiktok.com/t/ZTN8X9hLh/

This is so neglected [reader] coded I cried when I found this audio after reading your fic 😭😭

AAAAHH !!! this hurts so much especially since i'm writing about chapter two and chapter three is basically the audio in a nutshell 😭 like omg take all of the reader's pain and give it to the joker istfg!! i'm literally dreading when i have to write for a breakdown scene in chapter three but chapter two is already draining me of my energy, i had to actually take a break and walk outside just to replenish myself ehe

istg i wish i knew how to animate so i could draw the reader literally screaming at their family with this audio but alas, the world has to nerf me or i'd be too powerful 💔

[mantisgodsdomain]

We ought to write more Pokemon fic some time. We want to recreate the Pokemon Manners/Human Manners cheat sheet that we made a few years ago we think that this site would like the Sliding Scale Of Politeness When Greeting A New Pokemon You've Never Met Before.

[im-still-watching-anime]

one piece is crazy fr like what do you mean you’re following up Everyone’s Dead™️ with Objectifying Women: The Arc™️

[fauxnotice]

crazy how alien stage would have never gotten such a big fanbase if ivtl didnt exist. Not because its that good or better than mzsu but because no matter how you look at it female characters will never be treated the same way male characters are and the same applies to f/f ships. Like yes fandoms have mostly (not entirely though!) moved away from the trope of portraying women as nuisances that get in the way of gay relationships but now we have a new brand of misogyny that is much more subtle. and if you even IMPLY that some internal bias is the root of the way fandoms treat female characters youre looking too hard and youre too woke. Whatever

[lavenderjewels]

me ranting to myself in my head about how yuuji is a good character

[gu6chan]

99% just my autism speaking here but something ive been noticing lately that im sorta kinda 😶 about is when ppl are like "I think you'll like this" but not bc they ACTUALLY think you'll like it, rather they just got into it and want you to also get into it so "I think you'll like this" is a nice personal hook. i love chill stuff as much as any other person ofc but given i don't divulge that EVER, what makes you think my berserk reading, made in abyss watching, drakengard playing ass would like YURU CAMP????

[mattzerella-sticks]

We know the lasso of lies makes any lie the user holds come true, makes people believe the lie.

What if that is how Lizzie was born?

Someone, or even Diana, says that she has a daughter while holding the lasso and because she's holding it the lie becomes 'truth'.

It would also make sense why she would even keep the lasso of lies as maybe she needs to hold it to stay tethered to reality, to stay alive. Especially since it's wrapped around her more like an accessory than equipment.

And also why she feels so disconnected from her 'mother' Diana, because Diana is a woman of truth and she was born of lies.

Plus this would also make it so Diana doesn't have to 'spend time' pregnant in the world of comics, people will believe she had already been pregnant, and also do away with any questions of who Lizzie's dad is (unless she makes the lie while holding the rope with someone, or the 'King of America' created her to burden Diana and so he is technically her father).

I hate that I'm thinking of this. I blame all the artists I like announcing their own variant covers for the Trinity special dropping in 2024. Shows how much DC really wants this to be a success + want to sell as many as possible using variant covers to point to as proof of concept (like they're doing with the WW series rn - why wait until NOW for Jim Lee to do the final piece of the triptych).

[helladventurers]

(long negative rant, be aware)

I think i'm starting to pinpoint one of the biggest reasons I can't really connect with the plot of botw and totk anymore 😫 and it's because I'm really tired of the "peaceful world whose entire source of conflict can all be pinned into a single, cartooningly evil individual/organization" trope

I'm rewatching some fire emblem playthroughs, another series who relies on that plot narrative too much, and it's exhausting to me 🫠 I thought that totk was a step down from botw plot wise, but it's really Nintendo's incapability and refusal to evolve and to make stories more complex than bog standard "evil always falls and light destroys darkness" kinda stories

[friendshiptothemax]

I was on a plane this weekend, and I was chatting with the woman sitting next to me about an upcoming writer’s strike. “Do you really think you’re mistreated?” she asked me.

That’s not the issue at stake here. Let me tell you a little something about “minirooms.”

Minirooms are a way of television writing that is becoming more common. Basically, the studio will hire a small group of writers, 3-6 or so, and employ them for just a few weeks. In those few weeks (six weeks seem to be common), they have to hurriedly figure out as much about the show as they can -- characters, plots, outlines for episodes. Then at the end of the six weeks, all the writers are fired except for the showrunner, who has to write the entire series themselves based on the outlines.

This is not a widespread practice, but it has become more common over the past couple of years. Studios like it because instead of paying for a full room for the full length of the show, they just pay a handful of writers for a fraction of the show. It’s not a huge problem now, but the WGA only gets the chance to make rules every three years -- if we let this go for another three years and it becomes the norm? That would be DEVASTATING for the tv writing profession.

Do I feel like I’m mistreated? No. I LOVE my job! But in a world of minirooms, there is no place for someone like me -- a mid-level writer who makes a decent living working on someone else’s show (I’d like to be a showrunner someday, but for now I feel like I still have a lot to learn, and my husband and I are trying to start a family so I like not being support rather than the leader for now). In a miniroom, there are only two levels -- the handful of glorified idea people who are already scrambling to find their next show because you can’t make a decent living off of one six-week job (and since there are fewer people per room, there are fewer jobs overall, even at the six-week amount), and the overworked, stressed as fuck showrunner who is going to have to write the entire thing themselves. Besides being bad for me making a living, I also just think it’s plain bad for television as an art form -- what I like about TV is how adaptable it is, how a whole group of people come together to tell a story better than what any of them could do on their own. Plus the showrunner can’t do their best work under all of that pressure, episode after episode, back to back. Minirooms just...fucking suck.

The WGA is proposing two things to fix this -- a rule that writers have to be employed for the entire show, and a rule tying the number of writers in the room to the number of episodes you have per season. I don’t think it’s unreasonable. It’s the way shows have run since the advent of television. It’s only in the last couple of years that this has become a new thing. It’s exploitative. It squeezes out everyone except showrunners and people who have the financial means to work only a few months a year. It makes television worse. And that is the issue in this strike that means everything to me, and that is why I voted yes on the strike authorization vote.

[valyvinny]

╰┈➤ ❝ Love and deepspace boys ⑅ ♥̩̥̩♥̩̩̥͙♥̩͙ˊˎ Love Languages ❞

PAIRING : Caleb x reader, Sylus x reader, Zayne x reader, Rafayel x reader and Xavier x reader GENRE : Fluff WORD COUNT : 1745 TAGS : sfw, fluff, minor self deprecation (only in Xavier's) A/N : Very fluffy headcannons for the boys! Really enjoyed writing this so I hope you like it :). The next piece of writing is probably gonna take a while because exammmsss ugh. Pray for me everybody.

The different love langauges of the LADS boys

──●◎●── Caleb ┆彡 Physical touch

Caleb is an absolute FIEND for physical touch. This is largely because he spent the better part of his life having to make do with patting your head, ruffling your hair, and holding your hand to ‘measure hand sizes’. Always having to exercise an immense amount of restraint when all he wanted to do was kiss you senseless.

The line between platonic and romantic was blurred since the very beginning. But Caleb wouldn’t dare tread that line, especially if it meant losing you. That he wouldn’t be able to bear. 

But now you were his, and he’d take any excuse to have some part of himself touching you at all times. Whether that be a hand on the small of your back, little pecks throughout the day, cradling your face, massaging your sore muscles, he’d take it. 

However, his favorite form of physical touch other than sex ofcourse was just holding you. Sometimes it would be when the both of you had a rare day off together. It would be a lazy afternoon, your head on his chest and his arm wrapped around you, lazing around on the couch. 

Other times it would be late at night, after another grueling day of work. With him holding you close, your back to his chest. 

Sometimes he’d wake up in the middle of the night, another one of his treacherous nightmares plaguing his sleep. But the sight of you next to him would instantly put him at ease. He’d pull you closer to him, kiss your neck, and drift back to sleep. 

With you in his arms, Caleb felt truly at peace. 

──●◎●── Rafayel ┆彡 Quality time

Rafayel will do anything with you, as long as it meant that you were next to him. He wasn’t very picky with what the both of you were doing really. As long as he was doing it with you. 

You were his muse. Many times, he’d ask you to simply sit around him while he paints. You’d be doing your own thing. Typing up work emails, writing your reports or catching up on your favorite series. 

There wouldn’t be much conversation between the two of you. But somehow, your mere presence brought him inspiration to create. With you around, ideas came easy. 

You’d often be subjected to his texts throughout the week. 

“Hey cutie, wanna go on a walk with me” 

Other times it would be 

“I have an exhibition in Milan. Dun know if you wanted to come?”

(That’s a lie, he already has an extra ticket ready. But it wouldn’t hurt to ask right?) 

And who were you to deny the Lemurian? 

Sometimes however, your schedule didn’t allow you such luxuries. But that minor inconvenience didn’t stop him. He’d come over and help you do your laundry or even cook you a delicious meal if it meant just spending that extra bit of time with you. 

Every now and then your work required you to take missions away from him. Sometimes even away from Linkon. It was pure torture for the merman. Sure, you’d video call occasionally, but it just wasn’t enough. He wished you were beside him. 

And when you’d eventually came back to him, he’d pout. 

“Look who finally decided to stop by” 

But all that indignation would melt almost instantly as soon as you said “I missed you Raf”  

──●◎●── Sylus ┆彡 Gift Giving

Sylus is a very busy man. One would be heading an organization such as Onychinus. There’s always a deal to make, meetings to attend and people to intimidate. But that never stops him from always having you on his mind. He’s a thoughtful man. 

Sometimes you’d come home to find a package dropped outside the door to your flat. 

“I was passing by a store and I thought this dress would look beautiful on you kitten” the note attached to it would say. And it did. It was tailored to perfection to fit your form, hugging all your curves in all the right places. 

The dress would easily be several thousand dollars. Every time you’d admonish Sylus for spending so carelessly, he’d scoff in response. 

“Money is nothing to me sweetie” 

More often than not, you’d find a single rose on your window sill. When you questioned the silver haired man about it, he’d simply say “Well kitten, you shouldn’t leave your window open. It’s not safe. A little birdie may come in” 

(But maybe that’s exactly why you did it) 

But perhaps the most thoughtful gifts are the ones that Sylus gets you after you’d casually mentioned it in passing. 

One such present, and probably your most cherished one, was your limited edition plushie. They had it in stock only in one store in the whole of Linkon. To make matters even more bleak, they were selling it only for a day. 

“I really wish I could get it myself. But the Association just assigned a mission to me” you’d complained. 

The next time you met Sylus, he’d be holding that very plushie in his hand. 

“I have something for you sweetie” 

Truth be told, Sylus doesn’t understand the allure of such toys. It seemed to be quite popular considering he’d stood in a queue for a grand total of three hours. But it was worth it, the look of excitement and surprise on your face is something that he replays in his mind every now and then, whenever he’s away from you. It brings him warmth. 

Sylus would give you the world if he could, just to see you happy. 

──●◎●── Zayne ┆彡 Acts of service

Zayne is a very attentive man. He’s almost fine tuned to your needs and wants. Sometimes you’d tease that he never really frees himself from his ‘Doctor mode’. He spoils you, really. 

“I’ve ordered your favorite soup from the restaurant you like. It’s on its way to you. Please eat well” he’d text you when you were on your way home after another tiring day fighting wanderers. 

It’s almost like Zayne was a mind reader. Somehow, he’d know exactly what you needed, when you needed it. 

“I’m coming over to you right now. I have a tub of ice cream and chocolate in hand. Would you like anything else?” he’d ask you on the first day of your period. 

For Zayne, your happiness and well-being were his priority. He’d go to any lengths to ensure that. 

Once, after a particularly overwhelming week at work, you were dreading returning to your apartment. You’d left your place in a mess having had no time to clean up in between work days. You’d often find yourself coming home and collapsing into bed almost immediately. 

But now you had to face the mountain of a task that was cleaning up. Especially now, considering you had the next few days off. 

As you opened the door to your apartment, you were stunned. The entire place was neat and tidy. Not a hair out of place. From the kitchen, a delicious aroma wafted over to you, a pot of stew boiling away on the stove. 

You stood there both in awe and confusion, when Zayne emerged from your room. He looked soft, clad in a pair of pajamas and an apron, a duster in his hand. He hardly resembled the same intimidating Dr. Zayne that had everyone quaking in their boots.

“I hope you don’t mind. I had some free time and used the spare key you gave me” he said. 

“I thought you could use some help cleaning up. Once you freshen up, I can serve the rice and stew I made for dinner” 

Zayne preened under your appreciation. Warmth creeping up his neck, dusting his ears a soft shade of red, as you littered his face with kisses and endless appreciation. 

“It’s nothing” he’d say. 

To him, it really was nothing. If Zayne could do anything to lighten your burden or even make your day just a tad bit better, he’d do it in a heartbeat. 

──●◎●── Xavier ┆彡 Words of affirmation

Xavier truly has a way with words. He always knows exactly what to say, no matter the circumstance. This innate ability of his had the power to single-handedly turn your day around. 

You wanted to be the best hunter there ever was. This ambition of yours would often push you to take up extreme and risky missions to prove your abilities. But sometimes, it made you reckless.

There was one such time, where you were battling a rather difficult Wanderer. You really tried your hardest. Used all the strength you could muster and everything you’ve learned from your years of training, but the Wanderer bested you. If it weren’t for Xavier fighting it off, you’re not sure you would’ve made it through. 

“I’m pathetic” you’d say after. “I can’t seem to do anything right” 

Xavier couldn’t stand it when you were like this. The self deprecation stung him a little. If only you could see yourself through his eyes. But in moments like these, he knew you needed an extra bit of support and affirmation. 

“You did good my light. You were brave. No one else volunteered to take this mission but you did” he’d say, wrapping his arms around you and resting his chin on your forehead. 

“It was a difficult mission. The Wanderer was of an incredibly high level and you weakened it considerably. You’re stronger than you know. Sometimes, it’s okay to combine strengths and ask for help okay?” 

And it not just what he says. It’s how he says it. Xavier says things with such surety and conviction, that you can’t help but believe him. You can’t help but take his words as law. 

Your favorite part of the day is always the random text that Xavier would send you. It would always be at different times, owing to the fact that he would often fall asleep and wake up rather erratically. But the element of surprise made it that much better. 

Each day was different. Sometimes it would be “You can achieve anything you set your mind to my love” other times it would be “I believe in you my light” 

These messages meant more to you than Xavier would ever know. It comforted you, knowing that you had someone by your side to always root for you. It gave you the strength and the courage to face obstacles head on. 

And for Xavier, praising and encouraging you came easily. You’re the strongest woman he’s ever known and he’d spend his entire lifetime reminding you the same. 

© valyvinny. All right reserved. Do not steal, copy, translate, repost or reupload any of my works. Do not use my work for AI

[idolomantises]

Wasn't sure when it would be the best time to discuss this, but since the ending is drawing near... yes, Bugtopia is ending.

It was a decision I really wrestled with myself for months over it, before finally concluding that letting it end after 40 episodes was the better option. Just to be clear, webtoons did not force me to end the series. They even offered to give me a pay raise to continue the series. It was my decision due to a multitude of personal factors. I'll just repeat what I said on my patreon:

I just want to say, first of all, thank you all so much for patiently waiting for my series to release and for supporting my work as I began developing the series. Bugtopia was a series I genuinely loved and adored and it made me feel so incredibly happy that people were turning their heads towards a series about weird bugs and their natural lives.

However, as you can probably guess, it pains me to say that I am concluding the series after season 1. I had 4 seasons planned with new characters to introduce, but unfortunately, I cannot see myself continuing to work with Webtoons and I want to pursue other projects.

This decision was due to a compiling number of issues with the company, the final straw was when they had a mass layoff, fired my editor that I've been working with for two years, and did not inform me for a week, leaving me in the dark until they randomly assigned me with someone else. My new editor is great and I'm glad I'm working with someone so patient and understanding, but this decision to fire my previous editor, the one who got me the job to begin with, without prior warning made me feel disrespected and disregarded, and it killed all motivation I had for properly completing the series.

I also felt incredibly overworked, I was spending vacation days working on comics and avoiding time with family just so I could get something done for webtoons once I come home. I feel like so much time was being wasted away for a company that paid me so little that I had to work twice as hard building up funds on my patreon. Bugtopia just ate up so much of my time. The pay also didn't make up for it. It's commonly assumed that webtoons authors make about $800 for the episodes they do, but that's not true. In fact, you can make far less depending on the amount of panels expected for your contract. It doesn't help that the artwork i did for banners and promotions were all things I had to draw and didn't get paid for, and the work I gave was either tampered with or scrapped, making me feel like I spent more hours of my day wasting time. There were also comics I had to censor and scrap, likely due to another series being in hot water for its racially insensitive content. But it was just extra work I wasn't being paid for. It also frustrated me because I was seeing other series with far more explicit content getting away with a slap on the wrist (turns out you can't say "fuck" anymore without it being hit with a mature rating, disappointing!)

In all honesty, it just felt like webtoons needed me more than I needed them. I was making more money from patreon in a week than I was making from webtoons in a month.

Personally, while I don't really regret my time with Webtoons and met some great people along the way, I honestly don't think any artist should work with them. You will be severely overworked and underpaid, and will barely be featured in ads unless your series becomes an instant hit immediately. It doesn't really matter how successful you are, you're just a product to Webtoons, put yourself above the corporation.

I have tried my best to provide you all with a satisfying conclusion to Bugtopia, even if some episodes may feel rushed or incomplete, but I completely understand if the conclusion isn't to your liking and I do apologize, but I could not continue working on this series if this was the mistreatment I was going to continuously get. I owe a massive thank you to my editor and assistants for helping me complete the series, I truly don't think I could have ever finished it without them.

Though I am done with Bugtopia, that does not mean I want to stop projects entirely, so please don't feel bad for me. I have a lot of upcoming projects and ideas in the works, and I'm still continuing the Monsters and Girls series.

Will Bugtopia ever return... possibly. I retain complete ownership of the series after a few years, and I wouldn't mind continuing the canvas series (or possibly starting over). Unfortunately I don't think I can continue the Webtoon Original as it belongs to webtoons now, but never say never I suppose!

[avatarofthearchives]

One of my favorite things about The Magnus Archives is how we're initially introduced to two characters: One who is an Archivist who is very scholarly, curious, and observant. And the other is a kind man who likes to make tea and is said by multiple people to have no survival instincts.

Then as the series goes on the kind man with "no survival instincts" is slowly reveled to be someone who is quite cunning and manipulative when he needs to be. He's consistently shown to be one of the smartest characters in the series, and he pulls off some pretty impressive feats like playing Peter like a fiddle for the majority of season 4 and having enough foresight to put an end to the apocalypse in season 5.

Then there's the Archivist. While he is very book smart, most of his street smart plans rely on ✨vibes✨ and the phrase "Gee. I sure hope this works!" He got lost in the tunnels where his boss was murdered. He has been kidnapped an unreasonable amount of times. He read a statement about a binding ritual trapping a creature to a table and decided to hit said table with an axe.

Martin and Jon are such good subversions of their character archetypes and it's so fun to think about. Martin, who tends to be portrayed as the worst assistant in season 1, ends up making logical choices even when they contradict with what his heart/gut instinct wants. Meanwhile, Jon, who is first portrayed as this guy who is "logical to the point of skepticism," ends up spending most of the series making choices with his heart and/or gut instinct. He's not great at using his head when push comes to shove, but he's usually trying to make the choice that feels right in the moment.

Jon and Martin's growth throughout the series takes them in opposite directions that break their archetypes, and that makes the series so much more enjoyable to me. It wouldn't be the same if Martin hadn't burned the statements in front of Elias or if Jon hadn't broken into Gertrude's flat, and I do love how the "logical Archivist" is genuinely one of the most unhinged characters in the series by like... season 2.