#what I’m saying is you can do a lot with his character like the nuance is there

[babsvibes]

“You can’t buy me.. like a cheap sex lady.”

Logan Bush moodboard because I’m trying to emulate the greats like neopetting, koko-raccoon, and drawthething! Taken pre-Logan’s Ban from Family Funtime, of course

[coralhoneyrose]

Why Chrom Fire Emblem is The Husband of All Time: An Essay

SO. There was a screenshot going around of a reddit thread asking about how Chrom has managed to maintain such lasting popularity as a Fire Emblem husband even 6 years after Awakening came out. Given how beloved he still is another 5+ years later, I could not resist taking the opportunity to talk about just what I think makes him so great and endears him to players.

Character Introduction:

Let’s start out the same way Awakening does—with Chrom’s in-game introduction. This is one of the immediate ways Chrom sets himself apart. The game boots up and before anything else happens, Chrom is there expressing his unshakable faith in the player character. You take down the Bad Guy™ together, he turns and gives you this wide, puppy-ish smile and then you push him out of the way to take the hit from an oncoming spell in his stead. Right away you know this is someone your player character cares about deeply—and clearly that care is returned, because he’s immediately running over to make sure Robin’s alright.

Of course, as we all know, things go south very quickly after that. But as the cinematic plays out, and you proceed to watch yourself stab him in the chest, the *first* thing he does, the very first words out of his mouth are: “this is not your fault”. Chrom has just been completely blind-sided and arguably betrayed by his best friend, possibly his spouse, and his immediate instinct is to absolve Robin of guilt. He is literally more concerned about Robin blaming themselves for what happened than about his own imminent death. That alone tells you so, SO much about the depth of their relationship. It tells you both how deeply Chrom cares and how well Chrom knows Robin too. And not only that, but his final request, the ONE and only thing he asks of Robin before dying is that they will promise him they will escape from this place. In his last moments, his single “selfish” wish is for Robin to assure him that they will do what they can to survive. Chrom’s final request is for Robin to give him the comfort and peace of mind he can only obtain through the assurance that even though he won’t get out of there himself, Robin will. He just wants to be able to die believing they’ll take care of themselves and be alright—and knows them well enough to realize that unless he makes them promise, they likely won’t.

AND THEN. And then!!!! You jump cut to Robin waking up in the field with all the sunshine and Chrom’s smiling down with the softest expression and his ridiculously blue eyes. He lifts Robin up by the hand and pulls them right up to his face (because he has no concept of personal space, apparently) and OUUuuggh.

Those scenes in direct sequence make me so insane. You get Chrom’s life ending with Robin immediately followed by Robin’s life starting anew with Chrom. Chrom’s unwavering faith in them and his eagerness to extend his hand and bridge the gap between them from the moment they meet until his last breath. The warmth and kindness and love that Chrom treats Robin with is communicated so effectively in the first few MINUTES of the game it honestly makes me feel unwell. Showing how profoundly Chrom cares for Robin immediately endears him to the player. And he only gives you more reasons to love him as the game goes on.

Personality:

There can be a tendency in some corners of fandom to simplify Chrom to just being either a generic prince charming type character or a lovable himbo. I’m not here to police how other people enjoy him, but I will say that those characterizations fail to get at some of the aspects of his personality I find most compelling.

Chrom is deceptively nuanced. While there are certainly ways in which he aligns very closely with the standard jrpg protagonist, I suspect that a lot of his enduring popularity is the result of the ways he deviates from it too. He is brave and loyal and cares deeply for his friends, yes. He has profound conviction in his ideals and strives to do the right thing, as is typical for that archetype…but what makes Chrom so lovable is his determination to keep trying to be good in spite of the ways it does not come easily to him.

We see this in the Valm arc, when he’s struggling to reconcile his own beliefs about justice with his sister’s ideals for peace. We hear echoes of it when he talks about the horrors the Ylissean people endured at his father’s hand and how despite that, he has never been able to understand how Emmeryn forgave them for the cruelty they once directed her way. He has so much admiration for his older sister’s ideals despite the fact that peace is not his first instinct. 

When Emmeryn first sacrifices herself, Chrom is consumed with grief and rage, and it takes some time for him to understand why she made the decision she did. “Peace above all else” is just not how he’s programmed to operate…yet he wants it to be. If you count the drama CDs as canon, then that serves as another excellent example as well—where the message of his sister’s sacrifice is so lost on him that his first instinct is to respond to it with violence and prejudice and hatred directed at the very people she sought to reach out to. For a moment there, we see him veer from the person he wants to be towards what we as the player can only assume is the person his father left him afraid that he would become.

And yet he finds his way back. He stumbles, he lashes out, but his love for his friends and fear of losing more of those he holds dear is able to help him course correct.

I love that tug-of-war in him. I love that we get glimpses of the darker paths he could have gone down and that there are tangible consequences for his mistakes. Early in the game, we see Chrom lose control of his temper and how Gangrel and Aversa are able to take advantage of that to officially declare war on Ylisse. Chrom later tells Gangrel that were he alone, he can imagine losing himself in that need for vengeance but reiterates that it’s love that is able to keep him from succumbing to that.

And it’s not only that he’s able to stop himself from being horrible—his losses are the catalyst for him coming into his own as a leader. He’s able to pick himself up and hold himself together to see their troops through the rest of the war. And he manages that despite the fact that in the course of mere days, he lost both his home and his most important person and has been freshly saddled with the duty of ruling an entire country. That’s…a lot. And really goes a long way in demonstrating Chrom’s incredible strength of character and conviction. We get some wonderful moments of vulnerability where he confesses to being riddled with doubts about his own capabilities and worthiness, but in spite of that, he is still determined to try to be the person that Ylisse needs him to be.

All of this leads me right into another wonderful aspect of Chrom’s personality, which is that he is just…so driven by emotion. He feels DEEPLY, and while the narrative definitely uses that as a way to hurt him and force him to grow at times, something that really stands out to me about Chrom is how the story isn’t here to send a message that it’s wrong for him to be that way. Chrom’s big feelings are one of his greatest strengths in addition to his greatest weakness—they’re what saves his life and ultimately Robin’s too, if you go the sacrifice ending route.

And ya know what? I honestly think that’s such a breath of fresh air. I love how much he does NOT embody the emotional disconnectedness that you see pushed a lot of times with stereotypical masculinity. I love that he is the hero, and he's gallant, and very traditionally "manly" in a lot of senses…AND that he's also very emotional and guided by his heart. If you’re playing with f!Robin then you wind up with a really refreshing inversion of gender stereotypes from that: in which Chrom is the emotional decision maker and Robin is the more calculating and logic driven of the two.

Beyond his big heart, I can’t talk about what’s so charming about Chrom’s personality without touching on the ways he embodies a certain level of gap moe as well. Chrom is so stern and serious, as well as quite charismatic when he’s speaking from a place of passion. But on the flip side of that, we get to see him as an absolute bumbling mess when he’s out of his element. He’s easily embarrassed / flustered, self-conscious about his appearance, and often socially awkward where romance is involved. While these traits may seem of minor importance compared to the whole rant above, I think they’re really important for humanizing and rounding him out.

There are lots of other nuances to his characterization that go a long way in fleshing him out too. Despite being a prince, Chrom is blunt and completely unmindful of formalities. That, along with his impulsivity, definitely gets him into trouble sometimes. He’s melodramatic and blisteringly sincere. He’s a little bit clumsy and doesn’t know his own strength. He has a dry sense of humor and can be surprisingly funny. He’s optimistic and trusting—not due to naivete or stupidity but because he has decided that giving people chances and believing the best of them is an important value to him and one that is worth embodying in how he lives his life. 

Lucina’s presence in the story and his immediate and complete acceptance of her is an extremely effective way of demonstrating what an incredible father he is too. Honestly, he just has really wonderful relationships and deep admiration for a lot of the women in his life and that absolutely earns him points in my book (and I suspect in many others’ as well). When you look at all of that together, I don’t think it’s hard to understand why he’s so beloved.

Design:

Slightly less serious note here, but I think it warrants discussion regardless because character design absolutely contributes to player’s feelings about and interpretation of a game’s cast members.

And Chrom is…well, he’s eye candy, honestly. He’s got the nice, exposed arm, the messy blue hair, the completely nonsensical outfit he somehow manages to look handsome in anyway (his questionable sense of fashion is a charm point, okay?). Add in the square jaw and the surprisingly long eyelashes and he’s just. He’s very pretty. Idk what to tell you. Bonus points for the summer scramble cg where he has the most inexplicably flat butt of all time. And I really do believe that some of the oddities of Chrom’s design lend memorability to him and go a long way in setting him apart from other lords in the series with similar design concepts. The insistent asymmetry across many of his outfits, the fact he’s showing a little skin, idk it just WORKS. Chrom is hot, I don’t make the rules.

Relationship with Robin / the Player Character:

Last but not least, I want to talk about Chrom’s relationship with Robin.

I touched on some of this in his character introduction already, but Chrom is just…the biggest Robin stan. If Robin has only one fan then that is Chrom. If Robin has no fans it’s because Chrom is bleeding out on the floor with lightning in his gut. 

He just has such deep respect and admiration for them. He values Robin’s opinion and insight and thinks so highly of them and their ideas, often serving as an enabler in many cases (setting the boats on fire, the volcano, etc.). Chrom’s faith in Robin is SO unshakable that when his daughter tells him that Robin is going to be magically controlled and forced to murder him, his response is, “That won’t happen because Robin and I love each other so much that everything will somehow be okay. No, I will not elaborate.” And ya know what? He was RIGHT. Their bond DOES wind up being so strong that it’s able to change fate. The narrative is quite literally validating his slightly ridiculous insistence that him and Robin just care about each other The Most of Anyone Ever. He is Robin’s biggest advocate from the moment they meet when he defends them from Frederick’s suspicions all the way to the game’s close when he either assures Robin that their life was worth preserving or, as in the case of the sacrifice ending, that he will spend the rest of his own life searching for them until they return.

Honestly the fact that Chrom was willing to potentially risk dooming the whole world to the fell dragon’s awakening 1,000 years down the line just so he doesn’t have to lose his comfort tactician is WILD. For the game’s hero to literally say “we don’t have to defeat this evil for good, the people of the future can figure it out” JUST so he can keep Robin is absolutely unhinged behavior and I love it. I think it’s incredibly humanizing that he’s a little bit selfish about the people who are most important to him…that despite his willingness to sacrifice himself or run headfirst into danger, he draws the line at losing Robin because he’s already lost his most important person once and he’s not going to let it happen again. Chrom and Robin absolutely come across as a little codependent and a lot obsessed with each other and personally I wouldn’t have it any other way.

And then there’s his love confession to Robin. GOd...

I think that’s the most flustered Chrom appears in any content in the entire game…and it’s because he treasures their friendship so deeply that he is petrified about messing it up or saying the wrong thing. I love that he goes into their S support dead set on NOT telling Robin what is going on but the second he realizes that Robin is under the impression he doesn’t care about them or like spending time with them anymore he is so horrified and desperate to correct that line of thinking that he blurts out the full love confession on the spot.

He’s SO earnest throughout the whole thing, but then at the end he hits you with the whole “this is the best day of my life”, and the “You are the wind at my back and the sword at my side. Together, my love, we shall build a peaceful world, just you and me” (thank you Matt Mercer for your services), and the cg image of him staring right at Robin with what are basically heart eyes and. I just. There were no survivors.

That’s not even their only proposal / love confession scene either! The fact that the game gives us an entirely separate alternate proposal that’s more serious in tone is the icing on the cake. How many ships out there can say that they get not one but TWO canon proposals that are both that good? Truly no one is doing it like chrobin.

Closing Remarks:

Chrom is a well written and nuanced character who struggles and grows over the course of the story while always remaining true to himself and his ideals. His intense and unending trust, admiration, and love of Robin endears him to the player from the moment the game begins all the way to its conclusion. He is kind and good while still being fundamentally flawed (and it doesn’t hurt that he’s very handsome to boot). Bearing all that in mind, while the message of Awakening may be that nothing is inevitable, Chrom’s conceit and execution were always going to lead to MANY of those who play the game coming to love him and pick him as Robin’s husband…and there may be no greater evidence of that then the fact I’m out here writing all of this eleven years after the game’s release.

[galedekarios]

i'm reading a new interview tim downie gave about gale and it offers some of tim's own headcanons about gale, as well as tim's thoughts and insights on gale's character:

Nerds & Beyond: I like that you mentioned that the game is full of rounded characters because they are, they all have different aspects that make them feel real. I adore that Gale specifically is so serious and studious, but at the same time he has this really playful side — he often jokes about how he was a mischievous youth, he encourages other people like Arabella to do so, he understands when The Dark Urge first mentions their violent thoughts. There is a lot of nuance and depth there. But the quality that I love with Gale most is that obviously he is very ill when we first meet him – not that we know immediately – and he’s dealing with a lot of chronic pain. I find him incredibly selfless because he takes that day-to-day head on to help the party, which is an aspect I feel continues to show throughout the three acts. What’s your favorite quality of Gale’s, or what did you take away from him? Tim Downie: It’s so interesting hearing you say that, because I had so many different feedbacks about what people take from the character and sometimes things really surprise you. It’s interesting hearing that such and such has taken that particular aspect, because there are broad things like “He’s funny,” and that’s quite nice, that’s a nice trait, though not one you necessarily get to see that much. It’s so interesting hearing other people’s views about what they take from Gale.  The idea of dealing with chronic pain I found really interesting and an interesting subplot to play, and that was the great thing about doing something like this is that it is so unbelievably nuanced. You have so many layers that just keep going and going and going, as much as we all contain multitudes within ourselves. We all deal with these things, but only certain things pop up to the surface at any given point.  What did I take from Gale, though? I liked his studiousness. I would imagine that he was probably bullied as a kid for it, and he was probably a bit of a joker because he was bullied, and he uses that as a defense. But an even bigger defense for him is “I now know stuff that I didn’t before,” and that’s a power. It’s very similar to when you are being bullied and you’re the funny one – that’s your power, that’s your thing. “I may not be able to hurt you in a traditional sense, but I can say things that will make you feel pain,” which is a very different thing because you physically can’t go after them.  That’s the wonderful thing about acting and this character as well is being able to explore all these things that you might not have, that you might have gone, “I’m not gonna look at that again, I don’t want to deal with that,” and then it brings it up again and it’s like, “Oh, this is actually quite cathartic,” to re-explore these these moments of sorrow and loss and how you deal with grief and things like that and heartbreak and how you get over that.  It’s not all just tears, you do try and make a joke of it.

i really like that they are addressing the topic of gale's chronic pain. it's something that doesn't get addressed often, not even in the game itself.

i also found his answer as to why people might connect to gale very nice:

Nerds & Beyond: Gale is the most popular origin character to play as. What is it about him that you think allows so many different players to connect with him to the depths the fandom has? Tim Downie: I really don’t know. I think you’d have to ask the players that, ‘cause I don’t know, to be quite honest with you. He’s a wizard, and who wouldn’t want to be a wizard at the end of the day? I always say the difference between wizards and sorcerers is that sorcerers just pretend – they just assume they know what they’re doing, but a wizard has really learned this trade. And so there’s that kind of weight of knowledge and learning, which I would love to play as and be for a length of time.  I think it’s also the frailties. I like characters, and a lot of people do I’m assuming, that have flaws, otherwise you’ve made them completely unapproachable. To be completely superhuman or completely extraordinary at something then removes the humanity from it because it becomes like, “Well, that’s never gonna happen.” But when there’s a flaw, when there’s, “Oh, I’ve got that wrong, too,” or like, “My knees hurt” as you say, or “I’ve got a bit of a headache. I really don’t want to do this,” “You’re really annoying me, this is very annoying, could you please hurry up?” or “Stop licking the damn thing,” it’s always those moments that are fun because it shows what we’re all thinking at that point, it removes it from almost archetype and stereotype and it becomes human in a way.

gale is approachable and likeable, has flaws, but is genuinely nice. i think that very much sums up his character.

this bit here made me laugh:

Nerds & Beyond: When you’re talking about those different layers in the humanity building, I think one of the most important aspects in this game is the more “background” or passive dialogue, so dialogue that is prompted in the world and not in the cut scenes.  For instance — the first time I made Gale sneak he immediately complained about his knees, and it was such a real moment where he was just like, “Oh, don’t make me do this. This is not what I’m here for, I’ve got bad knees and I’m not made for this.” Did you have any of those background lines or moments that stick out as being particularly fun to craft?  Tim Downie: I remember the first time I ever had to do waiting, I found it infinitely interesting in so many ways. The idea that I did actually just have to wait and just actually, “Hmm…” Those little things I find really funny because they’re probably the closest to me that the character ever gets. His waiting mannerisms are kind of very English – slightly annoyed and I’m not going to show it to you though because we’re all being very nice, but I’ll do it with a huff and a slightly sarcastic, “Well, that’s great. Another 20 minutes. That’s great.” Those kinds of sentiments I found wonderful and incredibly fun, and funny, to do. 

if you want to read the whole interview for yourself, you can do so here!

[cinnbar-bun]

Watching Reality TV With You (Various One Piece Characters x Reader)

Characters: Zoro, Sanji, Trafalgar Law, Luffy, Perona + Mihawk, Nami, Kizaru/Borsalino, Eustass Kidd

A/n: Sorry I’m a huge fan of Real Housewives so take these silly headcanons!!!

Note: GN reader, the relationships with the character(s) and reader can be seen as platonic/romantic depending on what you prefer :) Mihawk + Perona’s relationship to each other is also not stated just for your personal preference. These are all just very silly things, don’t take this too seriously since it’s crack!

Zoro

“The hell? Why are you watching this crap? It’s not even real!”

He just sighs and grumbles about how this is dumb the whoooooole time.

Tends to sharpen his swords or try and nap while it’s on.

Until lowkey he starts peeking a bit like ‘did she just say that?’

Suddenly has opinions on it and tries to deny he’s interested but his eyes are GLUED once they start arguing and the suspenseful music is playing.

“Well, if I was her, I think I’d just kick them. Or maybe cut their car in half.”

Sanji

Opposite of Zoro. The man is probably a bigger fan than you and most likely is reading the gossip online.

It’s your weekly night hangout where he brings snacks and cozy blankets for you two to sit and enjoy while watching.

Gasps audibly and loudly.

He’s both the best and worst to talk about this with because he respects all women and he forgives them for everything, so they all get passes from him.

“Yes she may have talked badly about [name] and stole [name]’s house and maybe crashed a car. But we all do that. We need to show forgiveness. She’s having a tough time- her dress came in the wrong color.”

Law

Like Zoro, he’s very disturbed by the very prospect of reality tv.

But he’ll try. Let it be known he’s trying.

He doesn’t get interested in it but he does try to follow along so he can discuss it with you.

Not gonna lie though he’s the guy who’s focusing on their plastic surgery or illnesses.

Will literally pause the show just to examine what they may/may not have done and if the surgeon botched it up.

Imma just manifest this, he’s prolly a Terry Dubrow stan.

“Who’s your favorite Housewife so far?” “Terry.” “But… Terry isn’t-“ “It’s Terry.”

Unironically would drop a horrible quote from whichever show you’ve been watching and he’d say it so seriously that everyone’s jaw will drop and it takes him a sec for him to realize what he said.

Luffy

Imma keep this short for you- he ain’t looking.

He ain’t caring.

No thoughts.

He only cares when there’s a party and food is being served.

“Woooooah! Look at all that food!!!”

Doesn’t even recognize who is who and will just mindlessly wait for food to come on screen.

Perona + Mihawk

I’m putting this as a two for one they’re my everything <3

You and Perona are the ones who watch it lots. Perona does complain about how much they argue but she loooooves looking at the houses and clothes of the women. Makes comments about wanting to fly first class or visit the beautiful places they go to.

Mihawk is reading.

Perona is biased as hell and only defends the people that are wearing cute clothes. Otherwise? Shit list.

“Ugh! What is that dress?! It’s so hideous!” “Is that all you’re focusing on?” “I agree with (Y/n), Perona, she just had gotten into some relationship troubles with [name], so I think [name] is wrong.”

You and Perona are gasping and shocked that Mihawk 1) talked and 2) had an opinion on this???

Turns out the man had been listening the whole time (he’s quite the multitasker).

If Perona is the most biased viewer, Mihawk tries to remain objective and impartial. He's always listing out the nuances of a conversation.

“I think [name] is just jealous.” “Well, if we remember in season 4, episode 14-“

He’s a smart ass sometimes, but it’s okay, he’s our smart ass.

Perona is always enthusiastic about marathoning the shows again and watching it. She tends to do dress up requirements for watching it.

Nami

I’d hesitate to call Nami a “fan” of reality shows.

She’s aware of them, yes. Does she particularly care for it? Nah, not really.

They’re more background noise and eye candy for her.

She just likes putting them on and glancing every once in a while to gaze at the beautiful houses and trips.

“Oh that’s so expensive… imagine what you could do with all that!”

Sometimes has a fun game for herself to estimate the cost of an outfit, accessory, or house. It’s scary how accurate and detailed she can get with it.

Tends to mostly focus on fashion and get new ideas to steal- I mean, incorporate.

Doesn’t have strong opinions on the cast, but she isn’t too crazy about the louder members.

Kizaru/Borsalino

He’s heard of it, he thinks.

And, well, since you’re so into them, he’ll give it a watch.

“Oh my, these ladies are incredibly wealthy and beautiful.”

He’s not even ogling them he’s just amazed at the way they dress, behave, and/or decorate their spaces. It’s almost like being starstruck???

The guy who will pause the tv at certain scenes to point at random decorations or outfits and be like “darling, would you like that?”

He does get sad when they start to fight.

“Aw… I was just liking the party… why are they arguing now?”

His favorite cast member is your favorite one <3 he’s just a cheerleader like that, dear.

He could listen to you talk about it for hours if you wanted, and he’d be amazed by your knowledge.

“You know, if you’d like for me to have you be on a show like this, I could probably pull some strings!”

Kidd

1000000x worse than Zoro

I cannot recommend putting it on in front of him.

“The hell is this shit?! Turn it off!”

You refuse and now he’s stuck watching grown women argue over dumb things (in his mind).

Complains the ENTIIIIRRRRE time. Nonstop commenting and complaining.

Okay but he’s hooked after a bit, the drama is just too good.

But now he’s WORSE cuz he’s got OPINIONS and THEYRE ALL SHITTY!

This man is an instigator. I swear to god he’s just saying shit just to rile you up and be contrarian.

He's stanning the biggest menaces on the show.

You two will probably get into (very silly) arguments about some of the situations and people.

And unlike say, Sanji, who tries to defend a person, Eustass will just say you’re wrong and then add something unhinged to it.

“Naw you just don’t get it. If I was her, personally, I think I’d just burn their mansion down and then slash their tires.”

[rubikswriter]

Heavy is the crown - a Caitlyn Kiramman character analysis.

(Tumblr really messed the formatting up on this, and it’s like 15k so there’s no way I’m editing it again - check my Twitter RubiksGaming12 to read it in it’s correctly formatted form)

I’ll preface this by saying that I have no prior knowledge of LoL lore, but I’m a big fan of angsty, nuanced characters, and that’s why I want to talk about Caitlyn Kiramman.

I’m sure this has all been talked to death in the fandom, but from my brief time in it, I can see a lot of varying - although mostly negative - views on Caitlyn. Especially in season 2. Caitlyn, however, is a character who has swiftly made her way onto my favourites list and I feel the overwhelming need to wax poetically about her. 

I love a character that’s been consumed by darkness in some way and attempts to find their way back; from Darth Vader, to Xena, to Villanelle. I love all the shades of grey these characters bring; that not every act of good is seen in absolute glowing white and every negative in pure darkness. To me this teetering on the line in between is what makes for such rich characters to experience, explore, and devour.

I’ll start by saying that one of my favourite things about Arcane is how it doesn’t hold your hand the entire time. It’s not always direct, slammed in your face, explanation. It asks you to pay attention; to look, and listen, and think. It wants you to make the connections, to see the use of lighting, of revisiting environments, of the connection to the music/score. It wants you to question. 

Would we all have liked more episodes? Hell yes. However, I think the show does a wonderful job with Cait’s character arc within time/ep restraints it had. 

With that said, if you hold negative views on Caitlyn, my thoughts on this definitely won’t interest you in the slightest. You’ll keep your opinion, and I’ll keep mine. Art is subjective after all. But if you want to share thoughts and opinions and discuss openly, then please do. I love hearing and delving into all theories.

So with that said, let’s break my thoughts down —

Caitlyn is a Kiramman; a member of an influential house in Piltover. Her family's reputation precedes them, especially with her mother on the council. I think it’s safe to say that with such a privileged upbringing, when we meet Caitlyn in Season 1, it’s obvious that she has been sheltered from the depth and reality of the systemic divide between Piltover and Zaun, and just how oppressed the Zaunites really are. 

But there’s more to Caitlyn than her just being another mere, blindly accepting member of the Piltover elite. In fact the show hints that it's a direct result of her elite heritage, that Caitlyn grows into such an ambitious, confident, woman who has an unwavering, determined, drive to prove herself on her own merits rather than just on the coattails of her family name.

We see her kindness shown in her friendship with Jayce, a man older than her and sponsored by her parents, a person considered below her on the social ladder, and yet he’s her one true friend. She’s interested in his ideas, has concern and fondness for him. It presents Caitlyn as someone who goes against the grain of what’s expected of her, her curiosity of wanting to know and understand more than just the high society she’s part of is evident. It’s something that we see that sets her apart from the majority of her peers who are content with their lives and have no desire to question it.

I believe it’s her ambitious drive and her natural, kind curiosity that sets up the basis for her arc in Season 1. 

We see her commitment to her marksmanship in the flashback, she’s damn good at the skill she’s worked hard to hone, and yet we see Cait questioning her own merit when Grayson appears to let her win. Her first thought is ‘did my parents pay you to let me win?’ which is such a sombre reality. Has this happened before? It appears that even from a young age the weight of the name Kiramman is something that’s been weighing Cait down. A burden of expectation and equally a privileged advantage, even when it’s perhaps not deserved or wanted.

When Grayson says she let Cait win not because her parents paid her, but because she thought Cait deserved it, it validates Caitlyn in a way not many people do. Especially when Grayson is more skilled and less privileged than her. She tells Caitlyn that she doesn’t need to win, that protecting the people is the reward in itself. I think this interaction further unlocks and propels Caitlyn’s desire to earn respect rather than have it given to her because of her name.

So when Grayson asks her ‘what are you shooting for?’ I think Caitlyn is finally able to give herself the luxury and agency to decide to want more for herself than what is simply expected, and to go after that, no matter what people think. Her parents included.

That scene with Grayson, I felt, was vital in seeing, at least partly, why Caitlyn becomes an enforcer. It gives her a sense of purpose outside of the family ties. Something that’s just hers. Something she can achieve and be proud of, and something she can outwardly present amongst the community she lives in. She holds firm in her resolve and assurance that she’s made the right choice for herself even when her mother tries to keep her safe by limiting her work, and when her peers snigger mockingly at her that she should be at the cocktail party rather than guarding it.

After Jinx’s attack and her removal from the enforcers at her mother’s request, we see Caitlyn become even more solidified in her self belief. While she may be a little idealistic and naive to the wider workings of the world, Caitlyn proves she’s an intelligent, kind, empathetic person, and has a fire in her for seeking justice and protecting people. She genuinely seems to want to make a difference, and I think that’s why she fixates on the investigation of corruption in Piltover and how deeply connected that is to Zaun and its underworld. It’s another chance to prove herself to those that don’t truly see her as more than the Kiramman name.

This is obviously driven further when she meets Vi and has her released to help facilitate her investigation. Having Vi be her guide through the Undercity allows Cait to have her eyes opened to a different perspective than her own, and challenges Topside’s preconceptions about bottom. It’s seeing through Vi’s eyes that enlightens Cait to Zaun’s true struggles and drives her desire to want to help and advocate for Zaun further. While realising at the same time that the Piltover Caitlyn thinks she knows is equally corrupt in parts (Marcus’ betrayal highlighting this). 

It’s through Vi’s eyes, through her struggles, through their developing trust and connection that we the viewer can recognise that Caitlyn is meant to represent the moral compass of the show in S1 — She’s the one that gets us, the audience, to also question what Cait thinks she knows, versus the reality of what she’s now learnt (Silco, shimmer, Marcus, Jinx, Ekko and the firelights); that there is no good and bad, only shades of grey between the twin cities.

In understanding Caitlyn as the character we get introduced to in season 1, I think it’s really important to understand that it’s Caitlyn’s privilege that gives her the knowledge and position to try to drive a change forward. But it’s her character outside of her privilege; her kindness, her empathy, her risk taking and her willingness to challenge rules and ideals that makes her the right choice to help. Vi and Ekko aren’t trusting just any Piltie to help them, they’re trusting Caitlyn because of all that she exudes and stands for. It's unknown to Vi and Ekko at that time that Caitlyn is a Kiramman, or the weight that name holds. Caitlyn never divulges that about herself, instead she mentions Jayce, her friends being on the council. But we the audience know that it’s her family name that gives Caitlyn immediate access to her mother and the council where others - like Vi, Ekko, and the other Zaunites - would not have such a chance. 

We see, through her relationship with Vi, that Caitlyn doesn’t use her privilege to overshadow Vi and the Zaunties' struggles. She moves the pieces into place because she has the entitlement to do so. She lets Violet be the mouthpiece for herself and the Undercity’s struggles when addressing the council, showing that she sees Vi and the Zaunites as equals.

When Caitlyn’s mother is introduced to us, we understand that she’s not a big fan of Caitlyn essentially lowering the family name by becoming an enforcer, and that she purposely interfered in Caitlyn’s work to protect her; moving her to stand guard at her tent, and having Cait dismissed from the enforcers after the initial Jinx attack. However, Cassandra Kiramman clearly loves her daughter and after hearing how passionate she is, listening to Caitlyn outline the failings of the council she sits on, she schedules the councillors for Cait and Vi to talk with.

‘You’re a councillor’s daughter, your actions reflect on the entire body,’

‘You know what else reflects on the council? Its citizens living on the streets, being poisoned, having to choose between a kingpin who wants to exploit them and a government that doesn’t give a shit.’

We can see in this exchange just how much Caitlyn has grown from episode 1-8, and I could talk so much more about her growing relationship with Vi in season 1, but I think we all can agree that Vi grounds Caitlyn. She shows Caitlyn a world she hadn’t ever truly seen or understood. Vi challenges her in ways Caitlyn has never been challenged before, and she sees Caitlyn as she is; as simply Cait. Something that nobody else does. The fact that Caitlyn is a Kiramman is an afterthought, something Vi only learns later on when Caitlyn insists she can help with Zaun’s plight. 

Even when Caitlyn fails to achieve what they want from the council she remains determined to try again, but it’s Vi that walks away. It’s Vi that can only see how to do things one way and knows that she has to leave Caitlyn behind to do it. Vi, I feel, is essentially protecting Caitlyn from something she knows Caitlyn doesn’t fully understand and never can simply because of their separate birthrights. She will never really be able to understand that oppression, and Vi is too afraid/guilty to relinquish what little control she has left when it comes to Jinx.

Caitlyn acts in the council meeting according to the hierarchy she grew up in, something that Vi doesn’t have the luxury to indulge in. That’s why she walks away and goes to Jayce. Vi needs to take things into her own hands to try and save her sister and deal with Silco, she chooses the undercity way and leaves Caitlyn to mull over the topside approach. Vi’s own guilt gives her a heavy burden of responsibility that she can’t let go of.

We see after their separation that Caitlyn isn’t content with Topside’s action, or inaction, she’s frustrated with the lack of doing nothing but not doing enough. We see this when she’s in the shower thinking of Vi; her image represents what Caitlyn wants to fight for, what she can’t let go of now. A better life for them all. I truly believe that Caitlyn, with her dogged determination, would have tried again and again and again to help Vi with Jinx and Silco, and would have found a way to persuade the council to help the Undercity heal. It’s the first real indication we get that Vi has become one of Caitlyn’s biggest strengths, but will also become one of Caitlyn’s biggest weaknesses, as we see at the end of Season 1.

This all pieces together when Jinx foils Caitlyn’s plans to try and help and kidnaps her. Instead of Caitlyn working towards finding a balanced, diplomatic, solution that will benefit Piltover/Zaun and bridge the divide, we get Caitlyn receiving a nice dose of trauma; Jinx threatening her life and blowing up the council tower. Topped with the crushing burden of conflict and guilt; having the shot on Jinx but not being able to take it due to her loyalty and affection for Vi. 

It’s this event and every moment that happens during it that shapes the foundation of Caitlyn’s arc for season 2. 

——

We start season 2 with the consequences of the actions of season 1. Jinx is free and Caitlyn’s mother was killed along with some of the other councillors thanks to Jinx’s attack. This is already an intolerable pill for Caitlyn to swallow, knowing that not only did she have the shot on Jinx that could have prevented her mother’s death, but I’m sure Mel makes it known to her that she and the council were voting in favour of Zaun having independence. 

As such Season 2 is rich with character development for Caitlyn, and I think the best way I can share my thoughts on it is to break it down into her development journey per act.

Alongside looking at the events/effects of each act on Caitlyn’s character I want to focus on the three faces Cait claims to haunt her in S2E1; her mother (whose memory is manipulated by Ambessa), Jinx, and Vi. I believe that individually these three characters are the driving force behind Caitlyn’s descent to darkness and also her light back to the good woman we know Caitlyn Kiramman is at her core. 

Let’s start with Ambessa since I feel like her role is critical to Caitlyn’s moral downfall. However, in order to fully understand Caitlyn’s descent into darkness in season 2 I believe it’s vital to understand Ambessa, her motives, and her role in manipulating Caitlyn for her own gain.

So let’s jump back a second and look at Ambessa before we dissect season 2:

In season 1 Ambessa arrives in Piltover under the false pretense of visiting her estranged daughter Mel - who we all know is a wealthy and powerful

Councillor in the city - and confides in Mel about her brother, Kino’s death. It seems Ambessa feels responsible for her son's death, and that she’s certain those responsible for his death will continue to seek revenge upon the Medarda’s and Noxus. 

This brings us to the real reason for Ambessa’s visit. Having grown aware of Piltover’s progress with Hextech, Ambessa sees the opportunity to create and use Hextech weaponry to protect her family and thwart any threat to her people. Essentially, Ambessa begins her game of manipulation early in season 1 by hoping to convince Mel to engage in war with the Undercity using the weaponised Hextech to squash the conflict. Ambessa sees these two cities and the tensions between them as a testing ground for Hextech weapons, and a chance to grab power, which luckily Mel sees through and prevents.

With Mel not being so easily manipulated, aware of her mother’s warmongering ways, Ambessa quickly changes strategies and attempts to manoeuvre Hextech’s creator, Jayce, into weaponizing the technology. While Jayce refuses at first, Vi tempts him further, and together they take Hextech weapons into the Undercity with the goal of attacking Silco’s shimmer factories, only for Jayce to end up accidentally killing a child working in one. This immediately stops Jayce and ruins Ambessa’s second attempt at manipulation to mass weaponise Hextech. 

With promises of allowing Mel to return home to Noxus with her if Mel will simply allow the war between Piltover and Zaun to happen, Ambessa makes her final move of season 1. Luckily Mel stays true to herself, and right before Jinx blows up the council building, Mel sides with Jayce in offering Zaun independence, and encourages the other councillors to do the same. 

It’s as we head into season 2, in the wake of Jinx’s attack on Piltover, that we see Ambessa use the chaos to reestablish her footing and create another angle of manipulation to work with.

She first tries to speak through Councilor Salo, which Mel catches immediately, knowing that her mother is determined to gain power. Mel agrees to invade the Undercity to capture Jinx but without Hextech weapons, once again stopping Ambessa’s push to put Hextech into weaponised action. 

With Ambessa’s plot mapped, let’s move back to Season 2 and Caitlyn’s development:

Act 1:

Ep1 - 

It’s important to note that even at this point in her grief Caitlyn is still fighting for the people of Zaun and trying to prevent a war; she stands by Jinx being solely responsible for the attack and doesn’t want Piltover to flood the Undercity with enforcers. 

Because Ambessa failed to use Salo to get the councillors to invade Zaun with Hextech we see her next power play. She’s the one responsible for the memorial attack, she allows it to happen only to set herself up as the saviour with her Noxian troops. This act pushes her agenda forward, the next time the council meet they feel taken off guard, fearful and desperate to find a way to fight back and protect themselves. But before Ambessa can speak up, Caitlyn arrives with her strike team armed with Hextech weapons and does the task for her. 

Caitlyn’s goal is obviously to minimise damage, which is a stark contrast to what Ambessa wants overall, however it’s the perfect way for Ambessa to test her goal. I believe it’s at this point that we witness Ambessa noticing Caitlyn for the first time and understanding her influence. Something Ambessa definitely notes for later on. 

/

Next we have Caitlyn’s relationship with Vi to consider. 

It complicates Caitlyn’s grief. What should be a simple anger becomes a layered torment. How do you openly and intensely hate the sister of someone you care about? How does Caitlyn move past understanding Vi’s care for Jinx and refusal to give up on her at the end of season 1? Especially when that reality caused Caitlyn to hold back, go against her gut instinct, not shoot, and ultimately allow Jinx to kill her mother and further divide Piltover and Zaun.

The scene with her dad expands this conflict. Her guilt and self blame are evident when she admits she had the shot on Jinx. We see it manifesting in her refusal to willingly accept the Kiramman key. From someone so confident and self assured in season 1, we quickly see Caitlyn displaced and unsure. She’s gone from knowing the safety of her place in the Piltover hierarchy chain, to suddenly having to step up and fill that role her mother held. It’s a big responsibility and one Caitlyn doesn’t feel deserving or sure of. 

(Adding to this quickly that I love that it pans to Vi overhearing Caitlyn’s confessions, I think it perfectly foreshadows that Vi is going to have to witness someone else she loves descending down a path that’s a product of her actions. What a heavy cross to bear (maybe I’ll do a deep dive on Vi next)).

I also think it’s important that we talk about how Caitlyn is someone who keeps her emotions close to her chest, whereas Vi wears hers on her sleeve. Caitlyn’s grief is all over her face but it isn’t necessarily spoken aloud, she isn’t a blubbering mess. She only cries when she has the safety of Vi to be vulnerable with, and even then she only allows herself a brief moment. In true Caitlyn fashion, she then throws herself back into her way of dealing with her grief through action. I guess it makes sense that she feels inaction is what caused her pain, so of course going with the enforcers to find Jinx in the Undercity is a good idea. 

What perhaps isn’t her best idea is asking Vi to put on an enforcer badge and join her. I think Caitlyn is super clouded by her own grief here to even consider whether this is a good idea or not, especially given what she knows about Vi’s past. However, I would say that I truly believe that Caitlyn believes she’s asking Vi to join her for the right reasons. We witnessed Cait try and dissuade the council to invade Zaun already, so to think that Caitlyn believes that Vi’s presence on the enforcers side would help bridge a divide between Piltover and Zaun isn’t out of the realm of possibility. It makes sense for Cait to think that showing unity against Jinx would send a good message to the people of both cities. It also acts to ease Caitlyn’s own fears about Vi’s feelings towards her and Jinx. Where does Vi’s allegiance lie now? Can Vi see that Jinx is too far gone now and trust Cait to make the right decision? It’s a risk but a reassurance I think Cait desperately needs from Vi to anchor herself. 

Even though Vi initially rejects her offer to join the enforcers, after the memorial attack, when we see Caitlyn at her most unbalanced, Vi is there once again to provide comfort to Caitlyn at her most vulnerable. Vi understands what Caitlyn needs from her. I think at this point Vi is consumed by her own pain and guilt, and that while she clearly can’t mend Jinx’s heart, perhaps she can protect Cait’s. It’s why I believe Vi ultimately joins the strike team Caitlyn sets up. She feels a sense of responsibility to put things right too. It’s a tentative balance between the two of them; it’s the promise of action without overzealous violence hinged on an achievable goal of apprehending Jinx.

/

We see Caitlyn, for the most part, admirably hiding her pain, grief, and self blame for her mother’s death (as Mel tells Jayce) but we also see glimpses of her strong facade cracking with anger at Jinx. 

Her anguish and guilt begin to manifest into hatred, and we see this evidently in Caitlyn’s visualisation of taking the shot at Jinx. This externalised hatred of Jinx is understandable in the wake of her mother’s death, and has left Caitlyn’s family with a gaping hole that she herself now has to quickly navigate to fill. 

While Jinx isn’t part of the memorial attack it triggers a reaction in Caitlyn; her pain and anger breaking free and making her lash out. We see her in her grief going from defending Zaun; ‘there’s good people down there’ to ‘they’re animals’. While that thought doesn’t grow further yet (thanks to Vi’s grounding presence) it does seed and begin to take root inside Caitlyn, waiting to blossom later in the season.

/

Ep 2 & 3:

Episodes 2 & 3 take a closer look at Caitlyn’s invasion of the Undercity with her strike team. So I’m going to combine my thoughts for them. 

We see at the end of episode 1 that Caitlyn discovers the creation of the ventilation system the Kiramman’s created to provide clean air to the Undercity. Now this next part seems to be where I witness a lot of hatred and negativity of Caitlyn’s character journey this season coming from.

While I completely agree that her use of the gas in the Undercity is a bold and controversial choice, I think there’s a misunderstanding of how Caitlyn was using the gas. I get the sense that people think she was just gassing the whole of the Undercity when in reality she states what she plans to do with the gas in her mission outline; locate Jinx, dismantle shimmer and neutralise any agents still loyal to Silco.

Remember Vi is part of this strike team, I doubt she’s letting Caitlyn murderously gas her people. Instead, she’s probably guided Caitlyn into where the shimmer factories and the gangs are located. It’s these areas that the gas is being used. Does this justify her use of the gas? I’m not sure. I think it’s a moral grey area. Does violence of any kind, from any side, justify a violent retaliation? I think this is sadly a case of human nature. It shows the cycle of hatred, of violence being used to justify peace. It’s a tale as old as time; everybody is the bad guy in somebody else’s story. It’s a cycle that keeps repeating until somebody breaks it.

And that’s the theme the show wants to explore in season 2. Caitlyn’s actions are unsettling. Rightfully so. It’s a breakdown of what happens to people’s morals when they’re challenged by outside forces they can’t control. I think Arcane takes these issues and presents them cleverly throughout the show, and to write a character off as simply bad or good is a disservice to the depth they’ve been given.

The show forces the audience to step into each characters shoes and ask:

‘how far are you willing to go for the people you love?’

‘How far is too far?’

‘How do you know when you’re crossed that line and can you stop yourself going further?’

‘Can you come back from that?’ 

‘What can you do to break the cycle?’

We see these questions starting to get asked as we move into the tail end of Act 1.

The montage at the start of episode 3 is super heavy with explanations of what exactly the strike team does in Zaun. Sadly, I do think if you’re casually watching some of the depth of this montage is lost which I’m assuming is a time restraint/stylistic choice that had to be made for S2.

That said, let’s look at it carefully:

I feel like the bright colours are really menacing here, especially when you see Caitlyn and co fully suited up with the green gas behind them. It makes the image of the gangs running away look small and weak in comparison. When in reality we know these guys have helped Silco flood the lanes with Shimmer and are definitely part of the violence in the Undercity. It then flickers through scenes of the team fighting against the gangs, of them achieving their objective to dismantle shimmer and neutralise anyone still loyal to Silco. But it also makes a point to show Caitlyn apprehending these criminals in a non-lethal way; it seems she fires the same net-type bullets the enforcers fired at Vi and Powder way back in the opening episodes as they escaped from Jayce’s apartment. Most importantly it shows them holding Jinx’s wanted poster, inquiring for her whereabouts. This, we know, is the driving force behind all of Cait’s actions. A venture that is clearly proving fruitless so far. It’s clear that Jinx’s continued allusion only heightens Caitlyn’s grief and anger. 

While searching the Undercity for Jinx, we see Caitlyn, Vi and the others looking for Jinx in the old arcade where Vi and Jinx played as children. The use of the gas and seeing Vi playing enforcer enrages Jinx and she taunts Caitlyn by switching on the moving targets and momentarily appearing behind one before disappearing once more. While Maddie confirms the place is all clear, Caitlyn appears to begin to hyperventilate, her frustration with not apprehending Jinx clearly agitating her and teetering her closer and closer to the edge of her grief and control. She shoots where she was certain she saw Jinx standing, showing her ability to follow through with her shot now, and once more it’s Vi that has to approach her and ground her, bringing Caitlyn back from the Jinx demon plaguing her.

I want to make a point of noting that Vi is involved in the entirety of the strike team invasion into Zaun. This doesn’t make the use of the gas a right, but it does draw a line under what even Vi thinks is acceptable for Silco’s goons to suffer in their quest to get Jinx. When Jinx confronts Vi about this later, Vi even says they were using the gas to minimise damage (note - Cait hasn’t lost all morals) - ‘We used the grey to clear the streets. To keep people safe.’

We see Jinx using one of the Chembarons’s minions to lure Caitlyn and Vi further down into the pipeworks. While questioning the guy, Caitlyn continues off the back of her agitation from ep2, her frustration at not having found Jinx already making her snappy and twitchy. When Caitlyn demands an answer on how Heenot got there, she looks far too trigger happy, and Vi immediately notices the unsettled shift in Caitlyn, moving to kneel in front of Heenot. This serves to put her in Cait’s eyeline in an attempt to ground her once more. Vi gets the answer Caitlyn was seeking without violence but instead of calming Caitlyn, the knowledge that Jinx is close by only seems to amplify Cait’s vehement determination for vengeance.

Vi can see Caitlyn is becoming increasingly consumed by her hatred and asks to speak to her for a moment and then— well, let’s go ahead and talk about the kiss. That first kiss… 

I personally think that Vi’s voice actor Hailee Steinfeld and writer Amanda Overton give voice to my feelings on this far more coherently than I ever could: 

‘The dialogue before [the kiss] says it all. Vi's in a place where she's lost everything. She's lost anything and everything she's ever felt seen by or close to," Steinfeld continued. "The only way she has any of it left is through Caitlyn, and she's now asking a lot of her, asking her not to change given what she's now going through. I think it unlocks a newfound vulnerability.’

While Amanda adds to this:

“To me, that kiss, because it comes so early in their arc, was always meant to be the right thing for the wrong reasons. You want to feel really good because they’re finally kissing, but the promise that Vi asks her in her desperation is an impossible ask. Caitlyn responds in a way where she wants this to be true, Vi wants this to be true. Both of them want this to be true, so kissing was their way of covering that up.”

I think the kiss acts as a balm to both of their insecurities and guilt about their roles in the losses they’ve faced and may face again. Do either of them believe the promise, I’m not convinced, but it’s an important moment for Caitlyn to feel reassured by Vi’s loyalty. It feels like Vi has her back as they now approach Jinx, and that if Caitlyn can make the shot, she has Vi’s blessing to do so. Vi is her strength and Caitlyn needs that before she comes face to face with Jinx once again.

The only problem with the kiss and the faux promise is that it’s fine in theory but not in practice. I think Vi was trying to convince herself she could let Jinx go for Cait’s sake, but once she sees her, especially with Isha, Vi can’t commit to it. 

This is the driving wedge between her and Caitlyn, because that kiss promise they just made, well in Caitlyn’s eyes, Vi didn’t keep it. It feels like betrayal. Vi has prevented her from taking the shot against Jinx twice now. 

This is the pivotal moment that ultimately leads to Caitlyn being unable to untangle Vi from Jinx in her mind. Her feelings are too clouded by her grief, and her anger finally shifts from Jinx to Vi. Vi, who in Cait’s eyes, let her down. It’s heartbreaking but in the next moment Vi pays the price for Caitlyn’s transferred anger by taking Caitlyn’s rifle to her gut. And just like that, Caitlyn breaks her promise too. 

Has she really changed or is Caitlyn merely lost in her own self hatred, grief, insecurity and guilt? Whatever the answer is, without Vi, Caitlyn no longer has an anchor to stop herself spiralling completely. It leaves her vulnerable and open to manipulation as we see.

/

We see Ambessa growing impatient after Amara attacks her and reveals the Black Rose are aware that Ambessa isn’t relenting in their feud, instead she’s in Piltover looking for an advantage by gaining access to Hextech weapons. As a result Ambessa returns to manipulate Salo, wanting to use the councillor to once again to push her agenda and gain more control. But Salo is equally frustrated by his use in Ambessa’s plan. It’s during Ambessa’s exchange with Salo that Caitlyn comes up again. 

We know Ambessa has taken note of Caitlyn when she stormed the council with her strike team idea and thwarted her attempt to use Salo to urge the council into a full invasion of Zaun, but in this next exchange with Salo we see Ambessa once again  grasping exactly why Caitlyn could be the key to her power play.

‘It’s enough work propping you up without you dulling what few wits are left rattling around in there.’

‘If you propped as well as you prod, maybe I’d have better uses for my time than sitting around waiting for an update on Princess Kiramman’s underground escapades. She’s gotten no closer to Jinx. But that doesn’t seem to steal the stars from anyone’s eyes.’

‘Perhaps if you hadn’t let the child overpower you in your own chamber.’

‘It’s not the girl. It’s the name. It bewitches people.’

Ambessa, at this point, still intends to use Salo as her puppet by gathering the elite of Piltover, so she can essentially speak through Salo, and urge for further action to be taken against Zaun. However, the knowledge she’s gained about Caitlyn from Salo comes in very useful when Ambessa actually makes her play for power at the end of episode 3. 

Mel even notes how clever and strategic Ambessa is when talking with Lest, ‘everything with my mother is a calculated risk’ showing that Ambessa will do whatever is necessary to achieve what she wants. This becomes even easier for Ambessa to do with Mel and Jayce out of the picture, leaving Piltover wide open to her manipulation.

Ambessa takes advantage of the Jinx/Zaunite attacks on Piltover and Amara’s disappearance (or shall I say, her own cover up) to create a new narrative. She starts by using Salo as her mouthpiece, here he lays the foundation that Ambessa is a trusted and worthy ally for Piltover. Whose experience Piltover should take advantage of. Ambessa continues this narrative, painting herself as a kind ally who was simply going to help Amara rebuild Piltover before the Zaunties attacked again. 

Ambessa uses the continued and growing fear of the Piltover elite to encourage the conflict - ‘wrath must be met with wrath.’ - setting up the idea of martial law as a necessary move to protect the people and return Piltover to safety once more. We see Salo thinking he’s finally going to be rewarded for being Ambessa’s puppet, only for Ambessa to manoeuvre past him. She takes the knowledge he’s given her about Caitlyn Kiramman and the worth of her name and chooses her to command instead.

Ambessa knows of Caitlyn’s grief and her unwavering desire to bring Jinx to justice in vengeance for her mother’s death, and now Ambessa can take Caitlyn Kiramman and twist her focus to encompass more. Caitlyn Kiramman can be the pawn Ambessa uses to start the conflict between Piltover and Zaun. Caitlyn Kiramman will get the elite to listen. Caitlyn Kiramman will use Hextech weaponry to do so, and in doing so, Caitlyn Kiramman will give Ambessa the power she needs to confront the Black Rose.

At first Caitlyn is shocked by Ambessa’s decision to choose her for command but once Ambessa and the Noxian’s begin their chest salute, Caitlyn becomes overwhelmed with the pressure of the Kiramman name. She told her dad she didn’t feel worthy or ready, and here is Ambessa, someone the Piltover elite now trust, someone with experience, who is saying she believes Caitlyn is the right person to protect the people. It forces Caitlyn to step up and fill that hole her mother left; to represent Piltover as a Kiramman. Ambessa achieves this cleverly by taking advantage of Caitlyn at her lowest. Ambessa plays into the combination of Caitlyn’s own guilt, grief and self loathing and peer pressure, and buckles Caitlyn to her will, molding her into a Commander who will carry out unspeakable things to grasp power.

Let’s talk about the persuasion of the peer pressure - it’s peer pressure that comes not only from the Noxian army but also from Caitlyn’s own enforcers - Maddie being the one to chest salute from Piltover’s side first. It’s not surprising given we know she’s a spy - but before this knowledge is gained Maddie is seen as a good hearted, kind enforcer wanting to do the right thing. Without Vi there to question and anchor Caitlyn, Maddie is a familiar and reassuring face Cait can turn to. So when Maddie joins the Noxians supporting Caitlyn for commander, so too does everybody else. Now it’s Piltover looking at Caitlyn to make this right.

What do you do when someone you think you trust encourages you to step up? When everyone who relies on the Kiramman name wants to believe in you? It feels like a task Caitlyn cannot fail in… not like she failed her mother. 

Ambessa, seeing Caitlyn beginning to cave to the responsibility, uses the rawness of Caitlyn’s grief to manipulate her again, just as Caitlyn might possibly be starting to question it all. Before the doubts can fully form in her head, Ambessa is there, oinking her poison into Caitlyn’s ear - ‘your mother will have justice. I swear it’. 

There’s that question for Caitlyn and the audience again - how far are you willing to go for those you love?

It’s Ambessa’s manipulation at its finest, a final, powerful shove in the direction Ambessa wants, and Caitlyn, in her broken state, falls for it.

It’s these events of the entirety of Act 1 that I believe sways Cait into taking the position of commander. By giving Caitlyn the power of command over the enforcers and her Noxian army, Ambessa enables Caitlyn to descend into an even darker spiral of moral ambiguity.

/

Act 2 -

Ep 4 - 

In the opening montage we see Caitlyn’s martial law in effect. Under her visage, the enforcers and Noxians flood the Undercity, hunting Jinx, and arresting those they see as a threat. We can all agree here that Caitlyn’s morals have tumbled; she allows a (necessary - Cait’s opinion, not mine) increased amount of violence in order to maintain control, and this is obviously met with resistance from the Zaunties. It’s the cycle of violence churning, and Caitlyn, under Ambessa’s guidance allows it to happen fuelled by her hyper-fixation on capturing Jinx.

I’d like to point out that the use of the Jinx wanted posters throughout this episode is huge. For Caitlyn and Piltover, Jinx is justification for what they’re doing. And for Zaun, Jinx becomes the one thing they can all start to unite behind despite their differences; in the most ironic turn around, Jinx becomes a symbol of hope and rebellion for Zaun against their oppressors.

Despite Caitlyn being in command of the martial law taking place, I think the scene with Maddie highlights that she hasn’t disowned her morals entirely, they haven’t changed, they’ve just become clouded by her grief and Ambessa’s manipulating encouragement. We get a hint of this as it appears that Caitlyn isn’t sleeping well, the tensions between the two cities clearly playing heavily on her mind. We see further hints of this when Caitlyn confesses to Maddie that she didn’t think the invasion would go on so long. 

‘I never expected this to go on so long. I thought… I don’t know what I thought. Just… it wasn’t this.’- this shows that Caitlyn didn’t know what exactly she was taking on when she took command. How could she? Before any of this happened she was an enforcer with restricted responsibility thanks to the protection of her mother, and now she’s not only in charge of her house and its legacy, but she’s taken control of Piltover’s safety. It’s a big burden to bear and it’s clear the direction she’s taken has left her uncertain about her choices. 

Maddie in return seems to act as both the angel and devil on Cait’s shoulders, in one breath she’s endorsing the Noxian’s increasing violence by reassuring Cait that it’s for Piltover’s safety, and the next she’s telling Caitlyn she could withdraw from the Undercity. Without Vi there now to ground Caitlyn in the harsh realities of her choices, Maddie’s angel/devil act further serves as part of Ambessa’s manipulation, isolating Caitlyn in Ambessa’s ideals alone, and keeps Caitlyn spiraling even when her morals begin to creep back in and make her conviction wobble slightly. 

When Maddie teasingly calls Caitlyn ‘Ambessa’ it snaps Caitlyn out of her disillusionment, and keeps her focused on her unfulfilled goal of getting Jinx, citing that Ambessa’s methods do work. She’s delivering what she promised Piltover and Caitlyn she would deliver, and all Caitlyn has to do is stay on the path Ambessa has set out before her.

Maddie also uses this opportunity to try and make Caitlyn feel in control. While Caitlyn’s doubts about the marital law materialise, Maddie forces Caitlyn to look at herself in the mirror and reminds her that Caitlyn is the leader they follow. It catapults Caitlyn back to the weight of responsibility she feels in the wake of losing her mother. Piltover chose her because she’s a Kiramman and Caitlyn cannot let them down, she has a hole to fill. This pushes her to ignore any niggling doubts and press forward with her efforts to secure Jinx.

Another scene where we can see that Caitlyn isn’t completely lost in her darkness is during her exchange with Ambessa. Ambessa rightfully notes that Jinx’s return will further ignite Zaun’s resistance to the martial law, but that it also finally gives them a lead on Jinx. When Caitlyn doesn’t seem elated at the news, Ambessa questions why Caitlyn isn’t more encouraged.

It’s here that Caitlyn’s core morals and doubts of Ambessa begin to shine through again. Caitlyn questions why Ambessa has urged the Noxians to become more violent, and Ambessa is clear in her response; someone in Zaun knows where Jinx is and she will use whatever force is necessary to get the answer.

Caitlyn is relentless though, and her core morals once again challenge Ambessa’s approach - ‘arrests require cause’ - showing that Caitlyn is still trying to stay within a somewhat structured justice system. She might be ruthless and unyielding in her quest for Jinx but she’s not trying to be unnecessarily cruel. 

Ambessa is always one step ahead though and we see her try to pacify Caitlyn’s doubts by reminding her of her duty to Piltover - ‘what greater cause is there than returning peace to this city?’

But Caitlyn isn’t entirely pacified by Ambessa’s remarks and we see her challenge her back with an important question; ‘why is peace always the justification for violence?’ 

This is a question not only for Ambessa and Caitlyn but also the audience. It asks the audience to think about this statement in regards to the whole show; to every character. How far is too far? When do you stop yourself from becoming something other than yourself in the name of protecting/saving those you love?

Ambessa responds by saying she understands how tiring vengeance can be, but she knows Caitlyn won’t be able to rest while she knows Jinx is out there. I believe this is one of the only honest moments Ambessa gives us. We know she too cannot rest while the Black Rose is out there threatening her family, it’s what drives her to achieve power and will keep driving her no matter the cost. But despite this brief moment of honesty, as per her character, Ambessa seizes the moment to manipulate Caitlyn again by questioning her conviction - ‘maybe I underestimated you. Maybe you have the strength I do not. To forgive and trust in tomorrow.’ 

By leaving the choice in Caitlyn’s hands Ambessa triggers Caitlyn to remember what her inaction caused her before; her mother’s death. It’s why we next see a guilt ridden Caitlyn at her mother’s statue and why, I believe, Cait can’t escape the darkness still clutching at her ankles yet. Having fallen victim to Ambessa manipulation once again we see her allowing the Noxian soldiers to carry out more violence and mass arresting of the Zaunties.

Last thought for episode 4 - Caitlyn’s face overlapping with Jinx’s wanted poster shows the monsters they’ve both become as a result of their traumas. Jinx is a product of her abandonment that festered (under Silco) into a chaotic resentment and anger towards Vi that fundamentally changed who she was/is. The same can be said for Caitlyn in Act 1-2. As a result of Jinx killing her mother, Caitlyn becomes a product of her trauma; her grief and guilt twist her empathy and understanding into that of unbridled anger (fuelled by Ambessa). Now Cait is left desperately seeking justice to soothe her wounds, and it causes her to commit horrible acts in her quest.

Even when Caitlyn does make attempts to remind herself of her true morals, she’s met with Jinx’s taunts, Vi’s betrayal (in her eyes) and Ambessa’s manipulation, just as Jinx always had Silco whispering in her ear.

It’s a cycle of anger and self destruction that Caitlyn and Jinx cannot break… not yet anyway.

/

Ep 5 - 

We begin this episode with Caitlyn arriving at Stillwater in the wake of Warwick’s attack. She has to pass through the blood and bodies of her comrades and see first hand the destruction that’s taken place. While she and Ambessa question Singed over the attack, we see just how fractured Caitlyn’s mind is becoming the longer Jinx evades her. It seems here, that Caitlyn thought her dismantling of shimmer earlier on would slow/stop Zaun from producing chemically advanced weapons created from experiments. But the Warwick attack proves her wrong. Singed has created something far worse, and Caitlyn’s immediate response is to discover how it’s connected to Jinx. 

It’s quite an ironic scene because Singed is almost mocking Caitlyn for being so single-minded. Zaun is more than just Jinx - something Caitlyn used to be able to comprehend before her grief - and he can see that Caitlyn is blinded to that, blaming her impatience and youth. 

We also get to see here how Caitlyn has made use of Stillwater for those that she’s arrested during the period of martial law - ‘there are cells buried deep within this prison so devoid of light and fresh air and all basic human considerations that up till now, I have forbidden their use.’

Has Caitlyn wrongly arrested Zaunties? I have no doubt that she has. But has she tried not to go so far into the darkness that she forgets all her morals and becomes a complete monster? I think so. She remembers the torment and suffering Vi suffered in Stillwater (even when they’re apart Vi is the grounding force that tries to creep in and pull Caitlyn back from the worst of herself). I don’t think Caitlyn is cruel by nature. She does have a good heart. It's just buried so deep beneath her guilt and grief that she’s committed acts she never thought she would, and she can’t seem to stop committing them while she feels Jinx is still a threat to Piltover. 

The last we see of Caitlyn in that scene she threatens Signed with spending the rest of his days in Stillwater. A promise she will keep if he doesn’t cooperate to help them destroy the beast.

When we next see Singed however, he’s with Ambessa. Ambessa who has quickly and strategically concluded that if Hextech is unreachable due to Jayce’s absence, the beast that Signed has created is the next best weapon she could have in her arsenal. Warwick might in fact be more powerful. Here Ambessa cuts a deal with Singed; his loyalty and the beast for her cause, in exchange for his freedom and allowance to keep experimenting. It’s clearly not something Ambessa informs Caitlyn of, who I’m assuming she keeps in the dark. Ambessa allows Caitlyn to keep believing that Singed is only being freed so that they can find the beast and destroy it before it attacks Piltover. 

We get to see in this episode that the doubts we see Caitlyn beginning to have about Ambessa and the disillusionment we see Caitlyn facing about her role in the invasion of Zaun continue to gnaw at her, especially after Singed’s poignant remark that ‘no one in power is innocent.’  I think this is a statement that makes Caitlyn pause and look at herself. If Signed isn’t innocent for his creation, is she innocent for the violence she’s allowed?

When we next see Ambessa, Signed and Caitlyn share a scene together, it’s with Signed conducting an experiment that will hopefully allow them to locate the beast.

Caitlyn, who looks less than thrilled with the arrangement of his freedom, makes it known that she understood Signed’s barbed statement last time, and as a result she’s used her position as a Kiramman to look into him to discover how deep his crimes go. It also highlights that she distrusts the reasoning Ambessa has given her for Signed’s release. We know after all that during the previous episode Ambessa made it clear she couldn’t forgive and forget. That she would always fight and do whatever was necessary to win with no regrets.

What Caitlyn has discovered is that the Piltover academy once had a revered alchemist who was banished as a result of his work. The results of which were never recorded. We know from S1 that Jayce’s creation of Hextech was considered so dangerous that it almost got him banished until he stabilised it. But what does the Undercity have that’s equally as dangerous as Hextech and yet entirely unstable and uncontrollable; shimmer. 

Caitlyn’s headstrong intellect makes a delightful return here when we see her work out that Singed was the banished alchemist Dr Reveck. She recoils in disgust at his creation of shimmer, which has always been a threat, not only to Piltover, but to Zaun. The damage of which Caitlyn saw firsthand in season 1 when she was in Zaun with Vi.

She calls Signed a monster and demands to know why he created shimmer and why he continues to experiment so dangerously that he creates these violent abominations.

For Singed the answer is easy - ‘Why does anyone commit acts others deem unspeakable? For love.’

At the sight of Signed’s daughter, kept alive by these unthinkable, grotesque experiments, Caitlyn is then forced to face an ugly truth, something which she and Singed both share. They have both committed horrible deeds to alleviate the harrowing pain of loss that only comes from losing someone you love. 

It holds a mirror up to Caitlyn and her actions in such a raw way that I don’t think any other moment has done yet. Is this the wake up call Caitlyn needs to finally break the chains of Ambessa’s manipulation and away from the darkness pulling her further and further away from her true self?

I guess we’ll see.

——

Ep 6 -

While the previous episode gives us our first proper glimmer of hope that Caitlyn is slowly waking up from her darkness and may start breaking away from Ambessa soon, this episode gives us the culmination of events that actually drive Cait to that very point of disentangling herself from Ambessa’s web of manipulation. 

But let’s rewind a second to see how exactly Caitlyn gets there.

Episode 6 starts off with a very clever and insightful fight sequence. Here we see Ambessa sparring with Caitlyn and training her in the Noxian ways. 

Here are the key principles Ambessa teaches Caitlyn:

‘Noxus prizes strength above all else, defining it by three core principles. Vision. The top of the triangle, charting a course and having the wisdom to navigate it. This form is your base, child. Your eyes see what others don't. Might. Bending your environment to your will. Your speed is improving. But eventually you need force.’

‘Too much force exposes you to risk.’

‘Indeed. The last is guile. Phantoms. Tricksters. Mages. Absent honour. Absent accountability. Remember this, Caitlyn. Tunnels in your eyes. Lava in your veins. Shadows in your heart. This is the truth of combat.’

But oh no, that’s not all.  Ambessa enlightens Caitlyn to her final, most important lesson:

‘I’ve discovered a fourth principle. One that heightens all others. Sacrifice. The temper born of suffering. We understand it as others cannot. We are kin.’

Now, this may just seem like Ambessa being Ambessa but it provides Caitlyn with two things:

 1) her combat skill set has definitely approved under Ambessa and continues to do so 

 2) Caitlyn has the inner-knowledge of how Ambessa’s mind works. 

This becomes vital later on in the remaining episodes. 

Some people might be confused by Caitlyn’s participation here given that she was starting to doubt Ambessa in the previous episode. However, the beast is still at large and a threat to both Piltover and Zaun. Caitlyn needs to aid Ambessa in putting him down.

Singed leads Ambessa, Caitlyn and the Noxian army through Zaun to the commune Viktor has established. Here is where Signed has tracked his beast. While Ambessa seems hell bent on attacking the commune without a second thought in order to capture the beast, we see Caitlyn looking unsure. Her suspicions that Ambessa is up to something heighten when she allows Singed to enter the commune to talk to Viktor.

Up until this point Caitlyn believes their goal is to eliminate the beast since it’s such a threat to Piltover and Zaun, but when she witnesses Ambessa and Signed plotting together, I believe she starts questioning their true intent regarding the beast.

The next time we see Caitlyn she appears to be creeping around the outskirts of her and Ambessa’s makeshift camp. Why would she be doing that if she wasn’t doubting Ambessa and Singed? Caitlyn isn’t stupid, she knows Ambessa is highly driven by power, but power at the expense of a peaceful commune? I’m not sure even Caitlyn is willing to cross that line. Her morals have gotten lost but they haven’t gone completely. Caitlyn has always tried to hold onto them. We see that here again. These morals come rushing back when Caitlyn’s natural detective skills lead her to piece together that Ambessa and Signed are planning a way to capture the beast, not destroy it. 

This to me is Caitlyn’s turning point, as she realises that Ambessa and Signed with the beast at their disposal will be a much bigger threat to Piltover and Zaun than Jinx ever could have been. 

Caitlyn has already reached this conclusion before she spots someone creeping about and puts their ass on the ground. Before she realises it’s Vi creeping around. 

The fact that it is Vi following Singed, and the fact that Vi is at the commune at all gives Caitlyn even greater reason to question Ambessa. These two may not have spoken in months but they see each other. They always have. 

When Caitlyn says ‘you can’t be here’ it’s not because she doesn’t want to see Vi, or because she’s dismissing her, but because she knows Ambessa is dangerous. Because despite everything that’s happened Caitlyn wants to protect Vi. Plus, Caitlyn knows that Vi being there is a weakness for her, she won’t be able to do what she needs to do to stop Ambessa if she’s worrying about Vi in the crossfire.

It’s Vi, however, questioning Caitlyn in return that falters Caitlyn’s cold focus. Why is Caitlyn there on the job? And is she still acting like an unhinged mongoose? 

Caitlyn mimics the insult of ‘mongoose’ but I think it’s the word ‘unhinged’ that cracks her steely veneer. Her grief and guilt did make her unhinged. The last time they were together she hit Vi in the stomach with her rifle in the wake of what she perceived as Vi’s betrayal of her. In the months since I’m sure that act has haunted Caitlyn. Vi disappeared from her life without another word and it’s because of Caitlyn’s actions. 

(Was Maddie the perfect distraction to the heartbreak she caused herself? I think so. Maddie allowed Caitlyn not to think about Vi, and Caitlyn needed that in order to reassure herself that her actions were necessary and justified. A perfect example of ‘the worst lies are the ones we tell ourselves’).

Without Vi around, Caitlyn was able to really access those darker parts of herself, and while Caitlyn felt like she needed to do that in order to keep herself focused on Jinx, we can see the cost of it. We see it in Caitlyn’s uncertainty in her actions, in her doubts of Ambessa, in the threat of the beast, and in Vi’s appearance. 

When Vi pushes Caitlyn off her in response, Caitlyn moves back limply, a little bit of the fight knocked out of her. Did Vi’s insult hold a mirror up to Caitlyn? I think so. It’s an uncomfortable pill to swallow, and we see that manifest in the way Caitlyn shifts her focus onto Vi’s hair.  

‘Your hair. You look like an angry oil slick.’

‘Don’t sugarcoat it, cupcake.’

Vi doesn’t trade insults with Caitlyn. She doesn’t berate her further than getting Caitlyn to back off so she can sit up. Instead she takes Caitlyn’s comment and gives Caitlyn warmth in return. The use of the ‘cupcake’ nickname is familiar, affectionate. In that single moment it breaks the tension between them. Is there anger between them? Yes. Unresolved issues? Yes. But there’s also an innate trust. So when Vi asks what Caitlyn is doing at the commune, Caitlyn tells the truth. And when Caitlyn asks Vi why she’s there in return, Vi tells the truth.

‘We tracked some sort of new chemweapon down here. A bloodthirsty, murderous, beast. What are you doing here?’

‘Trying to save… my dad.’

We don’t see Vi reveal to Caitlyn the true extent of what happened to Vander, and Vi purposely omits Jinx’s involvement, but what she tells Caitlyn is enough for Caitlyn to make her decision to betray Ambessa. 

We’ve seen time and time again that Vi fights because she’s always had to, but Caitlyn fights because she wants to. It’s what made Vi trust Caitlyn in the first place. And although she knows Caitlyn still hates/resents Jinx, she trusts Caitlyn enough in that moment to fight for what’s right like she always has before. Vi completely kills Caitlyn’s idea that Warwick is just a beast. The second Vi confides in her that this beast is actually Vander, her dad, Caitlyn starts seeing him as human. And not just any human; a human hugely important to Vi. Those doubts Caitlyn had about Ambessa and Singed? They’re cemented here. She trusts Vi and believes Vi, and that headstrong Caitlyn from S1 who wants to do the right thing and protect the people she loves? She shows up for Vi now.

Grayson once asked Caitlyn what she was shooting for, and we see the answer here clearly; Caitlyn will shoot to protect those she loves. Vi needs her help and her protection and Caitlyn is going to do just that because despite everything that's happened to them and between them, Caitlyn loves Vi. It’s that simple.

They’ve always worked better together, and we see that here. Their balance slowly returns as they plot to infiltrate Ambessa’s camp with Vi as Caitlyn’s prisoner. It creates a perfect distraction and takes Ambessa out of play, while Caitlyn stops Singed and saves Vander. If anybody could bring Caitlyn back out of her darkness and ground her, redirect her focus, and free her from Ambessa’s manipulation, it’s Vi.

The following scene between Ambessa, Vi and Caitlyn is amazing at showing just how much trust and understanding is still between Cait and Vi despite their bond not being fully healed. Caitlyn’s (fake) delivery of Vi into Ambessa’s hands cements Caitlyn as a worthy ally in Ambessa’s eyes. Remember, Ambessa sent a young Mel away because she considered Mel her weakness, and here we see Caitlyn handing over Vi, someone who Ambessa knows has Caitlyn’s heart (is her weakness). It’s such a powerplay from Caitlyn; she takes what she knows about how Ambessa’s mind works and uses that to her advantage to stage her betrayal.

Ambessa’s biggest mistake in this scene is her arrogance. She doesn’t consider for a second that Caitlyn will betray her. While she understands that Vi must be disposed of before she becomes a distraction for Caitlyn and ruins all of Ambessa’s manipulations, she fails to comprehend just how easily Vi could have gotten through to Caitlyn. 

In fact, Ambessa even gloats about how Vi’s absence provided a vacuum she was able to fill in Caitlyn; with manipulation, with Maddie, with fuelled hatred. Without Vi to ground her, Caitlyn, in Ambessa’s eyes, was easily shaped into her cold, ruthless commander. She can’t have Vi ruining that now. It’s why she knows she has to kill her if she wants to keep Caitlyn as her puppet.

The problem with Ambessa putting all of her money on Caitlyn’s hate for Jinx being stronger than any of her past feelings for Vi, is that Ambessa completely fails to recognise that Vi has already saved Caitlyn. All it took was for their eyes to lock again and Vi shattered the hard shell Ambessa worked hard to build around Caitlyn.

Don’t get me wrong, Caitlyn was starting to save herself (unbeknown to Ambessa, thanks to her ego) but Vi showed up at the right time, in the right place and offered Caitlyn a hand. A hand that Caitlyn took without a second of doubt.

Ambessa overlooks the importance of Vi’s duality to Caitlyn, that’s she’s Caitlyn’s biggest weakness but she’s also her biggest strength, until it’s too late. Caitlyn is already distracted, she’s already made her choice; it’s Vi.

I think this shows major growth for Caitlyn, because even though she doesn’t know about Jinx’s involvement at this stage, she still chooses Vi over Ambessa. She chooses Vi over her mission. She chooses Vi over her grief. It doesn’t take back her mistakes but it sets Caitlyn back on the right path, the path where she will protect people, especially those she loves.

Caitlyn follows Vi’s plan to subdue Signed and attempts to help Vander but Rictus stops her. It seems that while Ambessa trusted Caitlyn, Rictus wasn’t convinced. Just as it looks like he will kill Caitlyn, Jinx fires a shot and saves her.

Does Jinx do it because she cares about Caitlyn? No. Jinx saves Caitlyn to save Vander. Does Jinx know deep down that killing Caitlyn would affect the bridges she’s building with Vi? I absolutely think so.

As Vander saves Jinx from Rictus we see Vi rush in and embrace her family. Caitlyn, while betrayed by Jinx’s unexpected involvement, and who is still knocked down on the floor, briefly locks eyes with Vi only to witness Vi smiling and happy with her family. 

This is the first time Caitlyn gets to see Vi freely happy with the people she loves. All she’s ever witnessed from Vi before is pain. Pain at losing her parents, pain at losing Vander, pain at being locked away for years, pain for leaving Powder and having to accept Jinx. Pain from Caitlyn. And Jinx is right there too, looking happy and holding Vander and Vi in return. Has Vi forgiven Jinx? Can Vi forgive her? Can Caitlyn forgive any of it? 

It’s a lot for Caitlyn to process and she doesn’t really get a chance to before Jayce hammers Viktor to death and sends the place into chaos. 

Instead we see Caitlyn following behind Vi and Jinx as they run outside to see what’s going on. Warwick is back to being bloodthirsty now that Viktor is dead, and Ambessa has arrived with the Noxian army seeking revenge. Her eyes piercing Caitlyn glaringly for her betrayal before she attacks.

It’s important to note that not once during the fight sequence with Vander and the Noxians do we see Caitlyn try and take a shot at Jinx. She easily could have, at multiple points, but she doesn’t. 

Why?

Because when she freed Vi from Stillwater in S1 she decided to trust her. She trusted her because beneath Vi’s tough exterior Caitlyn could see her pain. Since that moment all Caitlyn has wanted to do is soothe Vi’s wounded heart. It’s why she didn’t shoot Jinx in the season 1 finale, it’s why she lets Vi stop her shooting Jinx in Ep3, and it’s why she doesn’t try to shoot Jinx now.

Caitlyn has been devastated by the loss of her mother at Jinx’s hands. It’s a pain she will never fully heal from, and in these moments Caitlyn has to decide if she wants to be responsible for adding to Vi’s pain. Can she kill Vi’s sister? Can she cause more suffering to the woman she loves? More than she already has? The answer is a resounding no. 

Because despite everything, Caitlyn is a good person with a good heart. She was just swept away and lost in her grief. But now she’s anchored again thanks to Vi. She may never forgive Jinx, she may always hate her for what she did but she will always love Vi more.

We see Caitlyn protecting Vi during the fight, and we even see her letting Vi go in order to save Jinx when she gallantly rushes in to try and save Isha.

By the end of Act 2 we stop seeing Commander Caitlyn Kiramman here and simply see Cait again. She’s definitely more bruised and hardened by her trauma and experiences but she’s there, fighting her way back to the surface.

This takes us into Act 3 and Caitlyn’s reconciliation with her true self and her steps towards atonement. 

/

Act 3:

Ep 8 -

This episode starts with an unconscious Vi awakening after her near death experience in ep6. Loris is there when she wakes and he tries to calm her down by answering her burning questions about the locations of Jinx and Cait.

Let’s just take a second to note that Vi isn’t just anywhere in Piltover, oh no, she’s tucked safely in Caitlyn’s bed in the Kiramman house. And Loris openly tells her that Caitlyn rounded up a squad of doctors to patch her back together. There’s a bunch of pillows piled on the side next to Vi - did Caitlyn watch over her while she healed? The show doesn’t explicitly state it, but Loris implies that Caitlyn wanted to be there when Vi woke, suggesting that Caitlyn hasn’t left her side often, and the reason for her absence must be important.

We get to see why Caitlyn isn’t at Vi’s side when she wakes just seconds later. Caitlyn is with Maddie, contemplating Ambessa’s inevitable attack on Piltover. She knows it’s coming, especially now that Ambessa knows of her betrayal. Considering Caitlyn has been the commander of the invasion into Zaun for months at this point, here we see her approach to be a little more cautious. No longer is she so warped by Ambessa’s reckless ways, or her hate fuelled mission for revenge against Jinx, now Caitlyn is trying to find her feet as commander in her own way; listening to her own morals and trying to make the right choices. Caitlyn knows there won’t be any negotiations with Ambessa thanks to her betrayal, and so careful, clever strategy is what she’s going to need to come up with, and fast, if she’s to save Piltover.

Maddie tries to offer comfort but Caitlyn straight up rejects her. Why? Because there was never any true affection between them. Maddie was just a distraction, a warm body to keep Caitlyn’s focus away from Vi and stuck in the darkness she was drowning in. But now that Vi's back in her orbit, Caitlyn is even less interested in Maddie, and the second Vi storms in demanding answers about Jinx, Caitlyn dismisses Maddie without a second thought.

Here we see some of the tension between Caitlyn and Vi boil to the surface. Their reunion in the previous episode was quick, it was based on innate trust and convenience, but there was no time for a proper resolution to the issues between them. Vi demands answers for why Jinx is locked away, accusing Caitlyn of still being on her blinding revenge quest against Jinx. When Caitlyn’s initial attempt to calm Vi falls on deaf ears, she retorts with anger at Vi’s lack of trust in her to do the right thing.

‘Arrested?’

‘Vi…’

‘She saved your life.’

‘If you will just calm down for one—’

‘Even knowing you’d never have done the same for her.’

‘We’ll never know, will we? You didn’t let me in on that part of your plan.’

‘Clearly the right call, since you can’t trust her enough not to shove her in a box.’

‘Trust? You believe I’m so daft I can’t recognise a contingency? She wasn’t there for my benefit. You didn’t trust me to follow through.’

‘Can you blame me? How long were you sidled up with that shifty, self-serving war pig? She oinked poison in your ear, and you just ate it!’

I think Vi’s defence here is fair, given that Vi not only witnessed Caitlyn’s hatred for Jinx morph into an obsession, but that she also got a taste of Caitlyn’s spiral into darkness herself when Caitlyn was cruel to her in ep3. She was in Zaun the entire time Caitlyn was enforcing Ambessa’s martial law too. Vi has seen the violence and the damage done at Caitlyn’s hands with her own eyes. So it’s not a surprise that Vi didn’t trust her fully when they reunited in ep6. Caitlyn has been under Ambessa’s thumb for far too long for Vi to assess just how much lasting damage has been done to Caitlyn in ep6. 

When Vi confronts Caitlyn with this harsh reality, Caitlyn cracks in shame and anger - ‘I know!’

Caitlyn can see what she’s done, what she’s become, and she takes accountability for it with this simple acknowledgement. She’s not a words girl, we know she’s more emotionally repressed when it comes to expressing herself that way, but as she sinks back onto the arm of the couch we can physically see her deflation. Caitlyn is very much aware of her mistakes. She knows she’s had her grief manipulated and that to an extent, because of her hatred of Jinx, she let it happen. It has cost Caitlyn greatly, and we see how fragile her relationship with Vi is now as a result.

But the best thing about this much needed heated exchange is that Caitlyn gets to show Vi that she’s not completely lost to her, that she has managed to start pulling herself out of her darkness. 

‘The only thing Jinx cared about was getting you to safety. Then she just surrendered. I didn’t even have time to think before they hailed her off. She’s being held in the bunker while I decide what to do. I was waiting for you to recover.’

Why did Caitlyn wait? 

Well she unfairly pushed the enforcer badge on to Vi back in episode 1 because she selfishly needed reassurance and loyalty during her spiraling grief. She forced Vi to choose between her and Jinx when deep down Cait knew that would be an impossible thing for Vi to do. 

Caitlyn waiting for Vi to recover before any decision is made about what happens to Jinx proves that Cait wants to atone. It shows Vi where she’s at, and Vi recognises the gesture immediately. There’s her Cait. It’s not commander Kiramman sitting before her, but the woman she was falling for back before Jinx’s attack at the end of season 1.

It gives Vi all she needs to fight for her family; for Jinx and for Cait.

‘Cait, she’s changed.’ 

Vi wants Cait to understand what she’s been going through, what she’s witnessed in regards to Jinx and Isha and the bridges they were beginning to build. But even though Cait hears this - Jinx saved her when she easily could have let Rictus kill her - she can’t quite accept it. Not because she doesn’t necessarily believe Vi but because how can anybody accept the unspeakable violence and acts that Jinx has done? That Caitlyn has done? In Caitlyn’s mind they’re inescapable and unforgivable.

‘We can’t erase our mistakes. None of us.’

But Vi is the voice of reason and immediately challenges her response with this soul searching question - ‘who decides who gets a second chance?’

The conflicting expressions that flicker across Caitlyn’s face as Vi leaves her at the end of this scene shows how carefully and heavily this question sits in Cait’s chest. 

Who does get to decide who deserves a second chance? Is it the responsibility of someone else to decide if you’re worthy? Or is it up to you to free yourself from the burdens of your mistakes?

It’s a set of questions that Caitlyn takes with her when she visits Jinx in her cell. 

We start by seeing Caitlyn taking Jinx a tray of food, a sign of her good heart and the extension of a tentative olive branch before they get into having their first ever, real conversation.

‘Vi thinks that you’ve changed.’

‘She can’t accept what you and I know. There are no happy endings.’

Jinx’s response to Caitlyn’s statement immediately brings us back to Vi’s question for Caitlyn - ‘who decides who gets a second chance?’

Jinx is just as closed off to the idea as Caitlyn (‘We can’t erase our mistakes. None of us.’) and that immediately triggers Caitlyn. Because if they’re right, if they don’t deserve second chances, what’s left of them both?

Caitlyn wants accountability; from Jinx, from herself, and so she presses further:

‘Is that all you have to say for yourself? There won’t be a trial. I’m giving you this one chance to account for your actions, all the pain you’ve caused.’

But Jinx continues to look defeated and doesn’t react, showing a shell of the person Caitlyn knew her to be - the Jinx that Caitlyn despised. Caitlyn grows frustrated and bangs her fist into the cell bars.

‘No amount of good deeds can undo our crimes.’

Here Caitlyn takes accountability by saying ‘our crimes’, she knows they’ve both caused pain, but even that doesn’t get a reaction. Jinx is empty; empty of anger, of hate, of taunts. All the time she’s spent being vengeful hasn’t made her feel better, or changed anything that’s happened, it’s just left her utterly exhausted. There’s no fight left in her and she admits as much to Caitlyn:

‘Do what you came here to do.’

Caitlyn’s lingering anger disappears instantly as she recognises Jinx’s predicament as her own. The cost of their hatred, of their vengeance hasn’t been worth it. It’s cost them both exponentially. They’re both shells of who they were, who they should be.

‘Hating you… I’ve hated myself. I just don’t have the energy for it any longer.’

Caitlyn starts to walk away but before she gets far Jinx gives her the accountability that Caitlyn needs to hear from Jinx in order to free herself of her self hatred:

‘I didn’t know your mom was there. It probably wouldn’t have made a difference, but… I didn’t know.’

It’s not a sorry. These two will never say sorry to each other. They will never like each other. But this is the moment Caitlyn lets go of her hatred, of her need for justice. Jinx’s confession releases Caitlyn from the burden of her guilt over her mother’s death and breaks their cycle of violence.

In return, we see Caitlyn answer Vi’s question. She doesn’t say sorry, or beg for forgiveness, she acts. She orders all the guards to the Hexgates, leaving Jinx unguarded, and in doing so grants Jinx her second chance. She does it not only for herself and for Jinx, but for Vi. 

Caitlyn knows Vi will free Jinx because Vi loves unconditionally. She fights for those she loves and she can’t give up on Jinx because they’re family and Vi feels responsible for her. It’s the essence of who Vi is.

It’s something Caitlyn has come to understand from her grief because she too couldn’t let go; of her mother, of her guilt, of her hatred. It’s because of love that she became the commander and made the mistakes she did, and it’s because of love that Vi will do what she needs to save her sister. But most importantly it's because of love that Caitlyn is willing to let Vi save Jinx, even if that means letting Vi go. Cait’s giving Vi the freedom to make her own choice despite knowing it could cost her what she wants. And what Caitlyn wants more than anything is Vi. 

Caitlyn’s atonement for her sins begins in that one beautiful, selfless act of letting go.

When we next see Caitlyn she is freeing Vi from the cell that Jinx locked her in. Vi is punishing herself for what she thinks is her having made the wrong choice again. She really thought Jinx would help, but she didn’t, she left Vi, and now Vi’s worried that by betraying Cait to free Jinx, she’s lost Caitlyn too. 

‘Did you really think I needed all the guards at the Hexgates? Sorry to say, you’ve grown a bit predictable.’

We already know that Cait set Jinx’s escape up for Vi. That she prioritized her love for Vi over her hatred for Jinx, and in the one confession, Vi now knows it too. Caitlyn acted for her. Caitlyn sees Vi and accepts her fully.

We’ve already established that Caitlyn knew Vi would try to save her sister, but what we didn’t know for certain, and what Caitlyn most definitely didn’t know for certain, is would Vi still be there and would Vi still want her?

Here we get Vi’s answer when Vi finally takes what she wants and kisses Cait. 

Caitlyn can’t quite believe it, but when Vi just keeps on kissing her, it clicks for Cait that Vi does want her just as much as she wants Vi.

I adore the use of lighting in this scene, and I’ve seen a few wonderful posts analysing this in detail, so I won’t overstep. But i just wanted to note how clever it is to see Vi pull Cait out of darkness and back into the light. And while we’re talking about the light I will quickly add on a bit about Maddie. Vi couldn’t give two fucks about her. She didn’t when she met her, she didn’t when she saw her in Cait’s house, and she doesn’t give a fuck if she was in Cait’s bed. Vi knows Cait lost herself, and Maddie was simply something for Cait to lose herself in, as much as fighting and alcohol was for Vi. All that matters is now, and what matters now is her and Cait.

I could talk about their sex scene beat by beat but I think the fandom has analysed it to death beautifully already. What I will say is we see the culmination of both their arcs here. Vi, at Jinx’s behest, finally lets herself be happy and what makes her happy is Caitlyn. And Caitlyn uses every touch to apologise, to show her love and regret to Vi. She gives up the control that has kept her blindly focused on her revenge and hatred. Cait gives herself over completely to Vi’s love and redeems her soul by doing so. It’s beautiful to see Vi finally take what she wants.

The culmination of this episode is heartwarming. We see Cait giving Jinx a second chance, Jinx then in turn gives Vi a second chance by setting her free from the burden of their tormented past, and Vi returns that grace by granting Cait a second chance from her mistakes. 

The three of them break the cycle together.

—-

Ep 9 -

A lot happens in this final episode but I’m strictly going to try and focus on Caitlyn and Vi before this analysis grows any longer.

Piltover is preparing for Ambessa’s and Viktor’s attack. We see Caitlyn and Vi in the council bunker with Jayce and Mel. Here Jayce tells Caitlyn, Vi and Mel that he needs them to take the enforcers and buy him as much time against Ambessa’s forces while he shuts down the Hexgates.

When Jayce says this is a fight they’re supposed to lose, Vi’s fist visibly clenches. She doesn’t like losing fights, and definitely doesn’t want to lose this one now that she’s finally letting herself be happy, but you can tell Vi is tired. She’s been fucking through it emotionally and physically these past 2 seasons and Cait catches her anxiety instantly. It’s only a fleeting moment, but we see Cait cover Vi’s hand and squeeze in support and encouragement. Vi doesn’t have to fight alone anymore. They can fight together.

Here we see Caitlyn embodying her role as the commander she was always meant to be when she says they can stop Viktor, and determidly shoves his little model down. I love seeing her so strong and resolved here. She’s got far too much to fight for and to put right to admit defeat so easily.

While Vi is off with her batch of enforcers leading a charge from one of the towers, Caitlyn is down in the front line with her own squad fighting back the Noxian forces who have Ambessa leading the charge. 

We see Caitlyn with her trusty rifle and Maddie as her spotter fighting hard, but can only watch in horror as a shimmer fuelled army seems to be relentlessly coming for them. Commander Caitlyn kicks in and keeps her team going even when it seems like they might be losing. She fights with everything she has to put their plan into action, knowing that she has mistakes to atone for.

But something goes wrong and before she knows what’s happening, Caitlyn takes a massive hit to the back of the head. It winds her and leaves her struggling to get up, and when she does it’s to see that her enforcers have been captured by the Noxian troops, and Ambessa is marching straight towards her.

When she glances back to see who has a rifle aimed at the back of her head, Caitlyn comes face to face with Maddie. It’s here that we get the reveal that Maddie is a Noxian spy and has been working for Ambessa the entire time. It’s another mistake for Caitlyn, a failing of her judgment, once again made during her grief and manipulated by Ambessa perfectly.

‘I warned you of the hazards of professional entanglement.’

Ambessa’s gloating is a horrible reminder of how fair Caitlyn let herself fall beneath Ambessa’s influence, and I think it’s this self awareness, this shame, that causes Caitlyn to take her chance. She never really had any true feelings for Maddie, Caitlyn was using her for distraction just as Maddie was using her for information, and now she has an opportunity to atone for her sins by ending this war if she can just get the shot on Ambessa.

Caitlyn smashes the rifle back into Maddie’s face as she grabs it from her and takes her aim at Ambessa. But of course Ambessa anticipates Caitlyn’s reckless attempt, she goaded her into it after all, and Caitlyn once again pays the price for her mistakes when Ambessa thwarts her attack and stab’s Caitlyn in the stomach instead.

When Caitlyn falls to her knees before Ambessa and her mocking ‘desperation is the doorway to oblivion, child’ you can see the sorrow on Cait’s face. In her eyes she has failed. She’s failed Piltover, she’s failed herself, and she’s failed Vi. Filled with regret, I imagine Cait’s life flashes before her eyes as Maddie loads the gun and takes the shot.

There’s the sound of the gun firing, a cracking of gold, and then the wet sound of blood. Maddie’s body slops weightless down against her back before slumping to the ground and Caitlyn is left with the stark realisation that she isn’t dead. Her second chance is truly a second chance.

Enter Mel, in all her glorious magical power. While she faces off with her mother, Jinx joins the battle in her outlandish way, and the symbolism of second choices being worth having comes full circle as the chaos of her arrival grants Piltover and Zaun another chance to fight back.

The enforcers break free during the chaos and continue to fight, and Viktor’s hive mind army starts rushing the Hexgate while Mel and Caitlyn face off with Ambessa. 

This fight shows off Caitlyn’s redemption arc beautifully. With renewed strength Caitlyn is back on her feet and circling Ambessa as she exchanges heated words with Mel.

Fuck words though, Caitlyn is a woman made of action, and with determination thrumming through her veins, she punches Ambessa in the face, cutting off her self-serving tirade.

‘Shut up and fight.’

Caitlyn truly becomes the commander she was always meant to be when she challenges Ambessa here. She has a lot to prove, a lot to atone for and a lot left to fight for, and Caitlyn gives every bit of herself over to it, consequences be damned. She’s willing to give her life to save everyone, and if that’s not Caitlyn trying to be redeemed I don’t know what else she could do.

The fight sequence is incredible. Ambessa takes on her daughter duo skillfully. Ambessa is a tank of a woman, a fearless leader and a fierce fighter. But Caitlyn has grown and changed. She’s not the naive child Ambessa manipulated anymore, she’s a wise, hardened warrior with a good heart and an unwavering desire to make amends.

We see Caitlyn’s true, courageous strength in this scene as she uses Ambessa’s own Noxian teachings against her;

Caitlyn fights with all her might; she ignores the blade in her stomach and goes for Ambessa again and again, taking blow after blow but never quitting. 

She fights with vision; her intuitiveness effectively analysing Ambessa’s movement, choices and weaknesses. She sees the runic band around her arm deflecting Mel’s attacks, and plans to use it against her.

She fights with guile; when Ambessa has her on her knees, a blade heading towards her eye, and Ambessa’s air of victory about her, Cait uses the blade in her stomach to make her move and slices the band from Ambessa’s arm.

But most importantly Caitlyn sacrifices.

In season 1 she trades her prized rifle, which is essentially an extension of who Caitlyn is at her very core, to get the medicine needed to save Vi. Here, in the fight against Ambessa, Caitlyn gives over even more. She gives her eye - an actual piece of herself - to try and save Piltover and Zaun. Cait is a marksman, her sight is imperative, and yet Caitlyn gives her eye freely. She doesn’t do it for forgiveness but because she needs to try and make amends and put things right. She does it because she was willing to pay the ultimate price of her sins.

Words mean a lot, but so do actions, and Cait is redeemed by hers in these final episodes, in my opinion at least. 

After the battle is over and it appears they’ve won we don’t see Cait and Vi again until the very end but we do see Sevika taking a seat at the council. Cait has given her seat to Zaun. She took so much from them during her grief and hatred and now that she’s free from that, she gives them her seat so they can have a voice. Their own voice. I don’t personally see how Caitlyn could ever remain in the council when she was an oppressor to Zaun. She had to step back and give that up in order for the divide between Piltover and Zaun to continue to grow and heal. Her purpose in rebuilding will be found elsewhere.

With that said, we don’t know if Cait is still an enforcer or not, but we do see eye-patch Caitlyn back to her investigative ways. She’s pensively studying the Hexgates blueprint while twirling a piece of shrapnel between her fingers. It’s not just any piece of shrapnel though, it’s the head of one of Jinx’s monkey bombs. Caitlyn zooms in on the vents leading off the Hexgates, and it appears she’s pondering one question; could Jinx have survived and escaped?

The question is why is Caitlyn looking in the first place. Is she looking to simply help Vi with getting closure? Or is Cait looking because second chances and forgiveness become more healing with time? Is there a world where Caitlyn and Jinx can grow and heal enough to both be in Vi’s orbit without hurting her? It’s left open to interpretation. But it’s hopeful after all the pain the three of them have endured.

We see Vi looking emotionally and physically spent as she hums to herself. But she also looks calm and at peace. Humming, enjoying the fire, comfortably sitting like she’s at home in the Kiramman house. It’s heartwarming to see Vi looking safe; like she belongs.

Cait comes through from her investigating, and teases Vi slightly showing a domestic growth in their relationship. We don’t know how long it’s been but we can assume both cities are still in a state of rebuild and change. 

Caitlyn is still a Kiramman however. She might not be a commander anymore but she still has a sense of duty and will always want to help, and she checks in with Vi to see if she’s still there with her. Because Vi doesn’t have to fight anymore if she doesn’t want to, and if she doesn’t, Caitlyn won’t ask her too. 

‘Are you still in this fight, Violet?’

But the thing about Vi is no matter how emotionally and physically exhausted she is, or how beaten down, Vi will always get up. It’s just who Violet is at her core. Vi fights for what she loves, to protect and help them, and the person Vi loves more than anything is Caitlyn, so of course Vi is right there with her. 

‘I am the dirt under your nails, cupcake. Nothing’s gonna clean me out.’

Together they will weep, and laugh, and love, and heal, and work to make things better. Together they will keep moving forwards, always.

——

With all that picked apart, I think Caitlyn is a well rounded, flawed character, and she’ll always be up there as one of my favourites now. We see her go through hell and back and come out the other side with a good heart. She’s not perfect… but just like Vi, I love her.

[raven-at-the-writing-desk]

Something I’ve noticed across collecting different cards is that Twisted Wonderland seems to have a bit of a skew in which characters get character x player ship bait. Between events and card lines, some characters look like they are getting neglected in the ship teasing category. Is there some kind of popularity bias behind this? Like maximizing profit or game popularity by targeting certain groups of fans among the fandom?

Mmm… I haven’t noticed a skew, personally. If there is one at all, I’d wager it isn’t significant and it’ll probably depend a lot on what point in time you’re evaluating at. Since TWST is consistently releasing new content, the voice lines are sure to “even out” eventually if given enough of a waiting period. For example, you could say that the GloMasq boys have “more” bait lines… until Playful Land boys were released the year after, thus leveling the playing field.

All cards have character x player ship bait to some degree. Most of them will have at least 1-2 lines which involves complimenting you/your look (and if not in the card lines, then directly in the event, especially when Yuu has changed into a new outfit), Yuu touching them in some way (or being invited to), or asking Yuu to hang out or to do an activity with them. Everyone gets these lines because there are fans of every character that have spending power; it doesn't make sense to intentionally devote more lines to one while leaving the others starving for content when there are big spenders for all characters (which will vary widely anyway depending on the server too, so there are very few consistent "favorites"). Devoting time and energy to every character is what makes the most profit in the long run, as you risk losing the fans (and money) of "less popular" characters if they don't get new food too. It doesn’t matter that the high spenders for like… Azul stay because they’d still be losing the revenue coming in from Jack stans who dropped the game due to content drought.

I would say that what is and is not categorized as a "shipping bait" line depends a lot on other factors, the strongest of them all being individual perception. For example, if you ship yourself/your Yuusona with the character, you may be more likely to perceive any line spoken by your favorites as "more romantic" than other characters. This feeds into your preexisting expectations, and is therefore a form of confirmation bias. Meanwhile, if you ship two canon characters with one another, there are many more potential combinations so it's less likely that the particular ship you're into will get "bait". Additionally, some people are more liberal with what they perceive to be romantic or not. For example, Ace inviting you out to do something can be seen as both platonic or romantic, based on who is judging the line because there isn’t anything inherently romantic in spending time together. This is also the case in the main story or events; some players see Yuu giving Malleus the VDC/SDC ticket in book 5 as "a date" while others do not. This brings me to another point: character relationships within the main story and their personalities will also have a drastic impact on what is perceived as romantic or not. Rook, for example, speaks in a very flowery manner. Because of this, a majority of his lines could be seen as "bait". Characters that are gruffer (Jack) or "loner" types (Idia) would naturally have fewer inviting lines due to their characters. And again, with Ace, since he is presented as one of Yuu's closest friends in the main story, it's easy to perceive him as a platonic bestie when reading his lines since your friendship is already established.

Lastly, I think it's worthwhile to consider that there are also nuances that are lost in translation between JP and EN, which may alter which lines are seen as "bait" and which aren't. A really popular one I see floating around is Malleus's vignette level up line, which is translated in EN as "You aren’t afraid of me. But I’m starting to become afraid… of losing you.” Many fans perceive this as romantic and often joke that “Malleus missed the meeting about TWST not being a dating sim!” However, this line has a different context in JP which reads as more platonic.

The original Japanese line is お前は僕を恐れない。そんなお前を失うことが僕は恐ろしくなり始めている。This roughly has the same meaning, but the wording Malleus uses seems to specify that he is afraid of losing the Yuu that is not afraid of him. EN omits the そんな (son na) part, which would refer to a type or kind of person (as in, “son na hito”). In this case, Malleus is afraid of losing “the kind of Yuu that is not afraid of him”. So really, the original meaning of the line is that he is expressing a fear of what would happen if his true identity comes to light (as Yuu is the one person who doesn’t know), not that he is afraid of losing Yuu as a whole.

To summarize: it’s up to individual perception and, given enough time, every boy will get their fair share of fanservice for the player.

[verdantwyrm]

hello, i saw your post about how people should not censor out or analyse Jimmy for the fear that it’d look like excusing his actions, and honestly i agree. Particularly, what you said stood out to me, I think I will remember it from here on:

“Trying to constantly make out the fact that rapists are faceless monsters that have never been people completely ignores the fact that most of them are people we know and people we care about.”

ngl does kinda make me teary, very based take I haven’t seen anyone make yet. I’m a CSA and incest survivor, it’s easy to say rapists are horrible people and should die, but it’s more complex than that, especially if you grew up with them and care about them.

I wanted to share that post so bad, but I’m a coward reblogging hot takes in this fandom. Just know I screenshotted that post for personal keepings because it was so based.

There’s also one interpretation of Anya that I haven’t seen yet: the non-angry. It is understandable that people may feel empowerment drawing Anya killing Jimmy. My interpretation of her (because I’m projecting hard lmao), she may not be angry or killing Jimmy in her mind. “I don’t want revenge, I just want peace” type of thing. My version of Anya is just someone who doesn’t seek revenge towards Jimmy or berating Curly for not doing her justice; just someone who wants safety, a peace of mind. It’s kinda weird when I see art of Anya lowkey guiltripping a post-crash Curly, it just feels off. Anya doesn’t seem the kind to be vengeful anyway.

Sometimes I think something’s wrong with me for not feeling angry at my abusers just as others seem to be, but I remind myself that responses to trauma can be varying. Nothing’s wrong with the revenge interpretations, more power to those who feel empowered by it, but I would like to see the non-angry interpretation someday, especially on a soft-hearted character like Anya.

Hi Anon! Thank you so much for your question! And more importantly, from one survivor to another, I know more than most about how it feels to have someone you trusted or someone you were supposed to trust have them go and do something as awful as rape or assault, and it's true because that happens a lot. It's a part of grooming victims, so constantly trying to make out these people as faceless monsters who emerge to only do bad is detrimental to the fact that they can, will be and are the people you hold closest sometimes.

And I'm honestly just as teary-eyed thinking about how that resonates with people because it's a very uncomfortable truth that not a lot of people want to reckon with or even understand and completely ignore. I was much like you when it came to opinions like this, "fandom discourse" as people may say, and I was terrified of reblogging it or even making a suggestion towards it in fear of it being a bad take or one that doesn't even make sense, but after years of writing and reading, it's helped me a ton to grasp themes, nuance, metaphors- the like. That's why I post my own analysis: because I know and understand how much it means to have someone speak on such an overlooked thing. When you don't have someone doing that, or anyone to even bounce your ideas off of, you start to feel like you're stretching it or simply going mad.

I actually really, really dislike the interpretation that Anya is angry, resentful or has any revenge towards Curly, or that she has to be this, hysterical mad woman sent out to kill or hurt Jimmy. I don't believe she's either of this. Anya deserves peace, and I think it's extremely important to understand just how similar she is to Curly.

They're both victims to the same man, they both believe in the best of people (although to their own detriment in a way) they want to find peace, and fulfilment in their career and life. They're so alike in such delicate and intimate ways, that trying to constantly paint Curly as this great, horrible oppressor over her does way more harm than good.

I've mentioned in a couple of posts now that Curly's good heart and his kindness aren't inherently a bad thing, and that's because it isn't a bad thing. It was because Jimmy was so ready to abuse him every time he showed "weakness" and the fact that Pony Express probably had already been exploiting it for a very long time, that made It as catastrophic as it was. And that's not his fault, that's not Anya's either.

Curly’s biggest weakness is his forgiving nature. We all talk about how Anya is a victim of Jimmy, and she absolutely is, but so is Curly. His first immediate response Jimmy's reaction to Anya announcing her pregnancy is met with immense fear and anxiety with the added soundtrack of what could be equivalent to the sound of Curly's heart racing.

He is beyond terrified, and when he does finally get to Jimmy, he immediately fawns and freezes. He makes absolutely no mention of Anya or anyone else because all that mattered in that panicked situation was easing Jimmy down and resolving the situation. Curly was and has been a victim of Jimmy's abuse for a very long time on an emotional and mental aspect that clouded his judgements and perceptions in the scenario which devolved into physical abuse very quickly once Jimmy got his chance. It is also true that Curly had a responsibility to protect Anya as a crew mate and Captain but he failed due to bias towards his abusers, and his kind and forgiving nature of simply wanting to see the good in Jimmy, which is a manifest of his trauma and being a victim, also definitely something that Jimmy himself has instilled into Curly.

And like you say, it is perfectly fine to interpret her this way, but it feels very... out of character. This is the same character that so reverently believes that our worst moments don't make us monsters, and I don't think it's insane to apply this sentiment to Curly too, because his worst moment was simply being too forgiving to someone who deserved it the least- which is its own trauma response.

Again, so sorry for the long response, I've been sitting on this ask for a while simply because I wanted to answer the best I could, and I have a lot of feelings about Curly and Anya and how they're reflections of each other in being victims. Thank you so much for sending in an ask! ╰(*´︶`*)╯

[juniperhillpatient]

I have talked about this a lot before but it’s on my mind & also it’s something that really should be discussed more in Buffy fandom -

People are constantly talking about how Spike defies all the rules Buffy was taught about demons & vampires & rightfully so. A vampire falling in love with a slayer & fighting for his soul for her is such a romantic notion & I do love it but the nuance of Spike’s arc is even more interesting than that! He does love Buffy but not only that he befriends the Scoobies too. He brings flowers for Joyce after she dies. He helps prove that Tara is not a demon when her family tries to gaslight her & isolate her. He becomes a pseudo big brother to Dawn.

And yet none of that is even what I’m here to talk about! Spike IS a hero & he does have a long spanning redemption arc before the soul (& we’re NOT here to talk about Seeing Red right now, as usual that topic is too expansive & requires its own post) that should be acknowledged & his character is rightfully praised but he is NOT the only exception to vampires having nuance & it drives me crazy that we act like he is. The Judge isn’t just talking to Spike when he says this:

“You TWO.” He’s talking about Drusilla too! He says that they share affection & jealousy. That Angelus in his total sociopathic lack of human emotion is the odd one here.

Then you have things like this -

Conversations with Dead People has Buffy sharing a very long & deep conversation with an old acquaintance turned vampire. And it’s far from the only example in universe of a vampire retaining some sense of camaraderie with people from their life!

That’s right this entire rant has been a lead up to talk about my best girly Harmony Kendall. You’ve fallen for my ruse if you’ve read this far muahaha! Admittedly Harmony’s strongest moments are mostly unfortunately on Angel but even in season four of Buffy when she dates Spike she is clearly intended at times to be sympathetic. Season 4 is also interesting because we see a lot interactions between various gangs of vampires like Harmony’s so-called minions & even Sundays gang where they’re very much evil but also sharing in living (existing?) space & acting like bickering roommates or siblings. Like creatures with bonds & personalities & intricacies.

The point I’m trying to make is that the show never truly wants to grapple with the existence of Spike in all his nuance but it’s also not just about him! In general there is so much to grapple with in the idea that vampires can change & be redeemed & I’m not saying I’m anti scary evil vampires I’m just saying the universe gave us these hints of nuance & then the characters never grappled with it & that’s lame. For Buffy killing things that have a shot at redemption however small would be a major emotional blow if she ever addressed it! Especially in her season 5 “am I just a killer 🥺” arc. Let’s deal with the implications!

Let’s deal with Xander’s trauma about killing Jessie & just how much it would/should hurt for him to see Spike increasingly choose good & work with the Scoobies. I would LOVE to know Xander’s reaction to Harmony’s arc on Angel or Cordelia befriending her & letting her go ina world where the writing acknowledges that he drove a stake through his best friends heart!

It’s just that the writers accidentally complicated their own lore & then totally refused to ever let their characters address what the cracks in the stories they tell themselves mean. Giles says that a vampire is no longer the person but instead the thing that killed them. What’s scarier: the idea that your loved one was killed & something wears their face like a mask OR much more insane (to me) the idea that your loved one came back very wrong but it’s still them? Your brother eats people now but he still remembers how you like your eggs & can quote every episode of the cartoon you watched as kids. Your mom murdered that woman from the PTA who always talked too much in cold blood but she still remembers the recipe for your favorite pancakes. The show wanted scary vampires but it got so caught up in never addressing the infinitely more complex & scarier vampires it accidentally created & sticking to the more simplistic initial idea that it did both the characters & lore very dirty. And I’ll never shut up about it!!!

[artist-issues]

I Saw Wish

And it was the worst animated Disney movie I’ve ever seen. I have to watch it again before I can get into the nitty gritty details. But I don’t need details to sum it up, because my dad actually said it perfectly as we left the theater:

“It was like someone who didn’t really understand Disney movies tried to make a Disney movie.”

Both the form (the technical arts of filmmaking) and the content (the morals, values, and themes of the movie) were totally horrible.

I don’t know who’s fault it was. Jeremy Spears was in the storyboard room and Mark Henn and Eric Goldberg did some 2D animation. But they must have gotten outvoted, or they must not care anymore.

Because holy cow. Here’s some stuff that’s just off the top of my head.

SPOILERS. Not that it matters, because nothing interesting happens in this movie.

The writing? Terrible. Ninety percent of it feels like the characters are filling time with quirky one-liners that are trying too hard to be appealing, then failing, then taking you out of the movie. The jokes aren’t funny. The characters just respond to each other in conversation to check a one-liner box. The other twenty percent is whole conversations repeating tell-don’t-show exposition that has already been covered, usually twice, in previous scenes. Like if in Tangled, every scene had included some variation of Rapunzel saying to friends and enemies alike, “I have to see the floating lights so I’m sneaking to the castle with this thief who wants a mysterious tiara I hid from him. Don’t tell my mother, she’s a bit overprotective!” Over. And over. And over.

The character motivations are way too broad. Asha? Her dream is just “that everybody around me gets to be happy.” That’s it, in a nutshell. No deeper exploration of that. Nobody asks, “why do you care so much?” Nobody tries to convince her she should look out for herself, and then she proves she was right all along. The King? We are told (not shown) that he doesn’t want anyone else’s dreams to be “destroyed.” But he in no believable way expresses that that motivation is still what’s driving him during the movie—what’s driving him is just a plain old lust for power, no nuance.

By the way, the whole premise of the movie? Undercooked. Half-baked concepts strung together with no definitive meaning. Therefore, it’s not believable. Example: The characters act like the wishes are beautiful—well, actually, no, this movie doesn’t know how to show, so there’s not a lot of meaningful acting—the characters just tell us that wishes are “the most beautiful part of someone,” and that’s why it’s worth going through this adventure to give their wishes back to them. But there’s no proof of that in the movie. In fact, it directly kicks it’s own legs out from under that idea, because it has every character who gives up their wish forget that part of themselves. Asha’s grandfather has forgotten his wish, but that doesn’t make him any less “beautiful.” She, and everyone, still treats him like he’s this wonderful old man who deserves the world, who everyone loves…but why is he so appealing? If he “gave up the most beautiful part of him?” The only character who is changed by their lack-of-wish is the Sleepy-analogue character…who is just sleepy, which is described as “boring.” But nobody else who’s given up their wish in the whole kingdom acts like that. It’s just him. Also, the King acts like it’s so important to protect the wishes from destruction. But what does destroying a wish look like? That actually happens to Asha’s mom. Her wish-bubble is broken, literally, and she just says she feels grief. But like. Why? She never remembered it in the first place; it had been missing from her life for years. Also, what the heck is a wish?! It seems to range from broad concepts like “inspire people” to “fly.” Just “fly,” like a bird. The desire to levitate off the ground is the most important, beautiful essence of one background character. Like, what?! But no character ever has the why behind their wish to make us care.

I could go on and on about that point. Like, think about Disney movies that wrote the book on how to make movies about characters with wishes. If Ariel were in Wish, her bubble would look like “dancing and learning and exploring on the Surface with someone who understands her.” But we believe that that is her real, genuine wish, and that it matters to her, because we are shown why being understood is so important to her. Because it’s missing from her life. There’s a scene where she explores a boat alone, and even her best friend doesn’t get excited about it with her. Her dad won’t listen to her point of view. Her siblings don’t ask her about her life even when they think she’s in love. She wants what she wants because of pieces of her life that we are shown.

We are never shown why Asha’s grandfather is obsessed with inspiring people, so we have no reason to believe it, or care whether he gets it or not. We can’t feel disappointed when his wish is said to “never come true,” like we did when Quasimodo was abused by the people he wished to join. We can’t feel elated when he finally “gets” his wish, like we did when Simba smiles on Pride Rock remembering the same way he used to as a cub and claims the crown with a roar. We don’t have anything to hang on to, nothing to relate to, nothing to grasp and feel with the characters. So we don’t feel, because they didn’t put the work in to help us feel. They just say, “the mom’s feeling grief. Feel grief.” And expect us to do the work ourselves. I have to stop harping on this point and move on.

But The main point of the movie is very broad because of that lazy premise, and it’s barely reinforced by any kind of appealing storytelling. If I had to guess, the point would be “Keep wishing for more even when it’s hard.” But the story they told to communicate that meaning was so unimpactful. Asha doesn’t have a dream of her own that’s such hard work to accomplish! (Neither does her grandfather; his wish is “to inspire people.” And at the end, we’re supposed to see him strumming a guitar and believe it’s inspiring? We were never shown how he worked hard to learn how to play the instrument. Or that he carved it with his own hands, or anything like that. So there’s no meaningful demonstration of working hard for it or achieving your wish even if it’s far out of reach.) And nobody except the king is trying to take wishes away from anyone, and he just does it literally, after they voluntarily give them to him, so there’s not even any impactful demonstration of “don’t let anyone tell you your wishes are dumb or unachievable, or stop you from reaching them.” Even when he takes them away, it’s just because they…could, someday, be used to threaten his kingdom in a vague, really unlikely way. There are so many things you could do with “keep wishing for more even when it’s hard.” For instance; you could say the main character has always been afraid to dream (wish for more), because maybe when she was a kid something wonderful almost happened but ended in tragedy, so she keeps her head down and doesn’t want much because if you don’t dream you’ll never be disappointed. She takes no risks, and has to learn that sometimes trying and failing is worth more than slogging through life all self-protective. I mean, the pieces were right there. She has this line about her dad, and how she wished he would get better but then he died. She has lines about how nobody should have to live with grief?? Then that’s never addressed again! It’s just a throwaway emotion-moment with no buildup or follow-through to tie it to and support that main theme.

The compositions of too many shots were so terrible. Characters got cut off in weird places. One shot has Asha dead center, with her grandfather on the left side of the table and her mother on the right, having a family dinner with a super exposition-heavy conversation that is meant to be emotionally charged. But despite everything else being perfectly centered, half of her mother’s body is chopped off. The movie’s shot like someone’s mom who doesn’t understand technology tried to take a video with her phone.

The charm of the art “style” wears off basically immediately. I know what they were going for. I see the sketch lines and watercolor textures. This is maybe the first time Disney ever failed to accomplish a visual “look” that turned out good. Everything looks dull. Muted. De-saturated. Slightly out of focus, but not in a cool Spider-Verse way. The sets or backgrounds are lazy; at no point does the scenery look complete; big, empty, boring spaces that do not create any kind of “stage” for impactful moments. The rendering looks unfinished. When Asha’s hair moves during her belting of the “I Make This Wish” song, it’s bad. It’s unnatural. It flops in a way that doesn’t make sense for the weight of her hair. The most impactful visual moments come from the villain, and they’re moments when he looks way too unhinged for the kind of line he’s saying.

There is no interesting character development. Asha goes from believing everyone is basically good and their wishes deserve the chance to come true , to….that, again. That would be fine, she could be a static character, if she proved contrast-characters wrong, in a believable way. But she never does. Because no other characters argue with her except the King. And it goes no deeper than “everyone’s wishes are basically good and they deserve the chance to make them true” vs. “nuh-uh, because I get to decide what makes them deserving.” The King doesn’t have any kind of interesting development, either. They don’t expand on his tragic backstory—it consists of one drawing of him near a broken boat, and a few images of the corner burned off of his family taoestry. They never say “King Magnifico wished for _____ and it was taken away!” They literally never tell you what his wish or dreams were, or what motivated him to create the whole kingdom that the movie’s premise sits on. So there’s no convincing sense of progression, how he got this way, why he’ll keep going “so far.”

The pacing is weird. It undercuts every moment that could have any kind of emotion behind it. One minute Valentino is suavely bouncing around, then he’s given a two-second beat to blubber with badly-animated tears that he’ll miss Star—then he instantly gets to have another funny one-liner so we forget he might’ve been sad a second ago. We’re clearly supposed to believe that the King and his wife are devoted to each other, and his turning evil was such a big betrayal, but there’s no time and no impactful evidence for us to believe either of those things. And even if we did, the moment he’s defeated and trapped in a mirror, and begs to be let free, the Queen kind of shrugs it off, makes a forgettable one-liner, and tells them to throw him in the dungeon. And he doesn’t look remorseful. And we don’t even get to assume he’s embarrassed or emotionally devastated that he’s come to this—because the last thing he says is “nooo, the dungeon is so smellyyy!” Like this is a half-baked LEGO short that can’t get emotionally deeper than what an actual 3 year-old’s parents might be okay with.

And that’s the worst offense: The movie is not genuine. It works hard for nothing, and it has no vulnerability. It just uses old Disney standbys to pretend to be vulnerable. Have the music swell and the characters gasp and the songs drip emotion when characters are meant to be saying or doing something emotional.

But truthfully, think of all the Disney movies you’ve ever seen with the hardest emotional moments. The sheer joy of Genie when he realizes he’s free. The anguish when Elsa thinks Anna’s been frozen forever, or when Anna thinks she’s dead. The trauma when Simba loses Mufasa. The longing and dreaming of Ariel when she reaches up out of her grotto. The sense of foreboding when Mother Gothel says “fine, now I’m the bad guy” or the heartbreak in Rapunzel’s eyes when she thinks Flynn has abandoned her, or the shame on Aladdin’s face when Jafar reveals he’s a street-rat, or the horror of cruelty when the stepsisters rip up Cinderella’s dress, or Kala’s tears when Tarzan leaves her in the treehouse, or Sarabi’s tears when Simba comes back, or Mulan’s father tossing aside the sword and token of the Emperor to embrace Mulan, or heck, even just Lilo pushing Stitch in the woods and telling him “get out of here.” This movie has no moments like that. It has moments you can tell that the filmmakers wanted to hit like that—but they don’t.

Because no work is put into building them up. You know how much Simba loves Mufasa, because you’ve been watching their chemistry more than any other character all the way up till he dies. You know how much Mulan wants to please her family because she spends all of Act I desperately attempting to do that. You know Quasimodo believes the world below is beautiful and wants them to accept him because he has interesting things like—talking to gargoyles, convincing us that he’s lonely; building a scale model of the townspeople, convincing us that he sees them in a beautiful way and wishes he were beautiful in more ways than one like them, too.

Right down to the facial expressions, none of them are as anguished, happy, sad, excited, silly, in any convincing way like all of Disney’s other movies. Asha’s “low moment” when she’s afraid her “wish” hurt everyone else (still vague on what that wish ever was) lasts two seconds, she’s not crying, she’s barely sitting with slumped shoulders, and her family barely spend two seconds comforting her. They basically just say, “aw, no, it’s not y fault, it’s the king’s.” And she’s like, “yeah okay” and that’s that. It’s like the animators we’re afraid to animate really intimate emotions on the characters’ faces. The voice actors, too.

And the whole movie is peppered with Easter eggs to past Disney movies. But all that does, if you really know Disney beyond the visuals, is make you think of how hollow this movie is in comparison. How much you wish you were watching Cinderella or The Little Mermaid or something with depth and vulnerability instead of Wish.

[vigilskeep]

I’ve seen lots of speculation about how Caterina might feel about a relationship between Rook and Lucanis, some people think she wouldn’t approve and some think that she would have no reason not to considering Rook saved both the world and her favourite grandson. I’m curious if you have any thoughts about it?

Personally I think Caterina would see any romantic partner Lucanis might have as a threat to the control she has over him, but idk if she would ever be outright hostile to Rook. But I haven’t actually read The Wigmaker Job yet so I could be missing some nuance there

i got a couple asks about this. it’s honestly hard to say with any confidence. caterina’s characterisation is so limited, and different rooks and different ideas of what post-canon rookanis looks like are so varied. it kind of is whatever you make of it

i think it’s uninteresting to caricaturise caterina as like a cackling villain who just wants lucanis under her power. imo she does believe, very much, that she has his best interests at heart. i also believe there’s nothing she is not willing to do for those “best interests” and for the best interests of the family if she decides rook is not part of that. caterina wants lucanis to be the very specific person she thinks he needs to be to survive. if she was willing to hurt him to make him that person, what’s she going to be willing to do to what is essentially an external threat?

i think she’s smarter and holds her cards closer to her chest than to be outright hostile, at least at first, not to mention genuinely glad to have lucanis back and not picking fights she doesn’t have to. (he mentions her pretending not to be bothered by anything, including his possession. i think spite is as likely or more likely to be targeted as the “bad influence” if lucanis doesn’t act how she remembers or tries to leave/step down.)

i will say i personally find posts/fic about caterina approving of rook deeply unconvincing jgsjksks. or i’m like, well if she thinks you’re right for lucanis, then based on her past judgement about things that are right for lucanis, my hopes for you are not high! but then i’m a firm “we gotta get him out of there” truther, which is colouring all of this, and which not everyone is. crow canon being what it is, people have different perspectives, which is fine. just not believable from mine

caterina might give rook a chance to be the person she would like them to be. you could do something interesting with how her approval can make people feel and how she wins the loyalty and respect of people like teia, if she did accept rook but wanted to sort of mold them into the right person for the job as it were. not sure i would have the stomach for THAT dynamic but there you go

i guess in some ways it is more interesting from a “we gotta get him out of there” perspective if she DOES approve and it would be so easy to let things lie. there are things you can do with it and i feel like it almost lets lucanis’ character development down if it’s not himself he’s eventually made to stand up for. and i don’t disagree that two godslayers has got to be even better for a house’s reputation than one. hmmmm. can you all pretend this ask ended conclusively and enlightening i just had an idea for a scene i want to write bye. my final message: do whatever u want with it

[greenymeeny]

About Curly (Mouthwashing)

This could be controversial, but I want a more nuanced conversation about Curly. I’ve seen what people have to say on TikTok and it makes me froth at the mouth. It’s either “He’s just a baby,” or “He’s a monster who never cared about his crew,” OR, which actually aggravates me the most, “He’s morally gray,” with NO further elaboration.

So here: A deepdive into Curly’s character, intentions, and actions.

Before I begin, I want to talk about what I see as a misconception in the Mouthwashing community.

This game is masterful at subtlety. There’s a lot of specifics that we as the audience don’t know. What infuriates me is that we pretend we do.

Something I hear often is, “Curly didn’t do anything when Anya told him she was assaulted.” There’s merit to this claim, but the situation is more intricate than that and it’s contingent on one very important factor: We don’t know what Anya told Curly. All we know is that she told him something, and it had to be something that would implicitly imply Jimmy as the father, but would still shock Curly at the idea of Anya being pregnant. While this could be interpreted as Anya outright having told Curly, I don’t buy that. His response isn’t just irresponsible, it’s initially palpably ignorant.

This implies to me that Anya said something mildly vague, but still extremely concerning. Something like:

“I’m scared of Jimmy.”

This as a statement, said by your crewmate to you, as captain, cannot be ignored.

As we know, he ignored it.

More than that, he rationalized it. He ignored the signs of something more sinister in favor of feeding his idea of Jimmy just being a gloomy, down on his luck guy- more than anything, his friend. He should have listened to Anya when she said she didn’t want him in the medbay, when she said she didn’t want him near her. But he’s “known him for a long time.” He wanted to believe his instincts about Jimmy over Anya’s.

To Curly, the signs could have meant a lot of things. Anya simply being afraid of Jimmy could have meant that she just felt off about him; She just didn’t like him. A mere character clash. Of course, it was more than that. But Curly’s blindness was a mixture of ignorance and faith. He didn’t believe Jimmy was a bad person, he didn’t think he was scary. He trusted him.

In regard to the events of the game, a lot of people place a good chunk of the blame on Curly, which I do think is somewhat deserved. But I think it’s better to recognize his responsibility and how he failed.

The claims and reprimands of what Curly should or should not have done can only come from the omniscient presence we as the audience have. There’s inconsistencies in modern moral standards. The verdict of how good a person you are in a situation in where you must choose to trust or distrust a good friend is dependent on whether or not that friend is actually a good person or not. The idea that Curly knew Jimmy was dangerous is entirely baseless. Curly put all his cards on Jimmy, dismissing Anya’s discomfort as being a mere clash of character to his detriment. There were signs of his degeneracy, but Curly above anything wanted to believe in Jimmy with the standards of being “a good friend.” It was personal feelings clashing with his responsibility to pay attention as captain. To find the dead pixel.

Again, these assumptions are contingent purely on my theory of what Anya told Curly. The game not showing us what was said in specifics is intentional because they want us to know this and only this: Curly did something wrong. He has to have for the themes of the game to work. He works as Jimmy’s foil. He has to do shit wrong, not taking Anya’s fear seriously and not stopping Jimmy immediately from crashing the ship (which is also an effect of his trust- with a mixture of his own feelings of doom and failure,) to take responsibility where Jimmy cannot.

What substantiates that to me is Anya’s line, “I have to believe our worst moments don’t make us monsters.” It’s a line in relation to Curly. We’re meant to believe that this is her thinking he crashed the ship, but she’s actually talking about how he failed her. That was Curly’s worst moment. And Anya, in that statement, forgives him for it, or at the very least, doesn’t see him as a monster. Jimmy takes both “Our worst moments don’t make us monsters” and “I’m taking responsibility” and tries to reflect them on himself, but really they are statements bound to Curly. Curly is everything Jimmy wishes he was and because of that, Curly’s character shines a light on everything Jimmy isn’t. Curly ran into the cockpit in an attempt to salvage the ship, even when he knew it would crash, while Jimmy sat in a fetal position outside the door, weeping. Contrast.

That’s really all I have to say. I needed to get this off my chest, because Curly is probably the most interesting character to me in Mouthwashing, but gets a lot of one dimensional character analyses. I think a lot of it stems from the subject of SA being touchy, which I understand. People want to see it in black and white because it’s comfortable to them, but it gets complex with other people involved like Curly, who has good intentions and still ends up enabling Jimmy.

I would love to see what other people have to say about this because there’s probably a lot of things I missed. Thanks for reading all this if you did.

[seeker-ophelia]

Ophelia’s Review, Part Two: Thedas, The Dragon Age System

Some things I need to get off my chest.

One. This does not feel like a Dragon Age game.

Two. That doesn’t mean I didn’t like it.

Three. I have a lot of feelings right now but I’ll come back when my brain has re-hydrated itself.

(I finished Veilguard at 10PM on Monday, and wrote this the morning after. And its still true, 5 days later.)

TLDR at the bottom

[Read Part 1 Here]

I do miss the heady blend of power, intrigue, danger, and sex that permeates these events games.

[Photo Cred: Dumped, Drunk & Dalish]

Because Veilguard is missing all of that.

Listen, it’s good. Great even. I loved it. Cried. Laughed. Dropped my controller and paced around the room for 5 minutes in anger and angst. Drank a bottle of wine in the bathtub after Solavellan’s happy ending (and my Rooks sad one). But this is not a Dragon Age game.

It is Dragon Age ADJACENT. Similar of course. The backbone is there. The direction, the vector, is there. But the execution…

Dragon Age (Origins through Inquisition) for me, was A Song of Ice and Fire. I love that series.

It was deep. It was harsh. It was MEAN. If offered me hope and then snatched it away. The world-building, the lore crafting, was intense and deep and required attention and critical thought. The characters were nuanced and troubled and real.

Veilguard, for me, is Eragon.

I also loved that series. It is pure and good and takes me on a journey through a fantastical land of dragons and heroes, of good versus evil, of mysteries and magic. But, it is juvenile. Its simple. It doesn’t try to be anything other than it is. Veilguard, is shallow.

The essence is there, beneath the surface Veil, pressing and bursting at the seams to escape, but is being held back by a gentrification of Thedas, the Tranquility of the Dragon Age world, if you would.

The Lore

I don’t want to go into to much about it (its going to be its own post, I think), but I love the lore of Dragon Age. I love learning about it. I love the questions, the pervasive theme that history is only as true as the historians who write it; things get lost, muddled, confused through and over time. And Veilguard, kind of feels like I’m being spoonfed? Like I’m a baby.

I think EA did BioWare a disservice by making this game for new players, instead of assuming that RPG players have the intelligence and wherewithal to comprehend at least a little bit of lore and history, or at the very least, introduce a cannon world state. You can have your cake and eat it to, but, as Veilguard shows, it diminishes the quality of the cake as a whole.

This game is an Action RPG. This is a game about combat. For the record, the first, second, third, 17th time I saw my Rook in their Takedown Animation, I said, out loud, ‘Dragon Age, G.O.T.Y.’ I swore at my inability to time dodges properly, I planned and schemed with primers and detonators and damage types. This is very reminiscent of The Witcher and Assassins Creed, for me (I have not played a ton of games, im sure there are others more like it). It was fun, it was challenging. But. This is not Dragon Age. Its Something Else™.

Dragon Age: Dark Origins

When people say Dragon Age is a dark game, they’re not talking about the gameplay, or the graphics, or the art direction.

Dragon Age deals with dark subject matter. Slavery. Racism. Religion. Politics. Power dynamics. Mages versus Templars. Addiction. Death. War. An unstoppable contagion that deals death indiscriminately. THAT’S what makes Dragon Age Dark.

These stories are deep. They’re hard. And yeah, they weren’t always handled properly (lookin’ at you, Gaider), but doing something wrong… looks like it might actually be better than pretending it doesn’t exist.

As a Sollavellan, I’m unspeakably glad they didn’t yassify Solas. He is still an unlikable character who has committed unspeakable war crimes. And we got a redemption arc that did not end in death. That’s a win for me.

But they kept his darkness at the expense of lightening literally EVERYTHING ELSE in Thedas.

What the fuck happened to Zevran’s Crows? I got the Puss-in-Boots-Found-Family Assassin Agency.

Where are the slaves in Minrathous? Where’s the trip to the upper city, gilded and clean, so we can compare it to the slums of Dock Town (which was not bad at all). Where is the “Rescue the Rabbits” Quest? Tevene Politics boils down to Dorian or Mave, “bad” or “good,” change from within, or power to the people.

The whole Qunari are just Bad™ now? The Antaam warriors turned into… what the fuck is even that? You know the advertising theory where women’s bodies are shown but not their heads or faces? This feels like that. Giant Grey Muscular Powerful Bodies with NoFace. THAT’S the Antaam? The Tamassrins really eliminate every embodiment of individuality from them? They’re just Storm Troopers?

And ‘Thal’enaste, what a lost plot thread to not have Lace and Solas meet in the deep roads, or Kal-Sharok, or fucking anywhere. Instead, you give her one little blurb of “companion banter.” Weak.

Where’s the racism towards the Elves? What happened to that? What happened to Dark Thedas? Oh, its actually all in the South, and thats destroyed now (lets put a pin in that for a minute).

The Companions

I have written and re-written this section 3 times. Its too long. I don’t need to mention them all. How to summarize them.

If you read my part 1, you’ll remember how I fell in love with Dragon Age 2, years after its release (after playing Inquisition, in fact), and how I fucking hard I fell for those very real, very troubled, very nuanced characters.

Anders and his quest for freedom, Fenris and his quest for vengeance. Merrill and her quest for knowledge, Isabella and her quest for… other cultures relics, I guess?

I hated the graphics in 2. It was the characters that carried that game. I don’t know how BioWare wrote them, but they failed to do that in VG.

My favourite character in Inquisition? Surprisingly, its not Solas. Its not even Cole, or the Iron Bull, or Dorian.

Its Cassandra.

I love her. Her story is SO complex. Her devotion to the Seekers, to the Andrastian Faith, is so pure, yet it does not impede her friendship with a Dalish elf who believes in gods that she does not. It does not stop her form forming close bonds with other people from different backgrounds, and although she is fearless in calling out the darkness in her own faith, its sins and its rot, she admits to her Herald that she is envious of the Heralds conviction.

Which character in Veilguard has that nuance?

The necromancer afraid of death? The Elvhen Engineer with ADHD? The literal Demon of Vyantium Puss-In-Boots? The smirking detective? The questioning Qunari? Or the gruff monster daddy?

Listen. I read trash. Smut, romantasy... I read objectively bad literature, for fun, all the time. And, I have a fantastic imagination. It is my own personal fleshing out of theses characters that saved me in this game.

But I should not have had to do that.

The Keep

I cannot explain to you, in words, how important those one-off codices and cameos are.

(Don’tThinkAboutIsabela Don’tThinkAboutIsabela Don’tThinkAboutIsabela).

*Grimaces* Okay.

I can speak no more about this. I am already writing a “Keep” DLC for Veilguard.

I would have rather lived in your world state than this abomination. Which leads me to…

‘The Soft Reboot’

So. The South is Gone. That’s the answer. The Hero of Ferelden. Hawke and their siblings. Everything is wiped clean, just as EA asked. All of the South, turned to the Hissings Wastes and the Anderfels, because of the Blight and the hubris of the Gods. What a tragedy. DA5 looks likes its overseas. Cool.

You know what would have been a better reboot?

Spite, taking over Lucanis’ body, walking through the Ossuary, or the catacombs of Minrathous, explaining to Rook how the heavy emotions of People manifest in the fade. The birth of a spirit. Or a demon.

Taash, meeting a spirit face to face in Arlathan, recoiling in disgust, until they help the spirit on its journey, and Taash begins to question their whole worldview surrounding demons. I- I mean spirits.

Emmerich, taking Rook on a lecture-walk through the fade, meeting spirits, solving puzzles, ‘you know, its not so bad in here, what’s the big deal?’

Bellara, instead of discovering Cyrian only to lose him, meets the demon formed of his death, and how to help him back into a spirit.

Neve, following a trail of wisps in the fade, learning things, memories, feelings, songs. Neve, reveling in the pure beauty of the wisps, until they lead her to Vir Dirthara, and her eyes grow wide, what is this place?

Davrin and Assan, after hard training in the High Anderfels, take a break, and while Rook and Davrin flirt, or joke, Assan finds a long string, and begins to play, the string growing and lengthening and thickening until a soft, feminine whisper fills the air, I Am So Sorry… And Rook and Davrin meet a strange spirit, a perfect combination of protection and regret, and they help her find her way home.

Harding, palms flat on the stone, pushing, working, threading her magic into a titan, tilting her face up to Rook, eyes shining blue, speaking in a thousand voices at once, let me show you what was lost, and for a millisecond, we FEEL Isatunoll.

The Dwarvhen was tranquil’d from their Memories, but the Elvhen were tranquil’d from the Fade.

And when Solas turns from Rook in Minrathous, I am sorry for this final betrayal, he is puzzled at the lack of retaliation, and turns to see the Veilguard, standing behind Rook, eyes locked on the giant eye-shaped rift in the sky.

Why are you not stopping me? He asks the group of misfits.

And Rook answers, I can admit when I was wrong. Tear it the fuck down.

And Solas, battered, bruised, and bloody, smiles, brandishes his ritual dagger with a flashy flip, banishes the blight, and tears down the Veil.

When I learned there were only going to be 3 choices carried over from the rest of the series into Veilguard, I tagged my complaint posts with something.

#You Cannot Dangle A Carrot In Front Of Me For 10 Years And Then Not Be Surprised At My Anger In Discovering It Was A Painted Dowel

Let me reiterate. I enjoyed this game. It was fun for me. I’m in the middle of my second playthrough and am planning a third, and a fourth. But this is NOT a Dragon Age game.

This is an EA game. And its good. But it could have been everything.

Bellanaris.

TLDR;

How torn I feel; lobotomized, rendered tranquil, separated from the memories, lore, and spirits, of the old Dragon Age, while still, like the Veilguard, wanting this world to endure.

Var lath vir suledin, BioWare.

For now.

[coraniaid]

reverse unpopular opinion meme: xander?

[Reverse unpopular opinion meme]

I like to consider my opinion of Xander Harris as being particularly complicated and nuanced, but – engaging in some critical self-reflection for just a moment – I think the objective truth is probably more that I’m just instinctively and aggressively contrarian about it.  I find that I tend to strongly disagree with most of the online takes about Xander I see, almost regardless of whether they’re pro or anti.  

I mean, on the one hand I do think it’s more than a bit silly to pretend, as many people seem to do, that Xander Harris is [somehow?] uniquely and only a Joss Whedon self insert [despite being written by multiple people] in a way that none of the other characters [that Whedon also created and that appear in the show Whedon created] apparently are. Or to ignore the fact that very often the audience is clearly meant to think that Xander is in the wrong and disapprove of his actions.  (You obviously aren’t supposed to be cheering for him when he lies to Buffy about Willow’s message about Angel in Becoming, for an easy example; or to be clapping and applauding him when he cheats on Cordelia or leaves Anya at the altar either.) And I think it would be wrong to dismiss the fact that Xander starts the show as a dumb but (mostly) harmless teenager and that, not only does he gradually mature and improve as a person as he grows up, he also [perhaps uniquely for this show?] manages to do so without killing even one person.    

But equally I would be lying if I didn’t admit that many of my least favorite episodes of the show are either Xander-centric episodes (Teacher’s Pet, The Pack, Bewitched, Bothered & Bewildered for example) or episodes in which Xander plays a non-trivial role in exactly the parts of the episodes I most dislike (his treatment of Buffy in Dead Man’s Party, say, or his speech in support of Riley in Into The Woods).  The haters are right to say that Xander does often treat his female friends and partners abysmally, often in ways that the show doesn’t seem to acknowledge or which it briefly acknowledges only to brush them off with no consequences.  There certainly are times when the writers expect the audience to cheer for Xander a lot more than I personally want to, or when he says something gross and sexist which is just meant to be funny and that the writers simply didn’t think critically about at all.  And the flipside of Xander being written by a range of different writers is that his character growth is often slow, halting or inconsistent (which, while arguably realistic, is not particularly fun to experience).  And unlike some of the fandom I don’t really believe anything Xander does can be handwaved away by him being deeply affected by what happened to his “best friend” Jesse in Season 1’s The Harvest: in fact I would put money on a majority of the show’s writers having no idea who Jesse was.

Anyway, none of that preamble is really in the spirit of the ask game, is it?

Um.  Five things I like about Xander, then.  No hedging or clarification except for what I heavily imply above (oh, and also the comics aren’t canon and don’t mean anything and actually don’t even exist … I mean, uh, what comics are we even talking about?).

I think the show resolves the initial Season 1 “love triangle” (in which Xander is really into Buffy and she doesn’t reciprocate his feelings or even seem to notice them, while similarly Willow is really into Xander and he doesn’t reciprocate her feelings or even seem to notice them) in about the best way it possibly could have done.  Buffy and Xander don’t ever get together and there’s never really any suggestion that they might – one or two odd moments in Season 2 aside, I guess? – and Willow musters the self-respect required to firmly reject Xander when he tries to ask her to the dance that Buffy had just turned him down for in Prophecy Girl.  Not only that, but Willow goes on to have a serious relationship with a guy who isn’t Xander and then comes out as a lesbian and continues to have serious relationships with woman who aren’t Xander, right up to the end of the final season.  And this happens all while the three of them stay very close friends; in fact Buffy and Xander at least are clearly better friends in the second half of the season than they were at the beginning of the show [when, after all, Xander had only just met her].  Whether or not that was planned from the beginning – and to be honest, I think the Buffy fandom as a whole wildly overestimates how much of the show was planned from the beginning – I think that’s a pretty unambiguously great way for that particular subplot to have be handled.   (Although the funniest and most geometrically pleasing resolution of the Season 1 love triangle would, of course, have been for Buffy and Willow to end up together.)

Speaking of Buffy and Willow, for all his faults Xander is consistently written as somebody who cares about his friends and wants them to be safe and happy.  As well as the obvious big moments – helping to save Buffy’s life in Prophecy Girl; his speech assuring Buffy that she’s his hero in The Freshman; repeatedly assuring Willow in Grave that he’ll always love her, even if she ends up killing him or destroying the world; that moment in Season 7 where Buffy sends him away to look after Dawn because she “needs somebody [she] can count on” – I think it’s fun when we get to see the three of them just hang out, in those quiet little moments they get to just all be kids together.  I am very firmly in the camp that thinks Buffy should have friends and be allowed to not be treated for an idiot for liking said friends or wanting to spend time with them.  Whatever else you can say about it, I think it’s obvious that this is how the show’s writers expect you to engage with the show.   That’s part of why I’m more forgiving than some people of episodes like I Robot, You Jane or Bad Eggs or Amends: these are all episodes in which I can believe that Xander is fundamentally a good kid who Buffy would want to be friends with, and that he’d grow up to be somebody she’d still want to be friends with as an adult.    

Some people online – mostly not on Tumblr – talk a lot of rot about Xander getting self-defense training or somehow reconnecting with the military persona he had in Halloween or otherwise Learning How To Fight, and I can’t overstate how glad I am that the show didn’t go in this direction.  Xander makes sense as a character precisely because he isn’t a fighter.  Because he doesn’t occupy that more stereotypically masculine role: because he is the one who gets rescued and brings in baked goods and that the other, more powerful but emotionally repressed characters can go to to talk about their feelings.  Because he is the person who, by the end of the show, can best reassure Dawn that she doesn’t need to be a Potential Slayer or have superpowers to be special.  This idea that Xander complains too much during the show about not having special powers and that the “solution” to “fix” this is to have him go out and get some (as opposed to this being a deliberate character arc in which Xander learns to accept that he’s never going to be that sort of person) is not one I have a lot of sympathy for.  The show already has a human male character who is trained as a fighter so he can go on patrol with Buffy: he’s called Riley Finn and he’s insufferable. 

Although the fandom as a whole loves to massively oversell how “abusive” the Scoobies respective parents are, I do think that Xander’s home life is a key part of understanding who Xander specifically is as a person.  And – again, however deliberately planned from the beginning or not it was – there’s something nicely disturbing about how we never get a big dramatic reveal about how awful Xander’s parents are: it’s just something that the writers just slowly build up to – from the idea in Season 1 that Xander doesn’t regularly eat cooked meals at home (“do your parents even own a stove?”), to Xander joking about his dad trying to “send [him] to some Armenians once” early in Season 2, or calling home to say he’s going to be out all night and having his mother clearly not recognize his voice, through to Cordelia revealing in Season 3 that he admitted to her that sleeps outside during Christmas to avoid his parents drunken fights  – until by Restless we can see Xander having nightmares about being trapped in his parents basement and having his father come down the stairs and we don’t need to have anything more than that explained to us.  I think that’s all really effectively done, and while I don’t think it excuses te way Xander behaves I do think it does a lot to make sense of it.

Again, while I think it’s possible to drastically overstate the Mind/Spirit/Heart metaphorical reading – I don’t think this is something the writers were consciously thinking about most of the time and I don’t think the reading of the show in which everyone is reduced to a part of Buffy’s own psyche is even particularly interesting except perhaps as an intellectual exercise – I do think it’s a reading that works pretty well for Xander. (Actually of the three elements, that’s surely the one that’s easiest to see: I’ve never been completely sure why Willow is the Spirit rather than the Mind.)  Yeah, Xander can often be petty and jealous and selfish and hypocritical and refuse to analyze his own feelings: that doesn’t rule him out from being Buffy’s metaphorical heart, it’s evidence that he is.  Buffy can be all of those things too!  (I think I am rather more fond of Buffy herself than you are – she is my favorite character on the show, after all – but I don’t like Buffy because she’s flawless and perfect; I like her because she’s interesting and realistically flawed, and very often flawed in the same ways as her friends.)

[queer-ragnelle]

Why do you hate the Once and Future Knight? I decided not to pick up the book because of personal preference but I’d love to hear your rant on it

Hi anon!

I’m assuming you mean The Once and Future King by TH White?

There’s nothing I could say that hasn’t already been said before I’m sure. But I didn’t read the series until I had already read many other Arthurian tales and I really don’t understand the love the series gets. The negatives don’t outweigh the positives, and worse, the lasting impact of TH White’s characterization choices on subsequent retellings is a stain on the literary tradition that set us back too far to comprehend. Putting my rant below a cut because I went off and the subject matter is disgusting.

First and foremost, the bigotry is astounding. The racism, the misogyny, the ableism and every other prejudice and cruelty you can think of are staggering in their variety and magnitude. It’s vile. It’s inexcusable. I don’t read modern Arthurian retellings to be bombarded with that in every single chapter. TOAFK is not “a product of its time.” It’s a product of a deeply unhappy and hateful man. Plenty of earlier writing is vastly kinder to Palomides and Guinevere and Morgause and Mordred and Lancelot or any other character unlucky enough to be depicted by TH White. Literally the Medieval source material is more nuanced than that. Morgause get behind me.

Secondly, the anachronism is an annoying stylistic choice at best and yet another tool for bigotry at worst. Why are Mordred and Agravaine likened to Nazis? Like seriously what the hell? It’s not enough for them to be antagonists, the text has to invoke the Holocaust? It’s so extreme it rips the reader right out of the story and calls to mind the most horrific parts of history for no narrative benefit whatsoever. Baffling and bad.

Thirdly, the prose just kinda sucks. It’s rambling and TH White will pause the narrative to stand on a soap box to talk at the reader about his views. He’s anti-war. Fine. But of all characters to use as a mouthpiece—King Arthur? The warlord King Arthur? Make it make sense.

Fourth, most tragically of all, so much of what TH White did in his series is reflected in stories told to this day. Every other retelling has a cover quote comparing it to TOAFK. (It’s supposed to be a compliment!) To put it in perspective…

You ever read a retelling with evil neglectful parent and rapist Morgause/Morgan? TH White’s fault.

How about added incest between one of the Orkney bros and their mother (which sometimes results in someone other than Gaheris killing her, say, Agravaine or Mordred)? Thanks, TH White, that’s just what Arthurian Legend was missing, more incest.

Ever see disabled, crippled, bad seed Mordred? TH White started that trend.

What about Guinevere assaulting Lancelot when she learns about Elaine getting him drunk and raping him? TH White really said “Lol what if Guinevere hits Lancelot and spits in his face while he’s crying?”

And the racism! TH White walked so Thomas Berger could run (derogatory). Discussions of race are so intense and so frequent and so random like one minute the narrator has paused the plot to talk about how war is bad and now it’s slandering Native Americans? Brother this is Medieval England what is even happening right now? Oh, look, another N bomb. The antisemitism! Weren’t you just comparing Mordred to Hitler? What do you mean the Orcadian/Scottish characters are evil because of *checks notes* “the incalculable miasma which is the leading feature of the Gaelic brain?” [Queen of Air and Darkness chapter 5] Thanks TH White for stripping Lot, Morgause, Gawain, Agravaine, Gaheris, Gareth, and Mordred of all nuance, a condition from which they have, literally, never recovered. Of course there are some retellings since that write one or two of them with a crumb of nuance, but they’ll never be like they were in the Vulgate. Not all at the same time. I feel sick.

It goes on and on. I have to stop listing examples or I’ll get pissed off. But frankly, more people should be pissed off about it! I’m tired of seeing five star reviews on storygraph and goodreads accompanied by a review excusing the most bigoted garbage I have ever read in a children’s book. It’s vile and everyone should feel bad about defending it. It’s inexcusable. This wasn’t a case of good-intentioned inclusion with dated language, this was an author going out of his way to be hateful. Period.

Big names in the fantasy book community like Daniel Greene should not be awarding five stars and leaving an uncritical review.

Far too many readers acknowledge the racism and then rate it five stars anyway. Go to Hell, Spencer.

Here’s some from storygraph with, of course, praise for Marion Zimmer-Bradley’s pedophilic power fantasy Mists of Avalon, another piece of hot festering sludge everyone should stop talking about. Kill the legacy already. The real life victims have suffered enough.

There also seems to be a trend in these reviews that excuse the texts bigotry by referring to how “old” it is. Which is crazy to me for many reasons. TOAFK in its final form was published in 1958. That wasn’t that long ago. Also racism has always been racism, misogyny has always been misogyny, ableism has ways been ableism. Plenty of authors came before this and really make TH White look like a clown.

Let’s promote them. In reverse!

John Steinbeck wrote The Acts of King Arthur and His Noble Knights in 1956 (published posthumously in the 70s, don’t go by that date). His depictions of Morgan and Guinevere are nuanced and fascinating, not to mention some original characters including an old granny who teaches Owain to be a warrior! This book also has a morally gray sun-powered Gawain without insulting his heritage, an emotional and thought-provoking Lancelot without marking his sin with a facial deformity, and a really sweet Marhalt who doesn’t often get much spotlight!

John Erskine wrote Restoring Palamede in 1932. He does exactly what the cover says, and writes a story about the Muslim knight Palomides beginning in his own country, living with his parents whom are both named, and follows him as he learns the ways of the world and finds an ally in his friend Brangaine! Tristan and Isolde are compelling here and while Tristan can still be a jerk to Palomides, it’s not the mask-off bigotry we’ve seen…elsewhere.

Howard Pyle wrote one, two, three, four books between 1903-1910. Two thumbs up from me. No notes. He drank his respect women juice, drew them with loving care, named so many previously unknown, and gave them voices. He was kind in his portrayal to Palomides and even some other knights of color from India. Morgause survives the narrative! We love to see it!!!

Henry Newbolt wrote Mordred: A Tragedy in 1895. A fascinating examination of family ties, all five Orkney brothers here AND their wives Lyonors, Lynette, and Laurel! (Minus Ragnelle bc life is unfair.) Guinevere and Lancelot are tragic and heart wrenching. Arthur struggles against his son Mordred and their destiny in a way that doesn’t outright demonize either side. It will rewire your brain.

Richard Hovey wrote his poetry between 1891-1900. A complex and interesting Guinevere and Elaine who are not enemies, Lancelot close with Galehaut during the war, destroyed by his torn loyalties between Arthur and Guinevere, Gawain who loves his friend Lancelot with all his heart, and so much more without tearing anyone down!

Oscar Fay Adams wrote his poetry between 1886-1906. Here we get a wide variety of character focus, with title-featured names from King Lot to Dagonet to Lamorak to Lionel. Each one is more fascinating and nuanced and fresh than the last, from a tour of Lot’s castle and meeting each inhabitant to Lamorak on Grail Quest learning to forgive himself from “sweet” Sagramore.

William Morris wrote his poetry between 1856-1910. All of it is on the Camelot Project but I also have this scanned book. Here we delve into Guinevere’s trial as she calls out those who have wronged her, lonely Galahad on Grail Quest relating to his father Lancelot and praising Palomides in his steadfast hunt of the Questing Beast, there’s even a poem named for Palomides himself!!!

Anonymous wrote Moriaen in the 13th century. It follows Aglovale’s illegitimate son Moriaen, who is of African descent. As he travels around Britain looking for his father, Moriaen meets many people who are afraid of his dark skin. BUT! All the Knights of the Round Table leap to his defense, even threatening townsfolk who try to demonize Moriaen for the way he looks and refuse him service. It is, essentially, an anti-racism story from the Medieval era. Not to mention healer Gawain’s care and attention given to the sick and disabled. That’s not even the moral/focus of the story so much as Moriaen’s journey, but it’s there and worth mentioning.

So here we are with a whole list of stuff to read that predates TOAFK and surpasses it. The last one is only sort of a joke. But it’s there to make a point about how inexcusable TH White’s racism really is. If Anonymous could give a black knight like Moriaen the narrative respect he’s entitled to for existing as a representation of real human beings that look like him, then TH White was capable of it too. Progress is not linear. This is not to say Medieval times were “better” than society today. But to write off any problematic story of the recent past as “a product of its time” as an excuse to make oneself feel better about liking it, well, I don’t know what to say. Maybe reflect on that. And while that marinates, read something else.

[sophsicle]

Okay, I understand hating Snape as an adult. He's a bully. But as a kid? As a teen? The result we see of Snape, him as a shitty adult, is an imperfect victim. Someone who had a bad life, made bad decisions, and was impacted by everything that happened to him. Not everyone can be abused, bullied, grow up in extreme poverty, and then pull through to be amazing people. SOME people can, and that's so amazing, but I don't think it's healthy to look at a child/teen with literally every social determinant of health against them and say 'well, they should've been able to do better'.

Does Snape suck as an adult? Yes. Did he also make decisions which saved Harry's life and allowed them to end the war? Also yes. Does he ultimately sacrifice his life for Harry? Yes. Does young Snape have a lot of potential, especially in spaces such as fanfiction, to explore the effects of one's upbringing and subsequent choices/life path (which you have explored so beautifully, carving out a life for a character in your stories with the very same themes)? Definitely.

I'm not saying he is a perfect person, or even a good guy, but a lot of people can and do relate to him as imperfect victims of bullying and abuse. Sometimes you can't rise above life's circumstances on your own, and you aren't this 'amazing' person. And that's okay. It's okay for victims of things like abuse to struggle, and it's good for people to acknowledge that things like bullying AREN'T okay and have lifelong consequences for their victims. Snape is a good example of what happens to a lot of people who aren't able to 'rise above' the things that happen to them and make mistakes. I think blind hatred for him is a very narrow-minded view, and ignores a lot of his story and nuances.

So two things a) I think perhaps you are missing some of the silly fun spirit I was attempting to infuse into my hatred of snape who is a character not a person

b) listen, I think snape is a super interesting character to play with because he offers a counter point to the marauders especially where issues of class are concerned, even the insults the marauders use against him, about him being "dirty" have clear class connotations and I think that allows you to critique the biases of the "heroes" of the story so to speak and that’s something I really like, so I’m not trying to suggest that he should just be dismissed because I don’t think he should be necessarily

What I am suggesting, is that JKR writes a grown adult teacher who abuses his students consistently and brutally for seven books (students he knows are already traumatized because the group he was a part of tortured or murdered their parents) and at the end of the series we are meant to forgive him because he loved a woman one time kind of maybe I guess

Now, fanfiction can do whatever it wants and make characters whoever it wants

But I have a fundamental problem with the way that snape is used in canon and the way that people accept that narrative

His behaviour as an adult towards the children he is in charge of is gross and unforgivable, but is absolutely forgiven by the narrative of the original text (without, I would argue, any of the nuance you are suggesting)

So I just find it less compelling to use fanfiction to continue to forgive this character

And like maybe if JKR didn’t explicitly write him as someone I was supposed to love I would feel differently, but because she does I don’t

I think you’re giving this character a lot more depth than he has

Which you totally can do with any character you wish, but for me, personally, not universally, cause there is no universal truth about a fictional character who does not exist, he deserves to be hated, in my opinion, again, cannot stress this enough, I’m not saying there is a right way to feel about this character because I don’t think you can say that about characters , but this is my way and I hate him and these are my reasons

Like you can hate characters without being narrow minded

I fear this is a thing you can do

[raven-at-the-writing-desk]

I read ur twst chars analises a lot,n I just wanna say I really love how u write em!!! I like ur nuanced interpretation, how they r very detailed,thoughtful, n objective, even tho its not about ur favs or even ones u dislike, also made me realize how good twst writing can be. So if I may ask, which of the cast do u think is the/one of the best written char(s) in the game?? N vice versa if u may, like ones u think need improvement :^]

[Analysis masterlist here! I believe it’s currently full so I’m working on putting together a second one :>]

First of all, thank you very much for enjoying my analyses ^^ I try very hard to research and to put myself in the shoes of each character I’m writing about, and I’m glad that it seems to show in my writing.

If we’re talking about the main 22 NRC students + Grim… (I’m not counting blank slate Yuu, NRC staff, Halloween characters, RSA students, and NPCs because they have such limited lore + vignettes and I feel it wouldn’t be fair to compare.) Honestly, I feel like they’re all written pretty decently, with perhaps the caveat being that there’s more content weighted toward the OB boys due to their significance in the main story and irl marketing. Some other characters, like Jade and Rook, are purposefully more mysterious as part of their characters.

I guess if I had to point out some weaker characters, I’d say they’d be Jack and Epel? I feel like those two are pretty… one note… 😔 What do we know about Jack? He’s strong, loyal, likes to exercise, is disciplined, is a tsundere… What do we know about Epel? He wants to be cool and not cute, he YEEHAWS, he likes apples, he’s really close with his family… You can see this reflected in the core of Epel’s dream; he wants to be tall and muscular, which is very simple when put next to the other dreams.

Of the two, Epel is worse off because he actually had a character arc in book 5 where he begins to accept that beauty and femininity can be a strength and isn’t something to be ashamed of. However, almost ALL the vignettes and side content outside of the main story have Epel exclusively talking about how tough and cool he wants to be + rejecting cute/girly things, which sort of negates the main story development and feels like he has regressed so much. I get that maybe he wouldn’t change his mind right away or do a 180, but it still creates a strong whiplash. Jack is at least consistent. Sort of stale, but consistent.

Those two aren’t flat or anything, but it feels like they hinge on the same handful of traits in every appearance and whenever we learn anything new about them, it’s just the same thing we already knew before but said slightly differently. I’d like to know more about Jack and Epel outside of these areas.

P.S. SORRY TO THE JACK AND EPEL STANS IN My AUDIENCE OTL