#this really isn't meta just my rant

[astaraels]

why do people think Yevgeny wasn't Mickey's son? in 3x06 there was clearly no condom used (not that Terry probably would have let Svetlana stop to get one), but there's no reason to think she wasn't using condoms with her regular clients. it's not Svetlana's fault that she was a tool used to rape Mickey—the sole blame for everything that happens in that entire situation belongs to Terry Milkovich and him alone—so why does it feel like it's just another way for people to shit on Svetlana for something that wasn't in her control? it's not as though she'd asked to get pregnant in the first place...

[ultramarine-spirit]

in the novel why claude so refuses to let Athy leave the palace alone? I remember that Claude did not allow athy to leave the Palace and every time she asked him to go to a tea party he always refused very strongly, even after athy returned to it he still had a hard time allowing athy to leave the palace alone.

I don't think there's another reason other than Claude being very, very overprotective of Athy.

To be fair, Athy had... more than a couple of near-death experiences (some of them because of Claude's own fault lol), so I can understand him to a certain extent. Plus she's a princess, the only princess and heir to the throne, so her going outside of the palace is a pretty risky thing, overprotectiveness aside. And Athy made it a point that she didn't want to go with guards, so despite her being a magic user and being more than capable of taking care of herself (as proven by her surviving for... months? outside of the palace during the amnesia arc), it still would be dangerous.

But a thing that I really liked about Claude and Athy's relationship development in the novel was that, when Athy returns and Claude still didn't have his memories back, she is like "okay, this kind of dynamic can't go on, I'm going to be more independent and you are going to have to trust me and be okay with it". And so she has her own birthday party (Claude being uninvited lmao) and goes outside of the palace. Of course, Claude is uneasy about it, but he lets her do it anyways, since he'll give Athy whatever she wants. Athy says that she wants to change their broken relationship and build trust between them, have an actually healthy father-daughter bond (this is a very mature thing of her to do just after going through incredibly traumatic events).

It's not the same as the manhwa scenes when Claude apologizes to Athy and cries, or when he opens up to her before the coronation, but I think that narratively they serve the same purpose of moving forward their relationship, and them finally being honest with each other. For me, they are the natural conclusion to Claude and Athy's arc in both versions, because WMMAP's main point is that family relationships take effort and time, they require mutual understanding and honesty. Real love is not just a thing automatically granted by blood ties or magic, that is a naïve notion that the narrative goes very against of and actively calls out.

In the novel scene, Athy then says that she'll always tell Claude beforehand when she plans of going outside, and that she'll always come back. As long as Claude waits for her, she won't disappear forever, because that is her home. "Where you are is where I should return to", because he would always be her dad, and she would always be his daughter.

From my point of view, Claude's overprotectiveness of Athy comes from his lonely life and fear of abandonment. Diana promised to be with him forever, and yet she died and left him alone. Athy almost died more than once too. He fixiates on her good bye to him at the debutante because of that, and he is afraid of Athy growing up and building her own family in the manhwa for that very same reason. Claude is terrified of Athy leaving him behind, in one way or another. It's understandable, considering his backstory and characterization, and that's also why I find it so beautiful that Athy takes it into her hands to reassure him that such thing won't happen. In both novel and manhwa, she takes the initiative of building real trust between them, while also demanding that Claude apologizes for hurting her and that he changes his unhealthy behavior, and reaffirming her own independence (not asking for it!).

I know this is probably not where you wanted the conversation to go, but I couldn't help myself. Their development is one of my favorite things about WMMAP.

[rubys-domain]

why do i feel like building 2 pc 2 pc is harder than building 4 pc

[evilminji]

You Know How There Are Those AU? Where SUPER Injured Ghosts Need To Retreat To Their Core?

No one seems to be USING that to its fullest potential! For SHENANIGANS! Because! Who?? Could POSSIBLY carry a Halfa's Core safely... but another Halfa?! A FULL ghost would KILL them. A human would be killed! What terribly precarious peril we find ourselves in! Oh nooooooo!

Well, no worry!

As much as Dani fuckin HATES this. That there is her brother. Her Template. Her Clone Daddy and Bestest of Bros. Like HECK she's gonna let him suffer for centuries and possibly DIE. She can take it, Doc! Pop him in! We'll go road tripping and-

What do you MEAN "No"?

Unstable??! Of course she's unstable! But the-.... Oh.

Turns OUT? Dani? Can hitch a ride in DANNY for Emergency Medical Aid... but NOT the other way around. Her body is too loosely held together. He would parasiticly consume her from within. Instead of feeding off her Ecto System like injured ghosts are supposed too, because she's a CLONE? AND an unstable one at that? His Core would just... see her body as free ectoplasm. All of it.

He'd eat her.

Which mean Frostbite can not and WILL NOT allow that.

But he's HURT! That big, off screen, cataclysmic Fight To Save Everybody From *cough cough mumbles* and settle us all in the DC universe, REALLY messed him up! What are we supposed to DO!? He can't STAY like this!!!

Enter-> My FAVORITE DCxDP Trash Ship! Vlad&Lex!!! *horrified screaming from the crowds, someone shouts "oh god, no! Please!"* Ha! There are no gods here, silly billys! Only two terrible, terrible HIGHLY Dramatic, self serving, incredibly damaged, gay peacocks. In Business Suits that cost more then your house is worth.

They're AWFUL~♡

And! Vlad was sent ahead to lay the ground work. Insure there would be no GIWs. Also because no one could stand him and his EXTENSIVE criminal record. But that's besides the point.

But!

You know what he found? A Business Nemesis. Who he routinely dates and/or Dramatically Hate Fu-*coughs* I mean, attempts a Corporate Take Over(tm) off. You know how it is. Business. He ALSO gets to make it no secret he's a "Meta", thanks to the INCOMPETENCE of one Jack Fenton, because that- *seething rant*

Yet? Dispite his STILL burning hatred for Jack? And his finally letting go of Maddie? You know what he STILL wants?

For Danny to be his Son.

*Gets a call from Frostbite*

...............soooooo........ what you're SAYING is..... I can be pregnant with Daniel.

You, Frostbite, need ME, Vladimir Masters, THE ONLY OTHER HALFA, to carry Daniel around inside my body, in what to all appearances resembles a pregnancy, in order to heal him. Because I am an Older And Stronger Halfa Upon Which He Relies.

:)

*instantly begins plotting*

Just? Imagine. Vlad is a FUCKIN LIAR. No one but him would even KNOW what was going on! He just? Rocks up one day, like? *falsely demure* "oh I couldn't POSSIBLY has any scotch, Lex! >:) I'm eating for Two~☆" and just? Deals the MAXIMUM amount of psychic damage he can.

Probably says it at their weekly, public, Veiled Threats Brunch.

It makes front page news. Luthor choked on his eggs. The paparazzi lost their SHIT. Vlad is doing the FULL Celebrity Mom Thing. The classes. The photo shoots. The Gucci sunglasses as he peruses high end strollers. All while HEAVILY suggesting that not only is "The Baby" Lex's.... but that he's going to withhold the child and deny Lex any access.

Danny isn't even aware. He's in a lovely lil medical coma. Dani is trying to find a good spot to plop down Amity. She just know Vlad is being... Vlad. Meh. He can handle it. Dan? He's not even IN the human realm and is not sure he wants to be.

But over in the LEAGUE? Everything's on fuckin FIRE.

Kon is losing his SHIT and Clark is thousand yard staring into the void. Kon's half brother is in the hands of a... Less Then Ideal... Meta that Batman is PRETTY sure is highly suspect. Might be a deliberate weapons experiment. Certainly is a hostage. And the DRAMA.

Lex has never been worse.

He might actually stab his...partner? Vlad. At the hospital. The SECOND the child is born. There are already long term kidnapping plans in the making. He's hiring lawyers. Getting VICIOUS. There have been talks with DEATHSTROKE. By BOTH OF THEM.

Clark wants to cry.

@hypewinter @ailithnight @nerdpoe @hdgnj @the-witchhunter @mutable-manifestation @babbling-babull

[the-cat-and-the-birdie]

Hobie x Isekai!Reader

[Reading Between the Lines]

WEEOO WEEOO Platonic Fic Idea WEEOO WEEOO

Hobie x Reader Isekai fic where the reader (me) is a Spider-man meta-analysis writer and they fall into the ATSV universe.

They meet Hobie and are completely starstruck, unable to speak. Flabbergasted. Uhh okay imma just do the intro "Hi, My name's Hobie, Hobie Brown. I was bitten by a-"

"...WOULDN'T YOU LIKE TO KNOW YOU GET WHAT I MEAN!! And for the last three years I've been the one and only- *proceeds to do his whole intro for him*."

"What the fuck. Those are my lines. Bruv cut that shit out wth."

Everyone thinks they're weird as fuck, but Gwenpoole (and other Nexus beings) are taught about at The Society at least, so it's not a mystery why they are the way they are.

But they're just SO META

They're basically bouncing and they tell Hobie 'OMG, your like my favorite superhero. I write about you ALL THE TIME- Ignore the OC folder'

Hobies like 'I'm not a hero-'

'I knew you'd say that!!!!! AHHHHH!!!!!'

All of a sudden there's this huge Hobie groupie fan in the group that knows everything about them and their trauma 😭😭

The reader sees Gwen and is like '.......I know this isn't my place but I've read through the scene between you and your dad and I have some comments I'd like to make. I can leave out the ones where I wish him death.'

There's even a scene like this one between Miles and Gwen

Where Hobie is like 'oi this your analysis book lemme see-' only to open to dozens of pages of x-reader fics and Hobie x OC drawings

And reader is like

'Uh.... I ain't write that. I don't know how that got in there. That's not even my handwriting. I found that notebook actually 😭😭'

Meanwhile Hobies like 'Christ - how much time do you have on your hands 🤨🤔'

'....Is it that bad?'

'Oh I ain't say it was bad. Could use a some work though. Actually- *takes out Noir's reading glasses (which he stole) from his pocket because he's not gonna stand here and judge a book by its cover*'

Of course Hobie still reads the x-reader cause he's a cocky bastard.

And then he returns said fics covered in red pen and notes of 'I wouldn't do that-' or 'actually you should add this. This would be better.' or even 'Lemme do it. That other shite you wrote don't make no sense'

BASICALLY HELPING CONSTRUCT FICS ABOUT HIMSELF. Simply because he finds the concept hilarious.

He gets to the smut and he's like "How easy do you lot think I am? Think you can have a pass at me, you must be taking the fucking piss-" just ranting and raving as he STILL READS IT

Sitting there with a cup of tea reading smut of himself and covering it in red pen like it's the mornings crossword 😭😭

The crew eventually realize that the readers power of trope analysis crosses over and it's SO USEFUL

All they need to do is get reader in front of Miguel and reader gives him a heartfelt reading and connection of his trauma that equals the culmination of ten years of therapy

They're like 'i know this is all an act Miguel. I know this is all an act to cover up the crushing feeling of chaos and helplessness that comes from canon. And really, all of this is just a mirror - you wanting to control how things 'should be' because there were so many things you went through that you think shouldn't have. But those moments are apart of you-'

Miguel's likes 'WAIT WOAH STOP TALKING'

They start bringing up Gabriel and Xina and shit from the comics.

Everyone's like 'Who the hell is Gabriel-" meanwhile Miguel is on the floor sobbing going 'mi hermano. mi hermano pequeno 😭😭😭'

And it ends with them all hugging Miguel after this person just read him for filth using the power of Isekai Canon Knowledge

I'm having TOO MUCH FUN WITH THIS

In the end Reader and Hobie become best friends because they both stand out so much in other universes and both take nothing entirely serious.

Plus they're both really perceptive and nosey and good at reading people so sometimes they see some subtle shit go down and they look at each other like

"We minding our business~ 😩🎶🗣️ we ain't gon say shit~ We gon mind our goddamn business 🎤🎸🔈'

Ok ok I'm done I'm done 😭😭😭

[centrally-unplanned]

To share another thought on the Folding Ideas video I Don't Know James Rolfe from my last post, while I enjoyed it a ton I do think its core "meta" element fails to reach the heights it could. It is never made that explicit so I am making a subjective read here, but essentially while most of the content of the video is textually about James Rolfe, there are dozens of moments where Dan performs actions that mimic or parallel James, culminating in his own parodic angry video game review as the finale. The idea is something of a "there but for the grace of god I go" point, that perhaps all youtubers, and Dan specifically, are too close for comfort to Rolfe's reality of limited creative options and a hostile fanbase clinging to the past .

But I can't really say for sure! Because he is very adverse to making this concrete enough for the audience.

At times the visual parallels are incredibly direct. There is one moment, where Dan is explaining the real skill and craft of being an internet clown on demand, where he mimics Rolfe's style of rant to explain it while projected AVGN videos that were looping in the background flash over his own body:

And it really works, the meaning shines through; it is a moment you can see back through time where the idea for this shot was, spiritually, the impetus for the film, that this idea must have come to him and he built the essay around making it happen.

Other visual parallels are less explicit; when the parody sequence starts, Dan - who has built a 1/12th scale recreation of the Rolfe's "video game basement" aka studio set in order to "understand" him like normal people do - represents himself in that room via a tiny hand puppet

Which is cute if, like probably most people, know him as the guy who makes videos about NFTs or Qanon. But close to a decade ago, when he was first making ~20 minute media analysis takes, he represented himself on screen with a wooden puppet like this:

It is even like the same color, I am confident this is intentional, it is saying "yeah this could have been an alt version of me; I was not so far from this".

All these symbols function to make the emotional impact; but an emotional impact in service of...what? So in the essay he discusses the film Wavelength, a 1967 avant garde film that is almost entirely composed of filming the side of a room with minimal camera movement while actions occur around it. It is a movie that never gives you a meaning, and therefore you must project meaning into it, bring yourself to the table. That makes sense for Wavelength, and the aggressive cinematography of I Don't Know James Rolfe - which is stellar to be clear - is making the film out to be sort of its own personal Wavelength for YouTube.

But then we go back to that text, which is over an hour of Dan directly talking to the camera about a real person. It is incredibly concrete and detailed, with explicit points being made over and over. And through what those explicit points reveal... I don't think Dan Olsen is like James Rolfe! Does he have an hostile fanbase trapped in nostalgia? Do people acuse him of being cucked by his bitch wife? He has evolved as a filmmaker, intensely so, he does things completely differently than Rolfe does and completely differently from how he himself used to. He doesn't have a shitty biography that self-outs his own creative narcissism, he isn't obsessed with remaking his own childhood films - I am pretty sure as a kid he had never heard of NFTs, they didn't really exist! The final line of the film is "maybe you aren't a filmmaker either" - but idk, Dan, I kinda think you are! If documentarians can be filmmakers you have to qualify.

Now I'm not a fool, I understand that the film could be suggesting these are differences of degrees and not kind; that Dan is equally "trapped in the room" making vlogs for the net, just with more outward trappings of success. But, in the ruthless specificity and detail of his treatment of Rolfe...this film cannot be Wavelength. I am not capable of forging my own meaning from the pieces, he connected way too many of them. This is the trap of avant-garde; you are tempted to help the audience, but once you try to answer some of the questions, it forces the hand of the rest, they all have to fit into that schema. And the film is just too coy with Dan's own parallel life for me to figure the schema out. I make my guesses and I lack confidence in them, they feel "contradicted" by the text.

More detail would have been the easier path; less detail and more symbolic expression would have been the harder path. But right now the balance is just a bit too out of whack for it to come fully together.

[dreemurr-skelememer]

@olisa-iwannasleep replied to your post “Kia plz.... I want to hear the Dreamtale rant...”:

By "undertale style" do you mean it should have undeltale-ish structure? Like, ruins, hotland, etc? I agree that it should be more diverse, bc of how different the monsters can be, but as far as I know, Dreamtale isn't an AU. It's a separate place, but still a piece of the multiverse, like doodle sphere, anti-void, omega timeline, those kinda places. So it could be more interesting, but it shouldn't follow the underground structure, I would say

yes but also no! i could go in-depth more about it by drawing out the actual map i have drafted in my mind, but what i basically meant is that instead of just having the tree and the village, there could be more potential in setting up a proper map with structure. for example, the omega timeline (if i remember right, it's been like 7 years since i did a thorough research on its functions) has different areas in it as well.

the center of the au could be the tree, and surrounding the tree could be different areas. it offers more areas of story potential and helps logicize how their world works and how they would go about doing daily tasks, their culture, what they're doing there and for what, how, and why. world building is such a forgotten part of writing and i'm not saying i'm GOOD at it, but it's really important!

the classic undertale (and other classic-centric AU) structures are too linear, and it's built that way for story reasons and RPG reasons. so it won't be literally like undertale

i was talking more about in terms of how undertale and the underground as a whole is a well-made place. the world building was presented so well that it felt like a real place that could be found and explored.

if you are going to make an AU that is somewhat realistic (villages existing in dreamtale), you need to consider where the places are and why they're there and how they're there. it's definitely a part of the in-between (as i'd call it, just non-classic-centric) but it's still bound within realistic expectations such as having a village with residents just living their lives and not anything meta related (reiterating)

how do the villagers get food? do they hunt in a forest or do they farm in a field? how do they get water? is there a river or a lake nearby?

the first chapter of dreamtale is way too vague to work with so creating places that seem insignificant can help writers and artists so much. i've read so many dreamtale fics where there's conflicting and varying versions of where the tree, the village, and their area is. sometimes they're surrounded by a forest, sometimes they're next to a river, sometimes there's a beach nearby. it's really interesting.

[donkeys-waffles]

(This is so long, but it almost wraps up my thoughts on the most recent chapter. You've been warned. This is also in no way trying to justify AFO's current actions, I'm just over-analyzing the demon baby's childhood and how that turned into the adult demon we see today :>)

Something else I found interesting about the leaks. Baby AFO is killing people, I'm assuming for reasons of survival, either from those people being threats or they have something he needs.

But something that's really been on my mind lately is a child's perspective on death.

Children learn to love and fear different concepts by parental figures in their life, or adults in general really. It's like a pack complex, they see others react a certain way to their environment and learn how to react as a result. Children really learn how to human from other adults, which deeply shapes their view of themselves and the world around them.

But another concept that is taught to children is the concept of death... Children learn that mortality exists, and that it is something to be afraid of... By adults...

But two orphans that raised themselves in an apocalyptical society, from what we can tell from birth, they didn't have adults around to teach them anything, let alone that people do die and that it's a bad thing. At least they didn't have that during some of their most pivotal developmental years.

We see AFO as a monster, a child born evil, but for 1. We see this from a what could be considered the most unreliable narrator. 2. We don't see how he started killing, what made him start? The scenes we've seen thus far could be the first murders, but do we have evidence that it really was.

Baby Afo is so young at this point that his idea of death is a very limited one. Normally, we really start to process death and what it truly means at around 10, maybe. But he's very young here. It's possible he was attacked and so he attacked until the threat stopped moving. He was so young he may not have ever truly understood the gravity of what he had done until he grew older and was desensitized to it. Or maybe he was a hungry child with his feeble brother, who didn't know how to get any food. He wasn't given any help from the adults, possibly even paralleling Tenko. But he saw adults attacking other adults and getting food as a result. So, he followed their lead, like a child would mimic a parent, and he got a reward for him and his brother, food. Children have a large pleasure/pain complex, if their needs aren't met, they are often impatient until they receive what they want or need and can't emotionally regulate like adults can (another thing taught to them by adults). He doesn't understand that he is killing these people, he just knows he needs to stop them as a threat (either to protect him and his brother or feed him and his brother,) make sure they stop moving so they can't hurt him. It's also possible he wants to steal their quirks, something flashy, another part of the reward complex in his brain and his barely contained kleptomania.) And mind you, much of this is talking about normal human children... Not children with meta-abilities which are looking more like parasitic diseases with each new update. (Diseases that control the host and deeply influences their actions, mannerisms, and behavior. Also, something I will probably go on another rant about, let's be honest.)

Another interesting thing is this is from AFO's point of view. And all I've been seeing is that "AFO was born evil," or commenting on how horrifying AFO looked like as a child.

If this is how All for One sees himself... Well, that makes sense why he's such a damn bastard today. Not even as an infant did, he give himself the grace of looking like a normal child. We, the viewer is meant to see him as evil from birth, because that is how AFO sees himself. It's so interesting because one could even argue that AFO isn't happy, doesn't view himself as someone who has a heart or compassion. It's like because the villain in the comic book reminded him of himself, he's modeled himself to be like the villain, someone without care, someone who doesn't love. With Yoichi's death, we get a panel of the original shock, the remorse, and that progresses to the blank, empty, look in his eyes with tears falling down his face. He's always seen himself as the villain and refuses to recognize that he is indeed human. Which obviously from a DFO perspective makes sense in a truly heartbreaking way.

But I just can't get over how he views himself, it's creepy, unsettling, almost like he's afraid of himself. Like he views himself in the way his own victims view him. But someone who I always imagined views himself like a god, who's always in the right (he does believe he's always right,) I was expecting more emphasis on everything he did for his brother, the nicer clothes, he didn't look malnourished while AFO did, things like that. Or maybe a normal looking child (or hell even an unrealistically majestic child, or something.) the parts of himself that showed power, without the unexplained murder we got. I was expecting an attempt to prove how he was in the right, how he was trying to protect his brother. Emphasize the anger he still feels at losing him. But no, from what I can tell it's mainly the evil things he's done, with a small glimpse of them reading together. It lacks the depth, like he wants to appear flat instead of completely multidimensional. And honestly, that's IF he's being honest, which in and of itself is unlikely. But with how he's illustrated himself, you can look at it two ways, it's even more likely that he'd start a family, or it's less likely, because he was born evil and all he's cares about is possessing OFA/his bother. His backstory just gives me the vibe that he WANTS you to believe the second. Like he WANTS you to believe he's not human, and could never have a son, or at the least never care for any child he'd have.

He's trying too hard to prove how evil he is, how almost incapable of care or remorse he is. I'm skeptical.

But honestly, I think if this little story of his is true then... I think he should be locked in a museum. Looking at who he is, how he views himself and the world, illustrates the Dawn of Quirks in a way no Hero History book could. He was raised by a society that hated him for his quirk, honestly like most villains in BNHA.

[luna-rainbow]

I'm sorry if this is an odd question. I'm new to the Steve/Bucky fandom and only recently started reading fics relating to them. How come most fics tend to favor Peggy and write her to be a sympathetic character? Most of the fandom that I've interacted with agree that Peggy isn't a good person (SHIELD and Hydra as well as her behavior with Steve in CFA) and wouldn't be a good match for Steve. I've loved all the fics for the love b/w Steve/Bucky but the sympathetic writing of Peggy has irked me

Thanks for the ask!

I came into fandom pretty late so I missed a lot of that, but I’m told Peggy has always been pretty popular in the Stucky fandom.

I think her popularity comes from a number of reasons — 1) lack of other female characters at the time, 2) easy to project onto, 3) a reluctance to tackle her negative traits.

At the time when Stucky’s popularity exploded, there weren’t a lot of female characters in the MCU. There were Pepper and Jane, both of whom were passive watchers and “civilian counterparts” to the main character's heroic enterprise. Peggy was a rare Phase 1 love interest that seemed to be present and at least somewhat handy with a gun. People were more forgiving of unfavourable character moments — and just coming from the movies alone, you could bend the narrative to ignore most of those unfavourable moments.

Which leads me to the second point, which I think is the most important one. The vagueness with which Peggy is written makes her an incredibly useful “blank” character to project onto. Firstly, her mannerisms are forceful and assertive, and the superhero genre target audience is one who likes to watch things being resolved by fights. As I said above, at the time there really isn't any other female character (apart from Nat) for the female audience who likes action heroes. Secondly, Peggy and Nat form the madonna-whore dichotomy (especially with Whedon’s characterisation), and a lot of people would prefer to project onto the fandom madonna than the whore. Thirdly, she has very little character traits within the movies apart from “strong-willed” and maybe “ambitious”, which gives a lot of flexibility to how writers can play with her character. Fourth, the fact that her appearances in the movies only ever occur in Steve’s company (except the later cameos) gives a misattribution of narrative proximity, with a lot of fans believing (especially if they haven’t revisited the source in years) that she was a more important narrative force than she actually was. But that same narrative proximity is appealing if you want to project onto a female character who can participate in Steve’s adventures and you don’t like Nat or Sharon or an OC.

And the third point I think is the trickiest part. Does fandom misogyny exist? Of course it does, especially in the MCU. But misogyny is also flung around as an accusation against fans who make genuine critiques of a character or want to write a nuanced female character that acknowledges her negative traits. Someone once dumped a 1500 word rant in my comments because I omitted Peggy from a Stucky meta, so you can imagine how much her rabid fans would arc up if you are actually critical.

Besides, writing a nuanced character takes effort and planning and a lot of hard work. I know for myself unless I plan to tackle Peggy as a fully-fledged character, I'd either omit her from the story or give her a very minor role that is not overtly critical, because it's just not worth the effort of the argument in the notes.

[esther-dot]

The debate about the appropriateness of Jonsa overshadows the political/feudal argument. Unless you can make a convincing case Sansa is going to run away and become a peasant with Sandor (didn't GRRM literally mock that...), or that she can singlehandedly Elizabeth the first it, then you need to be thinking about marriage. Marriage is just as important as war in GRRM's books, if not moreso, and it's a symbolic struggle at that.

Of course Stumpy has searched for Sansa's husband and applied this thinking, but it's one that's otherwise severely lacking. GRRM would go there. We know he'd go there, cousins or not. The question is, why?

Stumpy's Find Sansa's Husband is one of my favs!

No worries! Each of us has a fandom pet peeve we need to rant about. And you're right about Martin's criticism of the "running off with a stable boy trope," in fact, it sounds like the idea really annoys him (his quote below the cut)

And then there are some things that are just don’t square with history. In some sense I’m trying to respond to that. [For example] the arranged marriage, which you see constantly in the historical fiction and television show, almost always when there’s an arranged marriage, the girl doesn’t want it and rejects it and she runs off with the stable boy instead. This never fucking happened. It just didn’t. There were thousands, tens of thousand, perhaps hundreds of thousands of arranged marriages in the nobility through the thousand years of Middle Ages and people went through with them. That’s how you did it. It wasn’t questioned. Yeah, occasionally you would want someone else, but you wouldn’t run off with the stable boy. And that’s another of my pet peeves about fantasies. The bad authors adopt the class structures of the Middle Ages; where you had the royalty and then you had the nobility and you had the merchant class and then you have the peasants and so forth. But they don’t’ seem to realize what it actually meant. They have scenes where the spunky peasant girl tells off the pretty prince. The pretty prince would have raped the spunky peasant girl. He would have put her in the stocks and then had garbage thrown at her. You know. I mean, the class structures in places like this had teeth. They had consequences. And people were brought up from their childhood to know their place and to know that duties of their class and the privileges of their class. It was always a source of friction when someone got outside of that thing. And I tried to reflect that.

I think the issue is, S*nsans and people who shipped Sansa with LF were some of the first to write real meta on her (from what I've heard), so certain fans/perceptions got pretty firmly established, and then a new generation of Sansa fan came along who rejected the Sansa x adult man/molester ships, but it was pretty easy for them to assume that due to Sansa's age, Martin would leave her marriage to the future.

Also, a lot of people don't expect Sansa to be QitN, so the succession issue isn't putting pressure on the marriage timeline, and if you're someone who thinks Bran will actually be king over all Westeros or Rickon will be KitN etc etc, you can imagine Sansa's endgame is safety in Winterfell, not a romance or marriage.

Personally, I think Sansa's interactions with Cersei and LF indicate that she wants to be the right kind of queen (in defiance of Cersei's advice) and is being equipped with tools to achieve her own ends / play the game, for the right reasons, to good ends, but being handed tools nonetheless. She is so unfocused on her birthright and power, it seemed like she was meant to be contrasted with Cersei and Dany. The natural endpoint of that imo would be her becoming queen. And, if she is queen, I've argued that based on other queen's experiences, we must see her married as being a queen is a whole new set of risks, not a happy ending in and of itself.

Of course, some have speculated that the endgame will be indicated, not actually chronicled on the page, as in, Jon and Sansa fall in love, but Jon does get sent to the wall or goes into exile for a callback of what Sansa imagined she could do to save Ned, and we end kinda knowing, eventually they'll get back together, but the actual happy ending isn't on the page. Or the alternative scenario is that Jon is named KitN because of Robb's Will and marries Sansa to resolve all the chaos after parentage reveal. That's where your thoughts on the political aspect of marriage comes in because that would be very tidy. Actually, whoever is recognized by the Northern Lords, whether it’s my preference of Sansa or Jon, the heir issue was a big deal for Robb, so marriage / heirs will certainly come up and impact the plot.

As for Jonsa itself and it being icky to some, I've said before, I think Martin must have something he wants to do with incest beyond showcasing how toxic it is. As in, that is not a way to challenge the reader, by saying something we all know, and his whole shtick is to write complexity into every relationship, every hero, even many villains, so I don't for a minute believe that's he's introduced this topic without planning to ask the audience to think a little more deeply on it. To force us to look at it from a different angle. The way he does that is to give us heroes who are tempted and make us squirm until we get parentage reveal.

[rubykgrant]

OK, my thoughts about the final season of RVB! If you haven't seen it yet, warning for SPOILERS!

In general, I thought it was alright. The good parts were GOOD, but it felt kind of rushed, and a few things were disappointing. Certain parts I wish had been different, but I'm glad it exists. Watching it with lots of cool people made it fun, and it had a decent enough ending for what it was... though, after so many years, so many characters, just so MUCH of a story, I wish things had been a little MORE. It was a shame it was so short and rushed. I'm still glad the people who worked on it got it done, and we were all able to see it.

So. Actual thoughts on different bits...

I'm somebody who enjoys seasons 15-16-17, so while it will always be real in my heart, if they HAD to do a ret-con, having a spoof with a Retro Convention was VERY funny. Kai would absolutely milk her relation to Grif for some attention. I thought it was weird that Dylan was there, but she was a convention host? I feel like it would have made more sense for her to be one of the people asking questions about where the Reds and Blues went (y'know, like she ACTUALLY DID in 15). Oh well.

Things were very rushed... if this had been a more full season (or, in my perfect world, a story split into 2, so we get 19 and 20 out of it. I'm sorry, it just bugs my brain when something ends on a 9 instead of a 10. that's a ME problem), there could have been more of a Big Reveal about Tucker being the Meta. HOWEVER, since things were very condensed, I can appreciate how amusing it is to have Epsilon info-dump the plot to every body.

I did get a chuckle out of Epsilon being a "recorded prediction program" and not the true AI, and he decided to just be an obnoxious little youtuber. Like, that was so awful, it was AWESOME. It is also something that would have made Alpha Church super ticked off, which is very fitting. Good job Epsilon, 10 out of 10~

I was so happy to see Sheila and Lopez! Mechanical love lives on. It was a bit meh seeing the Reds act like they don't care about Caboose (we've been there, done that), but some of the funny bits that followed and Simmons getting Sarge interested by bribing him with Blue Defeat saved it (listen, these guys have been insisting they hate each other for 2 decades, but they can literally not live without each other. let them just admit they are ALL FRIENDS). Grif ranting was excellent.

No Donut is some major BS! Look, I get it, we stole the spot-light in 16-17, he was the time-god's most specialest pink princess and a harbinger of death, it can be intimidating to include something so powerful after trying to erase all that from existence... but come on. With all the important call-backs and connections 19 made with previous seasons, AND having the ending be in Blood Gulch? DONUT SHOULD HAVE BEEN THERE AND HE SHOULD HAVE THROWN THE AI UNIT. No, I mean it, imagine the thing gets knocked really far away, maybe from an explosion, and Donut throws it clear across the canyon, because you KNOW he can! This time instead of it being a grenade that kills Tex, she catches the unit, tra-la-la, it all comes together. I'm sorry, Simmons doing the cool sports-ball throw was fun, but... Donut. DONUT!

Alright, moving on. It felt a little awkward that Wash is yet again hurt, and nobody is there with him? Oh wait, Doc is there, except no he isn't. Listen. Listen. I love plural Wash. I also love the idea of him genuinely having an emotional connection with Doc, because it DOES make sense; when Wash kid-napped him, Doc just kept making all his sarcastic little comments the whole time, and it tricked Wash into having real conversations with him. I honestly think that if Doc hadn't been with them, Wash wouldn't have been so open to the idea of finally settling down after his Villain Moment. They also both have a lot in common with AI incidents, and again, Villain Moments. I'm just annoyed that the Pacifist and the Original Bad Boy evidently died. Off screen. Give me back my purple boys. If we need to have Wash Not Be Around for a while, have him and Carolina go off to track down Hargrove or something. Maybe they went to two different locations, and Wash gets back to the others first, so we still get Carolina to the rescue.

Anyway, the plot! There was a lot of funny bits when it came to looking for Tucker, getting into the ship with the "video call security", and Niner being there! Hooray! I am... a little disappointed about WHY and HOW Tucker is a "villain". Obviously, I can't picture him being legit EVIL, but the idea that he's just the physical puppet being controlled by the AI isn't very... good. I understand how it was explained, sure, but still. I know I keep rambling about my own thoughts for alternate scenarios, but I can't help it! I just don't like when Sigma (or Omega) are just plain EVIL, for no reason. They've always been more complicated than that (the Meta wanted to be HUMAN, remember. and Omega even told Epsilon "I'll be here if you need me". they are definitely different kinds of harsh and intense, but they aren't the Murder AI or the Evil AI). I don't like that Tucker is being tortured into doing what they say... a more subtle manipulation, the Fragments not only convincing Tucker but also themselves that they NEED to do all this to get Alpha back, is very intriguing. After Epsilon Deconstructed, the Fragments lost their Memories. They just know they aren't complete. Tucker just knows he wants to talk to his best friend again.

If it needs another push to make it more insidious, I'd buy that Meta suit being a trap to begin with; Hargrove probably had that thing rigged to make it into a trap for anybody that wore it, so they'd have this subliminal inclination to collect all the AI, and kill anybody in their way. Something-something forgetting what your motives are, and only caring about the GOAL. Tucker and the Fragments ALL need to remember who they are and why they want the Alpha; it isn't about being a weapon. If there was more of a fake-out/reveal of Tucker being the Meta, maybe with a false hint of it being Felix with the orange/black colors, a sign that Tucker is still in there would be him getting close to killing everybody... but he backs off each time.

Speaking of killing... Sarge. Oh, Sarge. I will admit that, just from a thematic point of view, yes- it works to have a Sarge death. I don't care for it being Tucker that did it, or that Donut isn't there to share the moment as well. Matt Hullum acted the HECK out of that scene, though. In fact, the whole bit of Sarge running back to save Caboose, and trapping Tucker with a bubble shield, was AWESOME. I didn't want Sarge to die... but he went out wearing his red armor, and told Grif and Simmons he cared about them. It was sad, but it was well done. In my perfect world, we just THINK he died, but then at the end it is revealed he's still alive! How? Well, Doc gave him CPR! Doc isn't dead either, that is integral you see. I'm not sure of Sarge going "Hurgh Bleh" would have been better or WORSE. Well, heck. I wish he wasn't dead, but as much as I hate it, I... didn't totally hate it?

I kind of wish Simmons had more of a break-down over it. I wanna see him lose his temper. OR, he acts so quiet and cold, it is just UNNERVING. Then Grif helps snap him out of it. Let's be real, those two are so co-dependant, it ain't even funny. I appreciate Simmons telling Grif he is officially free to leave, and the conversation of "Come with me" leading to Simmons saying he wants to see this through, and Grif agreeing to come along was good. Simmons has aspired to be an impressive soldier from the beginning, and Grif has just wanted to be DONE. In the end, they meet in the middle.

I may be a sappy Grimmons person, but I can say, as objectively as possible, they should NOT be separated at the end. Grif and Simmons are literally the introduction to the series. They were the first two characters we see, they have been side by side almost CONSTANTLY, they are always bickering but they are also each other's favorite person. I don't even mean in a shippy way, it is just a fact. To have them say good-bye and just leave each other is honestly out of character (we saw that before, remember, in 15; Grif got so guilty about it, Simmons came to the realization that opposites attract, and they finally had to admit they missed each other. it was a WHOLE THING). I think it would have worked if, after telling Grif he's free to leave at the end, Simmons waits minute, then starts following him-

Grif; What are you doing?

Simmons; Coming with you. What the hell else would I do?

And that is that, wherever they do, they're together. Also, Kai shows up and HUGS HER BRO, come on, please!

Now, as a sappy Grimmons person, they should have just gone through with it. It has been more than 20 years. Seriously. We all know it. People who don't even care about the ship know it. Just commit to the freaking bit. Stop being cowards. Let them hold hands, or hug, or gently bump the visor of their helmets together, SOMETHING. Show them taking a walk on the beach together, all lovey-dovey. We deserve some emotional satisfaction after a 2 decade queer-bait slow-burn. JUST DO IT.

Sigh... OK, that is out of my system.

My absolute FAVORITE thing in 19 was Tex. She was so freaking PERFECT. I love Caboose telling the unit a story, his way of bringing her back, because that was how he talked to Epsilon. It was so sweet. When they asked Caboose why he brought her back instead of Church, he told them- "Because I wanted to win". Listen, Caboose LOVES Church, but he knows what is up. It was hilarious to see her go through the teleporter to get her black armor back. I absolutely ADORED her saying she's NOT a "failure" anymore, because she's not just based on the Director's memories of losing his wife, she's also got the memories of the guys who REMEMBER HER KICKING THEIR ASSES. 100 percent, Tex return was the best. Her reuniting with Church was also very sweet... the only thing I would have liked more would be the other Fragments showing up in there, so they can all be together (and Church gives Theta a hug; he doesn't even need his memories yet, he just knows he loves Theta).

I didn't care much for deleting the Fragments at the end, but I get the "reasoning". Like, sure. Fine. In my perfect world, Caboose gives the unit to Carolina, so someday, when they're all "ready to wake up again", she can see her family. Wash taking the fall to alert Carolina was both kinda wonky, but also very funny, and hey- it got her there! Again, I don't know why she wasn't there with Wash from the beginning. Also, just. A few characters being dead, and most of the others splitting up at the end... nah. They all need to live together and be friends and be happy and be OK! Like, come on. They've had a lot of "endings" in this series that were bitter-sweet, or kind of sad. I know life doesn't always have a happily ever after... but just once, give them that.

OH, and ANOTHER THING; if things had been just slightly different, if both the Fragments and Tucker sort of "forgot" who they are, the way to remind Tucker should have been JUNIOR. Heck, maybe Carolina was off finding Tucker's kid, and when they come back Junior gets his dad to remember who he really is... but the suit is still controlling him, forcing him to fight. I just want a happy Tucker family reunion. Give that kid his daddy back. Even if Junior isn't there for the big conflict, he should have shown up at the end, with Tucker promising they won't be separated again.

Well, that sure was a lot! The final season was a lot, in a short amount of time! Again, I wish certain things were different, but I'm happy I could see it. Even after everything, all the good and bad parts, I know that it still isn't "the end". I've got a lot of ideas for stories, and so do many other fans out there. I know people are going to keep sharing their thoughts, creating their art, telling their stories... because a universe without stories? That's just empty space.

Bow-chicka-Bye Now!

[controlvariable]

Zero's medal, New Mecca's origins, and near-fatal head trauma

Spoilers for all of Katana ZERO ahead. if you haven't played it already, do that now, I'm dead serious when I say it's one of the greatest games of all time.

When I first decided I'd post meta about this game, honestly, this isn't the one I expected to start with. Hey, sometimes inspiration hits, and...

I'm joking. That's a different rant entirely. (yoshiP voice) please look forward to it. I think the best place to start with this one is New Mecca itself, and what that name entails. It's no secret that KZ takes large inspiration from both Judaism and Islam, the latter of which is more relevant today.

The implications of a literal new Mecca are both fascinating and out of my wheelhouse. I encourage any Muslims, who certainly know more about it than me, to elaborate. As it stands, I'm going to leave it at these few screenshots.

The Psychiatrist:

Leon von Alvensleben:

And of course, Headhunter:

This really isn't the main point of this rant, but it's related enough that I feel justified in mentioning it. Now, let's see Zero's service medal.

Thanks to the nature of KZ as a pixel-art game, we don't have much to work with here. It's gold with a purple ribbon, that's the most we're gonna get.

During the scene at the bar, we have an NPC put a name to it, and this name is what kickstarted the entire post.

A Distinguished Service Crescent. This, to my knowledge, is not a real medal in any country. That makes sense, considering, to my knowledge... New Mecca isn't real. (If it was, we'd have bigger problems on our hands.) This name did remind me of the real-life medal known as the Distinguished Service Cross, which has three meanings and appearances between countries.

To the left, the USA's medal, which is the second highest military decoration just behind their Medal of Honor. The center, Australia's medal, the highest of their Distinguished Service awards. The right, the United Kingdom's medal, which is only awarded for service at sea.

But none of these look like Zero's medal, do they? Let's take a look at Distinguished Service Medals instead, same order as above.

No dice. At this point what I'm about to say is going to surprise absolutely nobody, but the only real-life lookalike I can think of is the USA's Purple Heart.

Now, this sounds absolutely nothing like the Distinguished Service Crescent the NPC mentions, but let's account for 1. artistic liberty, 2. multiple inspirations, and 3. the fact that he might've been wrong. (It's not as if KZ has the most reliable narrators in the first place.)

Part of the reason it might be named as such in game is to draw the direct comparison to our real world medals, named after the cross. Why has it been replaced with a crescent, though? Recall the name of New Mecca, and how the crescent has long been a symbol of of Islam.

Most Americans know what a Purple Heart is given for: being wounded or killed by an enemy combatant in the line of duty. Given that Zero is still alive to receive it, only the former is important. Things are starting to come together.

During the final scene with the Psychiatrist, he entirely ignores you if you ask if the medal is real. At first, I assumed this could be Zero coming to doubt everything he's been told, which is reasonable. Then, once I realized the medal is based off of a Purple Heart, I thought it was real after all.

Finally, I realized just how much the Psychiatrist had Zero's life under control. Zero knows what this medal means, what it implies, and the whole course of the game is discovering how much of what he believed to be innate is caused by his medicine.

Chronos, the drug that he's been forbidden from learning about at every turn, that he's been given non-answers about this whole time, that gives him the power of a god. It's not so unreasonable to assume the medal was used to attribute Zero's memory loss to a head injury, as opposed to the truth of it being yet another side effect.

It's worth noting which parts of the screenshots provided are rendered in purple, and the fact that NULL itself is written in the same color. More on the color usage of KZ later.

If you made it this far, thanks for reading the deranged ramblings of a madman. Lord knows I'm not done talking about this game.

Thanks to @chemicalbrew for encouraging my madness, Muffins (no tumblr) for cooking this up with me, @dynal for listening, and everyone in The Apartment, Nepenthe, and Paradox of Lucidity for cheering me on.

[deadboydetectives-confessions]

Man, I love a lot of the shows that I grew up with, but I as I was trying to think of more possible DBD crossovers to suggest, I thought of BtVS & it's wild now to think of how that was considered "feminist" & "progessive" for its time (oh the ways in which Joss Whedon & Neil Gaiman are cut from the same fucked up cloth, wrt how they both have made careers out of presenting themselves as "feminist men," which is it's own rant, tbh) and the ways that DBD just casually blows BtVS out of the water in terms of gender parity & racial & sexual diversity:

--DBD shows up out of the gate with two main cast members who are women of color, something BtVS never had in seven seasons. Closest we got is Kendra & she was a recurring character who was killed early. & season seven with some of the potentials I guess -- I don't think any of the potentials were main cast though (was Kennedy?)

--DBD has no straight, white men wrt the main cast or recurring cast. Charles is a person of color, Edwin is gay/queer/mlm, Tragic Mick is black, TCK & Monty are some flavor of queer, all the rest of the regulars are women or female-coded. Meanwhile, BtVS has Xander for 7 seasons. It's not until Andrew -- who was a villian! -- that we get a queer man as a regular/main cast member and that's season 6 & from what I remember it is kind of frustratingly done! (Season 4 is the first canonical queer rep with Willow/Tara. Retroactively we know Willow is queer from tge get go, but watching in real time it was a surprise when she came out) And as homoerotic as Angel, Spike, & Giles might be to fans, they're all written as straight on the show and they're all white. The first character of color who gets a main role is in season fucking seven with Principle Wood.

--there's not a true female big bad on BtVS until the 5th season. I love Drusilla, but Angel is the S2 big bad not her. There's the S4 millitary professor lady (totally forget her name), but ultimately it's her creation, Adam, who is the big bad. Meanwhile DBD is blessed with Esther right out of the gate.

--Ratio wise, I always think about how of the 90's Trek series Voyager is the "feminist" one, but if you look at the main cast the ratio of men:women is always 2:1 in every season it aired. BtVS isn't as bad as Voyager & tbh I forget who was main cast vs supporting (like, Tara should have been main cast but wasn't, I know that), but DBD is just set up from the on-set in a way that feels so much more female-powered, imo.

Anyway, I just wanted to take a second to appreciate all that. When I see meta posts about Crystal seeped with with misogynoir or when I get frustrated that there seem to be more fics that focus on TCK or Monty than there are fics that focus on Niko or Jenny or when I get bummed that there aren't any canonical ace or trans or nonbinary characters, it's also nice to remember how things used to be and how much the media landscape has improved. I can name multiple shows currently on with queer characters. Multiple shows with black women & other women of color in the main cast. I still have a lot of fondness for BtVS & I'm definitely using it as a scapegoat here, but it's true that my enjoyment had a lot of caveats & I don't feel that when watching DBD. I really appreciate that.

.

[ladykailitha]

I would like to rant about something. It's been awhile since I've done that and it's been kinda bubbling under the surface for a long time.

Again: you can headcanon whatever the fuck you want, this just my "takes me out of a story" thing.

There have been a couple posts that I've seen going around lambasting people for using other names for Eddie then Edward (Edwin, Edison, Edmond etc) when it's on his missing poster as Edward Munson.

Only there is a couple things wrong with that.

One: Not everyone goes through every frame of the show and are actual causal viewers! I know, shocking! (heavy sarcasm here, folks) I personally had seen the missing poster gifed and screenshotted a billion times and never caught that they had his first and last name until someone pointed it out.

Two: it lists Eddie's age at 17. So how well can trust it, really? I know I've seen several takes from production getting the age wrong, to Wayne making him younger so people care, to Kas theory, to even Eddie being one of the kids that went missing before Will and his age is listed as what it would have been in 1983 (which could go either supernatural or Wayne just used the old missing poster from then).

So until there is something ELSE in the show that shows his name AS Edward, you can call him whatever you want, because canon just tells us that his name is Eddie.

So why am I bringing this up?

Because the people going around shouting this bit of information tend to also people who will use one or the other or even both of the next headcanons in their meta/fanfics.

1- Eddie CAN'T swim. This one always takes me out of the story when I see it because we have TWO on screen events that show him swimming. The first is the one most people forget. When Jason and his friends chase Eddie out onto the lake and he falls in. If he couldn't swim, dude would have DIED. But he makes it to Skull Rock. The second time is jumping after Steve. Trust as someone who can't swim, there is no way he would go jumping in after Steve if he couldn't. He would go back to shore and let the kids know what was going on.

So I tend to back out of a fic when I see it, because if you're off about that aspect of his character, I'm not sure I want to read further because what else might they get wrong about him.

2- This one is a doozy for me because it really makes me mad. When they say Wayne is Eddie's mom's brother.

"While all the other dads were teaching their kids to fish or to play ball...my old man was teaching me how to hotwire. Now I swore to myself I wouldn't wind up like he did, but now I'm wanted for murder and soon grand theft auto so...uh, yeah really living up to that Munson name."

Right, I had to transcribe the whole phrase because IMDb only had the hotwiring part. Because it's that last part that is so important to my point. Now I don't know if there are other ways to interpret that line, but if Wayne's last name is Munson and Eddie talks about living up to the Munson name...wouldn't the logic follow that Eddie's dad (named Allen Munson in the Stranger Things: First Shadow play and that's how I'll refer to him from now on to make it easier to type) is also a Munson? So if Wayne, Allen, and Eddie all share the same name wouldn't that make Wayne and Allen brothers?

Now, I think I know where this logic that Wayne is related to Eddie's mom and not his dad, is because how could sweet, hardworking Wayne be related to criminal, most likely in jail Al? Because I don't know who needs to hear this: but even growing up poor in a family that isn't known for its honest living (not that I think all the Munsons are like Al, by the way) one can still chose not to follow in those footsteps. Hell, Wayne could have even straightened up FOR Eddie.

Hell we know more about Eddie's dad then we do his mom. The only thing we know is that she isn't around to take care of Eddie. Dead, in jail, or just doesn't give a damn, she's not in Eddie's life.

So yeah, it upsets me because to me it smacks a little classist. Good guy Wayne can't be related to criminal Al *clutches pearls!* He absolutely is.

/end rant

[sushisocks]

Okay, another Sean and Lenny meta post, this time also featuring some stuff about Javier. I wanna talk about why I think Sean and Lenny would side with Arthur at the end of RDR2, and bring forth all my reasoning as to why I will die on this hill.

Rant under the read more to spare my mutuals. (Fair warning this is a LONG one babes, there is so much meta)

So, to start, I don't actually think the story of RDR2 would look the same, if at all, were Sean and Lenny not to die their scripted deaths. Even in a version of things where they survive and they go to the same camps, the unfolding of events would by necessity be different due to the impact their personalities and frames of thinking would have on the people around them. However, let's for arguments sake say that in this hypothetical, things are mostly the same, and we're down to that last scene in Beaver Hollow, the last showdown, with Dutch and Micah on one side, and Arthur and John on the other. We know where Javier and Bill go, but where would Sean and Lenny gravitate?

I've already made my stance on the matter clear, so let's really get into why I think Lenny and Sean would choose Arthur's side over Dutch's.

First off, I think it's important to remember that it isn't JUST Dutch vs Arthur, in this scene. In its essential form, it is Dutch & Micah vs Arthur & John. Arthur points at Micah as the rat, and Dutch believes Micah over Arthur. John arrives and accuses Dutch for leaving him to bleed out and die, and Arthur believes John -- not that Dutch denies it.

The point here is, though, that it's not JUST Dutch or Arthur, they're choosing. It is also the people who side with those individuals, whom we must take into account.

Sean and Lenny are canonically Micah-haters, if you will. There are several instances throughout the game, while the two are alive, where they loudly proclaim their dislike of Micah. Sean calling him an 'oily turd' and getting offended at being compared to him, is a near and dear line from the game, for me. And I doubt I have to explain why Lenny isn't besties with the most outwardly racist member of the gang.

"Oh, but Teki!" I hear you say. "Javier is also shown to dislike Micah, and yet he sides with Dutch in the end!" And, see, now you have activated my trap card, so let's really take a look at Javier, before going any further.

Javier is among the most loyal members of the gang -- Arthur literally says this as a camp interaction with him, long before chapter 5 or 6. The fact that Arthur is the one saying it, should tell us something -- this is coming from the man whose loyalty is such a strong character trait it turns into a flaw, and ultimately leads to his demise. And if you think about it, Javier being exceedingly loyal - to the gang, to Dutch - should not be surprising!

When Dutch met Javier, Javier didn't even know English. Javier was starving, on the run, with no safety or know-how, in a country he didn't know nor understand. Javier's story with the gang literally STARTS with Dutch saving him. He is brought into the gang, and in the four years he's there, he is taught English and also shown more respect and compassion than many other places in the US at the time. There are many examples of how Javier is treated as a Mexican in the US, throughout the game, and he, like the other POC in the gang, is allowed to stand up for himself and punish other gang members who slight him (Micah and Bill, in particular). In many ways, Dutch provides through the gang a safety net Javier probably didn't even dream of achieving when he crossed the border.

And then Guarma happens.

I, personally, cannot overstate enough how much I think Javier's experiences on Guarma reinforce his loyalty and blind faith in Dutch. He is tortured, ridiculed, and humiliated, and who is it that opens that cage door and literally pulls Javier out of it all? Carries him over his shoulder out of a compound of Cubans that would rather see their heads on pikes?

You guessed it, it's Dutch. Yes, Arthur does a lot of the heavy lifting, but let's be real - Dutch is the one who gets the credit, as usual. He made the plan, after all, and notably, he IS actually the one grabbing Javier and hauling him out of there.

That means, that the two times we know of, where Javier has been at his absolute worst, Dutch is the one who has saved him. Javier, who is so loyal even Arthur acknowledges the immensity of it. So who is then surprised that he doubles down even harder, when they return to the US, and things take a turn for the worse in Beaver Hollow?

In that moment, at the end of chapter 6, Javier cares more about siding with Dutch, than he cares about Dutch siding with Micah.

And I'll argue a similar case for Bill; he has speeches, camp events, where he straight up says Dutch saved him, saved the people of the gang. This is literally The Thing, with these two, that makes their choices at the end really make sense, in my eyes.

It's also important to note that Javier is literally the most clueless among them when he makes that choice. He wasn't there for most of the conversation leading up to it -- he literally just came from being on watch, to warn them about the encroaching Pinkertons. And, as everyone knows, he doesn't point his gun at Arthur and John, and he nor Bill are there for the horse chase scene, blah blah, those points have been done a million times, you already know them.

"Okay, but Teki," you say, trying to reason with my rambling fanatic self. "How do you know Lenny and Sean wouldn't go down similar paths, if they survived past their scripted deaths?" And I say onto you, verily; because neither of them really have similar savior stories with Dutch, thematically.

I mean for goodness' sake, Sean tried to ROB Dutch and Hosea, upon meeting them intially. They just liked his guts and invited him along, and Sean was like, 'shit why not, aint got nothin better to do!' - paraphrased, of course, but in my heart of hearts that's what he said.

All we know definitely with Lenny is that he joined the gang while traversing the Grizzlies, the year before the events of the game. Whether it was a savior situation or a mutually beneficial situation, isn't actually fully known. We can make assumptions and speculate until we're all blue in the face, but I have stronger points for Lenny's case so let's move on.

So, as I've talked about before, Lenny is acknowledged as among the smarter members of the gang, despite his youth. He is one of the only ones who intellectually challenges Dutch, and he is clearly not afraid to criticise Dutch's ideas and ideals -- when prompted.

(Side note, as I said at the start but want to really emphasize here, I really think chapter 6 is the one that would be the most impacted by Lenny's survival. He has shown himself remarkably aware of societal issues contemporary to his time, so look me in the eyes and tell me you genuinely believe he, as a black man, wouldn't attempt to intervene in some way when Dutch starts fucking with the Wapiti. That kid has balls of steel and audacity up the whazoo, and he's excruciatingly aware of how black people in the US have been royally fucked over by white men. You think he'd see the Wapiti struggling, Dutch scheming, and be like 'oh yay more white man shenanigans! lets go!' ?? bffr!)

Lenny ALSO is among the newer members of the gang; it provides him safety and respect that's hard found outside it, yes, but in my opinion he straight up does not have enough cost sunk into this fallacy, for it to fallacy properly in his head, if you catch my drift. I think if it's not for the fact that he has genuine bonds with people in the gang by the time chapter 6 rolls around, like Charles and Sadie do at that point, he probably would be smart enough to dip, like other characters do.

And that's sort of the thing, too, with both Lenny and Sean. They don't actually have daddy issues in the same way Arthur and John do.

Lenny and Sean are very similar in that they had good relationships with their fathers, and are proud of their parentage -- what wisdom and teachings their fathers managed to impart upon their sons before passing, has stuck with them. They are not in need of a new father figure, and they certainly do not seek it in Dutch(nor Hosea), not like Arthur and John do.

They find a sense of brotherhood in the gang, sure, and they view the other members as family (you can pry their little brother statuses from my cold dead hands), but Dutch is their leader, not their guardian, not their teacher, and certainly not anything close to a father, in their eyes. The fact that Lenny discusses literature with him is indicative of this -- the conversation is one of opinion between would-be equals, not of mentor and protege. The fact that Dutch only really seems interested in Sean as far as he serves as camp clown is also indicative of how Sean might feel about him, too. Dutch literally yells at Sean for taking a break from being the silly goofy distraction, in one camp interaction -- and from the way Sean talks about him, I don't think that sort of behavior has a lot of fatherly associations for the 'irish terrier'.

And that leads us to my pièce de résistance, dear fellow cowboy maniacs (you must be, if you've read thus far). Lenny and Sean are both closer, and friendlier with Arthur, than they are with Dutch. Example: Both of them poking fun at Arthur in ways they do not with Dutch. Sean telling Arthur he loves him - like an insane amount of times. Lenny chooses Arthur to go riding with, time and time again.

And guess what? When we see Sean and Lenny at their lowest, who is it that helps them out?

If you answered Arthur Morgan, give yourself a pat on the back and a gold star sticker!

We are literally introduced to Sean while Arthur leads Javier and Charles into saving him from bounty hunters. Arthur is the one cutting him down from that tree, bringing him upright, making sure he is okay. Arthur is also the one who saves him from being shot to death on the train robbery in Pouring Forth Oil. When Lenny comes to tell the gang about Micah being in jail in Strawberry, he has also just narrowly escaped being lynched, and it is Arthur who brings him away from that experience, calms him down and allows him to relax and let loose again.

Both Sean and Lenny have a deeper, more profound connection to Arthur, than they have Dutch. And consequently, if they were to survive until the end of chapter 6 and were the then much-more-unlikely showdown scene to happen, they would certainly not side with Dutch & Micah, over Arthur & John.

[linkspooky]

Hey, love your fanfic and your metas. I have a thing that's been bothering me since I read your Azula rant a few months ago (which aside from this one thing, was AWESOME. GO THE FUCK OFF.). You bring up how Azula protected Zuko and looked out for him and he repaid her by treating her like she was a live wire meant to be pitied instead of helped. I agree that Azula was done dirty by the narrative, especially with your points added, but I couldn't help but feel that your reasoning for Azula being a better sibling to Zuko was based mostly on conjecture for her motivations rather than what was told to us from the show. So that brings me to my actual question: Should Zuko help Azula because he's supposed to as her family or because he's supposed to be a hero? And will the fic acknowledge their equal share in their toxic dynamic in later chapters?

I agree that most of my arguments on Azula's motivations are based on inference and not directly stated in text. If you don't find my arguments convincing than that's that. I can only argue my interpretation I can't tell you how to read it.

However, briefly I'd like to point out that Azula's motivations are muddled at best. I used killing the avatar as an example, because unless Azula is omniscient she had no way of knowing that Aang could have lived. She reacted with complete surprise when Zuko questioned if the avatar was really dead. If the show was telling us that Azula planned all along to throw her brother under the bus in case the avatar turned out to be alive, that doesn't really make sense. Azula's motivations aren't really made clear to us because 90% of the time she's being shown to us through Zuko's perspective who has very mixed feelings about his sister at best. Azula is also ultimately intended as just to be a part of Zuko's arc and foil to him not really her own independent character so like, I kind of have to infer her motivations.

Anyway, to addressing your actual question. I'm going to use an example to show what I think is the ideal development for Zuko and Azula's relationship by comparing it to another media. Namely, the redemption arc of Faith in Angel the Series. It's briefly covered in this video redemption for her but I'm going to write my own spin.

Faith is the other slayer, a girl chosen to hunt vampires in Buffy the Vampire Slayer. Her intention with the start is similiar to Azula's, she's meant to serve as a dark foil to the main character and while Buffy triumphs Faith was destined from the start to take a fall. Faith is also the bad victim to Buffy's good victim. They've both suffered from severe physical and sexual abuse, but Buffy ultimately has a support system while Faith does not. Buffy is also unable to save Faith and basically gives up on trying, because she's suffered very personal abuse under Faith's hands.

Faith takes a fall from lack of any real support system just like Azula. She envies Buffy for the fact that Buffy has everything, a mom, a watcher, firends the same way that people in Azula's life (her mom, her uncle, Mai and Ty Lee also sidenote Mai and Ty lee aren't obligated to choose Azula she made those relationships toxic but like Azula's mother and uncle war criminal are just playing favorites) have always chosen Zuko over her.

Buffy: Why, Faith? What's in it for you? Faith: What isn't? You know, I come to Sunnydale. I'm the Slayer. I do my job kicking ass better than anyone. What do I hear about everywhere I go? Buffy. So I slay, I behave, I do the good little girl routine. And who's everybody thank? Buffy. Buffy: It's not my fault. Faith: Everybody always asks, why can't you be more like Buffy? But did anyone ever ask if you could be more like me? Angel: I know I didn't. Faith: You get the Watcher. You get the mom. You get the little Scooby gang. What do I get? Jack squat. This is supposed to be my town!

Faith basically has nothing, and she's defined by her lack of stability and identity. Similarly to Azula's breakdown, she's almost terrified by the idea of love. Azula can't trust people and can only resort to controlling them with fear because the person who should have loved her unconditional abandoned her and the only parent who showed her attention made her earn it and the person who modeled her relationships showed her how to control others through fear and obedience and that taints all her other relationships. Azula is a toxic individual who doesn't deserve Mai and Ty Lee's forgiveness, and she's also literally never been shown what a healthy relationship looks like and people can't understand that if they've never been taugh tit both of these things are true simultaneously. Faith envies Buffy's life but she's also terrified of unconditional love because abuse and abandonment is basically all she knows.

[Riley is on top of Buffy, looking down at her.] Riley: I love you. Faith in Buffy's body: Uggnnh Get off. No. No. No! [Pushing Riley away]Get-get off! No. Off me. Get off. No, no-o. G-get [Buffy stands] Riley: Buffy...What? What's wrong? Faith: (gasping) Who are you? What do you want from h-her? Riley: Should I not have...? Faith: This is meaningless. Riley: You're shaking. [He gets up and puts a blanket/sheet on her.] Faith: Nnnh. Riley: What happened? Faith: Nothing. Nothing.

Faith is committing sexual assault here, just by the way. Faith is honestly worse than Azula (they both try to do a mass murder for their daddies) and gets shown way more narrative sympathy than Azula ever does. But you know, Faith is also her own fully fledged character while Azula only exists to be a part of Zuko's arc and most of her deeper writing was Aaron Ehasz champining her cause. I guess Faith exists in a show where the writers allow women to be messy human beings.

Ursa: [appearing in the mirror] What a shame. You always had such beautiful hair. Azula: What are you doing here? Ursa: I didn't want to miss my own daughter's coronation. Azula: Don't pretend to act proud. I know what you really think of me. You think I'm a monster. Ursa: I think you're confused. All your life you've used fear to control people. Like your friends Mai and Ty Lee. Azula: [hysterically] Well what choice do I have? Trust is for fools! Fear is the only reliable way. Even you fear me. Ursa: [gently] No. I love you, Azula. I do. [Azula screams and hurls the brush at her mirror, breaking it; then collapses, sobbing]

As one final parallel both of them are aware on some level that they are a monster, and that their actions are bad. Ursa is just Azula's own mind telling her, so if Ursa is telling her that using fear to control Mai and Ty Lee is wrong then Azula is on some level aware of that. Faith and Azula define themselves as the bad one, and use that as a personal shield from both guilt and other's people rejection.

AZULA: "My own mother thought I was a monster... she was right of course, but it still hurt." vs. ANGEL: You can't imagine the true price of evil. FAITH: Yeah? I hope evil takes mastercard.

While Faith shares many parallels with Azula, I'd also like to point out the parallels between Angel and Zuko. They are both marked as having "the redemption arc" for their show. That's literally Angel's concept from day one, he's a vampire with a soul trying to atone for his past deeds. His entire spinoff show is Angel trying to find redemption by saving others. Zuko on the other hand is not only considered like one of THE REDEMPTION ARCS of all time but also his entire arc is learning that the fire nation was wrong and redeeming himself by joining the avatar the person he used to hunt and atoning for the ways he hurt Aang and his friends.

I think Zuko's character arc is much more similar to Angel's than Spike's to be honest (they're both characters in buffy who receive redemption). In that as you said above in your ask Zuko's arc is about him learning to be a proper hero. We don't really get to the part where Zuko like, develops his identity as a person outside of being a hero who saves others. Zuko does like learn to calm down and not express his rage and learns about unconditional love from Iroh but like his act of redeeming himself is switching sides and helping the heroes. Spike swithces sides too but that doesn't redeem him, Spike's redemption is gaining a soul himself and learning to develop his own morality and do good deeds for the right reason and not because he wants to get Buffy's approval.

In my writing I'm planning to continue it so Zuko has to let go of the notion of redeeming himself through heroism and instead has to learn that real redemption is trying to be a better person every single day, not defeating the fire lord and being a GOOD KING TM.

Back to Angel, he's a vampire with a soul. Rather he spent 200 years as a soulless vampire killing people and then he was cursed to have a soul and suddenly feel guilt and remorse for his actions. It's like how Zuko eventually realized he was on the wrong side. Angel can deeply empathize with Faith because he has been where she has. At the same time there's a marked difference. Angel's redemption was basically handed to him on a silver platter. He didn't decide to get a soul and start feeling guilt for his actions again it was forced on him.

The parallels between them culminate in Five by Five, one of my favorite episodes of television ever. Basically Faith has escaped the consequences of her actions and is running away from Buffy. She goes to LA and gets a contract to kill angel at which point a lawfirm will drop all murder charges against her and also continue to pay her to kill people form them.

While Faith is hunting Angel down, the episode flashes back several times to the series of events that started angel's redemption. First Angel deciding to murder a young girl, and getting cursed by her family to regain his soul and feel the guilt for what he did forever.

The next flashback depicts angel's mental breakdown after his ability to feel guilt is restored. He's immediately abandoned by his partner, another soulless vampire who finds his guilt and his soul disgusting. He's left alone with his guilt and there's no comfort in the world for him.

In the third flashback in spite of his guilt, Angel tries to be a monster again and go back to his old self by feeding on a woman in an alleyway only to find the guilt is too strong and he can't bring himself to kill her so he runs away in shame.

Buffy walks the really fine line between the fact that just because you feel guilty doesn't mean you're owed forgiveness or your feelings of guilt take priority over the people you hurt and also that it's painful feeling guilt and everyone at some time feels and struggles with guilt after hurting someone.

Angel is a mass murderer who feels guilty, which like yeah you should feel guilty. He's also a human being feeling genuine remorse with no idea how to make up for his actions.

Angel is able to sympathize with Faith because he knows that guilt, he knows that feeling that there's nothing you can ever do to apologize for your actions and it seems almost better to just kill yourself. To be so hopeless to believe you're just not capable of good.

Angel: (harshly) I can't do it again, Buffy. I can't become a k*ller. Buffy: Then fight it. Angel: It's too hard. Buffy: (desperately) Angel, please, you *have* to get inside. Angel: It told me to k*ll you. You were in the dream. You know. It told me to lose my soul in you and become a monster again. Buffy: I know what it told you. What does it matter? Angel: (raises his voice) Because I wanted to! Because I want you so badly! I want to take comfort in you, and I know it'll cost me my soul, and a part of me doesn't care. He sobs. Buffy is at a loss for words. Angel: Look, I'm weak. I've never been anything else. It's not the demon in me that needs k*lling, Buffy. It's the man. Buffy: You're weak. Everybody is. Everybody fails. Maybe this evil did bring you back, but if it did, it's because it needs you. And that means that you can hurt it. Angel doesn't want to believe her. Buffy: (pleadingly) Angel, you have the power to do real good, to make amends. (raises her voice) But if you die now, then all that you ever were was a monster.

Angel has also previously in the show attempted suicide because he believed he wasn't capable of being better or ever apologizing for his actions and when that happened he had someone who believed in him unconditionally and urged him to keep living.

So, really what right does Angel have to deny Faith that same support? How can we believe Angel's truly grown as a person if he doesn't show other people the same kindness that's been taught to him?

Which leads to one of the most beautiful scenes in all of television.

Faith: "You're gonna die!" Wesley is almost done sawing through his ropes. Faith keeps hitting and kicking Angel. Halfway through this it starts to first rain then pour. Faith: "You hear me? - You don't know what evil is! - I'm bad! - Fight back!" Wesley has freed his hands and is untying the other ropes. Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: "Nice try, Faith." He tosses her away from him. Then walks after her. Angel: "I know what you want." She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: "I'm not gonna make it easy for you." Faith throws herself against Angel screaming: "I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it." Wesley comes running out of the house. Faith sobbing: "Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: "Shh. It's all right. It's okay. I'm here. I'm right here. Shh."

As I said in my longass Avatar post we could have gotten this scene with Zuko and Azula. Zuko doesn't even have to necessarily forgive her, but we could have seen him at least embrace Azula out of sympathy at the lowest point in her life.

It would have been a parallel to the way when Zuko reunited with Iroh the first thing he did was hug him after Zuko was so worried his Uncle would never forgive him. Even if we didn't get a full redemption arc we could have just gotten this as a start, a sign that things might get better for Azula one day.

This is how I plan on writing Zuko and Azula's arc though. Zuko eventually needs to reach a place of self-awareness where he can help Azula get through the crushing guilt she feels because he's been there too. He had help when he was struggling at his lowest point, and now Zuko being that support for someone else is a way to demonstrate his growth as a person. That's a major theme I want to tackle in this fic, that helping the avatar and being a good firelord isn't the end to Zuko's development.

He can also do that while still holding Azula accountable for the hurt she's caused others and him. To emphasize she needs to actually do something to better herself, because feeling guilt isn't enough.

Faith: "Oh, maybe we - just don't mention it then." Angel: "Maybe we do." Faith: "Are you saying I got to apologize?" Angel: "Think you can?" Faith: "I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death?'" Angel: "Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you?" Faith: "What?" Angel: "Sorry." Faith: "And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right?" Angel: "Yeah, there are. I've got some experience in that area." Faith: "Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes." Angel: "So make it through the next five, the next minute." Faith: "I don't think I can." Angel: "Yes, you can." Faith walks away: "God, it hurts. I hate that it hurts like this." Angel follows her: "Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free." Faith lets out something between a laugh and a sob: "I've got to be the first Slayer in history sponsored by a vampire." Angel: "Yeah, well, I've got some experience in that area, too."

Once again the fine line between "Yeah, you should feel guilty when you hurt people that's how it works" and also "You can still live with the guilt and get better."

As for Azula and Zuko's relationship and the way I plan on writing it, first and foremost I plan to make things get worse before they get better.

I do want to portray Zuko and Azula as being equally bad to each other. Azula was willing to throw Zuko under the bus for her father's favor. When Zuko is firelord though and the tables are turned and he has power over her, the way he treats her isn't exactly great let's say.

It's almost like abuse is born out of an unequal power dynamic and not just something that bad people do to innocent victims.

I know so far the narrative is incredibly slanted towards Azula, but one I'm just writing the way Zuko acted in the comisc, and two it's from Azula's perspective. Now that Zuko is finally getting his POV I plan on covering a lot of his pain from the way Azula hurt him too.

If you've ever read Interview with a Vampire and the Sequel Lestat, I'm planning on doing something similiar to Lestat and Louis' divorce arc. Each of them narrates a story from their own perspective and each of them paints the other in the worst light possible while highlighting their own qualties.

Also to some extent I do think Zuko believes that he's "the good one". That part of his treatment for Azula comes not from anything Azula's done, but from projecting his worst flaws onto Azula because they were both groomed by Ozai and wanting to convince himself he's NOT LIKE THAT.

Whereas Azula views Zuko as an ungrateful trait. I think they'd both have to essentially get over it. Zuko betrayed the fire nation because the way Azula and Ozai treated him was wrong and the fire nation was wrong. Zuko can't play good victim bad victim. You don't become a good person by pointing the finger and scapegoating someone else as evil, you do it by working on yourself every day.

The way I want to model their relationship is something like Sanemi and Giyu, or Blackfire and Starfire. The pain that they caused each other is legitimate and shouldn't be shied away from but also both ulitmately grew up and survived the same abusive household together. That's a special kind of understanding that they have for each other that no one else does, and I think Zuko needs that understanding from someone. Ursa ran away, Kiyi is an innocent kid, I don't think he could connect with either of them the way that he could with Azula who shared Zuko's same abuse.

Forgiving Azula and seeing how her trauma affected her can also be a way of Zuko forgiving himself and learning about himself. He can look at Azula's abusive behaviors and be like, oh I do that too. I'm not quite over that yet. It's impossible to be truly over the ways my abuse affected me, but I can keep working on it.

This is basically the note I want both of them to end on where they're both still working on redemption together.

ANGEL Faith, wake up! FAITH (wakes) I've rolled the bones. You for me. ANGEL (walks away from the fight with Angelus to talk to Faith) I used to think that. That there'd be a point when I'd paid my dues. ANGEL Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH I did my time. ANGEL Our time is never up, Faith. We pay for everything. FAITH It hurts. ANGEL I know. I know.

Anyway, thnak you for the ask. I'm happy you're interested in my fic. If you have any more questions of comments on my fic feel free to send them.