#there is bad media that's bad like ''has potential i wish i could fix'' or bad like ''literally forgot everything about it the next day''

[chamerionwrites]

Complaint #3722 about TCW is that they made Admiral Ackbar and Saw Gerrera into annoying monarchists

[hazshit-hotel-hater]

Ok a rant about Cerri bomb and how much I HATE her

In the addict music video she was a very supportive friend of Angel and I loved her in the pilot! I wish we got that supportive best friend to Angel in the final product, but unfortunately she is a woman in a vivziepop show.

She’s AWFUL now I can’t stand her, the way she tried to make Angel relapse was so weird like pilot cherri wouldn’t do that! I also really dislike her design it has to be one of my personal least favourites (not the bottom though nothing is worse than alastors design to me) she isn’t enjoyable to watch anymore she had potential if she’d only been introduced earlier! Imagine if she was introduced in episode 4 and played the supportive friend she was originally supposed to be!

And GOD I hate her ship with pentious, it was SO RUSHED, so poorly done and the ship isn’t very “so cute and in love!!” When you remember she showed literally NO interest in him until Angel brought up that he has 2 dicks, and this is supposed to be a romantic relationship we CARE about.

Cherri didn’t need a romantic relationship she needed CHARACTER DEVELOPMENT we needed to get to know her! If you’ve only seen the show and no other Hazbin media at all (which shouldn’t be required you should be able to get all your info FROM THE SHOW) you’d barely know anything about her character or who she is. I wish we got pilot cherri bomb, and that she got a design update, and that her and pent’s relationship was either taken slower or didn’t happen at all

You silly little creature you, you have me writing in my notes app instead of Tumblr because I’m about to go crazy!

Cherri Bomb. More like Cherri what the hell happened

Anyway I’m gonna tackle this one thing at a time, and also forgive me if I word something weird I just woke up an hour ago at the time of writing this.

First thing, design: I personally quite like her design since it very loosely reminds me of Iris from Ruby Gloom with ofc the one eye, the very rowdy personality and kind of the hair, but those are very broad design choices and its just me remembering some random girl I thought was silly but like Iris did it better.

Okay now second thing and then we go into literally everything else: My blog has been an angry pit of despair for everything in Episode 6 as of recent so let’s tap into that again 🤏 just a little. I am going to give my classic centrist opinion and say I don’t mind Cherri Bomb all that much but I absolutely get why people dislike her, and I mean this in the kinda way as people who dislike… Idk Fukuchi from BSD. WILD jump in fandoms but gimme a second. I can’t 100% say that Cherri Bomb in the pilot was better than the series since we have no idea if maybe for some reason she was intended to be like that offscreen, but judging by the pilot and “Addict” alone, it’s very unlikely. I could see her maybe being a bad influence at times and being like “Loosen up dude we’re in hell and its Friday” or something (idk if they have Friday in hell but everyday is probably Monday 🥁) but overall I feel like she’d end up apologising for it. However on the other side of things, I can understand why Cherri did that in Episode 6. Of course not to say this is okay, but Cherri is still very clearly not in the “redemption” mindset. She’s happy the way she is and is really only focused on certain aspects of issues. We see her comfort Angel in “Addict” but thats basically the extent of it. Cherri’s definition of “self-care” seems to be less of actually taking care of yourself and more like just letting go and having fun instead which really only gives a momentary fix to the issue, much like how substances can be abused. Do you kinda see what im getting at? Cherri offering Angel drugs while he’s trying not to relapse is not okay, full stop. But her reasoning as to why makes a bit of sense for her purpose in the show which is honestly not much, since, as you said, she is a woman in a Vivziepop show.

To my knowledge Cherri is like 30-ish years younger than Angel Dust in Hell experience so she’s likely not reached a point where she’s gotten tired of how things work, as well as the fact we don’t really have much of an idea on her backstory aside from that random shot in “Addict” of that guy in a puddle??? But generally she seems to be in a better position than Angel is, so there isn’t really any reason for her to want to change, yknow? I will say I do like exploring characters that are good friends while still being bad influences at times, but I’m going to be honest I feel like thats really not what Angel needs right now. I wouldn’t be as pissy about it if she did end up apologising afterwards (I’m just gonna headcanon she did for my sanity) but even then as Angel’s friend we don’t know like… anything about her. I would’ve really liked to get some kind of callback to the pilot where Cherri mentions she thought Angel was dead until the random Sir Pentious turf war, and maybe we could see her actually being worried about Angel again instead of those 3 frames in “Addict”, but Hazbin is rushed and I guess we don’t have time for that. And also YES it would’ve been great to see her in Episode 4 and actually doing something but again, Vivziepop is boring.

Going forward I would really like to see Cherri, if not become a patron, at least try to be a better friend and sure if she wants to keep doing stuff she can keep doing it, but just don’t encourage other people to relapse. It is very simple.

SIR PENTIOUS! About Sir Pentious, this is going to be incredibly short. I don’t hate the ship but also I’m not really crazy about any of the Hazbin Hotel ships? I also don’t really hate any except for the genuinely horrid ones but thats basic sense. I absolutely agree with you, Cherri does not need a romantic interest. Romance doesn’t always = growth and growth should not always = romance. She needs some genuine character TLC and I hope to god she gets some in season 2. We’ve only seen a few minutes of her so I have yet to give a firm opinion, but as of now I’m just hoping they do something actually interesting with her instead of just alluding to Sir Pentious ship. Also the penis thing. 1. What was that, and 2. It made me and my friends briefly pause to sex Sir Pentious and come to the conclusion he is likely transgender/hj

TLDR; Please give us a fun Cherri Bomb again. ☹️

[davekat-sucks]

This is was supposed to be a simple ask but it ended up getting long because of there being too many question and discussions but barely any answers so sorry about that.

On the topic of WhatPumpkin sometimes we all have to wonder what the fuck is going on behind the scenes, the latest news we got werent that much and it felt more of a like "Hey guys we are still alive dont forget about us" situation and it doesnt help that we cant really get any info because of how the only guy that Im atleast aware that works on it and is online is James and although I have no source because it was months ago, when beyond canon came back I remember him getting asked about Hiveswap and i dont remember if he answered it on the blog or on a reddit qna but he had said he cant really do much about it because hes just the music guy on that department and not an director or writer and he probably cannot say whats going on if hes aware of even the minimum because of NDAs and you know the situation is weird when not even the new director for post canon can do nothing about it or doesnt know what the fuck is going on over there either (i believe its more of the former).

On the same topic Hussie jumping the ship in my opinion feels like such an awful move in a moral and community sense, he hires fucked up people and ends up going through development hell and instead of trying to fix it he just runs away and gives someone else the work. He becasically invited destruction to that place by not doing background checks and shit and now everyone else but him has to suffer for it. I wonder if WhatPumpkin will close business after they finish Hiveswap (if they even manage to finish it) or if their writting quality wont be bad if they try to do Hauntswitch now.

I also sometimes wonder if Hauntswitch was made first maybe things could have been better. Think about it:

It happens on the Human World and you play as a cool kid looking troll and that could open the doors for a lot of potential to explore more about the Earth on the Homestuck universe and its conspiracy theories and also give us more video game parody mechanics.

The whole conspiracy theory Jude had that iirc had even the USA presidents connect to may be right considering the easter egg that shows some sort of cultists standing outside the mansion we see on the background and watching the events unfold.

We would get more answers for whatever the fuck those creatures that attacked the manor where.

another good dog best friend to fill the bec shaped hole in our soul <:

Exploration of what SkaiaLabs exactly does.

Overall sounding like an awesome story itself, a alien coming to earth and fighting a cult related to the presidents with a human companion. Especially considering how Dammek sounds like hes an asshole and also because of how trolls are usually violent could lead to interesting interactions.

I might be wrong and biased though but I feel like that concept could attract more outsiders than Hiveswap could ever wish to do. And hopefully thats it and that I wont waste almost an hour of my life rambling about this stuff (for my own sake because i feel like i could have spent my time better but i also need to post this somewhere and i dont use social media most of the time and when i do its usually to see fanart, memes and overall discussion of my fav franchises) but I probably will in the future.

It's cool with this ask. You brought up many good points here.

Yes, the question about Hiveswap was asked in a Q&A back in October 30th, 2023 from James Roach here (Archive ver for backup). The news about development should be something more like how Toby does with the Deltarune newsletter. Monthly, maybe do a special event ARG thing that gives insight of what's coming up, or anything like that. Though even with that, it might be probably too little too late since we are at 11 years since the Kickstarter had funded. Probably doesn't help since 2 million dollars was wasted, it's a mystery how the game is still being worked on if the original Kickstarter money that was given to them, had been used up. What is WhatPumpkin's new source of income then? Do they have a second job they aren't telling us about? Are they using part of that Patreon money from Beyond Canon since technically there are some that work within Hiveswap too like James? Then there's the fact Hussie not only wasted the money, but basically left the Kickstarter project he started in the first place. He may own it and be credited as the creator, but he won't be involved in the future Acts and Hauntswitch. I'm surprised nobody is pissed at him for scamming them out of 2 million dollars. Do people not care if the original person who hosted it left? Especially with the truth come to light thanks to Gio's research on this. I wouldn't be surprised if WhatPumpkin does shut down because they couldn't gain the sales needed after releasing Hiveswap Act 3. People will probably wonder if even buying stuff from Topatoco would help or not with HS merch like the prints slowly resurfacing. Drawing in the crowds from old and new to play the game will be tough. I wouldn't be surprised if Hauntswitch was first made in mind before Hiveswap. Dammek even had a 3D model ready too.

Likely back when it was still a 3D game, we would control briefly but then after the cutscene of them being transported to the other planet, we would then have to take control of Dammek, have him meet Jude to possibly have him find a way to help him back home, and the pair would adventure on Earth itself for the rest of the game to find out about the monsters and the cult. Dammek's paranoid nature would play off Jude's conspiracy theory pretty well as it has the two involved looking deep into the mystery. I wouldn't be surprised if something about the cult would eventually tie in to his home planet and the rebellion as a final grand twist. An idea like that sounds more interesting than some girl getting lost on an alien planet and was roped into some rebellion that she has no reason to be part of besides being concerned for a friend.

[aveline-amelia]

This might get me cancelled, but idc, so...

Fanfiction is supposed to be transgressive. It is supposed to be about looking at something and saying "I could go somewhere interesting with that", "That was stupid, I could fix that", "I can make that better", "I can make that happen", "I can make them fall in love", "I can make them happy".

It's why one of my fandoms had about 30% more works shipping the main character with her (male) best friend as opposed to the guy she marries in the show. People looked at it and said "That isn't right. This is better". So they made it themselves.

But guess what? Shipping her or just liking her more with her love interest was still more popular amongst more casual audiences. And the fanon shippers were surprised by this!

It's why I am baffled by the things I see stated online.

People thinking that there being more fanfiction about a particular ship means more people ship it, as if one fan writes a fic each and then leaves and as if there are no people who ship it and just don't write fic? Because they are not writers?

People being surprised that main characters are shipped with other main characters more as opposed to a character that appears in one episode.

People being surprised that people can believe a character is straight in canon and still enjoy fanon slash ships where he's shipped with other men.

Of course there will always be more M/M works than M/F works. We have enough heterosexuality in media already and as for F/F, while queer women do write F/F fanfic, there aren't that many queer women in the world statistically as opposed to straight women and even if fandom has a larger number of queer women than average, queer women write M/M works too.

You can believe this is Problematic, but guess what, back then, we were all freaks and weirdos. People would share links on obscure websites because they were scared of being sued. Professional writers would purge all their fanfiction and pray to god no one ever finds out. And if you wrote gay fanfiction? Good luck being taken seriously anywhere.

We went from "ship and let ship" and "don't like don't read" to "supporting this platonic surrogate father-son bond makes you a bigot because the father figure once made an ignorant comment" and "it's problematic to ship the hero with the villain because the hero is scared of him".

Fandom stopped being about Liking and Enjoying things and started being about Fighting People and Proving You're Right and Your Ship is Better. Because if you don't become canon, if you don't Win, what is even the point?

Of course it will be like that, when you tell people shipping something is Activism and not shipping something makes them a Bad Person and shipping something you morally disagree with makes them a Bad Person and more importantly makes you a Good Person for fighting the important battle of stopping people from imagining two imaginary people kissing in their heads.

Shipping is a feeling. Sometimes it's "I ship this, hehehe." Sometimes its "Oh no, I ship this and I wish I didn't." Sometimes it's "I wish I shipped this but I can't." It's supposed to be fun and not a form of mental torture.

It's not a choice. It's not writing fanfiction or making fanart, that comes later, but it's not even a requirement. You can write fanfiction for something you don't even ship! You can write fanfiction for shows you didn't even watch!

And shipping something doesn't make you Better or Worse.

Ship shaming doesn't stop people from shipping something, it only has the potential to make them feel worse for something they, for the most part, can't control. And when the person in question is a literal teenager who also self-harms, it certainly has no potential to do anyone any good.

And it's why when the proshippers see a person like that, a person like them, they welcome them in. "You're with us now. It's your ship. Own it. Come join us." Because they have experienced the same thing and they know they would want someone to stand up for them, too. They won't let you feel as if you're alone. Because you're not and you never will be. You have a community, you just need to look for it and find it.

It's what made me realize that the antis were the bullies. Also, the antis were a bunch of teenagers too, who thought they were doing important activism by yelling at people in caps lock.

So get off your high horse. It's not that serious. Stop talking about it like it's life or death and maybe you will feel better.

It worked for me.

I want the same for you.

And I swear, if someone here starts with "But what about-" No. Let me stop you right there.

[teeth-cable]

Hey. I've seen some of your HB rewrites and their pretty cool. I even like some of the ideas you came up with (ex. Stolas & Stella being political enemies rather than a married couple, imps being intersex & following a binary gender system, etc).

I was wondering if you could give me some writing advice with rewrite stuff. See, I have this portfolio-like series called 'Let's Reimagine', where I revision (i.e. rewrite and/or redesign) a piece of media (be it a show, movie, webcomic, video game, etc), whether it be something I like, or something that while I'm not a fan of, believe that it could've been great (or at least decent) had it been handled better, while also integrating my OCs (including self-inserts) into my revisions as if they were canon characters in said media. This is one of my passion projects that I'd love to bring to life someday, as I wish to make YouTube videos about them when I create my YT channel (which doesn't exist at this point in time) in the future, so for now, I'm starting small by making posts talking about my revisions on Tumblr & Reddit as like a practice run of sorts (like for ex. creating a manga and then having that manga get an anime adaptation, or creating a comic (like a webcomic) and having that be adapted into an animation of some sort (ex. series, short(s), etc), or creating a book or novel and having said book or novel being adapted into a movie and/or series).

I'm also an aspiring writer who wishes to share their stories with everyone for them to enjoy, including 'Let's Reimagine' (where Helluva Boss is one of the shows I plan on reimagining, due to the many issues it's got, especially with the increase of them in Season 2; as much as I like & enjoy HB, I do have to agree that it's kind of a mess, and I get where fans are coming from with its criticisms, especially towards Season 2). However, there are some issues of mine that I feel could detriment my writing abilities & projects (including 'Let's Reimagine') in general (ex. not thinking about potential plot holes, inconsistencies, worldbuilding/lore issues, & questionable/weak/bad writing choices/ideas, rushing into things before thinking & planning stuff out, worrying about my stories not being good enough for anyone to enjoy, feeling inferior compared to other artists & writers, people hating what I make, and thinking the worst possible outcomes; apologizes if that got a little too personal and if I (potentially) made you worried; I suffer from anxiety and have a tendency to get anxious and worked up too quickly, especially when thinking negatively, and trying to be a perfectionist, worrying that if I or my content aren't perfect, then I come across as a failure; but I assure you that I am trying to work on these issues and getting past them for the better).

So, with all that said, do you have any advice in creating & doing rewrites/revisions (ex. planning stuff out, character arcs/development, worldbuilding/lore, plot points, fixing & covering plot holes & inconsistences, fulfilling wasted/missed potential & missed opportunities, avoiding questionable/weak/bad writing choices/ideas, integrating ocs/self-inserts into said rewrite/revision, etc) to any writers out there (including aspiring ones)?

Feel free to respond back to me whenever you get the chance. Thank you and have a wonderful day/afternoon/night. 🤗💕❤️🧡💛💚💙💜💖💕🤗

This is very late, I'm so sorry it took me this long to answer your ask.

Things has changed sufficiently from when this ask was submitted. My HB rewrite is on currently on pause so I can focus on my Hazbin one instead.

I do like the concept of your Let's Reimagine series. It sounds like a fun passionate project in which you experiment with your writing and show tough love for the shows you're rewriting for. I hope soon you'll be able to release your first rewrite for the series.

I have some general writing advice and one specific advice for rewrites I personally use.

Create the world building first

If your rewrite takes place in a fantasy world, I suggest fleshing the world building first before the characters. This is a different world from our, so their rules and lore will affect these characters differently, and you should know why first to explain the certain elements of the both the characters and world. Fleshing the world building first can help create plot ideas and external conflict easier.

Have a Beta Reader

This one is standard. I suggest having a beta reader to review your rewrites and concepts. As writers, we think our stories make sense because we know the context, but to readers who don't know anything, our scripts realistically be confusing at first. Along the same vain, they can help you realize that an idea is underdeveloped or useless. Another good reason is they can offer new and improved concepts and ideas you didn’t or wouldn't think of before.

Be open to criticism

Criticism will help you grow as a writer. You don't have to like them all or listen to every piece, but still keep an open mind because they can and will help you. I heavily suggest being open to criticism specially when you’re writing a topic you have no experience in (Ex: mental illness, addiction, a specific identity). Again, not only will it help you improve, but also portray those topics better.

Rewrite

My only rewrite specific advice is to expand and flesh out ideas and characters, you felt the original show skimmed over. In both of my rewrites, I'm putting a greater focus on the world building, dark character concepts and how they intertwined with each other because the shows barely touches on them. It's your rewrite so do whatever you want with it, don’t feel limitless.

I hope this helps!

[aita-blorbos]

AITA for kidnapping my only friend to save my crew?

Allow me to elaborate.

Me (Twenty one. Gender null) and my crew were investigating a corporate claim on an out system planet when an indeterminate event caused me to lose time. By the time i woke up, my crew had been taken hostage, and raiders of dubious origin demanded i give them a weapon in exchange for the wellfare of my crew. I offered my friend (Age unknown. Gender null), a security consultant, as a weapon; that was a trap.

I met E on an intel-cargo run a few corporation standard months ago, running away from corporate labor, and I allowed it to ride with me, and we became close friends; I helped it get a job, and saw it while it was working, and was almost ninety eight point three percent sure that E could help me rid of the hostiles and get my crew back. It is a very skilled security consultant.

Then the hostiles proceeded to infect the transport with interdicted alien remnant technology, installed adversarial software on the ship's systems, and killed me.

When I got brought back to life, (don't worry about it), E was there, alongisde four of its clients. My trap had worked, and the raiders and hostile system had been taken care of, but i did not take into account that E would be absolutely seething at me. It cursed and insulted me several times between bouts of wakefulness as it got patched up, says i am no longer its friend, refuses to talk to me, forbade me to talk with its youngest client (whom was terrified and needed the comfort), called me a pathological liar, and finally had a 'rage blackout' when i acknowleged that I knew I was putting its clients in potentially lethal danger and hadn't cared, and finally locked itself in one of the bathroom facilities and absolutely refuses to even acknowledge my existance.

It has been eight and a half corporation standard minutes since it locked itself in and I've had no luck. I have tried to establish a secure feed connection about seven hundred times but it keeps ignoring my requests. I even tried giving it a long sleeved shirt to replace its trashed one but it refuses to even look at the thing. And I am terrified.

My crew is very important to me, and it is the first time they have been endagered to this degree. I desperately need E's help to rescue my crew, and if i cannot secure its help i am almost absolutely certain that their survival will not be guaranteed. Furthermore, E's clients, whom have all agreed to help, are survey specialists, and are not versed in threats like these and without E's help, they will most likely perish, and that would just further enrage E. I have no choice. I need E.

Not to mention, E is my friend. I care about its wellbeing. It intoduced me to media and I enjoy its company and insights. I knew that I was sheltered and hyperspecialized to one single purpose, to some extent, but I never realized just how much I had yet to learn. I wish to continue learning about E, about the world. I cannot let our second reunion be this bad without at least attempting to fix it. Its clients assure me that this is going to pass and it just needs time alone. I doubt that. Am I the asshole?? Please help.

[hastings727]

Existential nostalgia

I'd like to get over being nostalgic, please.

I struggle to keep things out of my thoughts, I always have. My former therapist told me it was due to OCD. I don't know if shes right, but I exist this way.

And especially on days off from work, when the house is empty and its just me and the pets, I feel so utterly alone. My kids are school, my wife at work. Here I sit, unable to do anything besides sit on my computer. The tv in our living room is half broken, and the couch is disgusting and needs to be replaced (we finally ordered a new one). So I feel shackled to this desk, to the internet. I'd like nothing more than to go to other spaces in my house, in the area, to do things. But even when I feel well, I'll just sit here most days. Am I addicted to the internet? For literal years, since 06! I have been an internet nerd. But now that I'm older, I just feel anxious everytime I go on it. My eyes hurt, my neck hurts. I've done the correct things, better posture, resting my eyes. It doesn't work. Because I need new glasses. My anxiety doesn't go away because I need medical intervention for it, at this point. I've lived with it all my life, along with any potential AUDHD symptoms that not even my former therapist would nail down.

I honestly just want to live. I'm so tired of being on the edges. I'm so tired of going to take a shower and finding out my apartment complex is "fixing the plumbing" for the upteenth time without notifying us. My neck is killing me because I slept wrong. And our mattress is easily 2-3 years old, and we can't afford to replace it. My GERD is flairing up again and I had to wait until today to buy prilosec because money issues. Even if I worked full time, it would amount to a pittance compared to our bills. I appreciate my family paying our rent, but even with that, we're struggling. I haven't had a medical check up since I was in high school, not to mention zero dental check ups either. I never learned how to sign up for this stuff, so even when I had insurance available, I never did it. I'd just forget it, tbh.

I'm glad I started community college, I'm glad I took these videography classes. I've made things that I'm proud of, and I'm excited to make even more stuff. It's never too late, but good god does it feel like it is. The world feels like its ending every few days, prices of everything constantly growing and growing as wages keep staying the same.

I can't go back 10, 20 years ago and do all the correct things I was supposed to do. I should have tried in school, I should have taken the SAT, I should have gone to community college. I didn't know how to do those things, and my mother and stepdads failing marriage meant that I had zero help while they squabbled. Years later my mother blames me for those failures instead of herself. Maybe she has a point, I was 18, I was an "adult". But instead of helping me with those problems, as soon as I didn't find a job or go to school, I was sent down to Florida to live with my dad. I had spent my entire life in Pittsburgh PA only for her to shunt me down to my dad. Once I was 18, the child support payments were gone. So I guess I was just a money-sucking vacuum to her.

Whats all this sad personal stuff got to do with existential nostalgia? Because on days like this I end up thinking about the past. I think about how I wish I could go back and make the *right* decisions. I watch old stuff, I watch recaps of decades, I look at old pictures and feel sad. Which is okay! If it wasn't a habit. If it didn't occupy my thoughts constantly, especially when i feel pretty bad.

Not only all that, but I feel *guilt* for doing so. I have some of the worst FOMO about so many things. I am constantly trying to keep up with new releases on things I like, and I feel guilty when I forget about an artist I like, I feel guilty when I started rationing out my social media time, I feel guilty for not paying *enough attention* to things. Those thoughts are the worst, it fuels my anxiety and makes me feel so awful, but I can't get them to leave.

I just want to be happy. But my own failures in the past and present are hampering my future, along with the state of the world.

[devondespresso]

i think its also possible that the lack of confidence comes from (or also comes from) that sort of inner perfectionism, that feeling that the fic has so much potential but the way its turning out isn't lining up with that you know it could be, and maybe that dulls your excitement for actually writing or finishing it.

at least thats the type of confidence issue im most familiar with xynxngxngxng. if this is at least part of it, theres a couple things i do to make it easier to keep going

first is the whole trust-the-process mindset. i remember seeing something along the lines of "the first draft is to make it exist, the second is to make it functional, and everything after is to make it good" and i think with pantsing its especially important to keep your first draft(s) low-stakes because the point of them isn't to be a whole fic, the point is for you to discover what's going to happen. its going to be messy, could be completely out of order, incoherent and honestly appalling because its not the final fic.

but the whole trust-the-process thing can be pretty hard to really believe in at the start, especially without any personal proof that it is real. i think drabbles are a good place to start. really really tiny stuff, aiming 500 words but anything under 1000 words, because those words go by so quick you can only focus on one really specific idea and its quick to play around with and refine to your liking! my absolute favorite fic ive ever written is like 800 words, but even if you don't make your favorite masterpiece ever its a solid low-stakes warm-up.

the second thing is some I definitely have to keep working on, but it is essentially redefining what "perfect" means for the fic your working on. because in art perfection is less an achievable quality of the work (because like, theres not a single piece of art out there that everyone agrees is perfect, its all too subjective) and more like a feeling. you look at the work and you notice things and depending on what your focusing on it either feels amazing (reading other ppls fics usually jztnxn) or feels imperfect.

and to help with that, i try to think about all art (especially my favorites and my own work) in terms of what the appeal is, what makes me and other people love it. its applying the thought process you use to appreciate your favorite fics to your own fic, taking off the nitpicking-hyper-critical author glasses and see your art more clearly. i love analyzing media anyway, but i feel like seeing flaws in art and understanding that it doesn't have to detract from how incredible it is has helped me be more forgiving with the imperfections i find in my own work.

and reallllll quick last little tip: if you can, find a writing buddy!! it doesn't have to be a big group, just one person to cheerlead while you build your writing confidence back up!! there are betas out there that help cheer you in while writing or you can ask a friend if they wanna trade cheering (you hype them and they hype you, if you're the type to feel kinda bad about asking for betas/cheer-readers, ive totally been there). it helps so much having a strong positive voice as backup while you're wrestling with that nasty little mean one in your head

its totally cool if none of these help fix the problem entirely, every writers different, but there is going to be some way to get through this, even if it takes a lot if trial and error and digging, even if you end up pioneering a technique or thought process or habit to figure out how to get your feelings on the same page as the things you know logically.

you're doing great and i wish you the best for getting back into writing again!! 💕💪💥

Hi! I have a writing related question. I have a major problem finishing things, specifically the second half or last third. I'm a pantser, and have tried planning to help fix the issue, but it's just...not my style. I plan and it all changes anyway. This problem has been going on for a long time and by now I'm fairly sure the culprit is psychological/lack of confidence. I know logically this is a common occurrence and I likely just need to push through, but I simply can't do it, most of the time even with shorter works (I then feel worse about myself as a writer, which makes the problem worse, etc). I guess what I'm asking is, if you or anyone has been in this situation, and some general tips or words of wisdom lol. I know the issues, but still can't seem to fix it. It's affecting my ability to write and now I can't even start stories like I used to either. It's making me miserable. I love writing and want to have it "click" again; right now I just feel sort of broken, creatively speaking.

I'm not very fandom social but I do read this blog all the time, it's a gift. So helpful on so many different topics, and I felt comfortable finally reaching out here ♥️ Thank you for everything you do here

I think you know part of the issue. You know that you can't finish works and you know that planning doesn't help you. You think there might be a lack of confidence, but you don't seem all that certain about it.

I think you should dig in a bit more and see what the actual culprit is.

Are you worried that your writing is bad and will be poorly received?

Are you worried your story is too niche and no one will read it?

Are you worried that the things you write might lead to harassment or bullying of some kind?

What you'll notice about all of those things is that the worry is about how other people will react to what you've written. That's something that's completely out of your control.

To get back to the joy of writing, try writing something just for yourself, with no intention of posting it. See if that helps you get to the end. Often people who have issues with perfectionism or shame or anxiety will put off finishing projects because they want to avoid the judgement that comes after something is finished. If it's never done, no one will tell you that you did a bad job.

If you're like me, then planning is the opposite of helpful because as soon as the plan is in place, it feels like the story is already written. Instead, try working with a plotline that has lots of different ways that it can go. Make it into a kind of "choose your own adventure" but for you, the writer. As you get to each stage in the story, leave choices open so that you can go left or go right - but you can also go up or down or swing in a circle.

Refocus on the parts of writing that feel more like play than like work and do more of that. Reconnect with the joy of it. Then, when you actually like it again, you can figure out whether you actually still want to post your works and how you can deal with your worries then.

*hugs* it's a rough spot right now, anon, but I think you'll get through it. Let's see what advice the rest of the blog has to give.

[thebluewritingbench]

if you’re still taking prompts, can you do happiness #1?

Before we launch into 6b next week, here's a small fantasy of a scene that I wish the cw would give us. Happiness #1 from this prompt list again.

“I’ve loved you since the day we met.”

“Alex calls it The Honesty Policy.”

Lena takes the mug of hot chocolate Kara offers, cradling it between her hands. “The Honesty Policy?” she asks, as Kara sits down on the couch beside her.

“I imagine Kelly probably fed it to her,” Kara says. “But she was helping me try to figure out how we could get ourselves… well, back to normal, after everything, and she was really insistent that this one was worth a try.”

“What is it?”

“Exactly what it sounds like. No more secrets,” Kara says, tapping her own collarbone, then fixing her gaze pointedly on Lena. “No more lying. We tell each other things. We’re honest. We trust each other with our secrets.”

Lena nods, looking down into her mug of hot chocolate. The dim lights of Kara’s loft glow orange across her cheekbones, and in the silence, the sounds of late-night passing cars rumble up from the street below. It’s the first time they’ve really spent time truly alone together since… well everything.

There’s still a lot of awkwardness between them; turns out secrets and betrayal and double-crossing—and the fact that forgiveness was barely hatching between them when Kara was banished to the phantom zone—will do that to a friendship. There was the initial hug, of course, after Kara was rescued, when Lena wrapped her arms around Kara and buried her face in Kara’s neck and held her so tightly that Kara was certain she’d never let go, her breath coming in ragged gasps and her whole body quivering. It was somewhat surreal, the warm shock of having Lena in her arms after so many months, her hair against Kara’s cheek, the muted scent of her shampoo. They’d sank to the floor, still holding each as the ship creaked around them, and stayed there for god knows how long in each other arms.

But since then, since that initial wordless embrace that felt as much like coming home as anything, they haven’t known what to say to each other. They work together easily enough, the animosity between Supergirl and Lena finally gone, but it’s more difficult when they’re just Kara and Lena. They’ve forgiven each other, Kara thinks. Or at least agreed to forgive each other, even if there’s still work to be done. But it’s weird. It’s not like they can snap straight back into how things were before.

Hence The Honesty Policy.

“Okay,” Lena says finally. “Yes. No more secrets. A clean start.”

A clean start. It’s what they need, after an entire friendship where one or the other of them has been hiding things. For the first time, everything between them will be out in the open. Nothing left to hide.

It’s oddly freeing.

Kara takes a sip of her hot chocolate. “So, where do we start?”

“Start?”

“I think we should have just an honest conversation. I don’t want this to be awkward anymore, I want to be able to talk to you like we used to. So, in the interest of honesty, tell me something you’ve never told me before. It doesn’t have to be big—” she adds hurriedly, when Lena’s eyes widen in alarm. “Something small. Something tiny you’ve never had reason to tell me.”

Lena nods slowly, thinking. “In the interest of honesty…” she starts. “In the interest of honesty, I… I really think that those bangs were a mistake.”

Kara makes a noise of offended disbelief in the back of her throat. “I—Rude!”

“You said to be honest!” Lena says, biting her lip like she’s holding back a laugh. “They’re growing out now, anyways. It looks much better.”

Kara gives her bangs a self-conscious pat. They’re still at a slightly awkward length, but they’re long enough to blend in semi-decently with the rest of her hair now. “If we’re being honest, then,” she says. “I think that blouse is really ugly.”

Lena looks down at herself. She sounds slightly hurt when she says, “What’s wrong with it?”

“Everything! It’s—the pattern! The sleeves! The collar! It looks like it’s made of cheap polyester.”

“It’s designer!” Lena pouts.

“Who designed it?”

“Well, I thought that blazer you wore last week was kind of hideous. I didn’t say anything at the time, but in the interest of honesty…”

Kara laughs, and Lena’s irritated expression melts away at her laughter, something in her eyes softening. It’s an expression Kara’s been seeing on her more often, in moments she catches Lena watching her when she thinks Kara isn’t paying attention.

She’s always paying attention to Lena.

“Maybe we should just agree to say that we both have questionable fashion taste sometimes and call it a day,” she says, downing the rest of her hot chocolate and placing the mug on the table.

Lena takes a dainty sip of her own still mostly filled mug. “Fine.”

There’s a long pause, and Kara taps her fingers on her pant leg and tries to think of a new conversation starter. She finally settles on. “In the interest of honesty… how are you holding up?”

Lena shrugs. “I’m okay, I suppose. I’m anxious about Lex—I know it’s only a matter of time before he’s back on our heels. Mostly, I’m just glad to have you back.” She looks over her mug at Kara. “I think that’s more a question I should be asking you, though.”

The look of intense concern in Lena’s eyes makes her feel hot, and Kara squirms slightly, pulling her collar away from her neck with a finger. She wants to say I’m fine, but honesty is the whole point of this exercise. “I’m… still not great. Being back there it… brought up a lot. Brought back a lot. I’m still having a really hard time with it all. It’s—it’s hard to talk about.”

“We don’t have to talk about it right now.”

“I want to talk about with you at some point. I just… don’t want it to ruin every conversation I have, you know? I want some things to be normal, still. I want to pretend things can be normal.”

“That makes sense,” Lena nods. She looks small when she says, “In the—in the interest of honesty, are you still mad?”

“At you?” Lena nods again, and Kara sighs, looking away. “It’s complicated, I guess. A little, maybe? I meant it when I said I forgave you, but there’s still part of me that’s a little angry. You did a lot of things that were… really bad, Lena.”

“I know.”

“Are you still mad at me?” Kara asks, and Lena’s shaking her head before she even finishes the question.

“No. No, I’m done being mad at you. I get it. I get why you hid your identity, and I wish you’d told me sooner, but I’m not angry anymore. I don’t have enough energy to be angry anymore. I’m happier if I don’t hate you.”

“Well, I’m glad for that.”

“I would have done anything to get you back, you know,” Lena says in a rush, words spilling out like she can’t stop them. “You say I did bad things before, but I would have watched the world burn if it meant I could have brought you back.” She looks down at her lap. “Who knows what I would have done if Alex hadn’t been there to stop me.”

“Lena.” Kara reaches over to take her hand. “You know I can’t possibly be mad at you for that.”

“No?”

“Of course not.”

“Okay,” Lena whispers. Kara watches her swirl around the dregs of her hot chocolate and takes a deep breath.

There’s still one more secret between them. One more secret that has the potential to ruin their friendship. Kara thinks they’re both aware of it, on some level. Aware of the way the weight of it shifts their every interaction. The others are aware of it too, have maybe known longer than Kara has. Alex certainly has. It was she who looked Kara in the eye when they were discussing this whole honestly policy and said, “You have to tell her this. You know you do.”

She can’t risk another secret in their relationship.

“Um, in the interest of honesty,” she starts, and finds she can’t quite meet Lena’s eyes. “I have to tell you—in all honesty, I would probably just keep it a secret, if I could, but I don’t think we should do secrets anymore, so I just need to tell you that I, um, have feelings for you.”

Lena straightens. “Feelings?” she says, her voice cautious.

Kara closes her eyes. Takes a breath. Steadies herself. Opens them again. “I’m in love with you,” she says. “Um, nothing has to change if you don’t want it to, but I need… I need you to know.”

“Oh,” breathes Lena. She opens her mouth, and it seem to take several moments for the words to catch up with her. “Well, in—in the interest of honesty, Kara, I’ve—I’ve been in love with you for years.” She gives a wry little half smile. “If we’re being honest.”

“What? You have?”

“Darling,” says Lena. “I’ve loved you since the day we met.”

“The day we met?”

“Why do you think it hurt me so badly when I found out who you were? Why do you think I was so deep in denial about it that I never figured it out myself? Do you really think you were that good at hiding it?”

“I mean, I thought—”

“The disguise. The hair. The glasses.” She puts down her mug, then reaches over and gently tugs the glasses from Kara’s face, folding the arms in and placing them on the table. She brushes a strand of hair behind Kara’s ear. “You mentioned Supergirl far too much as Kara and Kara far too much as Supergirl and one time you told me you flew to my office on a bus.”

“That’s—yeah, that’s fair, actually.”

“You’re in love with me? Honestly?” whispers Lena.

“I am. I really, truly am. Why do you think I refused to give up on you when everyone else was ready to?”

“I thought that just how you are. You don’t give up on anyone.”

“I try not to. But you, I could never bear to, even when it seemed like the only logical option to everyone else. Why do you think I waited so long to tell you in the first place? I was so scared to ruin things between us.”

“Why do you think I bought you an entire media empire?” Lena murmurs, and she’s so close, hand fisted in the collar of Kara’s shirt.

Kara giggles. “Why do you think I flew all over Europe to get you lunch?”

Lena laughs, and it’s such a relief to hear her laughter again, to let the conversation flow between them. There’s a bud of hope for the future that’s been sitting in Kara’s chest for years now, and under Lena’s adoring gaze, it starts to open.

“In all honesty,” Kara says, “I’d really like to kiss you right now.”

Lena slips a hand into her hair, runs her thumb over Kara’s cheekbone. “In all honesty?” She leans in, pressing their foreheads together. “I’d like that.”

[themissinglynx]

Potentially hot take: adaptations of written media should act as, in some way, fix-it fics of their source material.

What with the new WCAnimated casting call, it got me thinking about the future of the project and the nature of adaptations as a whole.

Let me get into a side-tangent, I swear this is important.

I watched the anime Beastars back when it was released in 2019 (well, I watched it in 2020, but shortly after it was released). Excited for the next season, I went ahead and read the manga up to its latest release.

Then the manga's ending came out. And people were rightly pissed at the series' resolution. Character arcs were foregone, societal notions went in backwards directions, and I'm having a really hard time wording this without spoiling anime-only fans.

Now that the anime has a complete manga to draw from, it has every opportunity to take what the manga failed in doing and avoid that or rework it. Although in all honesty, they really should've written the snake out. What narrative purpose does she serve? Nothing. You can write her out and replace her scenes with something else with the same result.

I've been rereading The Prophecies Begin, and there's a lot of bad writing, illogical plot directions, lore that never gets touched upon, and a heavy dose of Early Installment Weirdness on top of it that drag it down. In light of this, I desperately wish that WCAnimated does what it can to add fix-it fic elements to its adaptation of Into the Wild (and, if it's doing the rest of TPB, to the rest of its plot).

Some suggestions I'd make include:

Enable Dustpaw and Sandpaw to become warriors before Firepaw and Graypaw. Also wait about three more months for Firepaw and Graypaw to be apprenticed. At the bare minimum, two months.

Let Frostfur's kits all be apprenticed at once. Not in Fire and Ice. Similarly, let them all graduate at roughly the same time.

Write the kittens (Frostfur's babies, Brindleface's babies, Swiftkit, Lynxkit, and Mistlekit) to have more of a presence.

Similarly, give Rosetail a presence, or say she died before Into the Wild.

Write the nursery more like the modern nursery, Frostfur is there because she has her babies to take care of while Speckletail and Goldenflower are "perma-queens" as the fandom likes to call them. May I propose the name "matriarch"? Brindleface isn't pregnant yet, and hasn't had any children of her own, so she can be a warrior in Into the Wild.

Have Lionclan, Tigerclan, and Leopardclan come into play more often. Let Fireheart hear of more tales of the Mythical Clans rather than just being mentioned every other book and then forgotten once the arc's over. One could take the Watership Down approach by having the mood of the tale play into the upcoming events, much like the placement of the story of El-ahrairah and the Black Rabbit of Inlé. It's more interesting than the thirty-thousand hunting and patrol scenes where nothing of import happens.

Have Fireheart tell people things, but have people not act upon his warnings for damn good reasons, or at least have them try, but fail to do so in time.

If you're keeping all of Graystripe's actions from Fire and Ice to A Dangerous Path intact, I strongly recommend he should not be chosen as Firestar's second deputy. Instead, I'd advise the team to make Longtail Firestar's deputy for sticking to his Clan, actually investing more than enough time into his apprentice, and it'd close up a nice little redemption arc for Longtail. In this vein, I'd like Longtail to get a proper redemption arc.

Kill Brokenstar at the end of Into the Wild or Fire and Ice. This BS about "If we kill him, we'd be no better than him" is stupid and they should've just shoved yew in his mouth the moment they had him. He murdered kittens, and he later went on to provide the tools Tigerclaw needed to throw his coup. Kill that heartless son of a bitch.

Instead of exiling Tigerclaw, sentence him to death. He can get away from his execution and cause fear and worry like normal.

Snowkit still has a good shot at being a warrior, so let him live long enough to be apprenticed. Brackenfur's willing to take him on, let him. Speckletail doesn't have to move to the elders' den since she's too old to care for kits. She can move since she's just old, and still care for her son.

Let Sandstorm mentor Fernpaw or Tawnypaw. Preferably Fernpaw. Fireheart gave Ashpaw and Fernpaw to Dustpelt (good choice) and Darkstripe (bad choice), then took on Bramblepaw's training and gave Tawnypaw to Brackenfur since he was scared Tigerstar would lash out at her.

Properly explain the family tree and have characters react to each other with those proper dynamics. Have Bluestar and Whitestorm properly act like aunt-and-nephew (with that undercurrent of adopted mother vibes). For the family tree's sake, I'd advise to ignore Dustpelt being Ravenpaw, Frostfur, and Brindleface's brother (and Ravenpaw being the girls' brother for that measure). Treat Redtail and Sandpaw like actual father and daughter (it's your decision if you want Brindleface as her mom).

After getting comfortable living as a barn cat, have Ravenpaw either drop the -paw and just go by "Raven" or gift himself a proper warrior name like "Ravenwing".

Tigerstar could actually be faking the fact he's blessed with nine lives, threatening Runningnose into silence about it. Scourge doesn't kill him nine times over, it could just be an incredibly grievous wound.

In that vein, Nightstar could have eight lives like Sunstar did. Maybe because of his age and with greencough and carrion-sickness ravaging the camp, he dies multiple times over. Maybe Tigerclaw discreetly kills him?

[fakecrfan]

Do you think Basira and Daisy had a healthy relationship?

I am so glad you asked! I have had a lot of thoughts about their relationship, but had decided to shelve those thoughts because I was worried it would come off as me telling people to not ship Daisira, which is... not what I want to be doing. But you sent me an Ask and so I am compelled to answer!

My answer is: no. Their relationship is toxic in one of the most interesting ways I have seen portrayed in media.

This might be a bit confusing to hear, though. Normally when we call a relationship toxic, it means that one or both of the people involved are making each other feel bad. But Daisy and Basira seem to make each other feel... good. Basira is apparently Daisy’s last human attachment, and according to Elias in MAG 92, and “not being able to see Basira again” is one of Daisy’s biggest laments in the coffin. And on Basira’s end, Daisy seems to make Basira feel... secure. Supported.

From MAG 117:

BASIRA

But at least Daisy’s coming. I mean, I know she’s… difficult. Everything they say about her, it’s true, it’s fair. But, she’s solid. She’s a… a fixed point, and if she’s there, I know exactly where I stand, exactly what I’m doing, relative to her.

From MAG 178:

MARTIN

We’re here for you.

BASIRA

No. She was there for me.

So, “attachment to humanity” “support” and “security” are good things in a relationship, right? Their love for each other (whether you read it as completely platonic or not) seems genuine, and they put each other first. That should mean that their relationship is Good!

Wellllllll no. Sometimes, a relationship can feel good while also... trapping you in a harmful cycle, or stunting your growth as a person. Think: a friend who is charming and fun who you love to drink with--to the extent that, even when you’re trying to manage an alcohol addiction, you end up going into situations with them that trigger your urge to drink. Also think: a friend who keeps bringing you sugary food even after you’ve been diagnosed with serious diabetes with potential life-altering complications--because you like donuts, they used to make you so happy.

Daisy and Basira are that to each other. In particular--Basira’s attachment to Daisy draws Basira back into dangerous situations and, by extension, causes her fall deep into that “siege mentality” that shuts down Basira’s more thoughtful side. 

When Jon confronts Basira about Daisy’s crimes in MAG 178, this exchange occurs.

MARTIN

[Loudly] Enough. Enough! Someone has died! Show some respect. Or don’t you care?

BASIRA

[Incensed] Of course I fucking care!

…

[Quieter] That’s the problem.

MARTIN

I… I don’t understand.

BASIRA

I just… I don’t need him laying everything out for me like I’m some kind of idiot. I know, all right.

I don’t think Basira is making anything up here to make herself seem better. Basira already knew there was a problem with the police, before Jon confronted her. She already knew Daisy was corrupt to some extent, even if she had trouble facing it head on. And--she already cared.

That’s why she quit. She didn’t need a revelation from Jon or anyone else to open her eyes. She didn’t even need to see harm happen to an innocent bystander. Instead, she saw how the higher ups were covering up the killing of Maxwell Raynor, of all people--

BASIRA

They’ve given us a few days ‘compassionate leave’. I think they just want us out of the way while they figure out the official version of what happened.

--and she quit after that. 

So, here we already have someone who is coming into an understanding of the police as a flawed system without anyone needing to tell her. Here we have someone who is already extricating herself from that system, because she cares about her impact on other people. From this point, she could easily have gone her own way, taken time to reflect and never hurt anyone again.

So what brings her back into the whole mess in MAG 88?

BASIRA

I’m looking for Daisy.

MARTIN

Oh for – Okay, I don’t know where she is! I don’t know where anybody is! Why does everyone… okay, why does everyone think that I always know where everyone is, all the time?!

BASIRA

Alright, okay, alright, sorry. They just… well, they said at the station that this was the last place she checked in.

--Her relationship with Daisy, of course!

She wants to leave the supernatural and the police behind. She tells Jon the Institute is bad (MAG 73) but she walks back in because she’s worried about Daisy. And then she throws herself right back in the fray to stop Daisy from killing Jon. Shortly after that, Basira has to sign herself off as a hostage to Elias…

ELIAS

She’s quite the killer, your partner. All in the public good, of course. And she was correct, I spent some time acquiring that evidence. Or creating it. And while your superiors don’t much care about the killings, the fact there is proof… They’re not happy. And they want you brought in.

--because of Daisy’s murders, Daisy’s reckless actions giving Elias leverage. Basira throws herself in with Daisy, and it draws Basira right back into a world of violence and the paranormal that she was trying to quit. It motivates her to, once again, cover for Daisy’s errors and justify them. This takes away any chance Basira could have had to gain distance from the violence, reflect, and get some perspective. Instead, she’s thrown right back into the siege. 

Basira doesn’t even show any sign of frustration with Daisy at this. It’s not that Basira is 100% meek. We see her get frustrated with people later, express grievances, and hold people accountable later--but with Daisy she doesn’t do any of this. Instead, she immediately re-affirms that she’s on Daisy’s side.

BASIRA

Daisy, it’s… it’s okay. We’ll figure something out.

Of course, it’s not a one-way street, either. It’s not an uncomplicated “Basira good, Daisy toxic and bad” story. It’s a mutually reinforcing cycle where they are both complicit. We see that in season 4, when Daisy tries to stop feeding the hunt.

People like to rag on Basira for her actions in this season but... her actions are actually also more complicated than a simple story of “Basira sabotages Daisy’s progress.” Because Basira misses the more resolute Daisy, yes, and wishes she had a strong protector instead of another person to help... but even with that, she’s still willing to support Daisy’s progress away from the Hunt!

In MAG 133:

ARCHIVIST

You’re not happy she’s back.

BASIRA

I didn’t say that, John. I will never abandon Daisy, and… having her back is… (she sighs) But right now she’s dead weight, and I need to be able to travel light.

Basira wants someone powerful to protect her, is conflicted that she doesn’t have that but still will never abandon Daisy regardless. And, true to her word, she does support what Daisy is doing.

From MAG 140:

BASIRA

We’ve talked about it. If the Hunt takes her again, we don’t know if she’s coming back. And neither of us want that.

In MAG 146, she even praises Daisy’s path of resistance.

BASIRA

You didn’t know what you were doing.

[Daisy makes a pained sound, as if to contradict her, but stops.]

BASIRA

And since you did, you’ve spent every waking hour resisting.

So, Basira is--true to Elias’s word--being Daisy’s anchor to humanity. True to her own word, she’s having Daisy’s back, supporting her decision to quit the hunt even if it means Basira has less back up. So what changes?

MAG 155:

BASIRA

Because I’m not going to lose her.

ARCHIVIST

She goes hunting again, you might anyway.

BASIRA

And if she doesn’t, she might die.

Even at this point, Basira’s worst impulses are always about Daisy. Even when she undercuts Daisy’s progress, it’s about Daisy’s wellbeing. All she wants to do is make sure Daisy’s alive and okay, and to that end she will throw out all of her rationality and moral principles.

And then, when Daisy does finally give into the hunt, it’s for Basira.

It’s... funny to analyze and critique this behavior, because I have seen this sort of behavior in Jon/Martin fics treated as a sweet and romantic thing. You know, the “I want you to keep being a monster because I don’t want to lose you!” thing. And also the “prioritizing each other over everything else in the world” thing. Because the concept of unconditional support, of putting another person first above everything else in the world--it’s an alluring one.

But with Daisy and Basira, even though their relationship isn’t necessarily romantic, we see how harmful that mindset can be. How someone can care for you, prioritize you, make you feel like the whole world, and... the main effect of that is to stunt you, to give you so much comfort you never get out of a harmful cycle or change your behavior at all. How it can cause you to enable horrible things in the world, like police brutality. 

That is the story of Daisy and Basira’s relationship. It’s about the effects of this cycle on Basira--yes, Basira specifically and not Daisy, even though the cycle is mutually reinforcing and affects them both.

Basira appears in nearly twice as many episodes as Daisy. Because of this, Basira is the one we see discussing the relationship and what it means to her. Basira is the one we see grappling with the psychological fallout of their relationship. It’s more Basira’s story than Daisy’s--not because she’s the “victim” or that she was morally pure but because... Basira is the one who ultimately grows past this.

After episode after episode of “she needs me” and “I can’t leave her” and “I can’t let her die”--after Basira endangering herself and stunting her own growth by centering Daisy

DAISY

Partner… Come…

[MORE FOOTSTEPS]

BASIRA

Not now. Not after everything.

--Basira finally breaks free, and moves on.

[fireemblems24]

Post Grondor Field AM Analysis

I'm prefacing this by saying that I'm still not sure I can write a good analysis of this scene for two reasons:

1. I don't know what comes after, and

2. I'm very emotionally involved in what happened.

But I tried my best. One thing is for sure though, what happened in Grondor in AM was an incredibly significant turning point for AM and Dimitri and my thoughts and analysis on it will definitely expand as I keep writing about and playing the game.

Part of me is just so happy I got to see Dimitri's supports, have the inevitable turn around, and get to do things like tea and dinner time again that it's hard to be objective about this scene.

And by "this scene," I don't mean that actual fight at Grondor, but everything from Fleche's attack to Byleth's words in the rain later.

It wasn't all about Byleth . . .

Given how poignant Dimitri's character arc has been so far, I had a deep rooted fear player-pandering would ruin it. Byleth, as a concept, isn't bad, but too often the heaps of praise feel underserved and other things (like Claude's intelligence, Edelgard's relationships with everyone else) get ignored to make more room for player-pandering.

Thankfully this did not happen. Byleth, throughout the early chapters of AM's part 2, failed to reach Dimitri. And, honestly, seeing Byleth actually struggle for once has done wonders for how I view her character. Still, I worried that player-pandering-power, rather than something that felt earned, would cause the inevitable eye-opener for Dimitri.

But it wasn't just Byleth. Fleche's vengeance kicked everything off, what veered Dimitri away from his fate in other routes. He accepted his death at her hands, not bothering to defend himself. Rodrigue stepping in the way and his parting words forced Dimitri to confront things he'd ignored. Throughout AM so far, people have posed questions to Dimitri who refused to answer them because he didn't want to face what they asked. But Rodrigue dying for him, spending his final words telling Dimitri to live for himself - combined with Fleche's attack - forced Dimitri to confront things he avoided. It wasn't until after all of that when Byleth steps in.

And Byleth didn't "fix" him either. Dimitri's supports show a young man who's still very much struggling with his mental health, poor self-image, his previous actions, and wondering if he deserves not only to live for himself - but if he even deserves to live. Byleth didn't hand-wave Dimitri's problems away.

Everything about the scene is stronger because it didn't fall back on player-pandering, but more earned, realistic, and dramatic actions and consequences - including Byleth's involvement which felt far more earned than usual because of prior failure.

But I wish Dimitri's friends played a bigger role.

Not everything was perfect though. I wish we got a little more than we did from Dimitri's house mates - especially his childhood friends Sylvain, Ingrid, and extra special mention to Felix and especially, especially Dedue.

Throughout all of AM, none of the above mentioned characters feel utilized to their full potential. This isn't a problem exclusive to AM, and by all means it's far from the biggest offender, but given how close all the ties are in AM, it's felt when it's not there.

I still don't know what exactly I would've done with them. Maybe I'd need to make the game an actual novel to do it, and you can't forget how perma-death has historically held back games at times, limiting major moments to a select few "retreat" candidates.

Still, though, getting a bit more from Ingrid, Sylvain, Felix, and Dedue would've made the scene even more powerful.

I actually really liked the scene in the rain.

I haven't made it a secret that I dislike Byleth. Or maybe disliked is more accurate. Lately I've been rethinking my stance on Byleth, in part because I've heard from people who like her or found ways to make her work and from my own thinking about the game while planning future write ups.

I don't think it's Byleth I really dislike, but the player-pandering. Separating the two isn't easy, but it's easier since I've starting coming around to seeing Byleth as her own character.

There's been a few moments that made me care for Byleth, and this scene in the rain was one of them. Because she didn't just fix everything. She tried and failed for months to reason with Dimitri, and despite everything she never gave up on him or failed to keep offering her hand.

I'm not going to lie. I got all the bubbly, heartwarming, heartbreaking feels the writers wanted me to in this scene. Seeing Byleth reach for something and fail, and then finally, finally get through was rewarding in a way many of Byleth's prior accomplishments aren't because this one felt earned. And by God did she earn it.

Some people will likely disagree with that last point, but I disagree with them. She asked Dimitri hard-hitting questions, forcing him to come to unpleasant conclusions rather than trying to force him into anything. She kept Dimitri from veering to far off course, even at expense to herself when she killed Randolph. She saved Dimitri from Fleche when he refused to save himself. She quietly supported him, coaxing out the good she knew was still there and refused to give up on.

I'd never in a million years say someone in real life should put up with Dimitri's toxic behavior and verbal abuse, even considering his extreme trauma and aggravated mental illness. But seeing someone fuck up so badly still get forgiven, still get supported, still struggle but honestly change for the good, still get loved, start to accept and forgive himself through the power of love and forgiveness from others is very powerful, especially since media so often downplays those "softer" things as weakness in comparison to the "badassery" of ambition and stoicism. Using Byleth, who previously had little experience with feelings, who was encouraged to experience them in healthy ways by Dimitri, return the favor isn't really the worst choice.

It's cliche, but cliches aren't always bad.

The mentor dies. Redemption in the rain. Revenge against the protagonist's actions opens their eyes. Etc . . . This scene was chuck full of cliches, but that's not necessarily a bad thing.

Tropes serve an important narrative purpose because a writer can rely on them to convey a message to the audience that either saves time or sets them up for something unexpected or even expected. Fire Emblem has always and will always be incredibly cliche and full of tropes. It loves tropes so much there's in-universe ones that make some unit or character discussions sound like a foreign language to people outside of or new to the fandom, talking about "Ests" and calling someone a "Camus."

What matters is if a story pulled something off well, not if it's terribly unique. A mentor dying is powerful because it forces the student to grow. Redemption in the rain is high symbolic of water washing things away + the somber atmosphere rain creates. Someone trying to get revenge against a character provides an eye-opening experience about the ripple effect of their actions. We see these things in fiction all the time because they work.

All the tropes worked like expected in this scene. Using images instead of cut scenes did make less of an impact, but more on that later.

Tl;dr: There's nothing unexpected or terribly unique about what happened. It was honestly painfully predictable, but that doesn't make it bad and is in a series that does this all of the time.

The voice acting carried because those images can't.

A major downside to this scene is that it used vague images instead of a cut scene. I get that budget and time were likely concerns, but many cut scenes from earlier in the game seem rather trivial. Did we really need that dance one? Really? I don't think so.

This was a hugely important, action heavy moment. Using one or two still images to convey everything that's happening and all those emotions, really makes it less than it could've been.

That said, the voice acting saves it. I've raved about how amazing Chris Hackeny is as Dimitri, so nothing new here. Rodrigue's and Fleche's VAs also did a fantastic job. No one oversold or undersold the emotions. Even without the cut scene, you felt what happened thanks to the skill of the actors. This scene would've been so much harder to engage with without them, if this was an older FE game where all you got was text. This is 100% one of the moments highly elevated by the decision to have a fully voiced game and choosing high caliber talent (let's not talk about Radiant Dawn's voice acting).

Questionable support timing.

One issue I had came right after the scene when I viewed Dimitri's supports. The nature of some - like his with Raphael and Alois - didn't quite line up with the character I saw in dialogue right after. I wish they staggered them a bit more or got picker about what you could get in part 1 or 2.

This isn't limited to Dimitri either. In the same support batch, I also got a Marianne B support where she still had no confidence or self-worth. And then like 10 minutes later I talk to her in the monastery and she mentions about how seeing all the death in Grondor made her value her life even more.

In the past, I've also received entirely valid opinions that Dorothea in part 2 is hard to understand because she's cherry and flirty in her supports, and morose and hates the war in her monastery stuff, making her seem inconsistent.

It's a bit jarring. It's not really an issue for characters who don't change much like Edelgard or Raphael, but even for characters with more subtle differences than Dimitri, Marianne, and Dorothea - like, say, Lorenz - you get a lot of weird stuff because of supports. I just think Dimitri's stands out because he's a main character with a really prominent, important turning point for his growth.

[thepalestrose]

A Year and a Day of Incorrect Quotes

Today marks one year and one day since my first incorrect quote post, which effectively marked my entrance into the FNDM.

I'm grateful for everyone who's come to my blog and enjoyed the stuff I post. I love it here on tumblr, and it really is one of those places I wished I had discovered sooner.

Rambling self-reflection regarding my experience with RWBY below, a candid look at how and why it's impacted my life, and my best attempt at explaining why it means so much to me. Consider yourself warned.

I started this blog cause I wanted to get involved in the FNDM, to give something back to the show that has given me so much. Before watching RWBY I had never touched tumblr, or fandoms, or fanfiction or anything even remotely similar.

Now, I find myself feeling more at home here in the RWBY FNDM then anywhere else, I write RWBY fanfiction (insert shameless plug for my pollination endgame time-travel fix-it where the brother gods each send back one character and they have to fix everything while the world around them slowly becomes different then the one they remember - One Never Steps Foot In The Same River Twice), and I run this blog. It's kind of crazy, actually. Crazy, most of all, because if you had told me about any of it just a couple years ago, I wouldn't have believed you. More than that, if you had explained what RWBY was about, I probably wouldn't have even wanted to watch it.

I found RWBY through youtube recommending volume 1 as a "free movie with ads" (lol nice try but adblock exists) back in December 2020, while volume 8 was airing. I knew nothing about the show or RT, and just clicked it cause it was the end of the workday and I wanted something to unwind with. I'd seen anime before, but hadn't watched any in a while.

I laughed at the silly jokes, enjoyed the charm that the early animation had, and generally didn't think much about what I was watching. Volume 1 ended, and I figured, what the heck, I'll watch volume 2 tomorrow. So I did.

I distinctly remember Oobleck questioning the girls during their mission to Mountain Glenn being the first time I really stopped and realized this show had potential. Still, I laughed at the jokes and enjoyed the 2nd volume. When the breach happened, I kinda wondered if this was the type of show that wouldn't have "consequences."

Then volume 3 came.

Unfortunately I was spoiled regarding Pyrrha's fate by youtube comments, but Ruby's eyes still took me completely by surprise. The end of volume 3 was the point at which I knew I'd finish the series. I just had to know what happened next.

Volumes 4-8 are, frankly, a bit of a daze for me. I obsessively watched the show. I ended up going from starting the show to finishing up to where volume 8 had aired in like.. 5 weekdays (on top of working full time).

Usually when I watch something, I tend to be quite expressive. I laugh at its jokes (no matter how bad they are), I make jokes (even if they can't hear me), I poke fun at it, and all around just enjoy it. Not with RWBY. I progressively got quieter and quieter until I was watching the show in complete silence, utterly motionless as I stared at the screen with an intensity I hadn't known I could possess.

It was... an extremely unsettling experience. It was while watching volume 6 that it finally hit me that this wasn't going to go on forever. Eventually I would hit the end. The thought filled me with inexplicable dread. A day later, I did hit the end.

I remember just sitting there, so unsure of what had just happened. I already knew that this show was different, but I wasn't even close to being able to say why. It was an inexplicable feeling that would last for months. So, I did the only thing I could think of, and went right back to watching the first episode of volume 1 again.

Before I get into why RWBY connected with me so much, I have to take a step back. I build my identity around the media I consume. I can pretty accurately track my personality development from high school through college through six different works of media. Each taught me something essential about myself and how I view the world, whether it was how to love myself, or how I am absolutely terrible at handling grief, or how I believed that everyone is inherently selfish (and that's not a bad thing). Little did I realize that RWBY had just become the seventh work that would in time become more important than all the rest combined.

I'm confident that in 10 years, I will look back at the day that I watched RWBY as one of, if not the most, important day of my life. RWBY has touched every facet of my identity and become the dominant thread of my entire life. As I write this, I sit here listening to the RWBY volume 8 soundtrack, wearing a Team RWBY shirt, with a RWBY volume 6 poster on my wall, typing on my RWBY blog, looking at my 2nd monitor which has a RWBY background, with my youtube recommendations almost entirely RWBY (that, or obscure history videos), with several open tabs for RWBY fanfiction, the RWBY wiki, the RWBY page on the shipping wiki (I didn't even know shipping existed before watching RWBY), and of course RWBY itself on the RT website (because I am in a continual state of rewatching RWBY and started volume 2 again today).

And that's just what is within arm's reach.

Before watching RWBY, I couldn't have told you what it means to be non-binary, now I am non-binary. Same with ace, and panromantic. RWBY fanfiction was instrumental in introducing me into that world (and is also where I learned what transgender meant). RWBY's affected my political views, my outlook on life, the ideals and core values that I hold dear. It's changed how I want to live my life and what I think is most important in it.

This is by no means a complete list. A complete list would be twice the length of this entire post.

So, how on earth did it do all that???

For months I struggled with that question. I knew that RWBY was different, that it was important, but I couldn't even begin to put any words to why that was. I didn't have any answer to it. Now, I realize there are lots of answers.

I remember discussing the show a week after I watched it with my best friend. She asked what I liked about it, and all I could come up with is "I don't know." Was it the writing? No, the writing was just okay, I said (I was a fool, the writing is fucking PHENOMINAL and I was just too awestruck to see it yet). Was it this, was it that? No, no and no.

Eventually I was struck by (my first) revelation, but to explain why it was so revolutionary, I have to give more history.

People say that kids are pure and kind and if we could all just be like kids, the world would be a better place. That's bullshit. Tell me where the kindness is in telling an eight year old that everyone would throw a party the day I died. Or actively telling me that they wished I would die. Or forming the "I hate ThePalestRose club." Or chasing me around the playground throwing water bottles at me. Suffice to say, I wasn't well liked.

Eventually, I annoyed my way into joining a group of friends, and we spent the next nine years of school together, our own little clique. I learned to ignore those who didn't want me around them, and retreated into myself. You weren't a target if you didn't cry. So I didn't cry.

Then college rolled around. Most of our little group went to a local school all together, but I got into a good tech school that was far away. So, I went off. I met a couple of amazing people (my best friend!) there, and after the first semester I came home and hung out with my high school friends, nothing amiss. I remember we all watched Downfall on the last day of our breaks, before heading back to school. It would've been a pleasant memory if it wasn't the last one I had with any of them.

Come that first spring break, I come home expecting us to all get together, only to find out that none of them will speak to me. I remember finding out from my parents in the back of the car when we were driving home that something had happened. They knew before me, because our families had all been friends, and they wouldn't talk to them either.

And that was just the thing, it was just something. I have no idea what, but the only friends I had ever made in 12 years of mandatory schooling, some of which I had known for a majority of my life, just collectively stopped speaking to me without a word.

To say I was crushed would be an understatement. To say I was depressed would be more accurate. I contemplated the pros and cons of suicide daily. My ability to socialize with others, which had always been pretty poor, was completely shot. To this day, I really haven't ever made any new friends since this happened 5 years ago. My ability to form bonds of friendship just-- snapped.

I don't think I cried then either.

I had to know, why? Why did they abandon me? What did I do to them?? What did I do wrong??

Sleep was no respite, as I started to have persistent nightmares about the entire thing. They ranged from me begging for forgiveness for some unknown crime, to watching myself waste away in isolation forever, to teary-eyed reunions that I knew would never happen. I tried everything I could think of to stop them, but nothing ever did.

So, then you have to imagine my surprise when, two months after watching RWBY, I had an epiphany. I hadn't had a single nightmare since I watched the show. That might not sound like much, but the revelation hit me like a ton of bricks.

It was the fourth rewatch before I realized that Yang's story, especially her volume 4 story, had connected with me deeply. She had been abandoned by everyone and yet still found the strength to come out the other side whole. It was... inspiring. Which lead to my second revelation, that I looked up to these characters.

That doesn't sound like much of a revelation, but it really was to me. I don't look up to anyone. I considered myself cynical and jaded, and I really didn't have admiration for anyone. To find myself suddenly looking up to these characters-- these anime girls no less-- was shocking.

Then the volume 8 finale happened. I couldn't even listen to the ending credits song at first. I was just so shocked and numb. Eventually, my hunger for every last RWBY detail overrode my shock and I listened to it. I think that was the moment that everything really broke. I bawled my eyes out and spent most of that Saturday crying, unable to hold it all in any longer.

It was the start of a transformative process that saw me rearrange my entire identity, to truly heal from what had happened, and let me move forward. I tried to make a conscious choice to let myself be more emotionally open. I let myself feel things that I had been repressing for as long as I could remember. I changed who I was to a point where I feel like I'm entirely unrecognizable to my past self, and I love it.

I've never been happier, and I really do think that RWBY enabled me to make that transformation, and I don't think it would've been possible without it. There's still lots of problems, and my life's always going to be a work in progress. I still don't really know how to make friends, but I don't feel terrified of social rejection when I talk to strangers now.

This is just one tiny portion of all I could talk about with this show. Everywhere I turn to in it, it feels like it was written for me. Like someone understood me to an impossible degree, and wrote it with me in mind. It's crazy to think that anything like that could ever exist, much less that I've had the good fortune to watch it.

So what am I to make of all this? Well, this blog exists to try and give back just a tiny bit of what the show has given me. My fanfics are meant to be my love letter to the show. I'm looking into getting into other forms of content creation, because I just want to do as much as possible.

I don't think all of these realizations are the end for me. No, I think I'm still in the beginning of my RWBY journey. Maybe when the show ends, I'll consider that the end of the beginning. But I'm pretty confident that as long as I'm still breathing, I'll be wanting to consume and create RWBY content.

I still don't think I have a full answer for why RWBY means so much to me. Just today, driving home, I realized that it was what taught me that you have to choose happiness (or at least, choose not to be unhappy). These words are a poor expression, but they're the best I can do right now.

Maybe it's unhealthy to have so much of my identity wrapped up in this single all-encompassing idea. But as someone who felt no reason to live for so long, I'll take that risk to be able to feel the weight of these emotions for just one more day.

So that brings me to the end. Why did I post this in the first place? I guess it's an exercise in vulnerability.

I don't talk about myself, I'm convinced myself no one cares. One of my bosses at work (a really kind old man who has been way too good to me) asked me recently about what I do for fun. It was the last day he would be there before undergoing open heart surgery, which he wasn't sure he would survive.

I was extremely cagey. It was almost physically painful to say anything. My anxiety was awful. I told him I wrote stuff, and he was kind enough to say he would like to read it some time. I doubt he really would want to read RWBY fanfiction, but still.

He's still in the hospital, recovering, but in high spirits.

But the experience made me realize that vulnerability, like trust, is a risk, but it's a risk I need to take again.

[hamliet]

The Girl Who Gets to Have It All: Buffy Summers

So with @linkspooky​‘s encouragement, I have binged Buffy the Vampire Slayer and relived my childhood culture. And, it's a 10/10 for me. Not that it doesn't have flaws, but it's genuinely one of the best stories I've seen, with consistent character arcs, powerful themes, and a beautiful message. It's also like... purportedly about vampires and demons and superpowered chosen ones, but it's actually all about humanity.

Buffy was able to be a teenage girl, allowed to like the things teen girls are scorned for (boys, shopping, etc), to be insecure about the thing teenage girls are insecure about (future careers, dating, school, parents), and to be a superhero with its good and its bad aspects. The story wasn’t afraid to call Buffy on her flaws (sometimes she got in a very ‘I am the righteous chosen one’ mode) and to respect and honor each of her desires (to be a good person, to be loved, and more). The story listened to what she wanted and respected her desires, giving her the challenges needed to overcome her flaws while also never teaching her a lesson about wanting bad boys or romance is silly or any manner of dark warnings stories like to throw at teenage girls. 

It respected teenage girls--nerdy girls like Willow, jocks like Buffy, lonely wallflowers with trauma like Dawn, and popular/snobby ones like Cordelia, girls gone wild like Faith. It never once reduced them to the stereotypes that were lurking right there: each character was fully rounded, human, flawed and yet with respected interests and goals. This is so rare for a story that I’m still in awe. 

The story as a whole follows Buffy from 15 to 21, of her as she grows from teenager to adult. She acts like a teenager and grows to act like a young adult, wrestling with loneliness and duty. The adults, like Giles, Joyce, and Jenny, are not perfect either, but neither are they “bad parents” or “bad mentors” necessarily. Joyce in particular says something terrible to Buffy, but she tries to do better, and it’s rare to see a parent in YA stories shown with such nuance. Basically, it wrote the long-lasting adult characters as human beings, too. 

Speaking of growing up, I appreciated how Buffy’s love interests mirrored this. Angel was someone Buffy loved and admired, wanted to be like, but who was always either extreme good or extreme bad, and combined with Buffy’s own tendencies towards black-white thinking, made for a beautiful relationship to help her grow, but didn’t necessarily form a foundation for a long-term partner. Spike, on the other hand... they both saw each other at their worst and were drawn to each other even then, and were inspired to become better because they couldn’t bear to be a person who treated the other person so wrongly. They pushed each other to become the best them they could be, and believed in each other. Also, Spuffy is an enemies to lovers ship for the ages. 

(Also, most of the other ships were well-done or at least can be understood. Riley was very obviously wrong for Buffy which paralleled Harmony and Spike in being 100% wrong for each other. Cordelia and Xander were a fun ship even if we all knew it would never last, and Willow and Oz were beautiful and cute. But Xander and Anya and Willow and Tara? OTPs. As were Giles and Jenny, the librarian and the computer teacher.) 

That said, it’s not a perfect series. No story is. All of the characters and ships had problematic aspects to them worthy of critique, and the writing is very 90s in a lot of ways. It’s a product of its time, and in many ways it’s good society has progressed beyond some of the tropes/metaphors used in the show. In other way, though, the show was ahead of its time, and in a good way it wasn’t bound by the fear of purity policing with its takes on redemption (many characters would never fly today). 

So, in order of seasons ranked from my very favorite to my “still enjoyed it very much” (no season was actually bad, imo), here’s my review. I’ll also review my top 10 villains in the show, because Buffy does villains very well in terms of the redeemable and irredeemable.  

Season 7:  Yep, the final season was my favorite. 

Overall Opinion: Buffy's finale is literally "f*ck them men, our power is ours" and while it seems cheesy it actually works (also, f*ck in both a literal and figurative sense). The series strongly hit all the themes: love as strength, and redemption. Buffy consistently shows love as her strength--*all* kinds of love. Friendship w Willow/Xander, familial with Joyce/Dawn, romantic with Spike/Angel. These types of love are also never pitted against each other as is so often the case in current-day media. It's beautiful. Also, Spike’s confrontation with Wood was so powerful in terms of exploring forgiveness, redemption, and reconciliation: where they overlap and where they don't, and what it means to move forward. 

Unpopular Opinion: I have seen a lot didn’t like the inclusion of Potential Slayers, and while I agree they could have been better incorporated/characterized, it was a great way to show Buffy’s final stage of growing up to be ending her chosen one status and projecting/multiplying her powers over the world. 

Biggest Critique: Kennedy was female Riley--the anti-Tara to Riley’s anti-Angel (by ‘anti’ I mean opposite in every way). Kennedy was annoying and immature. Her role, like Riley’s, was less about exploring her as a character and more about her just being stamped as “love interest: lesbian.” 

Favorite Episodes: Beneath You, Lies My Parents Told Me, Touched, Chosen

Season 6: 

Overall Opinion: I said this on Twitter, but I felt like this was Buffy’s The Last Jedi or Empire Strikes Back moment. It is polarizing and dark, deconstructing the tropes it stands on--but by digging to the core of these tropes, it actually makes what’s good about them shine brighter. Everyone’s enemy was the worst versions of themselves. Giles left Buffy, Willow's struggle to relate to the world led to her trying to destroy it, Buffy hurt everyone through her anger, Xander abandoned Anya at the altar, Spike... yeah. It ages well as an integral part of the story, and the Trio were eerily prophetic. 

Unpopular Opinion: Dawn is a great character with a good arc. A traumatized teen acting out and struggling to come to terms with loss and identity? She wasn’t whiny; she was realistic. 

Biggest Critique: Willow’s addiction coding (I’ll discuss this below) and Seeing Red as an episode. I see the argument for both of its controversial scenes from a narrative perspective: Willow starts the season not grieving Buffy but instead being determined to fix it with magic and needs to learn to grieve, but. Still. Bury your gays is not a good look. For the Spike scene... he conflates sex/passion and violence (”love is blood, children” is something he said way back in season 3), but like Tara’s death, it had more to do with Spike (as Tara’s death did for Willow) than with Buffy’s arc, and as for the actual execution... they really botched that. Did it like... have to go on that long or go that far? No. Also, the framing was good, but inconsistent with the rest of the series (Xander to Buffy in the hyena episode, Faith to Xander and to Riley, etc.) 

Favorite Episodes: Once More With Feeling, Smashed, Grave

Season 3 (tied with Season 5):

Overall Opinion: The opening continuity of Buffy meeting Lily/Anne after saving her life in Season 2 was sweet. The Witchhunt episode had really powerful subtext: stories of deaths that aren’t even true are actually demons that possess the town and convince them to turn against their children in the name of protecting the children. It’s a good commentary on, oh, everything in society. Faith’s character arc was fantastic, and her chemistry with Buffy was off the charts (look, I may be Spuffy all the way, but Fuffy has rights). The finale was satisfying in so many ways, seeing the entire graduating class unite to destroy the Mayor and the school with it, symbolizing Buffy et al’s readiness to move on to college. Oz's relationship with Willow was very sweet and meaningful for a first romance for Willow. 

Unpopular Opinion: I actually don’t really have one. Maybe that the miracle in Amends was earned? I think you can make a decent case that Season 3 is the best written of the seasons, but can only truly be thematically appreciated to its full potential in the light of subsequent seasons (which finish Faith’s arc and deconstruct Buffy’s).  

Biggest Critique: It forgot Buffy killed the hyena guy in Season 1, making her continual insistence that she can’t kill people very ????? 

Favorite Episodes: Lovers Walk, Amends, Graduation Day Part 2 

Season 5, which ties with Season 3:

Overall Opinion: The entire season is about family and what it means, from Tara’s to Buffy’s to the Scoobies. I loved Glory aka Enoshima Junko as the Big Bad, I loved Dawn’s interesting meta commentary on retconning (like, the fact that she’s retconned in matters), and most of my ships are still alive. Joyce’s relationship with Spike is one of the most heartwarming aspects, and Spike’s arc’s desire is clearly highlighted: he wants to be seen as a person. The episodes after Joyce’s death are the most honest portrayals of grief I’ve ever seen, and absolutely brutal to watch. 

Unpopular Opinion: Buffy’s choice at the end seems a deliberate inversion of her choice at the end of Season 2 (sacrifice a loved one to save the world), but it actually isn’t: much like at the end of Season 2 where Buffy skips town because she’s devastated after killing Angel and doesn’t want to sort out being expelled, her mom knowing she’s the slayer, and her own trauma, Buffy’s sacrifice here was as much about her wanting the easy way out of relationships, family, college, etc. as it was about saving Dawn. Buffy’s death is coded as a suicide, which Season 6 emphasizes as well. 

Biggest Critique: Like Season 3, I don’t have a lot to critique here. I wish the suicidal coding had been a little more obvious in Season 5 itself, but also I’m not sure it could have been more obvious; it’s pretty apparent if you pay attention. Maybe also that Buffy and Riley’s relationship failing should have been more squarely blamed on Riley, you know, being insecure and cheating. 

Favorite Episodes: Family, Fool for Love, Intervention. 

Season 2:

Overall Opinion: Heartbreakingly tragic but exciting and revealing at the same time. It asked the viewer interesting questions about redemption and forgiveness and atonement through Angel being honest about his past, and then decided to show us his past now reenacted, challenging us. And still, we saw them save him in a parallel to saving Willow in Season 6 (but Season 2 was tragic because it wasn’t enough, while Season 6 was not). Jenny’s death was agonizing, and the scene were Angel watches Buffy, Willow, and Joyce get the news through the window was powerful. We didn’t have to hear them to get the grief. 

Unpopular Opinion: Jenny’s death isn’t a fridging; it works for her arc too when you consider her history. She worked to save the person whose life she was tasked to ruin, and it cost her her own--yet she still succeeded, because Jenny brought joy and wisdom to the show. Kendra’s death, on the other hand... was because they needed the stakes to be high--but we already knew that before she died. So, her death was useless. 

Biggest Critique: The subtext was Not It. It was essentially “do not have sex. Your older boyfriend will lose his soul, kill your friends, you’ll lose your family, your school, your home, and have to kill your true love or else hell will literally swallow earth.” 

Favorite Episodes: School Hard, Passion, Becoming Part 2.

Season 1:

Overall Opinion: I really liked it; it’s just lower on this list because the others are just better. It’s a great introduction to the series and to its characters, from Giles to Buffy to Willow to Jenny to Cordelia. It has great subtext a lot of the time (for example, Natalie French as She-Mantis is a literal predatory bug who engages in predatory behavior with students). Additionally, it subverts the typical YA trope of two guys and a girl, in which the girl is usually the least interesting character. Buffy and Willow were both fully fledged characters from the beginning with distinct strengths (even before Willow became a witch, as she wasn’t one in season 1 yet), while Xander was the more ordinary of the group. 

Unpopular Opinion/Biggest Critique: Xander’s arc showed its first flaws that unfortunately continued throughout the series: his writing was either very good or very indulgent in ways it never was for other characters.  (cough, the hyena episode, cough, in which he gets to skirt responsibility--and acknowledges that he is skirting it--for something the show will later hold others to account for). Xander’s just kind of inconsistent, which weakened his character over all. (Which is why both his love interests--Cordelia and then ultimately Anya--were good for him: they did not indulge him.) 

Favorite Episode: Witch, Nightmares. 

Season 4:

Overall Opinion: it’s still a good season. It’s a good portrayal of college and the growing pains of branching out, the strains of college growth on relationships (romantic and platonic). It shows us the first hints of Spuffy, giving us some serious Jungian symbolism between Spike and Buffy early on, and does well in establishing Xander/Anya and Willow/Tara as beautiful OTPs. Faith and Buffy’s foiling is fantastic. The Halloween episode was very fun as well. However, it suffers because its Big Bad, Adam, is not all that compelling thematically--yet, he could have been. See, the final battle pulls off the Power of Friendship in a really strong way but notably the season does not end there. Instead, it ends on dreams of each character’s worst fears, continuing what we saw in Nightmares in Season 1. Why? Because it shows us that the characters’ wars aren’t against monsters, but monsters of their own making: their flaws. Adam, as a literal Frankenstein, exemplifies this, but it wasn’t capitalized on as well as it could have been. 

Unpopular Opinion: Beer Bad isn’t a bad episode, at the very least because Buffy gets to punch Parker. It’s not one of the series’ best, obviously, but it does give Buffy an arc in that she gets her daydream of Parker begging her to come back, but she has overcome that desire and her desire for revenge. If we wanna talk about bad subtext in Season 4, Season 2′s Not It sex subtext continues in the Where the Wild Things Are episode in this season; it’s a powerful callout of abusive purity-culture churches, until the fact that the shame creates a literal curse undermines the progressive message it’s supposed to send. Also, the Thanksgiving episode (Pangs) is a nightmare of white guilt and Oh God Shut Up White People. 

Biggest Critique: Riley is awful. Like Kennedy, he had “love interest:normal” stamped on him and that was it. The thing is, he could have worked as an Angel foil, representative of the normal-life aspect of Buffy to Angel’s vampire/supernatural aspect, but the writers never explore this and seemed to even try to back away from that later on. They threw all the romantic cliches at the wall to see what sticks, from klutzy “I dropped my schoolbooks, that’s how we met” to cliché lines that had me rolling my eyes. Do you know how bad a romance has to be to make me dislike romantic tropes? 

Favorite Episodes: Fear Itself, Hush, Restless

Villain rankings: 

Dark Willow, the only villain to be truly sympathetic. While the addiction coding was insensitive and, while unsurprising for its time, aged extremely poorly. That said, Willow’s turn to the dark side after Tara’s death worked well for her character and the story: it was believable and paid off what had been building since Season 1's “Nightmares” episode (Willow’s inferiority complex). 

Glory managed to be genuinely terrifying, and humorous/enjoyable too. Her minions and their numerous nicknames for Glorificus were hilarious, as was her intense vanity. Her merging with Ben--a human being who genuinely wanted to be kind and good--added complexity and tragedy to her role. 

The First. A really good take on Satan. The seventh season as well as the First’s first appearance in season 3′s “Amends” had kind of blatant Christian symbolism, and so the First being essentially Satan works. Their disguising themselves as dead loved ones and the subtle manipulation they used to alienate people was really disturbing and well done. 

The Mayor, who was a terrible person but a truly good father. He provided an interesting contrast to the normal ‘bad dad’ bad guy character, in that he provided Faith exactly what the other characters refused to: he saw the best in her and offered her parental support, while the heroes didn’t and wound up pushing her away. 

The Trio, who were villains ahead of their time: whiny fanboy reddit dudebros, basically. The stakes seemed so much lower than fighting Glory, a literal god, the previous season. But that’s why they worked so well for Season 6′s human themes, and were especially disturbing because we all know people like them. I also appreciated the surprisingly sensitive takes on Jonathan and Andrew, who got to redeem themselves, but Warren did not, and I don’t think he should have either. 

Angelus + Drusilla. I’m ranking them below the Trio because Angelus was just sooooo different from Angel that it was difficult for me to feel the same way for him. He was still Angel, so it wasn’t possible to enjoy his villainy, but he also wasn’t nearly as sympathetic as Dark Willow, had no redeeming qualities like the Mayor, and wasn’t as disturbingly realistic as the Trio. However, the emotional stakes were excellently executed with him as the Big Bad, in that you were never quite sure how to feel and it just plain hurt. Also, Drusilla was a favorite recurring character. She was sympathetic and yet batsh*t enough to be enjoyable as a villain at the same time. 

The Master, who was just completely camp and really worked as an introductory villain. He was scary enough to believe he was a threat, and was funny enough to introduce the series’ humor as well. He was, like Glory, an enjoyable Big Bad. 

The Gentlemen, the one-off villains of Season 4′s Hush who were genuinely terrifying. It’s not as if they got a lot of explanation or any backstory, but they didn’t need it. 

Caleb, the misogynist priest. Fitting with the First’s Christian symbolism, Caleb serving as a spokesperson of all bad religious beliefs felt appropriate. He was also a good foil to Warren--being actually supernaturally powered instead of a wannabe--and to Tara’s family in being full-out evil. I despised him. 

Snyder. Okay Snyder is not a Big Bad like Adam is, but let’s face it: Adam is lame compared to the other villains. But Snyder as a principal? He was so irritating and yet really well used in the series to critique overly strict, hypocritical teachers. Like, we all know teachers like him. I loved to hate him, and his ending was so satisfying. 

[aliensunflower-fics]

In Defense of Salt AND Sugar: Aka ML Fandom pls chill out.

So I don’t talk much as those who follow me will say I tend to just stick to myself and my own things. HOWEVER, Ive gotten a lot of asks about why I write both Salt and Sugar for Miraculous Ladybug.

The short answer: Both salt and sugar are valid, fun, intriguing things to read and write and the point of writing is to entertain and be entertained.

The long answer: Salt isn’t inherently someone hating on your fav show and sugar isn't someone necessarily giving it a free pass either. Ya’ll are just dramatic as hell.

The LONGER answer:

I write salt because I LIKE Miraculous Ladybug, BUT the show has not lived up to its potential AT ALL. The show could be so much better and the characters are so flawed or full of holes that occasionally I feel FRUSTRATED and mad!

I hate that Alya a character who I was so excited about, gets shafted ignored, sidelined, or written like a jerk! She could have been this great detective working alongside her friend to unmask the villain, but instead she often comes across as pushy, obsessed with Ladynoir or Adrinette, and so damn easily tricked. Not to mention how when shes not gushing over her ‘ships’ shes pushed to the side and ignored. [or you know... LILA]

I hate that Marinette’s crush makes her do things that are so cringy and awkward i feel ill I hate that she’s constantly the only one making mistakes and ‘learning lessons’ when the show has all these other great characters that could use the spotlight and be the ones learning lessons. I hate that she’s so jealous and that she cant ever seem to catch a break as if the show is punishing her constantly.

I HATE that Adrien is a mary sue, how the writers say hes perfect and treat him as such, I hate that he gets to guilt Marinette into fixing everything and dealing with bullies, I wanted a funny, Ron Stoppable, naive boy who learns about real friendships and grows into a great partner. Instead he gets to be pushy and downright a jerk as Chat Noir ignoring his responsibilities, guilting Ladybug with his feelings, never taking no as an answer. He’s not a good role model for kids.

I hate that Chloe got built up to have a redemption arc several times only for the writers to decide that Chloe a teenage girl who needs some serious therapy [and actual reasonable punishment for her actions] is worse than Gabriel child abuse Agreste. She could have been a great lesson on compassion and growth and dealing with your own pain without hurting others. Instead the writers wrote her off completely.

And dont get me started on how the show treats Nino, Kagami, Luka and the rest of the cast. They may as well be a backdrop for the forced love square that we NEVER get a break from. Seriously I’m a sucker for romance but does it need to be EVERY damn episode?! Can’t we just get some wholesome friendship between everyone including Adrien and Marinette at this point like COME ON.

And i’m not even touching on the white washing, awful lessons on responsibility and forgiveness, awful lessons on well so much other stuff really, the guilt trips, the teacher, the fact that she show could be used to teach kids how to better handle negative emotions and the importance of open communication and not keeping quiet about injustice and/or your feelings but instead decided that the main priority should be a love square that gets force fed to us EVERY SINGLE EPISODE.

My point is the show has FLAWS. That doesn’t mean its the worse show ever and it doesn’t mean its not fun, and has a great premise and characters, and so when I write Salt I write it because i’m frustrated! Im frustrated with the show, with the characters, with the writing and so I vent that out with salt I write those characters as their worst selves because I cant stand how the show has decided to treat them and Im ANGRY and disappointed.

It feels good to write salt and to read it. It’s nice to see characters get called out for bad behavior, its nice to read about Adrien not getting the girl. Its nice to occasionally indulge in salt because it validates that the show is flawed and lets you get out that frustration.

BUT ON THE FLIP SIDE

Miraculous Ladybug is a lovely show. It’s a show that decided to give little girls a FEMALE HERO. And not just as a side kick or background character! No they made her the protagonist! Its so important to me that little girls see good well rounded female characters in media.

And even if the show is clumsy about it they are TRYING to build an expansive lore that tickles the theorist brain. And gets people invested in the world.

The show also made Marinette shy, and awkward, and clumsy something a lot of girls deal with during puberty as growing up can literally make you clumsier as your body adjusts. Having a character who tries to be positive and tries to find solutions who solves things with creativity instead of pure violence. Thats LOVELY for young girls to see.

Growing up I loved and admired Kim Possible, and probably would have loved Marinette, even if the shows not perfect I can admit its trying and I can see why people love it as much as they do! And why they write these fluffy sugary fics its the reason I WRITE fluffy sugary things.

Because even though I am frustrated and angry and disappointed with the show, I still see Alya’s potential and how great she is as representation to little girls who want a black female superhero so I write fluff where Alya’s loyalty, compassion, cleverness and her pursuit of justice are center stage.

I see how Adrien could be better and I want him to be better and I WANT him to be the naive funny comic relief the Ron Stoppable to Marinette’s Kim Possible. I want Adrien to grow and learn and spit in his dad’s face I want him to overcome the abuse and be happy. To show people that neglect and abuse doesn’t mean you will get stuck like that forever, that you can overcome that and be a better kinder person.

I want Nino and Kagami, and Luka and Chloe and the class to grow and get attention and have funny moments I want to laugh and make other people laugh! So I write prompts focused around comedy and shenanigans and where the characters get to be fun and silly and make decisions for themselves!

SO IN CONCLUSION:

I write salt AND sugar. I see the value and merit in both sides of the coin, and I respect how other people see the show. I know its easy to get angry with other people in the fandom who see the show differently then you do but please can we put down the weapons and just BREATHE.

Someone who writes salt might LOVE the same show as you, and they might in fact love it so much that they vent their frustrations in angst and salt and cracky fics. Let them vent about how they wish the show was better, leave their tags alone or block them if you cant stand to see it. But dont attack salt writers for ‘hating on your show’ when they might love it just as much as you do but want a way to vent out their feelings.

On the flip someone who writes sugar might NOT be forgiving the show for its flaws, they might see all the same flaws as you but decide to take that frustration and write fluff and fix it fics and sugar because they want to indulge in a version of their favorite show where everything is just... OK. Where everyone is well written and happy and the character development sticks. Stay out of their tags let them have their sugar, they aren't writing it to hurt you just like you don't write salt to hurt them.

So ENOUGH. Enough hunting each other down, enough sending each other hate, enough filling each others tags. Let people write SALT if they feel angry and vengeful and disappointment, let them have their tags, let them explore the dark side of the characters, let them rant and rave and be HURT when the characters they love upset them with their actions. Its not your place to tell them to stop, to tell them their feelings are invalid, to tell them that ‘adrien is sweet sunshine boy how dare you’ or ‘alya would never’ or ‘i hate your marinette leaves dupont au’. Just leave it be, heed the tags, and let it go.

AND ENOUGH. Enough hunting each other down, enough sending each other hate, enough filling each other tags. Let people write SUGAR if they just want something to feel happy about. Let them makes coffee shop au’s, let them make fix it fics where everything is just happy without needing 8 pages of backstory for why everything is just happy. Let them squeal and gush and talk about the ship they like and the fluff they see. Its not your place to argue with them that the show is flawed, its not cool to ruin their fun by accusing them of not understanding the flaws, to tell them ‘umm actual this character shouldn’t get to be happy’ or ‘wow this is so shallow’. Just leave it be, heed the tags, and let it go.

PS: Now with that said and done. I do have one final message for everyone - If you write/enjoy pedophilia, if you sexualize KIDS. Then get the fuck out of fandom spaces, stop fucking following me, and do everyone salt and sugar a favor by LEAVING. Your pedophilia and child sexualization aint wanted, aint ok, and I will fight you.

PSS: IF YOU HATE WHAT IVE SAID ABOUT SUGAR AND SALT FINE OK I RESPECT YOU REGARDLESS. ENJOY THE SHOW, STAY CLASSY, DONT HURT PEOPLE BECAUSE THEY HAVE A DIFFERENT OPINION.

[itsclydebitches]

RWBY Recaps: Volume 8 “Fault”

Hello, everyone! We’re not even bothering with an introduction today, let’s just get straight to the only thing that matters.

HERE HE IS, THE MVP OF THIS EPISODE, OF THE WHOLE VOLUME, THE SERIES, THE ONLY ONE I CARE ABOUT RIGHT NOW

I’m joking… but only a little. In all seriousness we will get to Ren, but you all want to hear a funny story first? I somehow got it into my head that there was no RWBY episode this week—the holiday and all—so I poured all my meta time and energy into a ridiculous Ironwood analysis as a placeholder, only to wake up this morning and find the strongest (and most complicated!) episode this year waiting for a recap. Like some sort of grimm nosing into my inbox. 

Okay, so it’s not a funny story, but if RT would just do a better job with their website my life would be a whole lot easier.

So here we are, taking a look at the episode “Fault.” Quick question, is every episode this volume going to have a one-word title? It’s not a criticism, I’ve got nothing against a punchy name, I’m just curious since RWBY has never done that before. If anything, they’ve gone more for symbolically significant phrases like “A Brawl in the Family,” “Players and Pieces,” and “The Lady in the Shoe.” I wonder what sparked the change.

Anyway, we open on Robyn laughing about some story she’s told, something about Joanna losing a fair fight for the first time, presumably to her. This is what we’ve learned about Robyn since this volume started: she refuses to acknowledge that she had a hand in Clover’s death; she was asked by Blake and Yang to keep the Amity secret but, according to May, couldn’t keep her mouth shut about it; and she tries to cheer Qrow up by bragging about her own skill.

Alrighty then.

Obviously, this little story fails to land. “Tough crowd tonight.” Robyn looks to Jacques as well as Qrow when she says this and since she clearly doesn’t care about cheering him up, she must want to get a rise out of him. Create something, as she says at the end of the scene, that’s exciting. Robyn just really loves to start fights. Against Ironwood, Clover, bickering matches with Jacques—stories told about winning them! If she’s not fighting someone she’s not interested.

Qrow does eventually give the smallest smile though and Robyn cheers. “Did I win?” They both quickly grow serious again though and Robyn says she’s “sorry for what happened. It wasn’t your fault.” Her apology would mean more if she was apologizing for her actions, not providing a generic ‘Sorry for your loss’ like she had no hand in this.

Qrow then insists it was his fault… but, of course, not for the reasons why he’s actually responsible (also, didn’t we do this two weeks ago?). For starters, Qrow blames his semblance for everything that went down, despite the fact that his semblance is not responsible for him breaking Clover’s aura, or Tyrian stabbing him. The most we’ve seen his semblance do is cause minor mischief, which in and of itself is absurd considering we’re meant to believe that it has kept him from his family most of his life, and informs choices like whether he’ll travel with the group in Volume 4. Still, it’s not unexpected that he would blame his semblance and think that having friends is a “childish dream”—depression is one hell of a liar—but rather, it’s frustrating that no one is helping Qrow see the truth of the situation, both the good and the bad. He certainly doesn’t need Robyn providing generic platitudes that absolve them both of their choices.

You know what the worst part is? The two kind, level-headed adults with enough distance to help Qrow acknowledge his mistakes while also correcting him about his misconceptions… are Ozpin and Clover. The former is still ignored by the cast, the latter barely got to be a character before he was killed.  

Qrow goes on to say that he “made a deal with the darkness and [Clover] paid the price.” I’m sorry, what does that mean?? Outside of referencing his team-up with Tyrian, that’s the most dramatic, nonsensical thing he could have said. Qrow doesn’t admit to the team-up though, rather he starts blaming Clover for his own death.

Precisely like a good chunk of the fandom has done 🙃

He says that Clover just “wouldn’t let up” (translation: he wouldn’t agree to let me go when I was under arrest) and that they could have “worked together against Tyrian if Clover had just—”

There’s a lot to cover this episode, so I’m not going to dive into another explanation of all the justified reasons why Clover didn’t trust Qrow in that moment and why Qrow was the one who “wouldn’t let up.” If you’re interested in that rundown, head here.

Side note: can RWBY please stop with the weird mouth closeups? I’m begging the animators. Especially when so much else in this episode is gorgeous.

Yes: 

No: 

Robyn’s response is to make it all about her. I say, as a hypocrite, because my instinctual response in comforting someone is to also bring up a way that I might, sort of, know what they’re going through. It’s something to work on and, as always, I’d be more receptive to Robyn’s attempts if she weren’t failing so spectacularly in every other aspect of her characterization. Case in point: she says that having a truth semblance tends to make people push her away, but we’ve never once seen that. We’re introduced to Robyn as she’s adored by Fiona. The people celebrate her. Yang and Blake trust her immediately, for no reason, and comment on how useful her semblance is—they’re not concerned with it. Ironwood likewise works with her and allows her to use her semblance on him in public, at least for a time. May spoke fondly of Robyn last episode. She just finished a story about Joanna… where is this pushing away you speak of, Robyn? I really wish RWBY would consider things ahead of time and actually show them to us, rather than just having characters announce that they’re (supposedly) there.

Nice symbolism though with Robyn touching the electric bars and pulling her hand back. You reach out, you get hurt, curl in on yourself, blah, blah, blah. Too bad it’s not a moment attached to an actual struggle of hers.

Qrow buys it though, saying he’s never thought about it that way before. 

You know, I get why a lot of people in the fandom hate Clover. I can’t even claim I’m much interested in him as an individual. I’m sick of straight, white, able-bodied men getting the spotlight, which is one of the things that drew me to RWBY in the first place… so theoretically Robyn should be the better choice for Qrow’s BFF, right? Especially in a world where FairGame only existed in RT’s social media queerbaiting. Give us the badass gender-bent Robin Hood instead of the boring military man!

On paper it sounds great… which is why it’s astounding that RT bungled that so badly.  

Qrow never finishes his thought about Clover because the Ace Ops come in to return Watts to his cell. Interesting. The writing has definitely made Ironwood stupid, but perhaps not as stupid as he could have been? If he got Watts to hack Penny (we don’t yet know what’s going on with her during all this) and then promptly shut him away again, that’s just about the best way you can follow up on your worst decision.

Harriet spots Clover’s pin and tells Qrow “You don’t get to keep that,” but then doesn’t take it from him. See, that right there is a better motivation for potentially opening the cell. Qrow says he didn’t kill Clover, Harriet shoots back that his blood was on Qrow’s blade (again, focusing on the wrong way that he’s guilty), Robyn challenges her to get the truth via her semblance… and Harriet considers it? Why? She’s not the one struggling with her loyalty here, that’s Marrow, yet he’s the one who has to pull Harriet back with “What are you doing?” when she looks at the keypad. Have Marrow almost be swayed by Robyn’s taunting, or have Harriet almost open the door because she’s furious and desperate to get Clover’s pin back. Either one of those would make more sense than this.

Also, no one checked Qrow during his arrest/before he was thrown into his cell?

Also, note that Marrow uses a nickname here—“Hare”—so I’m continually unpersuaded by the ‘They’re not friends’ claim. Yes, Harriet hits his shoulder on her way out… and Ren will later scream at Jaune about cheating. Harriet being in a bad mood because their leader was just murdered isn’t evidence that they’re not close, no more than Ren responding to Everything Traumatic Ever is evidence that he doesn’t care for his friends.

Also (x3), Robyn calls Harriet “mohawk”?? Can’t this woman come up with a single good insult?

As the Ace Ops leave Robyn lays back down on her bunk, exactly as she was before, and says, “Well, that was almost exciting.” Kind of like this scene! Luckily, the episode is about to get a whole lot better.

The music immediately picks up as we segue to Ren, Jaune, and Yang chasing after Oscar. On the whole I really enjoyed this scene, largely because it shows the group doing their best—in a way that feels persuasive. I’ll admit that others have a point about them just standing around while the Hound changes form—yet still failing because, you know, our villain is actually powerful! However, there are, as always, some nitpicks.

One of the first bits of dialogue we get is Ren noticing that the bikes can’t stand being in the cold for very long. It bugs me that bikes suffer more from the cold than the civilians do. To say nothing of the fact that it once again doesn’t amount to anything. Their bikes carry them through the whole battle and Jaune looses his because of a grimm. Then Yang manages to fix the totaled bike with a single part, despite the continued cold. Why bother introducing this as a problem when it’s meaningless each and every time?

The three do demonstrate some great teamwork though. When Yang yells that she wishes one of them could fly, Jaune uses his shield to launch Ren at the Hound… so that he can get dragged through the air, hitting rocks. This poor guy. I like that though because no, these teens shouldn’t be perfect, strategic masterminds and yes, they’re in the kind of situation where they just have to try something and see if it works. Jaune can’t think ahead to what Ren will do once he grabs the Hound, they just have to get him to that point and go from there. Which they do. Ren snags a boulder to slow them down further (that’s smart) and Yang goes higher to fire at the Hound’s face (don’t hit Oscar he doesn’t have aura!!). They’re at a crazy disadvantage here and still trying their best to get our boy back.

The overall tone is… fine? Again, love supportive Yang—that high five with Jaune was wholesome—but it continually feels weird to get that when Oscar is in the literal jaws of death here. On the whole though the scene keeps to the action and seriousness of the situation, which I appreciate. We’ll talk more about tone during the outpost scene.

It's looking like they might be making some sort of headway when the Hound lets out a roar that, as Yang puts it, calls for backup. 1. Yay giving this grimm even more power to mess with the cast, 2. Holy shit there are so many grimm around. See, scenes like this is why I’m side-eyeing the anti-army rhetoric in the show (a stance I’d otherwise agree with 100%). Because do you see how many there are? That’s not Salem’s army, that’s just the normal grimm hanging out around Atlas. The cast is screwed if anyone were to, say, order them to attack the kingdom…

Kudos to RT for bringing back the centipede grimm though. I honestly thought they’d just be a one-off action sequence in Volume 7.

While everything is falling apart Ren catches a glimpse of Oscar, complete with rosy cheeks to make him look super young, and the sight fills him with 

He starts climbing towards the Hound and we cut away. 

Meanwhile, Jaune’s bike is hit with some of the centinel’s acid (again, not the cold causing problems) and he takes a tumble, managing to keep his feet before Yang snags him. Moments like that really do show how far he’s come and I’m glad we got to see such a moment in an episode where his cheating was brought up. Jaune then uses his shield to fly over one of the dragon-y grim, but... wait. The shield is flexible?

Literally what is the point of that? As a shield, I mean (it clearly works fine as  a ramp). If you can just tip it over like that then so can the grimm or another fighter. Forget how tiny the shield is, all a monster would have to do is boop it and it would fall over. In fact, it probably should have with the grimm scratching at it before. Seems rather useless, unless you’ve got writers crafting convenient situations. Also, does Jaune have multiples of this thing? He picked it up before, but there’s no way he found that one again. Idk, I’m really not feeling this addition to Jaune’s arsenal. Better to give him a range option so he’s more versatile.

Still, they fly over the grimm and the two let out a sigh in synch. Whatever else we might have to say about this volume, RT is definitely giving us different interactions and team-ups. Well done there. Why, Jaune and Yang have managed to survive all that together!

Oh wait, never mind. They’ve gone off a cliff.

Honestly, I’m shocked they actually went over. I thought Yang would stop in time, or we’d have a classic moment of them tumbling off the bike and ending an inch from the edge, maybe going off slow with time for one to hang on. But nope, they plummet and it was done with such confidence by the camera that for a split second (the illogic of killing them both off aside) I thought that was it. They’re done for. Lucky for them, Ren catches them at the last second, managing to snag Jaune’s sword and them and immediately use his semblance so the grimm doesn’t eat them. That’s skill, baby!!

But you can see why he’s pissed, beyond just the fact that his semblance is holding this group together. It’s not Jaune and Yang’s fault that there was suddenly a cliff, but last we saw Ren he was heading towards Oscar. He had a plan. Granted, not one that was likely to lead anywhere given the Hound’s power (and the plot needing Oscar to reach Salem), but that’s not the point. He was pulling himself towards their kidnapped friend and then at the last second had to cut himself loose to save two others. This moment wasn’t anyone’s fault, but it would take someone with no emotions at all not to be frustrated by it. 

So we leave the trio literally hanging out and return to Ruby’s group who is threatening kids! 

Seriously though WTF, Weiss? Look, I haven’t always been kind to Whitley. In fact, I think there’s a Volume 7 recap where I really laid into him for his attitude and for supporting Jacques. But then—with the help of some friends and other anon perspectives—I thought about it for a hot second and considered how little power this child has. I was wrong to blame him for so much given the various circumstances here. It took, like… five minutes of thinking, and that’s for a fictional character, not a real life brother. Weiss clearly hasn’t given her brother five seconds of thought. He’s in the same abusive household that she was. He wasn’t blessed with combat abilities and a semblance to easily escape. He didn’t have Weiss there to guide him like Winter guided her. He had to watch BOTH his sisters abandon him to Jacques… so when exactly was he supposed to learn to be better? Why would he be inclined to? Weiss was an entitled racist when she got to school and needed new friends to show her a new path. She admitted as much last volume! Yet the fact that Whitley is completely alone in this house while their mom locks herself in her room to drink doesn’t register at all? This woman, an adult out to save the world as we’re frequently told, never once considered what it took to get her here and realize that Whitley has had none of the resources she did? 

I want to emphasize that Weiss threatens him with her weapon. It’s not just that she’s dismissive of him and his plight, she’s also happy to use violence if Whitley doesn’t do exactly as he’s told. Violence… against her brother… who is a child… without any training. Again: WTF, Weiss? You know how I was praising RWBY last episode for not having the group beat up the Atlas personnel? Yeah, we get this instead.

Then she tells him to go to his room??

Speculation is that Whitley is about 2-3 years younger than Weiss. Or, to put it another way, roughly the same age as Weiss’ leader, Ruby. She’ll follow Ruby unquestioningly into world-changing decisions, but sends her brother to his room like a toddler? Which is it, RWBY? Are 17 year-olds leaders you should listen to, or babies who must leave the room while the grownups talk? He certainly can’t be any younger than Oscar, so again, she’ll fight beside him, but treat Whitley like this? Whitley isn’t exactly going to offer help in a respectful, eager manner, but that “Fine. What do you expect me to do?” was incredibly open given his situation. He was willing to help and that was the perfect opportunity to have him, you know, do something. Something small and innocuous that wouldn’t threaten the team if he betrayed them, but kept him around so he could talk to someone. But nope. Weiss just sends him to his room after criticizing him for not understanding that they’re “busy trying to save Atlas.” Weiss, what does Whitley know about all that? He’s locked up in this manor after your father was arrested and the one news clip we’ve seen said that no one knows why Ironwood recalled his forces, or what’s up with those grimm overhead. She’s acting like he should have any idea what’s happening right now.

Also, all of this is coming on the heels of Willow begging Weiss not to forget her brother, so that’s just great. RWBY has the rest of their time in the manor to fix this, because if Weiss comes out of that scene having only been handed the means of arresting Jacques… that’s just bad all around.

Finally, should we talk about how strange this choice is? Last episode we saw the group flying away and I assumed it was them leaving Atlas to go back to Mantle. It certainly looked that way, but now they’ve decided to stay until Nora is awake. Why? Isn’t it more dangerous here? I mean, they didn’t know the staff was gone and there are still arrest warrants out. Was Weiss just going to threaten anyone who dared report her? Where are these shields Ironwood spoke of? Have they gotten through them somehow, or are they currently trapped in Atlas?

This is “Oscar is in the slums, leaves the slums, learns they’re going to the crater, but the slums are actually the crater, so we’re heading back now” all over again. 

The one good thing about this scene is that Blake and Ruby talk! …for about two seconds lol. Eh, better than nothing. Blake says that if Ruby is worried about Yang she could try calling her. Ruby has, and Yang isn’t picking up.

Does Ruby think she’s in danger or ignoring her? Unclear. We, however, know that Yang is now lost in the middle of nowhere with no reception and no transportation back to Mantle. The three of them start trudging towards an outpost Ren spotted, needing to find shelter “before this weather drops our aura levels completely.” So what about everyone without aura?? I wish that I could check off the bingo space again because this is ridiculous.

Ren, once again, isn’t in the mood to talk, but unlike Jaune, Yang can’t leave something alone. So she coaxes him to tell him what’s wrong and you know what? She does a real good job at first. She’s encouraging, but her voice is level and she doesn’t come across as accusing. Well done, Yang.

Things quickly fall apart though as Ren says EVERYTHING I’VE EVER WANTED TO SAY TO THIS GROUP. Holy shit, everyone, let’s count ‘em up:

Nothing is going smoothly so let’s stop pretending it’s all fine

Oscar has been horrifically kidnapped that’s #bad

This is not a normal part of being a huntsmen

We don’t know the first thing about being huntsmen!

Every time we’ve had to make real decisions we got them all wrong, yay us

We’re trapping a city here for Salem to destroy whenever she feels like it, yay us x2

Our leader is barely more than a kid and one of us cheated our way here

People are going to die because of us

“I’m just saying what nobody else wants to”

Yang’s response? Incredibly weak imo. Just as weak as the fandom’s has been since this conflict started in Volume 7. Her argument against letting Atlas go is that Salem won’t just let it fly away with her whale… but no one knows that. She’s certainly just letting it sit right now! Assuming that something won’t work because you expect the worst is not a compelling reason not to try.

Her argument against their ineptitude? They saved Haven, took down a leviathan, and got the lamp to Atlas. Let’s break that down a little more.

Did they fight well at Haven? Yes… overlooking that Weiss would have died if not for a timely semblance reveal. But the real point here is that they “saved” the school by getting the Relic. Problem is, they never won the relic, it was handed to them. Literally. They retrieved it not because they were capable of overpowering Salem’s forces and a Maiden, but because Raven decided she’d rather her daughter be a target than her. That doesn’t tell us anything about the group’s skill, only about Raven’s flaws.

They took down a leviathan… after drawing it to Argus in the first place. That’s kind of an important detail when Ren is trying to make the point that their decisions suck. Also, how did they take it down? Using Ruby’s silver eyes, which only worked because Jinn randomly decided to let her stop time. Oh, and also using the rest of Cordovin’s mech that they hadn’t yet destroyed. Again, nothing about that fight demonstrates their skill, only others’ abilities, resources, and the strange favoritism they benefit from.

Getting the lamp to Atlas. Well, you drove Ozpin away who was your ticket across the border. Then Maria told Ruby how to save you all from the Apathy (and Ruby herself was the only one able to resist long enough to demand you get the Relic back in the first place). You started that leviathan fight and ended it surrounded by Cordovin’s fleet. So how did you get to Atlas? Because she let you cross. How did you reach Ironwood? Because he dropped your arrest. Yang stopped Adam, yes, but that was its own, separate fight. Regarding the “getting to Atlas” point they botched that up completely. 

Basically, this resume of victories is unpersuasive, to say the least. Yang highlights the end goal rather than acknowledging Ren’s point: have we, as individuals, actually made things better lately?

They absolutely have not. 

Note how, in contrast, Ren includes himself in this criticism. He doesn’t just lay responsibility at Ruby and Jaune’s feet, he’s second on the list for being underprepared. For messing up. He’s just an “orphan from nowhere” and this tells us that, unlike Qrow, Ren is actually concerned with this problem and his own place in it. He’s not just blowing off steam and running from his responsibility. Rather, he’s making important points here yet, as he says, no one else wants to listen.

And that’s why the scene ultimately sucks. “But, Clyde! It’s a speech straight out of your metas!” Yes it was and it was beautiful to witness, but the problem is that Ren’s supposed to be wrong. Jaune glares at him before leaving. Yang clenches her fists and asks if he just wants to push everyone away. He’s left hanging his head. Then later they talk about how “broody” he is and provide advice about how to stop doing that. The takeaway here is not, ‘Holy shit, Ren is right and we should rethink our choices,’ but rather that Ren is wrong and needs to come over to their ‘correct’ perspective.

I love that this was laid out. I love that the group is actually fighting for once (way better than Ruby and Yang’s ‘fight’). I also love that we finally see what’s bothering Ren… but we all know this isn’t leading anywhere. The scene ends with Jaune dismissing everything by stating that if Ren doesn’t want to be a huntsmen, fine, but he has a job to do. Ren is supposed to feel guilty here for… telling the truth? Jaune is supposed to look like the hero for soldiering on with his responsibility while moody Ren drags behind. The scene is great, but the purpose of the scene sucks.

Actually, I’d like to talk about a portion of the outpost scene real quick. Skipping ahead, because we really see here how little RT believes the words that they’ve put in Ren’s mouth. Jaune admits that he’s right about cheating into Beacon… but nothing else. Indeed, that “mistake” is swept away because he’s earned his right to be here now. You shouldn’t care about that anymore! Ignoring the point Ren was making about how much they’re in over their heads. Yang apologizes to Jaune on Ren’s behalf, making it clear that she cares more about his potentially hurt feelings than any of the points Ren made. Remind you of anything? Like oh, say, that time Yang cared more about Jaune’s feelings than whether he’d hurt Oscar after slamming him against a wall? All of this despite the fact that Yang JUST accused Ruby of the horrible situation they’re in. Now Ren acknowledges that they’re in a horrible situation and Yang… doesn’t care?? Again, RT is good at giving us the pieces we want, the surface level stuff, but is rarely able to combine it into something fulfilling. If anyone actually takes Ren’s stance seriously, changing their ways rather than talking him out of it, I’ll be shocked.

Especially since the real nail in the coffin of this scene is Jaune telling him that “The more you hide from what you’re feeling, the more alone you’re going to feel.”

Jaune………..buddy……….pal…………were you asleep during that scene? Ren DID tell you what he was feeling. For the first time he did come clean about everything he was experiencing and you both rejected him for it! He’s not pulling away because he’s hiding from what he’s feeling, he’s pulling away because he did show it and both his friends reduced it to “pushing [them] away.” Which is it, Jaune? Should Ren be more open, or should he stop saying things you don’t want to hear? It’s a more complicated version of telling your parents about your interests, them mocking those interests, and then they’re surprised when you don’t share things with them again. I mean, the gall of Jaune to reject everything Ren said in the moment, ignore it after he’s calmed down, and then lecture him about being hiding his emotions.

Jaune and Yang (and the story) don’t want Ren to say what he really thinks, they want him to say what they think. Ren should speak up, but only if he’s going to agree with them.

So Ren sits out in the snow because potentially dying from cold is better than staying in a room with Yang and Jaune. I can’t really blame him lol.

One last thing about the fight scene. Remember how May was put in her place last episode for not using Penny’s name? Well, Yang doesn’t either. Granted, “the Maiden” isn’t as overtly insulting as “tin can” (or whatever it is May said), but it amounts to the same thing: both are replacing Penny’s individual identity with her status as a tool they can use. May sees Penny as the cool tech girl who can get them into the military base. Yang sees Penny as the cool magic girl who is the answer to all their ‘How do we win this?’ problems. Everyone is using Penny. Ruby to launch Amity, Ironwood to open the vault, but you know RWBY will never have a scene where Penny corrects Yang about her name and Ruby looks on, smug. Because the group can continually make the same mistakes as the adults/antagonists around them, but aren’t called out on it in the same way. Ren calls them out and he’s told he’s wrong. 

Anyway, the tl;dr of this scene is that Ren is the best. Too bad the story doesn’t realize that.

We then move to my poor Oscar who wakes up looking at his own feet, Ozpin’s voice is as reassuring as it can be under the circumstances. “Oscar? Don’t panic. We’re going to be okay.” I mentioned two weeks back that I hoped the show would explain why we didn’t see Ozpin try to take control during the Hound fight and we still don’t have an explanation, so that’s disappointing. This line is all we get from Ozpin because that’s the norm now. We moved from him being written out of the story entirely to having one or two lines an episode (excluding a speech meant more for the audience than the characters). So, improvement? But a lackluster one, I think. Especially given that he is the focal point of this entire situation with Salem. 

I’m avoiding the elephant in the room though. Oscar’s torture is horrifying. In the sense that it should be horrifying. Salem might still inexplicably not be attacking Atlas—and what she’s after at any given time might be getting more and more muddled—but she’s absolutely terrifying here, which is what we needed. The mix of assault with that nurturing tone is just skin crawling. “My long lost Ozma. Found at last” while she (I think?) shows images of their daughters. Honestly, I only heard that from friends, didn’t catch it myself, but then my eyes are shit to begin with. I couldn’t see a thing in this shadowed shot.

(It’s like watching Game of Thrones all over again.)

Oscar tries to pretend to be Ozpin and he does a damn good job with “I’m sorry the reunion isn’t living up to your expectations.” It’s not enough to fool Salem though. She says he’s “not him” yet and I’m again reminded that the show continually references this merge without showing us any change. They’re apparently closer to one person now, but they still speak as individuals. Oscar has Ozpin’s magic, but hasn’t used it, even when his life was on the line. The closest we get to evidence that the merge is underway is that Oscar attempts to lie about knowing Jinn’s name… but what the hell else is he supposed to do here? I suppose he could go the action hero route and shout that she’ll never get the answer out of him, but trying to lie is by far the safer option. That doesn’t tell us that he’s becoming like Ozpin, or even that they’re truly “like-minded souls” as Salem claims. It just tells us that Oscar has two braincells to rub together and can say a short sentence without totally giving himself away. Maybe the kid played a few rounds of Remnant’s Among Us.

This moment highlights another justification for Ozpin’s secrets though. He lives an existence where he is not in control of his own (“own”) body. At any point the host he’s with could falter, fail, turn on him, and in doing so give crucial, world ending information to the enemy. It’s already happened on a small scale, with Oscar successfully taking control, stealing the Jinn information, and giving it to the group. Now here he’s being tortured. How long can he last? Will Oscar give up Jinn’s name? If Ozpin didn’t have the location of the Relic locked up tight in his own consciousness, would that information be lost too? I’m not looking to blame Oscar for anything here—I don’t want to imply that this situation is karma for him taking Jinn’s name, or some such nonsense—I just want to acknowledge that this is the sort of stuff Ozpin has to worry about. If he shares these secrets then that’s more fallible people who are capable of giving that information to Salem. If he keeps them…well, he’s the only one who has to keep his mouth shut during a torture session. His host might want information about the Relics, there’s an argument to be made that they’re entitled to them, but if I were Ozpin I wouldn’t want to take that risk either. The question has essentially become, “Would I trust a 14 year old to keep quiet while tortured by a witch?” Maybe Oscar will! He’s enough of a BAMF to manage it… but that’s still not something I’d want to bet on. Better that Oscar simply doesn’t have that information to give Salem, period. 

So obviously this “working relationship” that Salem wants isn’t going well. When Oscar lies she jumps straight to torturing him.

This was legitimately hard to watch and I’m torn about that. On the one hand it’s what I wanted: a scary, powerful Salem who uses the tools at her disposal to get what she’s after. That’s great! Yet I’m still reminded of how far this show has gone to literally beat up the child of the group. Oscar is the one punched into a tree, attacked by a friend, shot by an ally, the star of the show’s most horrifying kidnapping, now the first to be outright tortured by Salem. I don’t really have a point here, I’m not looking to level any specific accusations at RT, I’m just commenting on the pattern and acknowledging that it makes me uncomfortable. There are parts of a story where you’re supposed to be uncomfortable—like the villain torturing a hero—and then there are parts where you’re uncomfortable because the writers seem overly focused on showing images of a specific kid suffering and that’s… weird.

I’m not sure what to make of that just yet. 

Anyway, Salem’s magic here is surprisingly pretty. Pretty and painful, but I expected more red and blacks, perhaps some spikey imagery, so the rainbow was an interesting surprise. Given the amount of pain Oscar is in, I suspect too much of that would kill him, so Salem calls in Hazel to continue the interrogation. The first few hits he deals are for Haven, the others for his sister.

See, this is why RWBY needs to actually embrace its “life isn’t a fairy tale” theme. You cannot show me child torture in one week and then move to Ruby “We’ll win because we’re the good guys ^_^” Rose the next. The whole reason why Ironwood (and Ren now) was right is because this is the shit reality they’re dealing with. You didn’t run when you had the chance and now Oscar (and Ozpin) is being tortured. You keep talking about saving Mantle, but the only reason why they’re not already dead is because the writing randomly turns the cold danger on and off. This mix of horrific, real world danger and unjustified confidence doesn’t work.

…also, I officially don’t want any redemption arc for Hazel. This guy is beating on a child because he’s convinced that he’s Ozpin, blaming Ozpin for his sister’s decision, all while forwarding a genocidal maniac’s plans. Hazel and his ridiculous shirts can just get on out of here, thanks.

Finally, I just want to say... this is the woman a lot of the fandom defended. This is the woman you wanted raising those girls and blamed Ozpin for trying to escape with them.

This is how Salem treats children.

Oh, and all of this is without his aura because it just broke. So Oscar is in serious, non-fantasy trouble here. 

Someone please rescue him soon 😭

We finish up with some frankly boring stuff with the rest of the villain cast. We learn that the Hound is an “experiment” and a new one given that Cinder has never seen it before. Salem’s dialogue is admittedly great—“Do you hear that, my pet? She thinks. She wants.”—but Cinder just rehashes everything we’ve heard from her before. She wants the Winter Maiden power. She has trouble remembering that she’s playing at Salem’s slave. She even rehashes the exact same line, “Without you, I am nothing.” Why are we wasting time on this when we had that tantalizing backstory before? 

Bleh. 

Salem tells her in no uncertain terms to stay put.

So Cinder immediately leaves LOL.

She just wants to “check on” Amity tower because she “knows those kids” in ways Salem doesn’t. I’m admittedly slightly confused as to how Cinder knows to go there? Did she believe Ironwood’s lie that it was finished even though it apparently IS finished now? Has she overheard something? I’m not sure. Frankly, keeping track of that stuff in RWBY is headache inducing, so let’s just roll with it.

Neo, the only one with a brain around here, makes it clear she thinks Cinder is an idiot for going. Emerald, always the Cinder fan, offers to go in her stead. She’s been working on her semblance, so I expect we’ll see something cool with that soon. They head off, apparently not worried about what Salem will do to them when they get back.

Which is when we move to the outpost for our final scene, most of which I’ve covered. I only have two more things I want to bring up here.

The first is the tone. As said earlier, the tone of the Hound chase wasn’t horrible, but I find myself disappointed in the overall attitude of Jaune and Yang. Yang is making jokes about how they can’t fly, high-fiving Jaune, and they’re both shrugging off Ren’s concerns. Jaune says he won’t be able to sleep due to worrying about Oscar, but neither of them act particularly worried. Which isn’t to say they need to be sobbing the whole time or whatever, just that Ren is the only one who feels real here. They may not agree with his stance about everything else, but they’ve all experienced the same event: watching a grimm that can morph, talk, and think horrifically kidnap a teammate. Shouldn’t there be more emotion attached to that? Things have gotten better with Oscar than they’ve been in the past, largely due to details like Nora’s hug at the beginning of the volume, but let’s be real, they’re still not perfect. Do we think Jaune and Yang would be this nonchalant if Ruby were kidnapped that way? Say all you want about Ruby being her sister, or others being teammates for longer, but the fact remains that Oscar has been taken to Salem herself and the only one reacting to that in any meaningful way is Ren. 

Who they say will “brood himself to death.” That right there. The one guy freaking out about your kidnapped friend should not be described as “brooding.”

All of which segues into my second point, namely that Yang doesn’t seem to care about Ruby anymore either! She asks Jaune, “Do you think she thinks less of me?” for not going to Amity and when Jaune reassures her that Ruby will always love her, Yang’s response is, “Yeah… Ruby.”

She was thinking about Blake.

The kicker? I thought she was talking about Ruby too. Because Ruby is her sister. Because she and Ruby had the fight (“fight”). Because Ruby was trying to call her to check in. Because Blake and Yang didn’t even acknowledge that they went on different missions here. I thought Blake was like Jaune, not really taking a side and just heading with Ruby because the team is splitting down the middle. Where did this worry come from?

And I want to praise RT here (I really do) because I can see the effort. I said Blake and Yang needed to spend time apart, they have. I said they needed to work through their co-dependent identities, now Blake is reminding Nora (and theoretically herself too) that someone you love is just a part of you. I said that the group couldn’t be a hive-mind, now there’s disagreement. I said the show needs to make Blake/Yang canon at some point and you can’t do that if they don’t talk about and to each other. So I fully admit that this is everything I asked for… so why does it feel so badly done? No matter how many boxes it checks off, it’s still a moment where we thought Yang was finally worrying about her sister again—like she used—and then it’s ‘Sike! It was really just about Blake! Again. Yang is worried about a problem that was never even introduced.’

I suppose that’s why it doesn’t work for me. Yang and Ruby had the falling out, but Yang and Blake, somehow, become the focus. Is it really so hard to write Yang as a sister and a potential love interest? Yang apparently can’t care for Ruby and Blake, Weiss can’t care for her team and her brother, Ruby can’t care for Mantle and Ironwood… it’s like each character gets one (1) thing to put their emotional energy towards at any given time and that’s it. That’s all they get.

On the flip side, this is why Ren feels like a person this episode. He cares about Mantle, and the future fight, and their past mistakes, and his place here, and the problems within the team, and Nora… He feels like a well-rounded person! vs. Yang and Jaune who don’t even consider his perspective, vs. Yang having a fight with her sister but only cares about Blake. They’re one-dimensional in comparison.

It is, as always, disappointing. 

As the group “broods” then the camera shows us a piece of the ice nearby, slowly cracking as Jaune says that “Things always seem to get worse before they get better.” Well, that’s unexpected. I didn’t think our opening would be literal. I’ve been worried about Atlas falling on everyone, not everyone falling… to whatever is underneath the kingdom as a whole. Is the kingdom falling apart? Or is something waking up and moving towards the surface? If RWBY can reproduce the characterization we got with the Hound, I wouldn’t be opposed to another leviathan grimm rising from the snowy deep to assist Salem…

Though how the fuck group will survive everything and that, who knows lol.

And that’s our episode! Issues aside—most of which have been ongoing issues. We knew they were there—I think this was our strongest episode so far this volume. Well done! There are still problems, no doubt, but at least I was only bored for a small portion of that 20 minutes. Let’s just keep heading in that direction.  

Exciting Saturday, huh?

Regarding bingo updates:

RWBY actually re-used a grimm I thought they’d abandoned, so well done there.

No civilians around for the giant grimm army to attack, so that was fine. Kind of strange though that they completely disappeared after the Hound left.

The timeline is starting to get wonky. For example, what kind of stakes am I supposed to expect when Cinder decides to head to Amity? Is it currently empty? Is Pietro there? Has Penny made it yet? I said weeks ago that RWBY would need to follow multiple groups to fill out fourteen episodes in just two days—and they’re definitely doing that—but that means we don’t have a clear sense of what events are happening simultaneously and what are meant to be linear.

No Winter or Ironwood this episode.

Watts is back with Jacques! Potential for team-up 2.0? That will admittedly be hard with Qrow and Robyn there, unless those two escape.

(Oh yeah, I thought Qrow and the others would be held in the military base and Ruby would find him during her heist… but she doesn’t even care that Qrow is in jail.)

Maria is still a ghost. If we hit the halfway mark with her not doing anything I’m calling the space.

I definitely wouldn’t call this cliffhanger needless. That’s actually a cool way to end things, even if Jaune’s line was pretty on the nose.

Neo may be getting closer to backstabbing Cinder if those expressions are anything to go by. 

Still waiting to see if Amity works.

And finally, drumroll please! …

“More obvious Blake/Yang implications without confirming a relationship.” Yup, I’m marking that this week. After Blake’s ‘just a part of you’ comment and now Yang only being worried about her reaction? Definitely calling it. If RWBY confirms a relationship this volume I’ll eat my words—and some celebratory cake — but until then salt prevails. Especially after the fiasco that was Supernatural.

Still no bingo. Ah well, maybe next week lol.

Until then! 💜

[Ko-fi]