#they're not even from the same story

[pinchbees]

you ever just crack ship your own ocs?

[aq2003]

has anyone gotten the idea that odysseus' storyline in hades 2 is a depiction/exploration of trauma over his SA and how he's blaming himself for things that were out of his control? because that's the impression i'm getting from what i've seen. he talks about "goddesses" as his "greatest weakness" and that "he's not one to say no to them"...

when mel invites him to the bath, he brings up mortals having different standards for intimacy than gods and how it usually has a more romantic/sexual connotation. she then asks if he's uncomfortable and he has a startled reaction and brings up circe and calypso again (but never actually by name)

(this isn't ship/romance bait btw. odysseus knew mel as a kid and they're stated in-game to have a sibling/uncle-niece relationship)

also he grew apart from penelope after his return, but the game makes a point of showing that his love for penelope and telemachus is what drove him on at all so that element of his character isn't brought into question

[mollysunder]

The Medarda arc of s2 struggled to be good, because the plot viciously smothered it. You can argue that Arcane was never about politics but you cannot say the Medardas were never explicitly a family defined by politics. So when the show shifted it's priorities from a drama steeped in political conflict where even though the setting was fantastical the stakes were grounded to a shift where magic is the end all be all threat to humanity, the Medardas are rendered largely irrelevant.

In s2 Mel's agency over her own story is both largely stripped from her and poorly communicated. Arcane has Mel abducted from the plot to be the Black Rose's captive. Even when Mel manages to free herself it's not through the traits the audience understands are her strengths, her cunning and social intelligence, it's through an innate instinct that natural to her and indecipherable to the audience.

Ambessa as a character is more or less a villain of convenience, which would be fine if she wasn't immediately following Silco's act. Once Mel is removed from the story Ambessa is largely disconnected from any emotional tension fuels conflict between the characters and previously drove the plot in s1. She's there to play the worse bad guy for Caitlyn and then give Viktor the man power for the Glorious Evolution.

It's frustrating to see the Medardas used the way they are in s2 because when they're together I can see how it could be good. When they're together Mel forces emotion out of Ambessa. In Act 1, Ambessa proved she could do circles around Piltover's court, which could actually put Mel in a tight spot.

Their final scene on paper sounds like a good idea where the true resolution to Mel and Ambessa's story was that Ambessa saw Mel's own ruthless behavior as she not only betrayed Ambessa to the Black Rose, but used her as BAIT to double cross LeBlanc. Ambessa died proud that her daughter killed her the way she did, and that's so cool and tragic, but the execution was a flop.

One, their final fight is completely unimportant to the actual Glorious Evolution, Mel's grief can't even be a highlight because it's interrupted by Viktor's mind trap. Two, their fight didn't rely on any of Mel's actual strengths, just magic and the poorly explained MacGuffin LeBlanc gave her. How did Mel even know it would do that?

It's like the writers had the bones for a great story for the Medardas, but then they're like the world's worst archeologists and fit those bones together in the worst way possible because they were convinced the bones made a stegasaurus instead of a T-rex or something.

[jonsnowunemploymentera]

And remember kids, the next time someone tells you, "George R. R. Martin wouldn't make Jon Snow the typical fantasy hero because that's cliche".....

Oh yes he would!

One viewer wants to know what character would you play (on the show)? GRRM: If I could magically clap my hands and become a different person, it would be cool to play Jon Snow who's much more of the classic hero. Everybody wants to be the classic hero! ABC Interview, 2014

GRRM: And the character I’d want to be? Well who wouldn’t want to be Jon Snow — the brooding, Byronic, romantic hero whom all the girls love. Meduza Interview, 2017

In fact he already has ☺️

[batcavescolony]

Rebecca: your son-

Wanda: why is he only my son when he does stupid shit?

[greenerteacups]

What do you think of jkr as a writer? I for one has always felt like she didn’t treat her female characters well. It felt strange, being critical of her when she was god queen of the earth, and also being 10

I think most of the problems in her books can be chalked up to genre hopping. Books 1-3 are perfectly good and serviceable children's books — great children's books, even! They have compelling, relatable characters and juicy mystery plots. They have problems, sure, but for the first three books someone's ever written — especially someone with little or no background in creative writing — they're really fucking good. So: there's her flowers.

The last four books pivot sharply into much more emotionally complicated and sociopolitically loaded territory, because they're describing a war. And it's hard to write children's books about war. I would venture you can't really do it, at least without dramatically misrepresenting what war is! And so Rowling makes the executive decision somewhere during the writing of Book 4 that she's not going to flinch away from that, she's going to go for dramatic realism, and she kills Cedric Diggory to let us know. People had died in Harry Potter before, of course — Quirrell gets sent to the fucking shadow realm, for example. But children haven't. (It also gives parents who are reading these books with their children a warning shot: shit is about to get significantly more real, think twice before you buy the next one of these for your 10-year-old.) After that, Rowling starts leaning much more into dramatic realism, and the fast-paced mystery-novel plotting of the first few books is replaced by a slow, simmering political conflict that unfurls over the course of about a million words.

The problem — besides the fact that she's picking one of the hardest things to write about, like, in all of literature, war is really insanely complicated and emotionally intense and hard to portray well — is that she's now trying to use characters, plot points, and technologies she developed for a children's series to enact a sprawling war drama among teenagers and adults. So Hermione, who was a reasonably precocious snobby eleven-year-old, becomes this sort of encyclopedic all-knowing savant of the wizarding world, who somehow remains functional and mostly even-headed despite her identity being the chief target of a prolifically murderous terrorist group. Draco Malfoy, a schoolyard bully whose primary tools included 1. namecalling and 2. telling teacher, JOINS said terrorist group (and admittedly does react reasonably, i.e., has a total crashout and takes to sobbing in a girls' bathroom whenever he gets a free minute). Dumbledore, who starts out as "whimsical friendly winky-wink trustworthy grandfather type", ends up being Magical Winston Churchill in a violent game of spycraft and espionage, eventually revealing he's only been keeping Harry at all these seven years because he wants to KILL him! And like, maybe really good technical writing could smooth out these transitions and make the first-order dramatic choices seem more natural, but Rowling is like, a Fine Writer, technically speaking. meaning she's reasonably consistent in characterization, her plotting is well-paced and believable, she has a clear authorial voice, and her prose is readable. personally, that's not enough to get me to buy into some of the changes that happen in the later books, and because she stuffs these things so full with new elements every installment, a lot of stuff ends up getting glossed over.

And like, I still love the books. I think they're wonderful, and they taught me how to read. but i can say that and also say that Rowling probably did herself a disservice by trying to write four giant war novels as sequels to her first three mystery children's books.

[sideprince]

I resent getting dragged into the discourse but it's wild to me that there are people out there who read the HP books and laud Harry for being brave and having a big heart and redeeming the wizarding world with his unusually great ability to love, yet can't comprehend how he could learn to appreciate Snape's sacrifice.

I'm very specifically thinking of the fact that Harry watches Snape die. Snape, who is lying on the floor, gripping Harry's robes, and whose eyes Harry is looking into and seeing the life leave. I don't understand how people can humanize some fictional characters and treat them as if they were real and completely dehumanize another. Not even for Snape's sake, but for Harry's sake, do these people not understand what it is to watch someone die? What's the expectation, that the Capacity For Love Posterchild protagonist steps out of character and doesn't care about the guy he watches bleed out and die suffering because you, as a reader, don't like him?

Which is it? Does Harry have a huge capacity to love or not? Pick a lane. Either you value this character trait in Harry or you don't. But you have to take or leave everything it comes with, otherwise you're a hypocrite. Or maybe illiterate.

I just don't GET it.

[bedlamsbard]

for love of god I wish I hadn't trained my brain into generating sequel ideas.

[fluffypotatey]

To be honest I am a huge Nalu shipper. But the thing is I want to know the difference between the way Natsu cares about his guildmates and Lucy. Like what is the obvious difference since that boy sees every as Nakama so how can we say that the wag he cares about Lucy is different?

Like even when Erza passed away? (All the way back in first season there was a segment where the guild was gathered at her grave and all) Natsu was still very reactive. Plus he was also said to be depressed even when Lisanna passed.

What's the difference between all of them and Lucy?

the fact that he stayed. the fact that before he met Lucy, Natsu wasn't one to stay in a group or even want to work with anyone besides Happy at the start of the story. hell, he was ready to just file Lucy down as "New Guildmate" once they reached Fairy Tail

but then, Lucy doesn't leave. she follows him on his mission to save Macao despite her not needing to or even really understanding everything about it. she stays and then fights with him and saves him. it's no secret that Natsu is strong and can take care of himself really well. he's been going on solo missions for years now, and no one has really stopped him, but that means he's been in a lot of sticky situations where he and Happy are on their own and have no backup. and yet, without asking, Lucy offers it

and i think this is the moment when Natsu considers that maybe it's okay to have someone there to have his back (sans Happy)

"but Natsu only needed Lucy for the next quest because of the requirements," well, Natsu also wouldn't have taken or even considered that quest if it weren't for Lucy, yeah? he was not a team player (in the picking job's sense) or really wanted other people to help him on his quests sans Happy. and then he goes and picks a job that caters to their team whilst ensuring that Lucy can't say no

or maybe i'm reading too much into it 🤷🏻‍♀️

or maybe Natsu's got horrible abandonment issues that he will latch onto people so fast (Igneel & Lisanna) but also cause him to distance himself so far when left behind (his 1st time at the guild, Lisanna's death). Erza and Gray are Natsu's closet friends after Lisanna and yet they cannot reach him when he closes himself off. and then we have Lucy, who stuck by and had his back, so who is to say Natsu didn't make some contingencies to ensure whether or not she'd join him?

but maybe it's the rose, colored ship glasses i have on

because yeah, Natsu cares for all of his guildmates. the power of friendship is his biggest motivator. when we meet Natsu, our first introductions of him is defending his guild's reputation from Bora (who was using it as a guise for human trafficking) and saving Macao. and our 1st big arc (Galuna Island), where Natsu adamantly refuses to allow Gray to use Ice Shell and sacrifice himself despite how antagonistic they've been to each other. we get Natsu 100% at Erza's defense throughout the Tower of Heaven and he is even ready to defend Wendy though they only met hours ago

Natsu is a character with a bleeding heart and cannot help but wear it on his sleeve, but we don't really see him allow others to fight his battles or have his back until Lucy comes in. to be honest, i don't even think he had his heart on his sleeve until Lucy. he still has a bleeding heart (i don't think anything could stop that), but he was not ready to be open in receiving company because he was so used to it being ripped away from him

that being said: of all the characters he interacts with, he finds Lucy to be someone compatible enough for him to start going on team missions and inviting her on them (for example, his 1st S-class mission, which he stole, he went to her house to show it to her. the fact that part of the reward was a celestial key might be a coincidence, but i wouldn't doubt it as Natsu and Happy's trump card in case she refused)

but yeah, the difference is that he stayed and didn't push her away at the beginning, but instead continued to invite her along with him to the point that doing a mission without Lucy wasn't his regular anymore. compared to the rest of the guild, of whom he spent most of his childhood with, even if he spoke to no one, they would still be around and talk to him anyway. he might not invite them on job and only challenge them to fights, but the guild is his home and a constant in his life, a constant he needs (bc heavy abandonment issues).

"okay, but he still pushed her away after he watched Igneel die right in front of him. and he left the guild for a whole year, too. so what's the difference there?" you may ask.

so 1) Natsu never thought the guild would disband. he returns to Fiore after a year and is the last to know that they disbanded. he assumed, like all the other times before and while he and others were sealed for 7 years, that Fairy Tail would still be there when he returned. he assumed that his disappearance would not impact so hard because the guild would still be around and Lucy would have the others with her

which, did not happen :)

and like, so many guild members go off on jobs, quests, or even just leave for an indiscriminate amount of time (which i, personally, believe was his rationality for leaving), so him being gone for a year was nothing! right? no harm, eh? his plan was never to be gone forever :))))

2) he just watched his father die and lose any chance of having some semblance of a long term reunion with Igneel. he literally lost one of his main driving motivations for getting stronger and taking jobs. before Fairy Tail, before anyone, it was Igneel. and to learn that a) Igneel was always with him to begin with and b) he only got to see him for less than a day after 14 years of nothing......i would feel lost too ngl

man's needed space from everybody. and he also needed comfort, but Natsu has been shown not to really be the character who asks to receive comfort (and when he does receive it, it's usually when he's already emotionally compromised). he is in the habit of shutting people out after being abandoned or losing someone close to him, with his next rationale being to "get stronger" in order to prevent what happened in the past to ever happen in the future.

anyway

what makes this different? well for one, he sent the letter only to Lucy (or it's implied since no one else is shown getting one) because of how the two spend most of their time together. even the line that goes with the panel makes it sound like Natsu is unsure on how the note will be received (maybe even hesitant? but that could be my own hopes)

and one of the 1st people he reunites with after a year is Lucy and we get such a similar parallel to the first chapter of Fairy Tail between the two as if the narrative itself is slotting them together to say "ah yes, now everything is back to normal and new journeys can begin"

but yeah, this is just a long way of saying, that Natsu does love his friends and guildmates but even when he is close to them, he kept to himself (and Happy) and sort of stayed in their orbit but always with some emotional distance because of his fear of abandonment. and then you have Lucy where he will stay for and allow her to orbit around him and he will invite to new adventures no questions asked

that's the difference

[hadesknockedupintheunderworld]

Still blows my mind the disparity between the Eng and the JP localization of Sonic Frontiers

So in the og English Tails expresses that he needs to part ways from Sonic so he can grow into a hero on his own, right? That he can't grow by being with him?

But like. The director of the game, who worked with Ian Flynn, worked on the JP localization and it's like. You're telling me that when they localized that scene for the Japanese audience

That it was about Tails learning that there are things only he can do? That instead of concluding that he needs to part ways from Sonic and become a hero, he just comes to realizes the ways in which he and Sonic fill each other's gaps? He learns that he already is on equal footing with Sonic. The two of them are just heroes who save people in different ways?

[howtodisappearcompletelyand]

20/10 stars little guy

[smartzelda]

Sorry guys I gotta speak my truth on this one

I'm not kidding when I say that I think that blaming shit media literacy from fans on shipping/shippers avoids the actual root of the problem to throw people you can easily throw under the bus (simply because it's not unpopular to consider people who post about ships or ship characters in media as having lesser or derivative tastes by default)

And here's why.

I think when you blame people who are "shippers" or "consume media through shipping lenses", the true root of it all is a mindset problem.

In actually, putting on shipping lenses can be helpful when trying to analyze a piece of media. When analyzing media you're supposed to approach it through a number of mindsets and put on different lenses (both to deepen your personal understanding of the media, and to pick it apart and see what you can find there (whether intentional or not on the author's part)), and different ships can be some of those lenses

When it comes to ships between main characters (for those who are genuinely willing to see what the narrative is showing with their relationship and what it's doing), there are times when analyzing it from a shipping lens may be helpful. As someone from KH fandom, I have seen people come to deeper understandings and pick canon apart in the process of analyzing a relationship that is genuinely integral to the story (platonic or not). I've also seen people get into rarepairs of characters who barely interact or who just suffer little screen time, and I've seen them come to better understandings of those side characters and how they potentially fit into the world of the media simply because people are now focusing on these characters and how they fit into the narrative.

Frankly, I resent the idea that the only way to truly objectively analyze a piece of media is by turning off the part of your brain that gets excited over relationships and individual characters. Don't get me wrong, that is a way to approach a piece of media and a valid one at that, but the truth is that we cannot be free of bias.

For instance, I was watching House MD with my parents circa last year. At some point I started heavily tuning into what was going on with House and Wilson's relationship. My parents, on the other hand, were largely watching casually. They're not thinking of character relationships or getting heavily invested in most characters, they're watching because they like watching. One of them in particular did try to analyze things that were happening in the show as they happened. However, when it came to the scene late in the series where House threw out Dominika's letter approving her American citizenship, my parents could understand that he was doing that because he didn't want her to leave, but not much beyond that. I ended up explaining to them that House's fake marriage for Dominika was an explicit parallel to when Wilson was living with House in the early seasons. Both situations started with House being none too happy about it but ultimately letting them stay, spending a considerable amount of effort getting them to leave/getting this situation to be finally over so he didn't have to deal with it anymore, and then by the time a piece of news comes through that would mean the person in question actually leaves, House hides this news as long as he can. Because he doesn't actually want them to leave and has grown attached. And by doing this he became a self fulfilling prophecy. By reacting to the truth of Wilson and Dominika leaving him the way he does, he seals his fate and they ultimately leave anyways. Maybe I ship Hilson, but becoming open to how their relationship was handled allowed me to transition to doing character studies and recognizing patterns/parallels that I wouldn't have noticed if I didn't particularly care about the characters or their relationship.

Likewise, I've seen mutuals complain about how people who don't like or don't care about certain characters often overlook these characters (what they're actually like and their place in the narrative), while the mutuals in question (by default) are able to come to deeper understanding of what the writers/story is trying to do because they care about this funky guy

You can't eradicate bias when you're engaging in media analysis, but you can consciously put on a range of lenses and observe the media through different povs with the goal of understanding the media better or bolstering your reading of it. And those lenses/povs can include focusing on specific relationships or the perpective of certain characters

And this is why I say it's actually a mindset problem. Shippers and people who have this one blorbo they like a lot aren't inherently terrible "fandom brained individuals" who are the root of media analysis problems. The problem only arises when people's readings/analysis of a piece of media are inherently restrictive/narrow and self centered. Your problem is with people who view a piece of media through a ship they like but don't keep an open mind about it, and whose "media analysis"/views on canon cannot be split from fanon and their comfortability levels. These are the people whose "media analysis" starts and ends with justifying their fanon as canon, whose views on media revolve around sorting characters and relationships into categories they personally enjoy rather than trying to understand what's going on.

Here's another example.

Here we have a fictional ship we'll call uhhhh...Blanebin. this fictional ship I made up on the spot for characters that don't exist named Blane and Corbin

Person A is super into Blanebin. They're part of the main cast of characters and canonically childhood best friends, so person A (as much as they enjoy fanart and fic) is also enjoying analyzing how narratively important to each other they are. Recently, Corbin started dating another character in canon, but Person A is enjoying watching how Blane is reacting to this. "Is this potentially a tell that Blane is jealous or is having complicated feelings about this? What if he was, how would that contextualize his behavior this season? Here's what I think based on how Blane dealt with explicit jealousy last season in a different situation". It's not impossible that person A is still missing further understanding due to their obsession with Blanebin, but at the end of the day this obsession has allowed them to start picking through the characters both in and outside this relationship. It has allowed them to see potential subtext and theorize on what might happen next with these characters' relationship. Not to mention that with addition of Corbin dating someone else, instead of trying to erase this fact or state that Corbin canonically isn't into that person, Person A is trying to factor in how Corbin's current dating life affects his relationship with Blane (irregardless on personal views on the nature of Corbin's relationship with the person he's dating).

Person B is also super into Blanebin. They really enjoy fanart and fic of the characters, love obsessing over their moments together, and just feel like there's really something between the characters. To person B, every moment between them is just further proof that the writers are ship teasing them. But Corbin getting together with someone else this season? Oh that pissed person B off. They cannot believe that even though Corbin and Blane are CLEARLY gay for each other the writers had Corbin get with someone else this season. Perhaps, they think, it was even a decision specifically made to spite fans. How evil of the writers to tease a perfectly good ship and then have them not get together first? They must have been just doing those teases to get views from Blanebin shippers those scoundrels. To Person B, since Corbin started dating someone when he obviously has some chemistry with Blane (even though the series is far from over) means that Blanebin can never get together now and Corbin x person he's dating is ruining Blanebin by existing. In fact, they think, this is terrible writing for Corbin to be dating someone else because they don't like that relationship and don't see the point. Obviously if the writers were good then Corbin would have started dating Blane instead because this was supposed to be the Blanebin show.

Person C despises Blanebin. Don't get them wrong, they've always enjoyed the character's childhood friendship, but they actually have always thought Blane would have been better off with Victoria. They have a lot of moments too! But they're tired of seeing people ship Blanebin. Corbin just got together with someone else, so obviously that's not gonna work out. Plus Corbin and Blane totally has always given person C bro vibes. In fact, person C thinks, sure Corbin and Blane have a close friendship, but people shouldn't be shipping them. Person C likes Blanetoria and Blanetoria can't be canon if Corbin is in the way of it. So Person C likes to read Blanebin as siblings anyways. Sure they're canonically friends, but obviously their friendship turned into brotherhood. This means that nothing can be in the way of Blanetoria and Corbin can keep dating the person he's already canonically dating. Actually, now Blanebin just straight up makes Person C uncomfortable. Don't the pesky shippers understand that Blanebin are sibling coded because they're childhood best friends and that they're important to each other because they're brothers? It's obvious to anyone with eyes.

Sure, ships are involved here, but is the root of this problem shipping? Character A isn't as knowledgeable of other characters in the plot due to this lens they're using, but at the end of the day they're dedicated to analysis. Their love of the characters is pushing them beyond what they like or dislike to try to understand what might be happening through their lens. Not perfect, but they are slowly broadening their horizons. But Person B and C's problems here are their restrictiveness. What is or should be canon to them is tantamount to what they personally like or find comfortable. Is person C actually analyzing the this fake show when they decide to "read" Blanebin as basically canonically siblings (and this all of their moments are totally a bro thing) just because they don't like Blanebin and the idea of them getting together over Blanetoria makes them uncomfortable? Is person B actually analyzing this fake show when their "analysis" of Blanebin goes only as far as asserting it's being ship teased and deciding anything short of canonizing Blanebin is a targeted attack or "bad writing" because it's not what they wanted personally to happen?

This is what I'm talking about. This is the mindset. Shipping isn't the problem. The problem is when people marry fanon and canon to the point where they have a vested interest in superimposing their fanon over canon as "a reading" and trying to make "collective decisions" on what is canon (or what canon is trying to say) based on what does or doesn't make them uncomfortable. The problem is people being restrictive and centering their own likes and dislikes in the conversation, so they can only interact with canon "analysis" wise by deciding what is canon or should be canon "as obviously agreed on by everyone". You can't simply claim you like media analysis. To be able to analyze media and bolster your views on any given canon, you must be open to looking at it through multiple povs, to studying characters without trying to pretend things you don't like don't exist or do like do exist. There is a balance that must be kept between trying to keep objectivity and putting on specific focus/bias based upon the lenses you're putting on. You have to be willing to try to figure out what a media is doing or saying, not saying you're trying to figure out what it's saying while in actuality trying to define the narrative around what people believe it's saying in ways that suit you.

Thank you for coming to my ted talk.

[random-autie-fangirl]

Chara: I'm wanting everything to end instantly

Asriel: And I'm wanting to go on unchanging forever

🔥🔥🔥THE BEEF WITH LINEAR TIME SIBLINGS🔥🔥🔥

[spaciebabie]

see i absolutely despise jimmy (and curly) as a character(s) but as a literary freak i can appreciate the way hes used as a story device with his relationship to curly. i could type this more eloquently but currently ive had a glass of champagne and i havent drank in like 6 months so my tolerance is low so forgive my writing but. jimmy cannibalizing curly. yeah.

theres multiple messages here, theres the message that jimmy is doing what curly (assumedly) did to get into his position and, employing another metaphor, taking the "dog eat dog world" saying to heart. and literally. devouring his competition. or maybe curly didnt do that. and thats what jimmy thinks curly did and so he aims to do the same. choose whichever one you like more they're both interesting storywise.

theres the message where jimmy "consumes" curly in some twisted expression of love. devouring curly so that he remains a part of him, an expression that he is the gold star captain and something to aspire to. admiration for something he'll never be and so he chooses to consume him in order to potentially absorb some of his skill or become more like him.

and then there is curly sitting there helplessly being devoured. its something he has no say in, not something that he chose to happen to him, its something hes become swept up in. he becomes devoured by jimmy in the literal sense of cannibalism, but also in the sense that he became so absorbed in his friendship w/jimmy he ignored his wrongdoings and ultimately led to anya's assault as well as the death of the whole crew.

curly and jimmy intertwined so that one is always consumed by the other. curly in a literal sense, jimmy in a more psychological one. i mean like its really quite crazy they did the "im consumed with thoughts about this guy and want to be him so i must literally consume him" thing quite well. when examining mouthwashing's narrative you find new things to admire every time. each little story element has a place in creating a wonderfully complex and heartbreaking story. its very well done and honestly something to aspire to from the perspective of someone who enjoys studying/writing literature.

all of this is to say i think that there should be more art of jimmy covered in blood and engaging in this cannibalism like the stupid little leech he is

[genericpuff]

i have nothing to say about the newest episodes of LO

so I'll let past me from the year 2022 say it instead

because everything they said a year and a half ago ironically still applies today and i don't even know how that's possible but it's where we are 💀😭

[tianlavellan]

so my thoughts on the whole thing about how "the antivan crows are suddenly the good guys what the fuck?!" are basically - there's so many of them. there's so many houses of crows. i think they're allowed to be different. i think house arainai can fucking suck while maybe house de riva sucks less. okay that's all i'm going to say because i don't want to fight sdfjksdhf i just thought i'd put a less negative opinion out there