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inventors-fair · 10 months ago

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NPC Commentary: Notably Nameless

As much as I make a big deal out of not knowing all these references, it's honestly the things I most look forward to about these kinds of contests. Everyone bringing their own take on their favorite properties like dishes to a potluck is a delight to watch every time. Sure, some designs can be more resonant with some knowledge of the source material, but it's just as often that something that I've never even heard of before catches my eye.

Naturally there was no shortage of media from all over the spectrum this week. I am impressed just how much of variety of designs we had across the board, however. The difficulty with designing nonlegendary creatures designed to stand out is that there's often far less room to work with in making them unique. That's only amplified when you get into designing for Universes Beyond, as there's often much less to base their abilities off of than with named or prominent characters. Even still, you all performed wonderfully this week, and I think that deserves to be highlighted.

But enough of that, let's get into the meat of this.

@aethernalstars — Kandra from the Mistborn series

Well, this certainly goes about cloning in an unusual way. We've seen something somewhat similar with the most recent iteration of Lazav, but the restriction to only stealing cards the turn they hit the yard is a fun twist. That said, I'm concerned the initial payment is just way too high here. 4 mana for a 0/2 is a miserable rate, and then you need to invest at minimum 5 more mana before this actually gets to copy anything. A reduction in the numbers somewhere is probably warranted, and I would say you're better off cranking down the initial mana cost, given that the second ability doubles as protection. Also, I don't know if this is intentional or not, but given the current wording doesn't retain the ability to exile cards between transformations, its "pool" of transformations is essentially fixed the moment it decides to commit. It's an extremely interesting idea, but the current iteration unfortunately is a bit on the clunky side.

@bergdg — Roughs Tough from the Mistborn series

Whew, this one's an absolute house—design-wise and appearance-wise. A trampler with reasonable stats that consistently grows is already pretty scary, but a potential fight every single turn—even at instant speed—catapults this straight from "scary" to "terrifying." The ease of sacrificing an artifact varies pretty wildly from set to set, of course, but with the ever-presentness of treasure I can't imagine it would be too difficult in a limited environment. Despite not knowing the source material, I've got to say the flavor is very cool, though. Artifact sacrifice is an interesting pair with a rough-and-tumble collection of gangsters, but it also feels very natural. It's got me interested to see more of the organization to be sure.

@dimestoretajic — Dragon Slime from the Dragon Quest series

Aw, little guy! A pretty simple design all-around, but there's plenty of small details that catch my eye. I do like the use of red's often unused domain of ice and snow, although I'm not sure just having ice-related powers with no wintry visual theming qualifies this as being a snow creature. The classification is a little on the arbitrary side at the best of times, but that's one part that's fairly consistent. It's kind of funny that it can copy itself—an ability extremely common among Magic's various Oozes—and yet have it flavored as something different. Not questioning your decision on the flavor, just a fun parallel. It's an odd pair with firebreathing, though; that's one of the few abilities that doesn't improve with more copies. If anything the copy ability seems like it would play more like protection—if it's ever threatened, it can just make another in response.

@evscfa1 — Tonberry from the Final Fantasy series

And the award for Scariest Creature to Revive with Alesha goes to! This is an odd one, though. We haven't seen much design space explored with self-stunning yet, and this is certainly a very extreme example of it. While Sleep-Cursed Faerie was just an extremely efficient beater once it finally untapped, this one seems more likely to have opponents quaking in fear of when it finally gets to attack. I like the dynamic created by the fact that this gets to swing every turn once it sloughs off the counters. It really does feel like it's looming and slowly approaching, which I assume was the intention. The ability to choose the nastiest ability for the situation is also pretty delightful, though I do worry that the half life mode is notably more weak than the other two, while the hand attack is much stronger. While they're all reasonable if you played fair and waited four turns, there's plenty of ways to not play fair with this thing, and a full discard too early in the game is potentially ruinous. The sacrifice mode feels a bit redundant as far as your opponent is concerned, because blocking also usually loses them a creature of their choice.

@horsecrash — Nac Mac Feegle from the Discworld series

Certainly wouldn't want to see a horde of these surly fellows bearing down on me, though the faerie type could mean it's less of a horde and more of a swarm. I'm always happy to see more exploration of the design possibilities of squad, and this feels like a great fit. Besides the value that squad always brings, it allows you to hit the condition of three opponents attacked using fewer cards, which is smart. I do worry that it's a bit all-or-nothing, though. Their low toughness means that the gap between having indestructible and not is pretty gargantuan. Indestructible feels a bit out of character for monored, as well, and I think that first strike with an accompanying power budget increase could accomplish something similar. As an aside, the reminder text of melee implies a slightly different wording for abilities that scale based on how many opponents you attack. There's no reason to assume your wording wouldn't also work, but it's something to keep in mind.

@hypexion — Replicator Drone from the Stargate series

It does exactly what is says on the tin. Replicate on permanent spells is still largely unexplored, and while Squad fulfills more or less the same role minus some edge cases, I can understand doing it for the flavor. This one's really hard to judge in a vacuum, though. The first question is how hard it is to sacrifice two artifacts, which you have to do at least once if you want to get your mana's worth, and that largely depends on the density of artifact tokens or artifacts that want to be sacrificed. More than that, the question is if you're likely to have the tools to take advantage of a bunch of vanilla artifact creatures. Even outside of a specific limited environment, this one strikes me as a card that's absolutely dependent on other cards to synergize with it, which can be a pretty sharp turn-off.

@insect-glaive — Medium Blocker from Destiny 2

Well, it's definitely a blocker, no doubt about that. I assume Taken is the name of the race, but without any context on the source material I'm a bit dubious of Blocker as a creature type. Be careful with this wording, though: anti-sacrifice effects against your opponents such as Angel of Jubilation prevent permanents from being sacrificed to pay costs or cast spells, and defensive ones such as Tajuru Preserver prevent you from being forced to sacrifice permanents by your opponents. This does both, meaning that while your opponents can't crack their fetchlands, they're also completely immune to Fleshbag Marauder or similar effects. Uniquely, this also prevents opponents from having to sacrifice permanents to their own effects, which is potentially an outright benefit for them.

@jestingmaniac — Jabba's Hunter from the Star Wars series

We've seen a smattering of bounty counters over the years, and this fits right in. Plus, he high prominence of bounty hunters in Star Wars—including two of the main characters of the original trilogy—means I could easily see it promoted into a full archetype in a hypothetical set. In that hypothetical set, though, I'd worry that triggering on any bounty might be a bit too much for a common. You could have it grant the bounty reward alongside the counter in a similar vein to Mathas, but that might constitute an increase in complexity that would necessitate a bump to uncommon anyway. The flavor also feels just barely not quite there. The variety of bounty hunters I've seen from the series are a hugely varied group, so I think the card actually ends up being slightly too generic. A bit of flavor text could go a long way, I feel.

@just--a--penguin — Umbrella Waddle Dee from the Kirby series

Who gave this little guy all of this power? My understanding of the Kirby series is that the Waddle Dees are essentially just cannon fodder, so a statline as bulky as 3/3 is a bit surprising. While it's more in black's wheelhouse, green has flirted with above-rate creatures with downsides before. Granting flying is a good pick, too, as it's a form of evasion you're less likely to have a meaningful way to deal with. That said, I think this might be a bit too efficient with the downside only kicking in if it dies. Which is to say, if it never dies, which is perfectly feasible in a color like green, you've got a powerful, low-investment beater at common. Also, while this is dampened by your opponent getting to choose exactly where the counter goes, it can actually end up being a boon depending on the limited environment. It's mandatory, so your opponent is forced to make one of their creatures suddenly vulnerable to Plummet or similar cards. Touching on the flavor for a second, I imagine the flying counter is meant to signify Kirby gaining its ability, and you could reflavor it as just a creature picking up the umbrella. That said, it strikes me as a bit odd that it ends up with flying when the Dee itself only has reach. Maybe the other creature is just better at using the umbrella?

@mildewpyre — Rain Deer from Rain World

What on earth is going on in Rain World? Well, not on Earth, I suppose. At any rate, this curious specimen offers some pretty hefty protection to whatever wants it. It's reminiscent of the series of white and blue fliers that grant flying to something else on attack, but in a much more dramatic fashion. The vigilance combined with triggering on block is interesting too, as odds are you'll be granting the protection to a different creature on block than on attack. Given that protection, though, I do question to comically high toughness number. While I'm sure toughness matters decks appreciate it, given nothing on the board can damage it anyway, it's really only protecting from damage-based removal, which struggles to kill creatures past 5 or 6 toughness anyway. It's very fair, though. High casting cost plus low power means this needs to find something powerful to enable before it's a real offensive threat, which feels very green.

@misterstingyjack — Oberon's Attendant from A Midsummer Night's Dream

Here we have the only submission taken from a play, and from a true blue classic at that. Magic's no stranger to faerie courts, though, and I think that leaves this feeling a bit unfortunately generic. That's not your fault, of course—it's just that so much of Magic's faeries are taken from either the same sources as A Midsummer Night's Dream, or just directly from the play itself, that as a Universes Beyond card it doesn't have much to set itself apart. The gameplay, too, is definitely interesting and unique, but also nothing that couldn't work in existing magic settings. In particular, while we don't see them much nowadays, Dominarian faeries are primarily green and blue, and we've even recently seen a legendary faerie in those colors who deals in auras—that's Ivy, Gleeful Spellthief for reference. But enough of my bellyaching, let's dig into the meat of this card. Four faeries is quite the ask, especially on a card that does nothing to increase that number, but that's quite the reward. An almost debilitating level of tempo that pairs extremely well with both green's assortment of buffing auras as well as blue's assortment of debilitating ones. It might be a bit on the strong side as-is, but I'd be very interested to see more of it.

@nine-effing-hells — Chest Burster from the Alien series

Ah yes, finally, the Alien Alien. I do want to take a second to say that emerge is such a natural fit for the xenomorph's signature parasitism that I genuinely couldn't think of a better way to do it. Asking to emerge from something specific is a great evolution of the mechanic, and picking Human as a nod to one of the most iconic scenes from the first movie is great. I do think the emerge cost could stand to be a bit lower, though. While I'm not the most knowledgeable on how to balance emerge, and 5 life is undeniably a sizable chunk, humans aren't really known for their high mana values. Having to pay that much up-front for a body that's nothing impressive is a bit of a hard sell.

@party-in-the-ipa — Bladefish from Dungeon Meshi

First and foremost, I would advise you to be careful with hybrid costs. While it's been shown that you're allowed to bend the rules a bit, hybrid card crucially have to be something either color would reasonable be capable of doing on their own. Black fits just fine here, as they're not strangers to powerful creatures with downsides, and though flash is a bit uncommon in the color, it's hardly unheard of. Blue, on the other hand, just does not get creatures this aggressive or efficient, especially not at this low of a mana cost. Beyond that, this card's just really, really strong. 3 power that early in the game means it can trade with just about anything while simultaneously applying huge pressure on your opponent, which the downside isn't nearly enough to make up for. If it manages to connect even once, the most the death trigger can do is even the loss out, and they still have to spend a card to get rid of it. Even beyond early aggression, flash allows this to play as a surprise blocker that hits way above its weight class. It's not all bad, though. I love the life gain on death being flavored as, well, flavor. Hopefully Shock doesn't add too much of an aftertaste.

@real-aspen-hours — Adaptive Xenomorph from the Alien series

Great minds clearly think alike, because this is improbably the second xenomorph with emerge submitted. This one also zeroes in on the relatively unexplored design space of the characteristics of the sacrificed creature mattering, though this does it in a much less specific way. This is a bit beyond my ken, but from what I gathered, the xenomorphs supposedly emulate whatever they parasitize, which this does demonstrate well. That said, these kinds of keyword inheritance effects work best when they're able to gather keywords from multiple sources, which emerge inherently stymies by only allowing a single sacrifice. Besides the admittedly very cute interaction of converting temporary buffs into permanent counters, you're often trading a card in hand for a slightly larger body and menace. I could see that being an attractive option in some situations, but it seems a bit more finnicky than previous cards with emerge we've seen.

@reaperfromtheabyss — Hideous Zippleback from the How to Train Your Dragon series

Don't be mean to the poor thing, surely it can't be that bad. Although based on that ETB, they might be on the right track. This beastie would be right at home in Shadowmoor block, at least. The two abilities make for a very effective one-two punch, which according your submission is supposed to be the breath of each of its two heads. That's clever, and it's also really strong. The fact that it blankets counters across the entire board and has evasion means that as soon as summoning sickness wears off, it's essentially free to pick off the enemies piece by piece. While I get the reasoning behind allowing it to target creatures with any kind of counter—presumably to make it a bit more versatile and prevent it from being pigeonholed into strictly -1/-1 counter strategies—I'm not sure it ends up playing all that well. Principally, the most common type of counters are +1/+1 counters, which will often push creatures out of range of the damage, severely gimping the zippleback's effectiveness.

@snugz — Mettaur from the Mega Man series

This is about as simple as it gets, so I'm afraid I genuinely don't have much to say about it. It's functional, and as far as I can tell the stats versus cost for that effect are about right. But in a contest all about marrying design and flavor, I'm afraid I just don't get much of anything here. If anything, wouldn't an enemy that retreats behind a shield (or under a helmet, in this case) have an effect to make itself temporarily indestructible rather than a shield counter?

@squeezyboi — Life Model Decoy from Marvel Comics

We've seen clones that double as removal for the original before, but all of those are either more expensive to cast or more difficult to use, so this ends up feeling a bit too strong. While scrubbing legendary-ness feels appropriate for a decoy, the fact that this is best used offensively feels a bit off. Admittedly I don't know the source material, but "decoy" implies that the person is being replaced for their own safety, which lends itself more to copying your own creatures. That would also allow it to be a fair bit cheaper, as copying strictly your own creatures is a step down. But, I'm rambling. Point is, this is a really interesting take on a clone that I can see a clear flavor direction behind, but it's just not quite there in a number of aspects.

@stupidstupidratcreatures — Nurse Joy from the Pokémon series

There sure are a lot of Nurse Joys, huh? These kind of effects are always fascinating to me, challenging you with an extremely strict timing restriction to try and wring the maximum possible value out of them. There's surprisingly few of these effects that return to hand rather than the battlefield, too, and the hilariously specific restriction is a great nod to the source material. As far as gameplay goes, while you're unlikely to return the full six on average, I'd imagine you're still perfectly happy if this grabs back two or three. Plus, the flash means this can be leveraged both as an offensive option to recover sacrificed resources and as a defensive one to rebuild after a wipe. It's also far less likely to break the game than Second Sunrise and its sibling, which is always a plus. This was a strong contender for the winner's circle that just barely got edged out, but don't go thinking for a second that it's not great.

@tavi-en-astra — The Apathy from RWBY

A horrifying sight, to be sure, not least because of how effective this is at slowing the game down. That certainly fits something called "The Apathy" like a glove, though I can't say I'm particularly happy about it. The decision to give it 1 toughness is smart, just because its toughness is in practice far higher than whatever is printed on the card. The squad cost does strike me as far too low here, though. The lowest mana cost for squad we've seen so far is 2, and given how good the returns are on multiples of these, I would say 2 at minimum would be more than justified. The effect being split across multiple bodies also makes removing it with anything short of a boardwipe a pain, which is even more of an issue when the decks that would struggle against this the most are unlikely to be packing many boardwipes for fear of hitting their own guys.

@thetabbybadger — Treasured Nug from the Dragon Age series

As much as I want to love this adorable little guy, and believe me, I do, I think it's unfortunately just too weak. With its starting stats, you'd have to sacrifice two Foods a turn just to give it a reasonable statline, which is likely unfeasible. Also, I'm not sure if this is intentional or not, but the effect excludes any nontoken Foods like Three Bowls of Porridge, which feels like an unnecessary restriction even if the trigger was stronger. A better baseline stat spread and/or changing the trigger to give counters would help a lot. I do love the direction here, though! Tacking a bit of life onto every food sacrifice is a great way to play into what foods already do.

@walker-of-the-yellow-path — Imperfect Swordsmachine from Ultrakill

Blood tokens serve as a great companion for Ultrakill's bloodthirsty robots, but that also highlights a sore point of missed potential. From my knowledge of the game, these robots are quite literally fueled by blood, which presents a perfect opportunity to explore how creatures can interact with blood tokens, and simply making on one hit doesn't quite accomplish that. It's a perfectly good card, if a bit on the weak side—especially for a creature that wants to wade into combat as often as possible—but making a creature designed to fill in the gaps of the world rather than sell it feels like a bit of a lowball.

Thank you once again for all your entries! @spooky-bard

#mtg #magic the gathering #custom magic card #inventor's fair #commentary #npc contest

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strangerthings4theories · 4 years ago

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The Demogorgon Is Billy’s Dark Reflection

At first glance, the Demogorgon seems irrelevant to the question of whether or not Billy’s coming back. But as I aim to prove, it has everything to do with it.

Stranger Things deals heavily in the theme of reflections and opposites. Characters are designed to mirror each other, embody the opposite of each other, and sometimes both at once. Hell, the Upside Down is presented as a reflection of the real world. Literally.

(Damn. They ain’t subtle.)

By the term “dark reflection,” I mean a relationship like that between the Upside Down and the real world. The two are almost exact copies; the Upside Down has all the same landmarks, down to Will’s fort in the woods. But the Upside Down has been corrupted by the Mind Flayer, its inhabitants turned into unthinking monsters.

It’s like us. But it’s everything we hate about ourselves, everything we’re afraid of becoming.

When we probe relationships between characters, we find that pattern replicated across the board. I don’t have room to explore it in full here. However, Billy and the Demogorgon are one of the most obvious examples.

With the exception of El, the main character of the show, no one else has been compared to the Demogorgon like Billy has.

>>Billy fills the “monster” role in S3 that the Demogorgon filled in S1.

In S1, the Demogorgon stalks the inhabitants of Hawkins, kidnapping and killing them. In S2, we find out Demogorgons do not act alone, but are the puppets of a greater monster: the Mind Flayer.

In S3, the Mind Flayer possesses Billy, turning him into His puppet. Billy then stalks the inhabitants of Hawkins, kidnapping and taking them to his master, which ultimately results in their deaths.

In S3, the Demogorgon wears a human face.

>>Like the Demogorgon, Billy is the puppet of a greater monster... even before he’s possessed.

Max tells us as much in Runaway Max when she’s watching Billy beat the life out of Steve:

I remembered how it had felt the first time I’d watched the Hargroves in action. Neil standing over Billy with the belt in his hand. Neil calling me a stupid little girl for having the guts to try to stop him. Making it so clear that he thought I was small and weak and pointless. And knowing Neil believed that still wasn’t as bad as the way Billy had hated me for trying to help him. He was damaged. Broken, maybe. And even if he’d been coherent enough to argue with, it wouldn’t make a difference. I understood now that Neil was in his head, and that meant he was just as dangerous as his father. (p 218)

This implies not only that Billy is the Demogorgon, but also that Neil is the Mind Flayer. The ramifications of that idea are... oof. Just oof.

Remember the definition of “dark reflection” that I gave you. A dark reflection is something that’s like us, but represents what we hate or fear most about ourselves.

The Demogorgon is Billy’s dark reflection because it represents his fear of losing his humanity to an abuser.

>>Runaway Max draws on the grossest scene in S2 to give us a Billy/Demogorgon parallel.

In S2, Dustin finds a baby Demogorgon and names it D’Artagnan. At first Dart seems harmless. Then he molts and, in a scene I hate to watch, eats Dustin’s cat.

Keep in mind that Dustin’s cat is orange.

In Runaway Max, Billy seems harmless at first. Then, in a flashback to California, we’re told of the day Billy “molts.”

One afternoon, he’s hanging out with Max and his buddies Wayne and Sid on the scrubby hill behind the Hargrove house. He’s bored and pissed at Sid for besting him on a history paper. Pulling out his lighter, he starts playing with it.

We learn there’s a corpse of a cat nearby:

There was a dead cat that had been lying under one of the sweet pea bushes for a while. A mangy orange tom with one white foot. (p 63)

Billy stalks over to it with his lighter. In a “hard, bright” voice, he talks about giving the cat a “Viking funeral.” Then, over Max and Sid’s protests, he drenches the corpse in butane and lights it on fire. The flames race down the hill, and the others have to stomp them out before they spiral out of control.

Max notes Billy’s reaction:

Billy just watched, standing over the burning cat, smiling that small, tight smile he got when something seemed funny to him....

After that, I knew.

Not that Billy was crazy or out of control, exactly - it wasn’t like the cat had been alive. But the fact that he’d done it meant something. (p 67)

Yeah, this scene means something, alright. Symbolically, Billy - a baby Demogorgon - has just eaten a cat. And, like Dustin with Dart, Max realizes he’s a monster in the making.

>>The show’s plot and cinematography choices emphasize the Billy/Demogorgon connection.

1) El first meets them in the Void. They’re both crouching, and literally or symbolically feasting, as she approaches from the right.

2) They stalk after the kids, shoulders hunched. In the Demogorgon’s case, the kids are trapped. In Billy’s case, he thinks he’s trapping the kids, but they turn the tables on him.

3) When the Demogorgon is activated, a crack rips through the tile wall of the lab. When Billy is activated, we see cracked tiles on the wall behind him.

4) El pins them against the wall with her powers. Then she screams in their faces before she deals the “death blow.” In the climactic shot, she’s on the left, they’re on the right. Mike and/or her friends are behind her.

All of that ^ is the equivalent of the Duffers banging pots and pans. “Hey guys! Billy is like the Demogorgon! The Demogorgon is like Billy!” When I first noticed it, it told me to look for other examples of “mirroring.” Do we get any other shots that juxtapose the two?

Turns out we do. Oh my god, we do.

Study this pair of shots very, very carefully.

In the first, the Demogorgon is approaching the Byers' house. It's in the center of the frame, moving straight toward us. We see woods in the background; a lamp post is on the left side.

In the second, Billy is running away from the sauna. He's in the center of the frame, moving directly away from us. We see woods in the background; a lamp post is on the right side.

I’ve already talked about how the Upside Down is the deep sea. However, it is ALSO the woods. In fairytales, the woods are a place of mystery and monsters. Some of the most famous tales happen there, such as Little Red Riding Hood and Hansel and Gretel. (If you want to read more about this topic, here’s a Wikipedia article to get you started. Also a cool article on Medium)

With that in mind, we can describe this pair of shots as follows:

In the first, the Demogorgon is emerging from the Upside Down.

In the second, Billy is going to the Upside Down.

Interesting, right? Ah, but that’s only half of the story.

Study this pair now and tell me what you see.

Yep... they’re related.

In the second shot, Billy is swimming into the ocean. It’s the last glimpse we have of his young, happy self before the Mind Flayer kills him. He’s in the center of the frame, moving directly away from us, just like the first shot.

With that in mind, we could say...

In the first, he’s going to the Upside Down in its ‘woods’ manifestation.

In the second - OUR LAST GLIMPSE OF YOUNG BILLY BEFORE HE DIES - he’s going to the Upside Down in its ‘ocean’ manifestation.

Interesting how we've only seen him leave. Yet we have this iconic image of the Demogorgon, his “dark reflection,” emerging from the Upside Down and coming to us.

I have a spooky vibe, y'all, that we're missing a final shot.

And we're going to see Billy...

coming to us...

from the water.

I have so much more to unpack here, but this post has gone on long enough! In future posts, I’ll lay out more evidence suggesting Billy will return from the water. I’ll also explore the mythological implications. They’re mind-blowing :3

»»————-　✼　————-««

P.S. I mentioned El has a unique relationship to the Demogorgon too. I’ll try to explain that eventually~~

»»————-　✼　————-««

The “Billy Is Alive” Meta Series (So Far)

Billy Is Not a ‘B’ Character In Stranger Things

The First Rule of Analyzing Stranger Things: The Upside Down Is Symbolized By Water

The Lifeguard And The Rip Current: Our First Big Hint That Billy Is Alive

Why Haven’t We Seen Dacre On Set?

Frequently Asked Questions

For updates, follow the hashtag #billy is alive meta

#billy hargrove #the demogorgon #stranger things #billy hargrove is alive #stranger things theory #stranger things 2 #stranger things 3 #stranger things 4 #stranger things meta #stranger things analysis #billy hargrove meta #billy is alive meta #ohbillyboy #the upside down #el hopper #eleven hopper #dark reflections

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cyoc49 · 4 years ago

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Golly, Archie!

[Based on an inbox request sent to me by @tfkinky ]

Hiram Lodge stood in front of the mirror and adjusted his tie. Today, as with every day, he looked his best and most professional. The crisp black dress shirt wrapped around his powerful chest, his strong arms were hugged by a deep blue suit coat, and a matching tie perfectly pulled the look together. His eyebrows were neatly shaped. His hair... not a strand out of place. He radiated power, and for a good reason: Hiram Lodge basically owned Riverdale.

He was close to literally owning Riverdale, but he had two items left on his to-do list: Archie Andrews and Jughead Jones. At his every chance to claim total control, those two thugs somehow managed to thwart his plans at the last second. If he could get rid of them, nothing would stop him.

And as it turned out, there might be a way to get rid of them.

In a particular moment of desperation, Hiram had made his way to a local witches’ coven. There, he had learned an interesting fact: there was an alternate version of Riverdale in a local parallel universe. One where life was very, very different.

After a series of shady deals with the witches, Hiram was taught a spell which could be used to completely rewrite the reality of an individual and slip them into this alternate universe. Only in his case, it would be two individuals.

Now, Hiram walked over to his desk. He had drawn a pentagram and lit candles as instructed by the witches, and spread out in the middle were pages from a 1950’s comic, showing teenagers living in the time period. On top of the comic pages were two photos: one of Archie, and one of Jughead. Hiram made small cuts in each of his palms, and held them palms-down over the photos. As his blood dripped onto the setup, Hiram chanted:

Little boys who think they’re cool.

Hot shots, now made into fools.

No longer swear, no longer act mean.

Learn to say golly, nifty, and keen.

Slick your hair and dance the jive.

Welcome to 1955.

With each word, the photos began to warp and shake as if they were water. Slowly the photos began to almost melt into the comic, until they disappeared from the table completely. Instead, the comics now featured two new characters: goofy looking 50’s versions of his former foes. The candles blew out.

Hiram smiled to himself. What fun they’ll have

Archie wiped sweat off his brow. He had been mowing lawns and trimming hedges all day. In an effort to make some extra cash on the side he had started his own lawn care service for the good people of Riverdale. It was tough work, but the money was nice. And he got to walk around shirtless all day, which was a nice plus.

As he threw down another bag of clippings, Archie heard a voice in his head.

“You’re a good boy, Archie.”

Archie paused. He looked around. There was nobody else on the street right now. Had he imagined that? He shook his head and went back to work.

... but even as he worked, Archie couldn’t stop thinking of that little voice. The phrase “good boy” stuck with him, and bounced around in his head like a lone thought running free. Archie had never considered himself one of those goody two-shoes guys. Given everything that happened in this town, everyone had to have a bit of dirt on on their hands. But what if he didn’t? What if he had the chance to do better, wash his hands off and dedicate his life to being a good son and a good member of the community. Well, gosh, wouldn’t that be something?

Before these thoughts went any further, Archie snapped back into the moment. It was a nice idea, but this was his life.

“You’re a well-behaved, well-mannered boy.”

He hear the voice from nowhere again, and this time it sounded even more persuasive. Unconsciously, Archie shifted his back and stood straight, rigid as a board. It was like second nature - without thinking, Archie knew to look upright and presentable at all times. After all, that was the way any well-behaved boy should act.

And as he shifted into a proper posture, he felt a wave of Euphoria was over himself. Standing tall allowed him to push out his chest and show off his arms, after all. He smiled a wide, wide smile. Acting in this way, being a good boy, it made him feel indescribably happy... and also a bit horny. There was a strange feeling bubbling inside of him, growing stronger with every second. A feeling of peppiness, and perkiness. Archie knew it was right to help people. Gosh, that’s what good guys do, right? That’s why I’m mowing my neighbors lawns for free, Archie thought to himself. But no - that’s not right. No, I’m trying to make money... aren’t I? Archie felt confused, like his truth was being clouded and replaced by a new preppy reality that was only getting more intense. Golly, how much farther could this go?

“You have sharp dress style.”

With those words, the few clothes Archie was wearing flew off his body. He immediately moved to cover himself up, until the wave of preppy euphoria relaxed him again. He didn’t really miss his old clothes that much. Sloppy jeans and t shirts? And he had the audacity to walk around shirtless? Unacceptable, Archie thought to himself. I can’t look sloppy, I’m 18 for Pete’s sake! I should be dressed to the nines at all times!

The universe seemed to comply with Archie’s new thoughts as a fresh set of clothes wrapped themselves around him. 1950’s style tighty whities slip up and covered his private areas, nicely cupping his sizeable package and perfectly outlining his firm, round buttocks. The waist band went up to his high waist in that classic 50’s style, a style that Archie was coming to think of as his own.

A white dress shirt appeared next, buttoning itself up to the very top button. The shirt was tight against Archie’s beefcake body, and the outline of his pecs and arms could be seen through the shirt, a feeling Archie didn’t mind. The shirt had a small polka dot pattern on it, but of course it did. Archie loved fun patterns on his clothes! Sometimes he wore multiple bright patterns just to feel extra nifty.

Today was one of those days, apparently, as wool dress slacks with a plaid pattern slid up Archie’s thick legs, coming to rest at his high waist. Through the pants the outline of his full buttocks could be seen. The shirt tucked itself into his pants. As if I would ever go anywhere with my shirt untucked! Archie wanted to guffaw at the thought!

A plaid green bow tie wrapped itself around Archie’s neck into a perfect bow (Archie had mastered the art of tying a bow tie many years ago. He hardly left the house without one). As it locked into place, the wide smile on Archie’s face got wider. He felt absolutely giddy in these clothes. Golly, he loved to dress crisp like this! It made him feel real boss.

Pristine white dress socks rolled up his feet, and wingtip loafers wrapped around them. The shoes were brown leather, so perfectly polished that Archie could see his reflection in them. He polished his shoes every night, he liked to keep them looking a spiffy as possible. A matching brown leather belt, just as polished, cinched his waist, further defining his beefy build.

Over the top of the whole ensemble, a knit sweater vest appeared, in a deep blue. Emblazoned on the front was a gold “R” - for Riverdale High, of course! Archie loved his school and had a number of sweater vests, sweaters, ties, caps, and other pieces of merchandise for the school. He loved to incorporate them into his look - Riverdale’s quarterback should show his school pride, after all!

“You look clean-cut and presentable at all times.”

Archie’s hair ruffled as gel began to flow through it and lock it in a slicked back position. His signature red locks now looked like a plastic helmet on top of his head, perfectly styled into a neat all-American side part (the way every man’s hair should look!), and lightened until it was almost a cartoonish orange.

Archie’s bushy eyebrows slimmed out, taking on a clean styled look, and the pores on his face vanished. Archie how had an impossibly clear and bright complexion, aside from a smattering of freckles across his checks. His teeth straightened into a perfect row. His eyes shined a bright blue, even if his gaze was now a bit mindless.

Archie’s look had totally transformed. He no longer looked like the tough jock he was before. He now dressed like a total square. But Archie didn’t care, he thought his dress style was neato! An artificial perfection settled over his whole look, locking Archie in plasticine preppiness.

Archie rubbed his new clothes. Gosh, he enjoyed the feeling of them so much. As his fingers circled his chest, he heard several more words from the voice, only now he willingly welcomed them:

“You obey your parents, Archie.”

“You follow all orders you’re given.”

“You always hold the door open for those behind you.”

“You’d never do something without asking first.”

“You always say ‘please’ and ‘thank you’.”

“You are a good boy, Archie.”

With every command that rang through his vacant head, Archie’s wide smile only got wider. The perky feeling was growing. It wasn’t just in his stomach, it had spread through his arms and legs, into his fingers and toes and into every hair on his head. On a molecular level, Archie felt like a keen all-American teen. A swell guy who helped old ladies cross the street, always had dates home by 10PM sharp, and ended nearly every sentence with “sir” or “ma’am” when talking to an adult.

Archie’s connection to this Riverdale was fading. The squeaky clean school boy now had little in common with the unforgiving town he had grown up in. Instead, he was coming into alignment with the other Riverdale, the one where wholesome American values had never gone out of style. His memories had also shifted from the old Riverdale to the new, as he only ever remembered the 1950’s haven as his home.

But there was so much to do there! Heading to the malt shop! Going to sock hops with Betty and Ronnie! Listening to records! Gee whiz, Archie enjoyed his Riverdale life so much, he wanted to be there right now!

“Archie, it’s time to go home.”

For a brief second, Archie’s head spun as the world flashed and shifted around him.

Only for a brief second, though. After that, it was back to the setting Archie knew and loved. Technicolor houses, white picket fences. Children playing in the street. Home. Archie sighed and smiled. He was at peace here.

Suddenly, Archie remembered his plans for the day. He was going to pick up Veronica and take her to Pop’s. Without missing a beat, Archie ran to Veronica’s house. His knock on the door was answered by this Riverdale’s version of Veronica, sporting a prim blouse and skirt, with bobbed hair.

“Hiya, Ronnie!” Archie exclaimed with a wide grin.

“Hey there, Archiekins!” Veronica pulled Archie into a hug.

The two embraced for a moment and looked at each other sweetly. It was puppy love, plain and simple. Archie always wanted a girl to be sweet for, and Ronnie was the right one for him. And if he was lucky, they might get to play some backseat bingo in his station wagon later.

“Ready to go, sweetie?” Archie asked. Veronica responded with a nod, and the two made their way to Pop’s to split a sundae. Another perfect Riverdale day!

———————————————————————

Jughead paced the floor of his dad’s trailer. He’d been tipped off by a connection on the outskirts of town that Hiram Lodge had been seen paying a visit to the local coven. That could only mean he was up to trouble. Jughead had been trying to contact Archie all day, but his friend had seemingly gone off the grid. Jughead was getting concerned that it wasn’t a coincidence. If Hiram was resorting to black magic, Jughead had no idea what to expect or how to respond. As much research as he did, that was one area he did not mess with.

But now Jughead felt like he was at the end of his line. Hiram had tried multiple times to take him and Archie out, and if he had finally figured out a way, Riverdale was doomed.

He had to contact the witches. That was the only way, Jughead decided. He would drive out there and convince them to undo whatever Hiram had them do. He would beg, make them see that the safety of Riverdale was on the line. It wasn’t his best plan, but it would have to work. It would have to.

Jughead picked up his keys, but dropped them again just as quickly after a booming voice echoed inside his head.

“You’re a good boy, Jughead.”

He couldn’t move. He knew this was the end. But even scarier than the absolute terror he was feeling in the face of defeat, was the fact that those feelings of terror were disappearing. As much as he didn’t want to listen to the voice, the phrase “good boy” just refused to go away. It comforted him, the idea of giving in. Jughead had worked for so long to be a total nonconformist, and yet in this moment he wanted nothing more than to just fit on. Be one of the boys.

Jughead was terrified by the thoughts he heard and felt. He was fighting to hold on to his consciousness, but it was quickly becoming a losing battle.

“You’re a goofy, fun-loving guy.”

Jughead chuckled. He sure did feel that way sometimes. All throughout high school he had been a class clown, always making light of the situation. It was just his way of seeing the world. He liked to make people laugh, but nobody laughed louder than he did at himself.

“You are always dressed in a clean, respectable fashion.”

Jughead’s denim jacket and flannel disappeared from his body. Jughead didn’t mind too much. He wasn’t the kind of guy to dress to the nines, but he did think that every young guy should know how to dress. Jughead kept it simple, but he kept it clean.

To highlight this point, a blue turtleneck sweater popped up around his slender frame, leaving him feeling very comfortable.

White briefs wrapped up his nether regions like a Christmas present, and black dress slacks covered the top of them. The pants were freshly ironed, with visible pleats down the front. Jughead always wore clean clothes!

White tube socks rolled up his legs, and over the top of them came a fresh pair of Chuck Taylor All Stars. Jughead sighed with relief as he wriggled his toes around inside the shoes. Nothing made him feel more boss than a pair of Chucks.

On top of his head, Jughead’s beanie had reformed as a paper crown, his trademark accessory. Jughead didn’t know how he had started wearing it or why he still did, but it sure was fun! And it matched his goofy personality well.

“Your appearance is just as well groomed as your clothes.”

Jughead’s long, unkempt hair was pulled to the side and perfectly groomed into a side part, shortening down in the process to a fresh cut. His teeth whitened and his skin cleared up, just as it had for Archie. Jughead now looked like a perfect model for a Normal Rockwell painting.

Jughead loved the way he looked. This was who he was: just one of the guys, always ready to join in on plans, but never looking to stand out. He was a lovable goofball, and he wore his reputation with pride.

Jughead stood in place, enjoying the feel of his new getup, as more commands piled into his head.

“You love to eat.”

Food was one thing he couldn’t get enough of. He often had multiple hamburgers at Pop’s, and always had snacks no matter where he went.

Jughead let out a low burp. His stomach rumbled, then expanded under his sweater, reflecting his new big eater tendencies. Jughead enjoyed his little pot belly. He chuckled thinking about it.

“You love to laugh.”

And as he did, his chuckle turned into a full-bellied laugh, sending waves of joy throughout his body. His laugh began to take on a honking quality as the tip of his nose expanded to a bulbous shape.

“You are slow-witted, but keen and well-mannered.”

The light behind Jughead’s eyes faded. His journalistic wit and hard-hitting problem solving skills were gone. As Jughead’s goofy personality took over, he felt his care for school and work disappear. He didn’t like to try too hard, raised people’s expectations of him too much. And besides, that school stuff was so hard. Why not take life easy?

“You love to joke, dance, and do other fun-loving, innocent teenage activities.”

Jughead smiled as he remembered his Riverdale. A town where all his best pals were, and where he got to enjoy his neighborhood and all the pleasant people within. It made Jughead happy to think of his Riverdale. He never had to try hard there. Eating burgers and drinking shakes were his highest priorities. The most work he did was cracking a joke in response to Archie’s latest goof.

Jughead kept thinking about his town and how swell he felt when he was there, and realized he wanted nothing more than to be back. Back in his 1950’s home.

With perfect timing, the final command came.

“Time to go home, Jughead.”

Jughead spun, and so did the world. Then, half a second later, everything was back to normal. He was at home, in the suburbia of good ol’ Riverdale. The sun was shining high and proud, and for the 782nd day in a row there was not a cloud in the sky. Jughead knew this was where he belonged.

And just his luck. Across the street was none other than his best pal Archie Andrews! Archie was with Veronica, but was grinning ear-to-ear as he saw Jughead, and Jughead felt the same way as he saw his buddy. Jughead ran across the street to join them (after looking both ways first, of course).

“Howdy Jug! Boy, you have no idea how glad I am to see you!” Archie exclaimed.

“Right back at ya, Archie! Gosh, I’ve been looking for you all over!”

The two pals exchanged perfect white smiles, filled to the brim with glee. What could be better than life in Riverdale, with good buds and great manners?

Archie opened his mouth again “Hey Jug, Ronnie and I were about to go to Pop’s. Wanna tag along?”

“Golly, Archie! You know I can’t say no to Pop’s!”

The three friends all laughed in unison. They turned and began to walk down the street. The sun was shining on another perfect Riverdale day, and it was only noon! Who knew what kind of wacky adventures they could get in today?

TWO WEEKS LATER

Hiram sat and enjoyed a celebratory glass of wine. It had taken several nights of hard bargaining with Mayor McCoy to get what he wanted, but after pointing out the town’s high crime rate and lack of development (and also after making a few “charitable donations”), Hiram got what he finally wanted: ownership of Riverdale. He now truly felt on top of the world.

“This morning’s paper, sir.”

Hiram turned his head to watch as Smithers, the Lodge family’s long time assistant, came in to the room. Hiram thanked Smithers as he left a copy of the morning’s Riverdale Registrar on the table. Hiram truly didn’t care about most of the tat in that paper, even though he was technically it’s owner. But he flipped through, looking for one section that he had recently insisted they add.

“Bingo!” Hiram found what he was looking for as he flipped to the comics page. There at the top was a full-color page of comics labeled Archie and Friends. In today’s installment, Archie (clad in the most garish red bow tie Hiram had ever seen) was helping the neighbor’s kid find his model plane, before being tricked and falling into a swimming pool. Hiram found himself laughing. Archie had always been a gullible fool, it was nice to see that reflected in his new persona. And there right next to him was Jughead, laughing along and eating a sandwich.

Hiram enjoyed seeing what his two former nemeses were up to. He now had a copy of the Registrar delivered to his office every day so he could observe their ridiculously corny adventures. His eyes rolled along the page, looking at the various scenarios the boys found themselves in.

His eyes stopped at the end of the page where the strip had introduced a new character, and older gentleman in a waistcoat with slicked back hair.

And his blood froze as he saw Archie call this new character “Mr. Lodge”.

...Coincidence, surely? There was a Veronica in the strip, so maybe this Mr. Lodge was just her alternate universe father. Why on earth would he be in the strip?

Then, Hiram knew exactly why. In order to convince the witches to hand over their secrets, Hiram had promised to grant the witches legal ownership of their coven’s land, as it was within town limits. Hiram had of course told them what they wanted to hear, but in his legal proceedings earlier that day, he had laid out plans to turn the woodland containing the coven into a tourist lodge.

And somehow, they had found out.

Hiram maintained his composure, even as panic rose inside him. He had faced tougher foes before, and he wasn’t about to let a group of hokey witches take him down. He just had to think of what to do.

Only it was becoming terribly hard for Hiram to think, because a new voice was speaking to him:

“You’re a good boy, Hiram.”

#preppy #preppy tf #preppytf #stepfordization #bowtie #sweater vest #riverdale #archie andrews #Jughead #riverdale tf #suitandtie #suittf #suit tf

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itsclydebitches · 4 years ago

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RWBY Recaps: Volume 8 “Risk”

Welcome back, everyone! I have a lot of mixed, complicated feelings about today's episode and I'm already sure this recap will miss a great deal that should be said. There's a lot to digest, we need some time to do that, so until things have settled I think that the one, entirely confident claim I can make here is that our writers weren't BSing the fandom on twitter. The last few days have seen a number of big claims made regarding "Risk" —

— and whatever else we might have to say about the episode, it certainly delivered in terms of shocking content. From confessions to reveals to a new plan in place, there's a lot to unpack.

So let's get started.

Our first shot is a problem.

I don't want it to be! But I've got to work with what I've got. We open on Salem's flying monkeys — or gorillas, if we're being technical — and my immediate thought is where in the world they came from. I mean, obviously I know where. We ended Volume 6 with the post-credit scene of Salem adding wings to an army of Beringels, Hazel commenting that she'll lead the invasion herself. When Salem arrived at the end of Volume 7 and we picked up where we'd left off in Volume 8, the fandom was obviously expecting an attack led primarily by flying, transformed grimm. That didn't happen. For ten episodes the plot forgot that the Beringels existed, focusing instead of the Hound, the grimm soup, then the Whale, then the ground grimm the Whale was producing. Months back I encountered a number of posts asking, "What happened to the resource we know Salem brought to this fight?" and those questions are partly what inspired the "Introducing new grimm that are then quickly abandoned" spot on the bingo board. Now, suddenly, the Beringels have re-appeared and that is a good thing. Though it's too little, too late, as is so often the case with RWBY. Getting something you expect has a sour taste when it arrives months past when it was needed, especially when that something only exists for a second on screen.

This is doubly true given that we saw Oscar eliminate the grimm last episode.

At least, I thought he had? Pretty much everyone I've spoken to thought he had. This last week's discussions have centered around RWBY nerfing the stakes, taking out a whole army of grimm in one, magical blast. That's far from great. Yet now we see that we were apparently wrong. Atlas remains overrun with grimm, this problem remains a problem... so, yay? But we're once left with a tradeoff. RWBY has no longer eliminated the stakes with a deus ex machina as we had originally thought, but in its place we're left with a badly executed scene last episode and an assumed problem that is "fixed" with an enemy we should have been dealing with since the start of the volume. The road to the Beringels has been messy indeed and all they've done so far is fly across the screen.

Which reminds me: if this army of grimm still exists — and absolutely existed prior to Oscar's blast — how come not a single one is attacking the Schnee manor? This opening is in Atlas, the skies are overrun, we've seen a few grimm show up to help out the Hound, yet miraculously nothing bothers the group while they freak out at the dining table, or freak out as Penny tries to leave. That's a whole lot of grimm and a whole lot of negativity... yet somehow these two things never meet in a way that would inconvenience our characters. While from a writing standpoint I can understand not wanting to interrupt all these conversations and feel good moments, the show can't simply ignore the rules of its world whenever it's convenient. If anything, given that Atlas' population is currently hidden beneath the city, Schnee manor should be even more of a hot-spot than it normally would be. There is one (1) group of people out in the open for them to target.

Yeah, we're a single shot into this episode. It's a doozy.

Moving right along, those Atlas citizens (and, let's not forget, a large number of Mantle evacuees too) are still huddled in the tunnels, listening to Ironwood's insane broadcast. They're obviously terrified, as are those down in Mantle who are staring execution in the face. Fiona bursts into tears.

It makes me wonder why we didn't get the airship subplot now. As I've mentioned extensively in the past, that decision didn't make much sense and I think the writers knew it didn't make much sense because they chose not to reveal what Ruby and co. planned to do with the citizens once they were on board. The point was never to come up with a feasible plan, something the audience would put to the test, but rather to just make it seem like the group was doing something Smart and Heroic before Ironwood inevitably derailed it. Don't look too closely at the man behind the curtain. Normally, I'd comment that yes, it's damn hard to come up with a brilliant plan to save others in a situation like this — our characters can only be as smart as our authors! — yet that sympathy dissipates when we hit this episode and are given a scenario where airships would have been great. Ironwood has threatened to nuke Mantle. Suddenly, it is imperative that the civilians leave the safety of the crater as soon as possible (whereas before it was not). So Whitley remembers that they have access to these ships and the group hatches a plan to sneak them down while Ironwood is distracted, get everyone up into Atlas so he can't use Mantle as a bargaining chip anymore. Then they're spotted, the plan revealed, and Ironwood shoots their ships down, leaving them devastated that their attempt to help the citizens has literally gone up in flames. We're still left with the problem of why Ironwood wouldn't just allow a continued evacuation now that Salem is briefly out of the mix and the Schnees have provided extra resources — the writing really took a sledgehammer to his characterization — but the group trying to get people to Atlas to avoid death by bomb at least makes more sense than them trying to move the citizens to an undisclosed location, for unestablished reasons, when they were already relatively safe. The bomb is what makes those airships a necessity.

It really makes me wonder how much editing goes on and how much time the writers have before they finalize scripts.

Regardless, we cut from terrified people to Ironwood himself, accompanied by Winter. The animation has some nice parallels going on here, what with the same black, white, and blue color scheme, hands behind their backs, the need for robotic accommodations, and steps perfectly in synch. As we're about to see though, Winter is very good at looking the part of a loyal soldier while actually bending the rules.

However, are we really going to ignore that she betrayed Ironwood last episode? Betrayal from his perspective, that is. Winter was given a direct order, disobeyed that order, pissed off Harriet in the process, and wasn't able to give a good explanation for her actions — she was too busy being creeped out by Ironwood's reaction. For all intents and purposes she should be considered disloyal right now. Or at least under suspicion, yet Ironwood acts as if everything is fine. We've skipped over any meaningful fallout between them, or a reason why Ironwood would dismiss her betrayal. This ties into something I'll bring up later in the episode: namely, that RWBY introduces too much too quickly and doesn't have time to satisfyingly tackle — or tackle at all — the plot points they've introduced, simply because there's always a new one to focus on. We dropped the "Winter went against Ironwood at great personal risk" plotline to make room for the new "Ironwood has randomly threatened Mantle" plotline, which likewise doesn't do Ironwood's characterization any favors. I don't just mean the obvious "Omg he's willing to murder a whole city now" issue. Ironwood used to be smart, yet his unfounded trust in others makes him look foolish now: first trusting Watts, now Winter. Alongside that, the story and fandom have both pushed the idea that Ironwood is paranoid, yet that "paranoia" has only ever been attached to justified threats. If he were actually paranoid then Winter's actions would have caused him to mistrust all of the Ace Ops now, labeling everyone near him a disloyal enemy, despite evidence to the contrary (especially when it comes to Harriet). Yet across two volumes Ironwood has continually been "paranoid" only in regards to things like Cinder and Salem — proven threats — while simultaneously trusting known villains and ignoring when his subordinates straight up say, "She let our enemies go free." There’s little rhyme or reason to any of his decisions here.

Still! A nice, meaningful shot lol.

As Ironwood and Winter get closer we see the Ace Ops discussing the threat. "Of course he's not going to do it," to which Marrow pushes back with, "So what? He's bluffing with a whole city?" This is a really, really important moment that I don't think the writers realize is important. See, everyone is shocked when Ironwood reveals that he intends to go through with the threat. The Ace Ops, Winter, Robyn, our heroes... everyone grapples with the idea that this is actually happening. Everyone has some moment of, "It's just a bluff, yeah?" and I don't think that's just denial. The characters' shock tells us that Ironwood normally wouldn't be a man who'd do something like this. Ever. That shock has to stem from something, such as an ingrained understanding that Ironwood is a protector, not a murderer. Note the difference between the fandom and the characters' reactions. Whereas a good chunk of the fandom went, "Of course Ironwood means it. We all saw this coming! Remember how he..." and then proceed to list various things — persuasive or otherwise — that prove he was always a bad guy in the making. Yet no one in the RWBY world is inclined to use those moments as evidence. Winter doesn't go, "He's not bluffing. I saw him shoot the councilman just for speaking up" and the Ace Ops don't go, "Oh, he'll do it. This is the man who destroyed his arm to take down Watts. He'll stop at nothing." After everything they've seen — the same things we've seen — there's still some instinctual, nebulous knowledge that goes, "No. Ironwood wouldn't. He's one of the good guys." We can certainly talk about real life people getting swept up in horrible institutions, unwilling to admit how bad things actually are until they hit a specific line they can't cross... but I think this is less a comment on some sort of bystander effect (RWBY isn't that deliberately nuanced lol) and more an unintentional acknowledgement that until the very sudden and entirely unexpected shooting of Oscar, Ironwood actually wouldn't have done this. The Ace Ops are reacting to a man who absolutely existed until the writing erased him and they believe the core of that man still exists. To my mind, he should, but because our show can't actually have Salem as the main villain right now, she's conveniently blown up and Ironwood takes her place.

So we've got some loaded implications there, as well as Vine's comment that he hopes "the kids" see sense now. I am begging RWBY to pick a lane already. Are they kids, or are they adults? Because that answer makes a big difference and we can't continue to have it both ways.

Ironwood and Winter arrive were Ironwood orders that she prep drones with the "payload." That's the moment Winter and the others realize he's serious. Cue that shock all around. The revelation is the last straw for Marrow, prompting him to start yelling some excellent points about how Ironwood is doing Salem's job for her. See, this accusation works. Telling a guy threatening to blow up a city that he's as bad as their villain is accurate. Having Oscar tell that same guy that he's as bad as their villain because he wants to save a city full of people... is ridiculous. Totally different setup here and RWBY got it right this time. The only line that didn't work for me was Marrow asking the Ace Ops if they believe in anything. Uh... yeah. They believe in saving Atlas + all the Mantle evacuees they got. That's pretty well established. I swear, most RWBY speeches are padded with generic, heroic-sounding lines that don't actually mean anything, or are outright falsehoods we’re meant to ignore.

We'll see more of that with renora.

Marrow attempts to leave and his eyes go wide as he hears the click of Ironwood's gun. Remember I said that Winter is good at playing the obedient soldier? It's after Ironwood aims that she tackles Marrow.

On the surface it looks only like she violently disarmed him, but in reality she got him out of the bullet's path and kept Ironwood from firing at all. She saved his life, choosing to play up how she'll “take this traitor to the brig” where he belongs, rather than watching him die. A really nice moment in terms of strategy and one of the few lately where I've actually felt like I'm watching smart characters.

However, I cannot deny the uncomfortable implications in this scene. Smart or not, necessary or not, it hasn't escaped anyone's notice that one of our darkest characters was a) nearly killed by a white man and b) beat up by a white woman. To say nothing of Marrow's status as a faunus. I was cringing during his line about loyalty: “I used to wear this rank with pride. Now I see it for what it really is: a collar."

Honestly, I don't have the qualifications to unpack all that, so let's just acknowledge that the scene, while good in some respects, was massively insulting in others. I’ll let others in the fandom defend or damn it as they see fit.

We get a shot of how shocked the Ace Ops are that they nearly watched their team member get executed for speaking up against a bomb threat. It once again highlight's RWBY's strange depiction of violence and when it's deemed appropriate. Harriet has threatened people a couple of times now — here telling Marrow she'll shut him up herself — yet her reaction tells us that she never would have killed him as Ironwood nearly did. Threats, then, mean little... unless Ironwood is making an exaggerated comment about shooting Qrow. Then it's evidence of evil intent that's bound to come to the surface eventually. So does that mean Harriet will be trying to bomb cities herself someday? If so, it once again leaves our heroes in an awkward position, considering that Ruby started the fight Harriet wouldn't, Weiss stuck her weapon in Whitley's face, etc. If it says something awful that Winter would punch a minority — even to save his life — what does it say about Qrow that he would punch a child in anger? Outside of the easy to label actions like Ironwood's bomb threat and shootings, there exists this gray space that asks, “When are you justified to use violence? When is a threat forgivable?” The problem is, the show keeps coming up with contradictory answers. I bring this up not because Winter's punch or Harriet's threat are the most significant examples of this that we've seen, but because the themes of forgiveness and violence take center stage at the episode's end... and RWBY completely drops the ball. Keep these complications in mind.

Before that though, the group is crowded into the dining room and no matter what else "Risk" might give us, I'm reminded that I really like the design of the Schnee manor. I'm glad the episode found an excuse to show us this room again.

My initial thought upon entering the scene was, "Are we going to talk about Penny's hack? The silver-eyed grimm? Ozpin's return?" and to RWBY's credit it touches on all of these, though I stand by my point about plotlines coming too quickly. Any one of these should have been given the space to grow, not fighting for space against the potential destruction of Mantle. If you don't acknowledge these things in "Risk" you've lost your chance (much like how "Oscar is kidnapped" replaced "Oscar has to deal with Ozpin's return," resulting in a scene where Oscar was just... randomly okay with Ozpin again. We lost the chance to deal with the first conflict introduced because we barreled into the second), yet if you do spend episode time on these issues, it feels like the characters aren't dealing with the immediate threat. Questions of silver eyes, what to do about Penny, and Ozpin's return needed to be given their due before there was an hour time limit resulting in thousands of deaths. Now, you have to wonder why Yang and Ruby are talking about their mother when a city's safety is ticking away. Where were these questions and reassurances years ago?

I think this is why this episode — maybe even this whole volume — simultaneously feels too full and too boring. We're being introduced to lots of Big Things, but then putting them off to focus on other, smaller stuff, and by the time we circle back around it's no longer the right time. We're constantly focusing on the least interesting, least important thing in the room. Why is the group sitting around with their tea when we could have moved the Hound plotline up and started this groundwork earlier? Which means we're doing that work now instead of worrying about Mantle or Penny. All of which is connected to Salem herself being here, yet Ironwood is our villain instead... We're just introducing new idea after new idea, dropping each to focus on something else when the viewer is already emotionally invested in the last conflict. It makes the show feel overly packed with problems we don't have time for while simultaneously having too much time in which the characters do nothing of importance. We're never dealing with these issues at the right time. Talking about a silver-eyed grimm while Salem is here feels like Too Much and having the girls unpack that now, with Mantle’s life on the line, feels like Too Little. Stop sitting around while you've got less than an hour to save half a kingdom! We needed this conversation in a different episode, one not already driven by a problem that’s objectively more important.

But I'm getting ahead of myself. We're in the dining room and the group is listing all the stuff that has gone wrong lately. Blake mentions that Qrow and Robyn are still in custody, because we definitely want Blake remembering that Qrow exists, not one of his nieces. Ruby, meanwhile, is having a meltdown. "So then it's impossible!" she yells, head in her hands.

Emerald sneaks in an insult: “See? If Ms. Hero here with all the answers doesn’t have one..." and the others, of course, jump to Ruby's aid. But Emerald is right! It's entirely Ruby's fault that Atlas didn't get the chance to escape with those they had. Her actions and lack of a plan led to where they are now. I'm not saying she's responsible for Ironwood's insane decisions — that's like saying he's responsible for Qrow's in relation to Clover — but Ruby indeed played the part of the hero who had all the answers... without actually having any answers. Now that things are worse than how they started, her only answer is to say it's all "impossible" and throw up her hands. Ruby is an absolutely terrible leader right now and someone should indeed be calling her out on that, it's just too bad it's Emerald, someone technically still presented as an untrustworthy figure for the next couple of minutes. (More on that later.) Any and every criticism of Ruby is dismissed out of hand. Don't believe Ironwood because he's crazy now. The Ace Ops? His boot lickers. Yang has things to say, but once Ren agrees with her she does a 180. Now Ren is heading towards an extra special apology for daring to doubt Ruby. May calls her out, only to also change her opinion the next episode. Now here's one more person, but she's a bad guy. The show has never once encouraged us to treat these criticisms seriously — never allowed them to stick, let alone lead to change — and at this point I'm done with everyone falling over themselves to absolve and praise Ruby. By making Emerald the criticizer and having Ruby throw herself a pity party, the writing ensures that the conversation goes from, "Yeah. You messed up big time and now have a responsibility to fix things" to "Aww, don't be so hard on yourself! We won't let mean Emerald insult you anymore."

Ruby makes herself the victim here. She gets so upset and acts so defeated that all anyone can do is reassure her. The focus turns towards her, a focus centered around hiding against the table, or cowering on a staircase, so that it feels cruel to call her out on her deadly mistakes when she's so clearly upset. But they still should have, especially since cowering and tears have never protected anyone else from the group's criticism. Ozpin is proof of that.

What I'm getting at is that Ruby runs away. She's faced with the consequences of her actions, is informed she needs to help come up with a solution, and instead of braving that decides it's "impossible" and literally runs from the room. While they're on a time limit. Keep this moment in mind for just a bit longer. These choices become doubly important later.

So Ruby can't handle the responsibility she violently ripped from others and the group goes out of their way to comfort her in this. Especially since the writing again decides to conflate Emerald and Ozpin through a comment of Oscar's, demonstrating that it still has no decent sense of what "responsibility" or "villainous acts" means. These scenes are three years in the making and every step getting here was dogged with problems, so the fact that the end result is a mess isn't exactly surprising.

We (thankfully) leave Ruby for a bit and instead turn to Jaune. He's amplifying Nora's aura, but admits that he can't get the scars to go away. That makes sense. After all, they're scars. His semblance helps people heal, but at this point Nora has already healed. Those scars are the result of that.

She says it was “Just another ditzy move from Nora” and I'm glad we're acknowledging that, even if it is all framed through the lens of Nora being incorrect in that assumption. Once again, the writing continually makes statements about characters, but fails to have their actions reflect that. Nora wanted to do more than just hit things with her hammer without thinking them through... and we showed that by having her hit a door with her hammer without thinking it through. Was it heroic? Absolutely. Did it lead to any growth? No. I'd much rather someone acknowledge that yeah, she did the same thing she always does, but that's not necessarily a bad thing. Nora's impulsivity is a part of her and, given the talk of teammates here, she could have gotten reassurance that she'll always have people around to help her temper those impulses. Instead, we're (again) told that she shouldn't do A anymore, watch her do A anyway, the writing presents it like it’s B, Nora admits that she did A, and everyone rushes to assure her it was actually B. Just let these characters make mistakes for once, especially mistakes made in an effort to help someone. This should be the easiest and kindest way to criticize the group and RWBY can’t even manage that.

Which brings us to Ren. Ren, I am so sorry. You deserved better than this. Nora rips into him, saying, “We were supposed to be a team, but that didn’t matter to you! You shove people out so you don’t have to feel things that are hard!" and again we have RWBY making grand statements that are meaningless. Did Ren keep things bottled up in Volume 7? Yes... and no one tried to help him with that. Instead, Nora decided to bypass his problems completely and try to kiss it better. When that (shockingly) didn't work, Ren was finally forced to open up at Yang's insistence and was abandoned for his perspective. That's what that was, literally and metaphorically: they walked away from him and made it clear that so long as he believes these things, he's not welcome. What were those things? We've made mistakes, Ruby made mistakes, we're not ready for this stuff. That's it! "We were supposed to be a team" makes it sound like Ren betrayed them in the worst possible way, when in reality all he did was acknowledge that they're imperfect and that things are a mess right now. But of course, that is the ultimate betrayal for this group: acknowledgement that they’re not perfect. Everyone can call themselves out to generate sympathy — Nora does it, Ruby does it — but as soon as someone else agrees and implies that they should make changes, they’re dismissed.

I've said it before and I'll say it again: the refusal to question Ruby makes me incredibly uncomfortable. Is this as bad as Ironwood shooting someone who questions him? Of course not, but that doesn't make it good. The group has made it clear from Ozpin to Ren that if you put a toe out of line, that's it. You're gone. You are not a part of the group until you are willing to back the group 100%, no matter what horrible things they might be up to. That Nora yells at Ren for questioning and Ren learns to keep his mouth shut, apologizing to both her and Jaune for speaking his mind is... well, it's horrible. That's not friendship. I know the fandom doesn't want to hear that given how much we otherwise love these relationships, but it's not. If you can't question and voice concerns without about serious topics like this without the threat of abandonment — literal or otherwise — then that's not a friend group you should be sticking with. Ren’s "biggest failing as a teammate and a partner" is that he didn't agree with the others and didn’t immediately change his mind when they demanded it. There are awful implications attached to that, especially since Ren’s perspective was a good one. He’s not out here slinging horrific views like, I don’t know, homophobia at the bee’s non-relationship. He just went “We made mistakes” and the group responded “Absolutely not. Absurd. Fuck you.” They didn’t even consider that position, which speaks to both a lack of respect for Ren and a level of arrogance that keeps getting them into trouble. But these issues are easily overlooked given everything else that surrounds them. Outside of Ren's apology, I quite liked the renora moment. We got a detail about Nora's backstory! She called Ren pretty! We got an "I love you"! He booped her nose!! It's all very cute and wholesome... and soured by the knowledge of what Ren had to do to get here.

Outside of these generalized responses, there are three other points I wanted to make about this scene:

Yes, more obligatory humor to ruin an otherwise serious moment. Jaune could have just smiled softly and slipped out. Or have him leave before the conversation started (because Ren shouldn't have been apologizing to him in the first place...) Instead, we got multiple seconds of him being awkward, including a bunch of funny sound effects.

I'm legitimately happy we got that "I love you" — outside of the problems since arriving in Atlas, I've always enjoyed the ship — but coming on the heels of last week's episode, it makes the bee's forehead touch look even worse. Renora has been confirmed multiple times at this point, but we still can't get something overt for our one, queer ship.

On the one hand, I really like that Nora set a boundary here — a surprisingly mature conversation for RWBY — but I'm confused as to what exactly the boundary is. She says she needs to figure out who she is without Ren, but what does that translate to on a practical, day-to-day basis? Normally, when a couple needs to figure out who they are they separate, but renora can't do that. They're still on the same team, stuck in the same war, presumably off to do the same things they've always done together. It sounds great on paper to say that Nora is going to discover who she is without Ren, but unless they separate again I don't see how that can happen. More likely, we'll get a volume or two of them looking and acting exactly as they always have, but when it comes time for relationship drama again, Nora will insist she's a different person who is now ready to be with him. That she's changed. But change requires, you know, making a change, so is renora actually going to look any different moving forward?

While these two confess their love but also decide to be separate (is that what happened?), Qrow and Robyn have knocked out some guards and retrieved their weapons. Robyn watches four security feeds, whispering, "He's... really gonna do it." See? Even Robyn, someone who never liked Ironwood and considered him dangerous from the start, is in shock that he would go this far. Qrow doesn't want to talk moral downfalls though, he's all action: "Not if we stop him first."

You know, at least Qrow is doing something. What he's doing is stupid, particularly given his motivations, but with the volume we've had I give him props for coming up with a plan and sticking to it. That's more than many of the others have done.

Yet then, suddenly, Robyn doesn't want to kill Ironwood. ...Since when? Robyn has been the most trigger happy of the lot while Qrow initially wanted to talk. Now they've switched places for no reason I can see, with Qrow all murder happy and Robyn cautioning restraint. Which admittedly isn't uncommon. Remember how Nora was all about protecting Mantle and then randomly decided to help with Amity instead? Remember how Yang was critical of Ruby and then decided to defend her to Ren? Remember how Hazel was pro-Salem until he saw a blue naked lady and decided to defect? At this point, characters just do things at random.

Robyn says that Qrow isn't trying to kill Ironwood because that's the right thing to do, only because he wants revenge. A true enough assessment. But then she follows it up by claiming that Qrow is a better huntsmen than Clover because he does the right thing. Without rehashing all my arguments regarding how Clover was not the devil incarnate for refusing to let two potential criminals walk free — especially after they attacked him — we're really playing the dead guy card now? Clover was murdered. Robyn and Qrow were participants in that murder. Now Robyn is making sweeping claims about who is the better person when Clover quite obviously isn't here to defend himself? That's all kinds of messed up.

Before they can bash the dead guy anymore though the elevator arrives. We see Qrow and Robyn's shocked expressions at whoever is behind the doors, presumably Winter and Marrow. It seems likely that Winter didn't really intend to take him to the brig. They're defecting and have now found two more allies to help them. Robyn wants a plan other than run upstairs and stab Ironwood? Winter will likely provide one.

We return to Ruby who, as established, is wallowing in the most dramatic position on the staircase. Obviously things are legitimately horrible right now and if Ruby had been given a storyline different from what we've seen since Volume 6, I'd feel sorry for her. As it stands, it's just frustrating to watch her look like the maiden of a Victorian novel while Mantle's time ticks away.

The conversation between her and Yang is great though. At least, it is for the first few sentences. I love that the show remembered they're sisters and have them talking again. I love that Yang tries to cheer Ruby up by saying she outshines her big sis in regards to the Hound. I love that she nevertheless acknowledges that the Schnees were a part of that defeat, giving them their due rather than putting all the praise on Ruby. We establish that Yang has learned what the Hound really was. This conversation is going strong...

...but then.

"That's what happened to mom."

Really? Really? In eight episodes we went from, "Lol just because the Hound spoke doesn't mean Summer was secretly made into a grimm. That’s a crazy theory" to "Summer was absolutely turned into a grimm. That's canon now!" Except because it was made canon by Ruby just announcing it one day, we can expect for an even bigger "twist" in the future: Summer is still alive. Why wouldn't she be? The Hound was untouchable outside of silver eyes, so we have little reason to think anyone has defeated her in the last 14 odd years.

I'll admit the timeline works out better than expected (I think) with Salem killing SEWs during Maria's time before switching to experimentation, but there's no emotional weight to this. I just don't care and frankly I don't think the fandom cares either. Oh, there's plenty of excitement over the reveal, but that's all for the version of Summer Rose people have built up in their minds for the last eight years, not anything that exists in the show. If you strip away all the headcanons and fics, Summer isn't interesting because she barely exists. We know nothing about her as a person and therefore we have no reason to care that she's likely another Hound. Worse — because maybe this could be smoothed over if we just care since Ruby cares — everything else surrounding this reveal was badly done. Summer, as said, has been a non-character for this whole series. Yang only just remembered two episodes ago that Summer is her mom too. The only evidence of experimentation we've seen is on other grimm, not people. There was more mystery surrounding why Tyrian was interested in Jaune, not why he'd kidnap Ruby (Big Bads always want to kidnap heroes). We have no idea who this silver eyed faunus was. We have no idea why Salem would randomly start experimenting when she doesn't need additional weapons. We don't know why she would keep these weapons to the sidelines when she’s apparently had them for over a decade. I don't even buy that Ruby, someone who we never see thinking about or questioning any of this, suddenly put all these pieces together to hit on the revelation.

None of this adds up because it wasn't planned. Summer was dead, added to the series purely because having a dead mom is interesting, and she was treated as dead for seven years. Not just by the characters, by the show. Then, suddenly, the narrative raced to remind everyone that she's supposedly a Very Important Character so we could get this twist. It’s awful. Not because the idea itself is horrible, but because it was shoved into a story that wasn't prepared for it and certainly doesn't need it. The group has Salem herself attacking the kingdom, Ironwood threatening destruction, three Relics still to discover, not to mention all the other personal conflicts going on — Emerald walking around the mansion, Ozpin is back, Penny is being controlled, Oscar has finite magic now, Nora is still recovering — but we're going to introduce another subplot to deal with? RWBY acts like it's terrified that if it doesn't add something new and flashy every third episode, its viewers will jump ship. Despite its hiccups, there's a reason why the arcs of Volume 4 worked well overall: characters were given the time to explore specific problems, like Yang's PTSD and the destruction of Ren's village. Now, in episode 11 of 14, RWBY reveals that two of the characters' mom was turned into a literal monster, but there's only time for a tiny bit of comfort because Penny is escaping and they have less than an hour now to save Mantle. There is way too much going on and we're not devoting enough time to any of it.

Hell, even the conversation can't afford to stay on the Summer reveal for more than a few sentences. Ruby segues back to her self-chastisement, saying that she wasted time on Amity. She did, but not because people didn't come. She never should have made that terrifying, nonsensical announcement to begin with. But just like Ruby never thought through the pros and cons of telling the world about Salem, she apparently never thought about the logistics of getting help. She's written the world off now — so you just know help will appear in the finale — yet she never considered how long all this would take. Our timeline is (supposedly) two days, so how long would it take a kingdom to digest the information she gave them, decide on a course of action, get people and resources together, then fly all the way to Atlas? After Ruby used most of the first day just to send the message? As I and others have pointed out, the answer is “way longer than the group has.” It shouldn't be possible, yet neither Ruby nor Yang realizes basic facts like, "What's the flight time between Vacuo and Atlas?" Like Qrow blaming his semblance rather than his decision to team up with Tyrian, Ruby blames the world for abandoning them rather than her terribly thought out plan. Both have reached the right emotion — regret — but not for the right reasons.

Also, Ruby says that Amity fell. Are Pietro and Maria okay??

Yang talks about blind optimism vs. no optimism at all, something I could really get behind if the group hadn't been governed by blind optimism this whole time. Also if what the rest of what Yang said made sense. She fires back with, “And in case you didn’t notice, my plan for Mantle didn’t work either." Uh... what plan? As far as I recall there was no plan. They just went down to do any tasks that needed doing: supply runs and grimm killings. What plan is Yang talking about?

This conversation is a disaster. We circle back around to Summer with Yang saying she also took a risk (the title is very obvious this episode) but "she's still my hero." Is she? Because the only thing you've ever said about Summer is that she baked great cookies. Regardless, Yang lays her head on Ruby's shoulder and they cry some more.

Then Jaune hurries down the steps because Penny has woken up and broken through a window.

Again: how were they planning to deal with this? Did anyone discuss it? Because it looks like Klein said, "Hey, that friend of yours powered up and could have hurt us," Nora said, "Hey, Penny was fighting some sort of control," and Whitely said, "Yeah, she wanted to open the vault and then self destruct" and everyone just left her alone in some room, deciding they'd worry about that later. If Penny had just snuck out a little more quietly the group would have been screwed.

What I do like though is the teamwork to keep Penny from flying off. It feels like we get so little teamwork nowadays, which makes everyone piling on others' range weapons, or Jaune boosting Weiss' glyphs, really enjoyable. Even Emerald gets in on the action because apparently they gave her her weapons back!

We're going to talk about this nonsense in a second.

For now, Ruby implores Penny to fight it, which is exactly what I said we'd get. Penny insists Ruby kill her though, saying that if she does she'll ensure that the power passes to her. I find this to be a weird priority. Does the group really care about who gets the Maiden powers right now? The threat here is that Penny will successfully open the vault — which shouldn't even be that much of a worry. Just let Ironwood leave instead of trying to destroy Mantle! Keeping him here has made things worse! — and that Penny will self-destruct. That feels like the biggest worry: that Penny will die. So they're going to prevent her death by... killing her themselves? Priorities and motivations really feel shaky this week.

Luckily, Ruby remembers that Penny is A Real Person and tells Jaune to amplify her aura. The fact that she has a soul keeps the virus from overtaking her. Hurray!

That's like saying my sense of self will beat off rabies. Just believe that you're your own person and nothing can touch you. They go so far as to say, “That’s who you are. Our friend, not a machine” and that feels like such an erasure to me. Penny is a machine. She is! And that was great back when this was accepted as a good thing, not something to ignore. Remember this?

You think just because you've got nuts and bolts instead of squishy guts makes you any less real than me?

Here, Ruby acknowledges Penny's difference and reaffirms that she still has worth. Now, the group denies Penny's difference in order to prove that she has worth. She has worth because she's supposedly not a machine and supposedly can't be controlled like one... even though she is a machine and is being controlled. It's only Jaune's semblance that keeps her from going under again. The concept of Penny's personhood is now connected to her ability to resist a machine-based virus and she has failed to do that. This doesn't confirm Penny's humanity, it tells Penny (and us) that humanity is distinct from the machine parts of her, rather than a concept that includes it, and the moment she is too influenced by that machinery she ceases to be a person. The group isn't accepting her here, they're encouraging Penny to ignore and deny the parts that make her Penny.

If you want an example of how to do an arc like this far, far better, go watch The Next Generation with Data. He's what Penny could have been.

Regardless, the virus has been held at bay, at least so long as Jaune has aura. Which seems to be endless given that he was exhausting himself in the whale, but is now boosting Nora, Weiss, and Penny without any difficulty.

At least that's a minor concern in the grand scheme of things. What we're about to get? Not so much. Honestly, I'm 7k into this recap and I just don't have the energy that these two scenes deserve. Which scenes? The one where Emerald is welcomed into the fold with laughter and Ozpin has to grovel for forgiveness.

Emerald first. Last week I said:

“However this fight ends, we could really use someone like you, [Emerald.]” That’s it then. Discussion over. We knew as soon as it started that blindly trusting her was being presented as the “right” thing to do and now here we are, deciding that conclusively, despite Jaune and Yang’s complaints. By the time the group reaches the mansion, Oscar is defending Emerald from Ruby. We’re supposed to just accept that she’s a part of the group now, only minimal pushback allowed.

and I was right. Over the course of the last week I spoke with a number of friends, many of them working under the belief that this was just the start of an arc for Emerald. Obviously the show wouldn't instantly have the group trust her after all this. They'll need to warm up to her first. She'll need to prove herself. Well, I was far more pessimistic, arguing instead that I thought this was it. She was already being presented as a perfectly trustworthy figure. I'd briefly thought I'd been mistaken when the group turned on Emerald for her comment to Ruby, but then suddenly she's been given her weapons back. It's not even a matter of "You should be able to defend yourself, but you're still not trustworthy" (which would still have problems, but). No, she makes a comment about "switching sides" and that's it, trust achieved. That's all it took — nothing at all.

Now, some shows do function on a second chance policy. We can name hundred of stories where heroes instantly forgive antagonists and there's nothing wrong with that. The problem is that RWBY is very much not that show. In the exact same scene Ozpin apologizes to the group and begs that they try to trust him again:

“I’ve failed all of you. I should have trusted you with the truth and I should never have run the day you discovered it."

This is complete and utter bullshit. Sorry, I'm not mincing words for this one. Two years we waiting for the group to come around, hoping that there would be apologies on both sides, but there wasn't. The group doesn't physically or verbally hurt Ozpin anymore — they do accept his request — but it's done with expressions that say this is what they are owed. You’d better apologize.

I could rehash all the arguments I've already made about how atrociously they treated him, how Ozpin had no reason to trust a bunch of teenagers, how important it was that both sides admit their mistakes, but if you're reading this recap you're likely already familiar with all that. Rather, what I want to emphasize here is that our opinions on Ozpin don't even matter here. Even those who take his apology at face value — fully believing he did fail them, he should have told them everything from the start, and that him leaving was "running away" rather than being driven off — even if we accept for just a moment that Ozpin is as guilty as the show says and heinous as the fandom claims... surely he's not as bad as Emerald? In roughly chronological order she has:

Tried to ally herself with Adam along with Cinder and Mercury

Helped to attack Amber, resulting in injuries that would have killed her if Cinder hadn't gotten to her first

Helped kill Tukson

Pretended to be a transfer student and Ruby's friend for the rest of the semester (that’s a lie that would breed mistrust)

Tricked the world into thinking that Yang had attacked Mercury unprovoked

Uses her semblance on Pyrrha, causing her to unintentionally kill Penny

All of this was in service of the Fall of Beacon, an event that destroyed a school, killed an unknown number of students, killed Pyrrha, and lost Yang her arm

Participated in the attack on Haven which, beyond the intent to further Salem's goals, nearly got Weiss killed

Came to Atlas to assist in the next attack

Went after Penny, Pietro, and Maria — two of whom might still be in trouble depending on if Amity literally fell out of the sky

Listened to Oscar being tortured, hemming and hawing for a while before realizing that, if the whole world is in danger, she's in danger too

Finally jumped ship

Emerald is one of the bad guys. All the sad looks over the years doesn't change that. Yet somehow an antagonist we've had since Volume 1 is considered more trustworthy than Ozpin, a man who hasn't intentionally helped kill their friends and who has been helping and apologizing for months now.

Yang "Aww"s when Emerald speaks. Just sit with that for a second. The woman who went through all of that horror because of Emerald, who just last episode was correctly saying they can't expect her to forget all that, is going "Aww" after... Emerald helped hold Penny for two seconds? This is ridiculous. These are the faces of the group when talking about Emerald's trust

whereas these are their expressions when talking about Ozpin's

It’s not a matter of who deserves trust or not, here it’s purely a matter of comparison. Emerald should not be more quickly forgiven than Ozpin.

Now toss in the story Ozpin tells. Unsurprisingly, it's another fairy tale — we've gotten a little heavy-handed lately — about a young girl who flees the consequences of a choice and, having never learned from her initial failure, spreads even more trouble. That's Ruby. That is Ruby to a T in this episode and the last three volumes. She is literally a young girl who has caused staggering consequences, literally ran away from the conversation about those consequences, and is now poised to continue making those mistakes because everyone keeps reinforcing her flaws. That's Ruby, yet somehow the show thinks it's Ozpin. He positions himself as the young girl here, as if he didn't face his consequences generations ago when he left the cabin, didn't learn from his mistakes by keeping Salem's secret, and hadn't been driven away by the very people he's asking for a second chance. This scene has everything backwards and while normally I'd grab hold of the possibility that maybe things will right themselves later on... we're done. This is the ending of that arc. After two years of saying, "Maybe, maybe, maybe," Ozpin has been taken back into the fold after begging his way back in. There's no more time to correct things. RWBY missed its chance. Weiss says that "Trust is a risk" and that's how Ozpin is forgiven. They have taken the risk of trusting him again after months of reflection, life-saving actions, and apologies. Emerald is granted the risk of trust in under an hour. I’ve heard so many people say they’re dropping RWBY this volume and scenes like this are precisely why.

Ugh. Heavy stuff, folks! I feel like I need to lighten the mood. Here, let's take a moment to acknowledge that the Schnees and Klein only marginally know what's happening.

Someone help them.

That is, to all intents and purposes, the end of our episode. Ruby has some sort of epiphany about actually handing Penny over — "That's actually a risk we haven't considered" — and Ironwood will no doubt fall for whatever plan they've concocted because he's stupid now. He receives a call from Ruby saying they agree to his terms, Watts is attempting to get communication of his own up and running, and Neo arrives to do... whatever she intends to do. Idk, I have assumed she wanted Ruby, but Cinder obviously doesn't have her yet for a trade off. Regardless, Neo is ready for a fight while Cinder just smiles. Team up 2.0?

As for bingo, I'm using my free space for "Worst redemption arc I've ever seen," with an honorary nod to Hazel too, and Ozpin's square gets blacked out in exes because that was just #bad.

This bingo board is a mess. Appropriate lol

Three more weeks, everyone. Hang in there! 💜

#rwby #rwby spoilers #rwby volume 8 #rwby risk #mymetas #rwby recaps

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shortnotsweet · 4 years ago

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Bakudeku: A Non-Comprehensive Dissection of the Exploitation of Working Bodies, the Murder of Annoying Children, and a Rivals-to-Lovers Complex

I. Bakudeku in Canon, And Why Anti’s Need to Calm the Fuck Down

II. Power is Power: the Brain-Melting Process of Normalization and Toxic Masculinity

III. How to Kill Middle Schoolers, and Why We Should

IV. Parallels in Abuse, EnemiesRivals-to-Lovers, and the Necessity of Redemption ft. ATLA’s Zuko

V. Give it to Me Straight. It’s Homophobic.

VI. Love in Perspective, from the East v. West

VII. Stuck in the Sludge, the Past, and Season One

Disclaimer

It needs to be said that there is definitely a place for disagreement, discourse, debate, and analysis: that is a sign of an active fandom that’s heavily invested, and not inherently a bad thing at all. Considering the amount of source material we do have (from the manga, to the anime, to the movies, to the light novels, to the official art), there are going to be warring interpretations, and that’s inevitable.

I started watching and reading MHA pretty recently, and just got into the fandom. I was weary for a reason, and honestly, based on what I’ve seen, I’m still weary now. I’ve seen a lot of anti posts, and these are basically my thoughts. This entire thing is in no way comprehensive, and it’s my own opinion, so take it with a grain of salt. If I wanted to be thorough about this, I would’ve included manga panels, excerpts from the light novel, shots from the anime, links to other posts/essays/metas that have inspired this, etc. but I’m tired and not about that life right now, so, this is what it is. This is poorly organized, but maybe I’ll return to fix it.

Let’s begin.

Bakudeku in Canon, And Why Anti’s Need to Calm the Fuck Down

There are a lot of different reasons, that can be trivial as you like, to ship or not to ship two (or more) characters. It could be based purely off of character design, proximity, aversion to another ship, or hypotheticals. And I do think that it’s totally valid if someone dislikes the ship or can’t get on board with his character because to them, it does come across as abuse, and the implications make them uncomfortable or, or it just feels unhealthy. If that is your takeaway, and you are going to stick to your guns, the more power to you.

But Bakudeku’s relationship has canonically progressed to the point where it’s not the emotionally (or physically) abusive clusterfuck some people portray it to be, and it’s cheap to assume that it would be, based off of their characterizations as middle schoolers. Izuku intentionally opens the story as a naive little kid who views the lens of the Hero society through rose colored glasses and arguably wants nothing more than assimilation into that society; Bakugou is a privileged little snot who embodies the worst and most hypocritical beliefs of this system. Both of them are intentionally proven wrong. Both are brainwashed, as many little children are, by the propaganda and societal norms that they are exposed to. Both of their arcs include unlearning crucial aspects of the Hero ideology in order to become true heroes.

I will personally never simp for Bakugou because for the longest time, I couldn't help but think of him as a little kid on the playground screaming at the top of his lungs because someone else is on the swingset. He’s red in the face, there are probably veins popping out of his neck, he’s losing it. It’s easy to see why people would prefer Tododeku to Bakudeku.

Even now, seeing him differently, I still personally wouldn’t date Bakugou, especially if I had other options. Why? I probably wouldn’t want to date any of the guys who bullied me, especially because I think that schoolyard bullying, even in middle school, affected me largely in a negative way and created a lot of complexes I’m still trying to work through. I haven’t built a better relationship with them, and I’m not obligated to. Still, I associate them with the kind of soft trauma that they inflicted upon me, and while to them it was probably impersonal, to me, it was an intimate sort of attack that still affects me. That being said, that is me. Those are my personal experiences, and while they could undoubtedly influence how I interpret relationships, I do not want to project and hinder my own interpretation of Deku.

The reality is that Deku himself has an innate understanding of Bakugou that no one else does; I mention later that he seems to understand his language, implicitly, and I do stand by that. He understands what it is he’s actually trying to say, often why he’s saying it, and while others may see him as wimpy or unable to stand up for himself, that’s simply not true. Part of Deku’s characterization is that he is uncommonly observant and empathetic; I’m not denying that Bakugou caused harm or inflicted damage, but infantilizing Deku and preaching about trauma that’s not backed by canon and then assuming random people online excuse abuse is just...the leap of leaps, and an actual toxic thing to do. I’ve read fan works where Bakugou is a bully, and that’s all, and has caused an intimate degree of emotional, mental, and physical insecurity from their middle school years that prevents their relationship from changing, and that’s for the better. I’m not going to argue and say that it’s not an interesting take, or not valid, or has no basis, because it does. Its basis is the character that Bakugou was in middle school, and the person he was when he entered UA.

Not only is Bakugou — the current Bakugou, the one who has accumulated memories and experiences and development — not the same person he was at the beginning of the story, but Deku is not the same person, either. Maybe who they are fundamentally, at their core, stays the same, but at the beginning and end of any story, or even their arcs within the story, the point is that characters will undergo change, and that the reader will gain perspective.

“You wanna be a hero so bad? I’ve got a time-saving idea for you. If you think you’ll have a quirk in your next life...go take a swan dive off the roof!”

Yes. That is a horrible thing to tell someone, even if you are a child, even if you don’t understand the implications, even if you don’t mean what it is you are saying. Had someone told me that in middle school, especially given our history and the context of our interactions, I don’t know if I would ever have forgiven them.

Here’s the thing: I’m not Deku. Neither is anyone reading this. Deku is a fictional character, and everyone we know about him is extrapolated from source material, and his response to this event follows:

“Idiot! If I really jumped, you’d be charged with bullying me into suicide! Think before you speak!”

I think it’s unfair to apply our own projections as a universal rather than an interpersonal interpretation; that’s not to say that the interpretation of Bakudeku being abusive or having unbalanced power dynamics isn’t valid, or unfounded, but rather it’s not a universal interpretation, and it’s not canon. Deku is much more of a verbal thinker; in comparison, Bakugou is a visual one, at least in the format of the manga, and as such, we get various panels demonstrating his guilt, and how deep it runs. His dialogue and rapport with Deku has undeniably shifted, and it’s very clear that the way they treat each other has changed from when they were younger. Part of Bakugou’s growth is him gaining self awareness, and eventually, the strength to wield that. He knows what a fucked up little kid he was, and he carries the weight of that.

“At that moment, there were no thoughts in my head. My body just moved on its own.”

There’s a part of me that really, really disliked Bakugou going into it, partially because of what I’d seen and what I’d heard from a limited, outside perspective. I felt like Bakugou embodied the toxic masculinity (and to an extent, I still believe that) and if he won in some way, that felt like the patriarchy winning, so I couldn't help but want to muzzle and leash him before releasing him into the wild.

The reality, however, of his character in canon is that it isn’t very accurate to assume that he would be an abusive partner in the future, or that Midoryia has not forgiven him to some extent already, that the two do not care about each other or are singularly important, that they respect each other, or that the narrative has forgotten any of this.

Don’t mistake me for a Bakugou simp or apologist. I’m not, but while I definitely could also see Tododeku (and I have a soft spot for them, too, their dynamic is totally different and unique, and Todoroki is arguably treated as the tritagonist) and I’m ambivalent about Izuocha (which is written as cannoncially romantic) I do believe that canonically, Bakugou and Deku are framed as soulmates/character foils, Sasuke + Naruto, Kageyama + Hinata style. Their relationship is arguably the focus of the series. That’s not to undermine the importance or impact of Deku’s relationships with other characters, and theirs with him, but in terms of which one takes priority, and which one this all hinges on?

The manga is about a lot of things, yes, but if it were to be distilled into one relationship, buckle up, because it’s the Bakudeku show.

Power is Power: the Brain-Melting Process of Normalization and Toxic Masculinity

One of the ways in which the biopolitical prioritization of Quirks is exemplified within Hero society is through Quirk marriages. Endeavor partially rationalizes the abuse of his family through the creation of a child with the perfect quirk, a child who can be molded into the perfect Hero. People with powerful, or useful abilities, are ranked high on the hierarchy of power and privilege, and with a powerful ability, the more opportunities and avenues for success are available to them.

For the most part, Bakugou is a super spoiled, privileged little rich kid who is born talented but is enabled for his aggressive behavior and, as a child, cannot move past his many internalized complexes, treats his peers like shit, and gets away with it because the hero society he lives in either has this “boys will be boys” mentality, or it’s an example of the way that power, or Power, is systematically prioritized in this society. The hero system enables and fosters abusers, people who want power and publicity, and people who are genetically predisposed to have advantages over others. There are plenty of good people who believe in and participate in this system, who want to be good, and who do good, but that doesn’t change the way that the hero society is structured, the ethical ambiguity of the Hero Commission, and the way that Heroes are but pawns, idols with machine guns, used to sell merch to the public, to install faith in the government, or the current status quo, and reinforce capitalist propaganda. Even All Might, the epitome of everything a Hero should be, is drained over the years, and exists as a concept or idea, when in reality he is a hollow shell with an entire person inside, struggling to survive. Hero society is functionally dependent on illusion.

In Marxist terms: There is no truth, there is only power.

Although Bakugou does change, and I think that while he regrets his actions, what is long overdue is him verbally expressing his remorse, both to himself and Deku. One might argue that he’s tried to do it in ways that are compatible with his limited emotional range of expression, and Deku seems to understand this language implicitly.

I am of the opinion that the narrative is building up to a verbal acknowledgement, confrontation, and subsequent apology that only speaks what has gone unspoken.

That being said, Bakugou is a great example of the way that figures of authority (parents, teachers, adults) and institutions both in the real world and this fictional universe reward violent behavior while also leaving mental and emotional health — both his own and of the people Bakugou hurts — unchecked, and part of the way he lashes out at others is because he was never taught otherwise.

And by that, I’m referring to the ways that are to me, genuinely disturbing. For example, yelling at his friends is chill. But telling someone to kill themselves, even casually and without intent and then misinterpreting everything they do as a ploy to make you feel weak because you're projecting? And having no teachers stop and intervene, either because they are afraid of you or because they value the weight that your Quirk can benefit society over the safety of children? That, to me, is both real and disturbing.

Not only that, but his parents (at least, Mitsuki), respond to his outbursts with more outbursts, and while this is likely the culture of their home and I hesitate to call it abusive, I do think that it contributed to the way that he approaches things. Bakugou as a character is very complex, but I think that he is primarily an example of the way that the Hero System fails people.

I don’t think we can write off the things he’s done, especially using the line of reasoning that “He didn’t mean it that way”, because in real life, children who hurt others rarely mean it like that either, but that doesn’t change the effect it has on the people who are victimized, but to be absolutely fair, I don’t think that the majority of Bakudeku shippers, at least now, do use that line of reasoning. Most of them seem to have a handle on exactly how fucked up the Hero society is, and exactly why it fucks up the people embedded within that society.

The characters are positioned in this way for a reason, and the discoveries made and the development that these characters undergo are meant to reveal more about the fictional world — and, perhaps, our world — as the narrative progresses.

The world of the Hero society is dependent, to some degree, on biopolitics. I don’t think we have enough evidence to suggest that people with Quirks or Quirkless people place enough identity or placement within society to become equivalent to marginalized groups, exactly, but we can draw parallels to the way that Deku and by extent Quirkless people are viewed as weak, a deviation, or disabled in some way. Deviants, or non-productive bodies, are shunned for their inability to perform ideal labor. While it is suggested to Deku that he could become a police officer or pursue some other occupation to help people, he believes that he can do the most positive good as a Hero. In order to be a Hero, however, in the sense of a career, one needs to have Power.

Deviation from the norm will be punished or policed unless it is exploitable; in order to become integrated into society, a deviant must undergo a process of normalization and become a working, exploitable body. It is only through gaining power from All Might that Deku is allowed to assimilate from the margins and into the upper ranks of society; the manga and the anime give the reader enough perspective, context, and examples to allow us to critique and deconstruct the society that is solely reliant on power.

Through his societal privileges, interpersonal biases, internalized complexes, and his subsequent unlearning of these ideologies, Bakugou provides examples of the way that the system simultaneously fails and indoctrinates those who are targeted, neglected, enabled by, believe in, and participate within the system.

Bakudeku are two sides of the same coin. We are shown visually that the crucial turning point and fracture in their relationship is when Bakugou refuses to take Deku’s outstretched hand; the idea of Deku offering him help messes with his adolescent perspective in that Power creates a hierarchy that must be obeyed, and to be helped is to be weak is to be made a loser.

Largely, their character flaws in terms of understanding the hero society are defined and entangled within the concept of power. Bakugou has power, or privilege, but does not have the moral character to use it as a hero, and believes that Power, or winning, is the only way in which to view life. Izuku has a much better grasp on the way in which heroes wield power (their ideologies can, at first, be differentiated as winning vs. saving), and is a worthy successor because of this understanding, and of circumstance. However, in order to become a Hero, our hero must first gain the Power that he lacks, and learn to wield it.

As the characters change, they bridge the gaps of their character deficiencies, and are brought closer together through character parallelism.

Two sides of the same coin, an outstretched hand.

They are better together.

How to Kill Middle Schoolers, and Why We Should

I think it’s fitting that in the manga, a critical part of Bakugou’s arc explicitly alludes to killing the middle school version of himself in order to progress into a young adult. In the alternative covers Horikoshi released, one of them was a close up of Bakugou in his middle school uniform, being stabbed/impaled, with blood rolling out of his mouth. Clearly this references the scene in which he sacrifices himself to save Deku, on a near-instinctual level.

To me, this only cements Horikoshi’s intent that middle school Bakugou must be debunked, killed, discarded, or destroyed in order for Bakugou the hero to emerge, which is why people who do actually excuse his actions or believe that those actions define him into young adulthood don’t really understand the necessity for change, because they seem to imply that he doesn’t need/cannot reach further growth, and there doesn’t need to be a separation between the Bakugou who is, at heart, volatile and repressed the angry, and the Bakugou who sacrifices himself, a hero who saves people.

Plot twist: there does need to be a difference. Further plot twist: there is a difference.

In sacrificing himself for Deku, Bakugou himself doesn't die, but the injury is fatal in the sense that it could've killed him physically and yet symbolizes the selfish, childish part of him that refused to accept Deku, himself, and the inevitability of change. In killing those selfish remnants, he could actually become the kind of hero that we the reader understand to be the true kind.

That’s why I think that a lot of the people who stress his actions as a child without acknowledging the ways he has changed, grown, and tried to fix what he has broken don’t really get it, because it was always part of his character arc to change and purposely become something different and better. If the effects of his worst and his most childish self stick with you more, and linger despite that, that’s okay. But distilling his character down to the wrong elements doesn’t get you the bare essentials; what it gets you is a skewed and shallow version of a person. If you’re okay with that version, that is also fine.

But you can’t condemn others who aren’t fine with that incomplete version, and to become enraged that others do not see him as you do is childish.

Bakugou’s change and the emphasis on that change is canon.

Parallels in Abuse, EnemiesRivals-to-Lovers, and the Necessity of Redemption ft. ATLA’s Zuko

In real life, the idea that “oh, he must bully you because he likes you” is often used as a way to brush aside or to excuse the action of bullying itself, as if a ‘secret crush’ somehow negates the effects of bullying on the victim or the inability of the bully to properly process and manifest their emotions in certain ways. It doesn’t. It often enables young boys to hurt others, and provides figures of authority to overlook the real source of schoolyard bullying or peer review. The “secret crush”, in real life, is used to undermine abuse, justify toxic masculinity, and is essentially used as a non-solution solution.

A common accusation is that Bakudeku shippers jump on the pairing because they romanticize pairing a bully and a victim together, or believe that the only way for Bakugou to atone for his past would be to date Midoryia in the future. This may be true for some people, in which case, that’s their own preference, but based on my experience and what I’ve witnessed, that’s not the case for most.

The difference being is that as these are characters, we as readers or viewers are meant to analyze them. Not to justify them, or to excuse their actions, but we are given the advantage of the outsider perspective to piece their characters together in context, understand why they are how they are, and witness them change; maybe I just haven’t been exposed to enough of the fandom, but no one (I’ve witnessed) treats the idea that “maybe Bakugou has feelings he can’t process or understand and so they manifest in aggressive and unchecked ways'' as a solution to his inability to communicate or process in a healthy way, rather it is just part of the explanation of his character, something is needs to — and is — working through. The solution to his middle school self is not the revelation of a “teehee, secret crush”, but self-reflection, remorse, and actively working to better oneself, which I do believe is canonically reflected, especially as of recently.

In canon, they are written to be partners, better together than apart, and I genuinely believe that one can like the Bakudeku dynamic not by route of romanticization but by observation.

I do think we are meant to see parallels between him and Endeavor; Endeavor is a high profile abuser who embodies the flaws and hypocrisy of the hero system. Bakugou is a schoolyard bully who emulates and internalizes the flaws of this system as a child, likely due to the structure of the society and the way that children will absorb the propaganda they are exposed to; the idea that Quirks, or power, define the inherent value of the individual, their ability to contribute to society, and subsequently their fundamental human worth. The difference between them is the fact that Endeavor is the literal adult who is fully and knowingly active within a toxic, corrupt system who forces his family to undergo a terrifying amount of trauma and abuse while facing little to no consequences because he knows that his status and the values of their society will protect him from those consequences. In other words, Endeavor is the threat of what Bakugou could have, and would have, become without intervention or genuine change.

Comparisons between characters, as parallels or foils, are tricky in that they imply but cannot confirm sameness. Having parallels with someone does not make them the same, by the way, but can serve to illustrate contrasts, or warnings. Harry Potter, for example, is meant to have obvious parallels with Tom Riddle, with similar abilities, and tragic upbringings. That doesn’t mean Harry grows up to become Lord Voldemort, but rather he helps lead a cross-generational movement to overthrow the facist regime. Harry is offered love, compassion, and friends, and does not embrace the darkness within or around him. As far as moldy old snake men are concerned, they do not deserve a redemption arc because they do not wish for one, and the truest of change only occurs when you actively try to change.

To be frank, either way, Bakugou was probably going to become a good Hero, in the sense that Endeavor is a ‘good’ Hero. Hero capitalized, as in a pro Hero, in the sense that it is a career, an occupation, and a status. Because of his strong Quirk, determination, skill, and work ethic, Bakugou would have made a good Hero. Due to his lack of character, however, he was not on the path to become a hero; defender of the weak, someone who saves people to save people, who is willing to make sacrifices detrimental to themselves, who saves people out of love.

It is necessary for him to undergo both a redemption arc and a symbolic death and rebirth in order for him to follow the path of a hero, having been inspired and prompted by Deku.

I personally don’t really like Endeavor’s little redemption arc, not because I don’t believe that people can change or that they shouldn't at least try to atone for the atrocities they have committed, but because within any narrative, a good redemption arc is important if it matters; what also matters is the context of that arc, and whether or not it was needed. For example, in ATLA, Zuko’s redemption arc is widely regarded as one of the best arcs in television history, something incredible. And it is. That shit fucks. In a good way.

It was confirmed that Azula was also going to get a redemption arc, had Volume 4 gone on as planned, and it was tentatively approached in the comics, which are considered canon. She is an undeniably bad person (who is willing to kill, threaten, exploit, and colonize), but she is also a child, and as viewers, we witness and recognize the factors that contributed to her (debatable) sociopathy, and the way that the system she was raised in failed her. Her family failed her; even Uncle Iroh, the wise mentor who helps guide Zuko to see the light, is willing to give up on her immediately, saying that she’s “crazy” and needs to be “put down”. Yes, it’s comedic, and yes, it’s pragmatic, but Azula is fourteen years old. Her mother is banished, her father is a psychopath, and her older brother, from her perspective, betrayed and abandoned her. She doesn’t have the emotional support that Zuko does; she exploits and controls her friends because it’s all she’s been taught to do; she says herself, her “own mother thought [she] was a monster; she was right, of course, but it still [hurts]”. A parent who does not believe in you, or a parent that uses you and will hurt you, is a genuine indicator of trauma.

The writers understood that both Zuko and Azula deserved redemption arcs. One was arguably further gone than the other, but that doesn’t change the fact that they are both children, products of their environment, who have the time, motive, and reason to change.

In contrast, you know who wouldn’t have deserved a redemption arc? Ozai. That simply would not have been interesting, wouldn’t have served the narrative well, and honestly, is not needed, thematically or otherwise. Am I comparing Ozai to Endeavor? Basically, yes. Fuck those guys. I don’t see a point in Endeavor’s little “I want to be a good dad now” arc, and I think that we don’t need to sympathize with characters in order to understand them or be interested in them. I want Touya/Dabi to expose his abuse, for his career to crumble, and then for him to die.

If they are not challenging the system that we the viewer are meant to question, and there is no thematic relevance to their redemption, is it even needed?

On that note, am I saying that Bakugou is the equivalent to Zuko? No, lmao. Definitely not. They are different characters with different progressions and different pressures. What I am saying is that good redemption arcs shouldn’t be handed out like candy to babies; it is the quality, rather than the quantity, that makes a redemption arc good. In terms of the commentary of the narrative, who needs a redemption arc, who is deserving, and who does it make sense to give one to?

In this case, Bakugou checks those boxes. It was always in the cards for him to change, and he has. In fact, he’s still changing.

Give it to Me Straight. It’s Homophobic.

There does seem to be an urge to obsessively gender either Bakugou or Deku, in making Deku the ultra-feminine, stereotypically hyper-sexualized “woman” of the relationship, with Bakugou becoming similarly sexualized but depicted as the hyper-masculine bodice ripper. On some level, that feels vaguely homophobic if not straight up misogynistic, in that in a gay relationship there’s an urge to compel them to conform under heteronormative stereotypes in order to be interpreted as real or functional. On one hand, I will say that in a lot of cases it feels like more of an expression of a kink, or fetishization and subsequent expression of internalized misogyny, at least, rather than a genuine exploration of the complexity and power imbalances of gender dynamics, expression, and boundaries.

That being said, I don’t think that that problematic aspect of shipping is unique to Bakudeku, or even to the fandom in general. We’ve all read fan work or see fanart of most gay ships in a similiar manner, and I think it’s a broader issue to be addressed than blaming it on a singular ship and calling it a day.

One interpretation of Bakugou’s character is his repression and the way his character functions under toxic masculinity, in a society’s egregious disregard for mental and emotional health (much like in the real world), the horrifying ways in which rage is rationalized or excused due to the concept of masculinity, and the way that characteristics that are associated with femininity — intellect, empathy, anxiety, kindness, hesitation, softness — are seen as stereotypically “weak”, and in men, traditionally emasculating. In terms of the way that the fictional universe is largely about societal priority and power dynamics between individuals and the way that extends to institutions, it’s not a total stretch to guess that gender as a construct is a relevant topic to expand on or at least keep in mind for comparison.

I think that the way in which characters are gendered and the extent to which that is a result of invasive heteronormativity and fetishization is a really important conversation to have, but using it as a case-by-case evolution of a ship used to condemn people isn’t conductive, and at that point, it’s treated as less of a real concern but an issue narrowly weaponised.

Love in Perspective, from the East v. West

Another thing I think could be elaborated on and written about in great detail is the way that the Eastern part of the fandom and the Western part of the fandom have such different perspectives on Bakudeku in particular. I am not going to go in depth with this, and there are many other people who could go into specifics, but just as an overview:

The manga and the anime are created for and targeted at a certain audience; our take on it will differ based on cultural norms, decisions in translation, understanding of the genre, and our own region-specific socialization. This includes the way in which we interpret certain relationships, the way they resonate with us, and what we do and do not find to be acceptable. Of course, this is not a case-by-case basis, and I’m sure there are plenty of people who hold differing beliefs within one area, but speaking generally, there is a reason that Bakudeku is not regarded as nearly as problematic in the East.

Had this been written by a Western creator, marketed primarily to and within the West (for reference, while I am Chinese, but I have lived in the USA for most of my life, so my own perspective is undoubtedly westernized), I would’ve immediately jumped to make comparisons between the Hero System and the American police system, in that a corrupt, or bastardized system is made no less corrupt for the people who do legitimately want to do good and help people, when that system disproportionately values and targets others while relying on propaganda that society must be reliant on that system in order to create safe communities when in reality it perpetuates just as many issues as it appears to solve, not to mention the way it attracts and rewards violent and power-hungry people who are enabled to abuse their power. I think comparisons can still be made, but in terms of analysis, it should be kept in mind that the police system in other parts of the world do not have the same history, place, and context as it does in America, and the police system in Japan, for example, probably wasn’t the basis for the Hero System.

As much as I do believe in the Death of the Author in most cases, the intent of the author does matter when it comes to content like this, if merely on the basis that it provides context that we may be missing as foreign viewers.

As far as the intent of the author goes, Bakugou is on a route of redemption.

He deserves it. It is unavoidable. That, of course, may depend on where you’re reading this.

Stuck in the Sludge, the Past, and Season One

If there’s one thing, to me, that epitomizes middle school Bakugou, it’s him being trapped in a sludge monster, rescued by his Quirkless childhood friend, and unable to believe his eyes. He clings to the ideology he always has, that Quirkless means weak, that there’s no way that Deku could have grown to be strong, or had the capacity to be strong all along. Bakugou is wrong about this, and continuously proven wrong. It is only when he accepts that he is wrong, and that Deku is someone to follow, that he starts his real path to heroics.

If Bakudeku’s relationship does not appeal to someone for whatever reason, there’s nothing wrong with that. They can write all they want about why they don’t ship it, or why it bothers them, or why they think it’s problematic. If it is legitimately triggering to you, then by all means, avoid it, point it out, etc. but do not undermine the reality of abuse simply to point fingers, just because you don’t like a ship. People who intentionally use the anti tag knowing it’ll show up in the main tag, go after people who are literally minding their own business, and accuse people of supporting abuse are the ones looking for a fight, and they’re annoying as hell because they don’t bring anything to the table. No evidence, no analysis, just repeated projection.

To clarify, I’m referring to a specific kind of shipper, not someone who just doesn’t like a ship, but who is so aggressive about it for absolutely no reason. There are plenty of very lovely people in this fandom, who mind their own business, multipship, or just don’t care.

Calling shippers dumb or braindead or toxic (to clarify, this isn’t targeting any one person I’ve seen, but a collective) based on projections and generalizations that come entirely from your own impression of the ship rather than observation is...really biased to me, and comes across as uneducated and trigger happy, rather than constructive or helpful in any way.

I’m not saying someone has to ship anything, or like it, in order to be a ‘good’ participant. But inserting derogatory material into a main tag, and dropping buzzwords with the same tired backing behind it without seeming to understand the implications of those words or acknowledging the development, pacing, and intentional change to the characters within the plot is just...I don’t know, it comes across as redundant, to me at least, and very childish. Aggressive. Toxic. Problematic. Maybe the real toxic shippers were the ones who bitched and moaned along the way. They’re like little kids, stuck in the past, unable to visualize or recognize change, and I think that’s a real shame because it’s preventing them from appreciating the story or its characters as it is, in canon.

But that’s okay, really. To each their own. Interpretations will vary, preferences differ, perspectives are not uniform. There is no one truth. There are five seasons of the show, a feature film, and like, thirty volumes as of this year.

All I’m saying is that if you want to stay stuck in the first season of each character, then that’s what you’re going to get. That’s up to you.

This may be edited or revised.

#bakudeku #meta #my hero academia #boko no hero academia #bnha #mha #bakugou katsuki #izuku midoriya #ok these are just my general thoughts in response to the people who have hang ups about this ship #like y’all need to pls chill tf out ok #this is also not comprehensive and could definitely be elaborated on #but it’s just general thoughts #it’s just addressing general opposition I’ve seen #I never thought I’d ever write this much about this ship wtf

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lit-in-thy-heart · 4 years ago

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you know what, what's the point of being on this platform if you don't get to bellow into the void about your interests in the hope of finding someone with the same interest?

in light of this, let me inflict a lowdown of the victorian literature (mostly novels because poetry is difficult to collate) that i've read for my module this year upon my mutuals

i'll do a separate one for vampire novels and reblog with the link

because what are the victorians without vampires? straight

bleak house (dickens): what a ride that was! yes, it was nearly a thousand pages and, yes, some chapters i was like can we move on please, but that's dickens for you. honestly, i loved it. if you're looking for thinly-veiled lesbianism, this is the book for you (esda all the way, if they even have a ship name). unfortunately i already knew one of the plot twists due to watching dickensian five years before, but there are plenty more to go around! if you can get through the first chapter describing nothing but fog and the law courts, you're in for one hell of a treat -- just don't google anything about it until you've finished because you will get spoiled (or don't share a house with me, where i'll tell you the entire plot as i'm reading it). definitely recommend, but marking it down for the heteronormativity with allan. (9.5/10)

villette (c. brontë): where to fucking start. i, quite frankly, do not care for charlotte brontë, and when reading the earlier novel agnes grey by anne, i could see some more things that charlotte has filched for this travesty. no victorian novel is going to be without problems, but this one was xenophobic, ableist and, of course, racist. the protagonist doesn't really give anything away, which is meant to make her more mysterious, but it just renders her an empty vessel. oh, and she tells you stuff that she's figured out waaaaaay after she says she's figured it out, a bit like she's allowing you to feel smart for making a connection before going 'oh yeah i knew that like twelve chapters ago, keep up'. some of the passages are really striking and there's maybe one character who's likeable but that's about it. i'd say it's more a story of omission than repression tbh. (4/10)

janet's repentance (eliot): wait, have i even finished this? no, no, i have not. it's fine, i wasn't going to tell you the ending anyway. i did get hooked eventually, there were just a LOT of names thrown around in the first few chapters, and a word that i didn't know was used frequently (turns out it was a name for the followers of this guy). i did get strong hester prynne/arthur dimmesdale vibes from some of the main characters, but janet is a very sympathetic character which, after reading villette, was nice. slightly depressing in some places, but a good enough read if you're not cramming it in the day before your tutorial, because it is mildly dense. (7/10)

the wonderful adventures of mrs seacole in many lands (seacole): not what i'd been expecting to read on my module, what with it being a biography, but enjoyable nonetheless. horrible histories lied to me, though, she was in her 40s/50s when she treated people in the crimean war, not in her 20s, but that's minor. it was actually quite funny??? like she was very reluctant to give away to give away her age and almost slipped up a couple of times, and also made some very biting remarks about people who were passing comment on her skin colour. for a biography, it wasn't hugely biographical, in that she was married for what seemed all of five minutes before her husband died, when in fact they were married for several years, but if you want an in-depth depiction of war, this is for you. not what i'd usually read, but some of the descriptions are so vivid that it does read like a novel in places, though sometimes the descriptions were so detailed that i did tune out at odd intervals. (9/10)

the happy prince and other stories (wilde): if you're feeling low, don't read these. don't. especially not 'the nightingale and the rose', because that was honestly heartbreaking. really well-written, some passages were just beautiful, i just wasn't in the right headspace to fully appreciate it. it also has a lot of death, i should probably explicitly say that. (8/10)

agnes grey (a. brontë): chef's kiss, honestly. if i'd read this last year then i think it definitely would have hit a lot harder, what with agnes moving away from home for the first time and struggling with loneliness around people who she is different from. beautifully written, i'm irritated at myself for not reading it sooner, even though i've owned a copy for about four years or so. agnes does come across as a bit wet sometimes, but those moments are rare and far between, she's overall a resilient character who is trying to make her own way in the world. seeing as i managed to get through the whole thing and didn't lose focus on what i was reading, i rate it higher than jane eyre (which is a rip-off of this anyway). we stan anne. though i am marking it down for the underdeveloped romantic relationship that just pops up (9.5/10)

now for some old classics that weren't taught on my module, but i can't not mention them

a tale of two cities (dickens): this was my first dickens book and oh my word what a book. yeah, okay, lucie is a bit of a wet dishcloth and has basically no personality, but there is definitely something there between her and her maid. sydney is my baby and oh so gorgeously dramatic ("you have kindled me, heap of ashes that i am, into fire"), which was perfect for the pangs of unrequited love. the plot is slightly confusing, and you don't really understand everything until right near the end, but i loved finding parallels in the chapters set in france with the chapters set in britain. oh and the showdown between miss pross and madame defarge is wonderful. i had a tradition of reading it on the run-up to christmas, just because that was the period when i read it for the first time, but i haven't done that for the past two years just because of exams and stuff. now, bleak house just pips it at the post, but i still love it dearly. (9/10)

wuthering heights (e. brontë): i couldn't review victorian literature and not include this. there are very strong similarities between this and villette (seems charlotte really drew on her sisters' work), particularly in terms of me not liking a single one of the characters except hareton. everyone is called cathy. literally. and heathcliff/cathy one is a toxic ship that should not be boarded. it is obsession, not love. the second volume is basically a repeat of the first one, thus showing that humanity will never move past its vices and will be caught in a vicious cycle of self-destruction for the rest of time. again, though, beautifully and vividly written. the characters are the type that you love to hate. (8/10)

the tenant of wildfell hall (a. brontë): what. a. book. this was a book that was simultaneously loved and condemned as scandalous when it came out. there's mystery, there's a woman escaping a horrible situation and making her own living, and there's a well-developed relationship! and the characters are likeable (i love rose, she's great, completely goes off at her brother when she has to do things for him all the time), which always puts it onto a winner. there's one chapter with gilbert that i have to skip just because i hate what he does in it. there are quite a lot of religious references, with redemption playing a huge part in the novel, but even the religious views brontë expresses went against a lot of the teachings of the anglican church at the time. do i even need to say that it's beautifully written if it's anne? marking it down for gilbert's behaviour and arguable control of helen's narrative. (9.5/10)

far from the madding crowd (hardy): i love this book. a little more uplifting than tess but still with the drama and murder you'd expect from hardy. maybe my review is influenced by my tiny crush on bathsheba: she's not the best role model but damn what a woman. gabriel isn't quite bae but i love him all the same, i'm so glad he's happy in the end. (9/10)

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funny-house · 4 years ago

Note

What do you think happens during the aggressive sequence when opal’s mom was singing her song?

aaaaaaaaaaaaaaa I have technically answered this before!! but since it was always always always attached to another post or rushed and summarized blah!! I will make this post

The Official

Opal Wine Mom Flashback Analysis tw: spousal abuse, drug use, etc

insert that Always Sunny meme of the disheveled guy at the cork board cause we are going in---

First things first!! Flat answer, then explanation so the answer is: The mom was having memory flashbacks to events within the house, one if not all of them, depicting her being physically abused by her husband, mirror man! A lot of people find that shocking to hear at first, but let me explain I got a lotta proof !!!

Let’s start from literally the tippy top The sequence starts by zooming into the mom’s eye. This represents that whatever is taking place in this flashy sequence is all about her, what she’s been through, and what she’s seen. It’s her perspective. That, combined with how it seems to paralyze her while she’s going through it and her eyes roll to the back of her head until it ends, implies it’s something she’s trying to force away or doesn’t want to think about!

So frame by frame analysis, this is film theory now!! first mental image: A windowpane at night that resembles jail bars. ( maybe the one seen on the bottom floor of the house in outside shots? ) A parallel to Claire’s window and a symbol for her feeling of being trapped-- something she brings up multiple times in her dialogue. She’s stuck here. She doesn’t want to be here but something is holding her by force and she feels helpless to escape it.

Next scene! Hard cut to rapidly trying to call on the phone. They type 9-1-1. The music starts to fade into screaming. Next scene! The mother’s head is in the far corner and the window is seen behind her, a reminder that she feels trapped, as she is literally seen being slapped in the back of the head by a hand. Next scene! A shot of their bedroom(whatever room she’s in!) door as her face melts across the screen Next scene! The mother screaming in a way that flaps her mouth in crazy waves and reveals her teeth and gums exactly like how Claire yells near the end Next scene! She’s shown laying down with pills dancing over her head. Next scene! her face melting below a distortion of multiple shots of her room’s door Next scene! A whole bunch of stuff in rapid fire!! An array of eyeballs and slapping palms and her face distorting and pills and something being thrown and shattering overlayed on her face and then a zoom out from the prison bar-like windows and more screaming bleh Starting to form a picture here, right? Somebody has been very badly abusing this chic. Bad enough that she’s called the police... probably for a domestic dispute, I bet. You can even see a very nasty wound/bruise on her head, just like she’s depicted being most often hit in her flashback!! On the face!!

And in higher quality than this little picture i resize so it doesn’t take up the screen lol, you can pretty clearly see reddening and discoloring-- that’s not just another dent in her weird shaped head, she’s been hit! No other character has visible wounds on their design like that, not even Claire. So why do I assume it’s Mirror Man? Well first, this world exists on a little set yknow they make a point of zooming out and showing as much, all their world is that house and that billboard. If someone not in that house was damaging her, they’d have to establish their existence or this would be.... a weird artistic choice tbh? The visual equivalent of randomly changing the subject lmao So it’s gotta be the dad or the grandpa heck-- it might be both, but I think it’s more likely the grandpa is a passively unpleasant company to her. He’s probably very mean and unstable- like he is to Claire, and-- honestly, for reasons i mentioned in a different post-- probably not even her grandpa but someone she was saddled with-- BUT he’s not the person in power. It’s just not likely she’d be afraid for her life enough to call the police on a badly disabled grandpa who can barely move without falling. Above all? He couldn’t be the one holding her hostage in a loveless marriage.

LET’S jump to the very very start of the short! Every character has a montage of items that represent their problems as people. Mirror Man is obsessed with self image and is shown frustratedly throwing a tissue at a fashion magazine of a ridiculously exaggerated man’s face, the grandpa is shown putting out a cigarette but he’s missing his cigarette holder and just dabbing it on a TV program list, which is reckless and dangerous and shows a little disdain for TV itself. The mom? She knocks her wine..... onto a romance novel. A novel Jack Stauber deliberately drew the cover of himself about loving a serial killer that depicts another exaggeratedly idealized hot dude... strangling a woman whose smiling and dying in his arms. A toxic relationship, I imagine! Looks like someone!!! is having!! relationship problems, maybe So let’s listen to how the mom describes the problem to her daughter “ It’s a virtuous cycle ” “ And they never repent how I want them to ” “ Our adversaries are in denial ” So it sounds like to me...... not only is she prone to being too forgiving of a certain someone, and that’s why she stays in a horrible situation in a horrible relationship... but that certain someone both gives insincere apologies... and denies that their actions are severe enough to be criticized.

Sound familiar? Maybe it sounds like the insincere apology of a certain mirror loving duderino who insulted his daughter’s ankles and promptly excused himself for having a brain that likes fixing mistakes without ever taking back what he said? And then promptly said this habit of his was uhhhh

“ That’s just a part of my journey, yknow? I’m like a tiny growing thing.” “ Everybody’s so mad at me, like, i’m growing though-- why be so negative? Why do people look at me-- like you probably are right now?” Feign innocence, empty promises to improve, reflect all attempts to convey that you’ve hurt someone? All without even being asked about it, btw lmao? It sounds like someone has something they should be apologizing for... ( You’ll also notice all the 3 adults have a way of talking as if speaking in general terms-- like they’re talking about everybody in the whole world or to an audience rather than to... a little girl they have a personal relationship with-- but i think that’s just expressing how disconnected and self interested they are. You kinda have to read between the lines to get what they’re saying. )

ANYWAYS this is all my take on it, at least ! Hope it made sense!! If... any of you actually read all this junk lmao

#Opal #Hope #Wine Mom #Jack Stauber #lol just tell me TL;DR i will understand #mail time !!#Anonymous

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viktorhargreves · 5 years ago

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some thoughts i have on the s2 promo stills

I think Ben is appearing either in a dream or to someone other than Klaus. The reason I believe this is the color composition for the shot and the framing. The Umbrella Academy is a dark show. Literally. And the season two promo pictures are no different from season one. Why the sudden departure from this? Promotional photos directly from the source (i.e. the production department) usually are not put through filters so this is how it will be shown in the show. So why the brightness? I think it’s either a dream or revelation (you know the cheesy trope where the sunlight streams in and someone finally pieces things together) or maybe it’s a vision that someone has of Ben. Contenders for this? No idea. But judging from the body that’s strung up on the ceiling (yeah, I didn’t forget that part) it could be Vanya. Or I could be totally wrong. Either way, the body does hint towards Klaus’ telekinesis, something he has in the comics that we have yet to see in the show (besides the suitcase debacle).

We know that Five is the last to be sent to the 60′s so if he’s stuck in a new time with no one around what does he do? Find a mannequin and make a new friend (or something more). Maybe what we are seeing is him about to home-wreck this bitch and steal little miss blue-dress here. Or maybe he’s looking back at a different character... the villains of this season perhaps? Or maybe The Handler makes a comeback? Either way, he looks cautious and if he is looking at someone less than savory then the set up we see could be set up to mock him rather than a harmless department store display.

The paper reads: “S.J.C.C. asks... Have you experienced DISCRIMINATION by your employeer?” Not much comes up in Google for a look into who S.J.C.C. could be but I personally am SYKED to see The Umbrella Academy hopefully tackle race issues. Especially at this time in the world, it could be what people need. Also a new hairstyle for Allison which I love. I personally hope Allison is thriving but this is the 60′s and even though The Civil Rights Act was signed in ‘64, there was no across-the-board stop of segregation at once. I hope for her sake she stays safe.

Again, we know that Five is the last one to arrive. Perhaps he gathers them all to this place to tell them about the newest apocalyptic event about to take place. But a barn? Not sure why. Everyone else is dressed in back, however, even Klaus which is very telling that something is wrong. Allison has lost the hair bump (she was probably just wearing it to fit in). Luther has a beard which is very telling as well because the only other time that we have seen him with one is when he woke up from his surgery (supposedly after a long period of time) so if it was in his control he would shave it off to be the good little soldier that dad made him. Maybe being stranded in Texas in the 60′s made him depressed like we saw towards the end of season one or maybe he just wants to live a little. Diego’s outfit looks very similar to his vigilante outfit in season one but with what looks like either shoulder pads or a hoodie. This could be one of two things: he is still a vigilante using his powers for good, or he works a job like construction or something similar judging by the cross-chest harness. And Vanya. Look’s like she’s wearing a suit jacket. Peak gay. No further comment.

GOOD GOD!!! What to say, what to say. As it’s been pointed out already by many other users, Ben. Is. Holding. Keys. That means he is corporeal and has a physical body. Whether this is for a short period of time like when he punches Klaus in season one or if this marks the beginning of a new era of Ben-filled The Umbrella Academy is unknown. Klaus is a fashion icon. That much we been knew. Although, his beard is longer than the promo pictures despite being in the same outfit. Longer than the picture above too. I’m excited for this scene regardless of what it is about, but if I had to guess: Klaus is motioning for Ben to give the keys to him. The car broke down. Klaus gets out and tries to fix it by popping the hood, only he knows nothing about cars. He gets angry and throws the keys. Ben catches them. Klaus is then irritated and asks for them back. That’s just my take. Klaus looks like he’s smiling but it could be the natural face a person makes when they are squinting from the sun (this is Texas and those are sunglasses (also water is wet)).

#justgirlythings. Vanya is the only one who seems uncomfortable, also where are Klaus’s shoes? If you look in the background it appears this isn’t a salon as you would guess on the first look but rather someone’s house. Maybe this is a way to time travel without Five? Or some other sci-fi device like the shoot that Cha-Cha and Hazel used in season one to get their orders. Either way, there is a lot more going on here than we know from first looking and I wouldn’t put it past anyone that this is an important still to remember and keep in mind.

Iron Man references aside (thank you Justin Min), look at her entire body posture and language. Clenched jaw, clenched fists, forehead straining, eyes closed but not clenched like the others, neck straining. Vanya appears to be in the middle of nowhere so maybe she’s testing her powers? Last time we saw her testing her powers it was in the middle of the woods with Leonard so maybe this will be a good parallel. What else to do in the 60′s when you’re stranded than to try out your superpowers that you just remembered a few days ago?

Vanya! Is! Happy! She is definitely smiling and looks genuinely more happy than she did with Leonard in any event. The blonde woman is Marin Ireland who plays a character “Sissy”. Variety and Netflix have stated that Sissy is "a fearless, no-nonsense mom from Texas who married young for all the wrong reasons". Maybe, and I’m just spit-balling here, she married young because of internalized and outward homophobia that is probably rampant in the 60′s and in Texas. She meets Vanya and the two begin a relationship. Friends? Lovers? More? Vanya’s right hand is either on a gear shift (manual transmission i.e. stick shift cars were much more common in the 60′s than now) or on Sissy’s knee. I like the idea of her resting her hand on Sissy’s thigh and smiling, maybe driving off on a new life together.

Like. The Gang’s all here, Scoob. Even Ben! Allison is talking, it seems so to have Ben in the shot is odd. Usually Ben only appears when Klaus is the main character of the shot or the scene since he can only see him. Except, maybe everyone can see him!! Klaus can summon Ben as seen in the season one finale so maybe he was able to do it for a longer amount of time. I personally really hope that we see more of Ben (which the stills lead me to believe) and that they will develop not only his character and backstory more but his powers as well. His power rivals only Vanya’s is sheer amount of destruction it can cause. The room, however, where they all are looks unassuming. It could be where Five has taken up a residence, could be a house of one of the other siblings (we know that some of them did in fact settle down and start lives in Texas), or maybe it’s just a safe place to meet as a team. Either way I am psyched!

It’s safe to assume that these are the assassins. Whether they are with the organization that The Handler was with is unclear. What is clear is that I get Stranger Things vibes from these guys. It might be the white hair and dark, cloudy road. Either way, these guys are played by Tom Sinclair, Kris Holden-Ried, and Jason Bryden left to right and they play Oscar, Axel, and Otto respectively.

Diego, Diego, Diego. My son. Disregarding the long hair and beard completely because I refuse to acknowledge it at this point, here is my interpretation of the scene. This is a flashback in the same fashion that we had a Diego flashback in episode three of season one. That flashback had Grace helping Diego through a stutter and then in one camera motion showed current-day Diego sitting on his old bed. This could be the same kind of thing, with current-day Diego sitting where he past self was and watching a scene unfold around him. Why else would he be in his uniform? How could it fit? How could he be back in the mansion?

-----------

That’s all I have to say about it for now but my ask box is OPEN for theories, possible explanations, or hypotheses on season two or any of the promotional stills. Time travel is messy. Let’s see what happens on July 31st.

#the umbrella academy #tua #tuaedit #netflix #netflixedit #i was not paid to do this lmao #mine #mine:headcanons #shows #rm #tua spoilers

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sparklyicecube · 4 years ago

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Drabbles of a group of not-normal girls

Merry Christmas everyone! This is my secret santa gift for @emmamemea and I must admit when I first saw the favourite characters list none of them overlapped with mine but I had fun researching and writing them! Disclaimer: I didn’t have that good of a grasp on their characters so I thought it’d be safer writing a bunch of short drabbles rather than long fic, enjoy!

Valentines day:

“P-Please accept my chocolates at least!” Megu didn’t know what to do, here was yet another underclassmen who was trying to give her chocolates. She sighed, the difficulty of rejecting so many was painful at best.

“I’m sorry, but I can’t accept these, please respect that.” The young girl looked up at her with heartbroken eyes.

“At-at least take them then I promise you don’t need to talk to me ever again! We might not be allowed to date but taking some chocolates won’t be too bad right?” The girl held out the chocolates with her face parallel to the ground, Megu knew she should say no but took it anyway.

The girl lit up and thanked her, running away in glee.

“Megu!” The girl in question jumped slightly and turned to face the group of eavesdroppers, they were really obvious about eavesdropping but somehow the underclassmen student didn’t notice.

Yada sighed, “Megu, I thought you said you were going to to not accept this one. You know it gives them the wrong idea.” Yada took the box of chocolates out of Megu’s hands, putting it into the large bag that they already accumulated.

“I tried, but she seemed so pitiful…”

“We should go out!” Everyone looked at Okuda, her little outburst having taken a bit of courage. “Everyone always said that it’s the best way to get over a bad experience so we should try it!” Looking at Okuda’s determined face they couldn’t help but chuckle, agreeing with her.

“It settled then! Girl’s day out!”

The first place they went to was the mall, deciding that good food and shopping would be fun.

...that didn’t go as planned.

None of the girls were really that into shopping, though they did manage to find some cute outfits for some of them.

“Yada, this would look so good on you!” Of course, Yada’s body fit the most clothing, her features accentuating the clothes and making some people feel a bit more insecure about their own body types. They managed to all get at least one article with mild interest but the real kicker came when they were eating.

“Do you think Korosensei is actually that bad at spying or is he making it obvious so we are aware of it?”

“Well-”

“EVERYBODY!” The entire restaurant turned to look at some table, with a girl standing on top of it and a boy sitting what would have been across from her. “WE HAVE BEEN FRIENDS FOR OVER FIVE YEARS, I HAVE NOT MANAGED TO GET INTO THE SAME CLASS AS HIM, BUT I WANT YOU TO KNOW THAT I REALLY LIKE KYOU-CHII.” The girl turned to the shocked boy and whipping out a bouquet and chocolates, said: “Will you be my boyfriend?”

The boy looked up at her with starry eyes. “Y-yes!”

The entire restaurant was clapping and cheering with the girls politely clapping along and decided that maybe they should retire from the mall after all.

The park was where they decided to hit next, with Kurahashi saying that nature was the best way to distract oneself from the human world.

Though the park was nice, the amount of happy couples around was unpleasant to say the least, and seemed to occupy every bit of the park.

“I saw some really nice green dragonflies here last week-” Kurahashi rambled as she pulled open some shrubbery to reveal a cove that had two people making out.

“Bitch-sensei couldn’t get more hits than that.” Commented Fuwa, as they walked towards the edges of the park.

“What about we all go to my house? A good sleepover where there can literally be no one else! Except my brother.” Suggested Yada.

They all agreed, and a sleepover it was!

Valentines Day aside, the girls had a heartfelt day spending time with one another, hanging out, and an entire night of fun! (Minus the pillow fight because that wasn’t fun, that was brutal war training).

Megu might still be learning how to say no but at least she had a group of friends that would help her along the way.

The trials of a flight attendant who trained to be an assassin:

“Welcome! Hope you have a pleasant flight! Can I check your boarding pass? Okay, your seat is on the left in the back.” Megu had gone through the rigorous training and application process to become a flight attendant, with relatively no issue. Her training from the E-Class got her to the top of the batch and she was able to handle emergency situations, heavy lifting, service training and all in heels, she passed with flying colours.

This flight was particularly special because several of her fellow E-Class classmates were on it too, mostly by coincidence of course.

Okuda and Kurahashi were headed to some science conference in the US, Fuwa was over there to negotiate discuss with a publishing house over there and Yada said she had wanted to relax for a holiday. They all agreed to meet up with each other at some point but for now Megu was pretty happy just knowing they were all on the same plane, it was like a a little reunion!

“Excuse me miss it seems like there’s something we need to discuss with you about your layover.” Yada looked up at Megu, currently sporting a tight bun and a very cute flight attendant outfit.

“Sure, no problem.” Yada replied, getting up from her seat and following Megu to one of the areas where there was no other flight attendants.

“Yada.”

“Megu! I haven’t seen you in person for awhile!”

“What are you doing.”

“Ehhh? I thought you’d be happy to see me, this isn’t a very proper way to greet a passenger.”

As quick as a flash, Megu had grabbed Yada’s wrist, spun her around and slid the pin out of her hair, clicking it open to reveal a small vial.

Megu pulled Yada close to her, to prevent others from hearing, though they were alone, pressing her mouth close to Yada’s ear.

“You can’t kill him on board, are you crazy?”

Yada easily twisted out of Megu’s grip and smiled putting a finger on Megu’s lips.

Megu glared at Yada, “I thought you said you wanted to use your skills for negotiation?”

“This is called a negotiation breakdown.”

“Why do it on a plane? Do it on a cruise!” Megu hissed, “People die there all the time!”

“Do they really?” Asked Fuwa, popping out from behind Megu’s shoulder with a notepad in hand.

“Fuwa!” The two exclaimed, with very different emotions.

“Why are you here?” Asked Megu, feeling a very specific headache coming on.

“I’m on this flight too, plus a good manga editor always looks for good inspiration.” Fuwa winked at her then turned to Yada, “Mind telling me what made negotiations breakdown this badly?”

Yada smiled, “That, is unfortunately confidential.”

“That substance is too obvious, if you try this one it’ll look like he just had a heart attack.”

“Okuda! Don’t help her!”

“Ooh do I also inject under the tongue to have it heal quickly?” Asked Yada, intrigued.

“Mhm!”

Megu sighed, they did make a pact to help each other no matter what but this wasn’t exactly what she had expected when they made that pact.

“It’s like a nice reunion before we even land!” Exclaimed Kurahashi.

“Why are you even here?” Asked Megu, tired.

“I’m going to the science conference too remember? The same that Okuda and Yada’s target is going to! I also sensed drama and this guy wanted to see.” A small, (venomous by the looks of it) snake wormed out of Kurahashi’s sleeve.

“How did you get that through security?” Asked Megu, concerned.

“Him and his mom lay very still and they looked like ropes, they’re cold blooded and very well behaved.”

“Flight attendant, flight attendant, you don’t need to revamp the entire airport security system.” Muttered Megu to herself.

While the few bickered and chatted as if talking about shopping, the seatbelt sign came on, the plane having encountered turbulence. Megu used that as an opportunity to usher them off, a fond smile on her face appearing as she saw them waving at her as they innocently went to their seats.

Yada walked back to her seat with a bright smile on her face, Okuda’s vial now in the syringe in her pin. There were plenty of ways to kill the guy she was after without tipping off that it was her, but this way meant that the airline wouldn’t get in trouble either.

Megu discreetly checked on their body bags, there wasn’t anyone in first class so they could move the person there when needed, hopefully Yada would do it naturally and the man would seem dead by accident.

When they touched down on American soil Megu sighed in relief, a few more checks and she could be going out with the girls and catching up without the stress of being on a plane.

Then afterwards she needed to work on changing the airport security system.

Author’s note that I couldn’t slip in but thought was a fun fact when researching for this drabble: Flight attendants cannot declare a person legally dead, the country they land in has to do that instead. Also, I now know even more ways to get away with murder :)

The powers of deduction:

“What else do you think will happen?”

Fuwa smirked, her powers of deduction heightened from reading intense plot-based mangas.

“Well, from what I can tell, those two,” she said pointing her pencil towards a pair of students sitting on a cafe table a bit further away, “have the typical, ‘I hate you but we’re being forced to do a group project together’, they will probably end up in love or at least a love triangle. That group,” she pointed her pencil towards a group of people, “are all fighting for that one girl’s attention but she doesn’t know it because she’s dense. 10 chapters in when the readers are all on the edge of their seats in anticipation she will find out and intense love drama ensues where she is intensely confused but gets together with that green-haired one. Then she gets a scholarship overseas.”

“Wow! That’s so cool!” Exclaimed Kurahashi, Fuwa basking in the praise.

“That’s fun but that only really happens in mangas and stuff, those guys might just be normal friends.” Megu pointed out.

Fuwa glanced at Megu, then towards Yada and smirked.

“Okay, well then, I predict there’s another story right in our very class.”

“I know! That there’s a supermonster that is going to kill the earth but has a dramatic and tragic backstory that for some reason this group of junior-high students have to kill?” Kurahashi offered.

“Everyone knows that, something more interesting.” Fuwa smirked. “I predict that these two” pointing to Yada and Megu, “Aren’t going to realise their love for one another, ignore it all of their schooling lives and one day… Okuda play along with me.”

“O-ok?”

“Oh! I’m so sorry for bumping into you.”

“Uh, no problem! I was the one at fault…”

“Omg, I haven’t seen you for such a long time, we should really,” Fuwa brushed a lock of hair behind her ear, “catch up.” She said, waggling her eyebrows exaggeratedly.

“Yes! We should um, meet at a cafe?”

“Then they’re at the cafe like, ‘Oh it’s so nice to see you again, it really was so fun.’”

“You’re going?”

“Unfortunately yes, you see… I’m engaged.”

Okuda gasped, unsure what to do next.

Fuwa decided to then play her role for her, “‘No! Please! Don’t go!,’ ‘I’m sorry, but I must.’ ‘But you don’t understand! I- I love you!’ ‘What?’ “Ever since junior-high in the E-Class whe-”

“Okay that’s enough.” Megu declared, tips of her ears having turned pink and an annoyed but embarrassed face. Yada had turned away slightly with her hand covering her face.

“Okuda! Your acting was so good!” Yada exclaimed, the others still noting with amusement the slight tint of pink brushed onto her cheeks.

“Was it? It was hard to think on the spot…”

“Definitely! I might even cast you as the student who helps them get in touch way later.” Fuwa joked.

The group laughed, after all, Fuwa’s scenarios don’t always come true.

Sometimes.

#assassination classroom #assassination classroom secret santa #kataoka megu #toka yada #yuzuki fuwa #manami okuda #hinano kurahashi #secret santa #I had so many tabs open researching their characters for this #why do they have so little screentime I re-watched that one club scene so many times #hope you like it!

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pynkhues · 5 years ago

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I just want Beth to be like, fuck boomer. How can she be so forgiving for everything he did to her and Annie?

I’ve only watched the episode once at this stage, anon, but the impression I got was that she did say ‘fuck Boomer’, and that she wasn’t forgiving of him at all. As soon as she saw him pop out of the septic tank, she knew what Rio was asking, and she never wavered in delivering him, which is huge, huge growth for Beth (and Annie and Ruby too). I’d argue too that trying to take him to Marion was smattered with three very different sets of motivations.

Annie was doing it for Marion.

Beth was doing it for Annie.

And Ruby was doing it for Beth.

None of them were doing it for Boomer.

Overall though, I think this episode marked a really substantive growth in terms of Beth’s handling of a rotten egg, and that it represented a natural evolution from the horror of what happened to Lucy, and the initial disaster of her handling of the Boomer situation in the early parts of s2, in a way that felt true to her character and true to her moral descent, which is less a plummet off a cliff, than it is a stagger down the stairs.

So let’s break that down a bit:

Annie + Boomer + Beth

The first real scene of violence (as opposed to threatened or inferred violence) on this show is actually through Annie, Boomer and Beth.

He tries to rape Annie, and Beth first holds a toy gun on him, and then smashes a bottle over his head.

This scene is a really clear precursor to what happens later in the series, but also a very distinct character set-up for Beth, because it shows that she thinks quickly on her feet, will protect her and hers (aka Annie and Ruby), doesn’t think things through (was there ever a plan of what to do with Boomer in the treehouse?) and has a lot of barely contained rage, simmering beneath the surface of her.

Beth + Rio + Dean

In a lot of ways, that barely contained rage manifests with Beth getting Rio arrested, an act motivated out of a conflicting cocktail of fear, anger, vindictiveness, and - as I’ve argued on here before - genuine hurt. The scene at the end of 1.10 is such a good cliffhanger, and they explode that cliffhanger back open with 2.01.

Rio gives her the gun, manipulates Beth’s trust, and then uses that trust as a weapon against Beth to get her to willingly give him back the gun as he shoots Dean.

It’s a scene that punctuates Rio’s ability to do what Beth can’t.

The Girls + Boomer

And yet, for Rio, that immediately seems to build into a desire to get her to do it.

He’s just shot her husband, and now he’s strongarming, goading, and - in 2.04 - positively gleeful at the prospect of getting her to shoot someone too.

Boomer is really the first person who’s framed as a dead man walking on this show, and by the time the show articulates that explicitly in 2.01, it comes with a loaded, complex history. Boomer’s Annie’s boss, her would-be rapist, and now the fiance of their sort-of-employee? It’s a mess from the word go, and it falls out as a mess because Rio’s overshot, because Beth isn’t ready.

That whole mess just falls out and falls out and falls out across season 2, until it culminates in:

The Loft

Which not only parallels with 1.10/2.01, but also the Boomer arc.

Rio gives Beth Turner as a gift, a lesson, and a punishment combined, and once again, Beth isn’t ready for any of it.

It compounding with the games and then the abandonment and then the kidnapping, means Beth shoots the wrong person in a way that calls back to 1.01. It’s an explosion of desperation and then an ill-thought out rage that resets the board for s3.

Season 3

In a lot of ways, Rio’s taken a step back from Beth this season, and I think in no small part, that that’s manifested in his desire to see Beth get her hands dirty. That desire is absolutely still there, but he’s downloaded a lesson plan, and he’s pivoted his approach.

Now, it isn’t about getting a gun in her hands, it’s about making her complicit with the gun in his.

Beth + Rio

This is really started in 3.02/3.03 with their reunion, and the extension of the shift in violence in their relationship which was escalated in 2.13.

Namely though, it reiterates a set of rules that haven’t always appeared so plainly, but have certainly underpinned many of their interactions.

1. The gun is in Rio’s hands and he makes sure she knows that it’s there (he tells her he’s planning on killing her).

2. Beth scrambles to save someone (in this case herself through the pregnancy lie).

3. She plays along (she goes to the OBGYN with him).

4. She tries to negotiate (their whole conversation at the bar in 3.04)

5. She suffers the consequences (lets him strongarm into her business.)

And then it escalates.

Beth + Lucy

I’ve talked about it before, but Lucy’s death was a marked shift for the show, because it wasn’t about making Beth do it, it was about making her complicit in the crime.

Again, it follows a formula, albeit this time, not over two episodes. It’s in a handful of scenes.

1. The gun is in Rio’s handsand he makes sure Beth knows that it’s there (he presents as a clear and obvious danger to Lucy, echoes language he’s used with Beth when trying to kill her to emphasise his intentions. I talked about this a lot in the post I linked to above).

2. Beth scrambles to save someone (she tries to tell Lucy not to finish the new template.)

3. She plays along (she goes out to the van with Rio and his guys).

4. She tries to negotiate (passionately this time! But - notably - for herself, Annie and Ruby first, Lucy second - her first moral slip in this particular sense).

5. She suffers the consequences (Lucy’s killed).

It’s a stark contrast to 2.01, because Dean survived, and an even starker one to all of the other scenes of violence on this show so far, because Lucy was an innocent, unlike Dean, Boomer and Rio.

Hell, she’s even unlike Annie and Mary-Pat, who have both experienced awful sexual violence in this series at Boomer’s hands. There is no situation ever in which any person deserves that or invites it; however, in talking about the violence on this show, it’s important to acknowledge not only their respective traumas, but the way they play as morally grey characters in the storyworld versus Lucy, who was never presented to us as anything other than ‘good’.

The brief foray between Beth, Max and Rio that falls out of it forms a compelling, but short-lived exploration of the ramifications to this, and is in no small terms about highlighting two things. a) Beth has never been as innocent as Max, who wets himself in the heat of the moment, and b) that she’s stumbled down a few stairs in terms of what she can do, while c) still letting her guilt guide her course of action.

Beth + Boomer

Which is why this episode was, in practically every way, an escalation of what Beth’s capable of, even if it did perhaps feel like it wasn’t.

1. The gun is in Rio’s hands (a fact Beth instantly accepts when Boomer pops out of the septic tank).

2. Beth doesn’t scramble to save him. At all. This is huge for her and a really, really marked shift in terms of her character. Like I said at the start of this post, everything she did in this episode was for Annie’s benefit, not for Boomer’s, but I’ll come back to that in a tick.

3. She plays along, but it’s different this time. She’s both falling into line, while creating her own space. Yes. She’s going to bring Rio Boomer. But she also might need more time within that, and she’ll fight for that when it’s for her sister (taking Boomer to say goodbye to Marion), but she won’t when it’s for Boomer himself at their expense (she’ll steal away the urn and threaten to throw it away when it’s too much). Beth bossed up in a big way. Not in a pretty way, sure, and not in a way that perhaps immediately presented as empowering, but it was - she did what needed to be done to deliver, not just play along.

4. This is why I think Beth’s negotiation here was important and needed to be in there. The shift in her own morality in this episode has been both a logical evolution of the series and a really stark one. She needed to know she tried, and it’s no accident that her brief, half-hearted efforts at negotiating for Boomer’s life with Rio came after Boomer was appealing to Annie again, and again, and again, and again in that car.

We’ve seen what Beth’s like when she’s fighting for a life.

She wasn’t fighting for Boomer.

If anything, she was providing the most base of comforts to her sister, and likely herself too.

They tried.

5. She suffers the consequences. She doesn’t fight it. She doesn’t spring from the car, or start her filibuster like she usually would. Which means she doesn’t just suffer Boomer’s death.

For the first time in the series, she accepts it.

And she lets it go.

And sure, maybe it’s not a fuck you, but for Beth? The woman who can’t even divorce her husband? I think that’s pretty huge.

I also think that the end of the episode where Annie tried to give peace to Marion just reiterated how much this episode was about her for Annie, not about Boomer (which is why it’s also important that the show reminded us that Marion was racist, and that she chose Boomer over Annie anyway, which I really appreciated).

And going off that final montage? None of them mourned him like they did Lucy, which, well. Says a lot, particularly when paralleled with their respective guilt spirals in 2.04 after disposing of Boomer the first time.

#gg 3.08 #crime time #dis/armed #beth boland #annie marks #ruby hill #rio #leslie peterson #dean boland #gg spoilers #Anonymous

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xenoredux · 5 years ago

Text

The Legend of Silver Fang - Episode 4: The Gang Wars

If you haven’t read episode 3 yet, you can do so here.

As mentioned before, the major story beats and overarching plot are the same. This is written under the supposition that, in fantasy land, this is a mini series with episodes that run about 2 hours in length each.

Some things to be aware of going in:

This story is violent as shit!!! CONTENT WARNING FOR: Animal injuries, animal death, drowning, cannibalism, disembowelment, illness via poisoning, and other bloody Epic Bruh Moments. Maybe don’t read ahead if dead animals upset you

I was trying to achieve a decent adaptation that combines the strongest elements of the anime and manga. It will not be precisely like either and will occasionally totally deviate from both

This isn’t meant to be “better” then the canon. It’s just the way I’d go about rewriting the Akakabuto arc if I had that level of ungodly power lol

Character designs made to represent several mentioned characters can be found here, here, here, here, and here. Others will be left up to the reader’s interpretation. A link to the next episode will also be provided at the end. If a link isn’t available, the next episode just hasn’t been posted yet!

YES THIS IS THE ONE WITH THE NINJAS IN IT

The first, second, and third platoons are heading to Kasumi Dake. It's an admittedly creepy part of their road trip. The mountain is as misty as its name implies, as is the surrounding, half-dead forest.

To make matters worse/spookier, the once pale blue sky has turned a garish grey, and thunder rumbles as it begins to rain. The Kai Bros confirm they're on the right trail to the mountain, so none of the more crybabyish among them (lookin' at you, Hyena) have an excuse to leave.

Still, it'll be harder to deal with this matter during a storm, so the army huddles together under a rock overhang, being afforded just enough room to keep out of the weather's way. The Kai Bros detail how much of a bullheaded pig Moss is as everyone listens. Akatora says that Old Fattycakes has been trying to cagoule he and his brothers into joining his dogmafia for legit years now, and he just gets madder every time they tell him to get lost.

Unexpectedly, Ben gives a heaping helping of benefit-of-the-doubt to this crimelord, insisting that he's got to have something going for him if he has a huge pack. At the very least he must hold a belief his followers share. Nobody can hazard a guess as to what such an ideology could be, but it gets the dogs thinking.

Cross says this means they should try to handle the situation peacefully if they can, only launching a full blown takedown if Moss proves he's just your run-of-the-mill dictator. The Kai Bros aren't happy to hear the army might go soft on Moss, but they don't complain.

A moment later, Hyena begins to slink away from camp. Great asks where he's going and the Weimeranar twitches, says he needs to take a leak. Hyena says he could always stay under the rock, though he's not sure if he'll be able to keep from wetting himself much longer, and Great is so icked out that he all but tells Hyena in an Italian accent that it's time to take a piss.

Hyena snorts and tells the crew to keep an eye on the group's baby as he might wet himself instead, and he's already gone by the time Gin realizes he was being picked on by a nerd twice his age.

Smith laughs and tells Gin not to take anything Hyena does to heart. He's always been a wormy little guy. That's probably why he falls in behind Sniper so easily. He doesn't have the balls to pull any nasty tricks without his German Nanny around. Gin laughs and tugs on Smith's ear appreciatively.

It would seem as if Smith doesn't know Hyena as well as he thinks, though, because Hyena, though he did stop to pee, is up to some nasty business indeed. He's wandered into the forest, howling gingerly to attract the locals' attention.

He garners a response as a booming, gravely voice tells him to either state his business or get the fuck off his lawn. Several dogs who exude the same energy as smoking bikers with sleeve tattoos encircle him, cornering him against a boulder. As Hyena hyperventilates, he looks up top the boulder and shrieks.

Hyena's gaze meets with that of the biggest, heaviest dog he's ever seen. Shorter then Ben but with twice his body weight, the animal is a hulking English Mastiff mix with a spiked collar and, curiously, a coat mottled with zipper scars from stitches long since healed.

Beside the dog are two others; like bookends, they stand beside him, the leftmost looking like a slender, younger clone of the absolute unit of a dog and the rightmost being a Siberian Husky. There's no doubt about who the big guy is: Kasumi Dake's own godfather, Moss.

Miles and miles away, Hidetoshi leaves the hospital to head to a board meeting. Outside of the hospital, Daisuke is standing in the rain with a colorful, cartoon character clad umbrella. Hidetoshi tells Daisuke he should go home, Gohei's asleep and it's past visitation hours. Daisuke shakes his head and looks at John. The dog tries to follow Hidetoshi into his car but is gently pushed away.

Before Hidetoshi drives off, he gives Daisuke a sympathetic look. "I'm sorry about Gin's disappearance," he says. "We'll find him someday, I promise you that." Before Daisuke can respond, the good doctor has already put peddle to metal.

Daisuke sulks and begins to walk home, seemingly lost in thought. John sighs melodramatically as he wanders through a pet door into Hidetoshi's office. The shepherd's eyes float across the photos adorning the walls, each one reigniting a memory of bloody exploits past. John scoffs about how Hidetoshi - and most of the men in the village, for that matter - have given up hunting, which just goes to show how much of a pack of quitters humans are.

His mind wanders to Gin. He's been thinking of the Akita more and more these days, mulling over their last exchange. If he's to be perfectly honest, John's gotta admit that he's fearful for his sorta-friend's wellbeing.

Enough is enough. All inaction and no killing makes John a dull boy, so it's time to return to the mountains. He'll kill three birds with one stone: make sure Gin is okay, return him to Daisuke (by force if necessary), and maybe kill a tyrannical bear or two if he has time for it. John smugly grins at his totally foolproof plan as he runs out. It's time to become the village hero. It's time to actually make a difference.

The rain finally lets up. Back under the rock the dogs are coming to realize this, and so they begin leaving their resting place. Akatora reminds Ben once more that he and his bros are, like, SUPER willing to kill Moss if he doesn't listen to reason, to which Ben, with his most fatherly of smiles, tells them to start chillin' with the killin'.

But before anyone does anything, Gin points out that Hyena never came back from his pee break. Ben heaves an exasperated sigh. Gin gathers this isn't the first time Hyena's pulled some dumb, inconvenient shit.

Smith mutters about "that goddamn idiot" under his breath before saying he'll do the honors of finding the lost complaint factory. Having begun to strike up a friendship with Smith, Gin channels his inner five year old and excitedly asks Ben if he can go with.

Ben allows the boy he's essentially adopted to run off with his friend and the two young dogs scampering off. Ben chuckles and says dogs Gin's age always need a reason to keep moving. A moment later the group departs.

Meanwhile, Hyena has been filling Moss's head with both disgustingly transparent flattery and heinous lies. The story the little traitor's come up with goes something like this: he's a feral dog living with a nomadic pack run by a dude called Ben. The pack has recently encountered the infamous Kai Ken Short Kings who've tricked Ben into thinking Moss was seeking to destroy all competing packs. This has led to Ben waging war on Kasumi Dake. Poor Ben is just too stupid and smelly to know any better, but he's powerful and dangerous to trifle with nevertheless.

Moss smells a rat - possibly a large, grey, snively one - but he allows Hyena to leave his territory unharmed. He turns to the Mini-Moss at his side and asks what he thinks of the situation, addressing him as Jaguar.

Jaguar is Moss's son from a litter wherein he was the only survivor. He's only 2 years old, just a touch older then Gin is. The youngster puts on a bold face and says that he doesn't believe any pack's leader would buckle to three dogs he dwarfs just to start a random war. Moss agrees, saying that the Kai Bros are too up their own asses to recruit assistants anyway.

That said, the husky at his side, Lloyd, still believes caution should be taken. The little wormy guy might've been lying about the Kai Bros, somehow having discovered their beef with Moss, but there's no saying a large pack of feral dogs couldn't be seeking to do them harm.

Moss decides to send two of his men to spy on the pack and learn more about its intentions. In a parallel to Gin's departure with Smith, Jaguar asks if he and Lloyd may do said spying, his desire being to prove himself to his old man. Moss agrees so long as his son keeps himself safe, and he proudly watches the two slink off into the forest.

Elsewhere, Gin and Smith are trying and failing to find Hyena. Smith's getting increasingly annoyed at the little bugger, cursing and complaining about the inconvenience. Suddenly, both he and Gin smell something coming. It's not Hyena, but someone else. Two other someone elses, in fact. The two run and hide somewhere they won't be spotted to watch their new company.

As Gin and Smith sit atop a rocky ledge, two unfamiliar dogs run by. Smith hazards a guess that they're two of Moss's men as and the two strangers come to a stop. Gin and Smith gasp - Hyena is standing in the strangers' way! Moss's dudes ask what Hyena's still piddlefarting around here for when, in a shocking display of effort, Hyena lashes out and bites the Mastiff in the neck.

Gin and Smith can barely contain themselves - what the hell is this idiot doing?! He's going to get everyone in trouble! Gin can't stand by and let this happen. He's about to spring into action but stops when he notices a dark shadow descending on the group.

The shadow is from an illusive cling-on the pack hadn't realized was following them: General Sniper! The Doberman dives onto Lloyd, landing the perfect blow and snapping the Husky's neck on impact. Lloyd dies instantly, his body tumbling to the ground. Sniper gives a wildly cliche evil laugh. He turns to a confused Jaguar as the Mastiff punts Hyena aside.

Jaguar runs to Lloyd's side and starts shaking him in an effort to revive him. Sniper just guffaws and tells Moss's precious son that his death is necessary for the cause. That cause being, of course, a war between Moss and Ben's packs, a war which will hopefully lead to Ben's demise. He punctuates his insidious plan by slashing open Jaguar's left shoulder, sending the inexperienced dog rolling in the dirt.

Meanwhile, on the cusp of the village, Daisuke is looking around the forest, bow clutched in hand. He's calling Gin's name and murmuring about how his dog had had a strange fascination with the feral pack in the area. Could Gin have come out here? And Daisuke had thought the rain had let up, what is this sticky substance dripping onto his shoulder?

The child turns to see he's being overlooked by a bigass bear with a set of hugeass teeth. As he screams bloody murder, the bear begins climbing down towards him. The animal roars hideously at Daisuke as it approaches.

While Daisuke cowers and falls on his ass, the shadow of a dog passes over him and snags hold of the animal's muzzle. It's John, heroically putting the kibosh on his departure so he can save the shrieking boychild.

Back at Kasumi Dake, Gin's had enough. He leaps down from his hiding place and bops Sniper upside the head, smacking him just far away enough to distance him from Jaguar. Smith joins Gin while the brindle scolds Sniper for his heinous deed, fully planning to follow his chiding up with an asskicking.

Smith joins in the Sniper-bashing bonanza by spitting in Sniper's face and telling him he can pull whatever bullshit he wants, he'll never overpower Ben. Hyena tries to intrude and save/stroke Sniper's ego, but Smith just chases him away, offering him a hearty whooping for his treason. Distracted by the injustice taking place, nobody notices as a bleeding Jaguar limps off.

Sniper, flustered with his failure to assassinate the canine equivalent of a 19 year old, throws himself headlong into Gin, ready to rip him to pieces. He's Too Slow, though, and Gin leaps into a nearby tree out of his reach.

A look of fear flashes in Sniper's eyes. He's not afraid of Gin killing him, but instead of his physical prowess. The Boss is also capable of vertical leaping and other anime asspulls. This convinces Sniper once and for all that Gin truly is the Boss's kid. Aight! All the more reason to kill the kid.

"Do you know why they call me Sniper?" he calls up as Gin readies to leap down. "Snipers are known for their accuracy. They never miss." Gin lunges down at the Doberman. Sniper bares his razor sharp fangs. "I never miss."

Gin realizes he's about to be assblasted by the general's teef, so he does a barrel roll in midair fast enough to dodge Sniper's fangs but not his force. He's sent backwards, colliding with a tree and having the wind knocked out of him.

As he struggles to get up, Sniper looms over him and steps on his head. Mr. S begins sadistically cooing at the young dog, promising him he'll bury Gin and Ben alongside each other when they're both dead.

But there's several episodes left for me to write, so of course Smith comes back and boots Sniper out of the way just in time to save Gin's life. A bloodied, battered Hyena follows behind Smith, but he's useless to help his boss now. Smith grabs Gin, flings him onto his back, and, with great effort, runs away. Sniper and his now worthless henchman give chase, hollering about how the two should've been more obedient to their superior. The Spaniel just bails, desperate to get away.

Perhaps too desperate, because he's unable to stop when he realizes he's run into the edge of a cliff. He screams as he and a barely lucid Gin fly over the edge, both of them dropping into the stream below. Sniper and Hyena watch wordlessly as the soldiers disappear from sight.

As the dogs duke it out, Daisuke is still cowering and John is still bear wrastling. Problem is that John overestimated himself. Without an armed human at his back, bears are like twice as hard to kill now. The shepherd tries his best to keep pace with the bear, but he's getting more and more tired by the second. He quickly begins to realize he can't save Daisuke despite his promise to Gin. His eyes sting with tears of desperation.

Just before the bear is about to abandon the puny pooch and start chomping on the child, an ominous howl is heard.

The dog, the bear, and that kid over there gaze up as a muscular, heavily scarred dog leaps to Daisuke's side. Daisuke takes one look at the dog and faints dead away, overwhelmed by all the shit that's happening.

The dog is Riki, better known to John as The Boss, and his ferocious growl and rippling dog pecs alone are enough to drive the bear out of sight. As the bear stomps off to gossip about this event, The Boss Dog turns to John.

The leader's voice drops to a mellow, low tone, and he asks why John's back here instead of with the other soldiers. If he recalls correctly, John was going to follow Ben on his cross-country trip. John snorts disdainfully and says neither Ben nor Muscles McGee here are his leader. Nobody leads someone as hardcore as John.

The Akita Killyou nods thoughtfully, irritating the edgelord before him, before asking what John plans to do now. In a moment of foolish boldness, John spits that he's going to lead the boss's pack now. The battle-worn bitchboy better ready himself, because John's about to steal his position... by force.

Elsewhere in a stream, two other dogs are doing their best to survive. Smith struggles to keep himself afloat with Gin on his back, but he's growing weak. The Spaniel inevitably succumbs to his exhaustion and begins sinking.

As the water floods his faceholes, Gin regains consciousness with a snort. He treads water for a sec and realizes his friend is underwater beneath him. "Smith!" Gin exclaims before diving in. He returns the life saving favor to Smith by yoinking him up by his collar so that his head is just above the water.

After he catches his breath, Smith confides in Gin that maybe dropping 20 feet into a raging river wasn't such a good idea. He feels battered enough that he thinks he's broken something. He urges Gin to let him go, but Gin stubbornly shakes his head no. Smith's eyes widen as a rumbling sound fills his ears. He looks further down the river and sees a wave of foam flowing over a cliff's edge. This stream leads to a waterfall!

Smith demands Gin let go and save himself, but given he's the hero of this story, Gin adamantly refuses, instead clinging to his friend. As the two reach the fall's edge, Gin turns Smith to face upward, shielding him with his body as they fall into the lake below.

Meanwhile, Riki and John stand off in earnest. The Ohu leader has agreed to battle John for rank, and he doesn't seem the least bit concerned about defending his title. This is likely because all it takes to down ole Johnny boy is a single, well-placed smack with the fangs.

As John collapses, the leader stands over him, offering to help him up onto his paws. John refuses to meet the other dog's gaze, but the boss just smiles. He tells John that he'll be keeping his position as leader, but that John is always invited to join his ranks. He'd be honored to have such a powerful spirit fighting alongside him.

John's ego is more then a little hurt, so he just snarls that what the boss and his soldiers are doing is stupid. A ragtag group of mutts cannot bring down a monster the likes of Akakabuto, and he's never going to change his mind about that.

The boss nods, but he must respectfully disagree. His power is hard to overstate - hell, he can scare bears off with a funny look. And yet he knows he couldn't kill Akakabuto alone even if he tried. He says that there's strength in numbers not when a bunch of directionless cowards join forces, but when those who are strong as individuals work together.

John's forehead crinkles before the boss offers him a bow and runs back into the woods. John is left panting beside Daisuke, who he then begins dragging back to the village.

Dusk comes and goes, bringing nighttime with it. The platoons have been waiting for the return of their soldiers, but it's been taking an awful long time for them to return. They'll never meet Moss at this rate. Chutora suggests that Hyena, Smith, and Gin have all died, to which Cross responds by cuffing him upside the head.

The two are about to squabble when Ben tells everyone to knock that shit off, he can smell blood. Everyone is suddenly alert as a stranger with a gash in his shoulder stumbles into view, collapsing not 20 feet from the pack. Everyone rushes to help him as he falls over. He meets Ben's gaze and manages to utter "Are you Ben..?" before losing consciousness.

"Oh shit," panics Akatora, "It's Moss's kid!" Everyone is taken aback. Great asks Ben if he believes Gin and Smith had attacked this guy without permission, but Ben doesn't think so. It wouldn't be like either of them to do something so rash. Akatora insists that all brindles regardless of breed will fight to the death at a moment's notice, really showing his internalized brindlephobia.

Kurotora worriedly wonders aloud if Moss has killed Gin and Smith in retribution. It would explain why they never came back. Cross tries to slow everyone's roll so they stop coming to conclusions while Ben directs the dogs to finally get in line. Whatever's happening, they need to get to the bottom of it, and they'll only do that by meeting Moss. They leave Great behind to keep an eye on Jaguar as they peel off with new purpose.

Somewhere else in the Kasumi Dake river valley, Smith awakens on the shore of the lake covered head to toe in mud. As his eyes adjust to the darkness, he realizes that Gin is sitting in front of him. He also looks like he had a deep cleanse day at the spa. Gin is overjoyed to see Smith has woken up. He says that he was worried Smith had died, to which Smith playfully tugs at his ear and assures him it'll take more then some water to do Commander Smith in.

But they can't keep horseassing around. Ben and the pack are in danger if they don't clear up this situation ayy ess ayy pee. The two scamper off to find, well, everyone.

As all this is happening, Moss and his gang have found Lloyd's body, and Moss is, to put it delicately, super fucking pissed. He's appalled at the death of his comrade and sick with worry for his son. The others try to soothe him by saying they haven't found Jaguar's body, suggesting he could still be alive, but Moss is too livid at the idea of his sweet baby boy being dead to care.

Remembering what Hyena had told him, Moss swears death on every single soldier following that bastard Ben. He tells his men to prepare for war as he shakes with rage.

The aforementioned Ben and his soldiers are continuing along when Akatora suddenly tells everyone to hol' up. The Kai Ken has just become aware of a kind of smelly smell, a smelly smell that smells... smelly. Ben's all like "Nani the fuck" when suddenly some bassy-ass voice starts screaming obscenities at them.

Up atop his glorious rocky throne stands Kasumi Dake's most beloved mobster. The dogs are in awe of just how fuckin' CHUNK Moss is as his own packmates surround him.

Moss presumes correctly that the dane at the front of the pack is Ben, and he demands to know what he's done with his son. Cross boldly screams back, demanding to know where their missing soldiers are. Moss doesn't give a response, not even the classic I Asked You First, because he's too busy shoving boulders down from his rocky recliner.

All it takes is a few hard shoves to cause a veritable rockslide, unleashing a torrent of boulders onto the Ohu dogs. Ben hollers for everyone to get out of the way, and nobody needs to be told twice.

The slower and less fortunate of the dogs are crushed like barking insects as the larger boulders collide with them. As he scurries away, Ben notices Cross about to become one of these smushed pups as she's too busy shoving others out of harm's way to notice the rocks tumbling towards her. Desperate, Ben throws himself against her with all his might, knocking her clear out of the path of destruction seconds before he himself is pummeled.

Cross and the other survivors collect their bearings before looking back on the destruction. Cross shrieks in horror at the sight she's met with: a bleeding Ben, his eyes shut and his tongue lolling from his mouth, can be seen lying in the jumbled mess of rock. She cries guiltily out to her beloved as the Kai Bros hold her back.

It's too late for the big man. Angry tears flow from her scrunched up face as Cross's wails turn into growls. That fatass on the hill WILL pay for this.

Back at base camp, Jaguar has regained consciousness, and he's having a pleasant chat with Great about how some little grey shrimp and his bossy German friend have been setting up both his dad and the Ohu dogs to fight an unnecessary war. Great is only a little surprised that the obviously evil Sniper would pull this kinda shit, but he thanks Jaguar for the info anyway.

Feeling better after being able to rest, Jaguar rises to his feet and insists the two hurry to his dad's domain. He'd feel awfully guilty if anyone were killed over this misunderstanding.

Jaguar'd better get ready to get guilted because a handful of soldiers have indeed been killtd. Several bodies can be seen poking out of holes between boulders, including the upper half of the dane in the red necklace. Given she was Ben's second in command, Cross prepares to lead the troops into battle in earnest. Moss is about to do the same, telling his men to kill everyone who wasn't crushed. The two armies of dogs collide, snapping and tearing into each other.

Cross and the Kai Bros lead the charge, though, strangely enough, Moss isn't at the forefront of his own army. Instead he's following behind them, urging them on. Cross sees red at the sight of her man's murderer and lunges at him, chomping down as hard as she can into his shoulder.

Cross is no weakling, but Moss is covered in so much visceral fat and muscle that her teeth don't even draw blood. Moss coughs out a smoker's laugh as he flips onto his side, smushing the Saluki and knocking the wind out of her. The Kai Bros call out to their new commander as Moss grabs her by the throat.

Watching from a hilltop nearby, Sniper grins cruelly at the bloodbath before him. He laughs in a most edgy way as Hyena licks his own wounds beside him, quite a bit less amused at the sight of a buncha people who trusted him getting murked.

Sniper notices Hyena's not feelin' the deadly vibe and tells him in a slippery voice that he should be happy. When Sniper's the new leader of the platoon, then the Ohu army, Hyena will be his right hand dog. Hyena forces a giggle, but truth be told starting a war between two innocent parties feels suckier then he expected it would.

The battle rages on. The Kai Bros desperately call out to Cross, but she's unable to escape Moss's gargantuan, flappy jowls. He begins to shake her like a ragdoll and she snarls in desperation and fright. All hope seems lost until the bark of a young, overpowered dog echos across the valley. The Ohu soldiers look up despite the onslaught tearing into them.

A shooting star crosses the night sky, and at the end of its trail a silver brindle akita leaps into view. Gin flings himself into the scruff of Moss's neck. Smith is following close behind, and he canonballs onto the dog that's got hold of Akatora's leg. Smith hollers for everyone to stop, they've been set up!

The Kasumi Dake pack gives pause, but Moss doesn't. He releases Cross and flings Gin off of him, snarling at the insolent kiddo. Gin tells Moss to cool it, his son Jaguar is still alive.

Gin has Moss's undivided, if disbelieving, attention now. Gin goes on to explain that it wasn't he and Smith who attacked Jaguar and Lloyd, it was this shitty dude and his henchman who the Ohu dogs had once believed to be a friend. Smith backs up Gin's account while Gin looks around wildly to find Ben and make sure he's also aware of what's gone down.

Upon realizing what Gin is doing, Cross gives a cough and hobbles over to him. She has tears in her eyes, and she's unable to articulate what she needs to say.

Gin is about to ask her what's wrong when he sees something out the corner of his eye, something red that stands out against the greys of the rocks. The red, round thing catches a sliver of moonlight. Gin gasps as he realizes what - who - it is.

It's Ben, dried blood smattering his unmoving face, the rock that downed him lying on top of his chest. Gin joins in Cross's desperate weeping. He hadn't know Ben for long, but the mountain of dog and his unceasing patience had made an impact on the kid.

Sorrow turns to rage as Gin sets his sights on vengeance. He turns to the silent crowd, demanding to know who the fuck killed his Army Dad. Moss, totally uninterested in Gin's grief, demands back for Gin to explain where his son is. Gin makes it abundantly clear that his empathy is finite as he lunges towards Moss, catching him by the waddle-like roll of skin under his chin. "I'll kill you!" the Akita screams. "I'll fucking kill you!"

Moss only responds with a laugh that rumbles through his body. He's about to mention how very kawaii it is of Gin to attack him when he suddenly finds himself flipping over. "Huh?" he manages to gasp as Gin turns the old clown upside down. Moss is so heavy that he ground around him shakes when he strikes it, and his mobsters look on in awe.

Moss laughs once more, admittedly impressed, before deciding he's done playing games. He kicks Gin's comparatively small body off of him and sends the young soldier crashing into the side of the boulder that smushed Ben.

Gin wheezes a cough as he glances over Ben's lifeless face. Gin's eyes glaze over with tears once more as he turns to Moss, promising the fat bastard that he'll kill him before the sun rises. Moss accepts the challenge, telling Gin to say that to his face not online see what happens. The two run at each other for like 2 seconds before they hear a familiar voice calling out for its father.

Great and Jaguar have successfully located the gang war. Moss immediately loses all interest in Gin, overjoyed to see his son truly is alive and well. Jaguar's shoulder is caked in thick, black shards of dry blood, but he's otherwise doing okay.

As Moss runs over to embrace his son, Jaguar mimics 2009 internet culture by confirming this whole thing was indeed a trap. And moreover that Akita kid and his friend saved Jag's life after Lloyd was killed.

Moss thanks his kid for the plot summary of the day, but he's not sure that'll end the war now. Grateful though he is for Gin's service, Moss knows that the youngin won't stop til he's avenged Ben.

Gin and Moss are about to face off again when everyone hears a weak, breathless voice. The voice tells everyone to stop, and its request is punctuated with the scraping of rock against rock. Everyone looks to the rockslide as one of the boulders shifts upwards.

The shadow underneath the rock slowly begins to rise, revealing a broad four-legged muscleman with a bloody face and a necklace of red beads. It's Ben! Looking rough but definitely alive, he rolls the boulder off of himself with a growl.

As his friends run over to him the big lug reveals his sense of humor hasn't been crushed to death either by telling Gin all his carrying on had made it impossible for him to sleep.

The Kai Bros tackle their commander as Cross cleans his face of blood. Gin admiringly gazes with tearful eyes up at Ben, and Ben smiles warmly back at him. Moss's mafioso are touched by the scene. Even Moss is a little overwhelmed by Ben's machismo.

As his companions calm down, Ben takes a step towards Moss. The dane doesn't want to be rivals. He sees all dogs as equals. His only enemy is that dickheaded bear back home. Ben bows and makes his intentions clear: he's humbly asking for Moss's assistance. Jaguar backs him up, detailing what Great told him about the Ohu army's noble cause to pummel Akakabitchboy into a much-deserved early grave.

Moss thinks this is a neat idea and all, but if he's going to be falling in line behind a buncha army boys, he's gotta make sure their leader is up to snuff even when injured. He tells Ben he'll join him if, even in this condition, he can kick Moss's ass.

Moss barrels towards Ben, and Ben makes good by doing what Moss asked. He kicks the Mastiff's ass by grabbing his neck and slamming his head into a rock. The Big Boy tumbles away, shaken by the impact.

Just as his men are about to run to his defense, he lets loose another one of his rumbly, gravely laughs. He's seen all he needs to see. Moss lifts himself up and promises Zombie Dog he and his pack's loyalty. After all, Moss is getting to be an old man. Instead of wasting his winter years lazing on rocks and farting himself awake, he'd rather die fighting for something that matters.

"We're not going there to die, Moss," Ben says to the old coot. "We're going there to fight so that we may keep living." As the verbal contract is sealed, both packs form one. The dogs celebrate their new allegiance with a chorus of howls. Gin joins the howling, forgetting about his aches and pains from a long day of getting the shit kicked out of him. As he looks to the shimmering moon above, his rich brown eyes seem to fill with stars.

Unamused by the poetry of the scene, Sniper is still watching Dogfight TV from atop the hill, except now he's pissed. Sniper isn't a decent enough person to understand how two enemies can become friends, and he's shaking with fury to see his lbr pretty simplistic plan crap out on him.

Hyena's less angry then he is ridden with anxiety. Since the Ohu dogs are still alive and have recruited new friends who hate both him and Sniper with a passion, he's expecting retribution for the whole war instigation thing. Sniper doesn't speak. He's too busy glaring at Ben, Moss, and the little silver thorn in his side to think of anything but vengeance.

Sniper throws his paws up in the air and decides he needs to disappear til the heat is off of him. As Hyena tries politely and submissively to explain that Sniper will literally never be free of the sins committed here today, Sniper snaps at him.

Hyena rolls onto his back as Sniper commands his underling to continue the ruse and rejoin the pack. Hyena wants to argue, but he wants to live as well, so he keeps his whimpering mouth shut as Sniper plods away. As soon as his silly little stub tail is out of sight, Hyena groans in worry. "Here we go again," he says to a laugh track.

After a few more minutes of screaming at the sky, the dogarmy takes off. The platoon is at least twice as large now, powerful enough to curbstomp most non-bear foes in their way. And so the group fearlessly continues their road trip, running day and night over a 48 hour period. Destination: Iga of the Mie prefecture. Goal: recruit some dogs with uber special skills. Hotel: Trivago.

The dogs quickly reach Mie. Ben mysteriously mentions a particular dog from his past being here, and everyone's automatically like YEAH ITS ASS KICKING TIME. Except hold up, Ben says this isn't the type of guy they wanna fight into submission, but rather speak with. This piques the pack's curiosity, but Ben is too busy reliving memories of past exploits to share. Instead, the Kai Bros decide they've got rumblies in their tumblies, and so it's time to kill some shit.

The three run off to beat a boar onto a metaphorical plate. They're joined by Papa Moss, a guy as big and powerful as any wild boar. The pack applauds the efforts of the deadly dwarves and generous giant as they settle in to devour the fallen piggie.

While everyone stuffs themselves silly, Cross nuzzles Ben's neck and tells him she's glad he didn't actually get curbstomped by a rock. Ben licks her head and agrees that being alive is pretty sweet. That said, if ever the platoon needed a new leader, he trusts that she'd be able to fill his shoes. She'd rather not think about it, so instead she curls up beside Ben and rests her head on his back as he enjoys his share of pork.

Just out of both sight and smell, a pair of eyes watch from the shadows as the Ohu dogs have their fill. The eyes swiftly glide across the way to notice another, much more pitiful pair of eyes focused on the same sight.

The pathetic eyes, the lids around them sagging in self-pity, belong to one anxious, hungry Hyena. He murmurs to himself that life is so unfair, wishing for all the world that he could play some Linkin Park right now.

The stranger in the bushes watches Hyena pout, though they're unable to hear him sniveling to himself about how he'll never find a way back into the ranks. They also watch as a slab of meat falls from the tree directly above Hyena, and their eyes widen. So do Hyena's, but for a different reason. He looks up at the meat's mysterious origin and sees a very strange dog on the branch above him.

The dog is of average size with a muscular build. Her coat is brown with a pale tan underbelly, and atop her scarred head is a fluttery lock of hair reminiscent of a mohawk. In a hollow, airy voice she tells Hyena that the meat is a gift for him.

Hyena spends a single moment thinking WTF The Fuck before the meat seduces him with its juicy goodness. Having had nothing to eat for like three days, Hyena makes like he hasn't eaten in three years and snags it up greedily. It smells weird, but he's too hungry to care.

As he takes his first bite, the Bizarre Tree-Dog leaps from her branch to another. She rapidly takes off and out of view by playing hopscotch in the trees. This gives Hyena a spook, so he snags the meat up and tries to scramble off before realizing that the strange dog is coming back.

This time she's not alone. She and two other dogs of the same unidentifiable breed leap down from the trees and into circle formation around Hyena. Hyena the Cowardly Dog practically pees his no-pants as they inch towards him.

While this is happening the Ohu dogs are allowing themselves to kick back for a moment. Ben figures his mysterious new ally is close, so giving everyone a second to rest ain't a bad idea.

Gin is too excited by the new sights and smells to rest, though, so instead he pokes around curiously. He hears a rustle in the bushes as if something is sneaking away, but he can't see anything. Instead, he hears a new sound just a moment later. It sounds like someone screaming, and that someone sounds like someone he's met - and disliked - before...

Hyena continues trying not to evacuate his bladder as the strange dog approaches him in earnest. She glares at him and asks if the dogs pigging out on pig over yonder are his bros. Hyena says they are, and that they'll kick the ass of anyone who dares fuck with him.

The stranger has to keep from rolling her eyes at the obvious lie as she commands Hyena to tell them this: Maya ("demon arrow") of the Koga Clan is telling them to leave this forest at once. Should they not heed this warning, the pack will face the wrath of the malevolent Koga leader.

The Kogas each do a boss-ass vertical leap into the trees. They're off again, rushing through the leaves as quick as physics will permit. As they go, Hyena finally legit pees himself and just about faints, never having been more afraid of a reminder that trespassing is impolite.

He curls into a shuddering, urine-soaked ball. This is without a doubt one of the worst days of his life. And it's about to get even worse because a dog he's never seen before has emerged silently from the bushes.

The dog isn't one of the Kogas, but instead a red, brown, and white Rough Collie. The animal has a handsome face and a rehearsed-looking gait, walking as if he's trying to impress someone. The Collie stands over Hyena while Yeenee hides his face and his literal pound of flesh. "Who are you?" is all the Collie gets out before both he and his find notice something coming towards them.

It's the Ohu pack, and they're less then happy to see Hyena has returned. Jaguar is especially pissed that the little war criminal dares to show his face again, and he's ready to smack the weenie's head in when Akatora tells him to back off. Nobody is gonna kill diddly shit without Ben giving the a-okay. That said, who is this weirdo standing beside Hyena? Did he bring the little bugger back?

Cross closes the distance between herself and The New Guy (2002) and asks where he's come from while Ben approaches Hyena. It doesn't take a dog the size of a small horse much to look intimidating, but Ben's never looked scarier then when he shows his disapproval of his former comrade.

Hyena insists that he has no clue where Sniper is now, and that he only did what he'd been told him because Sniper had threatened to kill him if he didn't. Moss tells the shivering whelp that he doesn't believe him and that it wouldn't matter if that was true anyway. Hyena was an accomplice to the murder of one of his men and the attempted murder of his only son. The little bastard can never be an Ohu soldier given what he's done.

Alongside all this in a conversation you'd expect to be had over tea instead of the future corpse of a criminal, Cross and Gin politely grill the Collie.

The fancypants's name is Wilson, and he's an old circus performer who's traveled the world. His speech is eloquent, his demeanor is goodnatured, and the dude is clearly ripped under his piles of fur, all of which convinces Gin that he'd make a fine soldier. Gin asks Cross if Wilson can join them, but she's not too sure. She asks why a performing dog is out in the middle of nowhere.

Wilson sighs and looks drearily at Gin, seemingly deep in thought. He had escaped the circus several years ago, he explains. Back then, he'd had a wife named Lean and a son named Londo. His boy was about Gin's age when he was murdered by someone Wilson refers to as The Devil Dog, a cannibalistic cultist monster who Will's owner had tried to train to be a circus dog as well.

The man had been impressed by the dog's unique appearance and flexibility, but the mongrel hadn't liked being bossed around. He mauled the ringleader, killed AND ATE Wilson's family, and escaped back to his followers in the woods. These woods.

Cross seems especially shaken by this retelling of family slaughter while Gin offers his condolences. Wilson kindly accepts Gin's pity, but he insists he doesn't need it. He plans on getting his revenge soon enough, both against The Devil Dog and another unmentioned foe of his. Gin's about to ask what other sinister being has added a hefty dose of trauma to Wilson's backstory when Hyena, weeping like a baby, comes crawling across the dirt to cling to Cross's ankle.

Cross snaps out of her empathetic stupor as Hyena begs her to convince Ben that he's deserving of forgiveness. She reacts as one would to stepping on a piece of gum and pulls her paw away, her face crinkling in disgust.

Even more desperate now, Hyena turns to Gin. Gin's reaction is more volatile then Cross's - he starts growling at Hyena as if ready to attack - so Hyena gives up on finding allies before he has a chance to beg Wilson for backup. Ben pads up to him as the grey dog trembles pitifully.

"Hyena," Ben says, his voice almost unrecognizable with hatred, "you are no longer my subordinate."

Everyone is pretty sure this is Ben's final statement before he whips out his katana and teleports behind Hyena, but he has yet to move. Ben's suddenly bombarded from all sides with suggestions. Jaguar wants to kill Hyena! No, Moss does! No, The Kai Bros do! No, Cross says Ben shouldn't do it! Great agrees, Ben's too good to kill a worm like Hyena!

A loud "Be quiet" is all it takes to silence the platoons' wild jabbering, and Ben is left standing in silence over the deserter.

A moment later and without warning, Ben snaps into action and at Hyena's neck, grabbing hold of him in his powerful jowls. Gin finds himself taken aback. Hyena's shitty, it's true, but Gin's never seen Ben looking so much like a cold, hard killer. Ben's not really gonna splatter Hyena's gutless guts all over the place, is he?

Nah. The dane instead tosses the Weimeranar into a tree, knocking a tooth or two loose and probably causing a few fractures on impact. Hyena wails about the pain he's in while Ben advances on him. Hyena's pleas fall on deaf ears as Ben snarls at him. Hyena is allowed to live... for now. But under one condition: either he brings Sniper back to the platoon to pay for his crimes, or Ben will use his particular set of skills to find and kill both the mastermind and his henchman.

Moss and Jaguar are a little pissed that their would-be life-ruiner isn't rotting in the dirt, but Ben calmly asks them to grin and bear it. It's better to take out an evil and banish his lackey then kill the lackey and lose track of the evil, yeah? The Mastiffs agree, if a bit begrudgingly.

Gin sighs in relief. Ben puts up a tough front when need be, but he wouldn't really kill Hyena. It'd be like kicking a puppy, only somehow less literally.

Before Hyena leaves, he realizes Smith is chewing on his chunk of meat. He whines about starving, so Smith taunts him over how they let him live and yet he's still unsatisfied. Gin's a little too shaken for joking around so he tells Smith to give the dweeb back his Lunchables.

Smith giggles his frat boy giggle and tosses the meat back to Hyena. Sniper's starving steward has gone back to eating when suddenly a dark shadow falls over Wilson's face.

Wilson wastes no time in leaping over the dogs in his way to reach Hyena. He demands that Hyena spit it out, what do you have in your mouth, bad dog, spit it out, drop it, spit it out I said. Just like my dog does whenever I catch him chewing something he shouldn't, Hyena tries to swallow his bounty before someone else can get his icky spit on it.

Hyena is a baka, Wilson says, because that's no regular meat. It's the flesh of another dog.

"GASP" gasps everybody in horror. Even though he only chewed the dog flesh for a second, Smith starts puking up the pork in his stomach. Hyena turns a deep shade of green and looks like he's about to follow suit. A shaken Gin tells Wilson not to joke around, but he knows the Collie isn't lying. Akatora turns accusingly towards a now puking Hyena.

The Weimaraner tries desperately to explain his innocence between mouthfuls of stomach acid. He says in a panic that he didn't know he was cannibalizing - the meat was given to him! Ben starts to regret letting Hyena live as he demands to know who would've gifted some rando a hunk of Roasted Rover when Wilson begins snarling towards the treetops. "It was them," he growls, his eyes burning with hatred. Everyone looks up.

It's the strange dogs from before, the ones with the fauxhawks. Maya gazes down at the confused canines. Then she and her compadres disappear up into the leaves. Determined to get to the bottom of this, Gin superjumps after them, discovering they've swooced just out of view. This catches the dogs off guard, and they begin leaping from branch to branch to get away. Gin's experience in neighborhood parkour comes in handy and allows him to effortlessly keep pace with them.

The rest of the pack follows on foot, trying to keep pace with the flying squirrels/dogs above. Gin's convinced he's almost caught up to the cannibalistic coterie when one of their unseen comrades leaps down on him from above. The dog rabbit kicks Gin in the middle of his back, effectively knocking him from the air and into the dirt. The pack doubles back to make sure Gin hasn't acquired any especially nasty booboos. Gin's alright, but now the squirrel dogs are gone.

As everyone begins discussing what to do next, Ben verbalizes his internal monologue for the audience's sake. Those dogs were 100% ninjas, or at least trained in the art of ninja-ing, which means they must be part of his target's pack. Wilson asks who Ben's looking for, to which Ben replies he came here to find Iga's Akame ("red eye").

Great interjects and, as kindly as one can, accuses Ben of pursuing a cannibal in the hopes of making him a soldier, but Ben assures everyone he wouldn't be looking to add dog-chompers to their ranks. Either Akame's changed since Ben last met him or something weird is going on.

Gin tries to imagine what this Akame could be like. He'd earned Ben's trust somehow, but if his namesake and this recent experience are to be considered, maybe Akame is a red-eyed tyrant who eats other dogs. Gin imagines a bestial dog with a mohawk and two bloodshot eyes leaping from the trees and descending on other dogs, eating them alive.

But there's no time to keep spooking himself because Ben has instructed everyone to get moving. It's time to figure out what the hell is going on.

The pack continues their trek. Instead of shinobi dogs, though, they mostly just find a buncha trees and rocks. Some soldiers are becoming so impatient they're wondering if it's time to interrogate the surrounding foliage when Gin picks up a weird scent. The smell is unpleasant, metallic, and strangely organic. He pursues the smell to find...

The bloodied corpse of a Kishu Inu being chomped on by the ninja dogs AAAAAAAAAA!!! Beside himself with disgust, Gin accidentally gasps a bit too dramatically, and the cannibals turn to face him. Gin snarls and dives towards them. As Ben and Cross come to see what the commotion's about, they see Gin has already launched into a lecture about how these are some very, very bad doggies. Shame on them! Naughty naughty!

"Fuck off, kid," is all one of the Kogas manages to say before the rest of the packup comes in as backup. Wilson meets eyes with of one of the Kogas, his gaze filled with hate. The shinobi smirks, well aware of who Wilson is. As this staring contest takes place, Ben asks the ninja dogs to tell him if they know Akame.

The smug asshole gazing at Wilson thinks fast, saying, "Sure we do. He's our leader. He overthrew Master Kurojaki ("black devil") a while back. We're just following his orders. Ain't that right, guys?"

The Koga looks back over his shoulder at his crew and gives them a slippery smile. The dogs rub their two braincells together long enough to realize what he's doing and they grin back, nodding. They punctuate their unreliable narration by telling the soldiers to leave before bounding away into the trees.

Gin is about to follow them when Ben croaks out that there's no point. Gin follows orders and joins the others in looking to Ben for guidance.

Ben is looking mournfully down at the broken white body before them. The dog is indeed dead. He's covered with bite marks, his innards poking through deep gashes, his fur stained with thick patches of blood. Ben remarks that he's ashamed of having brought everyone here to ask for a cannibal's help, but they must stop this treachery before they can continue their mission. Likewise, they should do a body good and bury the poor sucker. It's the least they can do to make up for the tragedy.

Smith and the Kai Bros begin to drag the dog away so as to lay him to a more dignified rest. As they do, another much more alive white dog watches from the trees above.

He looks very much like the other dog, likely because he is also a Kishu Inu. He gives pause as he sees the Ohu soldiers drag the other whitey away. He mutters to himself about how he's never seen these guys before and that it's probably safe to assume that anyone holding a dead guy is evil. Could they be working with the cultists? The dog's not sure, but he hurries off regardless.

Deeper in the forest, a monument to a forgotten era, a dilapidated human house, stands tall. It's the Kishu's destination, and he leaps to it swiftly. He calls out to his Chief from outside the long abandoned building. "Kirikaze?" a measured voice greets him. "Come in."

Kirikaze ("misty wind") bounds in and immediately begins detailing what he's seen: there's a buncha new kids on the block, a whole assload of them, and after he saw Goody Proctor dancing with the devil, he saw said pack with their doglips fastened around the legs of a fallen comrade. He suggests that the pack may have killed the poor little white guy because they're in cahoots with the cult.

The measured voice calls down to Kirikaze from the rafters of the house. The dog it's attached to tells Kirikaze to gather the others, they've got a homestead to protect. If these n00bz truly are a threat then they must be eradicated. As he lays out his plan, the speaker turns his head into a sliver of sunlight. He's a magnificent white Kishu, paler then any of the others. He squints in the ray of light, his purplish-red eyes glistening thoughtfully.

Meanwhile, the fallen fair-furred friend has been buried in a shallow but otherwise decent grave. Ben bows his head over the distended dirt covering the dog and whispers a prayer. Gin, as if reading his mind, asks who Akame was and why Ben wanted to enlist him. Moss chimes in and says that he's not all for blindly following Ben into a cannibal's lair. Ben decides it's time to stop being so ~*~mysterious~*~ and comes clean with a flashback.

Back when Ben was still a hunting dog, the Kai Bros weren't the only dogs his owner nursed back to health. You see, Ben and his master were out playing Rooty Tooty Point-n-Shooty in the woods when they saw a white animal leaping from tree to tree.

Ben's master had thought the creature was a squirrel, so he'd shot at it and hit it. The man and his dane had approached it and found it to be not a squirrel but a Kishu Inu. The dog was a stark white, whiter then any other animal Ben had ever seen. The albinistic dog had been shot in the leg, and he'd looked at Ben as if pleading for sympathy.

Despite the dog clearly being feral, Ben's master took him home to heal him and raise him as a hunter. It's not every day you see a canine leaping through the trees, so the man was pretty determined to keep the albino no matter how much the dog snarled and hid in back of his prison, a tall, wire pen with a sturdy roof. It took a while for his leg to heal up, but within that time the dog - obviously named Akame - confided in Ben and became his friend.

Akame didn't like the idea of working for The Man (either the individual or the sociopolitical concept), and he especially didn't like the idea of being a house pet while his pack languished in the woods. Without his guidance the other Kishu ninjas would be at a loss for what to do.

Ben was hard pressed to believe this random guy was a ninja solely because he could jump super good, but when Akame stated that his wife had had a litter before he'd left and he'd never gotten to see his children, Ben's heart melted like the cheeseball it is.

Ben had looked deep into the pleading dog's pigmentless, pinkish eyes and decided he wasn't going to orphan any of his puppies. He broke Akame out and escorted him back to the forest. That had been several years ago, and now, if the cannibals were to be believed, Akame was leading a band of murderers.

Ben gives a weak chuckle and wonders aloud if the mohawk dudes were Akame's sons and daughters. Cross looks like she's about to soothe him when Moss interjects that it's cool, man, everyone makes mistakes. It's not Ben's fault his good nature was taken advantage of, not so long as he's willing to put an end to this volatile tomfoolery.

Ben nods, his determination returning to him, and he and the others get back to their favorite activity: running towards an undefined location. But holy canolli, what's this? A gust of wind blows past the pack's noses, sending the eternally intimidating scent of strangers whooshing through their sinuses.

Everyone looks around but they're unable to see where the smell is coming from. All except protagonist Gin, obviously, who is the first to look up. He makes a weird noise in the back of his throat, alerting everyone else to look too.

A barrage of Kishu Inus jump down on top of them, each hollering curses and victorious announcements of triumph over evil or some shit. One of the Kishus screams about Kogas, only confusing everyone further. One of the dogs announces the ninjas' attack move like this is some kinda anime. "Raikaken!" ("thunder blossom blade") she shouts as the wave of white engulfs the army.

The white dogs dip in only once, tooth-smacking every face and ass they can reach. Then they all leap back into the branches before anyone has time to understand what just happened. Flustered, Gin jumps into the trees and calls after them to put up their dukes. Ben instructs everyone else to follow on foot again and the chase begins. Gin calls down to the soldiers periodically to make sure they're following behind.

Watching from a short distance away is an excited mass of Koga dogs. Maya has lead them there to enjoy the show, and she's brought her hubby with her.

The man himself is a unique specimen indeed: the Koga leader is a touch taller then his comrades. He's got a torn left ear and a dark coat of brindle merle. Just between his front paws sits a toddler-age puppy who is clearly his own, the child bearing the same unique markings. The Koga leader grins in amusement, pleased that his cult can kick back and watch as innocents fight their battle for them.

Meanwhile, despite his efforts, Gin is falling behind the Igas. They manage to hurry out of his range of sight and smell, and so he comes to a frustrated stop. As his sides heave with exertion he calls down to Ben that he's lost the lil buggers. Gin leaps down to rejoin the group and explains that he doesn't know what happened, dude, they just up and disappeared.

Smith's face crunches up stoically. He announces that he's not willing to let this go so anticlimactically before he begins sniffing around. The others watch as he takes major nose-hits from the ground and then pauses. He points instinctively at a patch of dirt for a moment before remembering himself and setting to digging. Within moments he manages to unearth something peculiar: one of the Kishus!

The white dude's head is the only part of him exposed, and he's unmoving. "Is he dead?" someone asks. There's a small wave of shrugs. The group quickly assumes the corpse was buried by the cannibals to serve as a midnight snack and they begin to walk away.

Gin follows behind, but he notices Smith hasn't left the presumed cadaver's side. Smith murmurs something about the holedog not smelling dead when one of the "corpse's" eyes opens! The dog snarls viciously and grabs Smith by the collar. As Smith screams and the soldiers double back, the Spaniel is yoinked into the hole and out of sight.

Gin reaches the hole first and notices that it's not just a hole. It's a tunnel, and both the Kishu and Smith have disappeared into it. He tries to leap in and follow, but Ben pulls him out of it by his curly-cue tail.

Gin's insolent about the ass portion of his spine being used as a handle when there's a comrade who needs saving, but Ben says it'd be too risky to follow after them. They're fuckin' NINJAS, my guy, this is clearly a trick they've set up for intruders.

Cross wonders aloud where the tunnel may lead and Ben surveys the area. It takes him all of 3 seconds to realize that oh my goodness there's a house like 50 feet away.

Ben is instantly certain that the ninja bastards live there given no human came out screaming about the massive pack of feral dogs. No doubt the tunnel leads to that building, and that to get to the bottom of this mess the pack will have to go there. They'll have to surround the building's perimeter and then launch an attack.

That said, Ben's a little wary of leaving the tunnel unguarded. Given he previously had his opportunity to go spelunking taken from him, Gin jumps at the chance to explore some hole. Ben tells Gin that he's to WATCH the tunnel, not explore it, as he could be attacked by the ninjas.

Gin pouts as the other dogs go to surround the house, but he still chirps a "Good luck" to them as they take off. As soon as everyone else is gone, Gin gathers all his bravery (and insolence) and dives into the tunnel, still determined to find his friend.

Inside the dirt tube, Gin realizes the Kishus' squirrel-tier leaps are only matched by their gopher-tier digging abilities; the tunnel widens substantially, and it's impressively long. On the other side of it, the dog who 'napped Smith drags him out and under the house.

It doesn't take the dog more then a second and a whiff with his powerful schnoz to realize Gin, in all his smelly post-pubescent glory, is following him. He just shakes his head and makes a brief trek out to a scrape connected to the tunnel. The scrape dips into the lake beside the house, and with one swift motion the dog lifts the single wooden board separating the water from the dig-out.

The water goes roaring down the secret tunnel, which Gin can hear despite not knowing the context. Gin was just thinking that this was all too easy before looking up and reading the above paragraph. Just then, a torrent of water comes wooshing down towards him, flooding the tunnel and knocking him back with the force of a thousand spitting goldfish. He can only manage to cough out a swear before he's carried away.

The other soldiers have taken this time to organize themselves into a nifty little formation around the house, but they come to realize that nobody knows where the littlest recruit is. Cross tells Ben that when she went back to the tunnel to check on Gin he was nowhere to be seen.

Ben's certain the kid has gone down the hole against orders, but there's no time to be upset. Wilson says there's precious little time to save Smith. If Akame really is cannibal chief, he won't keep his men from their next meal for long. Despite his reinvigorated concern for his friend and fellow commander, Ben is wary of leaping into action too suddenly.

Inside the house, Smith is lying unconscious on the floor. Something that feels like another dog's paw (3 guesses as to what it is) touches his face. He slowly opens his eyes.

As the world comes back into focus, he lets out a high-pitched yelp. He's surrounded on all sides by stark white dogs, each one eyeing him harshly. One of them approaches him and he responds by screaming and running into a corner.

Smith starts wailing about how they shouldn't eat him because black and white dogs taste like ass and cause explosive diarrhea when another Kishu, one that was just out of sight, leaps from the rafters right down beside him.

Smith falls into a heap as the newer new guy looms over him. This guy is even paler then the rest; his fur is so pale it seems almost translucent at the edges. The other dogs are clearly annoyed at Smith's bellyaching but this guy just stares at him with expressionless red eyes.

"You're a Western breed, aren't you?" asks the super-white dog, finally breaking the silence. "I've never seen a dog like you before. What are you doing out here?"

Smith chokes out something about traveling to which the dog responds by asking why he and his friends are in this neck of the woods. Smith says that he and his buds are trying to recruit soldiers, which, judging by the super-white dog's reaction, was the wrong thing to say. The Kishu says that Smith's clearly with the Kogas. Smith barely knows how he got here, let alone where this conversation is taking them, so he tries to flee once more.

The neon white dog grabs him firmly by the scruff as he runs past, then slings him back into the corner. As Smith's noggin grows a goose-egg, one of the Kishus leans towards the super-white guy, their obvious leader, and informs him that she and the others are pretty sure that the "soldiers" are outside the manor, no doubt ready to overtake it at any moment.

Neon White tells his pack to ambush the dogs from out the tunnel while he interrogates the hostage. All but the leader depart, leaving a confounded Smith looking on.

The dogs do indeed travel through the flooded tunnel. The gaping Earth-hole is only tall enough to allow for a small air pocket above their heads, so they're mostly submerged. While passing through their underwater subway system, the dogs see the floating, motionless body of a young brindle Akita. Several of their faces crumple at the sight, probably thinking about how war is hell and stuff, before they leave the body behind.

But hey, I'll let you in on a secret: ITS GIN AND HE ISNT DEAD WHODA THUNK. He's just playing aquatic possum while taking tiny, secret gulps of air. He waits until the last of the dogs has swum past before grabbing onto the end of his tail.

The dog seems surprised and he makes like he wants to turn around and face Gin, but there's not enough space to turn back. Gin has hitched a ride out, but he'll no doubt have to contend with the bastards as soon as they leave the tunnel.

Meanwhile, the Ohu dogs have come to the conclusion that Gin and Smith are super, hella dead by now, or at the very least imprisoned, and this stake out has gone on long enough.

Given the commander’s absence, Ben assigns Cross to Smith's place. Then he starts directing everyone on how best to ransack the house. With a nod and an oddly poignant "GO!", the dawgies leap into action, all of them galloping at full speed towards the building.

The Kishus are well prepared for times like these. Several pits in the ground containing live warriors open beneath the approaching hoard's feet, ninjas leaping up from within to snag onto some unfortunate underbellies. Others leap down and out of the trees, cracking skulls with their powerful bites.

Lucky for the Ohu dogs these attacks only slow them down, not defeat them. Ben continues to lead the hoard until it's formed a ring-around-the-rosie of running troops around the house.

But before the soldiers can literally come full circle, Ben yelps in pain and unromantically tumbles head over heels. One by one the other dogs succumb to the same fate, each stumbling blindly and then rolling over. A chorus of pained, confused whimpers rises up as Smith and the lead Kishu exit the house.

Smith calls out to his friends, but the super-white guy stops him, telling him not to take another step unless he too wants to be skewered.

Turns out the ground has been littered with Hishi seeds. Hishi plants are a water grass with distinctly sharp, spiky seeds, and the pack has managed to slice their paws on tons of them. Tens of little doggy footses bleed into the dirt as Smith watches helplessly.

Akatora says that a few seeds shouldn't be enough to down an army, but he feels... like ass. Like, totally sick, and not in a good way. The Kishu nods and explains that, btw, the spikes have been poisoned. A death by poisoning is a deserved one for a bunch of cannibal cultists (which is my band name now, don't steal).

Ben realizes who this dog is and pipes up. "Akame? Is that you? Have you gone mad?" The Kishu's reddish eyes widen in recognition. His eyes dart to the red bead collar around the dane's neck. "Ben?" he says while approaching the commander. "What are you doing here? Why are you helping the Kogas?"

Ben counters by asking why Akame's leading a hoard of cannibals and suddenly everyone understands that a particular plot element has been reused. The good guys have been double crossed once again!

Akame apologetically explains to everyone but the audience that the Igas thought the Ohu soldiers were allied with the Koga cult to aid in their evil plan. That plan being, of course, to slaughter the remaining Iga warriors and overtake their manor. Before he can truly grasp all of this, Ben's stomach starts benchpressing his other organs and he rolls over in pain.

Akame tells everyone not to move, else the poison will spread faster. He sees his own dogs are coming to see what the deal is and barks at them to bring the antidote. One of the dogs, soaking wet, trots up, looking especially annoyed.

Before they go to get the meds, the most annoyed dog swings his curly tail as an exhausted Gin finally lets it go. Gin sputters out water and the Ohu soldiers perk up at the sight of him. Unfortunately, all of them are getting gutpunched from the inside, so they don't have the strength to go meet him.

Ben saves Gin's silver ass by explaining that he's with them. The Igas seem confused that Gin's not a Koga ally. Just then, the wind picks up and blows a now-familiar stink into everyone's noses. A white projectile falls from the trees and smacks one of the Igas in the head. It lands on the ground with an Icky Thump by The White Stripes, allowing everyone to see what it is: the severed head of a Kishu Inu!

Everyone who is able to lifts their heads to the treetops which seems to be the new entry point for all characters. One of the forest's largest trees is covered in the silhouettes of tens of mohawked dogs. On the highest branch stands the leader of the Kogas. Wilson's eyes widen and he squeaks out "It's him... The Devil Dog."

The Devil Dog laughs as Akame utters a SEETHING "Kurojaki." The merle brindle laughs gutterally, congratulating the Igas on their new feat in stupidity. These new guys here? They were innocent the whole time, duh! And their arrival worked out well to distract the Igas while the Kogas formed a new plan of attack. Now the filthy nonbelievers will be destroyed, and their ancient master's home will become the new domain of the glorious Koga clan.

It's only now that Gin realizes the Kogas outnumber the Igas pretty badly. Kurojaki instructs his soldiers to attack the enemy. The cannibals launch themselves tooth-first towards their foes. Kurojaki takes one look at Akame, smiles, and then disappears up into the tree.

Akame knows that the bastard isn't running away, he's just going to go and retrieve his secret weapon. He tells his men to defend themselves, the soldiers, and the manor while he pursues Kurojaki. The albino scrambles away while the others, Gin included, fight on.

Gin tears into the nearest Koga when he notices that one of the Igas, the youngest one, is scared to do the same. The dude seems inexperienced and afraid, not like the other warriors. One of the Igas calls out to him, scolding his little brother Hayato for being such a puss.

To demonstrate how hardcore ninjas have to be, Hayato's ubermasc big bro drags his Koga of choice back into the flooded tunnel, no doubt intending to drown both the brown dog and himself. Hayato cries out to his unnamed sibling, blubbering about how he wishes their father were here to help them. Jinnai, one of the Igas present, tells Hayato to dog up - Akame can't hold their hands forever, and they cannot shame their pops by showing weakness.

Hayato's eyes fill with tears and so do Gin's. Gin has an Epic Bruh Moment and realizes that the Igas are the children that Ben had freed Akame for, and in turn the albino has raised them to defend their home at any cost.

Gin can't help but think of Riki standing on the mountaintop, gazing down at Gin and commanding him into life-or-death battles alongside the other dogs. Would he change his mind if he knew Gin was his son? Hell, what if he DID know and just didn't feel like treating Gin differently? Gin is knocked out of his stupor as the Koga he's fighting kicks him in the face and runs away.

Gin's mind is elsewhere, though, so he hardly notices. Instead, he decides to help poor Hayato. Hayato's actually doing alright at holding his own and it's probably because he's gotten super pissed at his brother's death.

The idea of the day is #diekogascum, so Hayato allows his opponent to chase him to a strange looking plot of grass. Gin squints at the ground for a moment before looking horrified. Before he can tell Hayato to stop, the Kishu plays Follow The Leader with the Koga over the plot. The strange foliage turns out to be debris covering a pit trap. Both Hayato and his adversary scream in agony as they fall into it.

Gin runs over to see what's become of them. He gasps at the sight. Both Hayato and the Koga are dead. The hole is surprisingly wide, and it's filled to the brim with spikes worn to points. Both lifeless bodies slide wetly down the stakes, each leaving some of their guts strung up behind them.

Disgusted by the gruesomely skewered corpses, Gin gallops back to the others. That tears it, by gum. These Kogas are fucking WAY too much shit up, and the only way to stop this madness is to boot them into next Wednesday.

The Kogas are kinda swaying that way too because they've realized the Igas are willing to wipe themselves out so long as they can take some cannibals with them. Despite their greater numbers the Kogas have weaker spirits, and they really don't wanna be kabobbed to death today. The mohawked murderers leap back into the trees with Gin following right behind them.

This time they can't escape Gin's righteous anger as he snags one by the hind leg. Turns out it's Maya, and despite her skillz, she's no match for Gin's moralistic tantrum. He downs her in an instant, sending the two of them crashing to the forest floor.

Maya's got a nasty gash on her face now. Rivulets of blood pool beside her cheek as she lays unmoving. She weakly looks up at Gin and manages to gasp out a question: what the fuck? Also, is Gin one of the shinobis? Gin shakes his head and proudly introduces himself as a bearhound, but it ends up being pointless ego stroking because Maya loses consciousness.

An impressed Akame descends from the trees. He tells his men that Kurojaki has gone back to the Koga marshlands, probably to retrieve his scythe. Gin doesn't know what a scythe is, so he just asks Akame what they should do next.

After Akame explains the need for antidote to the youngster he apologizes for harming Gin's friends. Luckily, as the epic pwnage was taking place, some of the Kishus scraped together some rainy day herbs to cure the Ohu dogs' ailment. Unluckily there wasn't enough for everybody. Ben in particular ain't doin' so hot. He's refused to take even the smallest bite of antidote before all his men are cured.

Akame insists that they need more of The Cure (years active: 1978-present) asap and Gin is totally on board to gather some. There's just one itty bitty issue: the plantidote is a water root that grows exclusively on the perimeter of the Koga's wetland territory. Kurojaki and the Dogchompers will be on high alert given the preceding events, so it'll be an especially dangerous mission. This doesn't sway Gin at all, though he is a little worried at the possibility of a scythe being a machine gun.

The other Kishus here, Jinnai and Kirikaze, elect to also come with. And so he four go on the most nerve wracking field trip ever conceived. As they venture forth, Maya picks herself up off the ground, taking advantage of having been forgotten in all the excitement. Despite her flesh wound, a nasty grin spreads across her face. This is too perfect - the leader of the Igas is wandering right into her hubby's domain. She gives her body a rough shake before she stumbles back to the marsh.

While everyone else is running to the swamp, the Ohu dogs are taking their medicine. Smith is the only one well enough to dole out rations and he's having a heck of a time convincing Ben to take his meds. In fact, he isn't making any progress at all, as Ben just bats anything he's given away with a trembling paw. Ben insists in that fatherly tone of his that Smith feed all of the others instead.

Cross, the Kai Bros, and Wilson all try to share their herbs with him, but even as he grows too weak to speak he continues refusing everything he's offered. A single tear rolls down Cross's cheek as Ben's mouth whitens with foam. He meets her tearful gaze as his bloodshot eyes glaze over.

The sun begins to set on this long, dreary day. But hope may be on the horizon yet. Akame and his crew have entered the Koga domain undetected and have located the antidote! They each dive into the pond and yank the roots up, snagging as many plants as they can carry. Gin smiles in relief only to realize that the worst is yet to come. He and the Igas look on around the pond's edge.

The Kogas have soundlessly surrounded our hapless heros. An ugly, crackling laugh taunts them as Kurojaki steps out of the shadows. A bloody-faced Maya stands smugly by his side. Their infant son stands between daddy's front paws and meets Gin's eyes with an innocent, oblivious stare. Kurojaki takes a moment to survey the invaders in the lake. Between his jaws he grasps a sharp, sweeping blade.

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Thank you to everyone who waited patiently for this episode! We’re at the point where some of the biggest diversions from canon will start cropping up, so hopefully they’re enjoyable. And holy SHIT they keep getting LONGER

Episode 5: The Beasts

#ginga #ginga nagareboshi gin #silver fang #hopeanuoli #yoshihiro takahashi #ginga words #rewrite #fanfic

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