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damnesdelamer · 4 years ago

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Recommended reading for leftists

Introduction and disclaimer:

I believe, in leftist praxis (especially online), the sharing of resources, including information, must be foremost. I have often been asked for reading recommendations by comrades; and while I am by no means an expert in leftist theory, I am a lifelong Marxist, and painfully overeducated. This list is far from comprehensive, and each author is worth exploring beyond the individual texts I suggest here. Further, none of these need to be read in full to derive benefit; read what selections from each interest you, and the more you read the better. Many of these texts cannot truly be called leftist either, but I believe all can equip us to confront capitalist hegemony and our place within it. And if one comrade derives the smallest value or insight herefrom, we will all be better for it. After all... La raison tonne en son cratère. Alone we are naught, together may we be all. Solidarity forever.

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(I have split these into categories for ease of navigation, but there is plenty of overlap. Links included where available.)

Classics of socialist theory

Capital (vol.1) by Karl Marx Marx’s critique of political economy forms the single most significant and vital source for understanding capitalism, both in our present and throughout history. Do not let its breadth daunt you; in general I feel it’s better to read a little theory than none, but nowhere is this truer than with regards to Capital. Better to read 20 pages of Capital than 150 pages of most other leftist literature. This is not a book you need to ‘finish’ in order to benefit from, but rather (like all of Marx’s work) the backbone of theory which you will return to throughout your life. Read a chapter, leave it, read on, read again. https://www.marxists.org/archive/marx/works/download/pdf/Capital-Volume-I.pdf

The Prison Notebooks by Antonio Gramsci In our current epoch of global neoliberal capitalism, Gramsci’s explanation of hegemony is more valuable than much of the economic or outright revolutionary analyses of many otherwise vital theory. Particularly following the coup attempt and election in America, as well as Brexit and abusive government responses to Covid, but the state violence around the world and the advent of fascism reasserts Gramsci as being as pertinent and prophetic now as amidst the first rise of fascism. https://abahlali.org/files/gramsci.pdf

Imperialism: The Highest Stage Of Capitalism by V.I. Lenin Like Marx, for many Lenin’s work is the backbone of socialist theory, particularly in pragmatic terms. In much of his writing Lenin focuses on the practical processes of revolutionary transition from capitalism to communism via socialism and proletarian leadership (sometimes divisively among leftists). Imperialism is perhaps most valuable today for addressing the need for internationalist proletarian support and solidarity in the face of global capitalist hegemony, arguably stronger today than in Lenin’s lifetime. https://www.marxists.org/archive/lenin/works/1916/imp-hsc/imperialism.pdf

Socialism: Utopian And Scientific by Friedrich Engels Marx’s partner offers a substantial insight into the material reality of socialism in the post-industrial age, offering further practical guidance and theory to Marx and Engels’ already robust body of work. This highlights the empirical rigour of classical Marxist theory, intended as a popular text accessible to proletarian readers, in order to condense and to some extent explain the density of Capital. Perhaps even more valuable now than at the time it was first published. https://www.marxists.org/archive/marx/works/1880/soc-utop/index.htm

In Defense Of Marxism by Leon Trotsky It has been over a decade since I have read any Trotsky, but this seems like a very good source to get to grips with both classical Marxist thought and to confront contemporary detractors. In many ways, Trotsky can be seen as an uncorrupt symbol of the Leninist dream, and in others his exile might illustrate the dangers of Leninism (Stalinism) when corrupt, so who better to defend the virtues of the system many see as his demise? https://www.marxists.org/archive/trotsky/idom/dm/dom.pdf

The Conquest Of Bread by Pyotr Kropotkin Krapotkin forms the classical backbone of anarchist theory, and emerges from similar material conditions as Marxism. In many ways, ‘the Bread book’ forms a dual attack (on capitalism and authoritarianism of the state) and defence (of the basic rights and needs of every human), the text can be seen as foundational to defining anarchism both in overlap and starkly in contrast with Marxist communism. This is a seminal and eminent text on self-determination, and like Marx, will benefit the reader regardless of orthodox alignment. https://libcom.org/files/Peter%20Kropotkin%20-%20The%20Conquest%20of%20Bread_0.pdf

Leftism of the 20th Century and beyond

Freedom Is A Constant Struggle: Ferguson, Palestine, And The Foundations Of A Movement by Angela Davis This is something of a placeholder for Davis, as everything she has ever put to paper is profoundly valuable to international(ist) struggles against capitalism and it’s highest stage. Indeed, the emphasis on the relationship between American and Israeli racialised state violence highlights the struggles Davis has continually engaged since the late 1960s, that of a united front against imperialist oppression, white supremacists, patriarchal capitalist exploitation, and the carceral state. https://www.docdroid.net/rfDRFWv/freedom-is-a-constant-struggle-pdf#page=6

Postmodernism, Or, The Cultural Logic Of Late Capitalism by Frederic Jameson A frequent criticism of Marxism is the false claim that it is decreasingly relevant. Here, Jameson presents a compelling update of Marxist theory which addresses the hegemonic nature of mass media in the postmodern epoch (how befitting a tumblr post listing leftist literature). Despite being published in the early ‘90s, this analysis of late capitalism becomes all the more pertinent in the age of social media and ‘influencers’ etc., and illustrates just how immortal a science ours really is. https://is.muni.cz/el/1423/jaro2016/SOC757/um/61816962/Jameson_The_cultural_logic.pdf

The Ecology Of Freedom: The Emergence And Dissolution Of Hierarchy by Murray Bookchin I have not read this in depth, and take issue with some of Bookchin’s ideas, but this seems like a very good jumping off point to engage with ecosocialism or red-green theory. Regardless of any schism between Marxist and anarchist thought, the importance of uniting together to stem the unsustainable growth of industrialised capitalism cannot be denied. Climate change is unquestionably a threat faced by us all, but which will disproportionately impact the most disenfranchised on the planet. https://theanarchistlibrary.org/library/murray-bookchin-the-ecology-of-freedom.pdf

Why Marx Was Right by Terry Eagleton I’ve only read excerpts of this; I know Eagleton better for his extensive work on Marxist literary criticism, postmodernity, and postcolonial literature, so I’m including this work of his as a means of introducing and engaging directly with Marxism itself, rather than the synthesis of diverse fields of analysis. But Eagleton generally does a very good job of parsing often incredibly dense concepts in an accessible way, so I trust him to explain something so obvious and self-evident as why Marx was right. https://filosoficabiblioteca.files.wordpress.com/2018/12/EAGLETON-Terry-Why-Marx-Was-Right.pdf

By Any Means Necessary by Malcolm X Malcolm X is one of the pre-eminent voices of the revolutionary black power movement, and among the greatest contributors to black/American leftist thought. This is a collection of his speeches and writings, in which he eloquently and charismaticly conveys both his righteous outrage and optimism for the future. Malcolm X’s explicitly Marxist and decolonial rhetoric is often downplayed since his assassination, but even the title and slogan is borrowed from Frantz Fanon.

Feminism and gender theory

Sister Outsider: Essays And Speeches by Audre Lorde The primary thrust of this collection is the inclusion of ‘The Master’s Tools Will Never Dismantle The Master’s House’, probably Lorde‘s most well known work, but all the contents are eminently worthwhile. Lorde addresses race, capitalist oppression, solidarity, sexuality and gender, in a rigourously rhetorical yet practical way that calls us to empower one another in the face of oppression. Lorde’s poetry is also great. http://images.xhbtr.com/v2/pdfs/1082/Sister_Outsider_Essays_and_Speeches_by_Audre_Lorde.pdf

Feminism Is For Everybody by bell hooks A seminal addition to Third Wave Feminist theory, emphasising the reality that the aim of feminism is to confront and dismantle patriarchal systems which oppress - you guessed it - everybody. This book approaches feminism through the lens of race and capitalism, feeding into the discourse on intersectionality which many of us now take as a central element of 21st Century feminism. https://excoradfeminisms.files.wordpress.com/2010/03/bell_hooks-feminism_is_for_everybody.pdf

Gender Trouble: Feminism And The Subversion Of Identity by Judith Butler Butler and her work form probably the single most significant (especially white) contribution to Third Wave Feminism, as well as queer theory. This may be a somewhat dense, academic work, but the primary hurdle is in deconstructing our existing perceptions of gender and identity, which we are certainly better equipped to do today specifically thanks to Butler. Vitally important stuff for dismantling hegemonic patriarchy. https://selforganizedseminar.files.wordpress.com/2011/07/butler-gender_trouble.pdf

Trans Liberation: Beyond Pink Or Blue by Leslie Feinberg Feinberg is perhaps the foundational voice in trans theory, best known for Stone Butch Blues, but this text seems like a good point to view hir push into mainstream acceptance where ze previously aligned hirself and trans groups more with gay and lesbian subcultures. A central element here is the accessibility and deconstruction of hegemonic gender and expression, but what this really expresses is a call for solidarity and support among marginalised classes, in a fight for our mutual visibility and survival, in the greatest of Marxist feminist traditions.

The Haraway Reader by Donna Haraway Haraway is perhaps better known as a post-humanist than a Marxist feminist, but in all honesty, I am not sure these can be disentangled so easily. My highest recommendation is the essay ‘A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century‘, but it is in many ways concerned more with aesthetics and media criticism than anything practical, and Haraway’s engagement with technology has only become more significant, with the proliferation of smartphones and wifi, to understanding our bodies and ourselves as instruments of resistance. https://monoskop.org/images/5/56/Haraway_Donna_The_Haraway_Reader_2003.pdf

Postcolonialism

The Wretched Of The Earth by Frantz Fanon Perhaps my highest recommendation, this will give you better insight into late stage (postcolonial) capitalism than perhaps anything else. Fanon was a psychologist, and his analyses help us parse the internal workings of both the capitalist and racialised minds. I don’t see this work recommended nearly enough, largely because Fanon’s Black Skin, White Masks is a better source for race theory, but The Wretched Of The Earth is the best choice for understanding revolutionary, anti-capitalist, and decolonial ideas. http://abahlali.org/wp-content/uploads/2011/04/Frantz-Fanon-The-Wretched-of-the-Earth-1965.pdf

Orientalism by Edward Said This is probably the best introduction to postcolonial theory, particularly because it focuses on colonial/imperialist abuses in media and art. Said’s later work Culture And Imperialism may actually be a better source for strictly leftist analysis, but this is the groundwork for understanding the field, and will help readers confront and interpret everything from Western military interventionism to racist motifs in Disney films. https://www.eaford.org/site/assets/files/1631/said_edward1977_orientalism.pdf

Decolonisation Is Not A Metaphor by Eve Tuck and K. Wayne Yang In direct response to Fanon’s call to decolonise (the mind), Tuck and Yang present a compelling assertion that the abstraction of decolonisation paves the way for settler claims of innocence rather than practical rapatriation of land and rights. The relatively short article centres and problematises ongoing complicity in the agenda of settler-colonial hegemony and the material conditions of indigenous groups in the postcolonial epoch. Important stuff for anti-imperialist work and solidarity. https://clas.osu.edu/sites/clas.osu.edu/files/Tuck%20and%20Yang%202012%20Decolonization%20is%20not%20a%20metaphor.pdf

The Coloniser And The Colonised by Albert Memmi Often read in tandem with Fanon, as both are concerned with trauma, violence, and dehumanisation. But further, Memmi addresses both the harm inflicted on the colonised body and the colonisers’ own culture and mind, while also exploring the impetus of practical resistance and dismantling imperialist control structures. This is also of great import to confronting detractors, offering the concrete precedent of Algerian decolonisation. https://cominsitu.files.wordpress.com/2020/05/albert-memmi-the-colonizer-and-the-colonized-1.pdf

Can The Subaltern Speak? by Gayatri Spivak This relatively short (though dense) essay will ideally help us to confront the real struggles of many of the most disenfranchised people on earth, removing us from questions of bourgeois wage-slavery and focusing on the right to education and freedom from sexual assault, not to mention the legacy of colonial genocide. http://abahlali.org/files/Can_the_subaltern_speak.pdf

Wider cultural studies

No Logo by Naomi Klein I have some qualms with Klein, but she nevertheless makes important points regarding the systemic nature of neoliberal global capitalism and hegemony. No Logo addresses consumerism at a macro scale, emphasising the importance of what may be seen as internationalist solidarity and support and calling out corporate scapegoating on consumer markets. I understand that This Changes Everything is perhaps even better for addressing the unreasonable expectations of indefinite and unsustainable growth under capitalist systems, but I haven’t read it and therefore cannot recommend; regardless, this is a good starting point. https://archive.org/stream/fp_Naomi_Klein-No_Logo/Naomi_Klein-No_Logo_djvu.txt

The Black Atlantic: Modernity And Double Consciousness by Paul Gilroy This is an important source for understanding the development of diasporic (particularly black) identities in the wake of the Middle Passage between African and America, but more generally as well. This work can be related to parallel phenomena of racialised violence, genocide, and forced migration more widely, but it is especially useful for engaging with the legacy of slavery, the cultural development of blackness, and forms of everyday resistance. https://dl1.cuni.cz/pluginfile.php/756417/mod_resource/content/1/Gilroy%20Black%20Atlantic.pdf

Imagined Communities: Reflections On The Origin And Spread Of Nationalism by Benedict Anderson This text is important in understanding the nature of both high colonialism and fascism, perhaps now more than ever. Anderson examines the political manipulation and agenda of cultural production, that is the propagandised, artificial act of nation building. This analyses the development of nation states as the norm of political unity in historiographical terms, as symptomatic of old school European imperialism. Today we may see this reflected in Brexit or MAGA, but lebensraum and zionism are just as evident in the analysis. https://is.muni.cz/el/1423/jaro2016/SOC757/um/6181696/Benedict_Anderson_Imagined_Communities.pdf

Discipline And Punish: The Birth Of The Prison by Michel Foucault Honestly, I am not sure if this should be on this list; I would certainly not call it leftist. That said, it is a very important source to inform our perceptions of the nature of institutional power and abuse. It is also unquestionable that many of the pre-eminent left-leaning scholars of the past fifty years have been heavily influenced, willing or not, by Foucault and his post-structuralist ilk. A worthwhile read, especially for queer readers, but take with a liberal (zing!) helping of salt. https://monoskop.org/images/4/43/Foucault_Michel_Discipline_and_Punish_The_Birth_of_the_Prison_1977_1995.pdf

Trouble In Paradise: From The End Of History To The End Of Capitalism by Slavoj Žižek Probably just don’t read this, it amounts to self-torture. Okay but seriously, I wanted to include Žižek (perhaps against my better judgement), but he is probably best seen as a lesson in recognising theorists as fallible, requiring our criticism rather than being followed blindly. I like Žižek, but take him as a kind of clown provocateur who may lead us to explore interesting ideas. He makes good points, but he also... Doesn’t... Watch a couple youtube videos and decide if you can stomach him before diving in.

Additional highly recommended authors (with whom I am not familiar enough to give meaningful descriptions or specific recommended texts) (let me know if you find anything of significant value from among these, as I am likely unaware!):

Theodor Adorno (of the Frankfurt School, which also included Herbert Marcuse, Erich Fromm, and Walter Benjamin, all of whom I’d likewise recommend but with whom I have only passing familiarity) was a sociologist and musicologist whose aesthetic analyses are incredibly rich and insightful, and heavily influential on 20th Century Marxist theory.

Sara Ahmed is a significant voice in Third Wave Feminist criticism, engaging with queer theory, postcoloniality, intersectionality, and identity politics, of particular interest to international praxis.

Mikhail Bakhtin was a critic and scholar whose theories on semiotics, language, and literature heavily guided the development of structuralist thought as well as later Marxist philosophy.

Mikhail Bakunin is perhaps the closest thing to anarchist orthodoxy. Consistently involved with revolutionary action, he is known as a staunch critic of Marxist rhetoric, and a seminal influence on anti-authoritarian movements.

Silvia Federici is a Marxist feminist who has contributed significant work regarding women’s unpaid labour and the capitalist subversion of the commons in historiographical contexts.

Mark Fisher was a leftist critic whose writing on music, film, and pop culture was intimately engaged with postmodernity, structuralist thought, and most importantly Marxist aesthetics.

Che Guevara was a major contributor to revolutionary efforts internationally, most notably and successfully in Cuba. His writing is robustly pragmatic as well as eloquent, and offers practical insight to leftist action.

Hồ Chí Minh was a revolutionary communist leader of the Democratic Republic of Vietnam, and a significant contributor to revolutionary communist theory and anti-imperialist practice.

C.L.R. James is a significant voice in 20th Century (especially black) Marxist theory, engaging with and criticising Trotskyist principles and the role of ethnic minorities in revolutionary and democratic political movements.

Joel Kovel was a researcher known as the founder of ecosocialism. His work spans a wide array of subjects, but generally tends to return to deconstructing capitalism in its highest stage.

György Lukács was a critic who contributed heavily to the Western Marxism of the Frankfurt School and engaged with aesthetics and traditions of Marx’s philosophical ideology in contrast with Soviet policy of the time.

Rosa Luxemburg was a revolutionary socialist organiser, publisher, and economist, directly engaged in practical leftist activity internationally for a significant part of the early 20th Century.

Mao Zedong was a revolutionary communist, founder and Chairman of the People’s Republic of China, and a prolific contributor to Marxism-Leninism(-Maoism), which he adapted to the material conditions outside the Western imperial core.

Huey P. Newton was the co-founder of the Black Panther Party and a vital force in the spread and accessibility of communist thought and practical internationalism, not to mention black revolutionary tactics.

Léopold Sédar Senghor was a poet-turned-politician who served as Senegal’s first president and established the basis for African socialism. Also central to postcolonial theory, and a leader of the Négritude movement.

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I hope this list may be useful. (I would also be interested to see the recommendations of others!) Happy reading, comrades. We have nothing to lose but our chains.

#original #leftism #leftist #Marxist #Marxism #socialist #socialism #literature #reading list #critical theory

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lucemferto · 4 years ago

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Hey girl, don’t mind me, I just quickly went and rewrote Dream SMP Season 2.

I’m focusing on the big plot stuff from Season 2, which makes it really easy for me to make it good, because I don’t have to contend with all the hard parts like dialogue and scene pacing and stuff. As an additional challenge to myself, I try to change as little as possible. If I don’t mention stuff (like the Egg-Arc) then that means I’m fine with them the way they are.

I wrote this in an hour, so don't expect it to be good, pls.

Whether you agree or think this is trash, I'd be so interested to hear your thoughts!

ACT I

Fundy’s early arc with Ghostbur, Eret and Phil is great and should stay the way it is. It sets up the character relationships and potential for conflict that we can explore in the future.

Similarly, I wouldn’t change too much about the conflict during Exile with one exception: Both Tommy and Quackity don’t want to include Technoblade. Instead, they believe that they can take one Dream by themselves – this is important for Techno’s, Tommy’s and Quackity’s personal journey later on. In this rewrite, Quackity also didn’t found El Rapids, but instead recruited George & Sapnap to L’Manburg – because his stated goal is to make L’Manburg the strongest nation on the server, so why would he make a rival nation with a plotline that goes nowhere?

What’s also important is that it’s revealed that Dream has a spy in L’Manburg around here. Maybe Tommy confessed his burning of George’s house during a cabinet meeting and word still got out to Dream. Who knows, but it’s important for later.

Something big that I would change about this Act I is that I would give Techno an actual B-plot. As it stands, Techno’s early plotline was just “Grrr, I’m angry that Tommy would use me like that! Someone killed my cows and robbed me! L’Manburg will know my wrath”

3 weeks later

“Nevermind, I’m a pacifist now and live in the arctic”

Instead, we pick up where S1 left off. Techno is intent on destroying L’Manburg and instituting anarchy. During that time, he comes into conflict with Quackity’s henchmen (Fundy, George, Sapnap, etc.) to establish that L’Manburg could be an actual threat to him.

We also have some conflict with Phil. They’re old war buddies, but Phil’s son built L’Manburg and Phil himself is unofficially Tubbo’s advisor. I think them reconstituting their friendship will take up this early part until Tommy’s exile – it makes for a nice foil to Tommy’s and Tubbo’s friendship falling apart.

Technoblade also tries to recruit people like HBomb and Niki to his cause, but they’re hesitant, because, you know, he sent Withers to destroy their home. Not the best first impression. Techno is hurt, but convinced it’s because of L’Manburg propaganda and they don’t want to work with him, because they don’t see him as useful.

ACT II Part 1

Exile-Arc basically stays exactly the same – with one notable difference. When Technoblade comes to visit Tommy it’s not to mock him – it’s as a final attempt to convince Tommy to join him. It’s a first culmination of Techno’s character journey so far: His previous interactions with the citizenry of L’Manburg has left him shaken, but not shaken enough.

Tommy truly does need “The Blade” right now and he has no reason to further believe L’Manburg’s propaganda. So, by Technoblade’s inner logic, Tommy should accept.

But he doesn’t. Tommy viciously rips into Technoblade and gets very personal (he’s in a bad space, understandably) – Techno can play it off nonchalantly, but either the cinematography or some later moment shows us that he was hurt by this.

Nevertheless, he gives Tommy a compass that points to his HQ, showing us that he cares about Tommy, like he did during their early days in Pogtopia.

This is where we implement some big changes. The story of Technoblade and the Butcher Army becomes the A-plot, while the Exile becomes the B-plot.

It makes perfect sense. The Exile-Arc is a very inward-focused, almost a character study of Tommy and Dream. It doesn’t have a lot of big narrative movement – so the perfect time to execute on that narrative movement in the storyline that has a lot of moving pieces.

So, after Tommy chewed him out, Techno is hurt and meets with Philza. Techno then explains that for him anarchy always was the natural order of things – to fight for a world where only the strongest survive – but pursuing anarchy like that has left him empty. Philza then explains that anarchy should be more about helping people and building an equal community.

We’re all but stating a major thematic conflict of this storyline: Fighting those who wronged you vs. Helping those in need. All this while also exploring the philosophy of anarchy with Techno and Philza serving as symbolic stand-ins for some different thoughts on the matter.

So, while Tommy’s Exile is going on, Techno refines his approach. This goes hand in hand with Quackity using his henchman to turn L’Manburg into a totalitarian police state in order to root out Dream’s traitor (told you it would become important later).

This will be the main conflict here in the first half of Act 2. Quackity and Philza will play shoulder-devil and shoulder-angel respectively for Tubbo and Fundy, pulling them in different directions. Ghostbur also hangs around L’Manburg – a constant reminder for Tubbo of the most sanitized version of President Wilbur and the lofty ideas he stood for.

This is another big thematic conflict for this storyline – externalized in part through Ghostbur’s presence: When do the ends no longer justify the means? It also feeds into the motif of Tubbo and Tommy becoming like Schlatt and Wilbur respectively (even if that’s still mostly superficial).

During this political turmoil, Niki is getting into Quackity’s crosshairs. She opposes his policing and brutal methods. So Quackity really focuses in on her and she has to live with constant surveillance, searches, etc. Niki tries to talk to Tubbo about this, but he says it’s necessary to keep L’Manburg safe. Slowly, Niki grows disillusioned with L’Manburg.

It is during this time that Niki gets into contact with Techno and the two start to form a bond and helping the citizenry hold out hope during this time (I don’t know who would be the citizenry, probably people that don’t have their own storyline going on such as HBomb, Vikkstar, Lazarbeam, etc.)

And we can have a few lorestreams like that, where the conceit is that Techno’s sneaking into L’Manburg to help people and there’s actual tension.

All this culminates in Hog Hunt. Fundy sees Phil, Niki and Techno team-up. He confronts them after Techno left and Phil begs Fundy to not out them – but their divide has grown too deep (and we’ve actually shown that during Fundy’s streams this time).

Quackity has Phil and Niki incarcerated (L’Manburg has a prison now, it’s not as good as Pandora’s Vualt). Tubbo is deeply disturbed that Philza and Niki would betray him by working with the man that took one of his canon lives and finally gives the Butcher Army his presidential approval. Quackity was already prepared and the events of Hog Hunt play out as we know them.

ACT II Part 2

Again, plays out relatively similarly, except for one major difference: Tommy comes to Techno with the explicit purpose of asking for his help. Exile has left him really hardened, probably more so than we have currently.

This would a.) make Tommy a bit more proactive in his partnership with Techno and b.) actually gives some weight to Techno’s later beef with Tommy, because now it’s based on more than just some flimsy phrasing during S1.

Otherwise, this plays out relatively similarly – Techno and Tommy maybe share a few more character moments, just to drive home that Techno cares about Tommy. Also, none of that dumb keeping it a secret whether or not we destroy L’Manburg – that’s some contrived nonsense and I hate it.

Tommy knows that Techno wants to destroy L’Manburg and while he’s conflicted, he ultimately goes along with. Once he gets his discs back, everything will be over after all. The destruction of L’Manburg will have been worth it.

Part of the rising action will be breaking Phil and Niki out of prison instead of the petty bullshit about Techno’s items that he doesn’t need. This is where we have the initial confrontation between Tommy and Tubbo (and Techno doesn’t ruin the moment by being his worst self).

Other plot points include: Techno receives the Wither Skulls over the course of him and Tommy working together by some mysterious benefactor. This is after he and Tommy confronted Dream. He doesn’t tell Tommy who the benefactor is, even though he knows (spoilers: it’s Dream).

Meanwhile, Tommy, Techno, Niki and Phil are secretly rigging New L’Manburg with TNT a la Wilbur, just to really drive that comparison home. Niki is getting really angry; she has suffered enough and she’s really gonna get revenge.

One of her big moments of terrorism before the Green Festival is burning down the L’Mantree (maybe we can include some character conflict Fundy, so we have these two people who were once really close friends now so warped and torn apart by these two sides at war).

Meanwhile, Quackity has figured out that Ranboo was the traitor and is pushing for Tubbo to execute Ranboo for the greater good of L’Manburg. Tubbo is hesitant, but as there’s no moderate voice in the cabinet anymore, he concedes to the idea.

Finally, the Green Festival is here. This part is really … tough to rewrite, because you have to accommodate so many different character arcs, but I’ll try my best.

In a move not unlike during the Red Festival, Ranboo is revealed as the traitor and put in the execution cage (because those parallels). Tubbo feels really bad about it.

This is when Tommy and Techno start their assault and unleash the whithers. L’Manburg is under attack and we have the big fight between Tubbo and Tommy. We get the big shout-out “The discs were worth more than you ever were” and the ensuing epiphany on Tommy part.

Techno’s calling for him to explode the TNT, but he doesn’t do it.

Quackity is calling for Tubbo to execute Ranboo, but Tubbo has an epiphany himself and refuses. Both their personal conflicts are resolved here. Also, we have some nice parallelism between Quackity and Techno as Tubbo’s and Tommy’s respective bad influences.

Techno – understandably this time – feels betrayed and hurt. He and Tommy have their shouting match. Quackity tries to attack Techno, but during their match they accidentally trigger the TNT. Quackity’s hunger for power has created the grave of his ambitions.

(Niki is also pissed at Tommy and Fundy is fully distraught, because L’Manburg was everything he had left from Wilbur).

Dream steps out of the shadows and reveals that he was Techno’s mysterious benefactor. He gets his hands on the second disc and gloats to Tommy. The scene from Doomsday plays out only that Techno shows some stings of remorse for helping Dream accomplish what he wanted. (Quackity flees the ensuing chaos).

Dream tries to goad Tommy with the discs, but Tommy doesn’t bite, because he has resolved his Want vs. Need now. Dream is frustrated, but retreats for now.

ACT III

In the aftermath of ACT II, I think it’s very important to hammer home that this wasn’t a win for Techno, Niki or Phil. For that to work I think it’s important to make clear that Tommy’s and Techno’s bond was genuine and that they really cared for each other during the Bedrock Bros thing. Neither of them is happy for how this turned.

Niki is plagued by nightmares and sleeps in a prison cell like in the current canon. She stands in symbolic for the emptiness that vengeance brings. Phil is shaken from his talk to Ghostbur and he’s the one who brings up that maybe what they did wasn’t for the best.

Then Techno and Phil have a discussion about the nature of anarchy again, calling back to that earlier conversation at the beginning of Act 2. Techno also feels empty – his vengeance and the destruction he wrought left him no happier.

Meanwhile, Punz and Tommy are actually spending some quality bonding time. Thanks to the medium, they could simulate that pretty well. Punz actually gets attached and when Dream mentions his coup-de-grâce, the cinematography shows that Punz isn’t too happy about it.

Tommy and Tubbo prepare to fight Dream on their own terms. They know, they have to stop him lest he hurts the people they care about (this makes both of them a bit more proactive in the finale). Punz (as per Dream’s orders) tells Tommy where Dream is hiding. Tommy thanks him, oblivious that Punz is a traitor, but Punz feels bad. He has grown attached to Tommy.

During the Final Disc War we actually get two perspectives: One is Tommy’s and Tubbo’s as we know it (only without the constant “Your discs or Tubbo”-stuff) and the other is Punz’s. He has decided to help Tommy even though there’s nothing monetarily in it for him.

First, he goes to Quackity, but Quackity says that Tommy has betrayed him and L’Manburg and that he gets what’s coming to him.

In a last-ditch effort, he goes to Techno. Here’s where we resolve that thematic conflict (Vengeance vs. Charity) for the Techno-Butcher Army storyline: Quackity has chosen to perpetuate the cycle of vengeance (because he will be the villain in S3), but we want some nice character development for Techno.

Niki is against it and stays put, but Techno and Philza ultimately decide to go with Punz and the others to help Tommy.

Finale plays out the same. Stuff’s still awkward between Techno and Tommy/Tubbo; they haven’t resolved all their problems, but it’s a first step. Some good set-up for S3.

And that’s my basic rewrite. It’s long and probably not the best.

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stxleslyds · 3 years ago

Note

EVENT LEVIATHAN issues 2 and 3

EVENT LEVIATHAN BUT IT’S ONLY JASON TODD.

Oh, Anon, I am sorry it took me so long to answer your ask, to be honest with you, I had completely forgotten this book ever happened and when I went looking for it, I saw who was the writer for it and my brain disconnected completely.

Michael Brian Bendis, what a polarizing writer. I had forgotten why I didn’t like his work much but this book made me remember that his writing gives me headaches. I swear, every time I read his work I am left wondering if I missed an issue or a page, it’s like I always lack information even though he makes sure to write a lot in those “monologue boxes”.

But I am not here to complain about Bendis, let’s talk about why Jason appears in this book and how is he characterized in it.

If you don’t know what Event Leviathan was about, in the first issue we are told that a terrorist has been attacking places simultaneously. This person, known as Leviathan collected some of the people that survived the attacks (like Batgirl), and others he let escape (like Green Arrow). All of the attacks were on organizations (A.R.G.U.S, Spyral, D.O) that were the pillars of the world intelligence community.

Because the case is big and operating on a big scale, several detectives and heroes (Batman, Robin, The Question, Lois Lane, Plastic Man, and Manhunter) have come together to figure out who is behind Leviathan’s mask.

In the second issue, their main suspect is Jason Todd after Damian suggests that Jason’s “special war on crime” can be related to this worldwide level of terrorist activity.

Well, If you couldn’t tell by the way that I phrased that, I really believe that DC and Bendis had to do some weird changes to the narratives because Jason hadn’t been really at “war with crime” for a very long time, or at the very least, not on that level (against organizations selling/controlling intelligence). So, right of the bat, I am confused as all hell.

Jason at this point in time was working as the Ice Lunge’s owner, so this was after the events of RHatO (2016) #25 and after Roy Harper’s death. But before I get to explaining why Damian and the others thought that Jason was behind Leviathan’s terrorist attacks, let's talk about Jason’s characterization.

How to write about a character based only on “tropes” that the publisher of the book told you. A Guide by Michael Brian Bendis.

We find Red Hood in Seattle, already investigating Leviathan. So, yeah, to me it was kind of obvious that Bendis put Jason there to build up the reason as to why Jason was the main suspect of being Leviathan or working with them.

We are offered some very casual banter with Batman as well as the ever-present subplot of Jason caring for Barbara Gordon. I am not a fan of whatever DC was and is trying to do when it comes to Jason and his crush on a person that he barely knew and has rejected him before. Bendis was probably told to put that there, I really don’t see Jason going out of his way to ask if Barbara is final but oh well.

In that panel we also see Jason say this to Batman, “can we put away the stuff between us so we can work on the case?” to which Batman answers, “of course”.

What the hell was that? First Batman beats the living shit out of Jason (Jason even says that he never saw Bruce hit the Joker as hard as he was hitting him) and rips the bat-symbol of his suit saying that they no longer work together or whatever, then we have Bruce going to Jason to tell him that Roy is dead, he gives him a hug but then proceeds to tell Jason that he is still banned from Gotham.

DC really reduced all that to “stuff between us”, alright, all I am getting from that is that I was right when I said that DC lets Batman get away with his horrible treatment of his kids as if it just were a subplot. Lovely, I hate being right.

But that’s not really what I want to discuss, I want to discuss the level of detective/investigation skills that Jason has got going on for him in this issue. Suddenly Jason has information about what happens with organizations like Spyral, ARGUS, and DEO? And then Bruce asks Jason if he has been in contact with Talia recently?

I am not mad about those last things, don’t get me wrong, Jason being good at investigating and him being (possibly) in contact with Talia are great things BUT they don’t fit in his story anymore.

Where is this Jason coming from, it must not be from the narrative that Lobdell had going on, Jason never showed much interest in keeping up with that side of the world or in doing detective work. And his relationship with Talia was downgraded a lot, basically, all Talia had done was keep an eye on Jason since she first met him before he was robin (yeah, that was a thing that happened as told in RHatO (2011) #25) and that how she found out that he died, after he came back from the dead, she put him in a Lazarus Pit and then sent him to the All-Castle so he could become Ducra’s apprentice. That’s literally it.

Or are we working with a Jason that maintains his Lost Days origins? There isn’t time on the timeline for that to have happened so his involvement in this book and the way that they are writing him is very confusing to me.

Jason doesn’t say anything about Talia except that he pulls an Uno reverse card on Bruce and asks him if he has been in contact with Talia. But just like many things with Bendis as a writer we never really hear any of them say anything about Talia and they continue talking about something else.

Alright, back to sharing what they found it is! Jason has apparently investigated this very closely because he cannot stop bringing up the fact that the attacks leave no bodies behind. Either people escape or vanish from the attack site.

But here is where the so-awaited “Batfamily” mention comes in. After Bruce tells Jason that he is putting a team of Detectives together Jason asks this, “we can’t keep this in the Batfamily?” Gods, was DC on crack when they wrote this? The Batfamily? Honestly? Two of your best detectives are not around to help you and your so-called family left Dick Grayson all alone in Bludhaven!

What Batfamily are you talking about Jason? You, Bruce, and Damian? I can’t with DC pushing and pushing the wildest concept in their universe.

After all that Batman spends a lot of time explaining what has happened or what was supposed to happen, he talks to Jason about how the other detectives were getting closer to retrieve a body that they needed to study. In between what Batman is explaining the scene of Plastic Man talking with Leviathan happens and there Leviathan says that they know each other. So, that’s a clue, whoever is behind the mask is someone that Plastic Man has met before.

We find out that Batman was retelling that story to Jason, so Jason starts putting the pieces together. Batman already has a team, they know that Leviathan has been spearing some heroes’ lives, there is a cause for all the attacks (“a new world order”), and that the attacks leave no bodies. Jason even begins to put together the list of suspects but then Jason asks Batman if they have their number one suspect and Batman says, “Yes”, and it’s Jason!

This is so funny to me, like what? How did they come to that conclusion? Luckily Bendis “explains” the Detectives’ team’s reasoning, I guess? They take turns to ask Jason basic questions that Jason deflects from some reason? It is so dumb.

From this page the most important thing that I gathered is that Damian (the one who initially accused Jason of being Leviathan) says that he doesn’t “think that you (Jason) know you are doing any of this. I think it manifested itself out of grief”.

What? A terrorist that has some sort of technology that makes explosions that leaves no bodies and spares some people’s lives, is being manifested by Jason because Roy Harper died. Did I understand that correctly? That’s their big idea as to why Jason is their number one suspect?

Team of detectives, yeah, I don’t see it.

It makes zero sense! First of all, what “war with crime” was Jason having at the time, and they also say that that war was “a point of controversy for years”. Excuse me? Are they really calling Jason using guns (with rubber bullets) a SPECIAL war with crime? What are they referring to? Are they talking about the events of Under the Red Hood? Because Jason hasn’t been that version of himself in years! We don’t even know if those exact events happened in this continuity!

I am so lost; I actually don’t know why they are relating a terrorist attack to Jason. I don’t know, to me, Jason’s appearance here is unjustified and lacks logic.

Now, we find ourselves in the third issue, where an unnecessary amount of time jumping is done. First, we are in the present after both Batman and Robin let Jason run away. Listen, I know that they tried to paint it as Jason kicking both their asses but I saw those pages, they threw three punches and one of them connect with Jason’s jaw. Batman and Robin just stopped fighting Jason.

I don’t know, why they had to make Damian say that Batman let Jason get away when he was there too and did nothing.

And then they had Damian say this about Jason, “I have never been a member of his fan club but Jason Todd is one of the great master fighters of all time”. Okay, sure, Jason has had a lot of training and he has been immeasurably overpowered over the years but I still find Damian saying this a bit weird, like why would he say that? The fight that is shown after this look into the present is just like any other fight that any Bat-related hero has had. Dick has had more impressive fights than that one after the New 52 and he was immeasurably nerfed.

I love Jason getting recognition for the things that he does right and that he is good at but I need you to represent those moments better. The fight isn’t that grand and they clearly let him run away!

In the fight there all jumped off of a building, (Jason, Batman, Robin, Manhunter, Arrow, and Plastic Man) Jason shoots at everyone and they have a “fight” midair. Then Batman, Robin, and Jason fall through a glass roof and they continue fighting in a pool, this is where I say that they let Jason ran away, they showed us Damian kicking Jason in the face and Bruce punching Jason in the face. But then Jason electrifies both of them while they are in the pool? Listen, this is very nitpicky but Batman and Robin are wearing proper suits for vigilantism, if their suits aren’t prepared to receive some electric shots then wow, but also, the electricity does nothing to Jason even though he is also in the water? Jason’s Red Hood suit at the time was a pair of pants, a shirt, a vest with a hood, and some bandages on his arms… You are telling me that Jason was wearing a suit that protected him from that? Alright, I will believe it, after all, I am very dumb.

Then Jason fights Manhunter, a simple fight apparently, he doesn’t show much fighting skill because she looked like an easy target and then Jason stops fighting and decides to have a nice chat with Lois Lane.

“Why did you run?” I think he ran because a bunch of people accused him of being a terrorist and threw themselves at him at the edge of a building, what kind of question is that?

This page is just, I cannot describe how confusing it is. Lois finally asks that if it isn’t the Red Hood, then why would Leviathan try to set him up? To that Jason answers this, “I was thinking about that on the way down here. Because I am perfect. All this should be me” then he explains “I lose sleep running the numbers in my head, on how measured response to the criminals of the world brings nothing but more chaos. Batman knows this. If this Leviathan is making a big play to change the world, maybe it is the move the “crime-fighters” just don’t, will never have the guts to take. Maybe.”

What. Is. Going. On? Where did this version of Jason come from, this isn’t really in tune with UtRH Jason, RHatO Jason, or RHO Jason. This take on Jason is completely different, Jason doesn’t involve himself with threats on a worldwide scale, he doesn’t care how all heroes around the world operate, and he is not the only one that does things differently from Batman and other heroes that have similar morals.

What is this Jason saying really, is he suggesting that a global terrorist attack can lead to the reconstruction of how heroes work?

Why does Jason think that what Leviathan has going on is similar to things that Jason has done? What did Bendis read that I didn’t? How did Bendis come up with this characterization of Jason?

Because even though RHatO and RHO Jason went beyond Gotham he still fought for things that were directly aligned with his story, Ra’s al Ghul, the Untitled, Essence, all of that wasn’t on a global scale, why is he so suddenly aware of more than that, I just don’t think that his participation in this book is justified.

In these other panels he also comes off as way too aware of what is going on, and I understand that to a certain level all heroes might keep up with what going on a global scale but it seems like Jason knows way too much for someone that hasn’t been connected to those organizations and or people before.

Jason appears a little more after that but nothing of true importance is said anymore in this issue. After, Lois finishes her talk with Jason she reunites with the rest of the team and is like “It wasn’t Red Hood, let’s move on” and that’s that.

That was all Jason did in those two issues. A mix between nothing, knowing too much and him speculating about what a terrorist would want to do next.

Before I give my last thoughts about Jason and these issues, I want to share with you these panels from issue 5 of Event Leviathan.

There, Zatanna and the others confirmed it. Even though Lois listed the Red Hood as a suspect the other detectives told her that not only none of their suspects were Leviathan but that none of them were Leviathan adjacent.

OF COURSE, JASON HAD NOTHING TO DO WITH LEVIATHAN!

Here is what I think, Jason shouldn’t have been in this book, it makes less than zero sense for him to be there. Jason being set up by Leviathan had no logic whatsoever. Jason and Leviathan’s levels of “disruption” are on completely different levels.

I just don’t know why he was there.

Anon, once again I am sorry for taking so long to do this review, I hope you had fun reading this, and I hope that you have an awesome day!

#jason todd #red hood #robin #batman #event leviathan #dc comics #asksss #lois lane

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cherubcow · 4 years ago

Text

“Invincible”, Season 1 (2021) Review

Somehow both very cool and very fucking stupid :D

About Created and written primarily by Robert Kirkman (principle writer for The Walking Dead comic and TV show), this Young Adult cartoon basically synthesizes a number of comic book characters (e.g., Superman, Batman, Green Lantern, Hellboy, Wonder Woman, Gambit) and tries to balance their heroism with cynical twists and dark realities. It's an exercise like Brightburn (2019) in that it mirrors existing comic writing all too closely in order to make violent twists. The cool stuff arrives pretty much immediately. You can tell right away that the physics have some level of realism, and it quickly gets serious because of this. The easy comparison would be to The Boys (also by Amazon, also about violent heroes, and also very well-produced). So, if you like The Boys (2019–), you'll probably like Invincible only a little less.

(( Some spoilers but nothing too specific ))

Wrong Focus But, the stupid stuff comes from the same error that the Kick-Ass movie (2010) made: it focuses on the wrong person(s). In Kick-Ass, the error was focusing on.. well.. "Kick-Ass", an irredeemable loser and waste of screen time. Invincible makes the same mistake, focusing on.. well.. "Invincible", a (so far) irredeemable loser and waste of screen time. So, despite its virtues, this show cannot escape that it made the decision to go for the Young Adult viewing demographic. It reminds me of Alita: Battle Angel (2019) in that way too: some very cool adult concepts ruined by the dramatic devices of unrepentant teenage stupidity and irrelevance. I didn't even like that stuff when I was a teenager, though Jordan Catalano gets a pass.

Main Cast and Characters The supporting characters were also very stupid. The most annoying was definitely Amber Bennett (voiced by the otherwise cool Zazie Beetz from Deadpool 2 (2018) and Joker (2019)),

who is supposed to be attractive somehow to Mark Grayson ("Invincible", voiced by Steven Yeun, who played Glenn on The Walking Dead)

despite the fact that she constantly judges him, fails to understand him, often fails to give him any kind of benefit of the doubt, and continues to scowl at him and be hurtful towards him even when she has information that should change her outlook towards him. And because she is part of the love triangle shared between herself, Invincible/Mark, and "Atom Eve"/Samantha (voiced by the awesome Gillian Jacobs from Community (2009–2014)),

audiences simply have to bear with it that Amber's annoying character will be present and wasting time until Mark can realize that Amber is in fact toxic and that Eve actually understands him and can improve him in more positive directions. That love triangle should have been a 20-minute distraction, but I'm guessing that it will eat up a season or two more, especially if the writers become cowardly and fail to change things for fear of messing up a perceived "winning" formula. In my ideal story line, they would skip ahead 10 years, drop the teen drama, the love triangle, and the stupid jokes and have Invincible and Eve paired in defense of Earth, with the main tension being from their worry that the other would be horribly gored in front of them during lethal fights against cosmic enemies ;)

Aside, I am aware of Amber’s motivation for being a bad person, I just think her justification is not based in understanding, empathy, and a regard for the gravity of Invincible’s situation. In a strict political sense, Invincible should not commit a lie of omission by keeping her in the dark about his identity — even if for the “noble lie” reason of protecting her — but in a real sense, he is a fucking teenager who just developed his super powers. For her to pretend that he should reveal his entire identity to her — a potentially transformative and even dangerous decision — after a few months of teenage romance paints an absurd portrait of her mind. It does, however, align her with Omni-Man, because where Omni-Man forces Invincible to become an adult in the fighting sense (pushing with full force early on), Amber forces Invincible to become an emotional adult by getting him to understand that toxic people such as herself need to be given boundaries — and he needs to learn to clearly delineate and communicate his real desires. By knowing that he does not want Amber, people who regiment his free time, or people who do not suit him, for instance, he can realize why Eve was an obvious decision: Eve understands, can make time when they have time, and will let him find his decisions. Part of a coming-of-age story tends to be realizing what one actually wants, and Invincible’s hesitation in telling Amber his identity shows that he does not truly want her. This separates Invincible from, say, Spider-Man, who avoided telling Mary Jane his identity not because he did not want her but because he wanted at all costs to protect her.

The next most annoying character has to be Debbie Grayson (voiced by TV-cancer Sandra Oh and who luckily was not animated to look like the real Sandra Oh and who should have been voiced instead by Bobby Lee due to Lee's successful MadTV parody of Sandra Oh).

Debbie basically fills the role of Skyler in Breaking Bad, except that Debbie's character tends to be slightly more understanding before her inevitable and toxic Skyler-resentment and undermining behavior. Despite having an 8-episode arc of change, Debbie's character flips too quickly and lacks the empathy and Omni-Man motive-justifying that would make her interesting (the comic's development may vary). For instance, if she refused to believe that Omni-Man meant his own words, that would make her empathetic and perhaps virtuous even if misled, but instead she dropped their "20 years" of understanding after viewing Omni-Man in action, which makes her appear shallow, easily manipulated, and unsympathetic. That was a definite "Young Adult" genre move because it shows immaturity by the writers to break apart a bond of 20 years so quickly. Mediocre teens might accept such a fissure because their lives have not yet seen or may not comprehend that level of time, but adults know that even long-standing and problematic relationships (which, beyond the lie, Omni-Man's and Debbie's was not shown to be) take a lot of time to break — even with lies exposed.

Omni-Man The biggest show strength for me was of course Omni-Man, who in a success of casting was voiced by J.K. Simmons in a kind of reprisal of Simmons' role as Fletcher from Whiplash (2014).

The Fletcher/Omni-Man parallel shows through their being incredibly harsh but extremely disciplined and principled, forcing people to become beyond even their own ideal selves (this via Omni-Man's tough-love teaching of Invincible — comically, Omni-Man was actually psychologically easier on Invincible than Fletcher was on Whiplash's Andrew character). Despite the show's attempts to villainize Omni-Man, he, like Fletcher and also like Breaking Bad's Walter White, becomes progressively more awesome, eventually representing a Spartan will, an unconquerable drive, and a realistic and martial understanding of a hero's role.

To the show's credit, while it wrote Omni-Man to be outright genocidal and from a culture of eugenicists (again, Spartan), they could not help but admire him and his "violence" and "naked force" (for a Starship Troopers reference), giving him a path to redemption. That redemption comes in part because — despite the show's attempt to be often realistic and violent — its decision to be directed at young adults via dumb jokes, petty relationship drama, the characters’ reckless lack of anonymity and security in their neighborhood (loudly taking off and landing right at the doorstep), and light indy music also made the portrayed violence far less literal. With a less literal violence, the real statement becomes not that Omni-Man really did kill so many people (though he certainly did kill those people within the show's plot) but that he was symbolically capable of terrible violence but could be reformed for good. That's the shortcoming with putting violence under demographic limitations. If it's a PG-13 Godzilla knocking down cities, the deaths in the many fallen skyscrapers don't matter so much (the audience will even forgive Godzilla for mass death if it happens mostly in removed spectacle), whereas if it's Cormac McCarthy envisioning a very realistic fiction, every death rides the edge of true trauma.

By showing light between the real and the symbolic, it is much easier to identify and agree with Omni-Man. For instance, when Robot (voiced by Zachary Quinto of Heroes and the newer Star Trek movies)

shows too much empathy for the revealed weakness of "Monster Girl" (voiced by Grey Griffin), the audience may have thought, "Pathetic," even before Omni-Man himself said it. And this because Omni-Man knows that true and powerful enemies (including himself) will not hesitate to use ultra-violence against these avenues of weakness. "Invincible" can make his Spider-Man quips while in lethal battles, but he does so while riding the edge of death — something that Omni-Man has to teach Invincible by riding him to the brink of his own.

Other Cast/Characters and Amazon's Hidden Budget It was impressive how many big-name actors were thrown into this — a true hemorrhage of producer funding. Amazon has so far hidden the budget numbers, perhaps because they don't want people to know that the show (like many of its shows) represents a kind of loss-leader to jump-start its entertainment brand.

Aside from those already mentioned, the show borrows a number of actors from The Walking Dead (WD), including.. • Chad L. Coleman ("Martian Man"; "Tyreese" on WD),

• Khary Payton ("Black Samson"; "Ezekiel" on WD),

• Ross Marquand (several characters; "Aaron" on WD)

• Lauren Cohan ("War Woman"; "Maggie" on WD)

• Michael Cudlitz ("Red Rush"; "Abraham" on WD)

• Lennie James ("Darkwing"; "Morgan" on WD)

• Sonequa Martin-Green ("Green Ghost"; "Sasha" on WD)

There were also connections to Rick and Morty and Community, not just with Gillian Jacobs but also with... • Justin Roiland ("Doug Cheston"), who voices both Rick and Morty in Rick and Morty,

• Jason Mantzoukas ("Rex"),

• Walton Goggins ("Cecil"),

• Chris Diamantopoulos (several characters),

• Clancy Brown ("Damien Darkblood"),

• Kevin Michael Richardson ("Mauler Twins"), and

• Ryan Ridley (writing)

That's a lot of overlap. They even had Michael Dorn from Star Trek: TNG (1987–1994) (there he played Worf) and Reginald VelJohnson from Family Matters (1989–1998) and Die Hard (1988), and even Mark Hamill. Pretty much everyone in the voice cast was significant and known. Maybe Amazon got a discount for COVID since the actors could all do voice-work from home? ;)

Overall Bad that it was for the Young Adult target demo but good for the infrequent adult themes and ultra-violence. Very high production value and a good watch for those who like dark superhero stories. I have heard that the comic gets progressively darker, which fits for Robert Kirkman, so it will likely be worth keeping up with this show.

#invincible #tv review #robert kirkman #invincible tv series #invincible tv show

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meetthetank · 4 years ago

Text

Cruciamen Chapter 11: A Touch of Honey

Rating: Mature Archive Warning: Graphic Depictions Of Violence Categories: F/M, Other Fandom: NieR: Automata (Video Game) Relationships: 2B/9S (NieR: Automata), A2/A4 (NieR: Automata) Characters: 2B (NieR: Automata), 9S (NieR: Automata), A2 (NieR: Automata), A4 (NieR: Automata), Emil (NieR: Automata), Kainé (Nier) Additional Tags: Alternate Universe - Fantasy, genre typical violence, On the Run, Monster of the Week, 9S is a half demon, 2B and A2 are shapeshifter Dragons, Other Additional Tags to Be Added, Smut in the future, inaccurate depictions of medical procedures, Fantasy Biology, A2 is Nonbinary Ao3 Link: https://archiveofourown.org/works/25104214/chapters/79358422

The art in the thick, leatherbound tome is unlike anything A2 has seen before. Great warriors, their mighty weapons, and the monsters they slew dance across the page and intermingle with the precisely placed text. They run their bandaged fingers over the linework and imagine the rough splinters of the carved woodblock. Each image is rendered with exquisite detail and transferred to the page with expert skill. The ink doesn’t even smear when they touch it.

The door to their sickroom swings open. A4 strides in, black curls bouncing with each step, carrying a basket of supplies and a plate of food. The dry beige stuff, “bread” and soft yellow stuff, “cheese” have been mostly replaced by fresh fruits, but there’s still small pieces of both hidden underneath. The nun regards A2 with a bright smile that makes her emerald eyes shine. For the past three days she’s greeted them this way, always the same smile, the same twinkle in her eyes. It’s weird, but A2 doesn’t mind.

“I didn’t take you for a scholar,” she says, placing her basket down and coming to their bedside. “Oh, no offense.” A4 scans the page open on A2’s lap, then sighs wistfully. “I always love this story. The Sword Saint is one of my favorite heroes. What about you?”

A2 blinks, their expression neutral. “I can’t read it. I just think the pictures are cool.”

“Oh.” The nun turns her head and makes a strange coughing noise. When she turns back her face is red, making the smattering of freckles across her cheeks stand out.

“What?”

“Nothing!” A4 yelps. “Just ah-... Dry throat is all.”

“Okay…” A2 mutters.

“What’s your favorite picture then?” A4 asks, eager to change the subject.

Their expression lightens a bit. “The weapons.”

“Oh, really?”

A2 nods. “Yeah. Never seen some of these before. They look cool.” Their fingers trace across an image of a wicked looking serrated blade. “Back home, the elders said that weapons told stories. I never believed it as a cub, weapons couldn’t talk.”

“Interesting,” A4 muses. She looks at them, lying in bed, clearly bored out of their skull. Their leg bounces under the covers, their eyes dart around only to settle on her face for a few moments, then find something else to be interested in. The book is long forgotten, and A4 guesses that sitting here telling stories would be as ineffective as trying to get them to change their bandages regularly. Then, suddenly claps her hands together.“I have an idea!”

They close the book and tilt their head to the side. “Huh?”

“I bet you’re tired of walking around the infirmary. I could take you around some of the other buildings, if you’d like.”

A2 grumbles to themself. Though they feel better after walking with A4, they despise being led around like a lost cub. Not even the prospect of new scenery will change their attitude.

“There’s lots of sculptures and art, and even relic weapons I could show you,” she says with a coy smile.

That… gets their attention. “... When are we going?”

“Whenever you’re ready, I think.”

A4 offers her hand out to A2 to help them out of bed. They wrap their bandaged fingers around hers and allow themself to be pulled up. Though the sharp pains and aches that ravaged their body have dulled, they still wince and hiss under their breath as they stand. Parts of their skin, particularly in their shoulders, elbows, lower back, and legs, feel too tight, as if their bones are a tanning rack. A4 places a worried hand on their shoulder. They give a dismissive wave but don’t reject the touch.

“I’m fine,” A2 says, forcing themself to stand as tall as they can. “Just a bit stiff.”

The nun sticks by their side as they leave the infirmary. A2 grumbles that they’re not about to fall over, but A4 remains adamant that she’s here in case they need some support. They glance around at the other rooms that happen to have the doors open. There aren’t many other patients housed here; A2 counts at least three or four patients and one other nun. This place must not get many visitors, or much outside aid for that matter.

The sun blinds them temporarily as they step onto the worn path that leads from the infirmary to the rest of the convent’s grounds. Straight ahead is an old stone chapel, decorated with symbols and iconography A2 recognizes from the book they were reading. Immediately left of that is a building similar in structure to the infirmary from which other nuns come in and out. The scents of unfamiliar foods drifts out of the open windows, and A4 giggles when A2 stares at the building as they pass.

As they approach the living quarters and the chapel, A2 notices a distinct change in the atmosphere around them. There’s an energy in the air that sends a chill up their spine, something unseen that makes the downy feathers beneath their hair prick up.

A4, noticing their tension, puts a hand on their shoulder.

“What is that?” they ask, stormy eyes darting around in search of a threat. “Something’s weird here.”

“It’s the blessed grounds,” A4 explains. “The area surrounding the chapel and our dormitory have been consecrated to ward against demons and other creatures.”

A2 nods along, not understanding at all. At least this place has some kind of protection. The only thing preventing an invasion is The Bog to the north and dense woods to the south. A fence or stones would be preferable, but a magical barrier will do, they suppose.

A4 brings them to the chapel first. She stops in front of the heavy wooden doors with A2 by her side and clasps her hands together in front of her chest. Though she mutters a prayer in a language A2 does not recognize, they can tell the words are full of reverence. She bows her head, makes motions across her body with her hands, then leans forward as far as possible in an exaggerated bow. A2 stands and stares, unsure if they should be following along or not. They fold their hands clumsily, only for A4 to giggle at them once again. Heat floods their face and they cross their arms over their chest with an indignant huff.

She pushes the doors open much more easily than A2 thought she would. Cool air laden with fragrant incense rushes out and rustles their hair. There’s barely any light inside, only the sun’s rays and a few candles illuminate the interior of the old building, but it’s enough for the colorful glass windows to shine in brilliant greens, reds, and blues. They follow A4 with their head on a swivel, trying in vain to take in everything around them. Each window has an image inside it of different colored glass, giving the depictions of strange beings and holy figures an otherworldly quality. In between each window are statues depicting all manner of weird and awe-inspiring creatures. There are many beings that seem to defy the laws of nature, each one brandishing instruments of war such as swords, spears, and great shields. One winged creature with a long, featureless face that ends in a point unnerves A2. Despite it having no eyes, it seems to stare at them.

“What are these…” A2 murmurs, finding themself staying close to A4.

“Angels,” she explains, slowing her pace to match A2’s

They shiver. “I didn’t think they would look so…” So much like demons? They don’t dare say that aloud. “... Monstrous.”

A4 giggles. “Angels and other heavenly bodies aren’t from this world.”

“Oh.” They scuff their shoes against the stone floor, feeling a little silly. Of course they wouldn’t be from this world. “Where are they from? Has anyone seen an angel before?”

They don’t mean to be rude, they’re only curious, but the frown that sours A4’s soft features makes them rethink asking questions like that again.

“We call their world Paradise,” she says, forcing her expression to be neutral again. “There are a number of thinkers that theorize that it’s somewhere high above the clouds or among the stars. The few times we have seen angels, they’ve descended from the sky.” She sighs and thumbs the fabric of her dress. “It’s... been a long time since anyone has seen an angel. The last recorded sighting was during the time of the Hellwalker, thousands of years ago.”

A2 hums and searches for anything to change the subject. A statue close to the small altar catches their attention. An armored human, or something that used to be human, holds out his arms as an angelic warrior erupts from his split chest. Though graphic and morbid (the scene sends chills down A2’s spine), none of the more gruesome details are rendered in the stone. Even the human with his chest agape seems to be enraptured by the holy warrior emerging from his decimated body.

“Wh-”

They stop short of asking about the sculpture, but ever observant, A4’s head whips around to face them. She looks from their face to the statue and back again, easily piecing together the question A2 was about to ask.

“This was Saint Agustus, an Ascended,” she explains. “Exceptional people of the Faith are sometimes chosen by the Bishops to give up their body to an angel. They become holy vessels of divine will.”

A2 only nods along, watching as A4 clutches a charm that dangles from their prayer bead necklace. They can’t make out the shape, but it looks like a similar design to what the statue of Saint Augustus has tied to his belt. Before A4 can catch them staring they avert their eyes, making sure not to linger on anything for too long. The last thing they want to do is make this sweet nun feel like she has to educate them on every aspect of the Faith.

“The weapons look cool,” they say in a desperate attempt to avoid any prying religious based questions.

It seems to work, as A4 smiles. “They are, but the real ones are even cooler.” For the first time since coming into the chapel, she looks genuinely excited. It’s infectious; A2 can’t stop themself from grinning as well. “Would you like to see some?”

All A2 has to do is nod once for A4 to grab their hand and lead them through the chapel and down a stairwell. A few other nuns scowl at her but it doesn’t seem to bother A4 in the slightest; in fact she seems to smile wider once she does notice. That little act of mischief from the woman A2 thought was a good and pious girl makes her smirk, just a bit.

Another set of oaken doors separate the basement of the chapel, used for storing unused furniture and holiday paraphernalia, from the Order’s armory. The array and variety of weapons is impressive enough, but the decoration and detail on their ornaments is dazzling. Each sword, spear, axe, mace, and bow is embellished with holy symbols, geometric designs, and mosaics of brilliant gems and stones. A massive sword in a glass case catches A2’s eye. Its intricate lattice work and inlaid jewels outline the polished and gilded blade. It’s ostentatious and far too gaudy for their tastes, but A2 can’t deny that it’s impressive.

“That’s Teresa’s Ecstasy,” A4 explains. “Or, a replica of it.”

“Cool…” A2 says, staring at the sword with wide, awestruck eyes.

A4 goes around and gives a little lesson on each weapon or replica and who used it. Teresa’s Ecstasy might be the largest and shiniest, but the brutal headsman axes wielded by Holy Executioners would be their choice out of the lot, hypothetically. There’s a pair of swords that look strangely familiar to A2, two serrated black iron swords devoid of the elaborate decorations or the others. A4 explains them to be the favored weapons of someone known as the Sword Saint.

“This is what I take into battle,” A4 says and takes what A2 thought to be a censer off of a rack, but it is adorned with the wicked blades and spikes of a flail. “I burn a sacred herb inside that emits a smoke that suffocates demons.”

She demonstrates her skills with several wide sweeps and a downward strike to finish. A2 steps back to give her room to swing the flail. It almost looks like a dance and it astounds them that A4 doesn’t lose control of the weapon and smack herself in the face with it. It's enchanting in a way they didn’t expect, and they find themself watching her with enough intensity that when A4 catches them staring, her face flushes red and she falters, allowing the golden chain to catch on her arm. She sputters a half explanation, half apology as she hangs the thurible back on its rack.

A4 clears her throat. “S-so. Which one would you pick?”

They can’t help but smile. Her question carries the same excited innocence that a child has when asking a friend what their favorite lizard is. A2 scans the racks and shelves filled with weapons, relics, and replicas. Most of these are far too flashy or strange for them to latch onto, but there is a rack of simple wooden weapons. At first they mistake them for harmless training weapons, but one catches their eye. They pick up a heavy dark oak club with spikes crudely hammered into the rounded end. It’s hefty, top-heavy, yet well balanced and cruel. They give it a practice swing, then a more powerful one and smirk at the simple brutality of the spiked club.

“This one. If I didn’t have my sword, of course.”

She giggles. “I thought you might pick the Club of Saint Gertrude.”

A2 decides that Saint Gertrude had good taste. They set the club back in its place with much more reverence than before.

The pair don’t stay down in the armory for very long. An older nun whom A4 refers to as Sister Beatrice (who also lingers behind them as they leave) scolds them for playing around with holy relics. A4 tries to defend herself but quickly absconds with A2 in tow before the old woman could get too angry. As they exit the chapel and A2 has to walk past the statues and windows once more, they can’t shake a certain observation of the convent’s art and iconography that sticks in their mind. Everything here, despite being holy and images of purity, is very... sexual. Even the people or demons being skewered or torn apart have expressions of pure ecstasy and pleasure. They shove the thought away as they and A4 exit the chapel and the fresh air fills their lungs.

Along with the calming scents of grass and the woods, something else catches A2’s attention. A savory smell, like searing meat but not as sharp or oily, drifts from the building A4 had identified as the dormitory. It’s a wholly unknown scent to them, but it makes their mouth water nonetheless. Thankfully that building is A4’s next destination.

Since there’s no ritual she needs to perform for entering the living quarters, A4 walks right through the much less ornate wooden door, holding it open for A2. The entryway is sparsely decorated: only wide, featureless windows that let in natural light and potted plants of various kinds sit among neatly lined pairs of boots. Other belongings and clothes sit on small tables and vanities near the door: several woven black shawls, prayer beads, and simple leather satchels. It’s hard to tell just how many nuns live here, but A2 figures at least twenty based on how many pairs of boots they can see.

A4 leads them through the halls of the dormitory, which is relatively uninteresting aside from the different paintings of what A2 assumes to be saints that adorn the walls every so often. The smell grows stronger and stronger until they reach a large, open kitchen and dining area. Well-used pots and pans hang from the rafters, a pot of water boils on an oven with a small cookfire crackling inside, and plates of breads and cheeses sit on the center table, ready for lunch time.

The young nun bustles back and forth, checking on the pot of something she calls “pasta” that boils on the stove while A2 idly examines the different foods lying about. Some of them they recognize, like cloves of garlic, from the witch’s house. Others they have to sneak a bite of to decide whether or not they like it. Most of the powders and dried plants are far too strong, and it takes all of their self control not to vomit after biting into a thin stick of… something.

A2 finally comes to the loaves of bread that have a white decoration on top of them arranged neatly on a tray. While A4 fusses with organizing some utensils and complaining about how messy one of the other nuns is, A2 picks up a small loaf. It’s much softer than they expected, and denser. It must be a different kind than the ones A4 brings them. It crumbles easily when they roll a piece between their fingers. The white decoration turns to a sticky liquid when they touch it. Cautiously, they take a bite.

It only takes two bites for A2 to eat the whole loaf.

Whatever this is has to be the sweetest, most amazing thing A2 has ever put in their mouth. It reminds them vaguely of honey, a rare treat back home, but with so much more added to it. They taste a bit of fruit and some of the spices they had sampled in there as well. Suddenly they feel like they’ve been missing out on so much of the world, a feeling that causes tears to well up in their eyes.

A4’s laughter snaps them out of their religious experience. They try to wipe their eyes as nonchalantly as possible, but the nun sees right through their ruse.

“I never thought anyone would react like that to my baking,” she says, smiling from ear to ear.

“Y-...” A2 looks at her with wide eyes, “You made that?”

“Yes,” she giggles. “It was one of the first things I learned to bake. It’s sweet bread.”

A2 thinks they might like this place after all. They reach for a second loaf only for A4 to smack their hand.

“Hey! Save some for the rest of us!” she scolds them, but the smile plastered across her face lets them know there’s no malice at all. A4 leans in close to A2 and drops her voice to a whisper, “If you cooperate with your treatments and behave yourself I can sneak you some.”

Her excitement is infectious. A pleasant warmth rushes through A2’s body as they laugh with her. “Okay, deal.”

...When was the last time they felt like this?

They don’t linger in the kitchen for very long. A4 tugs them along by the hand once again, eager to have A2 meet her mentor at the convent (or to get them away from the food). She says this is the final stop of their tour, which comes as a secret relief to A2. Their legs and arms are starting to ache and despite eating an entire loaf of sweet bread they want to lie in bed for a few hours. Even walking through the dormitory halls takes the wind out of them. They try to hide it as best they can, but A4 gives them a concerned look when she hears them wheeze.

The final stop turns out to be the dormitory’s infirmary. Why the nuns have their own separate medical wing confuses A2, but the group seems eager to keep outsiders away, considering all the strange looks A2 has been on the receiving end. The room is devoid of people aside from two older women. One wears the same plain black dress and white headscarf that the other nuns wear. She hunches over a much more decrepit woman, dressed in a black robe with an intricate geometric pattern on the front, denoting a higher rank, and tends to a wound on her face. As A2 walks closer, they can smell a harsh potion similar to what A4 has been giving them to clean their sores.

“Sister Margaret!” A4 calls and waves, then bows to the older old woman. “Good afternoon, Mother Superior.”

“Good afternoon, sister,” both women answer in unison.

A2 gives a shaky wave, standing behind A4 as if this tiny woman would protect them from awkward social encounters.

“Is this the girl we rescued from the Bog?” Sister Margaret asks, only sparing a glance at A2 before turning back to the wounds on Mother Superior’s face.

They’re about to chime in with their usual response to that assumption, but their words catch in their throat as Mother Superior turns to face them, allowing A2 to see the full extent of her disfigurement.

Her eyes are gone. The only thing that remains are her eyelids, sewn shut, and two circles of thick scar tissue over them. Sister Margaret gently dabs a sharp-smelling cream over the wounds.

“Speak, child,” Mother Superior says, her voice severe but worn with age. “Does my penance frighten you?”

“P-...” A2 stammers, their aloof personality vanishing in an instant, “Penance?”

“Mother please.” Sister Margaret playfully taps her elder on the shoulder. “Don’t scare the poor girl.”

A4, Sister Margaret, and Mother Superior chat while Maragret finishes up with her treatments. The three women all seem to get along, from A2’s perspective, but A4 and Margaret seem far closer. A2 lingers on the edge of the group, waiting for and dreading when attention turns back to them. All the while, they can’t stop looking at Mother Superior and her wounds. The word “penance” echoes in their head over and over and over. They see an iron mask sitting beside the matriarch and swallow a lump forming in their throat.

It isn’t long before Mother Superior stands to leave. She waves her goodbyes, A4 and Sister Margaret bow in return, and the old woman hobbles out of the infirmary, leaning on a wooden cane for support and navigation.

As soon as Mother Superior exits the room, Sister Margaret claps her hands together and approaches A2. “Now! Let's take a look at you…”

This woman has no sense of personal space, A2 thinks. She pulls at their lips to check their teeth, runs her wrinkled hands over their scales and bandages, digs through their hair like she’s looking for ticks, and holds their eyelids open to examine them. They let out a low, annoyed hiss, but allow the old nun to pick them apart like an experiment.

“Looks like you’re doing a good job so far, 4!” Sister Margaret praises. A4 beams with pride. “Keep up with fresh fruit as her main diet, change the bandages daily or more if needed. How are you feeling? Be honest, girl.”

“Uh- I’m not…” They stop, unsure if correcting Sister Margaret about their gender would cause problems. “I’m... still sore. Get tired easily. Get sick if I eat too much.”

Sister Margaret and A4 nod in exactly the same way. “Well,” Margaret begins, “Rest, walks, and a proper diet should put your humors back in check. Don’t keep your condition a secret, there’s no room for the sin of pride in these walls.”

A2 nods, then suddenly chokes on their own spit as Margaret grabs at their upper arm and squeezes their bicep.

“Hooo boy!” she hoots, giving their arm another squeeze, seemingly pleased by how hard the muscle is. “She’s something alright!” Margaret turns to A4, whose face already begins to flush red. “I’ll say this, if she cleaned up, she’d be a snack and a half!”

She laughs at the red faced A4, while A2 stands there with the blank stare of a confused cub.

#nier automata #nier #nier automata fanfiction #A2 #fantasy au #fanfiction #tank in the real

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oneoftheextras · 4 years ago

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arranged marriage | one

masterlist | tip jar

parings: overhaul x oc

a/n: I have been trusted to write someone’s OC in an ‘x Overhaul’ and I couldn’t feel more blessed that someone would trust me with that. If you have an OC that you would want me to write a small series for you can request it here

Sayori Ishioka is the grandaughter of Japan’s second most powerful crime syndicate, second to The Hassaikai. In a time when Pro Heroes are getting stronger and The League of Villains are on the prowl, the two gangs decide to merge together by marriage.

warnings: mentions of violence & arranged marriage

part 1 | part 2 | part 3 | part 4 | part 5

It had been approximately 8 years since Sayori had walked down the barren hallways of The Hassaikai headquarters. No, it was definitely 8 years - the last time she had set eyes on any member of the notorious gang she had been 12 years old.

Such a young age to be witness to the horrors that were conducted within these very walls.

Her grandfather had shielded her from it as best as he could, but like water running through closed fingertips, it was impossible to stop anything from seeping between the cracks.

It was her grandfather’s idea to bring Sayori along today, he told her to dress appropriately and to make sure she looked presentable - those were her only instructions. He was a vague man, never showing much of what he was thinking, he used to say that the best way to have the upper hand on your enemy was to always keep them guessing - and that was what he did.

Even today, he was as mysterious as ever. Sayori was one of the few people who could read him from the slightest twitch of an eyebrow, or the way he held his ceramic mug filled with his favourite green tea. But today was different, and that put her on edge. She trusted her grandfather, but a tingle running down her spine warned her to be on full alert.

She had her training to blame for that.

When meeting the Hassaikai, it was always best to stay as formal as possible regardless of your relationship to them. In this case, it was a colleague relationship, one with a mutual interest, but that could all change with one slip up or a wrongly worded phrase.

“Why are we here, Pops?” Sayori spoke softly to her grandfather who was walking next to her, not wanting anyone to hear her question. His strides wildly outstretched hers but still remained the illusion that he was gliding across the ground.

She had been summoned almost suddenly to accompany him, with no explanation. “We have some important business to discuss” was all that he said, his tone unrecognisable and his face unreadable.

‘We?’ Sayori clarified her grandfather’s words in her mind, she knew her grandfather like she knew her own shadow. Every word he spoke was thoroughly thought through and cherry picked, and Sayori was a smart girl, she knew that he had chosen those words for a reason.

She was also smart enough to know when to keep something in your head and not dare say it out loud, especially when there was an Hassaikai grunt stepping over the ghost of their footsteps.

Sayori kept her mouth closed, using her silence as an indicator to her grandfather that she understood what he was saying. She wasn’t here as company, and she had to be prepared to do what was asked of her.

Their stroll came to an end when they were greeted by a plain metal door, the grunt that was inspecting them quickly shifted his stance from behind them to standing next to the door. Just another reminder that everyone within this facility is highly trained and ready to kill.

He slithered his fingers under the door handle and pulled it open for the two of them, gesturing his hand in a way to tell them to enter. Sayori nervously adjusted her face mask, a habit she had picked up from her younger years in the underground headquarters - she was extremely careful to ensure that her mouth and nose were fully covered.

Sayori and her grandfather bowed politely before stepping into the meeting room, Sayori allowed her Pops to take the lead and followed in behind him, she didn’t want to seem impolite. Especially not in front of the Hassaikai.

“Hiroto” a voice echoed from the large white room, the sound trailed up to the head of a long oak table with multiple chairs neatly placed around it. It was strange for Sayori to hear her grandfather’s name spoken aloud, it hadn’t been vocalised in years.

“Boss” he lowered his head respectfully to the seated elderly man, “It has been too long” Hiroto added softly. “You can leave us” The Boss commanded the grunt that had accompanied them to the meeting with a wave of his hand, the grunt swiftly left the room without a second thought.

Sayori had heard stories about The Boss, a man so dangerous that every villain in Japan quivered at just his mention. His shell was misleading, a frail old man with kind but weathered features, capable of killing without hesitation.

“Please, have a seat” The Boss used the same hand that had commanded his grunt to offer his guests a chair, Sayori could feel her heart beating rapidly in her chest, she had never met The Boss before and it put her on edge.

The Boss and Hiroto spoke pleasantries for a while, sharing stories of how their syndicates were doing when there was a firm knock at the door. The Boss glanced towards the sound and then pushed a small box towards Hiroto, Sayori watched her grandfather open the box, his aged fingers clicking the lock and lifting the lid.

She relaxed her limbs when he pulled out a medical mask and hooked it over his ears and a pair of gloves, when she turned her attention back to The Boss she saw he was wearing one now too. Their eyes locked for a second, there was a hint of acknowledgement in his orbs, almost like a ‘thank you’ for her coming prepared.

“Enter” The Boss said loud enough for the person behind the door to hear, to which it glided open.

“I’m sure you’ve met Chisaki, my protegee” The Boss introduced the auburn haired man that stood with his arms folded, “You asked to see me?” he droned as though this meeting was an inconvenience on his day and a waste of his time.

His voice was largely muffled by the burgundy leather bird beak covering his mouth, but the members of the room could still understand him. Sayori was shocked at how freely this man spoke in front of The Boss, although a part of her felt a sense of familiarity when gazing upon him, as though they had met before.

“Take a seat, Kai” The Boss said, ignoring the young man’s tone and turning back towards Sayori and Hiroto - his attention more so on the young female than his business partner.

“There is a reason we have asked the two of you to join us for this meeting” The Boss spoke gently, Hiroto caught Sayori’s eye; again the word ‘we’ was being used. She couldn’t help but notice the small glint of guilt in the elder’s orbs.

“The rise of Pro Heroes is causing an issue for us, a ‘Symbol of Peace’ sized issue in fact-” The Boss clicked his fingers above his head “-the Yakuza is losing its power, we used to be feared by many, but these new ‘Heroes’ are putting doubt in people’s minds” The Boss explained.

One of the grunts from earlier slipped through the double doors while holding a metal tray, he placed it down in front of The Boss to reveal two neatly placed documents with a pen either side.

Sayori’s ears burned red, she tried her best not to fumble with the pearl white gloves covering her slender fingers, but she had rarely attended meetings that were this important - let alone be the centre of one.

The Boss adjusted the rim of his own gloves, ensuring they were on securely, before picking up the document on his left and extending his arm out to Chisaki, “We have decided to join the syndicates together, in times like these the underground network needs solidarity, we need to regain the power we once had”.

Chisaki slowly took the wad of paper from his senior’s outstretched hand and dropped it on the table in front of him, shuffling the pages that had fallen out of place until they were back in line again. After that, he delicately took the top page in between his index finger and his thumb, and held it up to read it.

Hiroto mirrored Chisaki’s actions, he was not as careful and collected as the young man, but he didn’t stop to read the documents himself. Instead his movement was fluid and travelled until the pages landed in front of Sayori.

For a moment she was confused, he glanced up towards her grandfather, then to The Boss, and then back to her grandfather - Hiroto trailed his eyes to the document and then back up to Sayori, giving her a reassuring smile. In that small moment she knew that he meant for her to read the papers, a part of her brain was still calculating why she was being handed the notes and not her elder, but she knew better than to question The Boss.

Chisaki had read the first page and precisely rested it on the table next to the bigger pile. Hesitantly, Sayori followed suit, she picked up the first page and began to scan the printed words as The Boss continued to speak.

“I never thought it would come to this, after all these years of being on top, these ‘Heroes’ have finally caught up.” his voice was like background music, Sayori was listening but wasn’t really registering the words. The sound faded in and out of her ear drums as though she was walking out of a room playing music and hearing it through the wall next door.

So far the document was referencing the years of brotherhood the syndicates held together, what their values were and outlined how they had been loyal through the toughest of times. This was all stuff Sayori already knew, she had lived through the majority of this - she had been a child for the most of it, but what she hadn’t witnessed, her grandfather had told her.

“It may seem unconventional in this day and age, but it worked back then and it will work now” The Boss’ tone swooped back into her mind, she moved the page to the side as she finished the last sentence and she swiftly picked up the next. She didn’t want to seem like she was slacking.

“We needed a surefire way of uniting the two groups, a way in which they could trust each other and know that any disloyalty would only cause harm to themselves-” the older man took a breath as he readied himself for the next part of his seemingly practised speech.

Before he could utter his next words, Chisaki stood up sharply with his palms flat against the table, his eyes staring down at the words on the paper as though they were directly insulting him.

“An arranged marriage?!” he muttered in disbelief, his eyes never moved from the paper in front of him. Sayori’s eyes had been on him the moment he had started to move, she had her training to thank for that, but as soon as his words sunk into her brain, she looked towards her grandfather for guidance.

Hiroto lowered his head, ashamed. It was unlike him not to consult his granddaughter before any major decision was made, but the fear of her reaction stopped him from even trying.

Sayori immediately turned her attention towards the documents, quickly glancing up towards Chisaki’s stack to try and get an idea of what page he was reading. Then she found it. A piece of paper stating that she and Chisaki were to be married within the next week as a way to join the two syndicates legally and increase the network’s power.

She could hear The Boss asking Chisaki to take his seat and to continue to read the document before he let his emotions cloud his judgement. Sayori’s head was spinning, this had come as such a shock, the document not only told her about how and when her wedding day would happen but also that her and Chisaki would become the new ‘Boss’. Together they would lead the syndicate out of these dark days in the shadow of The Boss’ retirement.

Once again, Sayori turned to her grandfather. His eyes were wary and unsure, and for the first time since he had taken her in, he could not predict her next actions.

“Did you agree to this Papa?” Sayori finally said, The Boss was busy vocalising to Chisaki what was already written in black and white so they paid no attention to them.

“I did, I’m sorry I didn’t tell you” Hiroto apologised to his only family, lifting one of his frail hands to enclose it around his granddaughter’s. “I’ll do it” she whispered to him, instantly his facial features relaxed and a smile spread across his face.

“I’ll do it!” she spoke confidently, this time to the room. She was announcing it as though she was trying to show a lion that she wasn’t afraid of it, and in some ways she was. Chisaki was known for his drastic actions by members inside and out of the syndicate, many years had passed since they had last spoken and she knew she needed to prove she was not a toy from the start.

The Boss gazed upon Sayori with a gleeful smile, “You will do well to keep him grounded” he wagged his finger at a still-standing Chisaki. “Well I wont!” he fired back, his words a verbal counter attack to her own.

Although they could not see his mouth, the furrowing of his eyebrows was more than enough of an expression to show he was anything but happy.

“Would you leave us alone for a moment to discuss?” Sayori spoke to the two elderly men in the room, then her eyes widened for a second “Please, if you would allow it” she bowed her head to The Boss - she had almost forgotten her manners.

“Of course” The Boss spoke gently and raised himself from his seat, Hiroto following shortly behind “I pray you talk some sense into him” was the last thing he said before he exited the room entirely.

Sayori waited until the door had fully swung close before she turned her attention to the auburn haired man towering over her.

#oc #chisaki kai imagine #chisaki kai #chisaki x reader #mha #fanfic #mha villain

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luxraydyne · 3 years ago

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Renju's Body Painting, Symbolism Breakdown

I’m not lecturing anyone on what to make of this piece, just a couple of nice folks pointed out how much Stuff is going on here, so I figured it’d be interesting to return to this a couple weeks on and see what I can recall of what I was thinking.

Pose:

Referenced almost exactly from Becquet's sculpture of Sebastian, with the figure tied with ropes to a tree-like stake.

We know that Renju gifted the Guido Reni painting to Marble himself, firmly tying the icon to him.

The story goes that Sebastian was persecuted and ultimately executed by the Romans for his commitment to his Christian faith.

Renju speaks of God once or twice, though it's more likely the symbol is significant to his queer identity, a point he shares with Mama, hence the gift of the painting.

He keeps his devotion to Pewter a secret, a fact which hinders the investigations into his murder, and in a twist of irony, leads to his lover's destruction. He lives more truthfully by divorcing Shoko and finding Pewter, but dies seen as a liar.

Red rope:

The red lines slicing through the frame roughly align with the wounds in Renju's body, standing in for the arrows lodged in the body of Sebastian.

They also form an approximate X or crucifix shape.

The black cables from which Renju's body is suspended in left path are changed to red, suggesting the blood pouring from his face (absent here) as well as the red string of fate myth.

Red thread:

There is also a red thread wrapped around Renju's neck, representing the ligature used to strangle him in left path, again, a morbid take on the red string of fate story.

Strangulation is, moreover, indicative of Renju's silence regarding his trauma, both from being preyed upon by the yakuza as a teenager and from hiding his love for another man from everyone who knew them.

Cloth:

The white sheet draped delicately over Renju's body, maintaining some dignity and acting as a cushion between his back and the stake, is hemmed in the same green as Pewter's lab coat, suggesting the small, subtle comfort their relationship provided.

It also has implications of persona and masking.

Let’s not shy away from the nudity of his body either. There is a definite sexuality to the fleshiness of it all, as well as a stark vulnerability, a sense of exposure.

Hook (top-left):

Taken almost directly from the diorama-like crime scene in left path. There is an artfulness to the horrific display.

The block and tackle setup with the hook and pulley is usually used on boats and sailing ships, fitting the nautical theme of Sunfish Pocket

It also objectifies Renju's corpse, rendering him into cargo

Scales:

Fish scale pattern, painted in gold, suggestive of the wealth, beauty and opulence that were the trappings of Renju's persona.

Alludes to the mermaid motif, adding a certain Otherness to Renju, a sort of unreality which pervades him throughout the story.

The fish caught by boats, of course, are meant to be killed and eaten.

Glasses (top-right):

At both crime scenes, in left and right path, Renju is missing his glasses, leaving his face exposed and bleeding, and presumably impeding his ability to see.

Here the spectacles are cracked and spattered with blood on the left side, alluding to the tearing out of Renju's left eyeball in both timelines.

Watch:

Pretty self-explanatory. The gold watch gifted to Renju by Pewter, matching his silver one.

The time reads 8:00, Renju's time of death in left path, and a crucial piece of evidence.

The watch face is huge, out of proportion with the other paraphernalia from the crime scene, implying the importance of this relationship to Renju, but also the threat it presents, unbeknownst to those investigating.

Oil barrel:

Nothing too complicated going on here, just a reference to the oil barrel into which Renju's corpse is stuffed in order to transport him to Sunfish Pocket where he would be put in display.

There’s possibly something to be said about the dirtiness of the oil barrel, the intended contents somehow dirtying or ‘soiling’ Renju’s body when he is stored in there instead. It’s a stark contrast between the clean white clothes he tended to wear, versus the black oil.

Pills (bottom-left):

In left path, we know Renju was drugged in order to incapacitate him before he was killed. This becomes more ironic the more you think about it.

I did consider including a glass or bottle of alcohol here as well, as a nod toward Renju's use of substances to alleviate his mental strain, but figured this might confuse matters and the implication of the sedatives did the job well enough on their own.

Car headlights (left):

Most obviously representing the car accident that puts Renju in hospital in right path.

Renju's car is also crucial to Shoko's murder and left path.

The headlights have a spotlight-like quality suggesting the harsh gaze aimed at Renju as suspicion is constantly on him.

The lights fade into shadow, however, gesturing toward both the darkness of Kabasaki and the accident in right path.

Blood (bottom-left):

In the absence of much blood on Renju's body here, the splatter pattern, tracking upward, is intended to imply the violent impact of the road accident in right path and the fatal damage inflicted on his body.

Eyes (bottom-left):

Another brutal irony to Renju's character is his transition from observer to the observed, and a victim in both cases. He grows from a kid forced to be the Kumakura's lookout whilst elderly murder victims died in their bathrooms, into the pretty face of a company, constantly looked at and judged by the public eye.

Paradoxically, Renju seeks the public gaze, and hides from it at the same time. He marries a woman he doesn't love to please the eyes, and hides the man he does cherish to please them. Ultimately, his attempt to love Pewter AND protect them both instead destroys them.

In left path, Renju is gawked at like an art fixture (like a painting? a sculpture?). In right path, Pewter is dragged out into the open and stared down in his place. There is no safe place.

Tire tracks (bottom-right):

Nothing fancy. Tire tracks unnaturally crossed to indicate the chaotic traffic accident that wrecks Renju's body in right path.

Road markings:

See above. Road passes straight through Renju's body, suggesting the speed and impact of the truck.

Text (bottom-right):

Lifted directly from in-game dialogue.

Mama catches Date staring at the painting on the wall of Marble, and explains that it was a gift. She seems a little surprised that a) Date hasn't noticed it before, and b) that the symbolism of it is not obvious. Aiba then explains the tale of St. Sebastian and his execution.

Shadow (background):

Behind Renju, there is a shadow of a single wing outstretched, a subtle suggestion of a fallen angel, and bringing us back to the theme of sainthood.

Of course, at the conclusion of the story, we realise that Renju has been long dead by the time his corpse is found in either timeline, his consciousness trapped in Shoko's body strung up on the merry-go-round, so you could argue that much of the imagery doesn't fit. Still, my focus here was on Renju's body as an object, as part of his identity which is taken from him, and as a parallel to Sebastian's body.

#this needn't be read as an exhaustive list just what i could think of looking back a couple weeks after #the piece is A Lot but my man renju is A Lot so it fits #my main topic of research rn is the treatment of gothic corpses so this game has me hyperfixating #aitsf #luxraydyne's pewter saga #my art #aitsf spoilers

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twdmusicboxmystery · 4 years ago

Text

S6 Template for Where We Are Currently in the Show

Morning Everyone! So, after getting a particular Ask almost two weeks ago about shirt colors (black and white) in 6x08 and 6x09 pointing to future story arcs, I decided to re-watch the episodes and see what I came up with. This post is what came out of that. It’s a bit long, so get comfortable, but I had tons of fun rewatching these. I don’t get to do that much anymore these days.

So, I looked at Carol's white shirt in these episodes, but as I watched, I kept going back to an earlier time that we'd seen Carol wearing a white shirt.

Remember, this was the episode where she went out together acorns and had to kill that really Beth-ish walker and then come back and shower and change her clothes. It's also in this episode that she takes Tobin acorn cookies. And they’re pink. (Pink Theory)

So, the gist of what I'm going to say is that I think the entire season is a template for what's going happen moving forward. And honestly, we’ve seen this often enough that it's probably true of every season in some way or another. But will stick with S6 for now.

So, in thinking about Carol and Tobin 6x02, something occurred to me. I think Tobin is a prequel/foreshadow/forerunner of Ezekiel. It's actually a fairly common way to foreshadow something: have a smaller instance of it to foreshadow the bigger instance. I’ve said that with Glenn's death before. His death fakeout served many purposes, but in terms of his own arc, it was a foreshadow of his upcoming real death. In this case, they just put Carol in a short-term relationship in order to foreshadow her long-term relationship with Ezekiel.

And I bet if we studied Carzekiel as closely as we study Bethyl, we would come up with a lot of dialogue parallels and such. I don't have a whole lot of them, but I can think of one major event that was the same in both cases. ( I just had the thought that Carol showing up at Tobin's doorstep with cookies is a whole lot like Ezekiel showing up at her cabin with the pomegranate.)

So, in Carol and Tobin's arc together, remember that she takes off and leaves him at the end of S6. That's when Morgan goes after her and it leads to her finding Ezekiel in the Kingdom. (Not at all an accident that she leaves Tobin and immediately runs in to her soulmate.)

I'm equating that with her leaving Ezekiel after Henry died. And Henry is the other part of the parallel. Carol left Tobin because she was dealing with Sam's death. The death of a child that she felt guilty about. She left Ezekiel for the same reason, after Henry's death. So, you can see the parallels between the two arcs. And that shows that what happened in S6 can foreshadow what's happening currently in the show between her and Ezekiel.

I promise I'll stop talking about Carol and get to the more important stuff. But one more interesting thing that kinda made my jaw drop: After Creepy Wolf Dude took Denise and Morgan, Carol, Rosita, and Tara are on the brownstone together, Carol is looking out the window and Morgan walks up behind her.

He says, "you had a child? A husband?" And it's interesting because he doesn't say daughter, and Carol doesn't reference Sophia or Ed by name. And if you think about what's happened—Morgan was trying to keep her from killing Creepy Wolf Dude because "life is precious" and all that—there's really no reason for him to randomly ask about her past. But I think this shows that it's a foreshadow of what's to come. The next time around, they'll be talking about Ezekiel and Henry, rather than Ed and Sophia.

Okay, so all that was just to show that the entire season foreshadows what's to come. And when I watched 6x09, Daryl, Sasha, and Abraham on the road with the saviors, my just my mind just kept going back to the previous episode about them, which was 6x06.

And we all know how much Beth symbolism was in that.

We saw Daryl meeting Dwight in the woods in 6x06 and all of the symbolism there. We already know from plenty of analyzing that Sasha and Abraham represent Beth and Daryl. I also think, in some cases, the two of them together represent Beth. But if you look at Daryl's arc in a very broad way for 6x06, we have him getting separated from Sasha and Abe (Beth) and by the end of the episode, he finds them again.

So, in terms of S6 being a template, 6x06 represents Beth and Daryl's entire separation arc. It's on a very small scale, but it kind of makes sense, doesn't it? Why the place they stayed, and Daryl later found them again had a sunrise on it. Why Sasha wrote his name with the huge X in the center. It's to show that this is a type of Beth and Daryl’s separation arc and then their reunion.

Okay, so let's go back to what’s happening in S6. I'm not going to do this chronologically, but let's start with Daryl on the road meeting saviors. I want to point out one thing. The main leader of this group says something I've always zeroed in on but could never quite make fit.

At one point, he says, "ding dong, Hells bells." That's a reference to the Wizard of Oz. Because, "ding dong, the wicked witch is dead." I've always wanted to make that a Beth thing because the Wizard of Oz template was used for the Grady storyline. When I first heard it, back when this episode aired, I felt sure it was because she was with the Saviors and it was a hint toward that. Obviously not.

But now I'm seeing that this is a Beth template, and that's probably why they put this here. Also notice the Saviors here are wearing black. Which could mean that they foreshadow the CRM. So, the most obvious thing I'm seeing here is that per 6x06, Beth and Daryl reunite after being separated for a long time. Then, on the road back to Alexandria, they run into the CRM (people in black). Maybe Daryl blows up the CRM in some way or kills them. And that will bring TF into a war with the helicopter group, much like it did with the Saviors.

(@frangipanilove also pointed out that there’s an AC/DC song called Hells Bells. So there’s a musical reference thrown into the mix. Which is awesome! ;D)

Okay, the next thing Nonny said is that Glenn and Enid probably represent Beth. I think that's true, but I think she's represented in a lot of different ways in this sequence. Specifically, through Sasha/Abe, Glenn/Enid, and Denise.

I won't need to go into a lot of detail about Denise. I didn’t see a whole lot more here than I’ve said in the past. I still think her being taken captive by Creepy Wolf Dude is a foreshadow of a storyline for Beth. There were two lines of dialogue that jumped out and me. When she’s in the brownstone, alone, with Creepy Wolf Dude, she tells him to "show me the wound." That SUPER jumped out at me because in 9x05 when Rick left, we heard Beth’s voice say, “what’s your wound.” Very similar.

The other one was Creepy Wolf Dude explaining how he got his injury. It really wasn't a bite. He said he was breaking into a car and got cut on a rusty bumper. So, the car mention really jumped out at me. I feel like were going to see the fulfillment of this sequence with Creepy Wolf Dude and Denise for Beth sometime after she wakes up. Maybe whoever saved her after Coda gets hurt and she tends to them medically. He also talked about wanting to take over the wall with him to the outside and about how it wasn't as scary out there as she thinks it is. So yeah, it still screams Beth to me.

For Enid and Glenn, they return, and immediately run into Beth's (the blue, green, and yellow) church. And there, they find a gun. We have a combination of the weapon and the biblical symbols. Glenn even tells Enid to look inside the Bibles in case one of them is hollowed out.

But the biggest thing here is that Maggie was in trouble and they came back to save her. And they sort of did, but then Glenn got in trouble and Sashraham showed up to save the day. So, we have two separate instances (Glenn/Enid and Sasha/Abraham) of Beth or Bethyl showing up in the nick of time to save everybody. I think we can all get behind that.

Also, when Maggie gets up on the scaffold, we see the red and green together. Green cord, Maggie’s red shoelaces. We’ve always seen that as a resurrection symbol, and said it probably has to do with Glenn being alive. I still think that’s true, but taken a broader context, it could also be a foreshadow of Beth's return and that this is a template for it.

Okay, so let's look at this from a little bit broader view. We have five main groups that these two episodes focus on alternately. Maggie, Daryl/Sasha/Abraham, Tara/Rosita/Eugene, Carol/Morgan (by 6x09, the two of them merge with Eugene’s group) and then Rick and Michonne's group who are in Jesse's house.

(For the record, there are two other groups we see very briefly but they aren’t focused on in this episode. One is Olivia and Eric (Aaron's boyfriend) in the armory. We don't see what they're doing except that when the rest of the group runs out into the street to fight the walkers, they join in. And finally, the group that's in the infirmary before Denise gets there. This includes Aaron and Heath. Especially where Heath is concerned, I think that's super important. I’ll come back to it in a minute.)

I’ll start by talking about Morgan, Carol, Tara, Rosita, and Eugene. There’s definitely some interesting dialogue, especially from Eugene. I also think it's super important that they all seem to be wearing light-colored shirts, and that Eugene and Carol are in the same place.

Because where we are currently in the series is that Eugene and Ezekiel are the same place. Now, Ezekiel wasn’t in the show at this point, so it was impossible to have him here, but I'm wondering if at some point in the spinoff, Carol and Daryl will split up and go their separate ways and Carol will go to find Ezekiel.

(We already know there will be a falling out between Daryl and Carol in the upcoming bonus episodes and that they will go their separate ways for a time. Obviously they’ll come back together for the spinnof. But I think this separation foreshadows that in the spinoff, they’ll leave together, but at some point they’ll split up and go to separate places. We saw this with Huck and Felix in TWB, which is a template for the spinoff. And my theory is that Carol will go to find Ezekiel when that happens.)

That's really the biggest thing I think this points to. I also wonder how and if Morgan will be involved. Since he still alive, he could be. But he's also not on the show right now, so it's hard to tell. I suppose it just depends on where FTWD is at that point, and if they bring him back or cross him over into the spinoff. I think that's a real possibility.

I also want to point out the beginning of 6x08, right after the church falls, Carol trips and falls down. It turns out, she slipped on some bullets. Morgan helps her up and they run into the brownstone. It then goes on to say that she's hurt in the head and may even have a concussion.

Now, my first thought was that was super unrealistic, since all she did was trip and fall and we don’t even really see her hit her head. But she's also tricking Morgan and pretending to be more hurt than she actually is, so it may just be a ruse anyway.

But the point is, between the bullets, and the mention of concussion, that's a huge Beth parallel. So, not sure if this points to Carol being part of a death fakeout, or somehow it's pointing back to Beth. If anything, I think it might point toward the Carzekiel death fakeout because it's after this that Morgan mentions you had—past tense—a son and a husband. So, if I'm right about that, we have a representation of the fake out, and then eventually Carol goes to where Eugene is. See what I mean?

Oh, one more cool thing about Eugene’s group? Remember at first it was him and Tara and Rosita in the garage. Eugene had to pick the lock to get into the house. As soon as he does, they run into Denise and Creepy Wolf Dude kidnapping her. Um…Denise = Beth, so this may well be a representation of Eugene and his two friends (in S10 it’s Yumiko and Ezekiel) running into Beth. Also notice the lock/key reference that led to her. Just saying.

Okay, let's talk about Rick and Michonne’s group. In a lot of ways, this might be the biggest deal, but it's also the most fluid. I had a hard time seeing much of anything as a foreshadow from this group. At least, during the first part in Jesse's house. I mean, Rick is with Jesse, and there's drama between Ron and Carl. I've said before that a lot of their dialogue foreshadow Ron’s death for sure. But I just wasn't seeing anything very new. But I will say now that I think that this does foreshadow Carl's death as well. I get to that in a minute.

But I really started seeing some important stuff with Rick and Michonne’s group in 6x09 when they all moved out into the crowd of walkers covered in guts.

When they decide to go to the quarry instead of the armory (because they can’t get to the armory) Jesse says Judith won't make it. And Father Gabriel says he'll take Judith and protect her. I'm sure you can figure out why think that's important.

1) The Sirius character who represents Beth takes Judith with him to protect her.

2) We have a representation of Rick and Michonne and being separated from Judith. Even if FG just represents himself in this sequence, where we are in the series now, we have Judith and FG in the same place. So again, this feels like a representation of where we are now. Rick and Michonne have left Judith in, sort of, Gabriel’s care. (I know she’s really more in Daryl’s care, but Michonne did tell her to be good for Aunt Rosita, and if Daryl doesn’t leave with Carol to get Judith in the spin-off—if it’s about Rick instead or something—I’m assuming he’ll leave the kids with Maggie and Gabriel.)

Interestingly, Rick and Michonne are still together, which they aren’t where we are now in the series, but we don't know how long it's gonna take Michonne to find Rick. She might find him quickly and the two of them will be together for significant period of time together inside the CRM. The point is, they’re in a different place than Judith.

So, the group moves on, and of course both Sam and Jesse are killed. And when Ron tries to shoot Rick, Michonne kills him and Carl is shot.

This is the next significant piece. Of course we all know that Carl was shot in the eye in the comic books, so it’s something that they were always going to do in the show. But I really think this probably foreshadows Carl's death as well. Much like Glenn, his almost death here could be used as a foreshadowing for his real death down the line.

Of course, Rick picks him up and he and Michonne make their way to the infirmary. And here's what really jumped out at me about the infirmary: Heath is there.

Angela Kang has confirmed that Heath is inside the CRM. We know Rick is inside it somewhere, and that Michonne is heading to him. So, we have this interesting sequence where Michonne and Rick arrive in a new place and Heath is already there. See what I mean? So, I think we could possibly interpret this as Carl getting shot foreshadowing Carl's death, and then sometime after that, Rick and Michonne and end up at the CRM with Heath.

But I can even give you third possibility here. With Carl being hurt, Rick goes into one of his losing-it trances and leaves the infirmary with his ax to fight the walkers. We hear Michonne screaming after him to wait. She waits until Denise has a good handle on Carl's condition and then she hurries after Rick to fight the walkers. I always loved this scene.

This is the only real representation I saw of Rick and Michonne being separated for a short period of time. Because he heads out without her.

So, think of it this way. He heads out into a hoard of walkers alone. And she screaming his name. Sounds a lot like what happened when he disappeared in 9x05. Meanwhile, Michonne stays behind, taking care of Rick's kids. In this case, it's Carl, but in S9, it’s Judith and RJ. Then, when she sure Carl is safe, or as safe as she can make him, she kisses him goodbye and goes after Rick. So, kind of like she left Judith and RJ behind to go look for Rick. Interestingly, who did she leave Carl with in S6? Denise. Who is a proxy of Beth.

So, I get that all of these overlap and they're very nonlinear. But I’m sure you can see what I mean about why I think all of S6 is a foreshadow of what's to come. And where we are right now in the series is at the crossroads of a lot of these possible foreshadows. Especially of Eugene finding Denise/Beth.

And if we’re super literal with the interpretation, we might even say that Eugene finds Beth (Denise) in the Commonwealth, but then she leaves with someone else (whoever the equivalent of Creepy Wolf Dude will be for Beth) and then Denise goes to the infirmary, which is probably the CRM because Heath is there. And she's there when Rick and Michonne arrive.

I'm not at all set in stone about what I think will happen. I'm just saying its possibility. Beth, CRM, and Rick are things we’ve been looking at closely since Rick left in S9, so this is super-interesting.

Kind of a footnote, but when Denise is still with Creepy Wolf Dude, Carol shoots him. I'm not really sure how to interpret that. Maybe that was just for this episode and not part of the template. Because Carol was still with Eugene's group, but she went outside, saw Denise and Creepy Wolf Dude, and shot him so Denise could get away. So, no idea how to interpret that for future storyline, but it's kind of interesting. Carol being at all involved could possibly be traced back to the fact that she and Beth were at Grady together. Also makes me wonder if maybe at some point in TWB, Huck will shoot someone to save Will, Felix's boyfriend. Just because of the parallels.

And finally, I feel like Rick and Michonne going outside and leading the charge against all the walkers is something that has been foreshadowed many times. Remember that when I talked about 7x08, I said that Rick and Michonne coming to hilltop represented them returning after the CRM to Alexandria to lead the war? I saw this same thing foreshadowed in 8x09 when they return to Alexandria and find out Carl’s been bitten.

In this case, they fight walkers rather than people (the CRM) so I don't know if that translates to the same thing, but the two of them being out there make other people want to join the fight. People come out of their respective hiding places and all of them fight the walkers together. And obviously, in the war against the CRM, everyone's going to have to work together.

I even wondered if these different little groups could represent different factions (Alexandria, Hilltop, the Kingdom, but also the people from Fear, the people from TWB, and anyone Beth might bring with her.) But I couldn't pin down who would be who. For example, if Carol, Eugene etc. represent the Commonwealth, that could be one group who comes out to help. Father Gabriel and the people who were in the church coming out to help could represent the people at Alexandria etc. You get the idea.

And of course while all this is going on, we had the super interesting symbolism of Daryl, driving the Paddy truck (Beth symbol), picking up several people which include Glenn, Enid, Sasha, Abraham (all Beth proxies) using gasoline (Beth symbol) and fire (Beth symbol) to set a body of water (Beth symbol) on fire (Bethyl symbol).

And it really goes along well with everything we've always said. I definitely think that the entire group is going to be fighting a big war and Beth isn’t by far going to be the only component. But something about her or maybe her and Daryl together come back with a key or a weapon that will help them win the war. If Daryl hadn't started that lake on fire, the walkers might have overwhelmed them all. It simply gave them the edge they needed to keep fighting and actually win.

And of course, in the sequence we see Daryl join the fight with two knives, including Beth's.

Okay, I'll stop there. Just a lot of food for thought, no?

#beth greene #beth greene lives #beth is alive #beth is coming #td theory #td theories #team delusional #team defiance #beth is almost here #bethyl

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sepublic · 5 years ago

Note

If the characters of The Owl House had JoJo's Bizarre Adventure Stands, who would have which Stand? (Note: It can be from any part in the series, not just Part 3)

First off, I just want to say- THANK YOU, because The Owl House and Jojo’s Bizarre Adventure, two of my favorite things ever, in one ask? And I get to ANALYZE the two? This is a dream come true…!

I love Stands, not only for their unique designs and crazy abilities that can get weirdly specific, but also because they’re essentially a reflection of one’s soul, so they’re a great glimpse into a character’s personality! As someone who loves the characters from The Owl House, this is naturally a fun way to explore their psyche by assigning a Stand most compatible with them, White Snake-style!

I should preface that for this ask, I’m going to be using Stands from Parts 1-6. Unfortunately, I haven’t yet read Steel Ball Run, nor Jojolion; I plan to, and maybe on another day I’ll revisit this ask with updated information- Assuming that any of the new Stands I encounter and know about fit the characters more than the ones already assigned to them.

But with that out of the way… Here’s a list of characters and the Stands I’ve assigned to them- For fun, I’ve even gone over some minor named characters (although Bellows and Kikimora were left out due to there being too little to work with)! Some characters will have multiple Stands, if only because I couldn’t decide between some, or I felt like there were others worth considering. Lengthy explanations for my reasoning will be underneath the cut, as well as alternate Stand possibilities, even for those who I’ve already made a decision on!

(I’m going for best fits, not perfect ones)

Luz- The Cure

Eda- Sticky Fingers

King- Wheel of Fortune/Bad Company/Harvest/Little Feet/Weather Report

Hooty- Horus

Owlbert- Anubis/Stray Cat/Sex Pistols/Aerosmith

Willow- Strength

Gus- Hierophant Green/Emperor

Amity- Spice Girl

Lilith- Magician’s Red

Emira- Joy Division

Edric- Khnum

Boscha- Goo Goo Dolls

Mattholomule- The Lock

Bump- The Grateful Dead

Wrath- Bastet

Adegast- Judgement

Tibbles- Marilyn Manson

Bat Queen- Atom Heart Father

Starting off is Luz, the main character and personal favorite of mine! She was REALLY difficult to figure out… I considered multiple options for her, such as Crazy Diamond, Gold Experience, Heaven’s Door, Bohemian Rhapsody, etc. Ultimately however, I decided to go for a rather obscure Stand, one from the light novel Golden Heart, Golden Ring- The Cure. To put it simply, The Cure, well… Cures people by absorbing wounds and injuries, becoming bigger before eventually dissipating the accumulated hurt. I feel like this reflects greatly Luz’s very kind, almost healing nature- She helps provide Eda with a greater sense of found family, she helps ‘fix’ Willow’s situation and self-esteem, as well as Amity’s own insecurity and loneliness, etc. Not only that, but Luz also has a lot of thematic similarities with The Cure’s user, Coniglio- Coniglio is heavily associated with Alice from Alice in Wonderland.

The character of Alice is led into a new, magical world by a small creature she later befriends, and gets into trouble with the local law- Just like Luz. Coniglio herself was ostracized when she was younger, being called a Witch, which fits Luz’s initial loneliness, and of course her eventual aspirations. Coniglio is an inexperienced Stand User when we meet her, just as Luz is still learning magic. Finally, Coniglio learns to control and tame her stand, which takes the form of a rabbit- Luz is associated with small animal sidekicks, such as King or Owlbert. However, The Cure can also turn into a more monstrous form and become berserk, which in its own way mirrors Luz’s relationship with Eda, and how she has to calm her mentor and revert her back the way Coniglio did.

For a more canon option, there’s also The Sun. We don’t really know anything about is user, Arabia Fats- The most we can glean is that he’s clever, but he can also rely on dumb ideas. Likewise, his Stand is incredibly powerful, but provides almost nothing to defend him. If one goes by the Tarot meaning, however, The Sun is associated with good times, with fun and optimism, all that stuff! It’s about someone who still maintains childlike wonder… and that sounds like Luz! She’s kind, bright, and in a lot of ways a ‘light’ to others’ lives, which is also supported by her name’s literal translation!

Continuing on Tarot meanings, we can also go for The Fool- It’s about being adventurous, of starting a new journey. There’s some freedom, but also a bit of carelessness, which reflects how Luz didn’t quite fully think through her actions in the beginning of Episode 1, or her plan in Episode 3. The Fool is a bit of an outsider compared to the rest of the Arcana, which fits Luz’s outsider status as a human who somehow goes Magic anyway. And like The Fool, Luz can be somewhat unpredictable and unusual, at least to those who know her- She’s kind of a cryptid to them, what with having confetti in her pockets at all times(?) and casually revealing that she knows the infamous Bat Queen.

For Eda, I chose Sticky Fingers- Someone else on Twitter mentioned it, I don’t remember who… But they analyzed a few of the Stands of Part 5, and during their analysis they discussed how Sticky Fingers is symbolic of Bruno’s ability to connect with others, making his own path to them, zipping them together, etc. Bruno Bucciarati is a mom with a found family, which I feel suits Eda’s personality. Likewise, they’re both criminals, who willingly left a prestigious organization despite their talent and the powerful role they could’ve had in the group, as a result of moral disagreements with its ideals and leader. Plus, Sticky Fingers is a term that refers to people who like to steal, and we know from Covention that Eda is a notorious pickpocket!

On the other hand, Weather Report is also neat. It’s associated with a character dealing with memory loss, which fits Eda’s schtick and character a whole lot, what with not remembering who cursed her. Likewise, Weather Report (the user) has a brother, Enrico Pucci; The two used to have a more complex antagonism, although by Stone Ocean it’s a lot more straightforward. Still, this kind of complex sibling relationship also works with Eda and Lilith, and with Weather Report being a ridiculously powerful Stand (just as Eda is the strongest Witch), I feel it also works for her character, personality, and motifs.

King is the most interesting and diverse scenario for me. I’ve considered Wheel of Fortune for him; Both rely on an outside force, a pre-existing thing, in order to function. Likewise, Wheel of Fortune’s power is proportional to the user’s confidence, which fits with how King talks big about himself. Its user, ZZ, also made a big deal of talking himself up, being a lot of bark in order to build up his confidence… However, the moment things begin to fall apart, his confidence wanes and he basically runs away. His powers diminish, and he becomes all bark and no bite. This kind of sounds like King- Obviously there’s more courage to him than with ZZ, but generally speaking, the concept of a character who’s in over their head and operates a lot on building up their self-confidence, only for it to collapse as soon as things go wrong, fits with King.

On another hand, Harvest and Bad Company fit King’s whole desire to lead massive armies, and his claims of having been a King of Demons. Having a Colony Stand that acts as his personal army of loyal followers and soldiers fits almost perfectly; Bad Company is more militarized, representing King’s grandiose aspirations for power, and him becoming a Drill Sergeant in Episode 11 definitely helps this. It’s also associated with a lost childhood, which… King is kid-coded and he doesn’t seem to be necessarily missing out on anything, but the idea is still there. However, Harvest is less deadly, having a more animalistic appearance, being cuter, and having an inclination towards theft that King himself also does. Plus, King seems like the kind of person who’d use Harvest to carry himself across the sidewalk, let’s be real here!

Finally, I’m considering Weather Report as an option, if only because of the fan theory going around (which I’ve dabbled in) about King having once been the Boiling Isles Titan, or at least an ACTUAL King of Demons… Part of the theory speculates that he lost his memories, which fits into Weather Report’s arc. It’s about a hidden potential, that when rediscovered, can be outright terrifying. Little Feet also works with King’s Napoleon Complex.

King is an interesting character to assign a Stand to, in part because there’s a lot we actually don’t know about him, and the mystery surrounding him as a result. I feel like we once we learn more about King’s backstory and who he is, we may get a better idea of what Stand most fits him.

Horus was assigned to Hooty, not only because of his bird motif, but also because the Egyptian God Horus is seen as a protector, just like the Stand’s user Pet Shop, who acts as Dio’s main guard for his mansion; Likewise, Hooty is the Owl House’s primary security system, and ‘state-of-the-art’ no less. Not only that, but… To get into some heavy theorizing here, @fermented-writers-block has speculated that Hooty may or may not have connections to a hypothetical ‘Owl Deity’, of which we see a mural of in Episode 1. To put it as simply as possible, Hooty is either a manifestation of this Owl Deity’s power, OR the Owl Deity itself; And if so, then assigning Hooty a stand named after a major Egyptian God seems all the more appropriate. Additionally, Pet Shop himself has a helmet typically used to restrain birds of prey, and Hooty himself usually needs to be ‘restrained’; Either told to stop his cryptic riddles and just give straight-forward answers, or kept from tearing apart a canvas.

Also, if that one MSN article mentioning a labyrinth below the Owl House is true, then Hooty could also have Tenore Sax; It’s a Stand that manipulates the environment, and was used to make Dio’s Mansion look like a maze. It’s about control of one’s environment, which makes sense given how Hooty controls the Owl House itself. Hooty could also have Mr. President, as it’s a Stand wielded by an animal that provides a safe environment for others to live in- Befitting of Hooty’s role as the Owl House.

Owlbert is a bit weird, in that he’s already wielded by others; Still, he’s a part of the family, so I feel obligated to include him. Off the top of my head are a couple of considerations- There’s Anubis, which exists as a sword that can be wielded physically by the user and even others, outliving its user- That fits Owlbert’s capabilities and role as a Palisman to a staff! Stray Cat is also an option, because like Owlbert it’s an animal that’s born of plant-matter and associated with the air, albeit through air bubbles.

Sex Pistols is a Stand that needs care and attention, just like Owlbert, and also has its own personality. Likewise, the Sex Pistols support and enhance the ability of another, pre-existing tool, just as Owlbert enhances Eda’s magic and helps her focus it through her staff. Finally, we have Aerosmith- They’re both free-flying, but also very powerful and capable, and not to be underestimated. Like King, there are plenty of options for him that all fit in their own ways.

Willow was a fun topic, and ultimately for her, I’m gonna go with Strength. Ignoring its user, Strength is a stand that recognizes and unlocks the hidden potential of just about anything it finds, no matter how innocuous; Willow is a character who is meek and shy, but contains a hidden power and talent that is legitimately powerful. Strength is an incredibly powerful stand, upgrading a regular boat into an entire shipping freighter; Willow is able to turn a seed into an entire garden of powerful, thorny vines. They involve nurturing power and helping it grow. Plus, most depictions of the Strength Tarot Card involve a woman taming a lion- And I think that kind of works with how Willow may seem all gentle, but she controls and tames powerful plant-monsters. Also, a recent drawing by Dana seems to confirm that Willow is canonically buff, so that works too, alongside the Tarot’s additional meaning of controlling oneself, as Willow does with her anger!

There is also the minor consideration of Purple Haze, given that Willow has genuine frustration in her that can manifest as real, powerful rage. However, Purple Haze also explicitly hurts and shoves others away, which Willow doesn’t do- She’s kind and open and is already good friends with Gus by the time Luz appears. Gold Experience is also a very viable option, given its power of creating life and facilitating growth- However, I decided to go with Strength, not only because of the additional symbolism of hidden potential (which matches Willow’s initial, unrecognized talent), but also because of the symbolism of the tarot card. And also, Gold Experience is a main character Stand and already a pretty obvious option, so trying something a bit more unique seemed interesting.

Gus is another VERY hard one for me, like with King- It’s not that I don’t get his personality, it’s just that there are plenty of Stands that I feel could match him. For example, we’ve got Hierophant Green- Its user, Kakyoin, was lonely and is also an excellent student. He desired friends, which he got through the Stardust Crusaders- Similarly, Gus himself is talented but also expresses loneliness over being younger than everyone else, with part of his motivation for forming the H.A.S. to make friends and also provide support for others who’ve gone through the same experience. Likewise, Gus may not have the raw power that his other friends have, but he’s still plenty clever himself, like Kakyoin.

There’s also Emperor; The tarot meaning discusses a person who takes a leadership role, and its reverse is losing control of that leadership, as well as poor decision-making. This relates well to Gus’ conflict in Episode 9; Likewise, Emperor’s user is Hol Horse, who prefers to be Number Two and is aware of his own flaws, not desiring the spotlight. Gus himself states in Episode 6 that he knows what he’s about, not at all concerned that Luz doesn’t consider him as strong as Eda or Willow- He doesn’t particularly seek attention or glory. Gus is happy and content with being a ‘Dweebus’ and embraces it alongside his supporting role, like Hol Horse. Also, the kid wears a crown when he’s in charge of the H.A.S., and that’s something I really want to incorporate with his Stand’s symbolism!

On a lesser note, there’s also Kiss- It’s a Stand that makes doubles of things, and Gus has an affinity for Illusion spells that can create copies of him, tangible or otherwise. Dolly Dagger from Purple Haze Feedback is wielded by Vittorio, who is the child of his group, and represents him not being ready to handle a lot of the responsibility placed upon him; Just as Gus struggles with control over the H.A.S., as well as the isolation that comes from being a talented student who’s younger than the rest and not taken seriously.

King, Owlbert, and Gus are definitely a dilemma to me… There’s plenty you could assign to either of them, and I feel I’ve only scratched the surface of Gus’ potential Stands. The dude has range and potential, so it’s hard for me to decide given how my options are ultimately limited and usually specific.

For Amity, I went with Spice Girl. Spice Girl is a manifestation of Trish’s psyche, and her whole character involves putting up a hardened, mean, stoic façade in order to hide how scared and vulnerable she feels; A lot like Amity, who tends to push people away because of her loneliness- She mentions not wanting to show ‘weakness’. Like Amity, Trish learns to be strong in her own way, in a way that can still be soft, while incredibly strong and resilient; A form of kindness and personal growth that manifests literally through Spice Girl’s ability to make things soft yet virtually indestructible. Amity hasn’t quite completed her character arc, but she’s made major steps towards it by opening up to Luz and learning to be nicer. So, Spice Girl it is!

There’s also Purple Haze- Fugo and Amity are both high-performing students with a lot of pressure on them, who deal with genuine frustration over their situation. Purple Haze’s ability forces others away lest they get hurt, representing Fugo’s paranoia over his childhood trauma, and how he ends up ‘pushing’ the others away when he chooses not to go on the boat. However, Purle Haze doesn’t fit as well the way Spice Girl does, because Purple Haze represents a genuine rage and anger boiling within Fugo… Whereas Amity, while she IS frustrated, doesn’t seem to have particular fury, being more inclined towards insecurity and loneliness.

Lilith was assigned Magician’s Red. I looked into the meaning of the Magician Tarot card, and to sum it up simply, it’s about having talent and seeking out success. Our first appearance of Lilith has her making a demonstration to a bunch of young, impressionable Witches, flaunting her own talent and success, and appealing those traits to her audience, explaining that Witches who join the Emperor’s Coven are the most powerful and highest-ranking of them all. Likewise, she also has an eye for talent, nurturing the skills and abilities of Witches such as Amity. Plus, there’s also the symbolic relevance of her having a Stand with magic in its name, as well as one with a bird-like appearance; Fitting given her White Raven symbolism, and association with the Emperor’s Coven and its bird motifs. And like the user Avdol, Lilith also has a bit of a flair for flashiness.

Like Luz, Emira was tricky in that I couldn’t quite find a Stand that suited her, so I’ve gone with my next-best option; Joy Division, another very obscure Stand, from the same light novel as Luz’s assigned Stand. Joy Division switches objects around, which mirrors what Emira did to the librarian and Gary in her debut. It’s a Stand that’s perfect and ideal for her kind of mischief and clever tricks. Likewise, its user, Sogliola, has wealth, prestige, and status as a Capo in Passione- Emira herself is a member of the presumably wealthy and high-status Blight family.

As I mentioned earlier, Edric is also tricky in that I didn’t find a Stand that quite suited what personality we’ve seen from him. Ultimately, I settled on one good for mischief, Khnum- It’s a Stand that allows one to change their appearance, which fits Edric’s Illusion spells and that one spell he used to make himself look a lot more extravagant. Khnum’s user, Oingo, is also not exactly the brightest, and he’s associated with a close sibling that he’s always beside, who also has a Stand- Which can match Edric’s relationship with Emira.

I’m also considering Jail House Lock; It’s great for tricking and mentally messing with people by making them forget things and become confused, befitting Edric’s mischievous nature. Also, it making people forgetful can sort of connect to Edric being dumb in his own way, I guess- I dunno. I feel like Emira and Edric’s Stands don’t have a particularly deep connection to them individually, in part because there’s not much we’ve learned yet to differentiate the two, and the issue of finding Stands that fit, while trying to avoid repeating them for characters unless as a potential possibility. It is worth noting that Jail House Lock’s user, Miu Miu, has power and status- Another thing one can associate with the Blights.

Boscha got Goo Goo Dolls. The Stand is a reflection of the user’s possessive personality over their ‘friends’, treating them more like toys or pets to be bossed around with and told what to do. Boscha has a bossy nature, as seen with how she treats one of her friends in Episode 8, and likewise she is somewhat possessive of them- When King gets their attention, Boscha is clearly focused on getting back her control of the situation. Nothing is saying she can��t get along with King and he didn’t explicitly exclude her from the fun, but Boscha nevertheless chose to heighten the conflict. And of course, she initially meets King and wants to buy him as a pet, befitting Gwess’ desire for ‘pets’.

I’ve also considered Bad Company for her, for a few mostly speculative reasons. To sum it up shortly, I suspect that Boscha may have a bad situation at home, where an incompetent mother is relying on Boscha for emotional support, forcing her to essentially ‘grow up’ and be the responsible one in charge. Bad Company represents a childhood that is missed out on due to an inadequate parent that the user ends up having to look after, and likewise, it involves telling others what to do; Also something Boscha likes. However, because this is mostly speculative, I’m just going to have to go for Goo Goo Dolls for now.

Mattholomule has The Lock. Initially I considered Surface, but ultimately I went with The Lock because unlike Hazamada, Mattholomule doesn’t seem to have any particular envy towards Gus nor does he want to be him, insteading having a general desire for power and drama. The Lock reflects how he tries to garner sympathy from the other members of the HAS when his plan begins to backfire on him; It’s a Stand that’s entirely reliant on others’ perception and pity/guilt for the user.

Similarly, it’s otherwise pretty powerless, which goes along with Mattholomule’s general incompetence and failure in most facets of life. The Lock is either relinquished by the user’s command, if the victim no longer feels guilty, and/or if they’re given ‘reparations’ for the ‘damage’ they received- Mattholomule is all about getting status and whatnot. Also, The Lock functions as a Lie Detector, which can make sense with how Mattholomule lies for his own personal gain.

Principal Bump has The Grateful Dead. The stand’s user, Prosciutto, is someone who takes an older and more experienced mentor role, just like Bump. Likewise, Prosciutto is willing to do harsh things to someone underneath his tutelage, but ultimately he still takes his leadership role very seriously, wants to get the job done, and genuinely has it in his best interest to see the person he apprentices unlock their hidden potential. Bump may have extreme methods such as his Trouble Detectors and even brainwashing kids in detention, but ultimately he’s genuinely invested in the future success of his students, and will even break the law for their sake and that of a human, a total stranger.

It’d seem obvious to give Wrath a stand like Jail House Lock (given its user, Miu Miu, is also a warden), but in terms of personality, I ultimately went with Bastet. Bastet is defined by creating attractions, and is associated with electromagnetism- Which itself doesn’t just pull things together, but repelsthem as well. Bastet’s user, Mariah, is attracted to Dio because of how powerful he is, among other traits. Wrath is attracted to Eda, letting his attraction override his own duties as a Warden because he thinks the two of them will make a Power Couple; Both him and Mariah want to go big, or go home! Bastet lures targets in through their curiosity, Wrath lures in Eda by having King’s Burger Queen crown… Finally, while this is never expressed by Bastet itself, the theme of magnetism also relates to repellingforces. And Wrath is clearly repelled by the abnormal, seeking to contain the deviants of society, and is easily disgusted by something as simple as a raspberry because of the potential germs it could spread.

As an alternative option, there IS Planet Waves- Its user, Viviano Westwood, is a guard at a prison. He’s a cruel, brute-force jerk whose Stand allows him to physically overpower and smash through most obstacles and foes, and he deliberately looks down on prisoners as the ‘scum’ of society, taking delight in abusing his position to torment them. These all sound a lot like Wrath, so if one feels like Bastet doesn’t adequately capture his personality, there’s always Planet Waves as an alternative.

Adegast was given Judgement, for obvious reasons- It’s a Stand that toys with a victim’s heart and plays on their desires. That’s literally what Adegast does- Plays on Luz’s desires to be deemed special, to live out her fantasy, only to cruelly tear it away at the last second and mock her for it. Both his illusions and Judgement’s clay constructs dissolve into dust. And while Judgement is physically powerful, contrasting with Adegast’s incredibly frail body, the cowardice of Cameo pairs well with Adegast’s nature.

For Tibbles, I briefly entertained Osiris and Atum, especially Osiris given its association with card games (and Tibbles is good at Hexes Hold ‘em), and the idea of gambles in general. Ultimately however, I stuck with Marilyn Manson, which operates on a similar basis of the user winning a game and utterly defeating the loser as a result. Marilyn Manson is special in that it prioritizes material wealth, aiming to reap money or anything else of similar value; Which fits into Tibbles being a greedy capitalist who acts like he owns King and takes him without either his nor Eda’s consent, just as Marilyn Manson can be used to steal a Stand Disc that was never disclosed as part of the arrangement.

Finally, the Bat Queen was given Atom Heart Father. She was another difficult person to assign a Stand to, but ultimately I decided on Yoshihiro Kira’s stand. I get that there’s irony of Atom Heart Father having a paternal name, compared to the Bat Queen’s maternal status, but just bear with me for a moment. Like the Bat Queen, Yoshihiro is a parent, but he’s one who has concern for the person he’s looking after, to the point where his attempts to protect that person can be overall detrimental to that actual person’s growth; In this case, his son Yoshikage.

The Bat Queen has taken it upon herself to look after a LOT of discarded, rejected Palismans, among them Owlbert. However, in her concern for their plight and any pain they might go through, the Bat Queen has unfortunately projected some of her views on Witches a bit; When Owlbert wants to reunite with Luz, she interferes on his behalf, believing she knows best. The Bat Queen wants to do what’s best, what’s ‘safest’ for Owlbert, but in reality she’s only hurting him in the long run. Thankfully, Owlbert is able to stand up for himself, and the Bat Queen listens to reason.

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coinofstone · 4 years ago

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5x12 The Diamond of the Day pt 1

Final two episodes! Big finale! Why am I making myself cry in the middle of the afternoon! Both eps in this post.

I do love that they made Arthur a sore loser

Enter treacherous white woman #2. Srsly it was lazy writing when they did it for Mordred, it's worse now with Gwaine.

I do love the actual Round Table war room discussion but a) why isn't Merlin seated at the round table and b) why does Leon have so much goddamn faith in Camelot's walls? Like??? You literally said the same thing last year and yet Camelot *did* fall when Agravaine brought an army through the tunnels!

Poor Aithusa. Kid's had a rough life.

I do love Arthur responding to Merlin presenting him with all his supplies ready - which he prepared without his magic mind you - with suspicion 😂

But then he calls Merlin a coward and it's sad

Katie has such a great voice. That entire thing in the cave from her taunting to her laughter to the spell, it just just beautifully played.

Whole ass battle to prepare for and Arthur is just walking around moping cuz Merlin isn't there

So, Merlin's father-vision telling him he's magic itself and he just needs to believe in himself to get his magic going again, does this mean he *didn't* need to go to the cave to get it back? Cuz it seems like he needed to recharge in the cave itself, his injuries were healed when he woke up. That seems like magic cave stuff to me.

Also that "always have been and always will be" - I'm taking to mean 'always have been' in the sense that since he's 'magic itself' even before he was born, his magic existed in other, intangible forms, like we are all stardust etc. But now that he is, he will always be, aka he will not die.

Arthur waking up with his wife in his arms and Merlin's name on his lips, jumping out of bed to act on dream-info.

Balinor telling Merlin to trust in what will be.... like bitch that is literally not how this ends.

5x13 The Diamond of the day pt 2

You know that gif of the cat knocking everything off the table? That's literally Merlin shooting lightning at everyone from his perch on the ridge.

I have a lot of snarky things to say about Merlin coming out of the cave in full Dragoon gear and riding a horse instead of teleporting like the other witches but I'ma keep that to myself.

Mordred is a bitch and Aithusa has terrible aim. At least Aithusa's loyalty to Morgana makes sense.

Arthur said oh shit I'm magic - oh wait no it's that old man again

He also straight up "No! Bad dragon!"-ed Aithusa

Y'know, for all I've watched this episode and screamed about Arthur's death, I don't think I've ever focused on the exact moment he gets stabbed before.

Mordred catches him from behind and he meets it, no fault there. But as soon as he realizes his assailant is the knight who turned on him and joined Morgana, what does he do? HE LOWERS HIS FUCKING SWORD

He leaves himself wide fucking open and vulnerable and Mordred seizes the opportunity. I understand wanting the moment of recognition for Arthur, but on what planet is a trained warrior going to drop his sword mid-attack because he recognizes his attacker as a dude who only just recently decided to forsake him? It's soooooo dumb

There was a whole sequence a few episodes back where Mordred and Arthur are sparring, the point of it was to show that Mordred has become a skilled swordsman. So what exactly was the point in having Mordred run Arthur through as soon as Arthur idiotically lets his guard down? This should've been a meticulously choreographed sword fight, with Mordred getting the upper hand and sticking Arthur properly. Not this nonsense. Look at Arthur's FACE! Oh, Mordred... 👉👈 do you maybe wanna be friends again- STAB ... guess not

Uther's been rolling in his grave but he's taking an extra tumble watching Arthur forget all his skills and training in that moment.

I do appreciate Arthur getting Mordred back though. Like that moment of merciless anger followed by the hurt and regret playing on Arthur's face, warring with surety and responsibility. It was good.

I've rewatched the big confession scene about 16 times just now.

I don't quite understand why Merlin took Arthur to the woods to begin with. Instead of bringing him to the med tent in the battlefield or back to Camelot. What was the reason?

Merlin saying it feels strange (to use magic freely in front of Arthur) and him just going 'yeah' completely deadpan makes me laugh every time.

I really feel like Arthur's head should be elevated at a further incline if he's going to be fed.

Gaius refusing to outright expose Merlin as the sorcerer but nonetheless letting Gwen figure it out on her own warms my heart.

My God Arthur is sitting there dying, feeling betrayed about his best friend 'lying' to him, and still he can't stop himself from looking at Merlin's mouth.

Percival summoned MUSCLE POWER

Hey um random but why does Gwaine even know where Merlin and Arthur are headed? Why would Gaius tell him?

Arthur looks at Merlin so lovingly after he's killed Morgana 😭😭

And now he's literally grabbing at the man's hand 😭 "just hold me, please"

That's gotta be the gayest death scene in television history. If you can watch that without thinking Arthur puts his hand on the back of Merlin's head because some part of him wants to bring him down for a kiss, or that "just hold me, please" is in any way shape or form a 'bros' thing, and certainly not at all an intentional mirror/callback to Isolde dying in Tristan's arms, then I'm afraid you are what we professionals refer to as a dumb-as-nails fucknugget, more commonly phrased as 'willfully ignorant'.

"All that you have dreamt of building has come to pass" yeah except for the whole, y'know, magic still being illegal thing.

I've said this before, but, while I'm sure there was a determined intention to have Arthur die in his armor, probably in some kind of attempt to make sure the audience knows he's died a warrior's death, I *really* think it was kinda stupid that Merlin never removed it, despite Arthur being weak, despite the fact that there was something like five days between him getting stabbed and him actually dying, despite that for the duration of that time they were traveling or hiding out. Merlin managed to produce a cloak to put on Arthur, why did he need the full armor on that whole time? Like even if they left the chainmail on, those plates on his shoulder were just getting in the way, and it looked quite uncomfortable.

Also not for nothing but Lancelot got like, every flower in the forest surrounding lush verdant greens in his death boat, Arthur gets a bunch of sticks.

It suddenly occurs to me, watching this now, that the reason Leon/Percival is such a common side pairing in Merthur fics, is because these two motherfuckers are the only original Knights of the Round Table to survive the series. 🤦‍♀️ I dunno how I failed to notice that before now. My stupidity amazes me.

I'm *really* glad they decided to do this scene with Gwen wearing the Pendragon red dress instead of the black mourning dress. Yes she looks fabulous in it but it's more the symbolism than the 'reality' - with Gwen wearing her house's colors it represents a continuation rather than a finality. Camelot will go on, Gwen will undoubtedly end the war on magic and with Morgana dead (and frankly, I think by now she already brought about the death of all the angry incel type rulers in Albion) there stands to reason her reign will begin with a period of peace, possibly longer than Arthur's. We kind of have to assume that the 'time the poets speak of' is, inevitably, Gwen's reign - which only came about through Arthur's death. It's a little bit toooo subtle in my opinion, but at the same time, I understand the need for the focus on Merlin and Arthur - after all, this show was their journey - not leaving much time to focus on Gwen and Camelot in the aftermath of Arthur's death.

I will just say, the first time I watched this that fucking truck scared the ever living shit out of me. I also just immediately, viscerally hated that scene and declared it invalid - but I think it was because the truck made me jump out of my skin. It has since grown on me, particularly once I started reading 'Arthur Returns' fic.

Everything beyond this point is post-series spec and headcanon, so if that's not your jam you can exit safe in the knowledge that as usual, if there's anything worth commenting on in the S5 extras, I will create a separate post!

For those interested, my go-to post-series fic is We Begin Again by katherynefromphilly I fully headcanon this series as the continuation of the series.

I have a lot of thoughts about Gwen and Merlin post-Camlann.

For one, poor fucking Gwen. She's lost her father, her brother, and her husband, all by what, age 30? That's rough. And who knows what happened to her mom, that was pre-series and I don't think it was ever mentioned.

Merlin, dear god poor Merlin. First of all, I just wanna say straight off that my instinctive headcanon about Merlin was that he never returned to Camelot. I couldn't really say why exactly. I just don't think he could stand being there after Arthur's death. But practically speaking, Merlin's still got Aithusa to deal with, that dragon needs some godsdamned house training asap. He's still the last Dragonlord, it's reasonable to assume he'd immediately take that on considering Aithusa is partially responsible for Arthur's death (the sword Mordred killed Arthur with, only succeeded in killing Arthur because it had been forged in Aithusa's fire-breath) so he's either going to attempt to train the bad behaviors out of Aithusa, or...well...

The only thing is, I do not believe Merlin would abandon Gwen, or Gaius. So my hc is inherently flawed. I do think Merlin probably spend a couple months with his mum, and I do think he ultimately settled near lake Avalon waiting for Arthur's return.

But I do wonder, what must their relationship have been like? Gwen, surely, would've sought his guidance in establishing laws governing the use of magic. And surely, peace cannot last indefinitely, so Merlin absolutely would've defended Camelot and protected Gwen. There's just no way he could've completely turned his back on them, but I doubt he could bear living in Camelot. And Gwen is both strong and practical enough to get on without him there 24/7, even though I'm sure she'd miss him.

I also think she would've found love again. Whether with Leon, as many people hc, or someone else not in the series.

ANYWAY.

Thanks to everyone who came on this journey with me. I will post comments on the extras if I have anything worth saying - and I think I'll do a master post linking all these episode posts after I clean them up once I get time to sit at a computer and do so. Until then! 💙💚

(Gif source) (h/t @shut-up-merlin)

#bbc merlin #bbc merlin spoilers #merlin #merlin spoilers #merthur #onceandfuturerewatch #5x12 #5x13 #5x12 the diamond of the day pt 1 #5x13 the diamond of the day pt 2 #bbc merlin 5x12 #bbc merlin 5x13 #merlin 5x12 #merlin 5x13 #the diamond of the day #the diamond of the day pt1 #the diamond of the day pt2 #for the love of Camelot

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vixxenfox · 5 years ago

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Things I’ve noticed after watching the pilot over and over again

And things I just find amusing

- is it just a coincidence that when Charlie says “I wonder if it could be me” the center angel’s face lights up?

- not important but the “F*ck you heaven!!!” Sign is hilarious

- I hate Valentino with a burning passion, look at him texting Angel

- people drop from the sky to get to hell, more importantly without clothes which means each flippin person has to get specially made clothes for their weird demon bodies like sir pentious needs clothes to fit his snake body and stuff... idk just interesting

- the place beside the “we couldn’t come up with a catchy slogan but we sell hardcore drugs” building is called “begg slut”

- imagine dying, going to hell, and realize that you’re an egg

- egg #23 is the best

-one of the eggs like does a weird walk thing with their hand on sir pentious’ tail

-Cherri Bomb’s clothing is so asymmetrical and I love it like she is literally wearing a high-heel boot on one leg and like a tiny shoe on the other

- really just poor Tom he’s great

- Vaggie says “it’s all highlighted” but none of what we are shown is highlighted

- Also read the parts of the list we can see, it’s adorable

- “I don’t touch the gays” I find Katie great

- Jeffrey Dahmer obviously (Also the sticky note saying “who approved this show?)

- When Charlie scans the crowd another tv head just says ‘words’

-The person Vaggie punches isn’t in the crowd

- I love Razzle and Dazzle TvT

- Those two owl demons in Inside Every Demon is a Rainbow are most definitely references to Timber

- CHARLIE YOU JUST KILLED A PUPPY

- I love that there is a boo section

- Tom watches Angel Dust’s stuff confirmed

- I love the sonic spring noise when Angel launches an egg into the air

- Sir Pentious probably has a son that might be in hell so look out for another snake

- Do you see how happy Cherri Bomb is near Angel Dust, best friends! :D

- Aawww Angel pushes Cherri out of the way

- Angel didn’t just sprout a third set of arms, he also pulled an entire gun out of his body sooo... what’s with that

- I think you would just stop existing if you died in hell Angel

- That creepy fan has a body pillow of Angel

- Charlie takes off her pink... jacket(?) in one scene and the next she has it on again (you see her wearing pink in the closeup)

- Lilith is an absent mother

- There goes everyone’s fanon about how Lucifer acts (why couldn’t we get a nice stupid one T~T)

- I think they changed Alastor’s knock but I’m too lazy to check

- They fixed Alastor’s disappearing monocle

- I like that the mic has an eye sometimes it’s cool (how many “sentient-ish” things does Alastor’s have, first the shadow and now this)

- Alastor can teleport at least short distances and he appears as the shadow for a second

- They really make Alastor a very animated character and I love it

- (we knew this already but) Alastor clearly puts himself on a different level than the other sinners, he thinks of himself as justified and better (he doesn’t say “us sinners” he says “loathsome sinners” w/o him in the picture)

- Valentino, Rosie, Lilith (obviously), the girl from the porn studio, and the tv head dude (Vox, thanks @lavipsi) are all some of hell’s “strongest demons”

- TV head (Vox) is in the middle and top so he must be very powerful and behind him there’s also a green and red demon that reminds me of the wolf/fox demon from the bar scene

- Husk is very blocked out by Vaggie’s face but he’s clearly in the picture with Alastor (it looks like a fight but I don’t want to assume) like we know they know each other and stuff but it’s just weird that Husk is in the art when Vaggie says he’s “a dangerous Blahblah” and has entire speech of how dangerous he is

- I love the symbols that float up when Charlie isn’t looking and then the squeak as he turns to a more “innocent-like” Alastor when Charlie looks back

- Alastor rolls his eyes at Charlie when she says “No trickster, voodoo strings attached.”

- Talked about this before but the way his smile gets wider when Charlie says “for as long as you like”

- Why does Charlie have at least 2 posters about alcohol up if she didn’t want it in her hotel?

- I love how Niffty comes in and her bug-like noise when she appears

- You can see their reflection in Niffty’s eye during the closeup and Charlie is too adorable in it, Angel and Vaggie look ready to kick her out XD

- Everybody’s reactions to Niffty rambling on is beautiful, just watch them go from defensive to confused

- Alastor just following Niffty’s every movement as she zooms around

- Please tell me I’m not the only one who didn’t immediately see Husk as a cat? I honestly thought he was a dog for a while because he looks sort of like a Husky and his name is Husk, which got me thinking about the contradictions with Alastor not liking dogs... then I realized Husk was a cat.

- “are you sh!tt!ng me” “no I don’t think so” and “you think I’m just some clown” “..maybe” are some of my favorite lines

- Was I just supposed to know that on the bottom of Alastor’s boots (shoes? Hooves?) there were deer prints?

- So did Alastor really just teleport two sinners and basically copy part of the bar Husk was at and it’s just going to be there forever? Like you can see where the bar’s like territory ends because it’s walls are green while the hotel’s is red

- No like seriously Alastor you can copy a part of a bar but you can’t make the walls match the rest of the hotel’s walls?

- Husk seems slightly taller than Alastor

- Also Husk also has yellow teeth and if we go by Alastor’s teeth are yellow because he’s a cannibal, Husk might have been a cannibal when he was alive

- Husk clearly knows Alastor, he’s not afraid of him (to an extent, he was still a little shaken by the... Sir Pentious thing). Husk obviously voices his complaints without restraint and isn’t afraid of Alastor hurting him (I guess), and even when he was shaken up he was still the second person to follow Alastor back to the hotel.

- The entire relationship between Husk and Alastor is very intriguing to me! Husk doesn’t fear Alastor, Alastor called him a friend (obviously another jab at Husk but still), and they were in the same picture when Vaggie talked about Alastor being dangerous. I’m guessing they were probably friends once, maybe the picture is them both fighting another demon or fighting each other in like a fall-out.

- Vaggie is very exaggerated when she’s complaining about the bar and it’s beautiful

- Husk in the background as a still image just chugging booze is beautiful

-Angel’s angry face as Vaggie complains about the bar just before he leaves to lunge at her is beautiful and my favorite face

- 27:46 Alastor flipping FLUTTERS HIS EYES AT VAGGIE and you can hear a small sound effect of it and I just thought that was beautiful

- At the same moment Charlie is just rubbing her cheeks and it’s cute

- Right before Alastor starts singing, he throws some red... fire in the air and Charlie follows it with her eyes and she just so awed by it

- The fireplace in the background has an eye and a top hat above it and it just reminds me of Sir Pentious

- Alastor’s song has so many Friends on the Other Side vibes and I love it

- There are so many Christian symbols (and Satanic symbols) in the background of this song and I just don’t want to spend that time looking at each one :l

- Alastor’s shadow is also here further nailing the Friend on the Other Side vibe (not to mention the other shadows and voodoo doll things)

- Poor Niffty, she should never get hurt

- When Sir Pentious is talking and it shows the chibi characters, Charlie, Angel, and Niffty are looking at Alastor and when it zooms in for a split second Angel’s face is the most innocent bab ever

- There’s a building in the background with (again) one eye and a top hat, there’s also a cat building right next to it

- You can see heaven as a planet with a halo...

- There’s also a sun(?) or moon(?) or planet(?) with a pentagram on it

- I know that Egg Boi #OUCH is just a joke, but what if after 666, Sir Pentious just started giving them stupid names like that?

- Again, religious symbols float around Alastor that I’m not going to look into because I’ve taken so much time T_T

- Niffty is actually unfazed by Alastor summoning tentacles and destroying Sir Pentious’ ship. Really she has a normal smile and face and she immediately follows Alastor when he walks back to the hotel

- Angel is still flirting with Husk

- Charlie reassuring Vaggie is adorable

- Are we not going to talk about the carousel and gigantic steam boat that’s just protruding from the hotel

- I also love how the windows at the top of skull designs <3

- There’s an eye on the top of the building and the sign of Happy/Hazbin Hotel could also look like a top hate (why are there so many one-eyed top hats like Sir Pentious’...?)

- Stay tuned TM

- Not from me but, Alastor changes the name to Hazbin Hotel and Hazbin means something that was great before but is terrible now or something that is meaningless

- So Alastor liking terrible jokes is now canon? The dad joke thing wasn’t just a stream thing, it’s actually canon?

- Alastor actually has a red ‘X’ on his forehead, you can see it right after he destroys Sir Pentious’ ship

- The art in the credits shows Cherri Bomb having a tattoo

- I would like to talk a little about the design that’s in the background during the credits. So in the middle is an apple that’s being held by two sharp hands, there are three snakes coming out of it with only one snake fully out but still seems to have originated from the apple. The snake that’s completely out is on the top and has some designs around it that emphasize it, making it look more like a king (the devil, duh). The other two snakes are going down (probably referencing Adam and Eve maybe? Even though they also seem evil I just think of Adam and Eve.) Under them is another snake head. There are two sets of eyes around the top snake, one set has a line going down the middle of each eye like a scar while the bottom set has eyelashes. Even though the bottom set looks more “girly”, it reminds me of Lucifer because of the dots under them. If you want to grasp at straws the complete bottom snake’s tongue sort of looks like the bottom part of the symbol of Lucifer. The three snakes that clearly originate from the apple in the middle can also look like “Three snakes and one charm” if you squint. The symbol above the top snake looks like the infinity symbol combined with the cross, but it’s not the leviathan cross, so maybe just eternal... crucifixion?

- The smoke coming from the pit that Alastor made has souls in it

- I think #23 is depressed because he really wants to be shot... and he was just sitting there next to a bunch of dead hims

- Vivziepop said on a stream something about Lucifer being “generally goofy, but it depends on his voice” or something like that, please correct me if I’m completely wrong. This makes me things that Lucifer is going to have multiple voice actors.

-The Loading Crew “Everything We Know About Hazbin Hotel” brings up a point that it seems like the only things that can kill demons and sinners are the Exterminators’ weapons which are sometimes left behind that demons scavenge, Vaggie also appears to have one. I recommend watching his video, it’s very quick but also brings up points I haven’t addressed.

And yeah, that’s all for now! ^_^ comment if you have something else to add or think I should change something

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sweetwriting · 5 years ago

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TimKon Week 2020 Day 5: What would it feel like?

Category: Gen

Genre: Hurt/Comfort

Fandoms: DC Comics, Teamverse

Continuity : Post-Crisis/Pre-Flashpoint

Summary: Tim was the only one without a soulmate. Even if no one knew, it was lonely.

Word Count: 1 862

AN: Hola everyone. - Ok so while I enjoy reading Soulmates AU because of the variety of different kinds of soulmate AUs in fandoms, I have a hard time writing about predestination 'cause I don't believe in it. Especially not in any kind of romantic/Platonic format. As far as I believe soulmates are simply souls that have met several times and recognize each other (ofc that's only if you think reincarnation is possible).- I think Red String of Fate is more of an East Asia thing than an Asian thing in general but I couldn’t remember and don’t have the time to do research rn so that’s that and I’m going off the idea that by the time Tim’s grandpa died, it had spread around.Anyway, Enjoy

Prompt: Soulmate AU - Hurt/Comfort

To read it on AO3

It was strange.

Tim could see marks on people. Sometimes it was timers, other times it was symbols, they could be static or moving, it could also be just matching lines separated in green, red and purple. Sometimes it was just writing or drawing that would disappear for some reason like erasable ink. More sadly, sometimes people share scars or pain. He only realized what he was seeing when he saw the picture of his grandparents whose pinkies were linked with a red string. His parents didn’t talk to him much about family traditions, he just knew that one of his great grandparents was Vietnamese and his mother had mentioned something called the red string of fate once. So he just did a quick internet search and tadaah. He knew what it was.

The question though was why he could see them when no one, not even metahumans could see them considering he was neither magic, a meta human nor an alien.

Or why he didn’t have one either.

Maybe it was simply a matter of not being able to see his own Soulmate. Or maybe it was in a place he could not see (which…he was torn between hoping for and not).

Or maybe he just didn’t have a soulmate.

But…aside from him everyone had a soulmate, their soulmarks might not always be visible but he could feel them, even if it was about sharing emotions. Was the fact that he could see the marks due to him not having one? Or did he not have one because he could see them?

It was rare for Tim to stop and think about that.

Despite his pretty great intelligence, if he dare think so himself, he was not the type to think too much about things that had no immediate effect on him (no matter how much he tried to pretend otherwise). So thinking about soulmates was not very interesting. People were linked to each other; he wasn’t linked to anyone or he was and couldn’t see it. The only thing he learned from that was that your soulmate didn’t have to be a romantic partner. So he wouldn’t have to feel bad if one day he wanted romance…for some reason.

Either way Soulmates didn’t concern him. So he usually didn’t think about it. To him soulmarks were like eye or hair color. Just a thing that was there.

But once in a while, when he was alone on his own, he thought about it. It would be nice to have someone else. Someone with whom he could share a part of his soul and know it would be accepted.

It hadn’t happened since he had met Bruce though. Because he was almost never completely alone even though his father was still comatose. Or maybe because of it. He really didn’t want to think about that.

It was the first time in a bit more than a year since he thought about it actually. And he didn’t know why as there was nothing in his current life that warranted it. There was just this strange warmth. That made him wish.

- - - - - -

Then he met Ari and Steph and he knew he wasn’t their soulmates but he knew soulmates didn’t have to be romantic so he tried.

- - - - - - -

A year passed and he met Superboy for the first time. And he could feel it. Even The Kid had a Soulmate. Apparently his soulmark wasn’t a visible one, but it was there nonetheless. How unfair. Well not really. It was just further proof he was his own person as Superman’s soulmark was a pen on his left arm.

He had talked to Batman about his “ability” once when he talked about someone’s soul mark allowing him to recognize a perp. He could have lied and said it was a tatoo but since Batman couldn’t see it, it was useless. Granted that’s what he thought afterward, he hadn’t even thought of lying when it happened. The only reason he hadn’t told Bruce in the first place was because he hadn’t thought about it. According to Zatana it wasn’t due to magic nor was he tested as a metahuman and he was human. Apparently he was just more sensitive to this wavelength just like some people were weak against electronics and others to sounds.

- - - - - - -

He had met St

- - - - - - -

Months passed.

He and Superboy became friends. Good Friends. Or as good as they could be with Tim being unable to reveal his real identity.

Which is to mean that soon enough it also started going badly. Granted the first time was because of Match, it doesn’t change that Kon felt hurt and started becoming distrustful over Tim’s identity.

But if anything, Kon was perceptive even if he didn’t always know how to draw the right conclusion. He knew Tim had issues, and he had his own so he saw the dots….he just connected the wrong ones together.

Still. They bonded, even if a part of their relationship was deteriorating (and boy did it deteriorate once they were on Apokolips) there were slightly more normal parts that helped when they were just hanging out. Of course Tim’s ID was in the way but now he could show his face and joke and just…hang out. He always felt better after hanging out with Kon, except when he was being insufferable. It was a 50/50 on which one would happen but Tim was always ready to risk it.

Until the war. He understood where Kon was coming from but…He couldn’t deal with it so he left. It felt cold. Because Kon was literally the last person he wanted to talk to. As in if he had anyone he wanted to be the last person he thought of or talked to, he wanted it to be Kon. As if that wasn’t surprising enough.

- - - - - - - - -

Stephanie died. So did his dad. Being near Conner was comforting. His presence helped even if it didn’t solve anything. Just being near him helped him believe he could burry his pain. Granted the man himself refused to let him do so. Because he was his best friend.

How do you tell someone you know they have a soul because they have a soulmate? Well you just tell them. Everything. And it helped, for a bit. But then Luthor took over and no matter what Tim said, Conner’s guilt was in the way. It might have helped if his guilt hadn’t gotten in the way. Also their trip to the future felt like a proof Tim was mistaken. Because what if his “soulmark” was just a pale copy of Clark’s. Enough to exist but not enough to copy the mark. And Tim could understand this point but he just didn’t believe it. He didn’t believe it, not until Raven proved him he had a soul. Tim felt a bit miffed but he understood how Conner felt even if for different reasons.

- - - - - - - - -

Then Conner died. The warmth left. More importantly he left. He was taken away. And Tim was left again.

It’s the first time Tim thought that maybe he had a soulmate.

He never felt as heartbroken as he was now.

- - - - - - - -

More than a year and a half passed. Tim was still grieving. He didn’t know what to do. All his loved ones just kept dying and he just felt so cold. Stuff happened.

Conner came back. He wasn’t so cold anymore but he just…He had something to do. He had to find Bruce. Even for Conner he couldn’t stop.

He didn’t have to. Conner found him. He was really there. And he was the only one who believed him. And Tim knew it was really him because the warmth was back tenfold. He felt so much alive again.

If Conner believed him… It renewed his hope he could find Bruce.

- - - - - - - -

After a while the Status Quo came back and Tim came back to the Teen Titans. After Conner and Cassie broke up. It wasn’t easy. He felt like a buffer sometimes. But he didn’t care. Even if Conner and Cassie had issues, they usually were fairly mature about their break-up. Probably more for Tim and Bart’s sake than anything else but Tim wasn’t gonna complain.

- - - - - -

And then one day Tim got badly hurt on a Titans mission. It was rare for Tim to be really hurt when he was on a team mission and usually it wasn’t anything Conner couldn’t help with his TTK, but this time Tim was badly hurt to the point of fainting and Conner couldn’t not hold onto him. He needed the reassurance his best friend was gonna be okay.

Which is when he felt both pain and comfort. Tim opened his eyes for a second in what looked like surprise but fainted again. He looked like he didn’t feel as bad though. Maybe Conner had a new power? He didn’t know…or really care. At that point all he wanted was to get Tim back to the tower so he could get help and hope that he was relieving his pain if only a little bit.

- - - - - -

When Tim woke up, he felt like he was in a cocoon of warmth. He was so comfortable he almost went back to sleep. But that wasn’t normal. So he opened his eyes and felt Conner’s eyes on him. The boy immediately went for a hug but then seemed to remember Tim was still hurt….Even if he didn’t really feel hurt. Huh.

After a few second spent taking in the other’s state, Conner started:

“You’ve been asleep for the past two days and you’re supposed to stay in bed for the next three days after you wake up. Doctor’s order. Which I’ll make sure you follow so no funny business.”

Tim cracked a smile and nodded.

“So you’ll be my nurse?”

Conner nodded, seriously.

“Apparently I can reduce your physical pain when my skin touches yours. And it’s not a new power. I tested it on Rose. It’s only you.”

Tim froze. So it was true. He actually….

“We’re soulmates aren’t we? You told me some people had pain or emotion based soulmarks and that’s what we have right?”

He actually had a soulmate. It wasn’t just wishful thinking. It was Conner of course. Who else. There was almost no one he loved as much as Conner and definitely no one he loved more.

“Hey Tim….You’re crying. I mean I know I’m probably not the best person you could hope for but, I mean at least now you know you have a soulmate too…”

Tim jumped in Conner’s arms and hugged him as tight as he could without injuring himself further.

“Idiot. I’m so happy your my soulmate! You have no idea. I’m just overwhelmed”.

“Oh”.

- - - - - -

So…It turns out Tim had a soulmate. It turned out to be his best friend, the person he loved more than anything.

And while he could feel Bruce judging him all the way from Gotham when, after he told him, Conner could be heard from the other side of the door, He was probably the happiest he had been in years.

AN: Hope you enjoyed it ! As you can see it can be read as either friendship or romance. It their case it's intertwined and I don't have the time to try and push it further in the realm of romance right now.In this the warmth Tim feels is mostly due to being sensitive to soulmates bond. So when he feels his at his most powerful (since it's skin touchbased, the closer Kon is, the better) he feels all warm and Tingly 'cause his and Kon's soul just...keep trying to be in the other's close relationships circle. No matter the life.

#TimKon Week #TimKon #Tim Drake #Conner Kent #Kon El #BrOTP: TimKon #OTP:TimKon #Young Justice (1998)#Teen Titans v3 #Angst & Fluff

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theharellan · 5 years ago

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so far i’ve read three trees to midnight, horror of hormak, and callback. i’m trying to practise restraint and leave the last story until i’m at least done with my initial read-through of the material most relevant to my characters which ksjdf. is very hard but here’s notes i’ve taken so far:

oh and btw pls dont r/b this!

if you want a pretty good demonstration of why solas and cole speak with discomfort about how spirits are used in thedas, “wisp darts” may be a pretty good example. it’s likely the wisps aren’t fully-formed spirits, more akin to the pieces of pieces cole refers to the mortalitasi using. still a pretty callous way to use something that has some presence, even if it’s not a person.

there’s a reference to a talented tevinter mage healer being able to reattach arms with magic, through use of spirits.

there is a lot of discord among the qunari rn, both within different arms and without. the bas-taar, the antaam keeper of bas slaves, essentially, thinks of the ashaad with disdain- “even the black-and-white-striped vitaar that painted the huntmaster’s face was drawn to symbolise sight, finding, rather than battle and power, as befitted the antaam.” funnily the huntsmaster is actually not antaam but ben-hassrath, therefore a priest, but that his attitude doesn’t draw notice indicates this isn’t abnormal for the ashaad. so like not only do at least some of the antaam and ben-hassrath have beef, but there’s beef within the antaam.

if i read it right, the dwarven deep roads gave way to purely elven ruins, and the warden narrator notes that this isn’t completely unheard of. not only that but there are dwarven carvings of elves, and it’s only later the elven bas-relief take over. i’ll prob need to reread to wrap my head about it, i wonder the relation between the dwarves and elves there.

fucked up as the art itself was, i love the glimpse we got into true elven art. the lack of age made me pause-- solas indicates that spirits can preserve things, so it could be that, or could someone be upkeeping it? and the change the art went through, going from healing to putting the hurt (the taint?) into people. whether this is just ramesh’s perception changing or magic idk, but i also wouldn’t be surprised if ancient elven magic shifted as the viewer looked at it, too.

solas’ reasoning for discomfort abt the wardens grows tbh when i think about the art. while the wardens don’t change themselves the way (what i assume to be) ghilan’nain’s creations have, they are still taking the blight into them oftentimes unwillingly. it’s the sort of parallel that would be difficult to let go to say the least.

there was a yellow-green lyrium stone hanging from the ceiling, something we’ve apparently only seen before in the hissing wastes (around rifts). cole makes reference to it being a result of venatori trying to make red lyrium “less angry,” which i guess would make sense given all the blight around the lyrium? but who knows if they’re connected. it’s a pretty good bet that green lyrium is somehow touched or related to the Fade/sky in ways the blue stuff isn’t.

a lot about the spirit of regret made me wonder both about it and about solas. there was a lot to it that didn’t match up to solas’ motivations-- glee in the dread that was coming, for example, doesn’t match, calling itself the regret of a god. this is honestly expected as spirits don’t create perfect replicas, tho still interesting. and that what felled it wasn’t a lack of regret, but an ownage of said regret. idk i feel it has greater implications for “demons” because things like pride, desire, rage aren’t bad but natural human emotions, and sometimes necessary or even good. this ramble is just becoming the plot to pixar’s inside out. regret was a good and i wish things had ended less violently for it, even if it will likely reform in the fade. i will be putting more stuff out abt regret tbh b/c i like to think it and solas spoke prior to him leaving the inquisition but for now i’ll leave it be.

the implications for solas? - “I regret acting alone!” / “I regret using my friends!” / “I regret now!” as sutherland himself notes it seems like he was echoing the regret that drew it to skyhold, and all these things apply to solas 1000%. the thing about solas’ relationship with regret is that while he does “own it” in the sense that he will admit regretting-- a lot of things, and often-- his relationship with it is pretty unhealthy and doesn’t lead him to new paths, at least not as of now. he’s regretful but also feels stripped of other choices. - “There might have been a better choice, said a thought it had not been allowed.” this line makes me think about inquisitors who vowed to redeem solas, specifically thora, but what else is new there. namely, the lines at the end of his trespasser screne aren’t so much in the spirit of “save our friend from himself, if we can” but “i’ll show you there’s another way.” which is much closer to how i imagine the threat solas poses could be nullified (without just pure opposition, anyway, which imo may solve the solas dilemma but would just be slapping a bandage on a world that’s bleeding out). - that the final fresco became the scene of flemythal’s death and that the figure was both lupine and reptilian obvs confirms that it was absorption and not possession which, thanks i hated that theory for many reasons. whether the implication is that solas has lost some of his own identity as a result or it’s merely symbolic we’ll see, i guess. i do personally hc that it changes his relationship with his own magic and not necessarily for the better. - tbh the moral sutherland and the order from divine victoria is interesting considering-- regret did accept and move on? which has implications for more than just solas but spirits in general. idk i’ll talk abt this one more once a) i reread it and b) i read the other relevant stories for solas b/c i know there’s more

on a brighter note, it was sweet and so good to see the inquisition from the POV of people not in the inner circle. i loved the note of skyhold being stripped bare by people taking keepsakes, and how much it meant to sutherland

overall so far i think my fave has been three trees to midnight, i thought the chemistry between the characters rang the most true. i’ll have to go back and reread down among the dead mean as i know it has spirit-relevant stuff but i wanted to read horrors of hormak......... so.

oh i wanted to add if you’d like more coherent summaries, i’d suggest felassan’s tevinter nights tag. everything i talk abt in here will prob end up rewritten on solas or my multimuse (like the qunari stuff is relevant to tetrak) rn it’s just........... words.

#dragon age spoilers #tevinter nights spoilers #( ooc )#he calls himself Pride ( about )#[ my mind is real fuzzy now rip ]

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forestwater87 · 5 years ago

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Cutting Myself on all this Edge

This post has no reason to exist, except that I keep bothering my friends with literally dozens of messages making fun of this and I need a place to keep it all.

What is “this”? Oh, just some people having some Fucking Strong Opinions about how Harry Potter is the Pied Piper (they use that comparison multiple times. It gets old fast) leading our children into the End Times with its pro-illuminati Satan-worshiping witchcraft lessons. You know, the usual.

And no, this isn’t a battle of Forest vs. the Crazy Christians; I’m like 94% sure I’m not working through any sort of religious trauma, partly because I never went deep into this kind of mentality but mostly because I’m just delighted by The Cutting Edge, a website for a very specific type of Christian (no, not you, Catholics. You’re specifically not invited to the Cutting Edge club because you worship demons) interested in the New World Order, the evils of public schools, and Satan’s favorite color.

No, really.

Satan’s favorite color is green. They don’t . . . really explain why.

This site still exists and is the best thing I’ve ever seen. Hours of fun for the whole family. I mean, look at their logo:

And look at their illustration that goes along with their particular Harry Potter series:

Are you not entertained?!

I cannot stop reading these amazing essays -- which delve surprisingly deep into Potter lore, considering they say that there is no sufficient reason for a Christian to ever read a single page of these books -- and I can’t keep harassing my friends with thousands of notifications, so here we are.

Starting small, let’s read the book review for Harry Potter and the Sorceror’s/Philosopher’s Stone. Or, as they prefer to call it:

This book chronicles Harry's first year at the Hogwart's School of Wizardry and Witchcraft. Prepare to be shocked for the bold, blatant, and bodacious raw Satanism that underlines this story! Since "proper"Drug Use is essential in opening the centres of vision and achieving higher consciousness, we should not be surprised that First-Year students learn Drug Use, Drug creation, in a way that makes Drug use seem glorious! You will be shocked to see '666 ' in the story line, and symbols of Antichrist receiving a "fatal wound"!

That’s the entire subtitle. That’s just how they roll on

THE CUTTING EDGE

Part 1: The . . . Plot? I Guess?

This story introduces us to Harry Potter, an orphaned boy sent to live with his "horrible" Uncle Vernon, Aunt Petunia, and their fat, obnoxious son, Dudley.

I feel very comfortable with the fact that Cutting Edge has chosen to put scare quotes around the word “horrible,” like that’s up for debate. Combined with the very normal and sane opinions expressed elsewhere on the site, this really bodes well for their ideas about parenting and childcare in general.

all through this book, any non-witch folk -- like Vernon and Petunia -- are depicting in disgusting language.

Typo is theirs, as is the apparent offense they take to the fictional depiction of people who are very much not real. While there hasn’t been any exciting formatting going on yet in this essay, I will replicate it as much as possible, and any changes made will be clearly indicated through square brackets and ellipses.

Non-witch people are known as Muggles , and they are depicting as being "dumber than a box of rocks", of being physically obscene, and of living the most boring, unimaginative lives possible.

I was going to argue that this isn’t true, but I suppose we don’t really meet any cool Muggles in the first book. I guess I have to give them this, but I don’t feel good about it.

Witches, on the other hand, are depicted as being very smart, very "with it", of being physically normal, and of living wonderfully exciting lives

It bears repeating:

a flashback scene to the time 10 years earlier when Harry's Mom and Dad were psychically murdered by evil Lord Voldemort

Okay. Now I’m no Potterologist, and so I’m hoping any true believers will correct me if I misinterpret the holy texts,* but I don’t think Harry’s parents were psychically murdered by anyone. I’m pretty sure they were quite literally, physically made dead. Just because it’s a beam of magic doesn’t mean it’s not physical anymore, does it? Voldy didn’t Professor-X Harry’s parents and they died of three D10 psychic damage or anything; he just fucking killed them with a wizard gun. Am I wrong here?

*By which I obviously mean Harry Potter. It teaches children how to become Satanists; we’re clearly dealing with a book of immense spiritual relevance.

Skipping a little bit of plot summary, which is a combination of, well, summary of the plot, although Cutting Edge is determined to get Hogwarts’ name wrong, and a little bit of baffling End-Times(?) nonsense thrown in for funsies --

Of course, a Christian would be immediately alerted to this turn of events [in which Harry defeats Voldemort and is scarred] because soon a supernaturally powerful global leader will demand everyone on earth take some sort of a mark in exactly this place on the body.

What?

-- and there’s some weird formatting things going on that I think are supposed to imply something sinister but really just come off as goofy:

They have Harry on a boat headed for nowhere and they had every intention of keeping Harry from ever attending Hogwarts School. However, Harry receives supernatural assistance.

(It’s not letting me do colors on desktop, which is stupid, but that “supernatural” is supposed to be both bold and red)

There’s a long description about the difference between the Real and Fantasy worlds, which apparently Satanists try to live in both of (and so does Harry, making him also a Satanist. This is actually one of the less-stupid arguments Cutting Edge has for Harry’s Satanism, so just go with it) that’s honestly more boring than funny so I’m skipping it. Then we get to a much more fun section: why Rowling’s descriptions of Muggles are . . . teaching children to hate Jesus?

Part 2: Rowling Hates Muggles

Rowling consistently depicts people who do not practice Witchcraft in most obnoxious terms. They are depicted as being really, really dumb, boring, and living a life not worth living . We share these examples, below, with you so you can appreciate the truth of this statement. Uncle Vernon was also the only Muggle quoted in the book as being really opposed to Witchcraft; therefore, when readers see how stupid, ugly, and boring Vernon is, they get the idea that all people who are opposed to Witchcraft must be as stupid, ugly, and boring as Vernon is.

... Are all people opposed to Witchcraft cowardly bullies?

I mean, you are the one going after a children’s book for daring to entertain children, so if the shoe fits . . .

"Harry was glad school was over, but there was no escaping Dudley's gang ... Piers, Dennis, Malcolm, and Gordon were all big and stupid, but as Dudley was the biggest and stupidest of the lot, he was the leader." [p. 31] How do you know your own child does not think of you in these terms? After all, you are a non-magical Muggle.

I actually can’t complain, because this is just accurate. I 100% hate my parents and think they’re stupid because they’re not literally witches/wizards. Our relationship has never fully recovered.

"Uncle Vernon made another funny noise, like a mouse being trodden on." [p. 47] Remember Adolf Hitler, the most famous Black Magick wizard in modern history? He depicted Jews as Rats in his Propaganda Machinery, convincing the Germans they should extermination the "vermin".

GODWIN’S LAW HAS LANDED!

LADIES AND GENTLEMEN AND EVERYTHING OUTSIDE OR IN-BETWEEN, WE HAVE OFFICIALLY COMPARED HARRY POTTER TO HITLER!

We find it highly interesting that, later in the book, when the Evil Lord Voldemort is supposedly killing the unicorn in the Forbidden Forest, the color of the blood of the unicorn is silver!

Okay, but like . . . why? I mean, it immediately follows a description of the Bloody Baron, who is depicted with silvery blood because he’s, like, a ghost, but I’m not sure what that has to do with unicorns or with Satan. Are unicorns associated with Satan? Is silver associated with Satan?

Is everything Satan? Am I Satan?

There’s a lot of rage at a gentleman named Chuck Colson throughout this section, who apparently made the grave error of telling parents it was okay for their children to read Harry Potter because it doesn’t involve contact with the supernatural. And I’ll admit, that seems like a pretty bad defense of the books, because if you define “supernatural” as ghosts, poltergeists, or whatever the hell Voldemort is, then there is absolutely a metric buttload of supernatural stuff in here.

Arguably, a better defense of why it’s okay for children to read these children’s books is that they are books made for children, but YMMV on that one. Probably depends on whether or not you think children are sitting in the giant metaphorical (or literal? Not sure Cutting Edge gets metaphors) lap of the Antichrist every time they pick up the books.

(A visual reminder.)

Part 3: Basically Part 2, But This Time There Are Colors

The next section is on colors, which are very important to Cutting Edge. As linked back in the very beginning of this post, there is an entire essay devoted to the demonic colors used in the Harry Potter books, but we get just a taste of it here:

Rowling makes use of vivid colors in her story line. Some of these colors are consistent with the colors preferred by Satan and his followers in the Occult. Rowling's use of such vivid colors also enables her to paint the Fantasy Reality of Witchcraft as THE most exciting place to live. Wizard of Oz uses the same technique: when Dorothy is in her real world in Kansas, the color is black and white, but when she steps into her Fantasy Reality, the scene explodes in the most wonderful color.

Interesting interpretation. An alternative view is that Rowling needs to use more descriptors for things within the Wizarding World, because her readers won’t have the same frame of reference to draw from that they do with real-life objects and events in the Muggle World, and one can assume that these lovely descriptions are part of her being a, y’know, good and evocative writer, and the colors are just related to how she pictured the world she was creating.

But I mean, yours is good, too.

Actually, the citations provided by Cutting Edge don’t depict anything especially vivid; it’s not like she’s throwing massive amounts of purple prose at the descriptions of the Satanic green of Harry’s eyes. In fact, the only enhancer used is “emerald” at one point. For the most part, this essayist is just . . . noticing when the word “green” appears in the text and calling it a siren song to entice good Christian children out of the colorless world of reality and goodness and into the technicolor dreamland of magic and mayhem.

Also, please remember that Satan has a favorite color, and it’s green. For all birthdays and Christmases (or wait, whatever the Satanic version of Christmas is! Halloween?), please make sure all gifts are green or green-adjacent.

Even though Harry is nearly as powerful as a Black Magick practitioner, and could easily have decided to go over to that side, he declines to go over to the Dark Arts. Dumbledore assures Harry that he is not evil as Lord Voldemort. However, as a symbol of the Black Arts he could perform, Rowling makes Harry's eyes green.

This observation -- and I use the term loosely -- implies that every single Slytherin and villain of the Harry Potter series would have green eyes, to demonstrate their capacity for evil. The fact that this is obviously not the case must just be a red herring.

Part . . . 4, I think?: Drugs, Magic, and Magic Drugs

Harry and his friends learn how to makedrugs, and the glory of taking them.

The fact that they don’t actually take any in this book is entirely irrelevant. (”Drugs” should also be red as well as bolded. It’s very serious business.)

The plant, wormwood, contains thujone, an hypnotic drug, banned by the FDA since 1915 [Christian News, "Latest Potter Book Meets Cautionary Response From Christians, July 17, 2000] ; further, wormwood is used to make Absinthe, a hallucinogenic liquor. Therefore, the drug to which Rowling makes reference is very real, and is so dangerous the FDA has banned it -- to this day, it is banned!

While thujone was illegal at the time of this essay in the United States, it was actually never banned in the UK . . . you know, where these books take place and were written? I don’t think Rowling gives a solitary fuck about our FDA standards. Also, I don’t know if you could just straight-up buy wormwood on whatever the equivalent of Amazon was in 1998 (was it just Amazon?), but you sure can now. Can’t be all that scary.

You can hardly get a better description of drug use, and drug glorification than this!

I wonder why they keep using red to emphasize all these evil things . . . you’d think they’d go with Satan’s favorite color/the sign that Harry is the Antichrist to really jazz up all of the evil.

"The drug message in this book is clear. To reach your goals in life like Harry Potter, you need to know how to make drugs and take drugs in just the right way or else you are a 'dunderhead' and will never succeed." [http://www.fflibraries.org/Book_Reports/HarryPotter ; written by a physician and father who asked to remain anonymous].

The fact that this URL doesn’t lead me to that review is one of the saddest things I’ve faced all month.

The sections on spellcasting are far less interesting, reiterating a pretty simple refrain: all magic is bad, because the books say some magic is good then the books are bad, it’s all teaching children about Satanism. Rinse and repeat.

During final exams, teachers passed out special quills with which to write; these quills had been "bewitched with an Anti-Cheating spell". The reason none of the teachers felt they could trust the honor of the students to not cheat is obvious enough; in Witchcraft, no Absolute Good and Evil exists. All objective, eternal standards of conduct and morality have been rejected. Therefore, teachers knew full well that all the students would cheat on their final exams if they thought they could get away with it. It is a sad commentary that teachers had to place an Anti-Cheating spell on the quills to prevent exams cheating. Christian parent, is this the "morality" you want your students to learn?

Now, it might just be my obvious Satanist addiction to witchcraft talking, but doesn’t it seem more likely that there’s an anti-cheating spell because sometimes . . . children cheat? And no amount of Good Wholesome Christian Teaching is going to completely eradicate the desire to cheat on a test, because of course it isn’t.

It’s not because the school has taught the students that cheating is okay and cool and sexy or whatever -- in fact, if you want evidence that there is an absolute moral standard against cheating, it would be that the teachers are actively taking steps to prevent it! If witchcraft really was all about how there’s no such thing as good and evil . . . well, for one thing they wouldn’t teach Defense against the motherfucking Dark Arts, but they also wouldn’t care if their students cheated enough to provide anti-cheating quills, because they wouldn’t consider cheating a bad thing, because they wouldn’t consider anything a bad thing!

Also, I’m not sure what listing all of the spells in the book and what they do really says about Satanism, except that . . . spells exist, and are used? Which I feel like you should really expect from the book about magic and wizards; if that’s an alarming surprise, then you’ve made a wrong turn somewhere way earlier down the road.

Part whatever: Seriously, Rowling is just ALL ABOUT Satan

This entire section is basically about how JKR must be a Satanist, because she apparently depicts the world of magic and the occult with perfect accuracy, and how could she do that except through being an active practicing witch herself?

Mirrors are believed to be a portal to another dimension, including Time. Occultists believe they can go forward or backward in Time with a mirror being one of the Dimensional Portals. Harry encounters a mirror, "magnificent ... as high as the ceiling, with an ornate gold frame, standing on two clawed feet ... Harry stepped in front of it. He had to clasp his hand to his mouth to stop himself from screaming ... for he had seen, not only himself in the mirror but a whole crowd of people standing right behind him ... 'Mom?', he whispered. 'Dad?' They just looked at him, smiling ... Harry was looking at his family, for the first time in his life." [p. 208-9]

Intriguing theory, except of course for the fact that the mirror isn’t a portal to jack shit; unless you count the weird trick where he can get the stone (and only the stone) through wishes or whatever the fuck these idiots do, and all it does is show someone what they want. It’s not actually reaching into the past to find Harry’s parents or whatever, just like it’s not actually reaching into a parallel dimension future where Ron is the king of everything. It’s just . . . idk, reading their subconscious and throwing up a neat visual or something. With magic. It’s complex, but it’s definitely not what Cutting Edge says it is.

Not pictured: a portal to another physical, metaphysical or temporal dimension. It’s literally . . . just a mirror, but a mirror that reflects your insides instead of your outsides. It’s clever or something.

Do you realize Rowling has just made the creator of the Sorcerer's Stone 666 years old? Do you realize what this means? Since the number, '666', is a symbol of Antichrist and his Mark of the Beast [Revelation 13:18] and since Rowling ties this number to the Elixir of Life, Harry Potter is teaching children that the way to achieve eternal life [Elixir of Life] is to obey the Antichrist and take his Mark of the Beast!

Fucking. Yes. I don’t even have witty commentary for this, I’m just delighted by every word in that section. I’m smiling so much.

This is a gift and we’re reading it for free!

Wonderful! We have the forbidden practice of drinking blood in this Potter book, forbidden in Scripture [Genesis 9:4-5] but practiced regularly in Satanism. I wonder if Chuck Colson, Focus On The Family, and Christianity Today ever told their Christian followers about this? Have they even read this book, before they issued their acceptance of Potter?

Don’t you dare try to employ sarcasm. People who believe in the Illuminati and New World Order are not allowed to be sarcastic -- even if the thought of this faceless stranger typing that little clever “Wonderful!” and smirking to themselves about how witty they are is a very, very good mental image.

Also, what the fuck did unicorns do to deserve being associated with the Antichrist? I mean, I get the color green; it’s the color of nature and the outdoors, and that shit fucking sucks. (Fuck you, trees!) But unicorns?

Unicorns have never done anything to anyone, ever. Unicorns couldn’t be Satanists if they tried.

This means evil Lord Voldemort -- whose killing curse upon Harry, his Mom, and his Dad had rebounded against him when Harry did not die -- is near death, and is seeking to drink the Unicorn's blood to stay alive long enough to finally achieve eternal life through drinking the '666' Elixir of Life.

Yes, that is -- sort of -- the plot of this book.

This is the specific New Age doctrine being taught here: people will have to draw their temporary spiritual life from The Christ until the time comes when their individual consciousness will have been raised so much they will achieve their personal godhood, and live forever!

This concept is genuine New Age, is consistent with prophecy, and Rowling depicts it very well!

Christian parents, do you want your child to be taught this New Age doctrine? Can you see Harry Potter playing the Pied Piper and leading your children straight to the Mark of the Beast?

Pied Piper count: 1 (that’s not a lot so far, but it’s used in like every essay. It’ll come back)

I don’t know how to tackle this, because I’m not sure Cutting Edge really understands that Voldemort is the bad guy in these books. Children aren’t going to read this book and then go, “Cool! I’m gonna go stab a unicorn and drink its essence because my favorite role model You-Know-Who told me to!”

The unicorn blood thing is unilaterally portrayed as a pretty bad move. Voldemort’s goals in general are pretty obviously not great ideas. I know Cutting Edge doesn’t have the benefit of hindsight here, but Voldemort’s quest for immortality and how bad and wrong and fucked-up that is, is kind of one of the major through-lines of the entire story. It could be argued that it’s not Voldy’s desire to live forever that’s wrong so much as his whole, like, genocide thing, which is legit . . . except that all the methods to attain immortality involve killing someone, or stealing something, or otherwise being Not a Good Dude.

Voldemort is Not a Good Dude, and I don’t know how to communicate that any clearer than the books written for third graders already did.

Part 6: I don’t really know, I just wanted a chance to break this endless essay up and this seemed like a good place to do it. So let’s talk about spells some more

Many spells require both the taking of drugs and demonic possession, so it is a matter of gravest importance that Harry is actually going to learn to cast spells. When Chuck Colson dismisses the casting of spells as innocent and of no real importance, did he know this fact?

I seem to have missed the part where Harry goes off his ass on LSD and gets possessed by B’aal. Was that in the Silmarillion?

whenever a witch changes the physical characteristics of something, he or she is practicing very high-level witchcraft, has a high level of demonic possession, and has had to carry out human sacrifice themselves or have someone else do it for them.

“It’s fiction” is often a bullshit excuse to justify bad framing, but I feel like it applies here, because maybe in the “real” world spellcasting requires you to trip balls and summon demons, but it’s extremely obvious that it doesn’t work like that in Harry Potter! You can’t just say that’s what the books are teaching when the books aren’t actually teaching anything even close to that!

(I’m starting to feel like my emphasis italics are having a similar effect to Cutting Edge’s red bolded letters. Fuck if I’m gonna stop using them, though.)

If Harry and his pals were wearing goat heads and putting virgins into a giant blender or something I think you might have an argument here, but when the people reading your essay have eyes and can see that the things you’re describing aren’t anywhere in the books, you’re just lying. And it’s very obvious, and I still love you, Cutting Edge, but you’re being disingenuous and it’s starting to kill my joy-boner to constantly have to point out the ways you’re misunderstanding a children’s book, especially when I think you’re kinda doing it on purpose. So how about you chill just a little bit and we’ll all read some Harry Potter together.

Magical Drafts and Potions , by Arsenius Jigger. Some of the potions are very real, very deadly.

Wait, did Rowling publish this one, too? How do you know what’s in the book? Does the book list some real potions and how to make them, or is this another thing that’s only available in the Cutting Edge’s copy of the books?

Students were told they could also "bring an owl OR a cat OR a toad." [p. 67] These three creatures are important to an occultists. Satanists have always revered the cat because of its reputed "nine lives", which is a symbol of reincarnation. Cats are also symbols of a witch's familiar spirit.

They have revered the frog because his prominent bulging eyes represent the All-seeing nature of Lucifer. Frogs are also consistently used in many of the potions witches concoct. They revere owls as a symbol of occult wisdom and omniscience -- again because of their eyes.

So fuck cats, I guess. They’re being pretty unfair to owls and frogs too -- especially insulting their poor eyes. They can’t help it! -- but I’m a crazy cat lady and I’m not feeling this slander.

Actually . . . my cat looks pretty high right now. Maybe she is channeling Satan.

Okay, never mind. Fuck all these animals. They’re all evil. This article is entirely right, and I renounce all of my previous statements.

McGonagall has obviously mastered her Craft because she was the tabby cat seen by Uncle Vernon reading a map, back in chapter one. Remember that any time a witch or wizard practices transfiguration, they need expert spell-casting, and demonic possession. I bet no one ever told you that little fact, did they?

No, they didn’t, because it’s not even remotely relevant to the fictional book written for children.

Like, I’m trying very hard to not question anyone’s religious beliefs, so if you believe in the occult and magic and all that then more power to you, and maybe it’s totally valid to think that real-life magic spells requires demonic possession. That doesn’t make it true in the books, though! Stop making shit up!

Potions Class -- taught in one of the dungeons [p. 136] How disgusting must the atmosphere for this class, and others, taught in a dungeon, which was built to torture people to death?

If only the classroom, teacher, and overall environment for the Potions classes was meant to be as viscerally unpleasant as possible. Then putting them in the dungeons would be a really good idea, to reflect the Slytherins’ backwards beliefs and the misery of their intolerance.

Like, JKR isn’t this subtle. When you name one of your antagonists “Bad Dragon,” you’re not aiming for this subconscious-symbolism bullshit.

Part 7: Did you think this book had a good moral? Fuck you!

The fundamental occult/Communist philosophy

Well, I guess we’re talking about Communism now! Because if there’s anything Harry Potter is interested in above all else, it’s Communism.

My favorite things about these essays is how they will pull in other social ills -- abortion, public schools, communism -- and slap them into their argument regardless of if it makes any semblance of sense.

Anyway, Cutting Edge actually has a legitimate argument here, although they take it about 50 steps too far:

the "Ends Justify The Means" permeates this entire book. To achieve a goal deemed good, Harry and his friends consistently break rules, steal, and use Witchcraft against others.

It is true that Harry and his friends break the rules, lie, and otherwise do “bad” things in the service of an ultimate good, and that they suffer relatively few consequences for it. This is a legitimate point, and actual people who know things agree.

I’ve been struck speechless by this article before, but this is the first time it’s because I think they might have an actual point.

Hermione was very mildly punished [for her lie to the professors about why they were fighting the troll], but her lie cemented a friendship with Ron and Harry, leading a child to conclude that her lie served an excellent purpose, and could not be considered 'wrong'.

I mean . . . yeah? I don’t think it’s entirely reasonable to assume that children will take that lesson away, but I read it as a child and I certainly didn’t think Hermione was wrong to lie -- nor do I now, which I suppose proves just how powerful the Satanic conditioning was.

Professor Quirrell told Harry, "There is no good or evil, there is only power, and those too weak to seek it ." [p. 291] This is standard Witchcraft, and standard Illuminist doctrine. This doctrine is the guiding light to those Illuminists who are driving the world into the Kingdom of Antichrist. This doctrine is very seductive to those immature children trying to grow up in our current culture; since a child's inherent nature is evil, he will find such philosophy more appealing than the Gospel of Jesus Christ. Christian parents, beware!

Oh thank God Satan, we’re back to the bullshit. I was getting seriously weirded out by the idea that they had good points buried in here somewhere, but now we’re just faced with the argument that the bad guy says . . . bad things . . . and is defeated because his bad ideas are obviously bad and wrong . . . and this proves that the book is teaching children to believe the bad things?

No one reads these books and wants to be the bad guys, Cutting Edge. Kids aren’t buying Harry Potter wands and robes to pretend that they’re Quirrell, trying to keep people from finding out they have a Dark Lord on the back of their head. (Though now that I’ve mentioned it, that sounds like a very fun game.)

Depicting bad things in a way that makes it clear -- to children, I must reiterate -- that they’re bad isn’t the same thing as romanticizing or promoting those bad things. This is basic stuff, CE.

Revenge Motive : "Hagrid almost had to drag Harry away from Curses and Countercurses (Bewitch Your Friends and Befuddle Your Enemies with the Latest Revenges: Hair Loss, Jelly-Legs, Tongue-Tying, and Much, Much More , by Vindictus Viridian." [p. 80] Throughout these books, seeking revenge and attacking your enemies is high on the priority list of Harry, his friends, and other students. Do you want your children to adopt this most Satanic attitude? Notice the first name of the author of this revenge book, above, is named "Vindictus, i.e., Vindictive".

Students are taught to depend upon Witchcraft for every part of their lives . All food is conjured up rather than prepared, all the dishes are conjured clean, and even the hospital depends upon Witchcraft to get students well [p. 156]. Neville Longbottom, one of the more clumsy students, received a crystal ball from his grandmother called a Remembrall . The ball glows scarlet if you have forgotten something you should have done. [p. 145]

That’s . . . fuck, that’s actually kind of another good point. Stop kinda making sense, goddamn it!

A lot of the criticism is just that the things wizards do are cool, which will make kids want to become witches/wizards in order to do those cool things, too. And to be fair, the stuff Harry et. al. does are cool, and I did want to be a witch when I grew up. Fortunately, I was in third grade, and so my options for witchcraft were relatively limited; by the time I was old enough to pursue the endeavor properly, I was also old enough to know that it was actually nothing like Harry Potter. If magic actually was anything like those books make it seem, we’d have a lot more witches running around, zapping shit.

Possible reference to homosexuality . When I was first researching Harry Potter, I examined several pro-Potter websites. The author of one of the articles said that one of the probable developments she felt would occur in the latter books was the advent of homosexuality in the story theme. She said such activity was only hinted at in the first books.

Oh dear god, Cutting Edge found the shippers. I wouldn’t wish that on my worst enemy.

(I wonder if this means they’ve also read the Draco Trilogy.)

I do have to take issue with one last point in this bit about morals, where they talk about how scarring it might be to a child to see Voldemort possessing the back of Quirrell’s head:

Rowling could not have created a better description of demonic possession by a dark and powerful demon! Christian parent, is this the type of thing you want your child to bring into their minds?

Thing is, I’ve been in a lot of Christian circles for most of my life, and this sounds exactly like the kind of dark, traumatizing thing many religious parents would be happy to put into their children’s minds.

Part Almost Done: Definitely Intentional Satanic Symbols, Really

Hey, did you know the number 11 was occultist? I didn’t, and when I Googled it, 4 of the front-page results were Christian or conspiracy groups making this claim, 2 were unclear, and 3 actually seemed to indicate some level of belief in the power of the number 11. Though I might’ve stacked the deck with the word “occult”; when I changed my search term to “magic,” I found almost exclusively positive articles about the symbolic power of the number 11, so . . . Cutting Edge isn’t necessarily wrong.

But boy, did you know how many times the number 11 shows up in Sorcerer's Stone? Not very much, but if we stretch our credibility a little bit, we might see something spooky!

Harry was eleven (11) when he was admitted to Hogwarts School of Witchcraft and Wizardry. The number eleven is considered sacred to the occultist, as it is the first primary number. Occultists will also add up numbers to get an occult number that is sacred; thus, I was highly interested when the bank vault maintained for Harry by his Mom and Dad before their death was numbered '713' [p. 73]. When you add '7 + 1 + 3 = 11'. Then, we learn that, in the money of the Fantasy Reality, "twenty-nine Knuts to a Sickle". When you add 2 + 9 = 11.

When Harry found the wand that was meant for him, it turned out to be 11 inches long! [p. 84]

The Hogwarts Express Train left at 11 o'clock from Platform Nine and Three-Quarters. [p. 91]

Oh man, that’s some convincing evidence. Evidence of what, I have no idea, but it uses math and I’m sure it’s very alarming!

" Sorcerer's Stone " is also called the "Philosopher's Stone", and is very, very Satanic! Rosicrucianism teaches that an Initiate will pass through five stages to become the highest Adept possible, to be most proficient in exercising the power of Satanism. They call this process the "Five Stages In The Transmutation of the Soul". The final stage is depicted by the Phoenix Bird; the Adept is then said to have achieved the "Sorcerer's Stone". Thus, the fact that the term, "Sorcerer's Stone" is in the title of this book suggests that the ultimate goal of all students at Hogwarts is to achieve the Sorcerer's Stone.

Wow, that sure is an interesting interpretation of the rock that shows up in the book for like 6 pages and then is immediately destroyed! Alternate theory, if you’re open to it: It’s a rock, named the Philosopher’s Stone because the Philosopher’s Stone is historically the name of a rock, called the philosopher's stone, and it's literally just a rock and doesn't mean anything Satanist because it's a fucking ROCK.

(Pictured: A rock)

There’s a really odd part right after the long discussion about how alchemy and unicorns and whatnot are Satanic Illuminati symbols, where CE just takes a moment to explain the game of Quidditch. No commentary beyond a sassy little “[Even the Quidditch balls are 'enchanted'].” Just . . . sort of letting you know how the game is played.

To be fair, this is quite a valuable service, since I don’t think anyone actually understands how Quidditch works, but I’m not sure what it’s doing sandwiched between two declarations of Harry Potter’s obvious evil.

PART THE LAST THANK GOD: WHO THE FUCK NEEDS A SUBTITLE IT’S ALMOST OVER

The first few paragraphs are standard boilerplate conclusion stuff, reiterating the rest of the story, continued misunderstanding that bad things are done by the bad guys, no there really are drugs and Illuminati propaganda in here I promise, yadda yadda. Nothing noteworthy except for the fact that I found this sentence absolutely hilarious:

But, most horribly, we see depictions of Satanism that are truly End of the Age. We see the symbol of Antichrist, the Unicorn.

And so I leave you with this one final thought, because it’s all I can fit into the saggy mush that was once my brain:

From Genesis through Revelation, God demands His people separate themselves from the evil around them! SEPARATE! SEPARATE! SEPARATE!

S E P A R A T E

#harry potter #hp #rowling #jkr #this doesn't really count as fandom history does it?#i did discover this amazing site through f_w #tagging this as Christianity would be mean i think #but i'm ignoring the wank mostly and sticking to the FACTS #'facts' like 'harry potter's eyes are the color of satan'#WAKE UP SHEEPLE #this is the world's longest post and i'm not sure it's interesting to anyone except me #i got very tired at the end of this can you tell #i refuse to even consider editing this #you will take my thoughts as i have them #if the 'read more' doesn't show up IT IS NOT MY FAULT I FUCKING PUT IT THERE I SWEAR IT #quotes aren't showing up on mobile #can't do red text or fun fonts on desktop #this post is a goddamn disaster and it's what both i and this essay deserve

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rockettransman · 5 years ago

Text

Rocketman Watch #4 Thoughts

i have so many MORE thoughts can you believe it wow here we go

(i wrote these as i watched it so they’re in order im p sure)

man, his intro monologue during group therapy is just as gripping as it was when I first watched it. And the transition to the bitch is back is so fuckin good. My palms are sweating.

There’s some commentary about forgiving and loving your inner/past child, but I don’t have the words for it at this moment. In the beginning he’s staring down, confused and scowling at his child self, but at the end, he embraces him in a way his father and loved ones never did.

Was he in therapy/rehab WHILE touring and doing music? Stomping into the room in his regalia would have me believe so. I know group therapy was a medium for storytelling. Was it just signaling the very beginning of his story, because we go through different stages through his actions and clothing changes?

Lmao I imagine it must take some pretty cool parents to allow their, like, six or seven year old child to be in this movie. He said bitch so many times.

Took me a hot second to realize the orchestra he’s conducting is playing Rocket Man. The violins are so pretty. Imagine being picked to be in the orchestra on set and getting smile up at the tiny little kid who played Elton. My heart would absolutely swell seeing a little kid being so fantastic at this really intense job.

Kit Connor did amazing in his role. He’s fifteen and he’s already done so much! Imagine growing up knowing you played Elton John as a kid. Getting to work alongside him and his husband and the dozens of incredible actors. Wowie. I’d never shut up about it.

I LOVE how 12 year old Elton is playing the piano SO HARD and is trying to rock out as hard as he can while playing classical music. The boy wanna ROCK dammit.

HE GLANCED UP THE TINIEST BIT WHEN THE MAN ASKED IF ANYONE HAD A FAG (slang for cigarette)

SATURDAY NIGHTS ALRIGHT GIVES ME CONSTANT CHILLS FROM THE START TO FINISH

WOOOW SEVENTEEN YEAR OLD ELTON IS CUTE AS HEEELLLL. The hair, glasses, and front tooth gap fit Taron so well. Goddamn I hope I look like 17 year old Elton some day.

The choreography for this number is absolutely breathtaking. You have to get that many people all in sync! We followed Elton running through the crowd and AAHHH it was a lot! The athleticism! And they did it in the rain! Wow I’m blow away.

Elton is JAMMIN in the back of the stage. It’s really sweet to see his smile and enthusiasm and his brain thinking and working.

That guy in the back peed a LOT lmao

I was wondering where thank you for all of your loving came in.

Charlie Rowe plays Ray Williams, and he also plays LEO ROTH from Red Band Society!!! The first time I watched the movie, I KNEW him from somewhere, but I couldn’t place it and it was driving me nuts. Man. RBS was a big crutch during the worst lows of my ED. Had no idea he was English.

Love to see how shy Elton was as a teenager. It’s a hot ass mood. Also, those silk scarves? Ascots? idk but they’re a LOOK.

“One frothy coffee, no froth.”

The acquaintances-to-best-friends montage set to Border Song *chefs kiss*

Rock And Roll Madonna Is A Perfect Song Send Tweet

Lmao Elton is NOT phased at all when he gets accused of being gay. He’s just like. “Nah. I’m like. Not.” Not overly defensive and surprised, like I’m sure other people would be lmaooo

STUMBLING HOME DRUNK WITH YOUR BEST FRIEND IS A MILESTONE IN TEENAGEHOOD!!!!!!!

“You are a ssSSHHIIIITT HOT piano player—”

So delicate of Bernie the way he politely denied a kiss from him. It wasn’t weird or tense at all. Just a gentle “love you, but not that way. It’s okay” Some people may not be able to handle it that well even today.

Taron’s got nice thighs. That robe & underwear getup is a nice look.

Love love LOVE hearing him experiment with Your Song on the piano to find a melody that worked.

Honestly what the shit do these songs even mean. Bernie sometimes these words don’t make any sense. Don’t worry, they still slap. “See I’ve forgotten if they’re green or they’re blue” like what

AMOREENA IS A PERFECT SONG SEND TWEET

Doug flirting with Bernie makes me snort every time. “Oh, really? That’s.. cool.”

THE TROUBADOUR OUTFIT IS GOOD AS SHIT!!!!!!!!

“NO, BERNIE. YOU ARE UNDERREACTING.”

Taron was right. The overalls do make his ass look massive.

A week ago before this movie I was sick and fuckin TIRED of crocodile rock but now I can’t get enough of it. The movie transformed a lot of old songs I was sick of for me.

Imagine being a kind of shy, nervous kid, terrified to go on stage, but two and a half minutes later the entire venue is LOSING IT because they love the jam YOU WROTE. how cool for Elton.

I want a best friend platonic cheek kiss :(

Hmmmmm I’m wondering if they used the studio recordings that went on the album for the movie or have different movie-specific recordings. Tiny Dancer sounds a teeny bit different in the movie version.

Goddamn I sure hope Taron got to keep that jacket.

“So you liked the song, then?” “Not as much as the singer” *Elton glances away in gay panic*

LMFAO John said some weird colorful words to Elton that barely made sense and he was like OH FUCK GOTTA KISS HIM GOTTA KISS HIM

I’ve talked so much about the sex scene I don’t need to go on about it here. Go search the rocketman tag on my blog for my extensive gay thoughts about it.

Now I know glasses come OFF during sex

oh oh oh I was wondering where Hercules fell in the movie. I love how the songs he’s writing or getting notoriety for is played over the transition scenes.

Elton’s hand on his hip, knowing smirk as John enters the studio. “Hello.”

Bernie is like “HELLO are we RECORDING or are y’all gonna FUCK in the CLOSET?”

*vibrating* Honky Cat Honky Cat Honky Cat Honky Cat

Damn, the flowy white button down with the red pants really is a LOOK

The gestures, staring up at each other, leaning into each other, hands on each other’s chests, damn it makes me feel some typa way. Maybe their love WAS good and fun and exciting while they rode the high of everything before it all went so so bad.

Elton searching John’s gaze while he’s talking and looking like he’s not really paying attention, just looking for a kiss on the couch.. GOD I remember the honeymoon phase of my relationships. So much fun.

His dad going “N-Not really my thing.” That was a metaphor for his SEXUALITY TOO, huh.

Damn. He went to his dad’s to come out to him and he never even got to get to that part. He was just like “....nice shoes....” and even after all this time, didn’t show any interest in his music. If he never was into what he did, how could he even talk about being gay? I’m sure during that scene there were a lot of metaphors to sexuality but I didn’t bother to think much about them.

The eyebrow quirk after his dad says “ah—no. Could you make it out to Arthur?” DAMN Elton was like .. “really. This is what’s happening? Okay. Awesome.”

“What do you have to do to get a fucking drink around here, eh?” *cuts to Elton drinking straight from a bottle*

“Elton—” “Elton!”

John saying “don’t you ever put your hands on me” when he was the one who yanked him from the phone booth AND directly after punching him... woof man. What a shitty dude.

Damn, just noticed John talking very quietly and closely to another man right before he goes on and plays Pinball Wizard. Was this the first sign of him having fun with other men when Elton was indisposed?

Pinball Wizard is absolutely intense and loud and fun, but it DOES carry the tone of “god im SO miserable” under it all. You knew Elton wasn’t having fun.

“It is next week.” Jeezus.

LMAO I just caught the “mom, you’re ON my GOWN” when he reluctantly complies to give the Anderson’s a tour.

Damn, flowy, loose dress shirts with the first few buttons undone is a LOOOOK.

How did they do the overdose scene, you think? Surely the pills Taron took had to be like. Empty. Or placebo affect drugs? Idk. He did take a big drink directly after stuffing his mouth with them. I don’t think he spit them out.

God, there is SOMETHING symbolic about how he meets his child self at the bottom of the pool. Rock bottom? Apologizing? Wishing he could be better? Telling him he’ll never be better?

OH I watched a behind the scenes cut about the pool scene, and none of it was CGI. Taron was weighted under his robe and a SCUBA diver was on standby to provide oxygen. The singing and bubbles coming out of his mouth and stuff underwater was all real.

Dying to know about the choreography around the second chorus, about the undressing and twirling and dressing and injection and handing off of the bat and stuff. That sequence was incredible.

Bennie and the Jets. Damn. It fucks. I listened to it almost the entire time on my run today. (Five miles; I felt like garbage the entire time but it was good anyway.) The scene is wild. He’s in the middle of a drug induced haze orgy. He SHOULD be having the time of his life but he’s so goddamn miserable. (Also, the juxtaposition between Chris Fleming’s Bennie and the Jets is so funny.)

Part of the problem was that John never understood Elton. But, Elton broke it off with John, not the other way around like he said it was. He wasn’t the victim in that regard. John did treat him like shit though.

Victim of Love plays right after that lmao

Renate and he aren’t even close when they do the duet to don’t let the sun go down on me. They’re separated in different rooms, mirroring literally how closed off their relationship was.

The shot with them waking up in different rooms.. damn

His shirt is so LOUD I’m going crazy

Watching Taron down that orange juice made me a little nauseous I gotta say

“Not really I’m gAy”

It’s CRAZY to watch Elton and his mom interact at the dinner scene. He gets accosted and accused of so much by his mom, claiming SHE’S the victim of his actions, making it all about HER and then he turns around and does and says the exact same shit to Bernie.

He yells “Oh, don’t be so dramatic!” at Bernie as he gets into a taxi. THE PROJECTION!! THE DEFLECTION!!!!

I know there’s only so much they can put in two hours, but I wish they showed more of Elton’s eating issues. He had bulimia for sixteen years before he got help. It’s Absolutely the Man With Anorexia in me, but seeing that even men deal with eating disorders quells the lonely aching something in me. I feel that much less alone, you know. Eating disorders aren’t a “woman’s disease.”

How do you think they did his hair? A wig adds more hair, not take it away. He didn’t get his hair cut for it did he?

Seeing Elton’s first love fall apart because John was such a selfish, heartless prick in reality makes me sad.

Elton hugs his inner child when he reconciled with everyone in his past. Goddamn. He found peace and forgiveness for himself, who he was, even after all that time.

When Elton asks him not to go, Bernie refuses, saying this is something he had to do on his own. Healing comes from within alone. No one can help you do it. People can guide you, but you have to work at it. It’s fucking lonely sometimes, but it’s so, so worth it.

I used to loathe I’m Still Standing since i heard it so much at work, but the movie changed my entire perspective on it. I love the slow build up as he exits the rehab center. You don’t get thrown into something so happy and fast paced and fun after a cathartic climax you need to drink in. And the pan to his hat with the rainbow stripe to his smile. I get chills every time. Elton feels so right and secure and happy in himself. At first I thought it was a bit cheesy, but accepting your sexuality, especially after all the hell he went through during his life, grappling with unresolved trauma and fear of abandonment, he absolutely should wear it loud and proud. It’s easy to think times are much easier now being gay, and it shouldn’t be such a big deal. Relative to 1975, it is easier. But it doesn’t mean it’s not such a rough personal thing to work through if you’ve been spit on and resented all your life. Being gay, coming out, and accepting and being comfortable with that fact must’ve been such a HUGE milestone in Elton’s recovery and self-esteem.

Love me again after I’m still standing is perfect. The credits make me tear up every time. Jeez. What a good movie. What a good movie. Hit me up if you wanna talk about Rocketman because I absolutely will with you.

#like if you read pls #noah.txt #rocketman #elton john #rocket man #bernie taupin #richard madden #john reid

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