#they all don't have to be 20 somethings!

[elyfonart]

Been having COMPLETELY normal thoughts about a pre-timeskip Germa AU recently

[mooni]

tommy was a kid trying to play soldier.

fundy was a minor trying to play politician.

tubbo was a teen trying to play president.

they all came in with the heart of a child and left with the mind of an adult.

[dionysism]

ohhh i am really thinking about penelope and grief. 20 years of it.

10 spent knowing your love is fighting at war and may die at any moment, every sunrise and sunset spent wondering if you're staring at the same sun right now or if he's already gone. and then the war ends, but not for you. it might as well have never ended, because now new grief sets in.

now you wait for him to come home, but he doesn't. and you slowly but surely hear about other great men making it home, and their tales of victory, and maybe you even hear about your husbands great trojan horse, how it won it for them, but you do not hear anything else about him. you listen very closely to the names of fallen greeks at troy, still, you do not hear about him. you wait another year, two turns to three, to four. nothing. no news, no closure at all.

you can't help but spin the worst possible tales in your mind, night after night. is he dead? ship shattered against the rocks in some storm? has he drowned? did he stop somewhere for supplies and get ambushed? cut down? could his men have betrayed him? did he anger some god and bring about his own doom? is there a chance, at all, that he's still out there? will you ever see him again?

and your son. your beautiful son who you love, who gets older every year, who can only know his father through the fragments of memory you can pass down to him, but it's not the same, not enough. and hero as he may be, what you would prefer is a husband. a father to your son. and his great deeds are somewhat lost now anyway, as he is. you cannot put a man to rest when his fate remains unknown— if he had fallen at troy, or made it home only to succumb to some wound or illness, at least you would know. at least then you could find some small amount of solace in him leaving a name and legacy for your son to inherit, some closure for you, but all you have is wind and words. and telemachus is starting to look like him, and you begin to dread him getting any older, as you remember you promised your husband you would remarry when he comes of age. another joy soured by grief, most women delight in seeing the men their sons grow up to be, but it only marks doom for you. sometimes you tell him to shave. just a little longer. he may still come back. you have to believe he will come back.

then the suitors decend like vultures, eating you out of house and home and every one of their faces is a reminder that he is not here, that he has not been here for a long time now. that you might never see his face again. you remember him perfectly, still, after all these years. can still see clear as day the image of him in your mind the day he set off in his ship, remember to the last detail the clothes you sent him off with. you can't imagine a life with any of these men, nor any other man on earth, but it becomes more clear to you everyday the gods must not care what you want. oh, how you both must be cursed by them, to be served such a fate! but you are not completely without hope, not yet. and so you stall, for as long as you possibly can, with your clever weaving scheme. and for awhile, this is something. you almost allow yourself to smile at the thought of how he would love a scheme like this, thinking about all the tricks and strategies he must have employed at troy, how you would have liked to have heard about them. ("well, here's what i would have done," you would sometimes tell him when he would recount old stories from his past to you. "penelope, you're brilliant! i should take you everywhere i go" he would usually say, and, you really wish he would have.) but he has gone somewhere far away now, somewhere you cannot follow, or even know about, and you are left with more grief than you know how to carry.

at some point, he's gone longer than you were married to him. eventually, he's gone longer than you knew him at all. it may seem silly then, to be so grief-stricken still, to love him so hopelessly, still. but you are only human, so you are, and you do. you've been betrayed and your scheme exposed, there's no denying your son has become a man, and the inevitable can be put off no longer. you falter constantly between a relentless despair that he will never come home, and fickle hope you are just a few more days from seeing his ship on the horizon. still, your nights are spent mostly weeping.

then this strange beggar comes to your house. he tells you he's heard about your husband, tells you he's coming home! and you want to believe it, desperately, more than anything, you want to believe it. but it sounds too good to be true. and yet, faintly, this strange man kind of reminds you of your husband. something about him you can't quite place. maybe you're just going mad, looking for him in everything, finding him where he's not there. but maybe...

and so here is your last stand, your last shred of hope, one final scheme. you'll marry, but first, a contest. a bow, that only your husband can string, an arrow shot through 12 axeheads. a contest conveniently leaving the winner the only armed man in the room. and if not what you ultimately hope, maybe, at least, you can watch these idiots sputter and fail.

[peopleareaproblem]

Some "minor" things from the Carlos Luna summary that have popped up in Junior Year:

the original Shrimp Party

Fig never going to class

Porter telling Fig she's good at rage

I assume these things got mentions in the summary specifically because they reappeared in Junior Year, so I combed through the video again looking for more "unnecessary" details...

General weirdly specific stuff:

we see Madam Silvaine's character card, even though she's a very minor NPC

the gang maybe went a bit too far while interrogating Biz

Gorgug was fed a flower by Telemaine

Ragh was hooking up with Fathethriel

Fathethriel helped Aelwyn trick the Bad Kids

Arianwen:

Arianwen taught at Hudol

frequent focus on Arianwen and her character art

Gilear:

Gilear couldn't become the guidance counsellor because Jawbone got that job

Gilear was living in Hallariel's garage

Gilear briefly died

Fabian was having visions of turning Gilear-esque in the future

we haven't seen Gilear in a while huh? everyone forgot him

Gilear was in the wheel well

"Fig's dads have the worst luck" (direct quote)

Gilear finds the sin armors, refuses to put on the kink armor

Gilear dies twice in Hell

Gilear has to stay out of the Forest of the Nightmare King because they can't keep spending their diamonds revivifying him

after saving the day, Gilear got a little proud in the pride armor and died

Those sure are a lot of minor details about a character who hasn't been in Junior Year since his brief appearance in episode 3, huh?

[keymintt]

dyed my hair blue again

[vaguely-concerned]

behold... my vision

[spotforme]

i've been wondering about that big board ontop of their mirror for who knows how long now and they finally blessed me with a readable frame, i have the first piece of the puzzle. the big text reads "HOLOGRAMS CAN HAVE HEART ATTACKS TOO!" of course he would put up something like that. i'm assuming the pictures on top are some examples of preventative measures one can take, or maybe they're what to do in the event of an emergency. i'd know if only i'd get a better close-up.

then there are those pink slips Arnie puts up, there are multiple, but the one in his bunk reads, and i'm filling in everything i can't see here "YOU DON'T HAVE TO HAVE A DRY SENSE OF HUMOUR TO LIVE HERE BUT IT CERTANLY HELPS!" Rimmer and his weid positive reminders, they must keep him going on some level.

also the letters, are they from his mother? from someone else? doesn't matter much, because the difference between Lister's bunk having a bunch of colourful photographs of a bunch of people with him and Rimmer's bunk only having two worn letters from an unknown sender really shows well the differences in their characters and their approach to other people (i love that kindof set dressing)

btw they did not change any of Rimmer's stuff for Paraller Universe. all of her certificates and 'achievements' (those newspaper clipping on the wall) still read Arnold for some reason. oh what could be the canon explanation for this? this changes the Arlene lore for sure

bet they didn't count on someone obsessing over the set 30 years after this aired did they!?!? could they own up and tell me why Arlene has the swimming certificate of some rando named Arnold

[dimension-20-every-introduction]

Everyone Introduced in Dimension 20's Fantasy High: Junior Year episode 20 (finale)

[lightningidle]

Fig's line "I don't think I'm an artist, I think I'm just a good friend" has not left my head at all. Just...

You're Fig Faeth and your horns came in over the summer and you pick up the bard class as a form of adolescent rock 'n' roll rebellion, and it works! It's exactly the outlet you need! You give a guy you just met drumsticks and you start a band and it's good enough that within a year and a half you're touring. You are, in every sense, good at being a bard.

And then, finally, your junior year, you start to take it seriously. Your art goes from an outlet and a form of rebellion to a practice. A discipline. (Can rebellion exist within a discipline?) Your classmates know what they want to do with their work. They all have a thesis statement. And yeah, there's cohesion in the music you make, but you've never had to think about why you make it. You've never sat down and dissected what it is about bass that speaks to you. You've never poured over your lyrics to pick at any deeper meaning. Why should you? You don't play music for a grand design, you do it to... huh, why do you do it?

(Your art is the one form of self-expression that feels as safe as Disguise Self does, because even if you're pouring your heart onto the page and then screaming it in front of thousands of people, it's not like you're really making yourself known. You can sing I'm lonely, I'm scared, I'm furious, and your fans will sing it right back, and there will still be the distance between performer and audience to keep your heart safe.)

Now you're being asked to look inward to explain the artistic choices you're making, and you can't help but recoil at that, because you'd rather do anything than look inward. Meanwhile, your classmates have no problem with it, so you start to wonder if you're a real artist at all. Can your art be authentic if it only exists to bolster a thesis statement? Has your art been unauthentic this whole time because you've never really thought about a thesis statement before? Is that what makes it art, and not just the next track on somebody's teen angst playlist?

You can't think about yourself— acknowledging your own existence makes you want to puke. So if your music is an extension of yourself, (and it is, even if it's just because the spotlight reveals only what you want it to,) you can't think about your music. You can't. You have to. Your grade depends on it.

You're Fig Faeth, and you keep multiclassing because you'd rather be a good friend than a great artist. If introspection is what great art demands, then fuck it. You must not be a bard at all.

[yardsards]

people love an "i'll take care of you" "it's rotten work" "not to me, not if it's you" character dynamic until the character who needs to be taken care of is disabled. then it's supposedly fucked up and toxic for a person to have to take care of someone else.

[tricoufamily]

i was gonna show you all of his outfits then i remembered he has the most boring sense of fashion in the world

[spiritsong]

OKAY time to share my two cents that nobody asked for on this scenario. yeah, I'm disappointed. ngl this is casting a pall over my replay of the series and general enthusiasm (which sucks but I know I'll bounce back very quickly, it'll take FARRR more than something like this to kill it). regardless of the impact of our choices or lack thereof, I have faith that veilguard will be a great game because I haven't been let down by a dragon age game yet. the concept of worldstates is a HUGE reason why this series is special to me, but it's not the only reason.

that being said, yeah, it's pretty fucking weird to have so... few... choices represented in the CC. especially if you think about how impactful everything that is NOT being represented is. so many things stop making sense.

we saw our choices mattering less as we moved from DA2 -> DA:I, but nothing of this caliber. its.... idk. idk what else to call it beyond weird and disappointing

we still can't say anything is for certain until we play through the entirety of veilguard itself but I'm definitely much more wary than I was before

[kathaynesart]

After seeing Ron Circilo’s confirmation that F!Leo did have mystic powers, I can safely say that I actually prefer the fan canon that he didn’t, least not when the prologue happened. Makes Leo cooler knowing he still leas the resistance and fought back the Kraang without any magic whatsoever. Just his training, strategic skills, and intelligence to keep him pushing to the next day and so on, and his teammates and family to help support(as long as they could). Just feels cooler. Your thoughts?

Well, first off, I must say that I have nothing but the utmost respect for Ron Circilo and the Rise team in what they were able to accomplish! The fact that he was willing to come online and answer all of our unending questions was such a gift and a true act of kindness on his part. One that is deserving of our respect and gratitude.

It is amazing how much the little bits of knowledge have invigorated so many within the fandom, myself included! With this in mind, it is not my place or intention to disregard anything he has stated in these answers. For the most part I found everything he said to be insightful and very much in line with the impression given by both the show and movie. (My particular favorite being that future Mikey is physically in his 70's due to the use of his powers. I am very happy that Replica is already slated to be going in that direction.)

The answer in regards to Leo's mystic powers, I will admit, is probably one of the few answers I personally interpreted differently from the opening scene of the film. Even so, I think it's more important to take into account that projects such as the Rise Movie involve a lot of people and writers with differing opinions and thoughts (for example I heard many while interning on AtLA). So at points like this I can only shrug and say that whatever isn't stated outright within the final source material, is still open to interpretation. It's just nice to be given some insight on what could have been!

Just know that I will continue with what I had planned for Replica, in which Leo does not have his mystic abilities. For me this will play a key role in his character growth (many of which you mentioned in your question) and also explain a number of issues the opening film would otherwise face.

[aroaceleovaldez]

I think one of the problems with the HoO characterizations is Rick kind of forgot to give half the cast hobbies and general interests, and maybe like people they know outside of their families and outside of camp, or if he did remember to it rarely gets brought up for most of them, or in the special case of Annabeth - she randomly develops a hobby in weaving for exactly one scene and then never again. Apparently she just knew how to do that, even though it is a skill she has literally never used before nor uses again.

The best examples I can give of this are comparing/contrasting the examples of when we do actually get this with the lack-thereof: Hazel and Frank are good examples. Hazel has hobbies and interests generally unrelated to all her demigod stuff (horses and art) and we see this repeatedly discussed and brought up. She also knows and interacts with people outside of the necessities of her quest/Camp Jupiter or her family - Sammy was her best friend at school and they hung out and stuff! Meanwhile, Frank, as far as we know, doesn’t know anybody outside of his family even though he presumably went to school before Camp Jupiter? His hobby is... archery? That’s the only thing he ever really shows interest in but at the same time it only rarely gets brought up except for him using a bow as his main weapon and the like two instances of noting that Frank had hoped he was an Apollo kid for a little bit. The closest other detail we get to Frank having any other kind of hobby/interest is him mentioning off-hand that he used to play Mythomagic.

Piper and Leo - We can presume that Piper knew Shel before moving to Oklahoma, because Piper used to visit her grandpa often and as far as we know that’s also where Shel lives. But we never see Piper ever mention knowing anyone else in her grandfather’s community. Heck, when she’s introduced we’re basically outright told that she doesn’t interact much at all with any of her classmates outside of necessity, and we don’t even have any confirmation that before Hera’s mind-meddling that she even acknowledged Leo’s existence. Also, Piper has like, exactly zero hobbies. We do not know what Piper does in her free time or what she likes (except vaguely that she has surfed before), only really what she dislikes. Leo at least does have some kind of excuse for not really knowing anybody, and an explicit explanation about why that is the case and how he feels about it. Leo also has a repeatedly referenced interest/hobby in mechanics that’s very core to his character.

Percy and Annabeth? Pre-HoO, they both have plenty of interests and know people outside their general circles! Percy knows kids at school. Annabeth’s general outer social circle is Camp Half-Blood, because she grew up there, but she clearly knows people at camp. She’s also super into architecture! And Percy does a ton of stuff in his free time - he skateboards! He plays basketball! He has two pets he takes care of (Blackjack and Mrs. O’Leary)! Post-HoO he’s on a swim team! But during HoO? Percy’s hobbies just kind of disappear, besides “oh yeah he uh. Does water stuff.” There’s no acknowledgement of like, “Yeah Percy sets up a little basketball hoop on the back of his door on the Argo 2 and shoots trash at it.” Literally anything! And yeah, Annabeth’s architecture interest is somewhat acknowledged, but also like, not really? We at least get some kind of “Yeah, in her spare time she’s usually on her laptop working on stuff” but we also barely get any instances of Annabeth thinking about her friends at camp except for like, Tartarus.

For Jason it at least kind of works because a.) he has amnesia and it’s implied he doesn’t really have close friends at Camp Jupiter besides Reyna, so it figures he only ever really references random other legionaries like, twice. and b.) there is also the heavily implication that Jason doesn’t have hobbies, because his entire life was so focused around his training at Camp Jupiter. This works less with Reyna, but she also kind of has an excuse for not knowing people besides like, her sister and Jason, given she ran away when she was young, Circe’s island was destroyed, and she could have only been at Camp Jupiter for like 3 years maximum at that point. And she’s not exactly the most social character. We also don’t get much indication of her hobbies, besides she also likes horses and it’s heavily implied she likes nature/gardens? Presumably, given we get like, one note of that in HoO, maybe two if you count her living on Circe’s island, and then like one more nod to that in TOA. And we only get her POV chapters in BoO anyways so again, she has some excuses. Coach Hedge also is incredibly bland besides maybe him having a hobby in sports, and... violence? Which definitely does not count. And him lacking any POV chapters doesn’t really help.

I think this is why Nico continually feels like such a strong character, simply because we know what he does in his spare time. We know he knows people outside of the camps (most of those people are gods or ghosts, but he at least knows people) and technically you could argue him knowing about Camp Jupiter between BoTL and TLO counts too. He even references his old neighbor at one point. Obviously, he’s very into Mythomagic, and that comes up a lot because it’s his special interest and is usually also relevant to their quests. He travels a lot, and apparently used to when he was younger as well. We also learn he used to have a special interest about pirates and that apparently may have played into his crush on Percy. Like, all that is so simple and minor but it makes such a difference for how Nico feels as a character. Most of Nico’s stuff though is established in the first series, which definitely helps because the first series was pretty good about giving characters hobbies and maybe some people they know - Annabeth, Percy, and Nico we’ve already covered, but also like, Grover knows other satyrs and is usually practicing music and also we know what foods he likes. Thalia is very into punk culture and music. We know she particularly likes Green Day. We know she knew the Hunters of Artemis before the events of TTC. Rachel's whole thing is that she’s super into art and she has a bunch of connections through her rich family, and she’s basically Percy’s only mortal friend. They have lives!

If you put a protagonist in a room and told them to occupy themselves, you should have an answer for what they do. They should be able to name one person outside their immediate social circle who they are generally friendly with or vaguely know, unless they have a specific reason for that to not be the case. HoO crew needs to occupy their time by themselves, no weaponry, for twenty minutes? Hazel could be drawing, Nico could be organizing his cards, Leo could be tinkering, Annabeth could be working on her laptop, Percy could be trying out little skateboard tricks. Jason, Piper, Frank, and Reyna? What would they be doing?

TOA does actually answer that question for Jason, at least, because we learn that Jason makes tiny dioramas! That’s adorable! Why doesn’t he do that in HoO?! TOA also gives us more depth to Will Solace besides “He’s a medic and does medic things” with telling us that he’s into Star Wars. Like, that’s actually so much information to work with! Thank you! And then we also find out in TOA that Nico’s also kinda into art! We still don’t get anything new for Piper, Frank, or Reyna - besides again one more potential implication that Reyna thinks plants are Pretty Okay, and that nature is Mildly Alright. Like, not even “maybe she keeps a houseplant” territory, all we have is “if she had the option, she might be interested in visiting a flower garden.” But honestly TOA at least gives us something for most of the characters we see. Like at least one thing. Most of the rest of the writing is a mess but at least the characters are mildly interesting.

Anyways, give your characters hobbies, it’s good for them.

[greenerteacups]

Are there any other wizarding families that are underexplored in canon and pique your interest in a similar way to the Blacks?

This is a unique function of what food my brain worms like to eat, but no one's doing it like the Blacks. The drama? The intrigue? The Gothic horror? The prodigal sons and lost daughters and killers and sinners and martyrs and saints? The wizard Catholicism of it all? The story of the House of Black is the best book never written.

[anghraine]

Today's unhinged "good God I hate how much extreme generosity I'm expected to extend to the Peter Jackson films by people who make wildly bad faith arguments about things I like" rant:

I am very deeply tired of people insisting with zero evidence that of course the LOTR films are imperfect, but the difficulties of adapting LOTR are such that it wasn't possible for them to be better than they were—in, apparently, any respect. They just couldn't be done better, at all, because it was so hard to make something watchable at all.

This is always just like ... really? Really?? Just what prevented them from making better decisions about anything? What exactly made casting every actor of color as barely differentiated villainous hordes in the twenty-first century so necessary and unavoidable? The glamorization and vast expansions of battle scenes and insertion of "heroic" war crimes was the highest film as a medium could aspire to in the early 2000s because of what insuperable force?

What made it impossible to give Arwen a coherent character arc? The films could not have been made without the underlying assumption that most of the cast are NPCs who will only do the right thing, when they will, if prodded or manipulated or influenced by main characters? In what way is this an inevitability of adaptation or film that simply couldn't have been conceptualized differently, much less better?

There is zero explanation or justification for why any of this stuff (or the myriad other flaws) had to be that way and couldn't have been done better in any way at any point. It's just stated that the films that exist must be the best films that could have existed because they're the ones that do exist and are popular. QED.

That doesn't make any sense, though, and it doesn't convince anyone who doesn't already agree. The idea that they could not have been better in any way (including their worst quality, which again, is the extremely racist casting), that some force was preventing not only the actual filmmakers but any filmmakers that could possibly exist from doing anything better just seems patently absurd.

You can like them and respect what they did achieve without demanding that everyone buy into a baseless and irrational argument that their pop culture success means nothing about them could possibly have been done any better. Look, I was in my mid to late teens at the time. I remember the early 2000s quite well. It wasn't now, but we are not talking about an age so divorced from our own that any of these things were somehow fundamental to the media landscape.

There are ways in which the LOTR films were very good that were essential to their popularity then and now. This does not require anyone to accept that it was literally impossible for them to be better than they are or that some defense is required against every criticism of them ever.

I am not, incidentally, talking about removing Bombadil, an entirely understandable and defensible decision that the film defenders in my notes somehow always feel the need to bring up. I know that changes had to be made, that adaptation is not a word for word transcription, that it would always be a difficult text to adapt, that structurally minor elements had to go, that they are cinematically beautiful films that a lot of work and love went into. I know this. EVERYONE knows this, because for the last 20 years it's been impossible to criticize anything about them without being reminded. Their accomplishments, and their existence, do not mean that any choice made by the filmmakers must definitionally have been the right call and could not possibly have been better in any way.