#the fact that we get as much interesting narrative as we do is down to brennans talent

[nerdishpursuits]

And this is one of the countless reasons I love chatting about Mafin with @midniteowlet: she's my very own toma a Tierra and grounds me, so I can approach things more rationally.

Upon concluding our debate of the current turn of events on the show, Mafin on the whole and their narrative? I've come to look at things as follows. The show very much reflects society as it is: a sad state of affairs where good people hurt and unsavory characters often prevail. The fact that we want everything good and wholesome to triumph at every turn? Idealistic, not realistic. Not to mention lofty expectations actually prevent one from truly appreciating the show, with all its ups and downs and winding roads. And personally, I'd like to keep enjoying it, without getting dragged down the utopian rabbit-hole.

For the most part, the representation we get is actually well crafted: Mafin feels organic, tried and true, and the chemistry between them is undeniable and thrilling. More so? Their story doesn't feel forced and thus, can be promoted to any viewership without it coming across as preachy and condescending, or having an agenda. If anything, Mafin is by far the best developed, healthiest relationship on the show. I, for one, much prefer the portrayal of good communication, heartfelt romance and overcoming obstacles together than a deluge of r-rated scenes. And honestly? We are being offered a damn good story here, even as it fails to satisfy everyone's hopes and demands (which in all honesty, it never could - at the end of the day, someone will always be disappointed)

I'm also reminded of Marta B. mentioning in a recent interview that the show is not aimed exclusively at the sapphic community. As such, it will not depict or cater to its particular needs. It's part of a larger ensemble and needs to appeal to a broad audience. And, when all is said and done, it actually manages to accomplish more with this kind of storytelling: one that's simpler, one that doesn't try to be pedantic. Ergo, they will not linger and preach to the audience. What they will do instead is allow the characters, their circumstances and actions, to speak for themselves. And they will trust they're doing a good enough job to let people draw their own conclusions. So far, I think they've achieved that: there’s heterosexual people watching the novela who love Mafin and think they’re the best couple on the show, there’s elderly people learning to be more open-minded, everyone loves Damian's character development, everyone hates Santiago and acknowledges he is a despicable lowlife etc. The show is moving the pieces along the board quite deftly and it makes for an interesting, if not always gratifying, game.

As for today's episode? There's no doubt that Marta and Fina only have eyes for each other. They're an established couple who will face anything thrown their way as they always have, as one. No mustachioed men will ever change that. Marta and Fina's narrative will never be whether they desperately adore each other. That they do couldn’t be more obvious. Their story? Ever has it been, and will continue to be, about their fight to attain freedom: freedom to live their love in a society that forbids it.

Therefore, I've reached the point where I'm not worried at all about either Santiago or Pelayo. Based on Pelayo's reaction upon learning Marta is a lesbian? I doubt he'll help Santiago in his attempt to sink Marta's ships. To me he comes across as a calculated businessman, but not a heartless one. He stands to profit more from a partnership with the de la Reina family than throwing Marta to the wolves. He also didn't bat an eye at Santiago's reveal, wasn't surprised or outraged. Which, I'll go out on a limb and say, is telling. He's either gay himself or simply plans on advancing his business / political career by securing a partner that won't demand his attention or affection. The first scenario ensures he remains socially upstanding while the second allows him to live as he pleases. To a man like Pelayo? It's a jackpot either way. Hopefully, the benefits outweigh the costs for Marta as well, should the plot move in that direction. And given all the signs? It's already halfway there.

That being said. It remains to be seen what happens to Santiago. I assume, and hope, his little ploy at denouncing Marta to the Civil Guard will cost him, dearly or otherwise. His own thirst for vengeance pushed him to make the wrong move which is, in my opinion, seeking out Pelayo. And while there's plenty of outraged cries that Marta & Fina don't need another man to save them? Let's not forget it's 1958. The likelihood of neither of them attracting a suitor, fake or otherwise unwelcome, is as doubtful as improbable. The fact they managed to successfully evade them so far? Quite the feat.

As for what awaits? Marta won't go to jail, I think, since that card has already been played. Or who knows? We might be surprised. The fear they need to instill in her requires new heights, in order for Marta to reluctantly accept another cage. Mind you, she's still trapped: as much freedom as she currently wields, Marta remains a woman whose very social status entraps her, singling her out as prime real estate. She's the proverbial golden goose, especially as dictated by the mores of society back then. Marta and Fina's shared dream of freedom remains, for now, a dream. One they've almost had at their fingertips, which makes their current circumstances all the more painful. I will say: it stings that Fina won't be the first to read Marta's journal. Undoubtedly, at some point, she will. After all, that journal is a mirror of Marta's very heart. It lays out her deepest fears, her innermost longings. It chronicles the fiercest battles Marta has had to wage with herself, her losses and triumphs, her meditations and hymns, the anguish and the deliverance of her love for Fina. To have it fall into the wrong hands? A violation of the utmost personal, a desecration of what is deemed sacred and untouchable. The diary symbolizes Marta having a safe space to call her own, one where she was allowed to embrace her true self, one that initiated her journey to freedom, her quest to rid herself of her shackles. Santiago has no honorable bone in his body and his hatred towards women, and Marta in particular, drives him to invade and vandalize her privacy, this blessed sanctuary she got to call her own. Let's see if Pelayo rises to the occasion and proves himself as a noble character. You can never have too many allies. Do I still take issue with how certain things are handled, with the inconsistencies and shoddy character work? Definitely. But I’m also able to simply sit back and enjoy. Let's see where all this goeth, shall we? Hello pain, let's go again.

[twinklebitch]

idk if it’s just me but i feel like so many criticisms of this season boil down to expecting an actual play improv show to be as coherent and cohesive as a scripted piece of media.

and also i don’t think some of you have ever played dnd and it shows

[gingerswagfreckles]

I think people need to understand that when someone says the situation in Israel/Palestine is complicated they are not necessarily saying that the discussion of who the oppressor vs oppressed is complicated. The Israeli government has been oppressing the Palestinians for a very long time, that is clear, and it is not complicated to understand that at least since the 80s they have had dramatically more financial and military power to keep control of the territory in the way they like.

However, it is reductive and dismissive to insist that there is no complexity in the potential ways to move forward to bring peace to the region. Despite what people on tumblr.edu like to believe, "Israel should never have been created" is not a practical solution to an incredibly heated geopolitical situation in the present day. Israel was created and it does exist. 10 million people live there. 74% of the population is native born and the country has existed for 75 years. Hand waving these fact away with the opinion that "they should move back to where they came from" may make you feel good about being a Radical Leftist, but it does not give anyone a road map for how exactly millions of people without dual citizenship are supposed to just up and evaporate. Nor does it acknowledge the reality that 21% of Israelis are Arabs, the very people you are claiming to want to give the land back to.

Insisting that there's nothing complicated about expecting an entire country's population to willingly dissappear with no consequences is not a productive way to think about this conflict. It ignores the many massive superpowers that have an interest in proping up different states in the region, the power dynamics involved in any land back movements, and the inevitably negative consequences of totally dissolving an established state without a plan. It is also completely and almost comically unrealistic, so much so that it makes it hard to believe that anyone who's opinion starts and ends with this idea really gives a shit about anyone who lives in the area as much as they care about their online leftist clout.

There's nothing complicated in understanding that the Israeli government is and has been maintaining an oppressive apartheid state for decades. It is, however, very complicated to come up with a realistic way to resolve some of the most intricately entangled land disputes on the planet without plunging the region into total chaos. Not everyone has to be deeply educated on every geopolitical situation, but it is very hard to take people seriously when they know nothing about the politics or history of a region and yet insist that there is nothing complicated about it at all.

There's a lot of people on this website who are getting dangerously smug about their own ignorance, and are starting to go down Qanon type anti-intellectual paths in the name of being sufficiently radical. Not knowing the details of a very convoluted land dispute isn't something to brag about online as you call for intentionally reductive solutions. You can support the Palestinian cause and be aware of the oppression they have faced while also holding off on calling people trying to do real analysis and de-escalation work bootlickers. We need to get control of the urge to fit every global issue into a simplistic YA novel narrative structure that appeals to Western revolutionary fantasies.

[grandwitchbird]

Dragon Age has been doing a really clever thing with its protagonists and the heroic power fantasy that only fully comes together when you look at the series as a whole, so let’s do another ramble. Under a cut to save your dash.

Origins is a traditional RPG power fantasy. It likes to tell you that it’s not by gesturing at Loghain and alluding to unreliable narratives, but what it shows is the power fantasy. No matter what your warden does, they’re the hero. Are you a casual genocide enthusiast? No problem you can still ride off into the sunset looking for a cure. Also hey you have a critical weakness/flaw (the calling) that kind of dooms you or gives you cause to vaguely ride of into the sunset. Very heroic indeed. There’s a layer of textual interest added by the presence of unreliable narratives, but ultimately it’s the hero’s choices that shape and determine the world and story, right down to very gamified relationships. The origins system itself, the fact that your warden could have been anyone, is the actual textual proof that this isn’t all that’s going on. It just only really gets paid off by later games, and that’s pretty important given where this franchise ended up.

—

Enter DA2. Hawke is a champion, not a hero. Hawke fights for those who can’t fight themselves. Hawke can’t save the world. They can’t even save their family or city. It’s a battle of attrition that sees them somehow worse off no matter what. The still-gamified but now more nuanced and challenging relationships become the focus because they’re really all Hawke has. Now the power fantasy is still lurking around the edges. It’s just challenged at every turn. You can free Kirkwall, but Anders is always going to blow up a church.

—

Which brings us to Inquisition. Somehow, you’re both as much of a nobody as Hawke and you’re responsible for more than the Warden. And it’s miserable. The power fantasy is constantly undermined. No matter who your inquisitor was, by the end of the game they’ve been completely subsumed by their role: turns out power has teeth.

In a move that delivers on the unreliable narrative throughline that Origins established and DA2 strengthened, the Inquisitor must play the hero and save the world. It doesn’t matter if your Inquisitor is a kind person doing their best or a racist power-hungry asshole, and that is now a systemic issue within the world itself. The erosion of your character’s personhood is explicit within the text as characters struggle to see you as more than your role and you’re asked to shape the faith of an entire world even if you don’t share that faith. The cost of this erosion is made incredibly literal with Ameridan’s story and then in Trespasser, where the anchor, both cause and symbol of the Inquisitor’s role and power, is killing them. Relationships become somewhat less gamified but more importantly, you’re given an explicit textual mirror in Solas. He’s there to reflect your behavior but also your loss of personhood to a role. It’s essential that he’s the one to save your life at the end of Trespasser. Even if you’ve never shown him a moment’s grace, here is your mirror to see you as a person one last time.

—

And then there’s Rook. Now we play a mirror to Solas, a character who has been the hero, Mythal’s champion, and a man subsumed by his role/s. He’s really the narrative gift that keeps giving.

We walk the dreadwolf’s path this time, and the dreadwolf is a classic tragic hero. He’s stuck in a story where he must save the world and where a critical flaw will always be his downfall. We’re Varric’s second who must step up to champion his cause after the events of the introduction. And we’re barely keeping ourselves together under the burden of leadership. And here is where Veilguard finally delivers everything this franchise ever promised. Because under all that we’re truly just some guy. Just like Solas is just a guy who got stuck in situations he never wanted. His response was to become the hero or play the villain (depending on the story) because that’s easier. But if Rook can truly choose the ‘hard truth’ that the world is never going to “stay fixed” (oh hi Inquisitor… and Hawke… and Warden) and that other people can have better ideas and make hard calls and their own choices? If we don’t have to ‘win’? Rook can reconcile the inevitable tragedies of this kind of story with their very human needs and escape the story altogether. The cost, of course, is the power fantasy.

[awearywritersworld]

she mumbled that i was peculiar

sukuna x reader summary: impressively, sukuna is still trying to find ways to deny his feelings for you. nevertheless, he keeps you safe from harm when a late night trip to the store doesn't go as planned. will seeing his violent nature for yourself change the way you feel about him? he seems to think so. w/c: 4.2k (oops) tags/warnings: angst to fluff. attempted kidnapping. canon typical violence. depictions of blood. reader throws up. reader is in shock for a bit. cursing. aged up!yuuji. not canon compliant. fem!reader. no use of y/n. *please mind the warnings for this chapter* a/n: i'm sorry this took so long! im ngl, i struggled quite a bit to write this chapter. i'm still unsure about the pacing, but here it is anyway. thank you for reading and i hope you enjoy! series masterlist // masterlist

it's not often that you go out for the evening, but tonight is one such occasion. you leave around seven, excited to meet nobara and maki for dinner.

when yuuji falls asleep a few hours later, sukuna doesn't take over right away. he spends a while in his domain, engaging in what some people might call sulking.

before long, however, he begins to feel restless and he tells himself it's because he's grown accustomed to his finite hours of freedom. of course, it has nothing to do with your absence.

so he assumes control of his vessel's body and pulls a short novel from your bookshelf. settling on the couch, his fingertips brush over the cover: the stranger by albert camus

it's the first time he's ever been alone in your apartment, a fact he's well aware of, and his eyes wander to the front door. it'd be all too easy to pull it open, to make his way downstairs and out onto the street.

how long would it last before yuuji regained control? are you nearby? would you get caught up in the havoc he'd doubtlessly wreak?

the thought makes him grimace. returning his focus to the book in his hands, time seems to pass by faster as he makes his way through the pages.

even so, he deems the narrative a bit boring. in his (what's the opposite of humble?) opinion, dead mothers and nagging girlfriends don't make for the most captivating story, so his mind begins to wander once he happens upon the quote:

"so why marry me, then?" she said. i explained to her that it didn't really matter and that if she wanted to, we could get married. besides, she was the one who was doing the asking and all i was saying was yes. then she pointed out that marriage was a serious thing. i said, "no." she stopped talking for a minute and looked at me without saying anything. then she spoke. she just wanted to know if i would have accepted the same proposal from another woman, with whom I was involved in the same way. i said, "sure." then she said she wondered if she loved me, and there was no way i could know about that. after another moment's silence, she mumbled that i was peculiar, that that was probably why she loved me but that one day i might disgust her for the same reason.

sukuna thinks about you— the woman who forced her way into his solitude.

although, what if it hadn't been you? what if the brat had been involved with another woman? would he have eventually taken an interest in her too?

are you really that special, or is he just going crazy inside the cage that is itadori yuuji? the latter is much more likely, right?

he supposes he prefers the idea of madness over... feelings for some human.

all of a sudden, your apartment door seems much more inviting. would it be so bad if he were to step through it? what did he really have to lose?

yeah, that's right. he'll get up any second now and act on every horrible impulse he's been repressing. any second now... any second...

he can't quite figure out why he's unable to bring his limbs to move, weighed down by some force that's beyond him.

it's at that moment the door clicks open and for a split second, he thinks it must be his sign to go, but then you come waltzing in.

"'kuna!" you greet in an excited manner, disrupting the peaceful quiet.

kicking off your shoes haphazardly, you make your way over to him and promptly drop yourself into his lap. it elicits a bout of unwelcome clarity for the king of curses.

no, he wouldn't have taken an interest in just anyone, that much becomes obvious. it wasn't through a medium as flawed as chance that he came to... tolerate you. you're much too annoying for that to be the case.

"hello???" you wave your hand in front of his face. "i'm home."

"i can see that."

"welcome home, darling," you say in a deep voice, a poor imitation of him. "i missed you so much— that's what you're supposed to say."

yeah, definitely too annoying.

"but i didn't miss you." one of his hands comes to rest on your thigh, a betrayal of his preceding assertion.

"you're sitting alone reading—" you pause to inspect the book lying open beside him. "existential fiction about a nihilistic frenchman. of course you missed me."

he changes the topic rather swiftly. "you're drunk."

"i'm tipsy, at best." you roll your eyes. "can't i just be happy to see you?"

"you'd be the first."

"i don't mind making history."

you place a kiss on his lips, casual and affectionate in way that makes sukuna's body stiffen, and stand up.

"i need to get ready for bed, then we're gonna watch tv together because i missed you— gosh, see how easy that was?"

you run off to the bathroom and his body doesn't fully relax until he hears the shower turn on.

the thought of missing someone is a strange notion to him, because it implies eagerness and desire. for as long as he cares to remember, those emotions have been reserved for proclivities much more sinister.

so he hadn't missed you. he just would have preferred it if you stayed home. that's all.

when you return to the living room around fifteen minutes later, you're wearing one of yuuji's shirts, and as far as sukuna can tell, very little otherwise.

making yourself comfortable on the floor between his legs, you pass a hair tie behind you. "can you braid my hair?"

he's watched you get ready for bed enough times that he's fairly certain he can manage it. taking the tie from you, he still asks "why can't you do it?"

"because i'm sleepy," you frown, reaching for the tv remote.

gathering your hair in his hands and carefully dividing it into sections, he sighs. "you require so much looking after."

"you're not going to die if you can't have cookies tonight." sukuna states dryly, glancing at the clock that reads eleven o'clock.

"please don't trivialize my struggle," you begin, pulling on your jacket. "i want miso butter cookies— my grandma's secret recipe."

most of what you need can be found in the kitchen, but a trip to the store is in order for a few final ingredients.

"my mistake," he huffs, rising to his feet. "how insensitive of me."

"oh, it's alright. just don't let it happen again."

"sure. i'll keep that in mind, princess." sliding the apartment door's chain lock off the track, he does little to hide the vexation in his tone.

just as he reaches for the handle, you stop him and wrap a scarf around his neck, forcing a hoodie into his hands. "put this on. you'll be cold."

he looks at you as if you're crazy. "i don't have to worry about things as insignificant as the weather."

"well, put it on anyway," you insist.

he decides that acquiescing will be easier than arguing for the next five minutes and slips the hoodie over head. when you both step out into the chilly air of night, there are still a decent number of people traveling the streets.

stopping at a crosswalk the next block over, you begin to prattle on about what you need to pick up and the different steps in your recipe. naturally, you completely miss it when the pedestrian sign turns green.

"come on," sukuna commands, his hand wrapping around your wrist and tugging you along with him. "i don't have all night."

you scoff. "to be fair, i didn't say you had to come with me."

"yeah well it's late. you shouldn't be out alone." there's a hint of exasperation in his voice, like he truly had no choice in the matter.

despite that, once you reach the other side of the street, his fingers slide down your palm and thread through yours.

you glance over at him and find he's looking off to the side, so you bite your lip to suppress your pleased smile. is he avoiding your gaze intentionally? you decide that bashfulness suits him better than you would have expected.

offering him a light squeeze of the hand, you hope it conveys your appreciation of his small display of affection.

"so, are you going to help me make the cookies?"

his lips press into a thin line. "as thrilling as that seems, i don't particularly have a penchant for baking."

"you think you'd humor me a little! you know, since i'm your only friend and all."

"if anyone else asked me such a ridiculous question, they wouldn't live to see tomorrow." you ponder whether he's joking and quickly decide that he isn't. "this is me humoring you."

"you're so mean to me."

"hardly."

"fine," you pout. "then you can't have any!"

"now, hold on." the threat does make him hesitate. you've come to learn that if there's one thing he loves as much as reading, it's food. "let's not be hasty."

you're approaching the store, the sliding doors just a few strides away.

"it's only fair! besides, you're not going to die if you can't have cookies," you throw his earlier words in his face.

he exhales deeply. "have i ever told you how irritating you are?"

"woah! now you're definitely not getting any, mister!"

"alright, alright," he groans as you step inside. "i'll help you bake your stupid cookies."

"perfect!" you exclaim as if you knew he'd give in eventually (you did). "then you can start by finding the miso paste while i get everything else!"

you scamper off before he can tell you not to order him around like some common servant. he's never even been grocery shopping, how the hell is he supposed to find anything in here?

wandering the aisles, he stews over how domestic this is. for god's sake— the king of curses, shopping for ingredients and making baked goods. what have you reduced him to?

just as he considers giving up, he spots the item he's looking for and grabs it so aggressively that it knocks a few packets of instant miso soup to the floor. wrinkling his nose in distaste for the entire experience, he sets off looking for you, though his efforts are to no avail.

he wonders where the hell you could have gone off to when a flickering light catches his eye, filling him with a strange sort of unease.

it's emanating from a narrow hallway tucked away in the back corner of the store. at the very edge of the hall, a phone with a familiar case is lying on the floor, the screen shattered.

his blood runs cold, a sensation that is fully unknown to him, and the miso paste slips from his fingers. he appears in the hallway the very next second and the sight that greets him ignites a furious hostility in the center of his being— heavy and consuming.

you're struggling against one man as he drags you out of the backdoor and into an alley. another man is holding the door open, urging his partner to hurry up.

the hand over your mouth keeps you from yelling, but you're unsure you would have been able to make a sound regardless.

one second you're cast into darkness, and the next, the light seems blinding. the flashing is unceasing and it makes your head hurt.

two limbs are wrapped around your torso, keeping you firmly in place, and your arms are trapped at your sides. you might be kicking your legs, but they may just be dragging along too. you really can't be sure.

there's a thrum of a heartbeat at your back. it's pace is unforgiving, the intensity mirroring that of your own. you've a vague concern that your heart may very well beat right out of your chest.

then there's an abrupt shift in the air and a sickening crack echoes through out the night. crumpling onto the concrete, you think it must have started raining before you realize that the droplets on your face are warm.

you wipe at your cheek and your fingers stain crimson, the color matching that of an increasingly large puddle seeping across the pavement beside you.

there's a heap lying a few feet away and you recognize that it's wearing clothes. it's a sight you struggle to make sense of.

needing to focus on something else, your eyes find sukuna and the expression he's wearing is fierce and unreserved. "tell me what you wanted with her."

you've never heard him speak in such a way. his tone is low, his cadence nothing short of threatening.

"s-s'kuna?" your own voice sounds foreign to you and it goes unheard by him.

he has your attacker pressed against the brick wall of the alley, both hands wrapped around his throat. he's too livid to realize the pressure on his windpipe is preventing him from answering.

sukuna throws him to the other side of the alleyway out of frustration, the man rolling onto his back and wheezing to appease his lungs.

"tell me!" sukuna commands again, louder this time. less collected.

the man scrambles away from his looming figure. "th-they sent us, told us they needed her for an important matter."

"who?"

"they'll kill me if i tell you—"

sukuna crouches down, laughing dryly. "and what do you suppose i'm going to do?"

his eyes are almost unrecognizable to you. they're frenzied— a few shades deeper than the scarlet you've grown so fond of.

"you'll k-kill me either way, so at least i'll die with honor—"

"tch. useless." sukuna waves his hand, and you can hardly comprehend what happens right in front of you.

neat red lines appear across the man's body, then it ruptures into nothing at all. the only evidence that he was ever there in the first place is his blood.

the stench of which is perhaps the worst part— intense, coppery, and hot. it makes your eyes water, and before you know it, you're hunched over and emptying the contents of your stomach onto the ground.

sukuna is at your side in an instant, pulling your hair away from your face, but while one of your hands is braced against the concrete, the other endeavors to push him away.

his body doesn't budge at the contact, but he takes a step back anyway in an attempt to respect your wishes.

your mind is a mess filled with racing thoughts— what the fuck? this cannot be happening. what the hell even happened in this first place? that man was there and then he wasn't.

inhaling sharply, you wipe at your mouth and shift to pull your knees to your chest.

"what..." you trail off, surveying the unutterable, incomprehensible scene before you. "what did you do?"

he doesn't respond, though his features noticeably soften. somewhere in the back of your mind, you know very well what he did, but you can't help repeating. "what did you do?"

"we need to leave." it's not that sukuna couldn't handle whoever might show up, but seeing as this is your reaction, he has no desire to. "if you let me touch you, i can take us home."

you take a moment to think about it, then nod wordlessly. as soon as his hand falls on your shoulder, you're met with that same sensation you felt the night gojo teleported you and yuuji home after one too many drinks.

though this time, the sick feeling in your stomach isn't caused by liquor. you don't stand up, you don't so much as move a muscle when you feel the surface beneath you shift from concrete to carpet.

sukuna breathes out your name, his uncertainty evidenced by the way he's shoved his hands into his pockets. meeting his eye, you reiterate the same inquiry once more. "what did you do?"

it's almost as if you want him to tell you that he didn't do anything. that the whole experience was some disturbing nightmare.

"those men would have hurt you."

"that doesn't mean they deserved to die." you choke on the final word.

"yes— it does."

with that, silence hangs in the air like a suffocating miasma.

looking to your hands, you're reminded of the blood you've been spattered with. "i need to wash up."

you still don't move from your spot, too fixated on your flesh and the dreadful hue that it's been painted with. sukuna notices now that you're trembling.

he approaches you hesitantly before extending his hand. "let me help you."

you decline his offer, shying away from him. "i think you've done enough already."

god, the look in your eye is utterly despondent. he struggles to swallow the lump that forms in his throat.

his arm falls limply to his side and he looks across the room, your copy of the stranger earning his attention.

he's overcome with chagrin when he realizes that his concern brought about by camus' quote the other night was wholly misguided. he'd been focused on his own feelings, whether they were genuine or simply wrought by his isolation.

how foolish was he to ever question what you truly mean to him? with the anguish that's settled in his chest at the sight of your current state, the fact he ever doubted it makes him feel like a hopeless idiot.

had he any sense at all, the part that resonated with him would have been—

she mumbled that i was peculiar, that that was probably why she loved me but that one day i might disgust her for the same reason.

disgust. is that what you're feeling now? he's certain it is.

it was just last week that he relayed the story of his past. you're the only person alive to know the truth of how his wickedness came to be, and you met him with unconditional sympathy and understanding.

you pulled him close and embraced him, but now that you've seen him for what he truly is...? you can barely stand to touch him and it's like a knife to his heart.

you're so fucking warm— like the sun against his skin after weeks of endless rain.

and if you're the sun, surely he is the moon— cold and barren on his own, but brilliant when in the presence of your light.

to be without that? to be without you? it's a prospect too terrible for him to bear. it makes his stomach twist miserably.

you're startled (as is he) when his form falls to the floor, his knees meeting the carpet with a dull thud. he calls out your name again, but this time, his voice cracks as he speaks. "please."

he doesn't have a clue what he's even asking for. a chance to explain? forgiveness? a way to turn back time?

you don't say anything, but you do shift your gaze to him. he knows that he needs to fix this, so he wracks his mind for the right words.

"i didn't enjoy killing those men." he's somewhat surprised to find he's telling the truth.

"you didn't?" your voice is so small and timid that he can hardly decipher your words.

"no. my only concern was to keep you safe— to make sure they never put their hands on you ever again. all i felt was rage and... and... guilt. i should have never left you alone and it's my fault—"

"stop," you interrupt him.

there are tears welling in your eyes, making it difficult for sukuna to breathe. he's positive you're going to tell him that his intentions were of little consequence and that you never want to see him ever again.

instead, you push yourself forward and collapse against his body, your own wracked with violent sobs. the reality of the situation is only just now hitting you. it'd been much easier to focus on what sukuna had done, rather than what almost happened to you.

"i was so scared, 'kuna."

and still, despite the way you're clinging to his shirt and burying your face in chest, he's under the impression that it's him you were afraid of.

"i'm sorry," he tells you earnestly. "i never meant to frighten you."

"n-not of you. those men." you're struggling to speak in between desperate gasps. "why did they do that? what did they want with me?"

"i don't know." though, he is going to find out.

sukuna is not a man well versed in comfort, so he's not entirely sure why he begins rocking you back and forth, but he does it anyway.

when you finally start to breathe a little easier, he mumbles into your hair, "come on. let's get you cleaned up."

he doesn't give you a chance to respond before he scoops you up in his arms and carries you to the bathroom. setting you down on the counter gently, he searches the linen closet for a cloth.

it's quiet, save for your intermittent sniffling, as he runs it under warm water and wrings it out. his free hand moves to rest against the side of your neck and he dabs at the blood on your face, rinsing the washcloth every now and then.

he tries his best not to show it, but sukuna is agonizing over what might be going through your mind.

do you still feel safe with him? have your feelings changed? do you still love him, even when you've been so harshly reminded what he's capable of?

when you speak for the first time your words are hoarse, barely above a whisper. "thank you for saving me, sukuna."

he thinks about telling you not to thank him, not when it shouldn't have happened in the first place. he left your side, an error in judgement he'll never forgive himself for.

he considers your mortality— your weakness— in relation to his feelings for you. he's always seen this exceptionally human quality as despicable.

but now? all it does is terrify him.

"in the past, i was only concerned with my own whims and desires." his hand moves to cradle your face, his thumb running over your cheekbone. "though after tonight... you have to know..."

it's clear that he's struggling. his eyebrows draw together and his mouth twitches as he ponders his next words.

"i care about you, angel." his voice is hushed when he adds, "very much."

your eyes widen briefly and you murmur his name, but your mind is still reeling from the events of the past twenty minutes and you can't think of anything more to say. you're emotionally exhausted in a way you would have never thought possible.

it's plain to him too, so he knows his next question is selfish, but he can't go on without knowing. "does what you saw tonight change things between us?"

the silence preceding your answer seems to stretch on forever.

"i thought it would," you confess eventually. it was as if you'd put up a wall in your mind separating sukuna the king of curses from sukuna the man you spend your evenings with.

and it's difficult to reconcile the fact that the hands you saw used to murder two men are the same hands that are caressing your face so delicately.

at some point, however, you realized that the only time you felt fear tonight was when you were without him. his arrival and ensuing actions inspired shock and apprehension, though in some twisted way, you knew it meant you were safe. "but it doesn't."

the next question tumbles from your lips thoughtlessly. "does that make me a bad person?"

he chuckles and some of the tension in the room dissipates. "i think i'm the last one on earth that can pass moral judgement on you."

he tucks your hair behind your ear and scans your face, relief coursing through his body when he sees you smile. in this moment, there isn't anything else in the world he would have asked for.

"i guess you're right."

and now, the hand over your mouth is your own, an attempt to stifle your tired giggles. the light of the bathroom is warm and steady. sukuna's hands rest atop your hips, his touch firm but comforting. while you can't feel your own heartbeat, you're positive it must be beating in time with his.

when you crawl into bed that night sukuna pulls you close, your back pressed to his bare chest. you're thankful for the softness of his demeanor, because you need it tonight more than ever.

he doesn't recede to his domain until yuuji wakes up the following morning. he's determined to keep an eye on you as you sleep, to watch the slow rise and fall of your chest with newfound gratitude.

he knows he needs to speak with the brat about what happened. someone is after you and while he hates to admit it, he knows he can't ensure your safety alone.

and he will keep you safe, no matter the cost.

taglist: @96jnie @ay0nha @sad-darksoul @bbysatoruuu @luciiferian @risuola @lirasmoon @disaster-rose @archivist-ghoul606 @creative1writings @sloppyzengarden @omismicrowave @cecesharktales @tanyeonn @hiqhkey @ruixrei @yellowsubiesdance @thefallofruins @anything-and-everything-here69 @emzalot @elusivemoon @annoyingstrawberryballoon @miabiar @hyeon-yi @iluv-ace @thepup356 @browneyedgirl22 @lantsovheiress // users in bold could not be tagged. if i forgot to tag anyone, my apologies!! just give me a heads up.

[she-posts-nerdy-stuff]

So there’s something about Pekka Rollins that has bothered me literally since I first read the books and I think about it every time I read them okay and it’s this line:

“Who is Pekka Rollins?” Matthias asked, turning the ridiculous syllables over in his mouth. Kerch names had no dignity to them.

And this catches me out every single time because Rollins is Kaelish. As far as the reader knows for definite, “Pekka Rollins” is a Kaelish name, not a Kerch name.

Now, don’t get me wrong, we’re of course aware that Matthias is very sheltered from understanding the global scene and may simply have assumed that Rollins is Kerch because he lives in Ketterdam and runs the Dime Lions (this is the only piece of information he knows about him at this time) but I think this is unlikely considering that it was on a mission to the Wandering Isle that he met Nina and we know that, although he doesn’t speak Kaelish, he knows how to recognise it well enough that he knew Nina was speaking Kaelish and not Kerch or Ravkan (at the time he was monolingual, as he would later only learn Kerch by necessity in Hellgate).

And thinking about the name “Pekka Rollins” it doesn’t sound all that Kaelish… does it? Our examples of Kaelish names include “Fianna” (Nina’s Kaelish pseudonym at the Ice Court), “Colm”, “Eamon” (Dime Lions member), and “Harshaw”, but not many others to my recollection. Kaelish names are inspired by Celtic languages and Celtic names, as far as I can tell usually with more Irish and Scottish Gaelic influences than Welsh, Cornish, or Breton (but please note I am by no means an expert and I sadly do not speak any of these languages), and we can see this trend in our examples. But can we see it in “Pekka Rollins”? Or does this name favour the structure of Kerch names? “Kaz”, “Per”, “Wylan”, “Alys”, “Hiram”, “Gert”, “Henrik”, “Jellen”, and so many many more examples, we are overflowing with examples of Kerch names (if you are wondering about more examples I’d recommend checking out the Grishaverse wiki there’s a full list on there of all the characters mentioned from each country, but note it doesn’t include any pseudonyms as far as I’m aware), that tend to favour more separated syllables and harsher consonant sounds than, say, “Fianna” where the name runs quickly together, pronounced to have two syllables when it would probably be said with three by someone Kerch who only saw it written down, with more emphasis on the “yah” sound of the “ia” than the double “n”?

So is it, in fact, possible that “Pekka Rollins” is a Kerch name? A chosen name, by a man who fled his home to restart his life in a new city, with a name that matched it? Is this supposed to imply yet another parallel between Pekka and Kaz?????

I have no idea, this is purely theoretical, but considering that they are narrative foils and we can draw many, many parallels between them and this line is always on my mind, it’s personally my favourite solution. If you agree/disagree or have a different theory, let me know! I love stuff like this so much, it’s so interesting to see what different people think or how we might have read certain details differently

[salmalin]

My sincerest apologies and warmest welcome to my rant about FF7: Crisis Core. Or, as I like to call it,

Propaganda: The Video Game

I say this with the utmost affection. Crisis Core ranks really high up there in my favorite Final Fantasy 7 installments. I played it when it first came out, borrowing it from a friend to play on a borrowed PSP. And, the more I learn about the game and the more I replay it, the more everything lines up.

This game is not about Zack Fair.

This game is about how Capitalistic Propaganda can sink into every aspect of life to the point where it is entirely indistinguishable from reality. And it’s very overt about it. So…

Here we go.

My treatise on Propaganda’s starring role in Crisis Core.

Part One: The Timeline

Something that a lot of people gloss over due to decades of Child Heroes in media—Japanese Shonen and Shoujo series in particular—is how young these protagonists are. We’ll hand-wave a lot of stuff in non-live-action series with just a little bit of suspension of disbelief. And that’s honestly just accepted these days. But here’s the thing about those hand-waves.

Final Fantasy 7 doesn’t do that.

Now, FF7 hand-waves a lot of stuff. For example, how far you can travel in a day by foot, the distance a man weighing approximately 165lbs can jump after being genetically fused with what might as well be a cocaine demon (Jenova), and how much hairspray one can reasonably carry on a cross-country journey while on the run from the feds.

Age is not one of them.

Exhibit A: Yuffie Kisaragi.

Do I really need to say more? She acts her age. So does Zack. And Aerith, even. Most of the characters in the original lineup were over twenty for a good reason. We see several kids in the series, and they all act their age, too—both the OG and the remake. Age is not a thing that FF7 really grapples with. It’s something they take relatively seriously.

Now, to the point.

Zack is 16 when Crisis Core starts…

… and he was 13 when he ran away from home without his parents’ knowledge to join the military.

Which accepted him.

At 13.

Without a parental permission slip.

Think about that for a second.

… Or for the next several parts of this breakdown.

Part Two: The Main Character

As I mentioned in the introduction, Zack is not the main character of the events of Crisis Core. Instead, he is the focal point of the second person POV. This is not the first time Square has done this. It was done most notably with FF9, FF10, and FF12. (I’m not going to go on an Akira Kurosawa rant right now, but please check out his film “The Hidden Fortress”. FF12 and Star Wars episodes 4-6 borrow heavily from this film.) The purpose and position of this character is such that they might best witness the effects the other characters make on the world as their stories unfold, usually in the role of a love interest. For Akira Kurosawa, it may have been told this way because these people are most effected by the decisions being made.

“Well, then, Sal,” you may be asking, “who would you say is the main character? Would that be Aerith, since she’s the love interest, like in the other games?”

No, actually.

It’s the antagonist.

And by that, I mean Genesis.

Hear me out. I used to hate Genesis, for I was once young, full of judgement for flamboyancy (thanks, internalized homophobia), and was led by the narrative to believe he was mean to his friends. Then I met my Lovely beta who loved him, so I wrote a fic for her as a gift. So for that I kinda just… read stuff. Because that’s the thing about Propaganda—you gotta read stuff to navigate it. I read the in-game emails. I re-watched all the scenes I could get my hands on with him. I read his wiki and tried to track down more information about him. Then I watched the scenes in Japanese and gained a better understanding of not just Genesis, but Sephiroth’s character. And I realized that Genesis was put on this road from the start. In fact, a big part of the fact that he’s seen the way he is in Canon—only at his most hostile and lowest points—is because the story is told through Zack’s point of view.

So before we get into the breakdown, here’s the hard facts about Genesis.

1. He was a test tube baby who may or may not technically be Angeal’s fraternal twin brother, which we are not going to unpack right now.

2. He was adopted by a relatively rich family.

3. He was a child genius (which requires not only resources, but drive to achieve), and at a tender young age of like… ten or something? He decided to mess around and literally invented pasteurization. Which is incredible, and really speaks to his knowledge of the world and ability to grasp complex concepts even at a young age. But, again, this is not the time or place to unpack that.

4. He was best friends with Angeal, who might as well have been the sweetest, kindest boy to ever walk the Planet. (I’m biased. I love him.)

5. As a teenager, he became fixated on Sephiroth, who had gained national acclaim as a SOLDIER despite them being the same age. (Please see part 1 and think about that for a second.) He then goes to join SOLDIER and brings Angeal with him. And Angeal brings his step-father’s puritanical “hard work is honorable” mindset with him. (On that note, Angeal and his father’s arc really are a wonderfully scathing letter to companies that overwork their employees and how toxic/unhealthy that line of thinking is. But. Again. We are not unpacking that right now.)

6. At one point he became consumed with LOVELESS, a series of poems with heavy prose and symbolism thicker than syrup. It got to the point where he was so well known for it that there was an entire fanclub dedicated to both him and analyzing the text.

7. While he was in SOLDIER, he repeatedly had his achievements publicly accredited… to Sephiroth.

Over and over and over again.

Everyone did, really. They mention it in the beginning of the game. Sephiroth even got public credit for Zack’s raid on the castle when he wasn’t even there. How much of his legacy is real? How much of it is made up? How much of it was faked? We don’t know. No one knows. But he keeps getting credit, anyways. And when Genesis confronts him about it, Sephiroth doesn’t care. In the Japanese version of their fight scene, you could even say he indirectly implies that he wants Genesis to take his place as the “hero”. In the English, Sephiroth’s line is, “Come and try.” But in the Japanese the line is closer to, “Wouldn’t that be nice?” Which, depending on how you take his tone, can mean wildly different things—from mocking, to earnest, or even admiration—which is especially to tell because he might be annoyed with Genesis at the moment.

Fun Fact: In Ever Crisis, Sephiroth explicitly says they are making up his achievements in the press to target boys his age for recruitment. (Thus why they accepted Zack at age 13.)

My theory on this line is that he is being cynical; that Genesis doesn't understand just how harrowing and even humiliating his experience has been. This only enforces my theory that the "come and try" translation in the English not only does a disservice to a line as wonderfully heavy as, "Wouldn't that be nice?", but fundamentally misunderstands Sephiroth as a character.

8. Genesis then took the fight to Shin-Ra. Inspiring a good chunk of their staff to leave the company, he then staged multiple attacks on facilities, staff, and the main building—which also spilled out into the city of Midgar. He murdered his parents, buried them, killed everyone in town, and… Yeah. It wasn’t pretty. A lot of innocent people died simply because they were vaguely associated with Shin-Ra. These are the actions of a villain. What’s more, this is clearly a sign that he has been acclimatized to death and violence by Shin-Ra to the point where he doesn’t even consider taking hostages.

Except.

Except the entire town was a Shin-Ra town.

Banora, canonically, was a Shin-Ra built town, which means everyone there was basically an employee of the company. No one was safe. Everyone was a threat. And that…

That was how he was raised. And he finally knew the truth—that every moment of his life was touched, controlled by Shin-Ra, all the way down to his very conception. He has never known freedom. He has never known his own identity. And now that very cage was killing him, slowly and painfully, and turning him into something that couldn’t even be recognized as human. He was watching himself rot in the mirror, and it was all because of Shin-Ra’s greed. And as he searched for salvation, he sunk into LOVELESS as he always had, hinging his entire life on Minerva’s Gift because he knew he was dying and that was all he had.

9. And then he died…

10. … but then it turned out LOVELESS was actually kind of a blueprint, and he did meet the Goddess, and he did get reborn without his degradation so he was rewarded for his journey in the end.

So why wasn’t Genesis the main character of the game?

Simple.

His actions challenge the status quo without being about the status quo. It’s a story about revenge. It’s a story about retribution. It’s a story about answering mass violence with mass violence and ultimately being rewarded by it. And while, yes, the series is an action-based violence simulator, the violence in the original FF7 was a guided, tactical effort. (For all that the characters aren’t the brightest bulbs in the sun lamps.) But the biggest, most obvious shift in the narrative happened when they realized their role as terrorists—bringing mass violence to the company via bombing and open aggression—was just resulting in increasing levels of retaliation against uninvolved people. They might as well have been a child beating the ankles of a giant. The goals and themes of the game fundamentally change when they realize that answering mass-scale societal violence with mass-scale physical violence was not only unsustainable, but also wasn’t going to solve their problem.

FF7 is about change and learning when violence—and what kind of violence—is appropriate in the face of different threats.

Genesis’ arc undermines all of that, and making him the main character would contradict the very heart of the OG game.

So, instead, we are positioned as Zack, connected to him through a mutual friend. From there we see all the damage and horror this vengeance brings to those living under the status quo.

But also, that plotline’s a major downer in a lot of ways, so they needed to lighten things up a bit to keep audience involved. And that’s why Zack is, well…

Part Three: Zack is a Himbo

Please, for the love of all that is holy, keep in mind that everything I say here is with the utmost affection.

Zack is dumb as a rock.

He is a charismatic, enthusiastic sixteen year old jock who ran away from home at thirteen years old to join the military. Which, please know, why I say “military” I mean “private security guard force with a standard-issue Death Baton and a license to kill”. The first scene in the game is him being excited that he gets to murder a bunch of people in a simulation, which he is immediately scolded for by his mentor. He is a glorified, souped up private security guard who is canonically only in it for the glory at first. He wants to be a “hero”, but doesn’t seem to fundamentally know what that means. And, over the course of the story, the definition of that clearly changes for him.

Which tracks, because the story takes place over a period of time with high stress.

Occasionally I see people saying they wish that Zack had more complexity to him, and honestly? The game. Would be. SO. BAD.

Full Disclosure: I am not the biggest fan of Zack specifically because he lacks a lot of nuance. I wish he was a bit more complex, too. But I also know that would break the game. What’s worse, if he was still on Shin-Ra’s side because he understood Shin-Ra’s mission… Well… That would make him a villain, or a cog at best. That’s not main character material. It would make the ending more messed up, though.

Anywho, Zack was thirteen when he left home. He had no formal education. He didn’t tell anyone what he was doing. He even joined without a permission slip from his parents. This means that Shin-Ra was accepting thirteen, possibly fourteen year olds into the military. (Some people will say this tracks because you can get a job at fourteen in many parts of Japan. But, and this is important, you aren’t allowed to be a security guard until you’re quite a bit older, and you need a specific license for it, much like in the US.) Clearly they didn’t teach this boy critical thinking skills. Not because he’s a himbo, but because having their Super-Powered Private Security Force With A License To Kill think independently would explicitly go against their interests. (EX: Genesis.)

Shin-Ra needs SOLDIERs to follow orders or the company would no longer be able to function. Seconds and Thirds aren’t even allowed to reject missions. (One could argue that sending certain someone on back-to-back missions would be a good way for them to eliminate undesirables within the ranks by sending them to their deaths, which… would make an incredible fic idea, actually.) We already know that First, Second, and Third Class rank assignments do not actually reflect the power of the SOLDIER. This is canon. I would instead argue that those who make the rank of First Class aren’t necessarily the most powerful, but are instead the most visible in the media, thus the easiest to market, and/or the easiest to manipulate and control. (For a great example of this, see The Umbrella Academy.)

The point is, Zack may have been elevated to his position as a first specifically because he is malleable and single-minded. Even after all he saw with Genesis, he stuck by the company to the very end, with the exception of the time Sephiroth was literally guiding him to fail a mission. Zack allowed himself to take Shin-Ra’s side every time, taking down their enemies and following their orders, preserving his “honor as SOLDIER” as he had been taught. The only thing that made him stop…

… was literally getting put in a jar.

It was when he was no longer a SOLDIER.

Part Four: Honor

There is no such thing as SOLDIER Honor.

I repeat: There is no such thing as SOLDIER Honor.

It is a fictional thing that is borne of an ideology based around hard work. It only has power because it is believed in. It is an intangible social construct similar to the law, mathematical order of operations, and gender roles. So why are Angeal and Zack obsessed with it?

Pretty simple.

Angeal’s step-father followed it.

Now, we know three things about Angeal’s step-father.

1. He was chill with the fact that Gillian was already pregnant when they started dating.

2. He was a very good father.

3. He worked himself to death trying to pay off the sword he bought Angeal.

This, of course, says a lot about Angeal considering he rarely uses the sword. He essentially sees that sword as the symbol of his step-father’s life. Everything he uses it for, he sees as more important than his step-father’s life. That thing is usually Zack.

Zack, who is the child who joined the military based on stories of heroes.

Zack, who rises against Angeal in the name of his own step-father’s ideology and tries to talk him down, even at the very end. But Zack fails because he fundamentally doesn’t understand what’s going on, partially because “Soldier Honor” is just one more aspect of this narrative he was given. It is a narrative that Angeal has had to step away from, even though he doesn’t want to leave the memory of his step-father behind. He was a good man. He was a good, hardworking man.

And that is why he died.

Corporations will use you up until there is nothing left, then honor your memory/sacrifice. Shin-Ra was doing the exact same thing the company his step-father worked for did; using up SOLDIERs until they outlived their usefulness. And Angeal was horrified to realize that his “SOLDIER Honor” wasn’t honor at all.

It was willingly submitting to control.

But, unlike Angeal, over time, this meaning changed for Zack. Partially because he didn't understand it fully in the first place. It became about acting with integrity. It became about helping people. It became about not lying down and watching the abuse Shin-Ra handed out in exchange for literal money; for maintaining the status quo.

At the very end, Zack understood what it meant to be a hero.

Part Five: The Conclusion

To sum up, Zack believed in and idolized the propaganda spread by Shin-Ra at such a young age, and was so convinced by it, that he ran away from home at thirteen to join the military.

He was their target demographic, so they happily took him into their ranks. What’s more, people think this is normal enough that we see no one opposing this, because the only people who oppose Shin-Ra are “extremists” or “violent terrorists”.

Zack then became their loyal puppy, groomed to fill his role as super-powered attack dog to sick on anyone they deemed appropriate, and he filled the role. He believed he was doing good. He didn’t think they were invading another country, because that’s not what he was told.

He went after Genesis, because that’s what he was told, and he wouldn’t let Genesis’ actions shake his faith in the company.

Then he went after Angeal, hoping to get answers, only to become more confused. Angeal taught him about SOLDIER honor. He taught him about a higher calling. He was the one who made Zack truly loyal to the company. This challenged everything Zack knew.

He went with Sephiroth, planning a small rebellion of their own (a white lie on paperwork) to get answers, only to find things he wasn’t ready for and couldn’t fully understand.

Zack is shaken by each of these events. Horribly. At times, we even watch him grieve. But time and time again, he doesn’t leave the company. He sees the damage they do first hand, and he doesn’t leave the company. The company isn’t the problem, to him. He reads their emails, does their dirty work, and “maintains his SOLDIER honor”.

Zack swallows what they give him right up until what they give him is torture.

Zack swallows what they give him until he becomes their victim.

Every step of the way, Zack is fed a story of how the world is. He was raised on it. He lived it. He became part of it. He was paid peanuts to enforce the status quo Shin-Ra installed in the world by force, and he was proud of it because it was, to him, something to be proud of.

Zack believes the propaganda whole-sale, and we get to watch, from the point of view of an outsider, as it slowly destroys his life before killing him.

Propaganda has the power to make suffering normal. Propaganda has the power to make murder righteous. Propaganda has the power to take a thirteen year old boy out of his home so they can give him a sword, and when they point him in the direction of their enemies he charges of his own volition, because they made him believe in their cause. And he believes in their cause because he believes that it makes life better for everyone.

But that’s not what’s actually happening.

That’s just what he was told.

Crisis Core is about propaganda, and the depths to which it can affect our lives. It changes our belief systems. It changes our perceptions of reality. And when it’s torn down around our eyes, it can make us go insane. It can make us violent and unreasonable as we realize just how much violence is being forced upon us—violence other people just plain do not see. It's just a a piece of paper. It's just a law. It's just a job.

It's just a war.

Final Fantasy 7 was about Fascism.

Crisis Core is about the propaganda that built it. It is told from the point of view of a boy, then a man, steeped in it. He watches until the people suffering around him—Sephiroth, Genesis, and Angeal—are twisted into villains by the truths and lies around them. Genesis and Angeal are tortured by truths, Sephiroth is transformed by lies, and Zack is subsequently hunted down to conceal them.

Crisis Core is Propaganda: The Video Game.

[stagefoureddiediaz]

911 and the Wizard of Oz!

So I’ve written a couple of times about the wizard of Oz connections that 911 has had in the past. Well after 8x03 and the trailer for 8x04 - everything has become much clearer to me and boy oh boy is Tim pulling a blinder with this one!

I need to start by saying he is playing on lore from both the original books as well as the film, so much of this wouldn’t be evident if you had little to no knowledge of the book series. I however do - because I loved the books as a child and I have also long been interested in the link between the books, the original film and the queer narrative that runs through them. Especially because of my yellow and blue and then blue and green colour theory and its use in telling queer narratives in cinema and television in the aftermath of the 1939 film.

For those who don’t know the background of it, you can read my post here about the wizard of oz and its queer narrative and the yellow/blue colour theme, but for a brief run down the wizard of oz and its themes have been a key part of the queer narrative since they first appeared in print and then on film. Yellow blue colour theory stems from Dorothys dress and the yellow brick road and became a film short hand for queer narratives in film, during the hays code era (1934-1968), and has continued on to this day. the most recent and most obvious use of the blue/yellow blue/green coding has been in heartsotopper - where it is very heavily and very cleverly used to help tell the queer narrative, but it is its use in films during the hays code where it was doing a lot of work to ‘secretly’ provide queer narrative in film. (this is a specialist subject of mine and I could write about it all day - I really would love to do a phd in it, but I do not have the money or time to do that so I write about it at any opportunity on tumblr!)

Many of the nods to the story are subtle, but they are there and I am going to go through a good number of them with you - especially the ones we’ve had in season 8 so far, the main thing to note right off the bat though is that they all connect in to Eddie and that is very telling to me - especially when we take 5x01 - 5x04 into account. the rest is below the cut becasue it's long!

The very first reference to the Wizard of Oz we get is in 202 - 7.1. We have the entitled woman (that is the name they gave the character in the credits!) with her dog - Paisley.The entitled woman is wearing red shoes and we get shown her with just her feet sticking out from under the rubble in a clear nod to the wicked witch of the east being buried under Dorothys house in Oz.

Kat the little girl who gets separated from her family and ultimately reunited with them is a nod to the overall story of Dorothy in the wizard of Oz - and Paisley is a nod to Toto - Dorothy’s dog. I will also mention the fact that we get a heart metaphor during this disaster - Jeff - the heart of a champion. 

We get a further nod in season 2 in 207 - Haunted - where we have the girl at the halloween parade dressed as the film version of Dorothy. I don’t think there is a huge amount to read into from a Wizard of Oz perspective, beyond the fact that it is referenced - we don’t actually need to see anything further in regards to the Wizard of Oz - its all about making the connection.

This episode is a big episode of Eddie and his storyline and this is a way for 911 to link Eddie into the Wizard of Oz theme without being massively obvious about it and his absence from this scene is a key part of that.

There are other key elements in this scene that we’ve been seeing come into play over the seasons for Eddie and that is what makes the wizard of Oz reference especially interesting. First up it's important to note that this is the episode we see the return of Shannon in. We have the horse and his rider - being separated by the death of the horse and the officer describing the horse as his friend. There are two things this is playing on here - the first is the foreshadowing of Shannons death, the second is that the show has then reused this metaphor of partners being separated by death, this time making use of the police aspect as a part of Eddies breakdown in season 5 - Mills’s - Eddies partner while he was in the army and her death. These two elements are why Eddie absence is key - Eddie becomes the officer and Shannon or Mills becomes the Horse and having Eddie present in the scene waters down the metaphor.

The fact we get a lot of wizard of Oz references in season 5, makes this a really interesting and clever connection to draw. The other aspects of this scene in 207 is the pretty important reference about the horse needing a sedative to stop him thrashing around until his heart gave out. Bearing in mind this is the first really intentional heart metaphor we see on the show and it’s a pretty key episode for Eddie in relation to his heart, his absence from this scene becomes louder, especially as he is off with his heart (Christopher) enjoying halloween. It makes it clear that the Eddie and hearts metaphor has been there since very early on - and has been (at least loosely)connected to The Wizard of Oz.

Remembering what I said above and in my other post about the wizard of Oz being very heavily connected to queer theming and storytelling in media it makes it likely that this is the show putting in early building blocks for a queer Eddie arc gif they wanted to then go down that route later on. (this makes the season 5 theming I’ll talk about shortly even more interesting to me!)

The last thing to mention is the is the emphasis on the devil, a priest and a drag queen at the parade- all things we see appearing in Eddies arc through season n7 and into 8. The drag queens from the bachelor party - in which we really see Eddie letting go and have fun for the first time. The priest and the devil are a metaphor for Eddies struggles with his faith - the idea of temptation (in the catholic church - especially the devout catholic church, being queer in any way is seen as being tempted by the devil), and with us having knowledge of Eddie going to church and likely talking to a priest in some capacity in the next few episodes, we have yet another tie back to this storyline from 207.

Now I obviously have no proof with what the intentions were for ~Eddie in season 5, but I’ve long had my theories and now, knowing that they had originally intended to have Bucks bisexual arc take place in s5 but it got shut down by the higher ups, I can make some pretty educated guesses based off what we did get early on in the season.

Season 5 opened with the blackout and then we led straight in to 5x04 ‘Home and Away’ with all its yellow and blue colour theming. Can you see where I’m going with this? How does the opening of the film version of the Wizard of Oz start? Yup that’s right - in black and white and then when Dorothy finds herself over the rainbow everything is in colour and the use of yellow and blue is very strong with Dorothy’s blue gingham dress and the yellow brick road with the green colouring coming later on when they reach the emerald city.

So I think 911 was intending to play on that concept in season 5 - the idea that the black out is a nod to Kansas being in black and white (not to mention the use of green for the hackers!) and then 5x04 is a play on Dorothy following the yellow brick road - hence the heavy use of yellow and blue and the way it winds through the narrative of the episode (along with the use of the bluejay as the schools animal emblem - which is a symbol of communication, curiosity and confidence - seeing a bluejay is telling you to be bold and chase your goals!). What is the other thing we get a huge number of references to in season 5 - especially connected to Eddie - hearts and heart metaphors.

We do also get a nod to the wizard of Oz in season 6 and the zeppelin disaster - which is a nod to the hot air balloon the wizard crashed into Oz in. The zeppelin is yellow and blue and the conversation on board refers to one of the pilots mother in law - whilst she isn’t stated to be a witch, the implication is there. the 110 is also closed in roughly the same place as we get it closed in 8x03. along with the fact that Eddie is the one to go into the zeppelin - Chim and Buck only partially go in - and the parallel storyline in the episode is about a heart issue, we once again have The Wizard of Oz being tied into heart metaphors.

Let’s move on to season 8 now and look at the vast number of Wizard of Oz references we have seen so far and appear to have coming up in 8x04. I will say the sheer number of references in season 8 compared with the more subtle ones from seasons 5 and 6 is one of the reasons I’m so very sure we have a queer Eddie arc going on - that they’ve finally been able to pull that trigger and move things forward for him.

Just remember that things don’t have to exactly follow the story of the wizard of Oz to be relevant - its not about the narrative following the same path, but more about the use of recognised aspects and tropes from the book and film to convey information and aid the storytelling. It is often more about the concept and meaning behind something and a 911 character may share the traits of more than one wizard of oz character because it is their traits that are relevant not necessarily TWoO characters full journey through the book or film.

The bee-nado is a literal reference to the tornado that sent Dorothy to oz - its one of the reasons we don’t see more of the bees - they serve their purpose in the same way the tornado does so we don’t need to see them again.

Gerrard building ‘his 118’ with a security fence around the firehouse and cast iron plumbing is a reference to the wizard building the Emerald city - which has a wall around it for security. In Oz it is the place full o the most up to date technology etc. So Gerrard is building his Emerald City.

The mother in the car falling asleep due to anaphylaxis is likely a reference to the poppy field in the film version of TWoO, along with the flowers at the perfume launch and Bucks statement that ‘smoke worked last time’ - because the smoke did make the bees sleepy like the poppies made Dorothy and her friends sleepy.

Bucks plan to have Eddie run and attract the the swarm of bees is a reference to an event that happens in the book. The wicked witch sends a swarm of bees to sting them to death. The tin man and scarecrow had seen them coming and scarecrow comes up with a plan - he has Dorothy, toto and the lion covered in his straw to hide them from the bees who only find the tin man - they try to sting him but it breaks their stings and kills them instead without hurting the tin man as he is impervious to bees by nature of being made of tin. What we see happen in 801 is very clearly placing Buck into the role of Scarecrow and Eddie into the role of tin man - Buck comes up with the plan and Eddie undertakes it successfully - his turnouts protecting him from the bees just like the tin man being made of tin protected him.

Gerrard hitting his head is a reference to Dorothy hitting her head in the tornado and waking up in Oz - its a reference to Dororthy’s line  ‘Toto, I have a feeling we’re not in Kansas anymore’ - its a play on the fact that the 118 is a very different place to when Gerrard was removed first time. Gerrard represents the black and white world - outdated and not up with the times (which he wasn’t back in the day either but that’s kind of the point), the world (the 118) is now in glorious technicolour since his departure and Gerrard will end up back in a black and white world in the end while the rest of the 118 will remain in colour and move forward. This places Gerrard in the role of the Wizard, but it is more akin to the book wizard than the film wizard - originally in the books (it was later glossed over as it didn’t go down well with readers) the Wizard arrives in a hot air balloon and becomes ruler of Oz by usurping he King and handing over the princess to a witch (more on this later!). As is shown in the film, he leaves Oz to return home in a hot air balloon.  If Gerrard is the wizard, this makes Bobby the king (usurped from his throne at the 118) and Hen becomes Ozma (this is something I will talk about a bit later as it deserves its own section!) which fits with how we are being shown Hen being given the 118 captains role on a more frequent basis - suggesting the show is transitioning her into becoming the captain down the line.

Tia, her dog and Jordan are an interesting trio - they are a very clear parallel serve as a multi layered allegory as they play on several aspects of the film and books, as well as linking to aspects of 911 and especially on Buck and Eddies storyline. 

Firstly we have the dog - who is the same type of dog as Paisley from season 2 - right down to the red bow in the hair (which is encouraging us to draw parallels with the earthquake disaster). Both dogs are a nod to Toto - Dorothy’s dog in the Wizard of Oz. The dog is also a representation of Buck, but I’ll go into that when I talk about Buck below!

Tia represents both Dorothy and the tin man, we see her initially as, not heartless, but guarded, but she softens especially when we see her following the instructions Hen gives, and bonding with various people on the plane including Jordan, in much the same way we see the tin man do for Dorothy and scarecrow. She is also a representation of Eddie (again I’ll go into this more later on) 

Jordan is a reference to both the flying monkeys (through his telephone conversation he is implied to be a business monkey which is in turn a play on monkey business - behaviour that causes discomfort our annoyance) and the cowardly lion. He is also a reference to Chopfyt who only appears in the books and is a man made from the parts of others and is a reference to Tommy, which I will explain later as well!

its worth pointing out that Jordans viagra fuelled boner is hidden under a rainbow towel and when they get off the plane Tia, Jordan and the dog are sat on a yellow tarpaulin - the implication being that they are still in Oz and over the rainbow, but that isn't real life - its fake - a dream - and reaity will set back in once they are able to go home.

Buck has 2 red flares to bring the plane home - symbolic of the red slippers - click three times and say there’s no place like home.

There is a lot of yellow and blue lighting used in combination - especially around Buck and Eddie.

The green lighting on the plane after it has landed - a reference to leaving the Emerald city and Oz and going home.

Im sure there are others that I may have missed, but these are the key ones, and most of them will likely remain in play in some capacity in the upcoming episodes.

As for the potential upcoming oz references, we have the following

the tiger in 804 is likely a reference to lions and tigers and bears. Oh my! from the film, but may also be a reference to the hungry tiger from the books - who is a tiger who is never full and desires to eat a fat baby but never would as his conscience would never allow him to. He is described in the books as the largest and most powerful of his kind and is one of Ozmas chariot drivers and is friends with the cowardly lion. The Tiger reference coming in no place like home and the books connection of the tiger with Princess Ozma and the cowardly lion makes me feel like Karen may be represented by and paralleled with the tiger, and the idea that Karens conscience won’t allow her to metaphorically eat Ortiz (the fat baby) but that is purely speculation on my part!

the pumpkin stuck on a head storyline that’s been hinted at coming up in 805 - in the books there is a character called Jack pumpkin head who is made by the Princess Ozma when she is Tip and then brought to life by magic (Ozma is the rightful ruler of Oz and was given to the Witch Mombi of the North by the wizard in order to prevent he rightful ruler of Oz ascending the throne. Ozma is transformed into a boy called Tip by Mombi, but is later turned back when Glinda discovers what has happened). Im expecting this arc on the show to play into Jack’s storyline in the books. Jack refers to having lost a father when Tip is returned to being Ozma. I think we’ll see it played as a reference to Mara, Chim and Hen, because Hen is Very Ozma coded which I’ll explain a bit more later on!

Masks. with 805 being titled masks it feels very loaded towards the Wizard of oz and the fact he wears different masks (in the book) depending on who he is meeting with. He appears to Dorothy as a giant head (as we see used in the film), to the Scarecrow as a lovely lady, to the Tin Woodman as a terrible beast, and to the cowardly Lion as a ball of fire. He does this with the intention of scaring them all, but in all cases has chosen the wrong image to make the desired impression. there is of course the fact that the mask slips (the curtain gets pulled away by Toto) and the truth of the Wizard is revealed - that he is a fraud -  merely a man who has been using magic tricks to make himself seem great and powerful.

these are just the ones we know about, there may very likely be more revered once we’ve seen the episodes, for example we might get a play on Eddie in church and going to confession - the idea of hiding ones identity behind a screen.

I want to talk a bit about the specifics of the firefam, and how they fit into the concept in a more detailed way. Obviously all members of the firefam fit into multiple aspects of each of the 4 main characters in Oz, but they each have one that has a stronger pull than the others. Each one of the characters in the books and film have specific traits that form their personality and a key part of their narrative - Dorothy wants to get home, The lion wants courage, the scarecrow a brain and the tin man a heart. These are all allegories for the bigger picture. 

Dorothy wants to go home, yes, but that is part of her bigger desire to belong - the books reveal much more about her past and upbringing in Kansas. She is also the first person in the wider story - it is her journey that sets in motion all of the other ones.

The cowardly lion is in fact not cowardly, but incredibly brave, and a loyal friend, he is just full of self doubt because he believes his fear makes him inadequate as lions are supposed to be the king of beasts. we see him overcome that self doubt and go onto succeed - becoming a well respected and important member of Ozma'z court.

The scarecrow wants a brain but is in fact shown to be the smartest of the group - coming up with clever plans and sharing a great depth of knowledge the also becomes the ruler of the Emerald city - appointed by the wizard when he leaves, and it is stated by the tin man in one of the later books the he is ‘probably the wisest man in all Oz’

The Tin man wants a heart, but in fact is one of the most tender, emotional, considerate and caring people in Oz as well as being extremely competent and practical.  He is also shown to seize up and rust due to either the rain or his tears. In the books he is given more backstory - his axe was enchanted by the wicked witch of the east and it causes him to chop off his body parts limb by limb. The witch does this because he is win love with her ward Nimmie Amee. when he chops out his heart he feels his could no longer love her and so left. he does later try to find his long lost love but is left disappointed when he finds her married to a man made up of his body parts and those of another tin man called Captain Fyter who had also been enchanted by the witch for the same reason. she refuses to leave her man of parts and tin man and scarecrow return to the emerald city together.

The Tin man and the scarecrow sit very much in parallel with one another in both the books and the 1939 film, they are very much a pair and shown to be each others foil and in the books especially spend a long time debating with one another about the relative importance of the brain and heart, but in combination with one another form a perfect whole. 

With the main characters of Oz covered we can explore the way 911 is using their traits to tell the stories of our firefam, but before we do that I want to look at a few other key 911 characters and how they relate to the wizard of oz!

Bobby in my opinion is Glinda the good witch - he shares a lot of traits with her. It is Ginda who helps restore Oz (the 118) to its fully unified state - something that had ceased to be under the Wizard and the wicked witches rule in separate counties. She also tends not to meddle or interfere in Ozian matters unless requested to do so. This fits with bobby’s traits very well - he doesn’t tend to get involved in things unless pushed to do so or asked directly. Much earlier in Oz’s history Glinda also helps redeem the tyrannical king of Oz through the creation of the forbidden fountain and the waters of oblivion - the king drank the water and then forgets his cruel and nefarious intentions. bobby replacing Gerrard at the 118 fits fairly well into this theme.

Ortiz is an interesting one - she fits into bot the role of The wizard, as well as the wicked witch of the west. I think that Ortiz is the wizard in part because the name Ortiz can loosely be read a s a play on ‘wiz’ as in wizard, but also because she is the most powerful person in the show right now - and it is all built on lies and corruption - much like the wizard is in Oz! However as the film unfolds we are shown that the witch is in fact more powerful than the wizard, but is also eventually easily brought down. This is why I think she is also a reference to the wicked witch, but also because the witch controls the flying Monkeys - who serve as her lackeys and undertake her bidding.

Gerrard is both  the Wizard of Oz and a flying monkey. I wrote above about the wizard hiding behind screens and masks and and Gerrard and I wrote about Gerrard building fences around the 118 being reference to the wizard building the emerald city. The flying monkey connection is obvious - he is working under Ortiz.

Tommy fits into a couple of different characters. He is in my opinion most closely connected to Chopfyt and Nimmie Amee, but he also fits into the meaning of the flying monkeys. Chopfyt is made up of the parts of the Tin woodman and Captain Fyter (the tin soldier) who are rivals for the attention of Nimmie Amee who is married to Chopfyt but was at one time courted by the tin man and the tin soldier.  Captain Fyter and the Tin Woodman  become friends during their journey to find Nimmie Amee. The flying monkey connection is perhaps a more obvious of the three, the monkeys are subservient to the wicked witch of the west and in the begins episodes we are shown Tommy being very much under Gerrard wing through his behaviour. It is also worth nothing that the flying Monkeys in the book drop the tin man over shape rocks leaving him so dented he could not move and they pull the scarecrow apart, scattering his straw and throwing his clothes up a tree - Dorothy is able to repair them both with the aid of the Winkies (the people under the control of the wicked witch of the west) and Dorothy then commands the flying monkeys to take them to the Emerald city. 

The meaning of these character connections is clear to me - Tommy as Nimmie Amee courts first the tin man (Eddie) and then the Tin Soldier (Buck) but chooses Chopfyt in the long run. Tommy is made up of parts of both Buck and Eddie in the same way that Chopfyt is made up of parts of Tin man and Captain Fyter. The fact neither Tin man or the Tin soldier succeed with Nimmie Amee and that she choses Chopfyt is telling and possibly gives us clues about the eventual demise of Buck and Tommys relationship and suggests that as tommy fits both characters parts (both characters who are fairly small roles in the books and are plot devices - much in the same way as Tommy is in 911), he will ultimately choose himself (as we’ve already seen him do in 705).

Onto the 4 remaining members of the firefam, and I believe Chimney is for the moist part, meant to be Dorothy - he is the first member of the firefam in the same way Dorothy is, he fits a lot more of the Dorothy tropes from the book than the film shows, he is described as the heart of the 118 - which is basically what Dorothy represents in the books and film - she is the one who keeps everyone together, or brings them back together when they have been separated. And if we follow the theming of Gerrard being the wicked witch of the west, it becomes more apparent - in the books Dorothy is enslaved by the wicked witch and forced to carry out menial cleaning tasks - in much the same way we see Chim being treated by Gerrard in Chim begins. It is Chim who we are shown supporting Hen, Buck, and Eddie as they begin their careers at the 118.

The other thing of note - which currently doesn’t fully work, but will if, as I suspect, the wizard of oz references around Eddie are a part of his Queer journey - is that Chimney is the only one of the four members of the team (we are not including Bobby as he is the captain) who has no queer coding in any way and is in a heterosexual marriage. The reason this is important and plays into the idea of Chim being Dorothy is that the term ‘Friend of Dorothy’ is coded speak for being queer - I explain it further in my meta which I linked at the top of this post - the play is that Dorothy herself is not queer, but that her companions on her journey down the yellow brick road are. Which fits Chimney perfectly - with Hen and Buck being Lesbian and bi respectively and with the Wizard of Oz connections to Eddies storylines across the previous seasons and again in the current season being very loud, it feels fair to assume that Eddie will also sit somewhere on the queer spectrum before too long (and really is the reason behind me writing this insanely long post!) 

Hen is the cowardly lion. We are shown Hen doubting her abilities at several points throughout the show, but she is arguably the bravest of the 118. The cowardly lion’s favoured companion is the hungry tiger (as I wrote about above - we may well see Karen paralleled with the tiger in 804)

But Hen is also Princess Ozma and this is a far more powerful connection. Ozma is the rightful heir to the throne of Oz and spent much of her childhood in the form of a boy called Tip as she had been enchanted by the witch Mombi until Glinda the good witch discovers the enchantment and forces Mombi to return her to her true form and take her rightful place as ruler of Oz. With Bobby filling the role of Glinda, helping Hen achieve her full potential and the allegory of Hen having to hide herself for much of her life until she becomes a firefighter - the wig we see Hen wearing in Hen begins plays into this idea perfectly - that Hen was disguised but has been freed from that disguise and become her true self.

Buck is the scarecrow. But he is also Toto and Captain Fyter. I explained the Captain Fyter connection above in the section on Tommy so I won’t repeat myself here. Buck is toto for a couple of reasons. Firstly we have the connection to the dog in the plane in season 8 who growls at Jordan and Tia tells him that the dog doesn’t like men, he then becomes friendly when Jordan is ill, but we see him returned to Tia when they leave the plane. this is all a allegory for Buck’s bi arc. Tia is Eddie in the scenario and Tommy is Jordan . The dog growling and being protective is akin to Buck growling and becoming jealous over Eddie and Tommys friendship, trying to keep Tommy away from Eddie, but then becoming friendly with Tommy in the same way the dog becomes friendly with Jordan in a therapy dog kind of way before returning to Tia at the end, implying that Buck will always go back to Eddie when it comes down to it. the therapy dog aspect is also interesting as it implies BUck is providing some kind of therapy for Tommy - this could be read as Buck helping Tommy learn and grown (likely in connection with his still undressed past behaviour) - makes him a better person, before they part ways and Buck ‘returns’ to Eddie. 

Then there is the wizard of oz references - it is Toto who sets much of the plot of the wizard of Oz in motion - by biting Almira Gulch in Kansas in the film version and by hiding under the bed in fright in the book version. It is Toto who reveals the truth of the Wizard of Oz being just a man, and it is Toto who leads The lion, scarecrow, and tin man to where Dorothy is after she has been captured by the wicked witch (in the film - he is less involved in the book!) and it is toto who stops Dorothy from leaving with the Wizard and ultimately leads to Dorothy learning the slippers she wears can carry her home if she clicks her heels together 3 times and wishes to go home. All of these events either play into Bucks arcs in 911 or will potentially going forward. Bucks impulsive ways could be said to mirror Toto’s impulsive actions in TWoO and it will be interesting to see if being taken under Gerrard wing leads to him gaining information that helps Hen take down Ortiz!

The biggest connection though is with the scarecrow. The scarecrow has long been associated with bisexuality - due to his line in the film ‘of course some people go both ways’. in the book the scarecrow also reveals that he lacks a brain but greatly desires one - he is in fact only 2 days old when Dorothy meets him so he is essentially just naive because as the book progresses it becomes increasingly clear he actually is very intelligent and knows many things. One of the other aspects of the scarecrow is his ability to know his own limitations and in the books he becomes ruler of Emerald city, but hands the crown over to Princess Ozma enabling her to take up her rightful position as ruler of all Oz, becoming one of her most trusted advisors. Most of these are traits that Buck shares with the scarecrow - we see season 1 buck reflected in the naijvtie of a 2 day old scarecrow, but once he hits his stride, we see that Buck is actually very intelligent, full of knowledge (random facts wiki Buck!) and comes up with great ideas - things that are being very clearly demonstrated in season 8 so far. He is also becoming much much better at knowing his limitations and that is something I think we will continue to see develop in the way it does in the scarecrow across the books.

And finally we have Eddie. Eddie is the Tin man through and through. The heart metaphors that surround Eddie - especially in season 5 are a very obvious and direct link to the tin man. and Like I said above the Tin man is the most compassionate, sensitive and tender and caring people in Oz. He is incredibly practical and competent as well and undertakes the scarecrows plans readily. He and the scarecrow pair up a lot across the book series and go on adventures together, their heart and brains combining to lead them to success in nearly all cases. The tin man also becomes a trusted advisor to Ozma and is considered to be a fair and wise person in Oz. These are all things we see portrayed in Eddie. He has this tough exterior, but inside he is very soft and tender and he only reveals that side of himself to those he can trust. Eddies heart is a key part of Buck and Eddies dynamic especially in combination with Bucks brains - we are so often shown Buck having an idea and Eddie carrying it out because he trusts Buck - the perfume bee run is just the latest in a long line of them and it is a key aspect of the Tin man and Scarecrow in the Oz books. I’ve spoken above about the other aspects of the tin man and his connection with various characters, but it really is the tin man and scarecrow dynamic that is at the heart of things in the wonderful wizard of Oz book especially (pun intended!!).

All of it plays into the Oz theming we’re being shown in 911 having an important meaning and it is very much connected to Eddie far more than any other character. One can argue that the books - at their core - are about following your heart and letting it lead you to your truth and to home and that is the very heart of Eddies story. Carla’s line about making sure he’s following his heart and not Christophers rings very true, and we’ve reached a point now where Eddie has to follow his own heart, because Christopher is not in the picture and they’ve chosen to go very very hard with the wizard of Oz metaphors - building on the foundations they already created in previous seasons and now being able to bring them to fruition.

I could literally write about this all day, but this is already ridiculously long and I'm not sure it even makes sense at this point! It was only supposed to be a short post! So I’m stopping here and letting you all go back to your lives - thank you for reading especially if you've made it this far! and let me know your thoughts!💜💜💜🐝🌪🌈

Tagging a few random people just in case they're interested! @buddiediaz118 @buddie911abc @fruityfirehose @sunflowerdigs

@spotsandsocks @livingwherethesidewalkends @satvojihusana @inell @eddiedisasterdiaz @lemotmo @courtjestermerlin @lover-of-mine @lovecolibri

[siriuslyobsessedwithfiction]

Alina Starkov - the most inconsistent main character. A tragedy of not wanting to have an identity.

The main character in Shadow and Bone trilogy, a prime example of "she deserved better". A.k.a. soldier, Sun Summoner, Sun Saint. In reality, a false saint and a false hero, who has less personality, goals, spine and consistency than her three love interests. How did this happen? Short answer - bad writing. Long answer? Here we go.

Her character at the beginning - a blank slate.

Physically small and weak, sickly, fragile, with a sour face and sourer attitude. Grew up in an orphanage funded by a Duke, who they were taught to basically worship while looking down on religion and beliefs in saints. Children in the orphanage were beaten if they misbehaved or didn't do chores, but were given education and fine food, which means they were faring better than peasants and farmers. Alina had not many, but several options in her life. She could learn a trade that would not require physical labour, like sewing. Or, she could marry and hope her husband was gracious enough to buy a donkey instead of making her carry heavy sacks of salt on her back, as we see a random man do to his wife. But Alina had no hobbies, interests, aspirations or ambitions in her life. Except her childhood friend Mal. Mal gets a mandatory draft in the First Army, and of course Alina follows, and settles for being a mediocre cartographer. Mal thrives in the army, showing off muscles and hooking up with women, while Alina dutifully waits for him saints know why. She doesn't have other genuine friends, she doesn't like people, she doesn't like anything. This is not a bad start in a sense that there is much room for growth and improvement.

Refusing to belong

Alina discovers she's a long awaited sun summoner, who can vanquish the Fold and unite Ravka. She doesn't want to be special, but not for the reasons you might think. Instead of fearing the burden of such an important task or genuinely becoming paranoid of being assassinated (she gets over those in five minutes), she just...doesn't want the responsibility of actually being useful for something. She'd rather not have powers at all, and go back to being in a constantly sickly state. She'd rather be tailing Mal like a mouse. Which doesn't make any sense for following reasons:

Alina's insecurities in SaB:

Not being pretty and talented

2. Not being as pretty and talented as Grisha

3. Being an orphan, being unwanted.

Being a Grisha actually solves all those problems for her. She gets prettier and healthier once she stops repressing her powers, has a unique cool power, and a community that cares for her. Plus, the support from important figures in Ravka. In time, she could have a family.

Instead, she refuses to acknowledge she's one of them, doesn't train properly, preferring to cling to her prejudices and make digs at Grisha. She'd rather complain that they're prettier, confident and pampered than acknowledge they are serfs, nothing but glorified servants with no basic human rights. Instead of her superstitions and prejudices being shattered when she starts living with them and realizing what Grisha have to go through, becoming rightfully enraged that her people are being treated this way, she still doesn't feel any empathy. In fact, she still doesn't see the General as a HUMAN BEING WHO MIGHT HAVE FEELINGS, even though he makes time in his busy schedule of running an army to make sure she's comfortable, jokes along with her, listens to her fears and reassures her, etc. Why would he go through the trouble if he was heartless? He's the General of the Second Army, by the King's law, she's his soldier. She is obligated to obey him regardless.

The narrative supports her delusions.

I get missing her friend, I get struggling to adjust, but it's more than that. Alina is getting dragged along from a plot point to a plot point kicking and screaming, as if she has anything better to do. She doesn't have a life, why is she so against of getting one? Once she finally somewhat adjusts to her life in the Little Palace, it turns out Darkling has had malicious intents towards her powers all along! Aha, you were right to be prejudiced, Alina! Now abandon your people, your country, and run!

“He … he said that Darklings are born without souls. That only something truly evil could have created the Shadow Fold.”

Imagine telling a person who saved your life that he was a soulless abomination, even though you do not know him, and he is still kind to you and reveals as much about him as he can. There is no grooming and manipulation here, it's just called not being a bitch. Darkling tells Alina he's over 120 years old, Alina is an adult, and the damned kiss was consensual. Of course he didn't tell her everything. Even regular people don't reveal their life-long ambitions and deepest childhood trauma to their crush after several conversations. It took Alina months to stop being in denial about being a Grisha, still didn't like being one, you're telling me if Darkling set her down and explained the complex political situation and his plan to overthrow the corrupt monarchy and bring an end to the war, Alina wouldn't jump out of the window?

Alina running away, not confronting the problem, and straight up deciding Darkling was evil incarnate with no evidence snowballed into Darkling deciding she couldn't be trusted and taking more drastic measures. Liberation of his people was on the line and one pesky girl screwed up a carefully planned coup because she couldn't handle her feelings.

False badassery

Throughout the whole three books, every time Alina makes a decision, it's immediately followed by self-doubt, shame and scorn. But no actual objective criticism. We often see variations of "It was foolish, but I didn't care", "I knew it was reckless but I couldn't bring myself to care", but never her actually analyzing why, or deciding not to do something like that again. Her small victories are immediately followed by thoughts on how would others feel about it, even though the person in question isn't even there and couldn't give less of a shit: "Never is it to be said that Ana Kuya didn't teach us manners", "A cheap trick, but a good one. Nikolai would be proud". Ana Kuya was an abusive mother figure, Nikolai was using Alina's status to get the throne. Sure, it's good that Alina is capable of learning useful things from every kinds of people, but she doesn't think "That was smart of me. I learnt that. I'm proud of myself for an accomplishment". She thinks "Is it good? Would they like it? They like things like that, right?". She attaches herself to people that fit her view of "deserving" and helps them, even though it might not be for the best. Extreme lack of self-worth, combined with entitlement.

When Alina hears a rumour Darkling ordered his heartrenders to sew a traitor's mouth shut, she's horrified. Even though that's hardly the worst punishment for a traitor in an army. But when some pilgrims insult Genya, she orders to have their tongues cut out after they're given only one warning. When Alina commits violence at slightest provocation, it's baddass. But when Darkling commits a controlled necessary military act to stop enemies from overrunning the country, it's madness and is falsely labeled genocide. Look up the definition, genocide is what was happening to Grisha.

The Darkling never kidnapped children and put them in the war zone. He only lied to Alina that he did, a clever strategy with no bloodshed. Meanwhile, Alina let her cult fight for her, whose members were brainwashed children, some only twelve years old.

When Alina faces a dilemma or a tense military situation, her go-to strategy is suicide. That is not martyrdom, nor it is badass.

Darkling became a bad person out of good intentions and desperation, Alina is just a bad selfish person.

Desperate people are the ones capable of the worst acts. Darkling didn't go nearly as crazy as he could, and frankly had a right to on behalf of his people.

"Aleksander had marched south with the king’s soldiers, and when they’d faced the Shu in the field, he’d unleashed darkness upon their opponents, blinding them where they stood. Ravka’s forces had won the day. But when Yevgeni had offered Aleksander his reward, he had refused the king’s gold. “There are others like me, Grisha, living in hiding. Give me leave to offer them sanctuary here and I will build you an army the likes of which the world has never seen.”

It doesn't matter how much genocide, prejudice, abuse and dehumanization the Grisha suffered through for centuries all around the world, Alina never bothers to look at the big picture. Her help is only for those who she deems worthy of it.

She attaches herself to people who fit her narrow-minded view of "worthy". She immediately believes Baghra's rather flimsy expose of Darkling, even though the old woman has been nothing but unhelpful to her, only insulting her and beating her. But Alina associates her with her only mother figure, Ana Kuya, another old hag she had a toxic relationship with. And even though Baghra is an immensely powerful Grisha who refuses to help or even lift a finger, or just spit out vital information, Alina coddles her and provides protection. Instead of telling her to fess up the useful information and save her unhelpful comments, Alina looks up to her as a mentor.

When Genya tells her story, Alina feels bad for her, but not bad enough to see things her perspective. She only becomes protective of Genya once she gets mutilated, out of pity. If it was genuine compassion, she would've forgiven and understood her from the start.

Every Grisha has been hunted and shamed for merely existing, almost every Grisha has lost a loved one to war. But Alina pointedly ignores it, because she doesn't personally know and care for those people. Therefore, she doesn't feel empathetic. Because if she feels empathetic, she might start feeling guilty about how she runs away from her responsibilities at every given opportunity. Just look at this passage:

“You know what he plans to do, Ivan.” “He plans to bring us peace.” “At what price?” I asked desperately. “You know this is madness.” “Did you know I had two brothers?” Ivan asked abruptly. The familiar smirk was gone from his handsome face. “Of course not. They weren’t born Grisha. They were soldiers, and they both died fighting the King’s wars. So did my father. So did my uncle.” “I’m sorry.” “Yes, everyone is sorry. The King is sorry. The Queen is sorry. I’m sorry. But only the Darkling will do something about it.”

The Darkling never wanted power for selfish reasons. He didn't want to take over other countries or lift Grisha above regular people. He wanted his kind to have basic human rights. Centuries of diplomacy and servitude only gave him enough power to make a school for Grisha children and save adults from slavery and getting slaughtered by serving nobles. He wanted to use the Fold as a border, to stop enemies from invading whenever they pleased, so he would have the time to save Ravka from collapsing. What has Alina done? Started a civil war, destroyed the Second army and helped put a morally dubious man with no claim on the throne to continue an outdated absolute monarchy tradition.

Alina Starkov was meant to be the sun, but turned out to be a trick of the light.

Every time it felt like Alina was emerging from her cocoon as a beautiful butterfly, embracing her true self, she went back to the toxic situationship and the toxic mindset. The narrative also always struck her down. Every book begins and ends with her being sickly, fragile, missing an essential part of herself. It would be good if it was written differently and showed themes of being disabled or having a chronic illness accurately, but it's not. It started out well. Alina was removed from an abusive environment, found a purpose in life, started loving her newfound powers, outgrew the stupid crush who she was way too dependent on, but it all went downhill from there. And then some. This constant vicious cycle does not fit the theme of growth and improvement, and neither does the ending, where Alina loses her powers and goes back to the orphanage. Once again, she's frail and strange, servants (who she now employs) don't respect her, sneer and make fun of her, while her now husband Mal turns a blind eye. Everything is back to the way it was: Mal thrives, Alina is...there. The ending is supposed to be bittersweet, a couple who survived a war building a new life together, but I don't see the sweet part.

Trick of the light - definition: something appearing different from what actually is as a result of the quality of light.

Darkling wanted her to be a strong Grisha, his equal and balance. Grisha wanted her to be a capable leader, Bataar twins wanted a living saint they could worship, Nikolai wanted a wife interested in Ravka and politics. Alina tried to be all of that, but never really wanted to be any of those, so she half-assed it. Mal wanted the version of Alina who was small and insignificant, because anything more made him insecure, and he got his wish.

Illusion, mirage, spectre.

No matter how much the author tries to tell us that Alina's every problem is Darkling's fault, her thought process and actions paint a different picture. Alina was never mentally healthy and she never addressed or resolved her problems. Growing up in a controlled and abusive environment affected her more than anyone, including herself, wants to admit. I am not a licensed psychiatrist, so I will refrain from officially diagnosing Alina, even though she's a fictional character. I am NOT saying I know for certain that Alina has these, if any, mental problems, but she does have some alarming symptoms. It seems like depersonalization. While her symptoms don't fit into one particular mental disorder, I am reminded of psychiatric infantilism, but it is not a mental illness with symptoms. Psychiatric infantilism doesn't necessarily mean the person acts outwardly childishly. To explain very roughly and simply, it means the psych is not as developed as it should be (even if the person is very smart and clever). It shows in avoiding responsibility or not feeling it at all, problems with social connections, not seeing the big picture and taking it seriously, etc. When Harshaw tells the story of his brother getting brutally murdered by people who hate Grisha, even brash Zoya is appalled and expresses her condolences. While all Alina thinks about is that Harshaw might base his hope of having a better life on her now.

Alina also might have Dependent Personality Disorder, but it's hard to say, since we are never shown her being on her own long enough to see whether or not she can take actually care of herself. But her relationship with Mal, Darkling and Baghra (after she no longer objectively needs them) is weird, to say the least.

She never gains the sense of self or an identity, she refuses to become something, then delivers an inner monologue of accepting her fate and five minutes later goes back on her words. Her willingness to sacrifice her life is never out of thinking of the greater good and future, justice, or patriotism. She just doesn't want to live, especially without Mal, who has been doing nothing but shitting on her. Her titles are slapped on her, and she peels them off. Her personality never really changes. Everything she went through feels like a really bad exchange program she was in for a year, and from which she has learnt nothing.

P.S. I don't hate Alina's character, I just mourn her lost potential.

If you have made it to the end, I salute you, congratulations and thank you. 😊 🙏 ❤️

[radabeast]

Why Aren't The Hornsent NPCs Named? An Essay On The Challenge for Compassion

So easy answer. Neither our pal in the Miquella Brigade nor the Grandam actually tell their names to us. Case closed!

No no no but more like, why didn't the DEVELOPERS choose to let us know them by name? A whole chunk of The Point is that the hornsent are people too, right? So why would we not even get to know our two (mostly just one, even, as you're not likely to even find grandam) hornsent ambassadors' actual names?

Fromsoft did something similar to this in Armored Core 6 just recently. That game is PLAINLY all about the horrors of capitalism, colonization and war, albeit almost all of your time is spent not with the resistance, but with the companies trying to tear the planet apart for fuel. Your protag's motivations aside, the RLF, Rubicon Liberation Front, are hardly given any narrative ambassadors to you at all; your Rubiconian partner pleads with your on some occasions, but otherwise the emphasis is elsewhere. Their liaison with their organization isn't even named. You don't even get to MEET most of their ranks until the secret third route, and even then, half the time that's just when you're fighting against said individuals as opponents. So...

Fromsoft is unique in that they often don't spoon-feed you "this is right" and "this is wrong". By no means do they ever seem to say colonization and slaughter is correct, and in fact the very crux of the plot is in grappling with the justifications. BUT, you are placed directly in the role of the oppressors' side. All around you are people you will grow to respect, and fight alongside, and they will also help you tear down this planet if you choose that route. You do, very much so, have to FIGHT and CHOOSE to aid the people of Rubicon, even if it hurts. Even if it means fighting, abandoning and even killing the people who have been by your side. And I think that's much more realistic to many real-life experiences than just "starting out on the right side".

Back to Elden RIng and the hornsent, though. Grandam is found only under very specific circumstances, within a single location, and within a small time window of the game. You step out of that window? You lose her completely, including the lore she had, and the means with which to understand better the hornsent. Why? Why would Fromsoft even implement her, if it's that hard to even reach her words?

And again, I think it's... realistic. You, the Tarnished, are a human along Marika's progeny, barring your own personal character lore. You are a human and you are part of the race that had slaughtered the hornsent. Of COURSE the hornsent themselves aren't going to trust you, spoonfeed you WHY you should care about them. Shouldn't you care already about the pain and suffering of others? Why WOULDN'T you? If it's that hard to come to grips with the horrors Your Kind caused, then maybe you're no better.

And I think. The story wants to challenge you like that, past gameplay, past feeding you their intent directly. You have to SEEK OUT the answers and THINK. Is it truly justified to slaughter a whole race? Was this truly right? Should I think of these individuals as people, or as monsters?

Hornsent (NPC) is also a very interesting choice. Not only is he the only hornsent you're actually likely to find and speak with, but he actively hates your guts. Soon as the charm is off, even, he's back on his path of vengeance. He says time and time again, he's nothing more than this mission to Get Back on those responsible. Wouldn't the devs want to make you weep for someone far more pitiable, far more palatable?

Well, if you bother paying attention to him enough, and aid the man in his questline, you'll understand then that he's someone who lost his whole family to Messmer's crusades. Mother, wife, child, in addition of course to the innumerable others slaughtered. Is that not enough to want all-consuming vengeance? Wouldn't YOU want people dead because of that? Regardless, even, of whether or not he was even a perpetrator of the original jar slaughters (and I've seen enough feasible evidence against that)... Is he not pitiable enough for that alone?

To you, he is just a Hornsent. To he himself, the man is a Hornsent, likely a title he wears both in defiance, as well as the only scrap of identity he has left. His people were killed because they were Hornsent. His family was killed because they were Hornsent. Would you even ever see him as anything else? Would it matter, even, if he HIMSELF has nothing else?

And, clearly, if you've been seeing anything anywhere in the fan discussions: this challenge to Think is lost on many people. Some people, somewhat understandably, take these aspects as Fromsoft caring little about the hornsent at all, and claiming them as The Original Evils within their own story. Others don't even bother to take anything not fed to them, and claim that the slaughter of hornsent was duly justified, and that this is undeniably supported within the game. But even barring the consistent themes of dichotomies, dualities, and the cycles of abuse ever-present throughout the game-- yeah, I'd say a good deal of reflection could and should be found in the self, first. Who are YOU when challenged for this compassion, first?

[kurishiri]

95k bonus . . . Liebe geht durch den Magen

꒰ ִ ֺ ⊹ @ notice ⊹ ֺ ִ ꒱ this translation may not be 100% accurate or contain creative liberties due to characterization or narrative flow purposes. if you enjoy, please consider reblogging, but don’t repost these or claim these as your own!

꒰ ִ ֺ ⊹ @ warning ⊹ ֺ ִ ꒱ none; it’s really just vogel being silly! hope you’re ready for the dari, nica, and ring galore, hehe.

Kate: A tea party with all of the members of Vogel…?

Victor: Mhm, it seems like all of them have taken an interest in you. So they asked for a chance to speak with you.

Kate: Well, seeing as I’m the only one who isn’t Cursed, I guess it makes sense they would hold an interest.

Victor: Indeed. …How would you like to answer? It’s completely up to you.

V: …However, both parties hold their own secrets.

V: And we do often take care of them, seeing as they are diplomatic guests.

V: Should there be anything making you anxious, or you feel even slightly you don’t want to do this, or anything of the sort, then you are always free to turn them dow—

Kate: …Victor. I will attend the tea party.

Victor: Wait, really? Are you sure?

Kate: Since they have come here to deepen relations between the organizations, turning down an opportunity like this wouldn’t leave a good impression, I’d imagine.

K: And besides, I would like to be of some use to you and Crown, for extending such hospitality to me.

When I expressed my honest feelings, Victor’s expression softened in turn.

Victor: I’m grateful for your honesty. Well then, it’s about time I give them a response.

V: Ahh, but… I’ll have Roger listen in from nearby, so if something happens you can just give a shout, okay?

V: No matter the time and place, I’ll come running.

After Victor’s words resonated in my heart, several days passed——

Darius: Thank you for accepting our invitation, miss fairytale keeper.

D: Did you perhaps prepare everything on this table?

Lined up on the table was filled to the brim with snacks, causing Darius to blink.

Kate: Victor and I prepared them. We were hoping it would be nice if you could eat these…

K: And that we can be on more friendly terms as we’re chatting like this.

Ring: You want to be on more friendly terms with the ones who might kill you? I don’t see the point?

Kate: …Gh.

Nica: Riiing, now don’t go saying gruesome things like that. You’ll bother the Spatzi.

N: So sorry about that? Ring is a Jungfrau [1] who tends to get a bit more nervous around cute girls.

Wearing an amiable smile as he faced me, Nika lifted the heavy air around us.

Kate: Jung…?

Ring: Y-you don’t have to ask what it is! …And also, it’s not like I’m nervous.

R: But, I won’t deny… that you are… cute…

He was simply cautious around me; it was not as though he was really doing me any harm for now.

…Even so, though, I myself had become ever so slightly anxious.

(The members of Vogel are also Cursed, if I recall, right…)

(If they had such intentions, they could easily take my life.)

The fear that I had first felt when I started working for Crown started to paint over my heart, when…

Darius: …Are you nervous, by any chance?

Donning a childlike innocence, Darius looked into my face.

Kate: Ah… umm…

Darius: Well, well… if we did possess a strong ability much like Sir Rex…

D: I wouldn’t blame you for feeling powerless even while simply conversing.

D: But you can relax around us. My ability will not kill you.

D: ——In fact, there is absolutely no way it will. Okay?

Nica: Oh, me and my brother’s abilities aren’t really harmful too.

N: That said, it can probably make you feel really good and maybe make you feel a bit fuzzy, but that’s actually a good thing, isn’t it?

Kate: R-right…

(Just what ability does that entail…?)

Although I still held my doubts, I knew that their abilities didn’t pose a danger to my life, which ebbed my fear.

Darius: Now then, now that you know we mean you no harm, how about we partake in these?

With Darius’ encouragement, Ring quickly reached out to a cake in front of him.

Ring: Mm…! This is really good.

Taking large bites, the cake was gone before I knew it, and Ring then reached out for another snack.

Nica: Geez, Ring, why are you just taking whatever’s in front of you? Pick the ones that especially look good.

While saying so, Nica reached for a baked pastry diagonal of him.

Nica: I recognize this shape. Isn’t this from the high-class bakery near the castle?

Kate: I’m surprised you know of it! That shop——

Nica: Mn… hm? It’s good, but did it really come from that shop?

Kate: Well, what I wanted to say was that shop’s pastry shapes were the inspiration for these homemade sweets.

That said, this time, Victor and I did make our rounds around a variety of bakeries, and put this together.

And I tried to make homemade pastries here at the castle that were freshly made or were hard to obtain.

Nica: They’re ‘homemade’? So they’re basically cheap foods, in which case I don’t want any.

Kate: Eh—

Nica: Here, Ring, say ‘ahh.’

Nica pushed his half eaten pastry into Ring’s mouth.

Ring: Mn… this is also really good…

When he was eating it, Nica said it was ‘good,’ but maybe he’s actually not good with homemade pastries…?

Darius: Hey, miss fairytale keeper, this is Baumkuchen [2], isn’t it?

This time, Darius called out to me while pulling on my sleeve.

Kate: That’s right. We figured since you’re here, we could prepare some German pastries… or that’s what Victor said.

Darius: Ho-oh…

Darius used a knife to lightly cut a slice before he carried it to my mouth.

Darius: Here, have a bite?

Kate: Mn… mmm, it’s really fluffy and delicious!

Darius: I’m glad to hear. Then it’s my turn.

With layers of the Baumkuchen spilling, Darius brought it to his mouth.

Darius: Mm, it’s delicious. …But, I take it it’s not something made in most of England. So where did you get this?

Kate: Actually, while I was racking my head on how to make Baumkuchen…

K: Victor made a gadget that could make it.

In order to make a delicious Baumkuchen by the tea party, I practiced baking it day in and day out.

…I feel that I can keep the fact that for some time the castle’s snacks consisted of nothing but Baumkuchen to myself.

Darius: He made a whole gadget just for this? Hmm… he’s quite strange, I’d say.

Kate: I can’t argue with that… but I’m sure it’s just that he was happy.

K: Happy that you guys, who are also Cursed, have come to England——or rather, to Crown.

Darius: …The pleasure is ours. I’m delighted at how warmly we’re treated here.

D: I do like the Baumkuchen, so do make it again sometime.

Kate: Alright!

I was so glad he liked it that I gave an immediate answer, but…

(Making it is quite time consuming and requires skill… but I’ll try my best.)

Nica: This topic’s all well and good, but what I really want to hear about the Spatzi [3] herself.

N: You know, like what fragrances you like, or which types of guys you fancy, that kind of thing… what about you, Ring?

Ring: Mngh…!? U-uhm…

R: ………M-maybe, like, which color of the sky she most likes?

Nica: The sophistication’s lacking, I see.

Ring: And what’s the problem with that?

Darius: I do agree with Nika here though. I would also like to get to know you better.

D: But simply asking would be a bore, so how about we play a guessing game?

Nica: So, Ratespiel? Now we’re talking.

Darius: Let’s make it so each person can make a single guess, and until then, we can continue asking questions…

D: Come play with us, why don’t you, miss fairytale keeper?

D: If possible… I would prefer you choose a topic that pertains to yourself.

Kate: Alright, then…

K: Out of the foods on this table, which one is my most favorite?

Darius: Hehe, that’s quite a charming topic? Then let’s start.

Nica: Sounds good to me, though I’d like to propose another twist.

N: The first person to guess the correct answer will be able to ask the Spatzi out on a date. Well, how about it?

Ring: A date…!? [surprised]

Darius: You do make a good point. A competition does call for a prize of sorts… well, miss fairytale keeper? Are you fine with this?

Kate: U-um, I think a date may be a bit——

When I tried to speak up, though, the three of them looked at me, causing my breath to catch in my throat.

Ring was looking at me with a guarded look, as though he were a guard dog who could tear my neck apart with a single order.

Nica was looking at me with a scrutinizing look, as though he was thinking about how to play with a toy.

And Darius was wearing an amiable smile, but his eyes alone were sharp, like that of a predator aiming for its prey——

With the three of them looking at me in their own way, I couldn’t bring myself to disagree, feeling myself surrounded by a heavy air.

Darius: ‘I think a date may be a bit’ what was that now?

Kate: …Nope, never mind. That works for me.

Overwhelmed by the pressure, I could only nod, and Darius returned the gesture with an angelic smile.

Like a signal, the tense atmosphere became more lax.

Darius: Thank you. Then, let the game start.

With that, the tea party proceeded such that Darius, Nika, and Ring asked me questions.

While the discussion occasionally went off track, this peaceful time continued to pass by——

Ring: I got it!

The one who had his answer ready first was Ring.

Darius: A friendly reminder that you only have one chance. If you miss the mark, that will be the end… are you sure you would like to answer?

Ring: Don’t worry, I’m sure of this.

R: The answer is——that fruit before your eyes!

Kate: …Miss.

Ring: Wh…!? I-I see… so it was wrong…

Ring looked a bit despondent at my answer, and though he looked like a guard dog before, in an instant, he looked more like an abandoned puppy,

and I had to desperately fight the urge to say ‘actually, it’s a hit.’

Nica: …Hey, Ring. Mind if I say how you got to your answer?

Ring: ‘How I got to my answer’?

Nica: When you were about to grab that fruit, the Spatzi said ‘go ahead’ to you with a smile and put it on your plate,

N: and so you held a positive association with that fruit, leading you to your answer?

Ring: N-now that you mention it… that might’ve been the case… it was completely unconscious…

Darius: Ahaha, you’re so adorably honest, Ring.

Nica: Well then, it’s about time I guess too. The correct answer is… this chocolate.

N: It’s a bit on the mini side, and it looks cute too, and not to mention the packaging is also intricate. It practically oozes the traits a girl would like.

Kate: Miss.

Nica: Oops, too bad.

As opposed to Ring, who seemed down upon getting his guess wrong, Nika didn’t show any signs of caring, even if he did.

It was as though he knew from the beginning his answer was wrong.

Darius: I would prefer you make a serious guess, or this game will really end up in a bore.

Nica: But I thought long and hard about what girls would like and picked based on that?

N: Besides, this is where a subordinate hands the torch to the master.

Nika gave a smug wink, and Darius shrugged his shoulders in response.

Darius: It seems I bear a great responsibility now. If I’m unable to answer correctly, I’m afraid the little miss fairytale keeper——

D: And Crown as well would be disappointed in me.

Kate: Don’t worry, I won’t be disappointed even if you don’t answer correctly. It’s just a game, after all.

Darius: Hmm, so you believe I won’t get the answer right, is that it?

Kate: That…

(If I’m being completely honest, yes, I did think that.)

(Because the answer to this question is… a bit special.)

Darius: Hehe, seeing you have such low expectations of me makes me want to try my utmost hardest.

D: Alright, I have my answer.

D: I see you were trying not to eat this chocolate cake, right?

D: Because you like it, you saved it for last, I take it. So, my answer is that chocolate cake.

I was about to reply with an immediate ‘miss,’ when he opened his mouth before me.

Darius: …is what a normal person would say, but that would be incorrect.

Kate: Eh…

Darius: The answer to your question is——-

D: ‘Everything here on the table.’

Kate: …That’s a hit.

Ring: A-all of it…!? Is that answer even possible?

Nica: Well, we never established that the said thing had to just be a single thing, so yeah, it’s fully possible.

N: But even so, way to bend the rules there, Spatzi. I didn’t think you had it in you.

N: …You really are an interesting one, aren’t you.

Darius: I did think it was a strange answer, but considering the little miss fairytale keeper’s character, it wasn’t too difficult.

D: Perhaps you thought something like, ‘If I’m preparing something for guests, I would choose the things I believe are the most delicious’… am I right?

Kate: It is as you say…

While consulting with Victor, I chose all of the pastries here.

So, that’s why if I were to choose my most favorite among these, the answer would naturally be ‘everything.’

Kate: It was a bit of an underhanded answer, so I didn’t think you would get it.

Darius: Hehe, but I did. Oh, but, I don’t think it’s underhanded.

D: After all, I take it you thought up of such an answer so that you didn’t have to assign winners and losers, yes?

Kate: Yes, there was also that. Since it was such a fun tea party, I didn’t want to label anyone as winners and losers…

Darius: To see you try to put us on an equal footing without assigning a winner…

D: You truly are sweet to the point it’s cloying… and kind as well.

Ring: B-by the way… will Darius ask her out? O-on a date, that is…!

Darius: Ahh, that nearly slipped my mind. Well, miss fairytale keeper, will you go out on a date with me next time?

Kate: …I will.

I didn’t have much reason to turn him down, and now that I got to talk with them like this, I started to become more interested in the members of Vogel.

(…And going out together with them seems pretty fun too.)

Nica: Okay, then, when you’re done with your date with Dari, let me know, okay? We can plan a date of our own then.

Kate: Eh—

Nica: The prize for the game was the right to ask you out on a date, but there’s no need to hinge something like that on a game, right?

N: Besides, if the answer to the question is ‘everything on the table,’ that would technically make my answer right, too, yeah?

Kate: I… guess so…?

Nica: And you caught my interest too anyway…

N: …Ah, that’s right. Since we’re talking about this, why don’t you invite the Spatzi on a date too, Ring?

Ring: O-on a date…!? I… I’ll pass.

R: …But when you go on your date with Nica and Darius, I’ll tag along behind you guys.

Nica: Wait, why though?

Ring: If she’s around, you’ll let your guards down and lose sight of your surroundings, right?

R: So I’ll cover those bases during your date.

Nica: Ehh…

Darius: Hehe, thank you, Ring.

D: …Hey, miss fairytale keeper. I must say that half a day isn’t nearly enough.

D: Why don’t we take our sweet time chatting on our date, the two of us?

A smile played on Darius’ lips, and I couldn’t look away from his honey-colored eyes.

Just then, I remembered Victor’s words from before I went out.

—— Flashback ——

Victor: Ahh, that’s right, Kate. There’s one thing I should say.

V: If you wish to return to your normal everyday life after this month passes… you mustn’t let your heart get stolen by them.

—— End flashback ——

(It’ll be alright… I think I was able to enjoy this time today when I tried talking to them.)

(This feeling won’t blossom into love. Surely…)

Fin.

will vs darius jude vs nica alfons vs ring

NOTES:

[0] according to our handy google translate, the title of this story, Liebe geht durch den Magen, translates to “love goes through the stomach.” I assume this may reference or be the equivalent to a similar English saying, “the way to one’s heart is through their stomach.”

[1] “virgin” in German nhdkshfds

[2] and here we have a quote from Wikipedia: Baumkuchen is a kind of spit cake from German cuisine. It is also a popular dessert in Japan. The characteristic rings that appear in its slices resemble tree rings, and give the cake its German name, Baumkuchen, which literally translates to “tree cake” or “log cake”.

[3] originally, I had Rotkehlchen, which is like the literal translation for “robin” as far as I know. Spatzi means “sparrow,” but can be used as a term of endearment in the same way the Crown members call Kate “robin” out of endearment. In his collection story event, he mentions that the word he used is German for robin, but it could be localized to something like “it is a German-equivalent term of endearment for robin.” Thanks to @.citrusmornings for providing this link!

END NOTES: did you enjoy this story? because i know i did, haha. i really enjoy all the vogel characters so far; they all have interesting personalities, and they bounce off each other in a fun way as well.

honestly, i’m still trying to sort of get an idea of how i want to sort of translate and write these characters. overall, though, i tried to give darius a more innocent air, with some hints of his nobility, while also having a strong sort of presence. and i tried to capture nica’s sort of casual and flippant (but also clever and sharp) air, which contrasts with how ring gets shy and flustered pretty easily.

i’d love to hear your thoughts!

full masterlist 🕊️

[paulandjohn]

JOHN AND PAUL

‘I am delighted to say that Faber & Faber have commissioned me to write a book about John Lennon and Paul McCartney. Getting paid to write about The Beatles - well, that’s it, I can retire. After I’ve written this book.

The Ruffian played an integral part in the birth of this book. Towards the end of 2020 I wrote a piece called 64 Reasons To Celebrate Paul McCartney and published it here. It was the quintessential lockdown project. I’d been making notes towards it for years but never found time to actually write it. I also had low confidence that anyone except superfans would read a 10k essay about Paul McCartney. It didn’t fit any obvious spaces in established media, at least not the way I wanted to do it. But I knew some of you would appreciate it, so once I’d completed it, I dropped it here. Unexpectedly and gloriously it went viral (in a good way).

When I was writing 64 Reasons I found I had to cut a lot of material to do with John and Paul’s relationship, a topic I am obsessed with, just to keep the thing down to its already overgrown length. (In fact I mentioned that in #63 - I was already thinking hey, what if…?). Given the scale and intensity of the response to that piece, I started developing an idea for a book about the two of them.

The conventional narrative about their relationship is deeply flawed. It was set in stone shortly after The Beatles’ breakup and hasn’t been much modified since. Constrained by the myopia and prejudices of the time, it misses out a lot and gets much wrong and consequently we have a very thin and limited view of both men and of what they did together.

Lennon and McCartney were more than just great mates, or fierce competitors, which is how they’ve generally been portrayed. They shared an essentially romantic friendship, a passionate love that ignited mutual creativity. The love (and the insecurity and jealousy that came with it) fed into the music, and vice versa.

I’ll track the relationship from the day they met in 1957 to the day John died in 1980: 23 years. Hence John and Paul: A Love Story in 23 Songs. I’m not just writing this for Beatles fans but for anyone who loves a love story; to me, it’s the greatest romance of the twentieth century.

OK I’ll say no more about it. I need to write the damn thing.’

*blog post from Ian Leslie’s blog The Ruffian (Nov. 13 2021).

It’s interesting that the title is no longer ‘John and Paul: A Love Story in 23 Songs’ and is instead ‘John and Paul: A Love Story in Songs’.

[llilyrose]

So, you know that ISAT au I mentioned in my yass-girlboss King post??

HHHHHEEEERE WE GO .... info below keep reading!!! lots of words!!!! In Stars And Time FULL spoilers!!!!!

(Note: The Reset AU will be posted on @slowlysoluminary but i will be reblogging from my main)

There are some really interesting Siffrin-Meets-The-King-First aus that float around. I see them sometime! they're great! But I, as an adoring King fan, had to sit down and ask myself:

"So, uhh, like why?"

AND I DID SOME THINKING!!!!!

The King notices you're looping in Act 3. That's great! Not for Siffrin, but great narratively. If he notices it in that loop specifically, I feel like he would notice in other loops, too.

So, Act 5. The King notices how much of a formidable opponent siffrin is (among other things), acknowledges he's from the same country, recognizes wish craft, yadda yadda yadda.

He wants Siffrin to understand and resonate with his reasons for trapping an entire country in time, and while Siffrin is busy in his mind space fighting Mal Du Pays, the King makes a wish. AND HE LOOPS!!!!!??????

... Uhh, kind of? Not really. It resets the timeline all the way back to when the country was erased, but instead of the King having full memory, they're more like... vague snippets that hint at what he once was.

So, um! The first part of the AU is about the King's 10-year-long descent into madness. It's heavily condensed but it's there!! there's lore there!! I'm a king fan he needs a backstory.

"His name is Lazare" HE HAD TO HAVE A NAME BEFORE HIS KING DAYS... it's heavily implied the King wasn't his original name, and my headcanon helpfully supplied that he underwent a Change inside the house during his rise to power. I think there's like, a Head Defender? And the King was Head Defender, with full access to all libraries inside the house, when he started going crazy.

At 22 he loses all his memory while travelling in Vaugarde. Nobody knows his name so he comes up with one! He meets Siffrin 4 years later and they both travel Vaugarde together.

He becomes a defender at 29 because we see firsthand how INVESTED this dude is in Vaugarde. He wants, NEEDS this country to be safe!! he has a lot of patriotism!!! He's not actively searching for what happened to him or his country, he's just accepted it and is building himself up as a person.

oh boy .. when he turns 31 he becomes Head Defender.... And when he starts reading higher-access books throughout the house documenting a disappearing country? He gets MORBIDLY curious. And... well... this fixation leads him down the rabbit hole that got him where he is today! Except, this time, with Siffrin on his side...?

Yup! Siffrin is here! They've been here the whole time! Siffrin watches a man he's grown to love and adore fall into the Deep End. And he would find the strength to be mad about what he's doing if it weren't for the fact he was super sympathetic!!! ugh!!! sympathy!!!

Siffrin agrees with the King... but not really? He agrees with his reasons but completely disagrees with the way he's going about it. The change from Lazare to King was gradual, but towards the end he treats Siffrin more like an object of study than a friend.

The King takes his cloak and hat to study the stitching, the King won't let him cut or dye his hair again because he wants (NEEDS) this still image of his culture, etc.

Siffrin pretends his behavior doesn't bother him (because the King goes full Mansplain Manipulate Malewife on him if he voices his dissent) and keeps sneaking away from the King using his hat-less/cloak-less disguise.

In doing so, he meets a wild Mirabelle! It becomes a habit to visit her and the villagers under this "disguise" (it's only convincing in the way that Clark Kent is convincing) and he's feeling that same friendship with them that he used to back when the King was Lazarus.

... Until the House gets frozen? And the king starts Freezing People In Time For Real? No warning? Siffrin is HORRIFIED, rightfully, and also super upset. Partly because Mirabelle "got frozen" (she did not get frozen) and partly because the king has TOTALLY LOST HIS MIND NOW. no trace or remnant of who he used to be. but siffrin wants to hold on.

and then Siffrin gets stuck in a time loop! Whoops! Honest mistake!

"How does he get stuck in a Time Loop if there's no party to stick with?" ok so. of course he's going to learn Wish Craft from the King, duh. The King tells him literally everything about rhe country as he discovers it (albeit, in incoherent rambles.). And he also has his own muscle memory to draw from!

In desperation, he makes a wish: Save Vaugarde/Sav the King.

"Which one of those two is it?" Idk! That's what he spends the timeloops finding out!

Oh, wait, now that I've talked about the time loops, I CAN TALK ABOUT LOOP!!! LOOP IS NEW AND DIFFERENT!!!

^^ This was the initial ref sheet i made while brainstorming for this au (and also the sheet that birthed King In Magical Girl Poses)

"So what's loop's deal?" yeah, um, that's the thing? Loop doesn't know either!

Loop is not hiding their identity! Much like King, they domn't remember anything until afterthe Reset. They're Siffrin, yes, but not Siffrin from SASASA:AP. They're Siffrin from In Stars and Time. They're THE Siffrin that the King's wish Reset!

Thus, Loop looks very different!!!! And acts a little bit different!!! Siffrin is the only one who can see Loop, for the time being, and they follow him throughout the loops instead of staying stagnant under the Favor Tree.

They don't like the idea of not knowing who they are, or where they're from. Siffrin sympathizes with the star, initially thinking that they just... had the same thing happen to them that happened to the king? But the reason Loop follows Siffrin through the house is because they NEED to know who they used to be, and what in the Universe happened to them. Certain things trigger certain memories, and... it certainly doesn't help that the party enters the fray.

"So was the King's wish not important?" THE KING'S WISH WAS VERY IMPORTANT.

Not only did it CAUSE the reset, but it gave King the precise tools to get a timeline that fulfilled his wish (It's not the Universe's fault he lost himself and his only chance).

BUT ALSO!! ALSOOOOOOO!!!! THE KING'S WISH CORRUPTED THE WHOLE TIMELINE.

Loops are meant to reset to the day before, with no one"s memory remaining except for Siffrin's.

This loop completely Reset the timeline.

The King kept hints of his memories from the past.

The party gets dejá vū from the moment they meet to the moment they step foot in the house. They feel like something is missing.

Loop shouldn't be here. Loop should be... Loop. Loop didn't wish to be here - it's a direct violaton of his initial wish to stay with his friends, but it's a wish that technically got overwritten when the Reset happened?

Ironically, Siffrin is the only one Out Of The Loop (hehe)

,,,,,,,,,

"okay so what's the stuff IN the timeloop?" you see. you seeeeee. I've been worldbuilding so that I can figure that out. And I still don't know..... I'm setting it up with this post so I can elaborate on anything later (asks are appreciated)

"You should write/draw about this" I am! Ao3 is llilyrose but idk if I'll end up posting anything there. Of course, my tumblr is llilyrose, too....

"You stole this from user llilyrose on ISAT discord!" um, look at my url again. thx

"What if I have questions about the worldbuilding/characters/etc." send an ask, fool.... I'd really appreciate it .....

[blorger]

Hello and welcome to today's instalment of "Harry doesn't know what he's feeling when he's feeling it". I'm in the middle of going through the books (for nerd reasons) and I stumbled upon this passage:

And the thing is: this happens in book 1, right at the beginning of the school year. Not only have Draco and Harry interacted very little so far but the inciting incident that made Harry react this way is peculiar.

You see, Harry here is thinking back on his first ever potions lesson, where Snape tried to humiliate him at every turn. In that scene Draco does not interact with Harry, all he does is be a gleeful spectator to the dressing down and also make potions. Literally.

Draco mentions in the scene:

The slytherin boys (or at the very least the ones Harry knows so far) are amused by Snape's roasting of Harry

2. second verse, same as the first

3. Draco is good at potions, this irritates Harry

That's literally everything. All Draco is guilty of here is being present for Harry's humiliation and being competent at something Harry is trying for the first time. Yes, he's laughing at Harry's misfortune but this is not described as a performance for his benefit (unlike in later books where Draco will make sure Harry sees him laughing at his misfortune). Harry sees Draco's reaction (and Crabbe and Goyle's) but are they the only ones laughing or are they the only ones Harry is paying attention to? Harry explicitly says, in the second passage I mentioned, that he tries not looking at Draco+ Crabbe&Goyle; this to me implies that he's especially conscious of them and their reaction.

As I remarked here about their very first interaction, Harry's feelings towards Draco are, from the get-go, more complicated and nebulous than one might think. If I had to name what sentiments Draco inspires in Harry in these first interactions, I'd say a non insignificant one is inadequacy.

We can see that during the first potions lesson, and again at the thought of a shared flying lesson, Harry very much dislikes the thought of being seen failing by Draco . Why, on Harry's very first night at Hogwarts he has a nightmare and you know who's featured prominently in it, witnessing Harry in an embarrassing situation and laughing about it? None other than Draco Lucius Malfoy.

I find this interesting because Harry claims his feelings towards Draco are similar to what he feels towards Dudley (at this point in the narrative he's remarked on it more than once) but Dudley's actions towards Harry are intentional (pre-Hogwarts dudders loves bullying Harry) whereas Draco has yet to do anything to Harry other than try really badly to befriend him (and be stung by his rejection).

Furthermore Harry, from what we see from his interactions with Dudley, does not seem to be at all self conscious of the way he behaves in front of his cousin nor does he measure his achievements by comparing them with Dudley's. I'd say his general attitude toward Dudley is dismissive, in complete contrast with the competitiveness he feels with Draco yet, somehow, Harry keeps associating the two in his mind.

There's this element of self-fulfilling prophecy in Harry and Draco's interactions (no doubt because jkr is telling us to dislike Draco before showing us why) that I never noticed before. Harry dislikes Draco at first sight (more accurately, he's unsettled by him and decide this means he dislikes him) so he's going to look for other things to dislike in order to reinforce his bias:

Draco receives packages from home? Wow, he's spoiled just like Dudley, nevermind the fact that countless other students are undoubtedly receiving just as many packages.

Draco is a competent beginner potions student? Oh wow, it's just like that git to succeed in a class taught by another git (essentially: if you're favoured by a bad person that means you're bad too)

And because these reactions don't happen in a vacuum, Draco notices them, which fuels HIS complicated emotions vis-à-vis Harry. Add all of this to the feelings of rejection he has no doubt been stewing on and voilà, you have the birth of Draco's decision to be Harry's enemy (since he can't be his friend).

tldr: Harry indadvertedly started the rivalry with Draco and Draco followed suit because negative attention is still attention.

[not-freyja]

New Zelda Game!

Okay cool, cool cool cool cool, I am calm, I am so fucking calm. Looks like Nintendo is staying true to their word that Wild is not getting another game, so now the questions are, what Link is this, where are we in the Timeline, and what information about the game itself can we pick out of these crumbs?

Whose Zelda is it anyway?

So two options:

New boy.

Legend. It’s fucking Legend again sucks to suck bro

Case for new Link and Zelda:

Less messy for the Lore

That’s it, that is the only argument

Case for Leggy boy and Fable:

LA animation style! While it can be fun to bring back older styles of animation for nostalgia/artistic reasons, that seems like a poor choice for *LOZ* games, which are always on the edge of what a game can do. Moving “backwards,” so to speak, in any aspect, would be a disservice to the franchise. However, doing it to maintain consistency for a particular character, and to use the animation style to make sure the audience knows this is the same character from LA is a very simple but effective tactic.

The map! So that shot was so BOTW and so fun, but the view we got wasn’t just recognizable as “Hyrule,” is was, down to the relative heights on the mountain cliffs against each other, the map from ALTTP/ALBW. Nintendo has never repeated a map without it being the same Link. So! Checkmate motherfuckers.

The character designs. That… that was just Legend and Fable, come on. Look at the dress. Every Zelda has a slightly different costume design, and that was hers. Look at Link. Baby boy!

I want this. Let me have it.

Timeline positioning

Okay so if we assume that this is in fact Legend, the next question becomes, “When is it?” Leggy boy currently has 5 games that are canonically his. (Triforce Heroes could be a random other Link, so while we like to say 6 we can’t *prove it.*) So. Let’s break it down.

ALTTP: canonically his first game, can’t be before this one.

Oracles: canonically happen after ALTTP, and he is very much still a child in here.

LA: the game this one is artistically modeled after. Narratively this fits nicely right after Oracles, and in the canon timeline, fits between Oracles and ALBW, so I think a whole new game being crowbarred prior to this one would be… not great for the narrative.

ALBW: This is trickier. No canon time between LA and ALBW is given, it could be a week, it could be years. It is entirely possible that Echoes of Wisdom occurs prior to ALBW, which would make it a direct sequel to LA, which makes the art style make even more sense. It could also be after?

…hang on a fucking minute, lets get the fucking map.

Left, ALTTP. Right, ALBW

Basically the same map! Duh, it’s the same Hyrule. But. BUT. Bottom right, in the lake. Do you see that?!

ALTTP: no log bridge. ALBW: Log bridge. Now, let’s look at the pretty picture from the EOW trailer.

NO FUCKING LOG BRIDGE!

This is before ALBW. Therefore, the game order for The Hero of Legend is

ALTTP, OOS, OOA, LA, EOW, ALBW, TH(maybe)

*cue manic laughter*

Lore Implications

Ganon.

There being a Ganon at all actually has me pointing my finger at the Oracle games and screaming. The TL;DR in those is that there was a plot to resurrect Ganon, each game Twinrova gets closer, but Link stops them. Now, there were also supposed to be three of those games, which means that it is entirely possible that the third unseen Oracle plot—please Nintendo let Link and Farore hang out, I am on my knees barking like a dog—could have resulted in his resurrection. This is the only explanation I have that doesn’t break the Lore or involve Time Shenanigans.

Also, Link does KO the bitch in that opening scene in the trailer. His presence is either just that—a set-up plot point—or him and Link are currently duking it out in the hole. Fun!

Link and Zelda

Now this game is going to put their relationship in the front in the “I have to save them because I love them” way that we usually see from Link’s POV.

Getting it from Zelda’s POV is going to be very interesting. We might be getting a look into her head, into her feelings and thoughts about the whole ordeal of the Legend itself. I hope so. But also, this isn’t just Link and Zelda, this is *Fable and Legend* specifically. The two that were meant to be be siblings but the dialogue that established them as such was cut from the final version of ALTTP. So. This game has the possibility to do three things

Canonize the Prince Legend thing, like they were going to do in the nineties.

Not address the topic at all, leave it nebulous.

Zelink.

None of these are bad choices, but option two is definitely the safest. Both options one and three will cause an uproar from part of the fan base. I can already see the ship wars. Please don’t do this people. Please.

The Holes 🕳️

What are they? Where did they come from? Ganon’s Trident Where do they go? No actually, where do they go? The Dark World (doesn’t make sense in the Lore)? Lorule (that would be a choice)? The Twilight Realm (I am convinced that Lorule and the Twilight Realm are the same place actually and you cannot change my mind)? Some new never seen before parallel dimension? A non-place, like a gap between realities (sexiest option)? I have no idea!

Fun!

That fucking “Fairy”

Tri? Don’t trust it. Will not trust it. Never trust that a companion in a LOZ game is what they first appear to be. Who does Nintendo take me for? A fucking amateur?!

Anyway, I am about 40% convinced that’s Link. I have evidence, but it is circumstantial.

I AM HANDLING THIS NORMALLY.

[wildwinterlunas]

More on God Games cause the way it's written narratively is so interesting to me, especially with the Gods chosen to be in God Games, along with some of the motifs used and the way the gods are characterized.

God Games is basically framed as Athena going through different levels of Gods, Apollo is Level 1, Hephaestus level 2, Aphrodite and Ares level 3, Hera level 4 and Zeus is the final boss. we see this in how much time each god has along with how hard it was for Athena to convince them. It also subtly shows skill again and level ups through Athena arguments by using Ethos, Pathos and Logos.

With Apollo and Hephaestus, Athena starts with Logos, her arguments are factual and logical, not accounting for the contexts of those situations. With Aphrodite and Ares she needs to use Pathos, appealing to the lovers emotions rather then their logic cause that would not convince them, which in turn make Hera easier as Athena appeals to Hera's feelings on marriage and family. Then there's Zeus, with Zeus Athena uses Ethos, but not in the typical way it's used, Ethos is usually using your own authority in an argument to gain trust, what Athena does is appealing to Zeus's own ego and status of authority by begging him to let Odysseus go, sacrificing her own pride.

Then there's the gods chosen, a lot of people have pointed out that if Zeus didn't want to let Odysseus go then why didn't he get Poseidon or Helios in the argument, or any other God it would be harder to convince. In all honesty in Zeus wanted to make it insanely difficult the line up should have been Aphrodite, Ares, Poseidon, Helios, Persephone (trust me she has reason to be there, mainly due to her role in the Odyssey), then Zeus himself. So why didn't he?

To put it simply it was more of a risk, Poseidon is equal in power to Zeus, Helios is also insanely powerful, and while Persephone isn't necessarily powerful, she has status over Zeus and is honestly just terrifying in general (seriously people need to stop acting like she's just this uwu flower girl). They also have reason and authority to stand against Zeus, so when it comes to the end, where Zeus strikes Athena down, they would have had the ability to step in. The closest god in God Games that could do that would be Hera and even then it wouldn't have helped much.

Now the motifs, there's a specific instance I want to point out and that is Ares's entrance specifically the fact that the quick thought motif is still going when he enters. Which implies that they haven't left quick thought, just that the area has changed, which makes sense considering quick thought is very obviously a part of Athena's war domain. It makes sense Ares not only has access to it but also have the ability to change it to his domain, and considering a majority of interpolations of quick thought make it this night area, I think it would be cool if when Ares enters it turns to day, a strategic strike at night and a brutal fight at day. It also puts into more context why Ares asks "Is she dead?", that lightning strike was so powerful it affected their domain.