#the different ways they deal with injustice

[kitmarlowe]

[akechi-stole-my-heart]

i need to invent my own swap au so i can stop being haunted by all the swap aus i don't like and also just bc i fucking love the idea of an akeshu swap au the only problem is idk how to make them swap places in the first place

[willowfey]

(ignore this it’s basically just a mopey diary entry that for some reason i like whispering into the void of the internet instead but i’m fine)

[the-rebel-archivist]

Finally finished Veilguard a few days ago and took some time to process and put my thoughts in order. In brief: 8/10 game as a whole, a really fantastic gaming experience, but 5 or even 4/10 as a dragon age game since it does no meaningful exploration of any nuance or moral complexity and seems to have forgotten what made Thedas distinct. My thoughts, critical and positive, coming from a place of love for the series with little to no spoilers:

Thedas has always been special to me because it was a nuanced world. Different groups had different opinions based on their pasts. City elves and the dalish had divergent histories. Injustice against magic was common, but you could understand the justification for it even when you didn’t agree. Now, the worldbuilding is flattened. A mageocracy is fine, it’s only bad apples. Slavery is never addressed. City and dalish elves are basically the same but one lives in the forest. There’s no conflict about what’s best from each individuals’ perception, all groups are monoliths.

“Elves won’t follow the gods just because they’re elves,” yes they would, in past lore. Perhaps not all but some would - these are their Creators. The game refuses to deal with religious belief in any meaningful way, to the point that I don't know if its impact is fully understood. Dalish religion is as much about cultural preservation as religion and it would be CRUSHING to lose that connection to the past when it had been all you could cling to for thousands of years.

And no, seeking out relics of Arlathan would not make up for the foundation of your society shattering and what that would mean to the dalish. Bellara being guilty that her gods are evil is not the takeaway I expected when I thought the dalish would explore that everything they believed was a lie. I'd also like to briefly comment on how an elf can comment that they weren’t raised dalish but adopted their tattoos. Their closed practice tattoos. Closed even to city elves unless they fully joined a clan. Removing cultural boundaries didn’t make the material less 'problematic', it just created a new blind spot.

“They’d never sanitize the Crows” I said before release. Assassins who walked the line between murderer and hero depending on perspective. But in this game they give you absolute truth: they’re freedom fighters. Responsible government who, the mob is benevolent and that is never subverted. They see themselves as the 'good guys' and so they are.

“They wouldn’t put powerful mages in charge of the shadow dragons” I said. “Surely they will explore the nuance of Neve having the privilege of magic in a mageocracy even when she comes from a lower class beyond ‘everyone is welcome in the shadow dragons’.” “Surely if Maevaris is connected her intersectionality as a magister and altus and trans woman will come up - not what Tevinter expects, helping with change, but still privileged and upper class. Surely low class non mages and slaves would be leading the Shadow Dragons, not the powerful being benevolent.”

But no. All factions in the game are black and white, good and evil, no moral complexity. The bad people want power and collect bad people who want power and only bad people do bad things. The antagonists I liked most were the ones with a motivation beyond simply power and they were few.

And that’s setting aside the fact that all of the mystery and fantasy was removed from the setting by the end. The things that mattered before, the religious conflicts, the approaches to history? All false or meaningless now that we know absolute truth. Everything that set Dragon Age apart from generic fantasy was flattened. All of the lore for the world that I had spent hours, days, years in and creating fanfic for became simple groups of good and bad, subjectivity replaced by objective truth. It’s not a world I want to unravel and explore anymore.

That hurts more than the slap in the face that was every cameo and past reference. If they wanted a soft reboot, why include them at all? Every time I saw or heard about a past character or event I felt hurt and angry and it actively harmed my experience of the game. When the choices are pared down to only do something "meaningful" with them and then that meaningful thing is a codex that had been so disdained in dev comments? I do feel pretty let down. Especially when that codex isn’t even personalized.

They never use Rook or the inquisitor’s first name in text once. Vocal I get, but no codex? The Inquisitor, a person depersonalized into a symbol, signing off “Yrs. The Inquisitor” when we input their name in CC was a twist of the knife I didn’t expect. It’s like every time I lower my expectations to grant grace they need to be lowered yet again.

Similarly, the romances in the “most romantic game yet” are paper thin throughout the game depending on your choice, with few chances to truly connect on an emotional level and have deep conversations in some routes. It’s not all about kissing but having the chance to say how you feel, or try to.

But that’s part of a larger problem, that this is a “found family” but Rook is the outsider in it. Rook isn’t asked how they’re handling things or about who they are or what they want except by Solas. The team needs them to fix problems but has little interest in giving back. The companions are lovely, but I can’t help wishing they were friends with me and not just each other. Or wanted to romance me and not just each other, as they begin to flirt before I can and have more banter comments than the player romance. At least if no one got me I know Davrin got me.

These last comments are the reason it’s 8/10 as a game rather than 10/10 for me - the lore I care about but others won’t. The lack of connection is a genuine issue, along with how unbalanced it is depending on romance. I just feel sad at the lost potential to reflect and gain support from companions.

On a positive note, this is the most fun Dragon Age game I’ve ever played. The gameplay is top notch and combat is so fluid and fun. I felt excited to fight rather than dreading the next battle. Really getting into the roleplay of a slippery rogue

The environments are so gorgeous. Lighting, animation, level design, sound design, all spectacular. I’m bad with maps and yet I never got lost and always managed to find my way around. Secret passages to treasure were just the right length to be satisfying. The puzzles were exactly the right amount of investment for the reward. I never felt frustrated by them but also not disappointed by the simple ones, there was a good balance. I had a lot of fun uncovering them. So many areas looked like a perfect representation of thedosian places I had never been to and wanted to visit.

Every time I was in the necropolis it felt like coming home. Maybe it’s because the lore was the most similar to past lore, maybe it’s just because it was cool, but I loved being there. I loved the wisps most of all. And I loved Emmrich’s journey and sympathetic exploration of death. The Hossberg Wetlands were also a standout area. Absolutely horrible (complimentary). Evka and Antoine my beloveds and the environment storytelling was fantastic. Like a hideous combination of the Fallow Mire and Chateau d’Onterre and I was so there for it. Davrin’s story broke my last flight loving heart.

The set pieces and narrative flow in the major battles and main story missions is really wonderful. I also did enjoy the faction reactivity, even if there were few chances to explore the intersectionality of being a particular lineage with a particular faction. I’ll make our House proud Viago!

It’s such a fun game that when I play I can almost forget all of the things that I dislike until a codex or cameo punches me in the face. It has such great gameplay that I can finally discuss DA with my partner who refused to play the other games in the series. But what a monkey’s paw. I know from their previous work that they can foster nuance. From the art book that their instincts were there from the beginning. But somewhere after multiple reboots they made a world with contradiction and complexity removed, more reactive to fan discourse than to telling a complex narrative.

It kills me because if the nuance and subjectivity and moral complexity had been there, I would have considered this the best Dragon Age game ever made. It will always be the most fun. But it is legitimately more fun for people who don’t know lore than people who do, and that is soul-crushing. It's the most beautiful Thedas has ever been, and the least like Thedas it has ever felt.

I’ve played it once. I already started a replay. I enjoy the game a lot when I am playing it, overall. But I miss Thedas, and I miss that the “world worth saving” that I cared for is a slate wiped clean and this new world is a more simplistic place.

[cinnamonest]

What if Darling is the one trying to control her partner? She’s an overly naive and self-assured girl who suddenly decides she wants to mess with the feelings of an attractive man. She’ll try to manipulate, intimidate, and gaslight him until he breaks.

I’m dying how I want to see that sweet surprise in her eyes when she realizes she was the victim all along. A good, kind man suddenly shows his true face. He endured all her abuse just to trap her. How ironic!

Maybe it’ll be Zhongli - charming and courteous but actually hiding a creepy dark side. Or Childe - a guy who hides a lot of dark desires behind a carefree smile.

AAAAAAAAAAAAA anon this is stewing in my brain, because imagine Morax in his peak era when he would come down amongst the humans...

Some manipulative foreigner girl who travels from place to place, manipulating and bleeding men dry for as long as you stay there, only to disappear and go on to somewhere else once you've gotten everything he has. Never wanting to commit, always wanting more.

Men essentially take care of your travel expenses too — it's easy to use them for free lodging, food, and so on. You rarely pay for anything in life, other than the luxuries you get yourself with their money.

So when you arrive, you latch onto the first attractive stranger you see on the street, and he's more than receptive. He finds you endearing. It's very easy. You just notice the positive reception and immediately lay on the flirtation much thicker, and soon enough you're walking arm in arm around the harbor to show you around... in truth, you've been here before, but playing the clueless foreigner role always endears you to men, and it boosts their ego to feel like they're knowledgeable and helpful.

He falls for your tactics so easily, so it seems. Going along with whatever you want, immediately trying to placate you when you're mean and cold, bending to your will when you insinuate that you'll leave if he doesn't do this or that.

And he has so much money. You weren't expecting to score this lucky. You're not even sure where he's getting it from, it seems like he just keeps pulling it out of nowhere. Every time you even look at something, he's already pulling out more to buy it for you, all day long, until you go back to get a place at a nearby inn.

Of course, it's mutually understood and unspoken that with these sorts of exchanges, he's supposed to get sex out of it. That much you're willing to give, it would admittedly be difficult even for you to keep extracting money from men if you didn't at least put out eventually.

Often times it's disappointing, but thankfully this one is good in bed too. You feel like you couldn't get any luckier.

He feels the same way. Who would have thought that the same girl that all those used, discarded, distraught men pleaded about in prayers to their god, would show up yet again in this place, and such convenient timing too.

You've caused a good deal of both financial ruin and heartbreak alike, and he doesn't take too well to your promiscuity either. It would be an injustice to allow you to simply get away without due punishment.

Keeping you works out well. Those men who wanted revenge will at least have their prayers answered, you will be unable to wreck any more lives, and he gets a little gem in the rough, so to speak. Something that just has to be broken apart and fixed with enough effort, slowly worked into something perfect to own. It's more fun that way.

So he stays silent when you suddenly disappear, when you turn cold, when you brush him off. It's actually both good and bad for you— usually they get so angry, so it's good he wasn't too attached, but the pitiful ones usually let you extract just a bit more in hopes of getting you back, and you're actually rather frustrated when he just lets you leave, you huff and go back to your hotel, this time unfortunately having to pay for it.

But then, you're a little bewildered when you wake up somewhere different than where you fell asleep, somewhere you're unfamiliar with. You panic when you find yourself bound to the bed by a chain on your ankle. You panic worse when you see him looking over you, that malevolent grin — did he always have those teeth?

Yes, it's so adorable when your eyes well up with tears. He did like you in the first place for how cute you are, after all. You'll be a lot cuter when you cry — something he'll have plenty of opportunities to watch in the very near future.

[bowtiepastabitch]

Historical Analysis: class and injustice in 'The Ressurrectionists' minisode

Alternate title: why we're tempted to be upset with Aziraphale and why that's only halfway fair

Okay so first off huge thanks to @makewayforbigcrossducks for asking the question (and follow-up questions lol) that brought me to put these thoughts all together into a little history nerd ramble. That question being, Why is Aziraphale so clueless? Obviously, from a plot perspective, we know we need to learn some lessons about human moral dilemmas and injustices. But from a character perspective? A lot of this minisode is about Aziraphale being forced to confront the flaws of heavenly logic. This whole idea that "poverty is ineffable" basically boils down to 'yeah some people are poor, but their souls can be saved just as if not more easily that way, so it's not our problem and they probably deserve it anyway for not working hard enough,' a perspective that persists in many modern religious circles. Aziraphale isn't looking at the human factor here, he's pretty much purely concerned about the dichotomy of good and wicked human behavior and the spiritual consequences thereof, because that's what he's been told to believe. His whole goal is to "show her the error of her ways." He believes, quite wholeheartedly, that he's helping her in the long run.

"the lower you start, the more opportunities you have"

So here's what we're asking ourselves: Why did it take him so bloody long to realize how stupid that is? Sure, he's willing to excuse all kinds of things in the name of ineffability, but if someone in the year of our lord 2023 told me he was just now realizing that homelessness was bad after experiencing the past two centuries, I'd be resisting the urge to get violent even if he WAS played by Michael Sheen.

Historical context: a new type of poverty

Prior to the 19th century (1800s), poverty was a very different animal from what we deal with now. The lowest classes went through a dynamic change leading up to the industrial revolution, with proto-industrialization already moving people into more manufacture-focused tasks and rapid urbanization as a result of increasingly unlivable conditions for rural peasantry. The enclosure of common lands and tennancies by wealthy landowners for the more profitable sheep raising displaced lots of families, and in combination with poor harvests and rising rents, many people were driven to cities to seek out new ways of eeking out a living.

Before this, your ability to eat largely would have depended on the harvest in your local area. This can, for our purposes, be read as: you're really only a miracle away from being able to survive the winter. Juxtapose this, then, with the relatively new conundrum of an unhoused urban poor population. Now if you want to eat, you need money itself, no exceptions, unless you want to steal food. Charity at the time was often just as much harm as good, nearly always tied deeply up in religious attitudes and a stronger desire to proselytize than improve quality of lie. As a young woman, finding work in a city is going to be incredibly difficult, especially if you're not clean and proper enough to present as a housemaid or other service laborer. As such, Elspeth turns to body snatching to try to make a better life for herself and Wee Morag. She's out of options and she knows it.

You know who doesn't know that? Aziraphale.

The rise of capitalism

The biggest piece of the puzzle which Aziraphale is missing here is that he hasn't quite caught onto the concept of capitalism yet. To him, human professions are just silly little tasks, and she should be able to support herself if she just tried. Bookselling, weaving, farming, these are all just things humans do, in his mind. He suggests these things as options because it hasn't occurred to him yet that Elspeth is doing this out of desperation, but he also just doesn't grasp the concept of capital. Crowley does, he thinks it's hilarious, but Aziraphale is just confused as to why these occupations aren't genuine options. Farming in particular, as briefly touched on above, was formerly carried out largely on common land, tennancies, or on family plots, and land-as-capital is an emerging concept in this period of time (previously, landowners acted more like local lords than modern landlords). Aziraphale just isn't picking up on the fact that money itself is the root issue.

Even when he realizes that he fucked up by soup-ifying the corpse, he doesn't offer to give them money but rather to help dig up another body. He still isn't processing the systemic issues at play (poverty) merely what's been immediately presented to him (corpses), and this is, from my perspective, half a result of his tunnel-vision on morality and half of his inability to process this new mode of human suffering.

Half a conclusion and other thoughts

So we bring ourselves back around to the question of Aziraphale's cluelessness. Aziraphale is, as an individual, consistently behind on the times. He likes doing things a certain way and rarely changes his methodology unless someone forces his hand. Even with the best intentions, his ability to help in this minisode is hindered by two points: 1)his continued adherance to heavenly dogma 2)his inability to process the changing nature of human society. His strongest desire at any point is to ensure that good is carried out, an objective good as defined by heavenly values, and while I think it's one of his biggest character hangups, I also can't totally blame him for clinging to the only identity given to him or for worrying about something that is, as an ethereal being, a very real concern. Unfortunately, he also lacks an understanding of the actual human needs that present themselves. Where Elspeth knows that what she needs is money, Aziraphale doesn't seem to process that money is the only solution to the immediate problem. This is in part probably because a century prior the needs of the poor were much simpler, and thus miraculous assistance would never have interfered with 'the virtues of poverty'. (You can make someone's crops grow, and they'll eat well, but giving someone money actually changes their economic status.) Thus, his actions in this episode illustrate the intersection of heavenly guidelines with a weak understanding of modern structures.

This especially makes sense with his response to being told to give her money. Our angel is many things, but I would never peg him as having any attachment to his money. He's not hesitant because he doesn't want to part with it, he's hesitant because he's still scared it's the wrong thing to do in this scenario. He really is trying to be good and helpful. So yes, we're justifiably pretty miffed to see him so blatantly unaware and damaging. He definitely holds a lot of responsibility for the genuine tragedy of this minisode, and I think Crowley pointing out that it's 'different when you knew them' is an extremely important moment for Aziraphale's relationship with humanity. Up until now, he's done a pretty good job insulating himself from the capacity of humans for nastiness, his seeming naivity at the Bastille being case in point.

In the end, I think Aziraphale's role in this minisode is incredibly complex, especially within its historical context. He's obstinate and clueless but also deeply concerned with spiritual wellbeing (which is, to Aziraphale, simply wellbeing) and doing the right thing to be helpful. While it's easy to allow tiny Crowley (my beloved) to eclipse the tragic nature and moral complexity of this minisode, I think in the end it's just as important to long-term character development as 'A Companion to Owls'. We saw him make the right choice with Job's children, and now we see him make the wrong choice. And that's a thing people do sometimes, a thing humans do.

~~~

also tagging @ineffabildaddy, @kimberellaroo, and @raining-stars-somewhere-else whose comments on the original post were invaluable in helping me organize my thoughts and feelings about this topic. They also provided great insight that, in my opinion, is worth going and reading for yourself, even if it didn't factor into my final analysis/judgement.

If I missed anything or you have additional thoughts, please please share!!! <3

[areyoudoingthis]

This shot makes me completely insane. Ed's wanted to bury the Kraken and Blackbeard for so long, but now he's literally and symbolically digging himself up from the depths, he's swimming all the way to the bottom on purpose to drag himself back out.

And he does it in part because he's just been told "If you were ever good at anything, go and do that", and then rowed himself back into a nightmare, ships burning everywhere, Stede missing, and British soldiers harassing him while he's barely coping with what he's seeing. Maybe at first this is about bringing the Kraken back out of anger and dissociation, but that's why what happens next is so important. Because whatever his motivations are in this moment, he's doing something. The last time he was underwater he was drowning and Stede's presence saved him, this time he's taking action and doing whatever he can to fight back. And anger is only part of that, has always only been part of what moves Ed to violence.

Blackbeard and the Kraken have always been fueled by love, and fear, and yes, rage against unjust situations that made Ed feel helpless and trapped, and then left him feeling even worse for fighting back. And that last bit is what changes this time around and allows Ed to reintegrate, because for the first time, he's not alone anymore to deal with the aftermath, he's not a kid without a family, he's not a man crying alone in secret in an empty room without anyone to console him.

After he digs himself up, he emerges fully dressed on the shore, Edward Teach literally reborn on a beach at last, leathers back on and determined to do whatever it takes to find Stede. And it's such a powerful shot: he's all in black against the white surf, dripping wet hair completely obscuring his features and trailing tentacle shaped rivulets of water in front of his face.

The next shot we see is his shadow self, his dark, blurry reflection on the sand. The only bit of Ed's actual body we get are his feet stepping determinedly on the wet sand, making his way back to land and to Stede and towards his full self (although he hasn't realized this last bit yet).

But it's not until he finds the soldiers reading Stede's letter -and this is such a lovely representation of how the core of the show is the relationship between these two men- that all the parts of him are finally able to integrate into a single person when Ed embraces the Kraken and Blackbeard and Ed as being of equal value. It's reading the adoring, unhesitating declaration of Stede's love that allows Ed to redefine himself, to see his darker parts in a different light, the light Stede has cast on his life.

He reads the letter, realizes the depth of Stede's love for him, understands he's really committed to Ed for good (in permanent ink), that he didn't push him away by showing him his trauma as he feared, that sharing the story he's never told anyone else about his first and worst act of violence didn't make Stede reject him, that Stede loves him and wants him in his life for good. He has a short cry about it while he reads and processes.

And then he roars "you wrote me a lovely letter" and charges. A lot has been said about how angry in love the line sounds, and yes, he is angry, angry that he almost lost Stede again, angry that the British soldiers would mock the letter, angry that they'd hurt Stede and that they'd think they can do whatever they want just because they have the power, think they can separate them again after everything they've been through.

Ed has been afraid of his anger for so long, made up a tale and a whole different persona to hide it behind, but his anger has always been born of love, of the need to keep his loved ones safe, of rage against abuse and injustice, and this is what he needed to be able to see in order to start healing.

He's in love, Stede's in danger, he needs his protection, and Ed offers it unflinchingly and doesn't hate himself for it this time, sees the part of him that is capable of killing not as monster but as loving protector at last. Because the British are abusing their entirely illegitimate authority, and the man he loves is in trouble and may even be dead, and this isn't even a question for Ed, he'll fight for him.

And once he's safe he'll drop his weapons at their feet to kiss him and tell him what he's finally become able to say: he loves him. He's maybe beginning not to hate himself, and he loves Stede. And Stede reaffirms what he wrote in the letter, tells him that he knows, that it isn't Ed-Blackbeard-Kraken that's a dick, but life.

Is this arc done? No, of course not. Healing happens in stops and starts, it takes a long time, and that's why DJ has said from the beginning that OFMD was always meant to be three seasons long; the last season is going to be all about Ed and Stede dealing with their issues so they can grow and heal. But they were always meant to do it together, because that's when they're strongest, that's when they're able to shed a light on the other's darkest bits and help him see them in a kinder, loving way.

This was an emotionally charged step in Ed's journey of growth and self acceptance, but the issue will probably come back up in the future, especially now that he and Stede are slowing down and taking time to process their mountains of trauma and everything they've been through in a very condensed amount of time.

But this is still an incredibly significant moment for Ed. He's gone from panicking and hiding under a blanket in a bathtub to throwing parts of himself overboard to digging them up from the bottom of the sea towards the shore and the light, and wielding them intentionally to fight for what he loves.

[epiphainie]

why do you think bucktommy has been "hitting differently"? i love them don't get me wrong, but i don't think it's been written much differently than buck's previous love interests (yet)

Hi anon, 

I don't think I agree with you there. Well, first of all I think talking about all of Buck's previous romantic relationships as one thing is doing injustice to those different arcs and Buck's character journey. All served different purposes, all were written differently from each other. When I make the distinction that BuckTommy has been "hitting differently" what I mean is that it has what worked in those previous relationships as well as what was lacking. And I think the reason is twofold: the writers being intentional with their choices and how it's all been executed. 

Intention:

Just to be clear, I don't mean anyone has had endgame BuckTommy intentions. Tim has been very clear about how he doesn't plan that far ahead and it's hard to talk endgames with a procedural format like this. But we know they wrote the bi Buck arc with more care, hence being more intentional with their choices than some of his previous relationships. We know that their first kiss had taken multiple shapes before it ended up being this gentle, surprising but still mutual kiss. We know that they wanted to create a story where Buck felt connected to this guy but also safe and light. We know that they wanted to make Tommy a character who can be understanding and lead Buck as he stumbles. We know that Tim thought Lou's buy was important because he didn't want to repeat the same mistake of creating a LI who didn't fit with the rest of the cast etc.

Now you can say some of these fit previous LIs one way or another but it brings me to execution:

Many people talked about this before me, obviously, but I think the execution of everything they planned with Tommy has been great. I mean before their first kiss, this guy goes out of his way and shows up at Buck's to "clean the air" with this virtual stranger because he believes he caused bad blood between him and his friend. Not just that, he reassures Buck about his place in his friend's life and apologizes for making him feel excluded. Now as the audience we know Buck is the kid who'd get hurt on purpose so his dad would pay him attention, he's the guy who sued the fire department because he felt pushed out and isolated, but Tommy doesn't. I think an LI addressing one of Buck's core insecurities in such a direct and reassuring manner before even knowing him is a great way to set up why Buck would feel safe with and understood by him.

Another is that Tommy immediately meets Buck at that vulnerable place when he admits to being jealous of the 118's bond and Buck reassures him back. This for example, is something Abby had done with Buck imo but Buck back then didn't know himself enough to embrace his own insecurities and at a maturity level to address Abby's despite his best intentions. With Taylor, their whole issue was that they couldn't be honest and vulnerable with each other. BuckTommy in this aspect feels different because from the get-go as they're being honest and are on the same frequency when it comes to this.

Episode five, we see them on their failing date, then we see Buck being nervous that he fucked it up in the coffee scene. We've seen this Buck before, when he got into that anxious mode to make sure Abby knew he wasn't cheating on her. Obviously, the context and the stage of the relationship are very different and they both reassure Buck about it not being his fault. Great on both Tommy and Abby.

But then, the immediate follow-up in Abby's case is that she's leaving for abroad. I don't think Abby is being evil or mean with this decision (where I have a problem with is when she starts ghosting him and doesn't just end it, but that's another topic) but again knowing what we know about Buck as the audience, we know this is a big deal. We know this - and later Ali leaving - adds on his issues of feeling like he's not worth it, we know it leads to him basically trapping Taylor because he's so afraid she'll leave. Again, Tommy doesn't. But Tommy gives him a second chance and then shows up at the wedding.

You can say showing up on one date is not proof that Tommy will always be there for Buck, but I think the execution is so good in painting Tommy as very reliable concerning this. Because Tommy doesn't just show up. If the writers' only concern was to write Tommy out of the A plot of episode 6, he could just come to the ceremony and be like "my shift just ended". No, Tommy says he'll try his damnest to make it to the wedding and then he enters the hospital all rushed, haphazard, covered in soot, hair a mess. The dramatique of that entrance immediately validates in the audiences' mind that yeah this is a guy who will do his damnest to be there for Buck. It, again, addresses a core insecurity of Buck's.

Back half of the season doesn't do anything different but we again see Tommy notice Buck's emotional state, meet him in that vulnerable place, and also match his flirty vibe. They're comfortable; it feels earned even in such a short span because of the well execution of their initial arc. This to me what Buck said about Natalia when they thought the show wasn't coming back (and before that relationship was recontextualized as being a dud), about how he feels seen and comfortable etc. Only this time, there's intention, effort, and execution.

One final note in execution - and this is very ymmv because I've seen even from some BuckTommys that they wished they did this differently - I genuinely love how little BuckTommy there is in 7x03. More specifically, I love that Tommy's reintroduction to the series is not through being Buck's potential love interest. He's there in that episode for Hen, Chim, and Bobby. In 10 mins screentime he's quickly established with motives and personality quirks, is involved in the main plot, bounces off of other characters. Again, great execution of a thing Tim intended to do: a love interest who can fill more roles than just the love interest. This basically makes him in his own category in how purposeful and functional he can be as a character in the greater narrative. So yeah I think both as a person in-story and a character, Tommy has been hitting different.

[hotdaemondtargaryen]

TOM GLYNN-CARNEY INTERVIEWED BY VANITY FAIR MAGAZINE.

KING AEGON COULD BE A VERY ONE-NOTE VILLAIN CHARACTER, BUT IN YOUR HANDS IS NOT. HOW DID YOU APPROACH CALIBRATING AEGON?

"I think anybody who has the darker side to them as the more prominent side — the side that people see first —there’s always a reason for that."

"I dug into that and found a lot of his boyish vulnerability, insecurities, and self-hatred — stuff that he’d been drip-fed his entire life."

"He wasn’t even a spare, you know? He was just completely ignored."

"He was invisible to most people, which is why he behaved in such a way — to numb himself."

But also to say: "Hey, I’m here as well."

"Any attention was good attention for Aegon."

"I find him less of a villain and more of a tragic case."

CAN YOU TALK A LITTLE BIT ABOUT WHY AEGON DECIDED TO FLY TO ROOK'S REST AT ALL?

"It was that moment — well, it’s an accumulation of moments — but that one in particular where Alicent says, 'Do exactly what is required of you: nothing'."

"That was the final dagger in the heart."

"A real cold reminder that he really is seen as being useless."

"A pawn for Alicent and Otto [Rhys Ifans] to use as a puppet."

"But at the end of the day, the law of the land states that he’s the monarch."

"He’s the king."

"He’s the person to call the shots."

"And no one’s gonna fucking stop him from getting on that dragon if he wants to."

"So he got absolutely obliterated drunk and thought, I’m gonna show them."

WHAT WAS YOUR EXPERIENCE LIKE SHOOTING THE BIG DRAGON FIGHT SCENE?

"Cool, man."

"It’s kind of a little boy’s dream."

"It’s just something that you think of when you’re a child as being the coolest thing in the world."

"And it really was."

"They basically build a screen around you so you know where to look: what’s expected, what’s coming at you, what’s leaving you."

"Your entire perspective is quite clear."

"And then amongst that, you’re clad in all this armor that has been expertly crafted by some amazing workmanship."

"But then again, you’re crouched over this big saddle, strapped in, feeling like you can’t move."

"That crane has really got a lot of work to do to make it look like you’re moving."

AT THE BEGINNING OF THE SEASON, AEGON SAYS THAT AEMOND IS HIS CLOSEST CONFIDANT, AND BY EPISODE FOUR, AEMOND HAS BASICALLY TRIED TO KILL HIM. WHERE DO THEY STAND NOW? AND WHAT'S YOUR RELATIONSHIP WITH EWAN MITCHELL, WHO PLAYS AEMOND?

"Oh, Aegon and Aemond’s relationship is very different to Tom and Ewan’s relationship."

"Let’s put that out there." [laughs]

"Look, that is sibling rivalry on a very intense scale, isn’t it? It’s the flip of the switch that can happen when somebody feels pushed out or somebody feels like there’s been injustice."

"I always felt like Aemond saw himself being in that position of power and dealing with it better than Aegon would deal with it."

"But then again, his birth certificate states otherwise."

"It was bound to happen at some point, wasn’t it?"

WAS THERE A PARTICULAR SCENE THAT YOU FELT EXTRA CHALLENGED BY OR INVIGORATED BY?

"He’s never in the same frame of mind twice in one day."

"He’s all over the place."

"Keeping up with his erratic mood swings was the hard part, and was this thing that I was having to stay really focused on."

"There wasn’t particularly one scene that I thought, Oh God, not this one, because all of them are challenging in different ways."

"Even the ones where he’s still and more focused are difficult, because you’ve got that sort of inner Aegon rhythm that is rapid."

"It’s very different to mine."

"It’s maintaining that, but still keeping the tension of the scene."

"I relished the opportunity to play someone with such range and creative potential from an acting point of view."

OLIVIA COOKE, WHO PLAYS ALICENT, HAS NOTED THAT YOU TWO ARE NOT VERY FAR APART IN AGE AT ALL, AND YET ARE PLAYING MOTHER AND SON. HOW DID YOU GUYS WORK TOGETHER TO CREATE THAT FILIAL DYNAMIC?

"Every scene that I’ve had with Olivia, there is never a moment that isn’t filled."

"Everything is just so complex and deeply entrenched in her."

"She means everything she says."

"It’s a rare skill to have."

"As an actor, she has that in truckloads."

"It’s a gift to be able to work with her, to play her son."

"Yeah, [it’s] hilarious."

"She’s only a year older than me."

"I think we manage it because we get on so well."

"We’re pals as well, you know."

"I love Olivia to bits."

"Trust her wholeheartedly."

"We have a laugh. We don’t take it too seriously."

"We have common ground on that."

"But then in the moments where the work is happening, it’s all we care about."

"We care immensely."

"It’s one of those things where in the downtime, after we wrap, we can go for a drink."

"We can have a laugh."

"We connect on a personal level as well as a professional level."

"I think that’s what sort of breeds a healthy and believable performance thing relationship-wise."

THERE'S AN AMUSING SCENE WHERE AEGON IS SITTING AROUND WITH THE LADS AND TALKING ABOUT WHAT HIS SOBRIQUET SHOULD BE. SHOULD HE BE 'AEGON THE BRAVE,' 'AEGON THE WHATEVER,' ETC. WHAT DO YOU THINK HE SHOULD BE CALLED?

"Aegon Toast, probably."

[cer-rata]

An incomplete but very angry diatribe about the missed potential of the Star Sapphires

So back in the day Geoff Johns and co decided to open up the Green Lantern mythos and add some more flavor and expand the concept of sci-fi tech powered by elemental emotion to more than just willpower. Which yes, is not an emotion, we ignore it and move on.

Anyway we got some really cool stuff! A rage tyrant fueled by experiencing incredible injustice on a personal and cosmic scale, whose vendetta twisted him into something terrible. An avatar of greed who was never allowed to have anything, not freedom, not family, not safety, who takes and takes and takes to fill a void that can never be satisfied. A priest who lost everything but presses on through his unshakable hope that the future can and will be better. It's a lot of fun stuff!

So in this great creative re-imagining, they had to do something clever and fun with the idea of an all female corps powered by love right? They took the opportunity to move past the purely romantic, sexual idea of love and the obsessed femme fatale archetype, because they had the chance to really explore different types of affection now that there were a bunch of different avatars with different stories to pull from right?

Right?

Nope! The only Sapphires we ever learn about are heartbroken over a cursed romance like Carol, grieving a dead fiance like Miri Riam, forcibly mind controlled to be one like Fatality, or just Miss Bloss who...kind of said she wanted to join up? No clue what her deal is, as far as I'm aware that's never really explained. And then we just never learn about anyone else, and still haven't. The hell is "The Lost Sapphire"? No idea, we'll likely never know.

It's frustrating because not only is this a glaring example of the depth of plotlines offered to women in comics compared to their male counterparts, but also a wild lack of imagination. Love is one of the most complicated emotions we experience. Fear, anger, hope, all pretty easy to quickly define. Love is multifaceted, cultural, incredibly contextual and a factor in so many different kinds of relationship. Just thinking logically it should be much easier to flesh out the motivations of a group pulling from such a nuanced source of power, versus something as clear-cut as rage. But no, the red lanterns got so many varied reasons for their rage, the male ones especially: Bleez being the woman was of course given the SA narrative, which I don't think is inappropriate on its own, that's an incredibly valid reason to be angry, but as the ONLY truly prominent female Red Lantern it's like...c'mon guys. But still, at least she and Atrocitus had different reasons for becoming what they are, and that variation was played for plot and drama.

But there's not a single Star Sapphire that personally champions something other than romantic love. And before you shoot me, it is explicitly mentioned that they DO protect other forms of love, so there's no reason for them to all be sexy and obsessed with kissing people. There are no Sapphires that are driven by:

The love of their children and families, even in a tragic sense, like Atrocitus and Saint Walker and Larfleez are...

Their love of their people, or their culture. It would have been interesting if Fatality was inducted BECAUSE of her pain at losing her world, but no, they just...replaced her anger with lovey vibes and called it a day.

Their love for nature. Not everyone is social, but social love isn't the only way to strongly experience the emotion.

Their love for themselves. Where is the fun narcissistic ass who loves their own self image to the point of getting powers? It would have been a fun twist and a cool way to get another villainous Sapphire if you wanted to.

Their platonic love of ANYTHING really. Are ace/aro people just...not capable of love then? It doesn't mean anything to be willing to drive cross country to help a friend move just because they needed it and you care? No? You need to be fucking for it to count?

It's like...fascinating if you really think about it. In this vast fantasy universe full of alien races with wildly different perceptions and life cycles, and where the other corps have plenty of non-human, truly alien looking members, that the women's only love corps is full of only hot hot scantily clad baddies. Most love that people experience in their lives isn't even romantic! You will have far more experiences with friends and family members and even loving strangers than you will have with romantic partners.

Like the reason is clearly sexism, duh, but we know sexism is bad, that's obvious, what I really want to make clear is how much this blatant, unexplored sexism just completely desecrated the potential of the worldbuilding here.

From another angle even: Let's say this this WAS the sex and romance all the time corps. Let's say that you wanted to keep it all women. I hate the idea that women are capable of love in a way that men aren't, that's such a bad take and just regressive and unhelpful, but let's just play ball for a moment. They're not even hot? Their designs are such ridiculously narrow versions of feminine attractiveness that they're not even successful at really being mass appeal sexy. I haven't even reached the point of complaining about the fatphobia and criminal lack of different body types yet, I'm still just saying that from the standpoint of fantasy sexy it's not even good at being stereotypical offensive fantasy sexy. It's just boring! They're all so visually boring! You can be scantily clad and still have an interesting and coherent character design! But that is not what they gave these women! They actually redesigned the classic Star Sapphire costume and made it MORE sexist and boring:

Yeah it was cheesy but it was also cute and fun? The design is playful classic sci-fi girl and this is when she was still a dangerous unhinged villain. Its fun to look at and feels tonally coherent next to Green Lantern.

And then they just...

No actually, I will not explain this one, you have eyes.

And yeah they fixed her costume finally,

But! She's still stuck as Hal Jordan's romantic punching bag, and has not gotten to have any new adventures on her own.

So.

What I'm saying is it's a flop all around. 2/10, and only because despite everything Fatality STILL managed to serve. I actually think that all of the corps have been poorly used since blackest night, even the greens actually, but they never even gave the Sapphires a chance. They last showed up in...a WW annual I think? During the whole dark gods event, they needed Diana to help them fight the evil god of love, and there was a guy in the corp finally, and they talked about sisterhood and then we haven't heard a peep from them since. I think Carol might be due to get her ring back in the GL ongoing but she's not really been treated well so far, so I'm not hopeful for anything fresh and well reasoned.

So my lovely ladies (and that one unnamed guy), until they let you get it together it may be time to

[hallowpen]

The Concepts of Community & Family as it Relates to Thai Buddhism in Peaceful Property

I really really enjoyed watching this series. I am someone who grew disillusioned with Buddhism at a young age for very personal reasons, only to find my own version of a relationship with it as I grew older and learned to appreciate it from a different perspective. So the spiritual meaning behind this series really resonated with me.

I can only explain things to the best of my personal knowledge, so my apologies if anything is factually incorrect.

There are four basic tenets that one must cultivate in order to achieve true happiness. They are known as the brahmavihara (พรหมวิหาร). 1 - Metta (เมตตา): Literally translating to mean 'goodwill', it is a genuine concern for the well-being of others. 2 - Karuna (กรุณา): Literally translating to mean 'compassion', it is the recognition of another's suffering as one's own and a selfless desire for that suffering to end. 3 - Mutita (มุทิตา): Literally translating to mean 'kindliness', it is the feeling of experiencing sincere gratification from the happiness and success of others, regardless of self-contribution. 4 - Ubeka (อุเบกขา): Literally translating to mean 'equanimity', it is the ability to remain impartial combined with the understanding the we cannot mitigate the personal karma of others.

Essentially, the brahmavihara teaches us to always place others above ourselves... while realizing that they will be responsible for facing their own consequences if they fail to do the same.

How does this play into the "family" dynamics that exist in PP? Oddly enough there are certain facets of Buddhism that preach 'anti-family' values, as family can be one's primary source of attachment and suffering. There is a quote that states, "Family is the blood that burdens you." However, when a familial bloodline has lost its way (or in this case, has been "cursed"), Buddhism encourages surrounding yourself with a community that is organized on a familial basis... what we would call 'sangha' or 'found family'. Valuing the members of that found family above corrupt ideology would realign one's path toward enlightenment. Or in simpler terms, the people we choose to surround ourselves with can spiritually save us from ourselves.

Home's family has been "cursed" by the three poisons of Buddhism: greed, hatred, and ignorance. Phon's greed and value of worldly possessions over others has led her down of path of literal darkness, toward a belief in the occult. Somkid's hatred toward his father has fueled his deceptive behaviors... which he saw as a way to reclaim a father's love (that he believed he never received) from the people who didn't deserve it. Home's grandfather was ignorant as to how his actions, or lack thereof, affected the family that surrounded him.

Home's own version of ignorance would have led to his own karmic downfall. The series does a great job of having Home slowly discover the true meaning of home by integrating him within a 'found family' that teaches him the values of the brahmavihara... which ultimately leads to his spiritual 'awakening' (in a sense).

Metta/Karuna: Communicating with and healing the souls of the spirits the group encounter, requires compassion and understanding... a sense of community/sangha that these spirits and Chobkol (the magician) were lacking.

There were several instances of compassion born out of goodwill, the most obvious being between Home and Peach. Forgiveness is a big deal in Thai Buddhism. It is one of the cornerstones of what we refer to as "harmonious justice", as it promotes ideals of true selflessness. Peach forgiving Home because he's seen the changes in Home and how this one action does not define who Home actively wants to become was really really important. Home and Peach exist in balance of one another... keeping them on a shared karmic path where Home can no longer 'turn a blind eye' to his family's injustices (we could get into that more, but that'll make this even longer than it already is 😜😜😜). I think having Tay and New take on these roles to almost ease the minds of non-Buddhist viewers toward a more Buddhist ideology was actually quietly genius.

Sangha is also what heals the vengeance in Kan's heart, born of the teachings of Metta: "We must refrain from inflicting suffering upon one another and be free from vengeance." It could have been woven into the narrative with a bit more finesse... but I digress.

Ubeka: Home accepts the rightfully directed anger and complaints against him and his family for the harm they have caused. His partiality toward his family, simply because he is related to them, disappears. He stands against his aunt and fights against his uncle at the risk of his own life. And he does so by still allowing them to face the karmic consequences of their own terrible crimes... whether they are at peace with it or not.

Mutita: Home celebrates Peach's dreams above his own wishes... without knowing that they would eventually coincide. I could even argue that their eventual correlation could be a result of Home's 'good karma' paying forward.

Home had to reevaluate his core morals in order to be free of his family's curse (meaning within himself). All these representations of Buddhist notions, born from within his newfound family, are what define Home's idea of the true meaning of home... and happiness.

[helpmeimblorboing]

Jiang Cheng and Wei Wuxian are perfect foils of each other.

Jiang Cheng is not a righteous person. He is a person who has let the Three Poisons of Buddhism overwhelm him almost completely, using them as weapons to wield - to the point that his title is “Sandu Shengshou”, the skilled user of the Three Poisons. Yet he is praised and honored by the jianghu, because he is the son of the Jiang Clan

Zidian’s emblem is a snake - the very symbol of hatred, which, to cultivators, who have to deal with RESENTFUL energy on a daily basis, would be the worst of them all

But there’s deeper symbolism to this, because in terms of action - each Jiang, save for JC and WWX, would naturally represent a different poison

- Jiang Fengmian, so attached to Wei Wuxian that he neglected his own son, and in the process, enraged his wife. So attached to the memory of Wei Changze that he didn’t even bestow the name Jiang upon his son, thereby othering him from the “rightful” members of the Jiang sect. Is it any wonder that the jianghu only ever saw him as a servant ?

- Yu Ziyuan, so consumed with her resentment and hate of Wei Wuxian and Cangse Sanren that she inadvertently used the son she claimed to love as a weapon against WWX, hurting both in the process

Remember, Zidian - the whip of hate- was hers first, before it passed on to Jiang Cheng, as he grew resentful of the very person she had always despised, inheriting her hate

- And finally, and most painfully, Yanli is ignorance, or indifference. Ignorant of the way her husband’s sect plotted against Wei Wuxian. Ignorant of her brothers’ suffering, both of them

Ignorant of the injustice of her mother’s actions or at least indifferent towards them

It’s notable that she died of being on a battlefield without adequate preparation- of ignorance

And in a way, Jiang Cheng inherited all these qualities from his family - he grows so attached to Wei Wuxian that he refuses to let him go, he grows so resentful of him that he hunts down anyone who so much as uses his style of cultivation for thirteen years after his death, and, of course, he is ignorant to the truth behind his own core

He truly is Sandu Shengshou - skilled wielder of the three poisons

(Side note : The Venerated Triad could also represent the Three Poisons - Xichen being ignorance, Guangyao being attachment ( towards his father’s sect, his own pride) and Mingue being hatred)

[mxtxfanatic]

I already explained the history of friction between different readers on Jiang Cheng’s character, but now I’d like to address the “neutral,” “idk what’s happening but why can’t we just get alone?” readers: mdzs may be a book with raunchy sex, comedic moments, an over-the-top drama queen, a group of cute ducklings, a cast of goofy-at-times adults, etc etc, but at the end of the day, this is a book about how a bunch of grown ass adults, victimized by a system of normalized injustice that orphaned most of them as children, got together to defend that very same system of injustice. If you are in this fandom and consider any discussion on how every adult save for like 3 actively aided and abetted the repeated massacres of innocent people that happens throughout the story to be “anti” or “negative” behavior, then why are you here? If you are upset that people enjoyed reading about a canonical villain and decided to discuss him and his canonical villain role in a public forum meant for that discussion, then why are you in the public forum???

Not everyone enjoyed the book because they wanted to get in on what roles this new set of characters would fill in a coffee shop au. Not everyone read the book just to figure out what new ship they wanted to obsess over. Some of us read the book because we liked the heavy themes, and we want to discuss said themes with others. The tags should be for everyone, regardless of whether or not you like a character in a “positive way,” but if you don’t want to see certain content that is relevant to the book, it is up to you to filter it out or form your own space. You don’t get to police fandom as a “positive vibes only!” space, especially not ones founded around a source material dealing with themes of war and genocide. Ain’t shit positive about that! This isn’t The Care Bears!

[iilmunchkiin]

This is in response to the anon's ask about Clover and Martlet's relationship as well as the two sides of the same coin. Explaining this in few words is going to be quite the task as there's so much to talk about when it comes to the Clover and Martlet's relationship, so I'll keep as to the point as possible.

First and foremost from the moment they meet Martlet becomes Clover's morality chain, and depending on their actions prior or after this meeting, will show other aspects of how they see each other. No other monster has this kind of affect on Clover. Likewise Clover's actions will determine how she sees humans, and what stance she should take in regards to Clover.

Clover's actions always spur Martlet into action regardless of the route. It's worth mentioning Martlet is established as being lazy, which she admits herself, but Clover's presence causes her to break out of this completely. Genocide shows her being a lot more proactive when it comes to dealing with Clover, and the other routes shows her making the extra effort to keep Clover safe, simply because this is what she feels is right. Likewise Martlet is shown to be the only monster to have some kind of influence on Clover, considering Clover will always choose her over Flowey.

In Neutral, Martlet is the sole monster that Clover cannot bring themselves to kill/refuses to kill, and all of it is completely unprompted. Likewise Martlet will also refuse to kill Clover despite their misdeeds however big or small. Even if you genuinely try to fight Martlet on Neutral, it will always end with Clover sparing her unprompted. Even on an aborted genocide route, where Clover can quite literally kill every monster they encounter including the likes of Ceroba and Starlo. They cannot bring themselves to kill Martlet, and Martlet despite seeing how dangerous Clover is, still refuses to kill them, which leads to Martlet offering to look after Clover, and Clover always accepting her offer. Plus when Martlet is killed by Flowey, Clover is so enraged they retaliate by trying to kill Flowey, and like with Clover sparing Martlet, it's completely unprompted, the player has no influence in Clover's decision to do this. To top all of this of, do Neutral enough times, and Flowey reveals to you, that Martlet convincing Clover to stay with her is a foregone conclusion without intervention. Essentially no what Clover does in Neutral, no matter who they kill, no matter what lies or manipulative tactics Flowey uses to try and control Clover, it will always end with Martlet offering to look after Clover, and Clover always choosing to stay with Martlet.

The Genocide route, is the only route were Clover and Martlet are both willing to kill the other. Not only that, during this route, Martlet is shown to be the only monster that Clover respects, and is also the only monster they spare unprompted, as well as listen to when they speak. Furthermore she's also the only monster that Clover goes out of their way to find a justifiable reason to kill, they do this for no other monster but her, which even Martlet makes a remark on. Both of them are fighting for literally the same thing, Justice for their kind, for the Injustice that was done to them. Something also very interesting about this fight that was pointed out elsewhere, both Clover and Martlet use yellow themed attacks. Martlet is also the only monster that Clover reveals their name to in Genocide.

Martlet stays by Clover's side accompanying them on three separate occasions on Pacifist with just the two of them. Four if you include the flawed Pacifist ending. The most out of any monster that Clover encounters. During these moments they get to see sides of Clover that the other characters don't really see. Likewise Clover gets to sides to her character that's different from what she usually shows others.

No matter how far gone Clover is, Martlet can always sense the good in them, when other monsters scorn them. Likewise regardless of how Clover sees monsters, as long as they don't go full vengeance they will always ultimately end up seeing Martlet in a positive light, and be drawn to her.

Martlet only tells Clover about the Syringe and the fact the she was planning to kill them using it when she senses the dark aura within them. It's also heavily implied until she came clean to them, Clover was completely oblivious to this fact, which would also imply they trusted her enough to where they didn't suspect her to be a danger to their life. It's also worth mentioning that Martlet is aware of what kind of individual Clover is even if she's not their to witness their actions, and Clover will always trust her to some capacity regardless of how their first encounter goes.

There's other stuff, but these points are some of the major ones.

[sixty-silver-wishes]

Roasting you based on your favorite of these German Expressionist films

(this post is a joke; don't take it too seriously lol)

Metropolis: You've got spicy political opinions and daddy issues. You were doing great in life until you found out how corrupt capitalism is sometime in high school or college, and it's absolutely mind-boggling to you that nobody else is batting an eyelid at all the injustices of the world because they're too busy defending the concept of a 40-hour work week. You're constantly checking your privilege and everyone else's, too. Or you just want to bang a robot. That's probably it.

The Cabinet of Dr. Caligari: Okay, I could make a joke about you being emo, or you liking the most basic film on the list, but that's not really the issue here. Your Hot Topic fashion sense and shitty drugstore eyeliner are nowhere near as concerning as the fact that you have no idea who the hell you are without them. You constantly overthink everything and are great at solving everyone's problems but your own, and you're averaging like 4 hours of sleep on a good night. You can't get your intrusive thoughts to leave you alone and if you relate to literally any character in this film, you need to get help. It's okay; I promise your therapist doesn't secretly hate you.

M: You're a surprisingly sweet and empathetic person for someone whose favorite film on this list is about a child murderer. You care deeply about others and are very much in tune with yourself, but unfortunately, everything you say is so off-putting that most people don't get that vibe about you. If they actually gave you a chance, they'd find that you have a great personality, but they don't, so instead you're stuck at home stalking your ex's vacation photos on social media.

Dr. Mabuse the Gambler: You like the finer things in life. You're high-maintenance, your tastes are classy and expensive, and you actually know how wine tasting works. However, you're way too into conspiracy theories and pyramid schemes for your own good, and your cultured proclivities are deeply undercut by the fact that you probably got into Bitcoin when that was a thing. Your two career paths are either "businessperson" or "cult leader," and it's concerningly difficult to discern which one you're on.

Nosferatu: Your sense of humor relies entirely on recycling memes that are at least a decade old, and the fact that you communicate nearly entirely in pop culture references is your attempt at disguising the fact that you're really bad at socializing. You think you have lots of great ideas that make perfect sense, but most people don't know what the hell you're going on about. However, you've got one or two ride or die friends who love you for who you are, cringe and all. Keep being you, Nosferatu fan. Never change.

The Student of Prague: I'm not sure this one is actually anyone's favorite film, but if this was yours, you were into shipping the Onceler with himself when that was a thing. You're super competitive, but you have a tendency to overwork yourself and burn out quickly, so now you're living off of Top Ramen and protein bars. People love to tell you that you "have potential" and "just need to apply yourself," but what they don't get is that you're stressed 24/7 and won't give yourself a break because you're trying so hard to satisfy your own impossible standards. Please take a nap.

Der Golem: You're great with children, small animals, and potted plants, but that's because literally anyone else you have to deal with fucking pisses you off. The absolute audacity of everyone around you means you're never not two seconds away from throwing hands, but honestly? You're always right and you should say it. You're actually a really nice person, but people keep pushing you to your limit and you're sick of it. On an unrelated note, you probably work in customer service.

Different from the Others: If this is your favorite film and you're a member of the LGBT community, that's perfectly understandable. It was a monumental achievement in LGBT cinema in the early 20th century and, despite being somewhat dated by today's standards due to the time period it was created in, largely holds up as an educational, yet tragic, piece of cinema. That being said, if you're a straight/cis/allo person and this is your favorite film, what is going on with you. I want to study you in a lab. How did you find this film. Come to think of it, how did you even get into German Expressionist cinema to begin with. I just want to know

Der Januskopf: [REDACTED]

Genuine: You're a "Caligari" fan who doesn't want to seem basic like the rest of the "Caligari" fans, so somehow you ended up here. You don't actually like this film aside from the visuals. Nobody actually likes this film. You want so, so badly to like this film, so you lie to yourself, just like you do about everything else.

[milswrites]

A Mother’s Love

~ Azriel X Fem!Reader

Summary: When their family that Azriel worked so hard to build is threatened, their children having been taken in the night, Azriel and the Reader must do everything within their power to ensure that they get their kids back home safely and uninjured. Angered by this injustice, no one could predict what lengths a mother would go to in order to protect her child.

Warnings: Kidnapping, angst, violence, gore.

Notes: I am not a mother but I channeled my love for my cat into this fic. No one messes with my fur baby!

The news was delivered to you like an omen of death. Your children had been taken. Stolen from their beds in the late hours of the night by an unknown force. A shaken Feyre had been the one to break the bad news to you, having heard it first hand from Cassian.

Poor Cassian who had been eager to give your children a taste of the Illyrian lifestyle now they were both flying well, whisking them away to Windhaven with promises on his lips that what they would experience there would put hair on their chests. Poor Cassian who was now having to deal with the aftermath of their disappearance, devastatingly overwhelming guilt settling in his soul. He had failed to protect your children. His nephews.

You didn’t blame him of course, nobody could have predicted what had unfolded under the cover of moonlight last night. You wouldn’t blame him, even when you frantically winnowed to the camp and entered their bare room only to see droplets of thick crimson blood spattered on their once white sheets. The sheets which were now stone cold from the absence of their heat.

No, there was only yourself to blame. You could have spent months, standing there in the empty room, clinging to the empty sheets of your missing children, coming up with ways this would have ended differently. Alternative realities where you did not allow them to leave with their Uncle, instead keeping them safe in your home, surrounding them with your loving presence at all times. But no amount of wallowing or wishing for the events to have not transpired would bring your children back to you. You had to stay strong for them so you could act.

Yet when your husband came crashing into the room, having fled his latest mission instantly once Rhysand had managed to get through to him, the dam that had been holding back your emotions broke.

Raw sobs broke from your drying throat, your chest heaving with the effort it was taking to breathe. Azriel, whose eyes had bulged wide at the state of the disheveled room before him, wasted no time in rushing to your side in order to pull you into the safety of his arms. However, not even the strong, grounding grip of your husband would make this right.

“It’s going to be alright,” his wavering voice whispered into your ear, unsure whether he was speaking to you or himself, “we’re going to find them. We’ll bring them home.”

“Why’s there so much blood, Az?” You harrowingly cried out between your sobs and heaved breaths, looking up to the pained face of your mate, “They must be so scared.”

Azriel stilled, taking in the room once more as he pulled you even closer to his chest, the uneven beating of his heart against your cheek filling you with even more dread. “They’ll be ok” he pathetically reasoned, tears falling down his own cheeks to match yours, “Rhysand’s got everyone out searching for them now. I’m going to go too, but we should take you to Amren first, you shouldn’t be alone.”

His words were enough to stop your crying, fire burning in your eyes as you sternly replied to your husband, “if you think I’m going to sit here and do nothing whilst my sons are in danger then you are sorely mistaken Azriel. I’m going to get them back.”

“Ok…ok,” he relented without a fight, knowing no amount of force or convincing would result in you not taking part in the rescue of your children. His shaking, scarred hands reached for your cheeks, wiping away the stray tears that remained. “My love, I’m going to need you to be strong. They’re going to need you to be. No distractions” he searched your eyes for any trace of weakness or panic as he spoke, not wanting to risk you also being in death’s path. Losing your children was an unimaginable agony he could scarcely describe, losing you too would surely be the end of him.

“Let’s go get our boys Azriel” you willed, not wanting to waste another minute talking whilst they were in the enemies hands.

~~~~~

Long gone were the days in which you bore weapons, having made the difficult decision to lay your swords down and leave the Night Court’s army upon the discovery you were with child. It was a tough call to make, leaving behind the job that you had worked so hard and so many years to get. But with Azriel being constantly under the threat of danger in his line of work it needed to be done, ensuring the unborn child would still have a parent if anything ever happened.

As difficult as the decision was to make, it all made sense from the moment you laid your loving eyes on the innocent face of your first-born son. The child, barely a minute old in your arms, had stolen your life without even trying. He had commanded your love and protection from the minute he was born and you were only too willing to provide it.

This same feeling of an otherworldly type of love, the love only a mother could understand, returned upon the birth of your second son. A child just as perfect and virtuous as the first. Your new role in life was clear, there would be no more spine-chilling and adrenaline pulsing missions performed for Rhysand, you would dedicate your life to your sons. Lay down your arms and become a new type of warrior, a mother.

And you had, passing every ounce of love and knowledge you held onto your children. The cool touch of the hilt of a sword long forgotten as you have had no need to strike one in twelve long years. No evil forces to fight against, you had enjoyed a peaceful life with your family. Until now. Until someone had cruelly ripped your life away from you.

The cold metal of the sword felt alien in your sweating palms. You gripped the hilt tightly, forcing yourself to become familiar with the weight, testing it out in fluid swings and powerful hits against Cassian’s whilst you waited for any form of news from Rhysand or Azriel who were out searching. Unwilling to let your rusty skill be the reason for your children’s death.

It was clear to you what must be done, what you had to do to ensure the safety of your family. Because of this you were more than welcoming to the blinding anger that burned deeply in your veins, fuelling your body. You would battle through a whole army with only your teeth and nails if it meant seeing your two sons safe on the other side.

It was the waiting that hurt more than anything, the feeling of being useless, standing there doing nothing whilst your sons were likely being tortured or worse. Releasing your frustration through practicing with your sword could only do so much, and after a few hours of training Cassian was stopping your actions, warning you to save some energy for the fight ahead.

So you sat in painful silence, praying to the Mother, Cauldron and every other powerful being you could think of. Begging them for mercy, to spare the lives of your faultless children who had not yet been given a chance to make something of themselves in the world. Praying for the future they deserve to have.

It was the grim face of your returning husband that broke you from your silent pleading, words heavy on his lips, “We know where they are.”

~~~~~

It was a fortress. An array of deadly defensive weapons, swarming with heavily armed guards who were all fitted with glistening, strong armour which would be difficult to pierce. It was so perfectly defended that it would take a fool to attack it. A fool, or a viciously enraged group of people who would stop at nothing to get their family back.

You advanced swiftly and quietly, using the dense foliage of your surroundings to your advantage. Finally, you were here. All that stood between you and having your darling sons in your arms again were the large stone walls of the fortress and the hundred unsuspecting men waiting inside.

Of course the rest of the inner circle were there to help, but to you - whose children were trapped inside this cursed fortress- it may as well have been you against the world.

You began your attack viciously, running the sharp tip of your sword through the unsuspecting guards throat, silencing him before he could raise the alarm and alert the other soldiers of your presence. Unblinking as his body dropped to the floor, you continued moving forwards, not wanting to waste any more time waiting and standing uselessly by. The time to act was now.

You crept along the wall, pushing forwards until you reached another enemy, this time slicing your sword against his stomach, bloodied guts pooling out onto the grass below. By this point the alarm had been sounded, shrill bells ringing out from inside the keep, no doubt having been made aware of your presence from the brutal attack of one of your friends.

The increased number of soldiers flooding out of the gates you so desperately needed to pass through didn’t phase you, they were nothing but unwelcome obstacles in your path.

You fought bloody and hard, allowing the untamed beast inside of you to roam free. It was carnage. Sword clashed against sword, bits of limbs and spatters of blood flying everywhere until the ground was no longer visible beneath the pile of bodies that covered it.

Unstoppable, you worked your way through the group, slashing and stabbing anyone who stood in your way, all the while releasing the most feral of cries from your lips. Screaming every ounce of agony and pain these men had brought you into their shocked faces as you killed them. Crazed and unstable, your unpredictable actions caused the enemy to hesitate with their advancements and yet you had no problem in cutting them all down.

You could feel the blasts of heat and untameable power emitting from your surroundings, caused by your equally furious family, but you couldn’t stop and bring yourself to look at the devastation they were unleashing, not while your children were still inside. So you kept moving onwards, rushing through the gates alone. Slashing here and cutting there. You weren’t actually sure how present you were in your own body, unable to feel the scratches and cuts which were leaking viscous blood down your arm. Perhaps the mother had heard your prayers and granted you the strength to battle on without pain. One mother understanding another’s plight.

Each step you took towards the keep, towards your children, saw a wave of energy and brutality wash over you as you continued to fight viciously. Some men bravely stood their ground against you, staring into your wild eyes as your weapons clashed together. Others tried to run from you in fear, not wanting the last thing they see to be the sharp edge of your sword. You showed no mercy to either of the two.

Chasing after their retreating forms you would not relent, killing everyone in your way. Until a firm hand meeting your shoulder startled you. Whirling around you raised your sword in preparation to strike a devastating blow, only to be met with the concerned face of your husband, of your mate.

“It’s over,” he explained, hand roaming down your arm towards your sword as if to take it from you, but you flinched from his touch and pulled your arm back to yourself in retaliation, “Feyre’s got them. They’re safe. It’s over.”

“It’s not over!” You growled at him, his arm coming back to grip yours and preventing you from chasing after the fleeing soldiers. Azriel roughly yanked you towards him, wrapping his large arms around you, shielding you from the horrific sight of the scene around you and the retreating backs of the cowardly men.

“It’s over,” he repeated, resting a gentle hand on the back of your head. Your own head was shaking in disbelief against his chest. “No” you whimpered, wriggling in his arms, “Az, they’re getting away! We can’t let them get away!”

He shushed you, hand keeping your head sealed tightly against his chest whilst the other one travelled down to take your sword from your bloodied hands before throwing it to the floor. “Please my love,” he begged, lips pressing against your filthy forehead, “your children need you. Our children need you. Please come back to me.”

You were shaking in his embrace. Wondering how in good conscience you could allow those men to escape, the people who had stolen your children from you. “Cassian can handle them, you need to stop” he tried to convince you, the mating bond sharing your thoughts with him. “You fought so bravely my love,” he continued, hugging your trembling form, “it’s over now. We need to see to our sons.”

~~~~~

You did the best to clean yourself up with what you could find. Using a scrap of material to lamely attempt to wipe the dried blood from your skin, not wanting to scare your boys with your bloodied form. Not wanting them to see their mother like this.

Your blinding fury had subsided, your husband having talked you back to reality. The only need remaining was the one to take your children in your arms and never let them go.

Hands sealed together for support, Azriel led you through the winding empty halls towards where Feyre was hiding from the fight with your sons. Turning round the corner, you finally laid your watering eyes on them, scratched and a little bruised but otherwise unharmed.

Your relief was so overpowering you began to sob once more, salty tears streaming down your face as you ran over to the two boys, dragging them into your open arms in order to give them a blisteringly tight hug. Littering their heads with grateful kisses, the boys giggled. Squealing as they wiggled in your tight grip trying to get away from your overbearing display of affection.

Azriel approached where the three of you were tangled together in a heap on the floor and forcefully threw his arms around you all, covering your small but perfect family like a comforting blanket. “You are never leaving my side again!” You cried in-between kisses delivered to their flushed little faces, Azriel following suit and leaving a gentle peck on each of your son’s cheeks.

“My poor babies” you couldn’t help but wail, crushing them a little bit tighter into you, fearful to ever let them go.

“It’s ok mum,” They managed a small grin as they looked up to your distressed face, “we knew you would come and get us! And dad too!”

A happy sob broke from your lips at their words, laying a final kiss to each of their foreheads before speaking, “I would have gone to hell and back to find you if I needed to. Your dad too.” You cast your mate a loving smile whilst still huddled in your embrace, heart filled with joy at the family he had given you, at the family you would both kill to protect.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Notes: This was my first time writing a proper fight sequence so I hope it flows and makes sense!