#there are so many parallels between the two worlds and their characters

[arlathmyheart]

Interesting. I reckon both yes and no.

Rook is a people person who helps others much like felassan.

However Rook is still in the leadership role and fighting against the (surviving) evanuris like a young fen harel did. They are unexperienced but smart and willing/forced to act when necessary.

Rook bridges the gap as a kind of conscious fen harel who never loses sight of the cost of sacrifice. They keep their principles intact presumably.

Like felassan ROOK keeps morale high and stands with their cause. For instance they never see themselves as akin to a god.

Like solas they end up having to make hard decisions, some of which they regret.

Notably Rook has millennia less experience of various wars and memories from fighting the evanuris than solas. Thus less regret etc.

Rook mostly differs from solas in their ability to move on from their regrets etc.

What is interesting is how solas uses his regrets. He cherishes some and he values memories. He paints his or wishes to forget some. They work slightly differently for him. This may or may not be due to his spirit nature.

What will they call you when this is over?>

As rooks dialogue after the treviso/minrathous choice shows they go forward by choosing either: confidence, pragmatism or acceptance.

Later in game datv plays into the idea that rook acts as hubris (fen harel) to a solas who is becoming too prideful akin to elgarnan. They ruin his plans. They show him that he could have another path. They show that he could be beaten.

Rook maintains that the veil must remain. The cost is too great. Solas would only sate his conscience and not deliver the world/elves. Very pragmatic.

Solas seems to tell himself that it is for mythal to an extent (and all he has sacrificed). It is hard to tell if this is a overjustification or not. They have so much history. Plus we don’t learn if he was truly bound and enslaved to her will or just loyal to her due to their friendship/kinship? And her benevolence.

We do know for sure that Solas also sacrificed a lot of himself and others lives. He let spirits/people die for him as well as giving up his spirit form and essentially his own principles (his actual nature of being) He was a spirit of wisdom that she weaponised. This twisted him from his purpose to pride.

The main difference seemingly between the two is that rook is not from a spirit (presumably) and that they do not work alone (or else you get a bad ending)

Rook also doesn’t seem to have a mythal figure guiding them except for perhaps the player? Or even Solas himself.

Rook then acts as a young solas who had instead trusted his friends (if he had many/any? This is something that we don’t really learn. The relationships solas had were very strained despite time as he says himself). Thus Rook may be akin to a version of the past fenharel had he talked with felassan and chosen to act on his advice.

Presumably this would have changed the outcome of the past and solas may have then acted differently. This would not change the nature of pre veil mythal however.

The painful irony is that becoming the dreadwolf was presumably solas’ first main action against mythal/the evanuris after years of not being listened to. This was when he finally took a stand and tried to change things for the better. Felassan was the one who helped create the myth of the dreadwolf. He was supposed to keep solas in check.

Oh my god. This unplanned essay has made me think that more accurately: VARRIC is truly the character akin to felassan.

Going by masked empire and celene/briala as parallel to mythal/solas as the two have an odd/abusive relationship where each uses the other while maintaining a somewhat loving relationship.

Solas has his chance to rescind the past somewhat with Varric at the ritual. Varric tried to give him another option. Again Solas refuses this. This is expected given felassans fate in TME.

To listen to Varric/felassan in that moment would be for Solas to forfeit the past and to accept all his wrongdoings ended up just that. That unwittingly down the line he had made exclusively bad decisions despite having best intentions. (He is smart enough to half predict/know this and so he can only really either blame himself or mythal for it is she who is the one that continued forcing his hand and not listing to his reservations) She made him take a body, she maintained that to end a war titans should be sundered. He was the one who went along with it and made the dagger and (made/utilised?) the prison for the titans dreams. He followed her regardless thus being complicit in the events that unfolded.

Therefore Solas is also to blame for not acting against her and letting her continue with her version of events. (that is a lot of guilt) He does not move against her until he becomes fen harel. However in acting as fenharel he also ends up acting alone, thinking it the better option.

However young Solas still wants the best for Mythal (and hopes she will join his rebellion) but he ultimately loses Mythal when she tries to chastise? The evanuris for experimenting with the blight and they murder her.

Ironically in doing this she acts alone and it is her deference and pride of godhood that likely made her think she would be untouchable. If she didn’t care about her title she may have joined solas. Is she acted on solas’ advice solas may also have had more cause to trust in others beyond using them for his rebellion.

However we can’t truly tell if instead Mythal was utilising politics/manipulation for control rather than bringing more war on the elves. (a kindness?) We just don’t know enough about it.

“In desperation” then solas plots his revenge and seals up the blighted gods. This is no mean feat. He also doesn’t tell felassan his plans. The veil was created as a side effect of his powerful spell which thus altered the world and lead to the fall of elvhenan. He is far more ruthless now and yet imprisons the gods rather than killing them. (Presumably they could be freed if they managed to move past their regrets which would require them to self reflect or even feel remorse at all for their past tyranny). They are very powerful and hard to kill.

We don’t find out how exactly the prisons work as another is made. Presumably the first is the black city which also contains the blight. The second is the regret jail that rook is familiar with.

The difference here then must be varric’s effect on Rook. Or possibly more relevantly the inquisitor.

Varric acts as mentor and story teller. His is a slight guiding hand. He maintains actual faith in the inquisitor (no matter what they say) and imparts his kindness onto rook. He tries to change solas’s mind. His written stories will shape others thoughts.

He feels guilty for the lyrium dagger. He has lost Hawke. He by all rights is like felassan in TME.

Now the inquisitor themselves is one of the only living people in thedas that can conceivably understand how SOLAS felt during his rise to infamy as FEN HAREL. They are the closest to god like status in modern thedas and the inquisitor, having killed Corypheus, knows what it is like to raise an army or to fight a false god (or Titan?) on their own.

Inquisitor relied on their advisors and interestingly solas/Varric in their rose to power. They both shape how inquisitor feels about spirits or faith.

If anything then the inquisitor may be closest to a pre veil mythal or evanuris who is trying to keep a status quo of peace in a breaking world. Like solas they acted as a god and saved the world.

Ironically fen harel too has the option to be like the other evanuris. He both is and isn’t part of the pantheon. The question of their godhood lies in their morality and lust for power.

Now to change his mind solas hears from: mythal, rook, and inquisitor.

I think we are righting past wrongs to an extent: THIS MIRRORS THE REGRET DEMON STORY BEAUTIFULLY. TRICK WEEKES YOU!!!

Rook offers Solas another option despite it all (like Varric/Felassan) to give up the past. It is a lot of trust to simply hand him the dagger and yet a spirit will become what it is expected to be.

Rook keeps their faith in solas despite his betrayal. This could be a similar idea to how a young solas still followed mythal. It is a complex relationship depending on the players pov (datv solas = preveil mythal) (rook = preveil solas)

Fix 1- ROOK/YOUNG SOLAS LISTENING TO HIS FRIENDS AND STAYING TRUE TO SELF AGAINST FEN HAREL/MYTHAL. - sate conscience

Mythal (Mythal) concedes her part in using him and twisting him to pride . That they both did awful things that were wrong. He is released from her service.

Fix 2- FORGIVING HIMSELF FOR THEIR PAST BAD DECISIONS - forgive himself/mythal

The inquisitor (post veil Fen harel) tells him that he is free to find a better way. He now can see the way.

Fix 3- CHOOSING A NEW PATH FOR HIMSELF - freed spirit

It is sad and he is alone (unless solavellan) but now freed Solas chooses to seek atonement. He starts to move forward. I think he is so brave and I love him for it.

He is scared of dying alone and yet his life sustains the veil. He is scared to die and yet also scared to be alone. Plz give him Lavellan tho guys he is a good boy at heart.

This was unplanned. It is imperfect and it is late but it is my current musing on the subject. I may revisit this writing in time.

Honestly? Rook is more a foil of Felassan than Solas, Inky is Solas' foil.

[geekgirl750]

Shaking, screaming, crying, foaming at the mouth thinking about if Torchwood and The Umbrella Academy existed in the same universe...

Especially if Jack and Five ever met and realized that they were both old men doomed by their narratives

[cburambles]

I'm so giddy about the way they decided to re-introduce Elena's character in the new trailer because I was worried at the idea they would take the route of doing what the fandom (who don't read the novels) mostly perceive her with: a comic relief due to her klutzy tendencies & her crush, who constantly need to be hand-held by the boys in the group to the point the fandom interpreation render her as a shy or genki girl/ almost swap her personnality with other female characters as if she was a blank state.

But the devs instead decided to follow throught how she was depicted in the compilation: A flawed, fierce, unapologetic woman from the slums coming from an emotionnally distant family, who was the top student of military school while working in a bar in Wall Market prior joining the Turks ( who used to belittle her all the time, mind you) for the sake to gain people's approval, to prove that she's better than her sister and doesn't hesitate to beat up & torture people in front of their sickly relatives. her gung-ho attitude create a mutual frustration in the group, even Tseng doesn't really get an hold on her.

She also can be competent as she was the top student of the military academy but also did some significant contributions post-OG: She is the one who managed to have Midgar's population mostly evacuated post-Meteorfall, she is the one who goes to ask questions to people during investigations, she is the one who maintain a cordial relationship between the towns around Healen's Lodge by proposing & organizing the distribution of medicine to Rufus & then goes looking for the materials & employees necessary for its production. She is the one who find the Jenova's remains in AC & get them to Rude & Reno before going back to fight the remnants to help Tseng. She was in OG the Turks with the most powerful stats as well.

She's not a character you can swap with Cissneï (like some people apparently hoped?) We don't get to skip or not her boss fight this time. She is re-introduced as her class of origin: a martial artist (instead of giving her a gun like in AC). She is an actual threat & even Rude this time warn the party about it. Which I hope will be kind of omnimous story-wise as I think Avalanche & the Turks may become more & more aggressive toward each other throughout the story.

I think we're also gonna see interesting dynamic in the group, as since she's the newbie with an inquisitive & active side, she may be the player eyes into the dynamics & conspiracy in Shinra.

I also think it's the first time we see a Turks get that violent with Aerith & we know that Reno, Rude & Tseng cares about her. Among the group, the one who is never show feeling sorry about being a Turks is Elena.

I hope Rebirth will finally bring justice to her, with her qualities & flaws. She is as important as her comrades within the structure of Shinra & I want it to be explicitly acknowledged in the story.

[aroaessidhe]

2024 reads / storygraph

Walking In Two Worlds & The Everlasting Road

YA sff set in the near future where an opensource augmented reality is commonly used like social media, and there’s also a completely virtual fantasy game version

follows an Anishinaabe girl who who’s the top player in the VR game, and is constantly fighting to keep her place against the misogynist neo-nazi group in second place

as well as her real life, dealing with being a shy and self-conscious teen growing up on the Rez, and her brother having cancer

and a Uyghur boy who’s moved to her community from China after finding acceptance in an online community (even when he doesn’t agree with their more extreme views) - but when he gets to know Bugz, he has to decide who truly deserves his loyalty

great mix of sff and culture, the future while also very real community traumas of the past (and present)

[asha-mage]

🌶️

The MCU's Spiderman is not a poor execution of Peter Parker's character concept. He's not even poor execution of Miles Morales's character concept.

He is a poor execution of Terry McGinnis's character concept.

Peter Parker and Miles Morales both have so many fundamental pieces to their characters that are just missing for the MCU's Spiderman. Familiar names are floating around him- Aunt May, Mary Jane, Ganke Lee- but the fundamental ideas that make up Peter or Miles arcs just are not there. Themes like Miles's family expectations, Peter's constant money struggles, and the balancing act of doing good vs trying to live your own life are all absent. Even the idea of power and responsibility isn't properly introduced until the THIRD MOVIE when that really should been the central theme from the beginning.

Rather the MCU Spiderman has way more parallels with Terry McGinnis. Both are young hot shot teenagers who end up being taken under the wing of established and experienced hero who is on their way out. Both have complex relationships with their mentor which in a lot of ways serves as the driving force of their character arcs. Both gain high tech suits which enable their heroism. Both are viewed (or at least supposed to be viewed in MCU Peter's case) as heirs to the legacy of this hero.

It falls apart when you get into how they are different. While Uncle Ben is implied to have existed and be dead by the time MCU Peter is introduced in Civil War it's never actually confirmed and never properly comes up. Meanwhile the death of Terry's father is essentially the inciting incident of Batman Beyond: it's what motivates and drives Terry and the murder and it's fallout are the main focus of the first two episodes of Batman Beyond.

What's more MCU Peter's relationship to Tony is grounded in the fact that Tony just shows up one day and essentially taps him to join the Avengers. Bruce by contrast initially tosses Terry out on his ear, and when Terry turns up seeking justice for his father Bruce can't offer him anything but 'go ask the cops for help', and when that goes exactly as poorly as Terry said it would, Terry breaks into the manor steals the Batsuit and goes to stop Powers himself. Terry has active agency in his own choice to be a hero, which helps define his relationship with Bruce and to heroism. While MCU Peter was doing his own superheroics prior to Tony showing up in Civil War (not that he ever does much of that in future movies) his relationship to Tony is defined by Peter's dependence on him and his quest for Tony(/the Avengers)'s approval. And because they don't even bother name drop Uncle Ben or flashback to him, we're left with the impression that the main thing driving MCU Peter is that quest for approval. His motivations are never more complexly explored, and we don't even really see him just running around Queens stopping muggings or car crashes or anything that hints he enjoys or feels the need to actually help people.

And I think that gets into the final and most important difference between the two. Gotham not only needs Batman, it visibly and obviously and terribly needs Batman. Batman Beyond leans into this because decades without a Batman have left Gotham a cyperbunk dystopian hellscape. The city needs someone to stand up to the darkness, to be a symbol of hope, to be aspirational. Terry taking up that mantel means fighting supervillains, yes- but mostly it means doing what the original Batman did. Solving murders, stopping muggings, rescuing people from burning buildings or fighting off street gangs like the Jokerz.

But even in the earliest MCU movies, New York only needs superheroes when the current world ending threat shows up. Otherwise the city is all bright shinny clean streets filled with haplessly content citizens. This is the only reason that Vision's position of 'Our very strength invites challenge' in Civil War makes any sense- because the only purpose of these Superheroes is usually to fight a threat they where somehow responsible for creating. And this problem hits 'friendly neighborhood Spiderman' the hardest because he only has a responsibility to use his great power to solve problems, if their are problems in need of solving. Most of Peter Parker's (and Miles Morales's, Gwen Stacy's, or any other Spiderperson's) day is not fighting alien armies or netherworld gods. It's stopping break ins, rescuing people from car crashes, or dealing with other small scale local threats, that none the less benefit from someone with his abilities to make them better. Either New York in the MCU is an ideal utopian city where the police have everything handled apparently (which ha!) or Peter is apparently not interested in stopping bad things from happening. He spends so much of the first movie basically begging Tony to give him superhero things to do, not realizing that he could go outside and find people that need help on his own.

In conclusion MCU Peter Parker isn't 'regular Peter Parker but not an underdog', or even 'Miles Morales but white'. He's 'Terry McGinnis but without any agency in his own heroism'.

[maybeiwasjustjade]

Genuinely, perhaps 99% of me, believes that the only reason Condal and Hess made HOTD Aegon a r*pist/have adult Aegon’s introduction the aftermath of the SA of a maid, was because they knew that if Aegon was just a drunk and a cheat—like almost all Westerosi men—he would be too tragic of a character not to root for, and they really couldn’t have that. No, Aegon has to be the monster to Rhaenyra’s saint, because if you took away the act that made him monstrous, he’s so easy to root for, and the TB/TG divide would be significantly larger.

Cheating and visiting brothels are quite common in Westeros, with the vast majority of male characters doing one or the other or both. Drinking is even more so. Aegon would still be palatable with either or both traits because it doesn’t make him worse than Rhaenyra. Rhaenyra had three bastards with Harwin because Laenor’s gay, so it makes her affair understandable and valid. Aegon was forced to marry his own sister as a young teen, and clearly despises the whole targ-incest tradition. Why is it a crime that he doesn’t find his little sister sexually or romantically attractive???

Aegon’s basically a Greek tragedy made flesh. The eldest son conceived to be a long-awaited heir, yet simultaneously cheated out of a birthright. Born wanted yet unwanted, the heir who is not an heir. Meant to be loved, yet raised without it, with a mother’s disdain and fear as his only companion. His father stopped wanting him sometime after his second birthday (probably around the time Jacaerys was born), and his mother never wanted him anyway. His mere existence is a threat to a crown he never wanted, yet nobody cared when they placed it on his head. He wants love but no one loves him, and contrary to popular belief, that lack of love didn’t just stem from adulthood. He was a little boy once too, who very much didn’t deserve that level of apathy.

Married to his sister despite his clear disdain for his family’s incestuous tradition. Forced to father children on her at the grand old age of sixteen (and she fourteen). The only thing he ever really loved was his dragon, and the children he had. And even those he loses to tragedy, and someone else’s doing.

It’s not at all a surprise that Aegon’s defining trait is his love for Sunfyre. A ridiculously strong bond, born from years of having only each other. Moreover, a dragon is the symbol of power, which Aegon has little of. He can’t protect himself from his own family’s abuse or machinations, and unless he claims the crown everyone he loves will die. Dragons also represent freedom, and the ability to just fly away. And if there’s one thing Aegon wants more than anything in the world, it’s to run away from his family and the accursed throne.

In that, he’s not so different than a young Rhaenyra (pre-personality change anyway). Young Rhaenyra hated having to conform to societal standards. Hated having no choice but to marry, and to whom. She too wanted to fly away to freedom. There’s too many parallels between the two, even down to their ages pre-timeskip. Rhaenyra was about 18, and Aegon now is only 20. Yet Rhaenyra at 16’s only problem was whether her infant brother would replace her as heir, while Aegon’s was being forced to play house with his sister and newborn twins.

Perhaps misogyny and society would always be Rhaenyra’s greatest opponent, and the same Aegon’s ally when it comes to their claims, but it was not the only issue. Precedent declared that Aegon would be heir ahead of her, yet it was Rhaenyra’s position and honor that Viserys defied law for, even when she committed high treason against the crown thrice. She got everything; Aegon had nothing. He’s the underdog of the story, not her. So had they not made him an on screen r*pist (unlike Daemon who was off-screen one and merely an on-screen pedo and wife-killer), it would’ve been very hard for the writers to push their “Rhaenyra good, TG bad” narrative. Those two would’ve had too many parallels and foils for it to work, and they really couldn’t have that, could they.

No, Aegon has to be the villain; Rhaenyra has to be the hero. It’s a black and white war, good vs evil. That’s the story HOTD is trying to sell, and not at all the complex tragedy of a family tearing itself and its dynasty into pieces over greed and idiocy.

[akanemnon]

TWIN RUNES MASTERPOST

Because of the limited amount of links you can put into a post, you can find the links to each page in these sub-posts:

To be continued...

FAQ under the cut!

TWIN RUNES MINI COMICS

Glasses - Frisk Dance - But nobody came - An acquired taste -Smalltalk - All You Can Eat - Page 75 EXTRA - Page 84 EXTRA

AFTER RUNES:

Not-To-Do-List - Beach Episode - Salute the Frick - Morning Routine - The Universe is a Hologram - Trick as a Treat - Taste the Painbow - Dungeon Doofus

PRE-RUNES:

Fallen down - First steps - Press [C] - Eye opening - Whatstheirface - Acid reflux - Connection issues - Normal Human Behavior

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TWIN RUNES - FAQ

What exactly is this AU about? Twin Runes is essentially a comedic crossover AU between the universes of Deltarune and Undertale. No fancy nicnacs. Just the characters being their chaotic selves. But there might be some darkness lurking up ahead... ____________________

When is the next comic? The comic updates most Sundays at 6:30 PM Central European Time. ____________________

Why is this AU called Twin Runes? The name is more or less a play on the typical naming format of most AU's by featuring the "Runes" part. There are no literal Twin Runes. The whole name is more of a stand in for Undertale and Deltarune as parallel worlds. Hence the "Twin" part. ____________________

When does Twin Runes take place? This AU takes place between a hypothetical Chapter 3 and Chapter 4 of Deltarune. On the Undertale side of things, it takes place post neutral route just as Frisk was about to deliver Undyne's letter to Alphys.

How many pages are there going to be? The script for this comic estimates that the comic is going to be 137 pages long (if I don't make any major changes). ____________________

Is the Player a thing in this AU? The Player(s) lost control over both human children as soon as Frisk entered the world of Deltarune. Essentially, the reader takes on the role of the Player. You have no influence on the outcome of the story anymore. All you can do is watch. Both Kris and Frisk refer to the Player as "It" and "the THING". ____________________

Is there going to be a Weird Route? Due to the lack of Player, all choices made by Kris are now their own. How to engage in battle all depends on Kris, and not the Player. Because of that, there are NO DIFFERENT ROUTES. There is only one route and that one is based on Kris' choices. Because of the lack of save points, there is no "what-if" scenario. ____________________

When Chapter 3 and 4 are released, will it affect the story? Any chapters after Chapter 3 won't affect the story in the grand scheme of things. Twin Runes created a new timeline so to speak. ____________________

How old are the characters in this story? Frisk appears to be around 9 years old. Kris thinks they're 14. (Both Frisk and Kris don't know their actual age.) Chara died when they were around 10-11. Susie is around 15-16 (she was held back once) Ralsei appears to be the same age as Kris. ____________________

What's up with Kris' and Frisk's hair? The red bits of their hair is more or less a representation of their souls. That in turn is also why Chara doesn't have that feature. They are soulless. It's a stylistic choice. ____________________

What's that thing on Kris' chest? It's a scar they got from tearing out their soul.

And why do they have weird lines all over their body? Both Kris and Frisk's anatomy resemble that of ball-jointed dolls. They appear just as markings across their bodies. Think of them as elaborate birthmarks. Kris and Frisk are still made of flesh and blood, but are in fact hypermobile. The reason as to why they do is still a little secret :) People here like to refer to these markings as "puppet limbs". You can get a better look at them and the scar in this artwork

Why does Kris have braces? This is why:

Why is Dark World Frisk green? Frisk changes their main sweater colors with Kris when they enter the Dark World.

Can other ghosts see Chara? (pre Darkner transformation) No, only Frisk and Kris are able to see Chara. ____________________

IS KRIS NOW FRISK'S COUNTERPART OR CHARA'S???? :) ____________________

So, was Chara in the locket all along? No, Chara possessed the locket to become a Darkner. ____________________

Where are Jevil and Spamton? Are they in Castle Town? The Fun Gang have already fought these two in the previous chapters and added them into their inventory. Outside of that little dream sequence, neither will be making an appearance. ____________________

Is anyone from Undertale Yellow gonna make an apperance? Outside of a tiny cameo from Clover (that has no greater bearing on the story) no one from Undertale Yellow is going to make an appearance. ____________________

Is (insert character here) gonna go to the Dark World/underground? With the way the story is going to play out, only the main group will be heading to this new Dark World. The rest of the story will be taking place there. ____________________

How did you come up with the idea of Twin Runes? Twin Runes is an offshoot of a separate script I wrote. It's a similar concept but turned on its head. The funny moments in that script made me just continue what now is the start of Twin Runes. I pretty much just wanted to see if I am actually capable of drawing a comic to begin with. So... in a way Twin Runes is my first attempt at a comic ever. If I ever finish Twin Runes, then I know I can tackle turning that mammoth project of a script into a comic too. In the grand scheme of things these two projects are sister series. They have A LOT in common and even share similar plot elements. When Twin Runes is over you will automatically also know certain mysteries of The Other Script. ____________________

What is The Other Script? As of this moment I call The Other Script: "Lost in the In-Between". At its core it's an inverse of Twin Runes. I.e. Kris falling into the underground and being aided by Frisk on their quest to return home. The story and jokes are a considerably more grounded than in Twin Runes and so are the characters. Though they do have their moments from time to time. The overall mood of that script is a lot darker in nature and it's a 200+ page passion project of mine. ____________________

Is there x ship in this comic? The focus of the story is not on shipping. If it's in the game it will very likely be mentioned or brought up, but that's about it. ____________________

What pronouns do you go with for the human children? I try to stick as close as possible to the games so I use THEY/THEM FOR ALL OF THEM WITHOUT ANY EXCEPTIONS.

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ABOUT FAN CONTENT

Am I allowed to make fanart? ABSOLUTELY! You are very welcome to make fanart if you feel like it. Please let me know if you do by tagging me, so I can share it with everyone to see so that you get the appreciation you deserve :) ____________________ Can I use the funny faces you draw for memes or for stuff like memes or for profile pictures? That's what they're here for :) ____________________

Am I allowed to translate the comic and post the translation to a different site? For transformative work like this, please ask me beforehand. If I have given you my permission, please link the original work with the proper credit given. ------------------------

Am I allowed to dub your comic? Just like the point above, please ask for my permission first. That is just common courtesy. -----------------------

If I have gotten your permission to create content off your comic (dubbing, translations, etc...), am I allowed to monetize it? NO. I don't make any money off this comic either, as it is purely fan content.

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ABOUT ASKS

Asks will open for 24 hours after a new comic has been released. Your questions will then be answered over the course of the week.

Try not to submit multiple asks. If necessary, just keep everything in one post.

Keep in mind that I receive AL LOT of asks, so not every question can be answered...

Questions containing spoilers will not be answered on principle. Wouldn't be as fun if the surprise was ruined, right?

Before leaving an ask (mostly for everyone who's new), please make sure to read the FAQ section above. A lot of times your question might have been answered already :>

I love memes and dumb jokes as much as the next guy, but try not to spam

It probably goes without saying, but please stay civil. I want to give everyone the respect they deserve, and naturally like to be treated the same way.

Please be mindful about drawing requests. It is understandable if you're eager to see a certain character drawn in my style, but I do not like to be bombarded by requests. The more it happens, the less likely I am to do it. Be kind and ask nicely.

I don't take unsolicited comic ideas.

Don't use other people's posts that I reblogged to ask me questions! It has happened before and I do not wish to see this!

This isn't an ask blog. The comic has a script that will not deviate. Reader interaction with the characters won't be possible due to the overall "no Player" subplot.

Please do not ask me to put your characters into the story. Like I said, the script is already finished and I'm quite happy with it. Your characters are in better hands with yourself and your own stories. Please have respect for mine.

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ABOUT SUBMISSIONS

The submission box is for FANART ONLY!

It is meant for those who do not want to submit their fanart to their own blogs, in case they feel scared or intimidated to do so.

ASKS AND REQUESTS THAT ARE SUBMITTED THIS WAY WILL NOT BE ANSWERED.

Please wait until the ask box opens. You can read more on how asks work in the section above.

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REFERENCE SHEETS

The following are ref sheets of characters that don't have established Dark World forms yet (as of writing this comic). The list will be updated as soon as a new character enters the Dark World. Here you will also find references of characters that might appear as surprise cameos, or maybe even completely new faces...

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FULL ART

[tyinghershoe]

ੈ✩‧₊˚ Unscented |

Shigaraki’s hands were as soft as Tenko allowed them to be.

Pairing: Shigarki/Tenko x Reader

Genre: fluff/oneshot/drabble

check out my masterlist!

You’d love to one day write parallels about Shigaraki’s hands.

How the fingers that wreaked havoc upon Japan once held you with the lightest touch. That, yes, they’ve caused pain and suffering - but at the same time, you’ve never felt anything softer.

They never said Tenko wasn’t human. 

Your first encounter with him was as expected. Shigaraki was always on guard, his eyes distant as they glanced you over. There was a moment of silence as this took place, the wooden floors creaking each time you shifted your feet, you wondered if this was the only thing he listened to as time passed (there was no room for conversation with just him and himself).

Rumors of the League were whispered in every alley you turned to, and while you never considered yourself a villain, the thought of being a perfect fit for society was just as incomprehensible. You noticed the flaking of Shigaraki’s palms and wondered if he would’ve ever fit that mold. (One day, when you’re both better acquainted, Tenko will help you shape your own).

“I wouldn’t call you a villain,” Tenko whispered to you one night, his voice barely audible over the creaking floorboards. The bar was still, with you two the exception, enclosed between the dim lighting from the lamps above. This was the closest you two have ever been, your fingers gently placing globs of lotion onto the webs of his hands. They weren’t as rough of a texture as you imagined, the skin feeling delicate beneath you. Perhaps it was the brand you bought this time.

Those eyes, once distant and wary, were now soft as they met yours. “You have yet to kill anyone,” he persisted, his tone somber and solaced. “And as far as I’m concerned, you still work a 9 to 5 job, just like the rest of the world.”

“I have yet to pay off a parking ticket.” You confessed, your voice filled with a type of guilt. The alcohol here was less than holy, yet the man in front of you offered acceptance, one that was devoid of judgment. There was a dumbfounded expression as he closed his eyes, allowing you to softly trace the irritation away as your thumbs gently soothed his flaking face - you wondered if this source of discomfort was physical or something more.

“I won’t sell you out.” He deadpanned, before turning to you with a menacing grin, “But seriously, I destroy everything around me. They call me a murderer and yet you’re still here. You’re still here.” Shigaraki grunted, his eyes turning dark and distant as if it were your first time meeting.

There was only a hum of acknowledgment as you finished aiding his inflammation. It’s times like these in which Shigaraki was unpredictable, but you were only ever worried for his sake. Tenko was always an impulsive man. “I’ve never felt safer,” you murmured, rewarding you with a scoff of disbelief. 

“You’ll regret saying that if you ever turn to dust.” He mumbled, the threat empty. His (now soft) hand wrapped around your wrist, yet they held no real malice - you made it a point to ignore the fact that his pinky has always been raised.

-

a/n: How many months has is been since I last posted a fic? My age is showing in the sense that it’s hard for me to sit down and write all the time, but the mha hyper fixation is back, so hopefully the desire to write comes with it! This is my first time writing anything that isn’t Izuku Midoriya, I’m trying to branch out of characters that I’m comfortable with, but I promise I’ll post more of him soon.

Thank you for reading!

Follow me on ao3 @tyinghershoe

[baddybaddyadardaddy]

Okay, I'm going to make a wild prediction about Adar and Galadriel in Episode 8, so strap in.

An overarching the/major motif of the Rings of Power from the very first episode has been, obviously, the interplay between darkness/light.

"To find the light, we must first touch the darkness." / "Before light, darkness must flee, etc."

Adar and Galadriel together are a manifestation of that duality between light and dark and accordingly, I think there's a compelling case for them to team up against Sauron at the end of Season 2.

Here's my attempt at this argument:

PARALLELS BETWEEN ADAR AND GALADRIEL

The show has established a few strong visual parallels between the two of them.

Mourning ritual. Galadriel mourning for Finrod in S1Ep1 is echoed by Adar's mourning of the Uruks in S2Ep7. They even mirror the single tear.

What's more, Galadriel bears WITNESS to Adar's funeral ritual, enforcing the connection of this moment.

Seed planting. Frankly, my jaw hit the floor when S2Ep2 had Galadriel planting seeds in the memorial garden in Lindon, because the shots/framing were almost IDENTICAL to the seed planting Adar does at the beginning of S1Ep6. The sentiments of both instances are the same "life over death," though the words do differ.

Flip sides of the same coin/mirror to one another. The show has also presented us with many instances where they function as mirrors to one another. If not signficant, why do?

Barn scene. The barn scene in S1Ep6 is a PRIME example, when Adar literally calls Galadriel out for the hypocrisy of her hatred of the orcs.

The dinner scene. Adar once again holds up a mirror to Galadriel, pushing back against her notion that "you yielded to him. I resisted." Then they have the shared acknowledgement that without Sauron, the world seems a "dull grey" (GREY, interestingly, a halfway point between dark and light). Adar's face in response to her admission will live rent-free in my mind forever-- it's like he's been SEEN for the first time in his life.

So while Galadriel sees herself as a warrior of light, and views Adar as a creature of darkness, the show does a pretty superb job of showing that both of these characters have light and dark within them in equal measure.

They were both tempted by Sauron and succumbed.

So there is a clear, thematic link between these two from that standpoint.

ADAR'S JOURNEY TOWARD THE LIGHT

Next, I think it is clear Adar on a path toward light/redemption as an elf, and it tracks in a VERY LITERAL SENSE.

First time we see Adar, he is bathed in an angelic light. As he performs the funeral ritual for Magrot, light streams into the Uruk tent.

The shot at the end of S2 Ep1, when the camera lingers on Adar as Gil-Galad's call to the Eldalie commences. Adar feels the undeniable call to his elven past. That camera shot was NOT A COINCIDENCE, and I'm FOREVER FERAL ABOUT IT.

Cavalry charge at the siege of Eregion. Adar is OBVIOUSLY backlit:

There is a dividing line between light and shadow an Adar is RIGHT on the border of it.

When he steps up to take possession of Nenya, the sky behind him is split between a darker side and a lighter side. (You can argue that it's a CREEPY light, but it's still light. There is almost no all-black coloring on him in that second frame when he actually has the ring. For a character that's been head to toe in black the entire series, this is Significant.)

So where does that leave us for the big Sauron smackdown?

My first wild prediction: In an INSANE reversal, Galadriel will be the one to bring Morgoth's dark crown to the confrontation, while Adar will wield Nenya, a symbol of light.

It's not inconceivable that Gal could have smuggled it out of Adar's camp somehow under her oversized Uruk cloak. And Adar, OBVIOUSLY now possesses Nenya at the end of S2Ep7.

I think the fight between Galadriel and Sauron is ACTUALLY a three-person fight; we just haven't seen Adar in the promos because

1. Obvious plot spoilers and

2. HE WILL BE FIGHTING IN A FAIR FORM BECAUSE NENYA WILL HEAL HIS CORRUPTION.

My second wild prediction: This three-person fight is telegraphed in The Last Temptation. There's a new motif (not musical, so unclear if this is the correct term??) that starts around 1:07. It sounds like an aggressive children's choir. Interspersed, we get some of Gal's themes and Sauron-flavored music. I think this new bit could be either a combined theme for Gal/Adar fighting side by side, OR a new motif for a changed/elven Adar. It's aggressive, which to me tracks with Adar's fighting style that we saw through S2Ep7, and it builds and gets more voices added to it as the song progresses. At one point, it blends perfectly with Gal's theme.

Third wild prediction that I hope I'm wrong about: Adar will likely get fatally stabbed during this fight. I could see him giving Galadriel the ring at a crucial moment, in as a redemptive act, which would forfeit any protection it might have offered him, and I think he'll receive a fatal blow from Sauron, but not before we get a much clearer picture of EXACTLY who Adar is. IF they do it this way, it will be a deeply satisying end to Adar's story arc, IMHO.

Last thoroughly unhinged thing I will leave you with:

Nolwa Mahtar translation (from S1), according to Bear's blog:

Finish the war, the darkness, end this suffering

Impossible to pursue, deep in shadow, follow light

Finish the war, the darkness, end this suffering

Bright warrior against darkness.

Obviously this theme plays a HUGE role in S2. I believe the lyrics are different; we don't know what they say yet.

But I have contended all along that this piece has always applied in some way to BOTH Adar and Galadriel.

Galadriel is the bright warrior standing against Sauron's darkness, yes, that image is obvious.

But Adar, a figure who lived deep in shadow, follows light, ultimately finishing his own war and ending his own suffering.

[artbyblastweave]

The Maker I think is an example of comic books generating a character who's incredibly good, but also incredibly dependent on the gnarled sprawling context and editorial meta-context in order to understand why he's good. He's born out of the core tension of the Ultimate Universe- the tension between retelling familiar stories in a way that's accessible to modern readers, and actually doing genuinely new and unexpected things with the characters in a continuity where you had the leeway to do so without having to enact an editorial snapback- and it's not a coincidence that he's one of only two characters who differentiated themselves enough from the 616 status quo to escape the sinking ship that the original Ultimate Marvel eventually became. He's probably not a character that would exist in the way that he does if The Ultimates and then Ultimatum hadn't sent the entire tonal trajectory of the setting into a tailspin, he's the end result of that tension embodied, a character whose backstory you can't even describe without talking about two separate Universes.

Then, of course, you get into the fact that "what if Reed Richards snapped and turned evil" is a character concept that's only legible because of the existing referent of 616 Marvel, where people have been going, "Man, Reed Richards has a lot of character traits that would make him terrifying as a supervillain" for decades. And once you notice that, you get into the issue that in fact, quite a bit of ultimate Marvel was dependent on some recognition of the old thing to recognize why the New Thing is clever. For example, is the ambiguity surrounding whether Thor is actually a Norse God or just a crazy super soldier interesting, without the context of 616-thor for comparison? Is Gah Lak Tus an interesting spin on the world-eater if you don't know about the giant asshole in purple tights? All these characters where the new take is dependent on some knowledge of the original to land effectively (or, in many cases, to understand why the new take is dogwater.)

And then, of course, you get to the Maker's big Plan for the 2023 Ultimate Universe- to pare down and reconstruct a version of continuity that's simpler, more manageable, less chaotic- a metatextual reference to the project that originally created him, and like that project it almost immediately flies off the rails because for good or ill you can't keep an entire setting's worth of plates spinning without some of the participants getting their own ideas and breaking from the script. And what you're left with is a character with an arc about how we're never getting out of here- about how you're never, ever going to be able to escape the weight of continuity, you're never going to be able to reboot your way out from under what came before, and moreover it's not completely clear why you'd even want to- look at all this great stuff we've accumulated! Look at all the thematic parallels we can draw if we bother to remember what we've done! If you're not gonna pull all these ancient threads together why are you even bothering with 60 year old characters instead of just writing something new?

[rwbyrg]

Can we take a moment to appreciate just how well fed we are? Both in canon and beyond?

Oscar said "woah" the moment he first met Ruby.

"Woah. You have... silver eyes". Specifically.

The scene of them sparring at sunset and being goofy about it.

They're the two youngest members of the team, and both of their main allusions are stories about growing up (The Little Prince and Little Red Riding Hood).

Oscar's main allusion is of a character that's in love with a rose. Ruby's last name is Rose, she has a rose emblem, and can turn into rose petals.

They also have shared/parallel allusions from in-universe fairytales (Ex. The Boy Who Fell From The Sky, The Girl Who Fell Through the World, and most notably, The Warrior in the Woods).

The Dojo Scene

Their shared attachments to each other keep being put in focus.

Oscar cared more about Ruby being knocked out than Weiss being impaled at Haven.

Ruby's always watching his back in fights, and he always has hers in group conflict discussions.

Neo, the illusionist character, uses Oscar as both the first and last illusion to torture Ruby; going so far as to make Ruby "kill" him with her own hands. It could have been anyone, but it WASN'T. It was OSCAR.

Meanwhile, Oscar in the V9 epilogue laments to Ruby's "grave" about how he is struggling to hold onto who he is more than ever before. In large part because of the merge, but also because Ruby "always saw people for who they really were", and she's not around anymore to help remind him of who he is.

"You're your own person."

The Almost Hug.

The song that plays leading up to The Almost Hug is one about someone pining for a love they've lost and been separated from across worlds. The song airs a few episodes before Oscar and Ruby are the only "pairing" split up between Remnant and The Ever After. The song itself is called Treasure and Ruby is a type of precious gem, while Oscar's name alludes to gold.

Oscar's last name is Pine. Which, aside from the species of tree, is defined as: "to long or yearn for the return of something; to suffer, typically from a broken heart"(please see points 12 and 15).

They have multiple paralleling arcs and themes around choice, identity, responsibility, leadership, grief, etc.

Their character designs have complimentary colour schemes like other canon ships (red/green and silver/gold).

Sun/Moon ship

"Combat gear looks good."

They also follow the same story beats, separations, and reunions that other canon ships have in show (the meet-cute, the getting-to-know-you, the breakup arc, the distance makes the heart grow fonder trope, the (upcoming) emotional reunion, etc).

The animators, writers, and even voice actors on occasion, engage with fan content or discussions of the ship in a positive manner.

The Official RWBY Twitter Oscars Meme

Miles Luna has said a few times that the ship is cute. He also highlights that their relationship is built on mutual understanding from being in similar circumstances as the youngest kids in the group with too much weight on their shoulders.

Miles also said that in a hypothetical scenario where everyone celebrates Oscar's birthday, Ruby would buy a co-op video game as a present and the two of them would stay up really late playing it together.

Rosegarden won 2nd place in a popular RWBY YouTuber's "Top 10 RWBY Ships" poll as voted by fans after Volume 8 (it would have been third place if Renora and Bumbleby hadn't tied for first).

That one video from Aaron Dismuke, Oscar's VA.

"That kid's got a collapsible staff" -heart eyes emoji-

We've gotten a "Rosegarden Moment" in every Volume premiere since Oscar's debut in V4.

Oscar shouting Ruby's name too many times in the V6 fight against Cordovin.

Maria tells Oscar to "keep that fire fed" after he overhears Ruby talking about food always making her feel better. Then a few episodes later, he suspiciously makes a casserole for the "team" after "they" had a rough day (where he stood up for Ruby when she was looking defeated in a group argument).

Oscar's the only person Ruby opened up to about her grief until the blacksmith. Meanwhile, Ruby's the one who's always assuring Oscar he's his own person despite the merge.

The parallels of Oscar's struggle with the merge and Ruby's ascension in The Ever After.

"I'm just going to be another one of his lives, aren't I?" / "What if you could be anyone?"

Characters within the narrative regularly notice how close these two are to each other. Mainly Nora, Weiss, Yang, Cinder and Neo.

Oscar blushed when Ruby touched his shoulder???

THE FUMBLE?!?!?!?

[buddierecs]

buck & christopher fics

i have had so many requests for fics with chris & buck or buckley-diaz family fics, so i am going to post some of my favourite fics with those two tags, starting with buck & christopher and then when i answer the request, i will add fics that are more specific to what the person is asking for, while linking the fic lists :) these are also buddie fics btw all of these are general audience, teen and up or not rated (no smut). make sure to kudos/comment on these amazing works :)

christopher diaz has two dads okay (series) by: honestlydarkprincess "all my stories that include buck being christopher's other dad, because that's my shit" word count: 61k important tags: buck as chris' parent, buckley-diaz family feels whenever you call me, i'll be there by: ipretendtobesane "five times chris calls buck, and the one time buck calls chris" word count: 8.4k important tags: 5+1 things, tooth-rotting fluff never wanna let you go, know you make me feel alright by: alwaysou28 "four times buck's relationship with chris negatively affected his romantic relationship and one time it didn't." word count: 4.2k important tags: 4+1 things, buck as chris' parent, fluff, pre-relationship buddie i was made for you by: youdrewstarsaroundmyscars "buck’s taking care of christopher while eddie is in texas when chris gets sick and has to get surgery." word count: 5.3k important tags: buck as chris' parent, protective!evan buckley, worried!evan buckley, sick!christopher diaz, team as family the wood marked for your fire by: hattalove "in which buck is used to wanting things he's not allowed to have; it's just that he never thought being a father would be one of them." word count: 10k important tags: buck as chris' parent, fluff rainbows have nothing to hide by: hattalove "how is eddie diaz like kermit the frog? let buck and christopher count the ways." word count: 3.7k important tags: christopher diaz is a national treasure, kermit memes, multimedia this postcard tells you where we've been by: daisies_and_briars "eddie finds a collection of postcards buck sent to chris over his summer in el paso." word count: 3.5k important tags: post season 7, soft and fluffy, multimedia i've seen a couple suns that set forever by: daisies_and_briars "freshly home from texas and faced with the prospect of his dad's feelings for buck, christopher's abandonment issues surface. a conversation with bobby, and realizing the parallels between buck's relationship with bobby, and his relationship with buck, gives chris the perspective he needs." word count: 7k important tags: found family, emotional hurt/comfort, teenager!christopher, post season 7 open our eyes and it's changing the view by: markofalover "christopher writes a poem and everything falls into place." word count: 3.3k important tags: buck is chris' parent, poetry, friends to lovers the parent trap by: abow123456 "evan buckley is 7 years old when his mother leaves him at a gas station, where he meets bobby nash. 20 years later, evan "buck" nash is a firefighter with the 118, when he meets 7 year old christopher diaz at a gas station, after his mother killed herself. he takes the boy in, just like his father did to him, and cares for him. but, when christophers father finally comes into the picture, how will things change?" word count: 53k important tags: buck as chris' parent, adoption, team as family, bobby and athena are buck's parents nothing left but you by: daisies_and_briars "in may of 2021, 25% of earth's population suddenly disappears. including eddie. in may of 2026, they all come back. eddie finds himself suddenly in the middle of a world he doesn't recognize, where the people he loves most have changed significantly." word count: 27k important tags: time skips, temporary character death, buck as chris' dad

[raven-at-the-writing-desk]

YASASHII NO DE

HE CAME IN 20 PULLS……………….. ……… ….. …. . … …. .. .. . . … . .. . .. . . . TRULY YASaSHii OF YOu, GOOD SiR 😭

***Crowley Groovy, chibi sprite, lesson lines, and vignette spoilers below the cut!***

Unfortunately, we do not get any more details on his profile. It’s the same as the profile he had before the update. Age and birthplace unknown, 185 cm tall, favorite food is wild game, and his hobby is vacationing.

SDFHEGYOGYFQEN;jkhaCWIDODB A LOT OF CROWLEY'S LINES ARE VERY CHILDISH OR GOOFY... Like he has one where he complains about Grim eating his snacks, tells on students who are sleeping in class, and gets distracted by shiny objects (which, I guess, is par for the course for a crow).

Crowley cannot attend Alchemy class and does not have Chats. His Buddies are Deuce, Vil, and Grim (with Grim being his Duo Magic partner). Deuce and Vil are interesting choices, I wonder why those two in particular... (Some friends and I were memeing earlier about how "all those characters have single parents so Crowley must be a single parent" and, "Vil is the Evil Queen and Meleanor is a princess of evil", etc.) Crowley can, however, attend the other lessons and it’s every bit as awkward as you think it is. (He has a pre-lesson line where he expresses surprise taht he has to do homework 🤡)

THE CROWLEY DOPPLEGANGER ALLEGATIONS ARE TRUE 💀 He can just straight up run into a clone of himself during lessons… THE DEVS KNEW WHAT THEY WERE DOING, they even goofily have Crowley say, “Oh! Hello, me!” while the other Crowley is in class for the special lesson… THEY KNEW HOW DUMB THIS WOULD BE 😭 (The dialogue states the Crowley that barges into class is a magical projection…?)

Here are some of his chibi sprites, as well as his Groovy candy. Crowley is not only very yasashii, but also very cute!!

He does, in fact, have vignettes but they are unvoiced. The first part is him running an assembly with the dorm leaders present. Crowley discusses the health of an adolescent apple tree in the school's courtyard, and no one seems to be interested in his speech. Malleus barges in late and, in a fit of anger at having not been invited, starts unleashing lightning. Wow, just like how Meleanor shoots lightning at Lilia... Like husband, like wife/j Everyone retires to their dorms, leaving Crowley to deal with an upset Malleus. The second part features Crowley having lunch with the other staff members (Sam included!). Each staff member is eating something different (Vargas is of course having eggs), and Crowley is revealed to have a great appetite in spite of his age. Crewel and Trein wonder how many decades old Crowley is, since he was apparently still headmaster when Crewel was a student and when Trein started teaching at NRC. Finally, Crowley is walking down main street and spots Yuu, Grim, and some mob students skipping class… so he uses his Lash of Love to discipline them! He binds everyone together and proceeds to drag them back to class. (It was surprising, we haven’t seen the Lash of Love since like… what, the prologue? I almost forgot about it.) Crowley alludes to the fact that even though the students joke about him, he is actually a very powerful mage that shouldn't be taken lightly, you know?? The vignettes end with Crowley referring to his students as "apple trees" that he is nourishing and watching over as they grow, which rounds us nicely back to the apple tree he mentioned in his first vignette.

BUT ANYWay HEREmS thE GROOviY in JUICy DETAIL INkjoW YOU WERE ALL WAiTING FOR

It’s so pretty AaAAaaaaaaaAAAAAAAaaAaaAHHHHH 🥺 His grotesquely detailed hand reaching out to the viewer, who appears to be awaking from within a coffin… and do I have to mention the parallel between Crowley here and the mysterious hand that is offered to us in the mirror at the very beginning of the game????? Which could imply that Crowley is beckoning/summoning us into another world... The dim room, light spilling onto the Mirror of Darkness… So atmospheric!! If Crowley knows how to do one thing well and consistently, it’s drama~ The Groovy totally reminds me a lot of the prologue when Crowley tells Yuu to go before the mirror to get sorted. Omg guys... He's posted like Masquerade Malleus/j

One detail I super appreciate in this illustration is that you can see the dorm leaders in the background! If you squint, you’ll realize that there are 5 of them posing exactly like how they are in the following promotional artwork:

The one without a matching pose is Idia, who is present via his tablet. Though… I feel like we’re forgetting something 🤔 … Eh, I’m sure it’s nothing, nothing at allllllllll~

[starlight-bread-blog]

Three Books, Two Characters, One Story

An essay on Zuko and Katara's characters and character arcs

——————

Zuko and Katara, fire and water, red and blue, one rises with the sun, the other rises with the moon. And yet, they are similar, tied together and grew closer than they could have imagined. In this essay I will discuss Zuko and Katara's characters in Avatar: The Last Airbender. I intend to touch on their shared traits and backgrounds, on their development and on their points of convergence in their over overarching story. Now, without further ado, let's begin.

——————

The Common Ground

Zuko and Katara share their core traits and core events in their respective lives. Firstly, their loss of their mothers. Zuko lost his mother, Ursa; and Katara lost her mother, Kya. But if you ask me, it goes deeper than that. For Zuko, the loss was a loss of shelter from the cruelty of his father and the bliss of being a child. In Zuko Alone, we see how Ursa took care of Zuko, played with him, and gave him a proper childhood.

With that gone, he remained almost completely unprotected. But more importantly, he lost his childhood. (It is true that he still had Iroh, but Iroh can help to an extent. He can’t be at the dinner table when Ozai tells Zuko he was lucky to be born).

Similarly, when Katara’s mother died, something in her internalized it. As Sokka says in The Runaway:

We see Katara help fill the void many times in A:TLA. Namely in The Desert, where she takes care of the Gaang in ways ranging from giving her bending water to endangering herself to pull A\ang out of the Avatar State. Katara doesn’t like to be viewed as someone who lost her childhood, as her reaction to Sokka’s speech was to join Toph and go scamming. However, Kya’s death is an integral part of who she became. She wants to cling to her childhood, and she partly succeeds,but that speech was made for a reason. A part of it was gone with Kya.

Another parallel between their similar grief is sacrifice. Zuko’s mother left to save his life from Fire Lord Azulon’s ruthless order. Katara’s mother died when pretending to be the last waterbender of the South Pole when a Fire Nation raid came looking for her. Both of their mothers left because they protected them, saving their lives from the cruelty of the Fire Nation. In these parallel narratives, the themes of sacrifice against them are intertwined.

But beyond their grief, I believe that at their center, they are very similar. Zuko and Katara are filled with righteous anger and empathy even towards strangers. Although clearly everyone in the Gaang is a good person, doing their part in ending the war, it’s not a defining trait as it is for Zuko and Katara. In The Painted Lady, Katara insists on helping a Fire Nation village while Sokka pressures that they’ll leave to make it to the invasion, while Toph and A\ang remain natural. Her compassion clashes with the Gaang. When Sokka scolds her for being impulsive with her attempts to aid the village, Katara angrily responds with this:

Similarly, the thing that kicked off Zuko’s arc was this righteous anger. In The Storm, we learn that Zuko’s scar came from him standing up to a general who suggested sacrificing a division of rookies for an operation.

You can't sacrifice an entire division like that! Those soldiers love and defend our nation! How can you betray them?

It is their shared compassion and anger at the injustices around them that makes them and the way they interact with the world so similar. Iroh described Zuko as “an idealist with a pure heart with unquestionable honor”. How well does this describe Katara?

Moreover, it is not only their anger. They are both incredibly strong willed with how they act on their anger. In The Waterbending Master, when Katara found out master Pakku won’t teach her because she’s a girl, she didn’t give up. She challenged him, a master, to a fight to prove that she can do everything a boy can do. And Zuko’s strong will is almost over talked about. When A\ang escaped his ship, he jumped on his airbender staff. In Zuko Alone, Ursa said to him “That’s who you are, Zuko. Someone who keeps fighting even though it’s hard”.

To sum up, Zuko and Katara’s foundational events and personality traits are parallels to one another. They both lost their mother when they sacrificed themselves for them, and it marked the end of an era for them. They are both driven by compassion and righteous anger and have a strong willed personality. They are guided by their morals first and foremost. They are parallels to one another.

The Development

Zuko and Katara’s character arcs serve as parallels to each other, and bring them closer together. Zuko’s redemption arc is, to put it simply, about unlearning Fire Nation propaganda and coming to realize the horror his country inflicted on the world. In book 2 Zuko sees the harm they caused first hand, and in The Day of Black Sun he fully rejects the Fire Nation.

Zuko: Growing up, we were taught that the Fire Nation was the greatest civilization in history. And somehow, the War was our way of sharing our greatness with the rest of the world. What an amazing lie that was.

He rejects the lie that the Fire Nation is somehow helping the world - that it’s inherently good. His arc was about unlearning Fire Nation supremacy.

Katara’s arc is not as easy to pin down, but it’s nevertheless there. Her arc is about idealism, hope and a change in perspective. Katara started her journey as an idealist, the literal voice of hope in the opening, and with a black and white view of the world - the Fire Nation is evil, and everyone else is good. Throughout the show, Katara encounters both good people from the Fire Nation, and bad people from around the world of Avatar, such as Long Feng, Jet and Hama. In The Puppetmaster in particular she learns that waterbending can be just as destructive as firebending, if not more so. Her arc is about unlearning naivety and Fire Nation inferiority.

The symmetry comes from them learning to lean on the other’s view across the seasons. In book 1, they are rigid in their view. Zuko is still working a full time job tracking the Avatar, while Katara still clings to her black and white view of the world, such as when she had a conversation with a Firebender who told her firebending is inherently destructive. In book 2, Zuko becomes a fugitive and sees the Fire Nation’s horrors for himself, while Katara sees that the one safe haven from the Fire Nation can be evil too. In book 3, Zuko goes back to the Fire Nation to see that it’s not what he’d imagined at all, while Katara goes to the Fire Nation to find people just like her.

Not only are their arcs symmetrical, but they are what allows their bond to flourish. Katara can only forgive Zuko after she’d let go of her ideals, and Zuko can only seek to redeem himself in her eyes after he’d let go of his idealization of the Fire Nation. Their bond is a true testament to their arcs.

The Encounters

Zuko and Katara’s relationship carries a lot of narrative weight. Their journeys are intertwined on many occasions. For Katara, it’s significant that after Katara masters waterbending, it is Zuko whom she has to defend herself to. It’s significant that she sees humanity in Zuko, despite him being the face of the Fire Nation. It’s meaningful that she goes to find her mother’s killer with Zuko, and even bloodbends before him. And finally, it’s meaningful that she spends the 4 part finale with him.

For Zuko, it’s significant that when he truly connects with someone other than his uncle, it’s with Katara. It’s significant that he learns through Katara that revenge doesn’t always help. It’s significant that Katara is the last member he has to earn forgiveness from. And it’s meaningful that jumping in front of a lightning bolt to save Katara is his last act of redemption.

While Sokka and Zuko for instance never interact in book 1 besides some one liners, Katara and Zuko had a subplot around Katara’s necklace. Although their stories do diverge, such as most of book 2, they always return to spend the season’s finales together. They don’t drive each other’s characters forward as much as they represent milestones in each other’s stories. You cannot remove their scenes together and have the rest of the show make sense.

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In conclusion, Zuko and Katara’s characters follow a story of mutual suffering, personal development, and deep friendship. They have a common experience of sacrifice, sorrow, and unflinching compassion. These experiences have narrative weight because they act as development, redemption, and forgiveness catalysts, creating a connection that ultimately serves as a reminder of how far they’ve come.

[sunlight-allergy]

SUCCESSORSWAP — a death note AU || for mattmelloweek day 1 - parallels

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the prompt for today got me thinking about a concept I came up with about a year ago… Death Note has its fair share of narrative parallels, but one I don’t see people talking about enough are the ones between the big 3 of the main cast (L, Light, & Misa) and the Wammy’s House kids from the successor arc.

think about it… Mello and Near are very clearly supposed to serve as each other’s narrative foils to replicate the rivalry between L and Light, exemplifying many of the main duo's character traits & flaws... whereas just like Misa with Light, Matt is Mello’s undying supporter who would risk his life for Mello’s sake... we see the vision right??

their narrative roles are very similar but their relationships are COMPLETELY different, and therein lies the appeal. but imagine a world in which their roles were to change places, swapping with the character who’s supposed to mirror them during the second arc… while maintaining those same relationships they have in canon. and you get:

this! an AU in which Mello is Japan's so-called "perfect top student" hiding his identity as Kira, Matt is a famous idol working as the second Kira alongside Mello, and Near (aka "N") is the genius child prodigy detective hunting them down.

it’s like death note but sillier! and in this universe I’d like to think that everyone else meant to parallel each other switches places as well. (Watari and Soichiro, the Task Force characters with the SPK, the Shinigami with each other, etc.)

but since we're focusing on just these 3 for the time being, here's a little relationship tree I threw together for them:

(sorry in advance if tumblr compression makes this unreadable)

Mello and Near hide a complex rivalry behind a facade of begrudging friendship as they work together to catch Kira (all the while Mello is covering his tracks), Matt and Near are bffs because I live for that shit, and Mello and Matt are partners in crime Bonnie & Clyde style, harboring secret feelings for each other that they mask behind a "fake" relationship.

they're fake-dating for the sake of the case (to cover up them working together as Kira) but wish they were actually dating, you guys know the trope. and I think it'd be REALLY funny if, during the Yotsuba arc in this universe, they forget about the "fake" part of their relationship in the midst of all the Death Note memory fuckery... and just start actually dating because they can't remember that it was supposed to be a facade in the first place LOL

Near is naturally very suspicious about all this (his two biggest suspects having such a close relationship is QUITE the coincidence, maybe not the best coverup after all...) and during the whole Yotsuba arc handcuff thing I think he'd probably rope Matt in too (or Matt would make Near include him because "you're not about to handcuff yourself to MY boyfriend without me!!") which would make for some silly shenanigans (and a very disgruntled Mello)

i have so many more thoughts & stuff written out for this AU so let me know what you think about the concept / if you wanna see some of my in-depth thoughts about their backstories/relationships/or even other characters & who they'd switch places with muahahaha

[amaltheas-garden]

Jon and Sansa will bring the story of Rhaegar and Lyanna full circle:

We have very few details on the relationship between Rhaegar and Lyanna, but what we do know is Lyanna was in an unwanted betrothal to Robert at the time she disappeared with Rhaegar. Whether she went willingly or not is up to speculation. Aside from Robert, most accounts agree that Rhaegar embodied the fairy tale prince-like character (prior to the war). Lyanna wept at the beauty of his music, and was crowned his queen of love and beauty before leaving her family forever. Her story ends alone in Dorne, dying in her bed of blood, abandoned by the man she thought would save her, begging to go home.

It's easy to see then, the parallels between Lyanna's ill-fated romance and the romantic dreams of her niece, Sansa Stark. Although the two share few similarities in personality and hobbies, both became enamored by princes who hide their darker nature, and lured them away from the safety of their homeland, before going to war with their families. However, Lyanna's story ended far from the North, dying in childbirth, whereas Sansa has escaped that fate (even more interesting considering Lyanna's book storyline is a near one to one of Sansa's in the original outline). And, if we recall the very beginning of A Game of Thrones, Robert proposes to Ned that they wed Joffrey to Sansa, joining their houses as he and Lyanna might have. There is a conscious effort on Robert's part to set the past right through the relationships of their children. So right from the jump Sansa is cast as the Lyanna stand in, though she too escapes her "Baratheon" betrothal, and is on course to run straight into Rhaegar's son (as per the girl in grey theory).

So where does Jon lie in all this? If we take the girl in grey prophecy to be about Sansa, we know the two will meet sometime in the near future. Sansa has already become disillusioned of her chivalric ideals of love and knighthood (that's not to say she doesn't believe in heroes and honorable knights, just that she's far more skeptical of surface appearance), and yet, it will be her bastard brother who will embody the traits of the hero Sansa has been searching for. Rhaegar appeared as the perfect prince, yet was the one to kill Jon's mother, and Sansa, in a similar situation, is seduced by the charm and beauty of Prince Joffrey, only to be exposed to his vicious cruelty, narrowly escaping his family (even more interesting to consider Lyanna, had she survived, would not have been Queen, as Elia was still his lawful wife, and would be considered a mistress to the King as there was no chance of her escaping Rhaegar now that she carried his child, similar to Joffrey marrying Margaery, while threatening to make Sansa his mistress). Jon on the other hand is the brooding, solemn, plain-featured bastard, sharing no traditional qualities with that of the typical hero. That is to say, he's about as far from Rhaegar as you could get. And yet, it is Jon who commits himself to defending and protecting those who cannot (Sam, the wildlings, Alys Karstark) because that's who he is. No songs are sung for the men of the Nights Watch, he doesn't gain anything by protecting those others might deem weak, unworthy, or exploitable, but he does it anyway. Jon does not look nor act the part, but the strength of his moral character is what distinguishes him as the unconventional hero of the story.

I would also draw a comparison between the legend of Azor Ahai sacrificing his wife Nissa Nissa and Rhaegar's "sacrifice" of Lyanna, to bring about the third head of the dragon he thought necessary to save the world. After reading @/stormcloudrising's phenomenal metas on Sansa's connection to Nissa Nissa/the Amethyst Empress, I believe the idea of sacrifice will appear again in relation to Jon's character arc. Many in the fandom have speculated that AA/NN and the Bloodstone Emperor/Amethyst Empress are one and the same, the former featuring the sacrifice of a wife, the latter a usurpation of a sister. Sansa already occupies the (false) position as Jon's sister, while Jon has refused to usurp her rights as heir to Winterfell. However, with Jon's parentage reveal, the opportunity of a Jon/Sansa romance becomes possible, potentially elevating her to the status of love interest. And, if we're going with the NN/AE are the same theory, it would mean she occupied the role of both sister and wife. As for Rhaegar, his prophecy obsession is what led to him endangering Lyanna, placing his need for the third dragon above her own safety, ultimately killing her. Jon spends a good chunk of ADwD with Stannis, a claimant to the title of AA/the Prince that was Promised, who similarly struggles with the question of sacrificing one life to save the world, "What is the life of one bastard boy against a kingdom?” (ASoS) To which we already know the answer, Everything. Stannis, like Rhaegar, will fail the moment he sacrifices Shireen to fulfill his "greater purpose". Daenerys is also a claimant to the title, and we will likely see a contrast between how she and Jon approach being Rhaegar's heirs and inheritors of the prophecy. Stannis will lose everything after Shireen's death, the same as Rhaegar when he left Lyanna to die, condemning House Targaryen to death in the ensuing war. Jon will likely face a similar decision of sacrifice upon discovering he could be the subject of prophecy that consumed his father and once honorable king. And just as he refused to usurp Sansa's claim, he will reject the sacrifice of a loved one (lover perhaps?) as prerequisite to fulfilling his role as AA/TPtwP.

Jon's character always comes back to his identity as a Stark. Discovering his true parentage will undoubtedly be a source of inner conflict, culminating in his decision between Stark and Targaryen (spoiler: its Stark). It's a classic case of sins of the father, and how Jon asserts himself as an individual outside of his father's tainted legacy. Jon being the hero to Sansa and helping her return home would effectively resolve the generational conflict caused by Rhaegar's "kidnapping" of Lyanna away from the North. Rhaegar caused immense amounts of pain to the Stark family through his one act of selfish cruelty, which Jon will rectify through one of loyalty and selflessness. And narratively, Lyanna's son being the one to save her niece and return her to Winterfell would just be so chef's kiss.