#which is why the dialogue being so odd at times is off putting cause it doesn’t give them more depth it just feels quirky and kills the moo

[no1ryomafan]

Thinking more about umbraclaw and while there’s stuff to critique from the gameplay side I think probably the biggest flaw of it is like everything to do with the writing, and I don’t mean just plot.

It’s one of those things where it’s like- The basic narrative of the story is got across well regardless of what ending you get-yes I did look it there being multiple endings lol-and it’s the first entry of a series so the story not being the best can be forgiven but it’s a shame NOTHING is super fleshed out. Not just the soul plane but the characters don’t get much at all, they kinda just exist as set pieces to move the narrative forward. Kuon, the mc oddly never talks that the characters always acknowledge it so she’s basically a blank slate and I’m unsure if it’s because we’re meant to project onto her/interpret her whoever we please or if it’s just to reflect she’s not like the others and she’s a normal animal.

We also don’t get to know enough about her owner that it’s actually hard to care about her other then “well she seems nice ig” since you can’t say you want to care about Kuon because she’s blank unless you really put yourself in her shoes or your own pet into her place ig. And don’t even get me on how LOCKE is so weirdly interrogated into the plot and clearly has more to him yet is left off being so vague, like we get teased he’s like you but never are directly shown or hinted at that. He’s just there as a rival but he’s not at ALL fleshed out enough or placed right into the plot even if he’s spared at the end which doesn’t amount to anything, he’s just there yet again to be a set piece that’s just a bit different from the others. (And also how he hints at a deeper theme of losing control of yourself in terms make you forget who you are but it’s not explored ENOUGH even if he’s there to reinforce it it only comes up in one ending)

Like this story doesn’t make me super angry to hate the game as I’m still gonna do another ending and overall playing it is a really interesting experience I won’t get from anything else, but maaan if we get a sequel I hope the plot is reworked significantly cause it sucks how it’s “not a bad story but also a story with no substance”.

Its something that’s satisfying only because it’s a what you see is what you get thing but doesn’t have anything deeper to really pick at.

[the-bottom-of-the-abyss]

siren song - chapter 1

previous chapter: prologue

next chapter: chapter 2

A/N: First, thank you so so so much for all your kind words!! I did not expect for this to get as many notes as it did! I'm so happy you guys are excited bc I am too! That being said, this is a long one! Also I changed it to a reader insert bc I think it fits better. If you haven't played the campaign, this mission is straight from it with most dialogue being the same. I really wanted this to feel like you were there the whole time. A lot of it is that mission but there's a small gift at the end ;) Our MC's femme fatale ways will return in full force next chapter!

----

Ghost

27 August 2022

2330, Classified location, Al Mazrah

Ghost approached the helicopter, listening to General Shepard.

"You're wheels up in five."

"Roger."

"Marines are loading in now. You'll be leading with two Sergeants."

"Two?"

"Soap MacTavish and Siren."

Ghost scoffed under his breath. "No last name?"

"It's classified."

Before he could make a smart remark, one of the many soldiers coming off a truck approached him. "Let's get ourselves a win, yeah, Lt.?" The man addressed him causally, causing Ghost to assume this was "Soap". 

Soap lightly punched his shoulder. "Save ya a seat sir."

Just his chipper attitude was enough to make Ghost brace for a long mission. As he was about to go board the helicopter as well, a black SUV stopped close to him, and the backdoor opened to reveal a woman in tactical gear, helmet in her hands, and a rifle on her back. She quickly walked towards him and he took in her appearance; hair pulled back into a ponytail, an objectively beautiful face, and piercing eyes. It was her expression that made him pause. She didn't sport any particular expression, almost as if her own skin was the mask, hiding all underneath.

Almost as if he couldn't help himself, his gaze wavered. He silently scolded himself as he looked her up and down, his steady pulse feeling more fleeting than normal. Once reaching him, she stuck out her hand and looked him straight in the eyes, not even acknowledging his skull. "Siren, sir. Nice to meet you."

Logically, Ghost knew there was another Sergeant, he was told so. But for some reason, he was taken aback at the beautiful and seemingly fairly young woman in front of him. It was clear she was an American, the only one on their current team.

He shook her hand, noting that her hands were much smaller, but her grip was just as strong as his. "Ghost," he replied. "Board the heli, we're leaving in a few." 

There was something about her. He couldn’t put his finger on it, but she was hypnotizing, and by the look in her eyes, dangerous too.

"Fucking hell."

----

Siren

27 August 2022

2345, In helicopter en route to Al Mazrah

You sat in between two marines who kept glancing at you, not that you payed any mind. No, you were more intrigued by the man in front of you. The man with the deep, British accent: the Liutenant. He wore a skull mask on top of a balaclava, the only thing truly visible was his eyes. Those same eyes gave you a thorough look over earlier, not bothering to hide the action. Unlike most men he didn't shy away from sustained eye contact. 

In fact, his gaze was on you right now and intense; it made you feel a flicker of something you hadn't felt in a very long time.

You cocked your eyebrow, asking what he was looking at. 

His eyes then narrowed as if to say: Indeed, what am I looking at?

It felt like a contest, seeing which would break first; the tension felt like—

“So what’s your name?” 

Soap, the Sergeant with a Scottish accent, interrupted the intense moment, bringing everyone’s attention to you. 

“Siren.” You replied, not bothering to elaborate. 

There was a pause, Soap looking at you expectantly. And while he wasn’t looking anymore, you could sense that the Lieutenant’s curiosity was also peaked. 

“Why?” The Sergeant asked. 

You took a breath. It was always…. odd to explain your name. It’s not like you chose it. And for those who were stupid enough, would comment about your “tactics.” You didn’t know these men, and they didn’t know you; it was probably better that way. 

“I suppose if we’re working together,” you started, “you’ll find out eventually.”

And with that, you didn’t say anything else. Instead, you chose to examine your rifle, the SP-X 80; reliable, and quick— two of your favorite things in a weapon. You did like getting up close and personal, the adrenaline, the satisfaction at successful fooling others into believing you were some innocent but seductive woman instead of a cold-hearted killer. However, if you couldn’t do it close, you liked being far. 

Eventually Ghost stood up and began his brief. 

“Bravo team offloads here. Alpha team stays onboard to land downrange. Both teams meet in the middle. Remember, we want Hassan alive, but this is capture or kill.”

The marines singalled their affirmative, whether by nods or a “Yes sir.” You and Soap both got up to follow Ghost as he went to exit the helicopter.

“Keep up Soap, Siren,” he threw over his shoulder as he stepped out.

You put on your helmet, slung both the rifle and an M4 over your back, and put on your night vision goggles, everything appearing in shades of blue. 

“Razor-1, all Bravo deployed. Moving to secondary HLZ.”

The helicopter flew on ahead while you and the others with you moved forward through the destroyed cobblestone.

All of sudden, shots were being fired ahead, followed by a panicked pilot on comms. “All stations- Razor-1 is bracketed, we’re getting lit!”

“Incoming-Flares! Flares!” flares erupted from the helicopter, narrowly avoiding being taken out by a missile. “Shit that was close!”

Before anyone could echo their relief, you saw something out of the corner of your eye, something headed straight towards the heli. 

“Second missile!” you yelled into the comms. Unfortuantely it was too quick for them to react and you and the rest of the Bravo team watched the missile collide with the helicopter, sending it spiraling downwards.

“Razor-1 going down! We’re going down!”

It crashed into the ground, landing in the middle of some buildings and erupting into flames prompting Ghost to try to hail the other team. “Alpha, what’s your status?”

Gunshots began to ring out, aimed at the downed aircraft. There was still no response from the comms and you watched the Liteunant attempt to contact them again. “Alpha, how copy?”

Finally, the channel crackled to life. “Bravo—Alpha is immobile. Multiple critical!”

“Oh shit! We’re taking effective fire!”

All you could do was watch in dismay as gunfire rained down on the heli, with only a few shots being returned.

“Alpha,” Ghost radioed, “we’re moving to building 1. Hold tight.”

At that, Soap swung his head towards the Liteunant, “Ghost, we need to secure that crash site now.”

Ghost shook his head, “First we clear for Hassan, that takes the heat off Alpha. Then we secure the crash site. Clear?”

“Roger that.” Soap said.

“Roger,” you echoed.

The team crept closer, guns sweeping in all directions as you moved through the farm plots and up to the building. As you reached the top of the hill where the backdoor was, you began to here Al-Qatala forces talking, yelling to keep firing at the helicopter, anticipating more of us would show up to aid the Alpha team. While it may have seemed cold, Ghost was right; you could admire that: making those hard decisions, ones that seemed heartless to everyone else.

You swapped out your sniper rifle for your M4 and aimed at the door. Ghost pulled out a sledgehammer, “Breacher up!” and smashed the door down, seemingly taking very little effort on his part. Two people were inside, immediately taken out by five people simoltanelously firing.

“Sweep through,” he ordered. Both floors were clear of both AQ and Hassan, as announced by two marines.

Almost immediately, though, one of them shouted into their comms, “Contact! Building two!”

“They know we’re here!” Ghost shouted. You switched back to your sniper and aimed for the opposite building. You took out two while Soap, also sporting a sniper rifle, took out the others.

“All stations, crash site is taking rocket fire from building two, second deck!”

“Alpha,” Ghost responded, “taking building two now, hold fast!” He gestured for the team to follow him towards the back of building two and instructed Soap to enter through the window. You followed Ghost in, and watched as he threw a knife and hit an AQ member dead center in the face. While you didn’t have time to think too hard about it now, you noted to file that memory for later. He kneeled, pulling the knife out of the man’s face before gesturing to go upstairs. Before you could move forward too much, the soldier infront of you was shot from a room attached to the hallway. “I’m hit!”

You quickly shot his attacker and he mumbled, “Someone in the next hallway.”

You moved forward with your M4, taking out the person aiming at the heli with a rocket launcher. Soap appeared before and spoke into the comms, “Ghost, Siren took out the enemy rocket.”

“Roger. Time to hit the crash site,” Ghost responded. “Siren, how are you with that rifle?” At some point he removed his night vision googles, revealing his eyes, visible through his mask. Maybe others shied away from his gaze, but you never were one to back down.

You looked him straight in the eye and replied, “Deadly, sir.”

You could have swore his eyes widened a fraction, suprised by your answer. 

“Stay here on the balcony for cover fire, rest of Bravo, circle up outside.”

The rest of the team left, talking to your team member who was shot in the chest plate in the hall.

You made your way out to the balcony and laid down, propping up your rifle and watched as Ghost and Soap made their way to the helicopter, everyone else fanning out in front of building two for cover.

The comms crackled with Ghost’s gravely voice, “Expect contact. AQ’s waitin’ for us.”

 Both of them were only in the heli for a few seconds before you spotted enemy combatants approaching from the tree line.

“Engage!”

As soon you heard his order, you found your first target. You emptied your mind of all concerns, wrestled control of any errant thoughts of this or that. You took a deep breath and pulled the trigger.

—-

Ghost 

28 August 2022

0030, Al Mazrah, U.R.A.

‘Deadly, sir’ she says, he thought to himself. He can hear himself calling out directions of enemies to the others, his firing on autopilot. But everytime a target becomes to close for comfort, they fall, bullet to the head. And he knows Soap is firing in another direction, leaving only one person to be taking them out at a rapid speed.

Something about her prickled his senses. Maybe it was her demeanor, her confidence. Maybe it was that she looked like she knew what everyone else was thinking. Maybe it was that she seemed to challange him with her eyes whenever he looked. He wasn’t sure he liked it.

For now, he didn’t have time to entertain those thoughts, busy on trying to prevent being pinned down by AQ.

After the first wave was over, he ordered for Bravo 7-6 to call in air support, not wanting to get overrun by any reinforcements that were surely on their way.

Before air support could arrive, smoke rolled into the treeline.

“Siren, do you have a visual behind the treeline?” he questioned into the comms.

“Take cover—They have grenade launchers! I’ll take them out!” she responded in an urgent tone.

He heard one shot….two… three… four… five…

“Ghost, launchers gone. More AQ on the field.”

Both he and Soap worked on clearing out the rest of the field, eventually all movement ceasing.

In the stillness, he radioed back to his other Sergeant, “Siren, I need you down here right now.”

“Roger. Moving.”

Soap approached his side, “Ghost, we should fall back to the house.”

“Negative,” Ghost said, “We clear this position and push. If Hassan’s still here, he’s out ahead. 7-6, patch us through to air support.”

“7 Actual, Kilo 0-1. Fire is one mike.”

“Kile 0-1, you’re cleared hot on anything forward of our position. Danger close approved.” As he was talking, Siren joined them in the heli, nodding at him and Soap.

“You’re a damn good shot, lass,” the Scott declared, earning him a small smile from her.

Before he could say anything, Bravo 7-2 interuptted, “Lieutenant, we got armored vehicles incoming. Four of them.”

Ghost was not suprised, but it wasn’t ideal for a downed helicopter to be the only cover you have against APCs. 

“Standby for engage!” he ordered. “Get ready….!” 

The vehicles made their way onto the field in front of them. “Cut ‘em down!”

They rained gunfire on the vehicles; the air support pilot’s voice broke through: “All Bravo, Kilo 0-1 is inbound hot, danger close.”

“Engaging secondaries.”

The vehicles were taken down in quick fashion, any stragglers also meeting the same fate.

“We clear?” Soap asked.

“Fuckin’ hope so,” Siren replied, still aiming her rifle through the helicopter windows.

After ordering for a bird to be ready for exfiltration he addressed the team in front of him. “Get yourselves sorted. Hassan is still the target.”

“Aye,” Soap approved. “Let’s go get this fucker.”

They quickly moved away from the helicopter site and made for the compound in front of them.

“They used the helicopter as bait,” Siren observed, taking a position on his left.

“They’re well supplied and fighting smart. Thanks to Hassan,” Ghost replied.

The team made their way through a grassy field, frames of various structures littering the area. 

Not even a second after the compound came into view, a green laser also appeared. The soldier to the left of Siren was shot, prompting her to yell out and move closer to Ghost. “Fuck! Man down!”

“AQ sniper on the roof!” he called out, “Get down!”

Ghost knew just by her rank that she has seen combat before; hell, she was a sniper herself, she didn’t need his aid. But for some reason, he found himself roughly grabbing her arm and dragging her down to the ground with him. She landed pressed against his side, caught offguard by the force of his pull. 

A second passed and she quickly went prone on the ground and both her and Soap aimed for the roof.

“Sniper down!” Soap exclaimed after firing a shot. 

“More snipers on the roof, take them out!” Ghost ordered.

Siren fired two shots, one right after the other, and he saw to bodies fall instantly. If nothing else, she was a damn good sharpshooter.

Despite their best efforts, 7-5 was shot. 

“They’ve got fucking nightvision,” Siren said as she fired off another shot, “we’re sitting ducks out here.”

She was right, and he knew it. “Soap, Siren! Keep us covered, we’re moving up!”

As he crouched and moved up, he kept hearing the two snipers firing but it wasn’t enough to keep all the heat off of them.

“7-6!” Ghost yelled, “I want air support fire on that building now!”

“Ghost,” Siren said, sounding slightly dumbfounded, “we don’t fucking know if Hassan’s in there!”

He gritted his teeth, annoynace flaring up at the pushback. “They’re forcing our hand! 7-6, hit that building, but don’t level it.”

“Kilo 0-1 to Bravo team, copy that, making our run.”

As soon as he saw the helicopter, he yelled out to the remaining team members, “Force up to that wall! Move!”

Building 3 was lit in a fire, tinted yellow by the nightvision googles, shots coming from every which way.

“That’s a glorious sight,” Ghost said, crouching behind a half crumbled wall.

“Thank Christ for air support,” Soap commented.

“Yeah,” Siren said, swiveling her head towards Ghost, “hope Hassan’s still in one piece…”

“Several pieces will do,” he replied with a smirk hidden behind his balaclava at the way she shook her head in disdain. “Easier to find that way.”

He continued, not waiting for her reply, “All Bravo, move up. I want this building locked down. Lead us in Soap. Siren, behind me. Let’s find Hassan. Dead or alive.”

Siren took a staggered position behind him, an M4 aimed at the opened door.

Soap, barely two steps in, fired at an assailant running for him. Seemingly clear, Ghost entered, followed by Siren.

“Check the bodies,” he ordered. “We need positive ID on Hassan.”

None of the bodies nor any of the alive hostiles Soap encountered were ID’d as Hassan, prompting Ghost to order the team to the second deck.

Soap fell behind while Ghost and Siren lead the others up the stair. A closed door was on the right; Ghost looked at Siren and nodded his head towards it. She took position, aiming at the hallway in front while Ghost approached the door from the side. Ghost didn’t need to open the door as the door began to open, a rifle aimed at Siren.

Ghost opened the door the rest of the way and grabbed the solder by his rifle and slammed him into the wall and quickly shot him in the heart and the head before letting the body hit the ground.

Ghost continued into the room, feeling Siren at his back. “Got two X-rays,” he informed her at the site of the two wounded AQ soldiers in the room. “Dump ‘em.” 

Two single shots were fired and they dropped to the ground. 

“Clear,” she said. 

“Hassan’s everywhere,” Ghost commented to no one in particular. Three screens were playing speeches by him, denouncing the West for taking out Ghorbani.

“Everywhere but here,” Soap retorted.

Soap pushed forward first, follwed by the rest. Several people jumped out but were promptly eliminated. 

The room they entered looked well used but had blueprints. Combined with the previous room that had a dozen computers, Ghost called out, “He was here. This is a bloody ops-center. Poke around, Soap.”

Ghost watched Soap move towards the desk after checking the balcony and move around several papers. Then he moved on to the jacket draped over the chair.

“Look,” Soap called out, “Hassan’s uniform.”

“So he was here,” Siren concluded.

Ghost nodded. “Lost him when we secured the crash site.”

Soap looked at him incrediously, “Are you sayin’ we shouln’t have helped?” Interestingly Siren did not seem put off by his statement like Soap was.

“Choices have consequences,” was all Ghost said in reply, not willing to discuss the ethics of prioritizing team or target.

“All Bravo-we got movement out here.”

“On the way,” Ghost said into his radio, locking eyes with Siren on his way out. “All Bravo, circle up outside.”

As they moved out of the building, Soap voiced some of his thoughts out lout. “If Hassan’s gone, then what the hell are they still protecting?”

“Good fucking question,” Ghost heard Siren say somewhere behind him.

The night air fully greeted them once more along with the rest of the Bravo team. 

“What do we got?” Ghost questioned.

“A warehouse,” Bravo 7-6 replied. “Roll up door’s open. Heard somethin’ inside.”

“Copy, let’s clear it.”

After entering, the lights suddenly flipped on, forcing them to remove the night vision goggles. Bullets were aimed their way, hitting the shelves they took cover behind. Ghost reached around to fire at the soldiers, being mirrored by Soap and Siren. 

“Fuck!” he heard Siren yell loudly. “Grazed me!”

Ghost whipped his head around to see her pull a bloody hand away from her upper thigh 

He watched her eyes narrow in fury and continued shooting, not caring about having to lean on her good leg for better support.

Ghost didn’t bother telling her to fall back; the inferno present in her expression told him that it wouldn’t be well recieved or listened to. 

Soon enough, all the threats were taken care of, leaving them to finally be able to locate what the hell AQ was so desperate on protecting.

“Search the warehouse. Let’s find what they were hiding….”

Serious weaponry was found along crates of ammunition. Ghost shook his head in slight disbelief at all the hardware present. “This warehouse wasn’t on the intel.”

“Guys, come look at this,” he heard Siren yell.

She stood in front a blue shipping container, gun trained on the doors.

Ghost walked to her side, glancing at her leg, blood visible through her gear.

“It was just a graze,” she said, eyes still on the container. “I’m fine.” Before he could say anything else, Soap approached the doors of the crate and opened it, revealing a server and a control console. 

“What the fuck is this?” he asked.

“It’s in English,” Siren observed.

 Ghost and the two Sergeants backed up to look above the container.

“Steamin’ Jesus,” Soap breathed out.

“Ballistic missiles,” Ghost said, not quite believing his eyes.

“It’s a mobile laucher,” Siren added, “These’ll go 1,000 miles.”

“At least…” Ghost trailed off.

Soap was the first to break out of their stupor, walking around to the side and climbing the crate for a closer look. “How the hell did Iran get their hands on this?”

Siren walked with a slight limp around to the side as well while Ghost hailed Laswell.

“This is Watcher-1, send traffic.”

“Laswell, this is Ghost,” he said as he walked to stand beside Siren. “We got something.”

“Tell me you found Hassan…”

Before he could reply, Soap interupted, “Guys take a look at this…”

Siren let out a quiet gasp and muttered in disbelief, “What the fuck…”

Ghost finally could see what she was suprised at. The missile launcher had an American flag on the side.

“Ghost, do you have Hassan?”

“Negative,” he told Laswell. “We found a weapons cache. Hassan’s got missiles… they’re American.”

General Shepard’s voice broke through. “0-7- this is Gold Eagle Actual, repeat your last…”

“I say again—Hassan has American missiles.” 

——

Siren

28 August 2022

0300, Safehouse, somewhere in Al Mazrah

After the missile was found, they were ordered to exfil, with the marines returning to the nearest base while Ghost, Soap, and you stayed in a safehouse for further instructions. The drive was a quiet one, the three of you stuck in your own thoughts about the missile situation. 

The safehouse was low-profile, surrounded by nothing but trees. It had three bedrooms, a bathroom and a kitchen you noted as the three of you entered.

“I call first shower!” Soap exclaimed, brushing past you and Ghost, making a beeline for the bathroom. You sat your bag with your weapons and clothing down in the living room before looking in the kitchen for a first aid kit, sporting a slight limp. As you looked around, you heard Ghost venture down the hallway, likely picking a room.

You finally found one under the kitchen sink and took a seat on the couch, rag and kit next to you. You looked at blood from the wound; you could feel it wasn’t very deep, but definitely noticable and painful. As you threaded a needle in preperation, you heard light footsteps behind you. You looked over your shoulder and saw Ghost, mask still present, looking at you. His gaze fell from your face to your thigh. You drew in a steady breath and returned your attention to the needle. Once it was tied off, you wet a rag with rubbing alcohol and set it aside as well.

Before you could do anything else, he walked up to you and spoke for the first time since arriving.

“I’ll stitch you up.” 

You nodded, not feeling like arguing, and it was at a weird angle for you to do yourself. 

“Stand up and take off your pants,” he said in that deep tone of his, looking at you with piercing brown eyes.

You scoffed quietly and unbuttoned the top before gently stepping out of your pants.

“No dinner first?” you teased, standing before him in only your long sleeved shirt and black underwear.

“I usually skip straight to desert,” he said as he kneeled in front of you, eye level with your wound. You sucked in a breath at the sight; it had been a long time since a man kneeled in front of you other than to beg for his life.

He grabbed your injured leg with one hand, while the other grabbed the cloth and began to clean the wound. You hissed at the stinging sensation but otherwise stayed still. Maybe you should have been making some small talk but you found it hard to focus between the pain and the hand wrapped around your thigh to keep it still. 

“Good work on the mission,” Ghost said, placing the cloth aside to instead pick up the needle and thread. His knuckles double tapped your inner uninjured leg, motioning for you to spread them apart. You did and quietly sucked in a breath when he leaned closer to get a better look. 

“You are a deadly shot.”

“Thanks,” you said, wincing when the needle first went in. “Though I prefer up close and personal.” His hand twitched slightly, tightening by a fraction. His focus was on stitching up the graze on the side of your leg but you were focused on his hand that held the inner part of your thigh. He moved his hand up as he worked, index finger nearly grazing the edge of your underwear. His closeness was awakening desire in you; you could feel your underwear getting more damp and just hoped he couldn’t smell your arousal. Part of you wanted him to move his hand to spare you from getting so worked up. But the other, much louder part of you wanted him to slide his hand up, hook two fingers into your panties, pull them aside and—

You closed your eyes, willing your face not to redden; you have men constantly touching you for a job, for God’s sake! 

You weren’t so naive to think he was the same as all those other men, though. No, this one was different.

“Finished,” Ghost said, “make sure not to pull them.” You looked down at him and found his eyes already on yours.

You could see that he was likely wearing a neutral expression, but his eyes revealed a split second of heat before being schooled into indifference.

Not looking away, he gave your inner thigh a squeeze and let his hand travel down the inside of your leg, finally dropping when he reached your knee.

He stood up, and for a second, you could have swore you saw him glance in between your thighs.

Again, the two of you stared at each other, a tension building and building, one of you having to break first; he took a small step towards you and—

“Am I interrupting something?” 

Soap walked into the living room, hair still wet from the shower. Of course, from his view, it was odd, seeing his fellow Sergeant in her underwear with his Lieutenant.

“No,” Ghost said, moving towards the hall. “We were just finished.”

You pulled your pants back on and went back to your room, replaying whatever the fuck just happened.

Taglist:

@nobody-000 @theyounglingslayer @untoldshortsofthefandoms @memeorydotcom @kuutski @your-highnessmarvel

[thagomizersshow]

I said a few days ago that I’d share my criticisms of Jurassic Park, so here goes. At its core, JP is a movie that has one message in the text and another in the subtext, and this all comes down to why of the park’s failure.

The film’s dialogue famously ascribes the failure of the park to hubris; don’t mess around in god’s play place (aka genetics) because you don’t know what will happen. Ian Malcolm’s "life finds a way” criticisms of the park are portrayed by the characters as correct. Malcolm even says that “he hates being right all the time.” It’s also worth mentioning that Michael Crichton and Steven Spielberg have both been interviewed on the message of Jurassic Park, and they both said it is about the misuse of science, in agreement with Malcolm.

That is the text. This all-too-common sci-fi story about humanity meddling in the domain of the gods. Which, BY THE WAY, did not originate with Frankenstein as I said in one of my earliest videos. I’ll argue now that lumping Frankenstein in with JP and other “man’s hubris” stories is an oversimplification and possibly even a straight up misreading, but that’s a WHOLE ‘nother post.

Now, when we look at the events of the story, rather than the dialogue, a different message is revealed. Looking at the actions that actually lead to the failure of the park, it’s clear scientists failing to account for something has nothing to do with it.

Yes, the dinosaurs turn out to be breeding, but this has zero effect on the events of the film. Maybe if they had included the raptors changing sex, like they do in the novel, this argument would have a leg to stand on, but as the film exists the discovery of breeding dinosaurs makes no difference to the plot. You honestly could cut this scene out and the film wouldn’t miss a beat.

The real reason for the park’s fall is much more mundane: Hammond didn’t pay one of his workers enough.

Dennis Nedry is honestly one of the most disgusting portrayals of a “disgruntled employee” ever put to screen. He’s written to be the least sympathetic character possible; he’s messy, annoying, gluttonous, physically inept, and to top it all off, of course he’s fat, a trait most often given to characters who are either comic relief or villains. So, when he complains about not being paid well enough, the audience is already primed to think of him as unworthy of sympathy.

This in spite of his clearly incredible feat of automating the entire park single handed. Nedry’s decision after being fucked over by a multi-billion dollar company — like anyone with a backbone — is to try and fuck them right back. In this case, it was by stealing their shit, which may not have been the best choice (workplace organizing, man, c’mon), but I honestly can’t fault him for it. He deserved better than to be the audience’s hate sink, and we can put full blame on the writers and director for creating such a vile representation of a worker.

All this to say that the theme park’s failure, and all the deaths it caused, fall on John Hammond’s shoulders. Not because he “didn’t stop to think if he should.” Not because “life finds a way.” But because he treated a worker like shit who knew more about the thing they made than he did.

Now, finally, I want to address the fact that I’m not the first person to make a Marxist analysis of JP. In fact, Idea Channel made a video on this topic forever ago, and there are literal academic papers on this topic well worth reading. The point I want to make is not just that JP says something about capitalism, but that the subtextual message about capitalism is at odds with the textual message about the hubris of scientific advancement, AND this degrades the film’s quality massively in my eyes.

If Nedry was portrayed as sympathetic, if Hammond’s abuse wasn’t glossed over, if someone called Malcolm out on how he isn’t right all the time, then MAYBE this movie could be an actual good commentary on capitalism. But as it stands, it feels like it ignores the questions its own story brings up, and even worse, is really mean spirited towards fat people and workers who’ve been wronged.

As much as I love SO much about Jurassic Park, including acting, cinematography, effects, editing (honestly SUCH good editing), the script itself falls apart so badly at the seams I struggle to enjoy it the way I used to. This, combined with the fact the series has turned into a nostalgia driven sludge machine, and I just can’t bring myself to engage with this franchise in a positive way anymore. 

[lilareviewsbooks]

I'm upset about "The Grace of Kings"

1 star

640 pages

Contains: I’m not even going to tell you because I don’t recommend you read this

This is a negative review! I'd very much not recommend reading it if you're emotionally invested in this series or if it has brought you any kind of joy. I'll be complaining about this book a lot. I'm sorry, but I really didn't like it!

I went into The Grace of Kings thinking I was going to become obsessed with this series. I’d heard very, very good things from reviewers I trust, all saying this is a series of epic proportions that engulfs you and draws you in. People even called it “unique”. Plus, I’d listened, last year, to Mr. LeVar Burton reading Mr. Liu’s famous The Paper Menagerie, and was moved to tears by that short story. I was ready to be dazzled.

I’m guessing that by my star rating you can infer that I was not dazzled.

The Grace of Kings has one of the most pitiful excuses for writing I have ever read. Especially after finishing a lyrical series, like Mr. Seth Dickinson’s brilliant The Masquerade Series, it’s almost impossible to enjoy Mr. Liu’s painfully dry writing style. It’s predictable and boring, leaving no room for nuance. This bleeds into the characterization, as we’re repeatedly told things about these characters we have – painful, dreadful – 600 pages to spend time with.

For instance, the author will show the audience that a character is picking up a bowl of rice. The next sentence is almost always, “he had picked up the rice bowl because he was very hungry, and hated being hungry”, explaining to us the character’s actions. This is, of course, perfectly fine if done in moderation, but dreadful when done frequently. And this is what Mr. Liu does: every decision gets explained, every thought is told to the audience. Absolutely nothing is left to the imagination. This makes the book boring and almost child-like, as it grabs you by the shoulders and painfully reminds you of why certain characters do certain things, as if it didn’t trust you to remember anything about these people you’ve spent so much time reading about.

But the writing misdemeanors don’t stop there. I can’t believe I’m saying this about a published piece of fiction that had multiple reviewers before being put out to the public, but the punctuation is just awful. It's not expressive at all, which causes most of the dialogue to read like it's being spoken in a monotone voice. Actually, no, maybe that's the fault of the dialogue itself, which is as dry as a desert and elicited absolutely no reactions from me even in its throes to be endearing, romantic or funny. 

In addition, there are just funky little beginner mistakes. There are words repeated inside sentences, and I once ran into a sentence that had two clauses beginning in "because", one following the other. Plus, chapters end in odd places. Not in a way meant to enact suspense, or a cliff-hanger – though if Mr. Liu was trying to do so, he failed spectacularly – but just… ending. Out of nowhere. Leaving me to turn my pages in alarm, wondering if Amazon forgot to ship me an end to my chapter.

The characters are… fine, I guess, but like most of this book they feel half-baked. The plot is convoluted, to be kind, and a mess, to be frank. With the excuse of The Grace of Kings being "epic", Mr. Liu introduces a series of characters only to find a fate for them off-screen or kill them off in the next couple of chapters. There is no regard for the politics or fine details of administering a) a rebellion; b) a kingdom: c) anything at all, which is fine, I guess, but becomes quite ridiculous by the eleventh time someone unprepared has assumed the control of a province and is doing just fine at managing it. Until the halfway mark it's impossible to predict what's going to happen next – which is also fine, I guess – not because of any genius on Mr. Liu's part, but because the plot is just a bunch of strings all jumbled up together. After that it all becomes very predictable and the pacing is a hot mess, everything moving by super quickly as you watch in desperation – and it was about at that point that I stopped reading.

I also have a very specific bone to pick: why are characters moving from one part of the world to another in literal seconds? They do have flying airships but it's established you need a large crew and that they're only for military use. The lack of any thought to the movement of characters through the space is just an indication of how little care was put into the building of this world.

It's hard to explain just how terrible I found The Grace of Kings, and just how confused I am by everyone's high opinions of this book. I think the best way to put it into words is that it feels like I'm reading a rough – and let's say extra rough, for good measure – draft of what will one day become a great book, if it gets a good editor to take a look at it. The thought of continuing this series – or this book, I did DNF it – fills me with absolute dread. Suffice it to say, I won't be picking up the next book.

Unless someone offers me a thousand dollars. Then I'll reconsider. But I'll bargain, first.

[falcor-thee-luck-dragon]

Dark Shenanigans - Nandor x (f)reader

Summary: It’s Nadja’s something hundredth birthday, with that said, you’re on a mission to make it great.

Warning: fluff, general vampire nonsense

Masterlist

“Yeah being a half vampire half human does have its perks. I mean for one I can do all that cool vampire shit and I can go out in the sunlight...so that helps for when they’re all being really annoying.” You admit with a casual shrug to one of the documentary cameras before turning to an isle of party supplies. “So anyways we’re at this store.”

The camera shifts to the multiple arras of supplies and materials at the local supermarket in Staten Island that you and your vampire lover’s human familiar, Guillermo, currently are. Specifically on the hunt for birthday decorations for Nadja and ghost Nadja who’s possessed a strange looking doll for the time being.

Since the other four actual full vampires can’t shop for themselves at this time of day or really in general, you and Guillermo have been given such an honorable task in making Nadja’s birthday the best one yet. Considering she’s the most well balanced in the head out of the four of them and is the only other lady of the manor.

“Hey Y/N, how’s this look?” Wonders Guillermo as he holds up a bunch of Mardi Gras beads of yellows, purples, and greens. “Comments, questions, concerns?” He adds with a small smile.

Eyeing up the beads, your head shifts over to the other various colors, “Hrmm, G I’m feeling the vibe you’re going for this year and I like it, but let’s go with Nadja colors.”

Guillermo’s dark eyes light up at your positive suggestion, “Right! So the red and black ones then?”

“Yup. She’ll love that shit.” You state with a satisfied nod of approval, “Let’s get some black and gold confetti from over there and oh, those masquerade masks look cool as fuck.”

You pick up and test out various masks in the background as Guillermo adds some bits of dialogue for the documentary crew, “Um yeah she’s really cool isn’t she.” He says with a smile while glancing at you then back to the camera, “Which is kind of odd since Y/N’s been with Nandor since 1793 so you’d think she’d be a little more like them but no, she’s super chill and really nice.” Suddenly his face goes a bit serious as he leans in to whisper, “But she did kill a whole street gang once when they threw a slur at me so I wouldn’t mess with her. For your safety.”

The camera pans back over to an oblivious you who’s put on a masquerade mask and is swinging a plastic light saber around with a whole lot more accuracy and grace then would a normal person. The camera then pans back to Gullimero, “Um, I’m just gonna....make sure she doesn’t smack anyone.”

——

Arms full of groceries of food for you and Gullimero, as well as random party decorations for Nadja’s birthday tomorrow night, you use the bottom of your boot to skillfully open the door as the documentary crew and Guillermo follows suit. Guillermo now on the verge of falling over with the large heart shaped pillow in his arms that’s covering most of his body.

You don’t feel tired in the slightest due to your half vampiric abilities so this is nothing to you, “Alright.” You state, turning on your heel to face the crew and Guillermo, “They’re asleep so we gotta be extra sneaky now, I don’t want Nadja catching us with all this cool spooky birthday shit. Everyone to the attic!” You whisper yell before leading the charge to the attic.

They all follow as quietly and as quickly as they can and then soon enough in no time are you and Guillermo back outside in the sunny garden trying to figure out if you should blow up the giant sea monster pool floaty.

“I mean it would look cool as hell and no doubt out-do whatever the fuck boring thing Lazlo probably has planned.” You quip with a shrug while the two of you stare thoughtfully at the small gloomy dark pond. “He’s got no chance with us. I’ve won best decorator and card maker for two hundred years in a row.”

Guillermo side eyes you in honest amazement, “Wow that’s a lot of years. And cards.”

“I know. I was an artist in the 12th century but my no good terrible good for nothing piece of garbage trash sexist human husband, who I was forced to marry when I was only sixteen, took all the credit for my artwork in that era.” You confirm with a growl, “But it stings less because once I finally grew into my powers and strength at eighteen I simply made his untimely demise look like an accident.” You add with a smirk.

“Oh, wow.” Mutters the intrigued familiar.

“Precisely. The old fool was thrown off his horse because I told Philip, the horse, to throw him off. And he did. Which killed the idiot so I got the house and all of his money.”

“That’s......neat.” Mutters Guillermo as he shoots the camera crew from behind you and him a nervous look. “Uh the suns going down so I should probably help Nandor out of his coffin.”

Raising your head to the sky you immediately see how the sun has begun to paint the clouds in beautiful colors of oranges, reds, light pinks, and darkening purples. “Oh, how bout that. Yeah alright let’s get inside.” You nod to Guillermo before turning to walk towards the manor’s giant mahogany doors.

——

Turning the handle and walking a couple feet into the large main room that holds itself as a sort of crossroads for all the other various connecting hallways and staircases. You don’t make it even three more steps towards the left ascending staircase before you hear the highly recognizable voice of your one and only.

“Y/N! My lovely wife and favorite person still ever so lovely!” Announces Nandor loudly with a grand smile showing off his pearly white fangs, “How I have missed you and your morning kisses. Where have you been off to?” He wonders softly as you smile a big dumb love-struck grin right back up at him, you’d absolutely die to hear that accent one last time.

“I can’t tell you right now it’s a secret!” You whisper yell back, causing his thick dark brows to scrunch up in confusion.

“But I am your lovely strong puff dragon Y/N.” Whines Nandor adorably as you roll your eyes at the cameras before looking back up at him.

“Fine. Come here then.”

In an instant he’s at your side, excitedly awaiting what secretive news you will tell him, “Okay, so we know it’s Nadja’s birthday tomorrow right?”

“Yes. I remember because she hasn’t shut up about it.”

“Right. So me and Gullimero got some fun surprise birthday party decorations and they’re in the attic and we can’t tell Nadja.”

Nandor gives you a knowing look of affirmation as he leans in closer to you, his demeanor suddenly shifting into a more saddened one, “You went shopping without me?” He says quietly.

Leaning up to give him a quick peck on the cheek your hands instantly find his, “Just for a little while, but I still need to find more stuff so....you wanna come?”

Nandor’s big dark eyes light up with joy as you hand him a kind smile, “Yes! Let us go in search of unknown treasures for our lady friend Nadja so she will not be mad at us for terrible dull gifts of friendship.”

Laughing you give his hands a playful squeeze, “Come on I’ll race you to Party City!” You say before leading him past the camera crew and Guillermo who simply watches the two of you leave, glad to have an hour of peace.

“There’s a whole city for partying? Y/N why have we never been to this place?”

——

“Y/N there are no people partying here.” Whines your vampire lover in puzzlement as he follows you from the entrance to a side isle. “You said this was a city for partying.”

“That’s just the name of the store Nans.” You retort with a small chuckle as he looks from right to left at all the color coded party plates and napkins galore.

“Well the title is very misleading.”

“Agreed.”

Turning to the right you guide him towards the decretory pirate themed isle in search of something that will peak his interest. Also you wanted so badly to make it to this spot but Gullimero was a man on a mission so your intention was thwarted for when you had Nandor with you.

Speed walking down the pirate themed isle you quickly halt all movement as Nandor’s large body stops within less than an inch from your back. Smiling brightly you snatch the desired object in front of you and as swift as a cat turn to face him.

“Have you come for a dual my old enemy?” You speak slyly, eyes narrowed as you hold the foam sword right in front of his face. “I sense a nervousness about you. Tell me, are you ready to face your inevitable bloody end?”

Staring at the pointy foam, his dark puppy eyes shift over to you as an adorable fangy grin breaks out across his pale face, “Seems you have come prepared, oh radiant and alluring seductress. Well, so have I!” Shouts Nandor before grabbing two foam swords from off the rack and swinging them in both hands like a mad man.

Taking a cautious step back you hold your pathetic five dollar sword in both hands like a true warrior ready for battle, “Only one shall leave this place alive.” You affirm with a smirk, “And it’s not going to be you.”

“Arrrrrggg.” Bellows your lover as he charges you like the true conqueror that he once was. But all to soon do you swiftly duck under his arms and swat him over his stomach with a confident thwack sound.

He makes a puny little “oww” as you turn around to face him once again, “Y/N you hit me kind of hard.” He complains, looking rather defeated and genuinely hurt that you could have intentionally injured him on purpose.

Bringing the plastic weapon down to your side once again, your face suddenly softens as you walk over to him, “Come here you big baby.” You quip sincerely as he leans down so you can give his cheek a quick kiss.

Rising back to his full height, Nandor almost blushes as the corners of his eyes crinkle into a happy smile, “Actually it didn’t hurt at all I just wanted you to kiss me.” Reveals the vampire with a proud grin as you simply roll your eyes.

“Should have known.” You add before turning and snatching up four more plastic foam pirate swords for the others. “Alright let’s get outta here, follow me my love, to the checkout line we shall purchase our weapons of war and partying on the high seas.” You announce with gusto as Nandor stands proudly at your side, ready to follow you anywhere.

“Yes. To check out.”

——

Kicking open the unlocked door, Nandor bursts into the vampire residence with bags full of goodies for Nadja’s birthday party. You right behind him but less dramatically, “We’re back!” You shout to no one in particular as Colin Robinson suddenly appears from out of nowhere, looking ready to leave with his funny little hat and usual beige jacket.

“Oh hey guys,” He starts with a friendly nod, “I’m just heading out on the town tonight. I guess there’s a fair or something in the park and I wanted to test my skill at the ball toss. I’ve been reading up on the body mechanics and how the game is set up which seems pretty basic all in all. Also I really want to win a stuffed bear this time, it might add a little pizazz to my room. Welp see ya’round.” Adds Colin before walking past the two of you without another word and out into the night he goes with some of the camera crew following close behind.

Nandor turns to you with a look of annoyance, “Jeesh I thought he would never leave. Let’s go to your room I want to kiss you some more now.”

“Why my room?”

“Because since you are half vampire you get to sleep in a bed and because I am a full vampire I sleep in a coffin.” Inquires Nandor while looking at you with those big beautiful dark eyes of his, “And my coffin is too small for cuddles so your room will suffice.”

“Yeah that’s a fair point.” You shrug before following him to your room.

After many cuddles leading to other more rated R type activities that lasted until just about sunrise, you finally got some well needed rest while the sun shone high in the sky until she began her dramatic descend back into oblivion. Opening your eyes you slowly rise from out of your comfy bed, already missing the presence of your obsidian eyed lover.

He gets too nervous about your closed windows for fear that the sun might burn him which would be impossible because you black out the glass. But alas, he’s very cautious about these types of things and won’t risk it for anything, though he feels bad about leaving you in the morning, you understand.

Suddenly it dawns on you that today or perhaps tonight, is Nadja’s birthday and you completely forgot to set up any decorations. Shit, how stupid. Throwing the blankets off of you, your feet move quick as you speedily change yesterday’s outfit for something a bit nicer and more clean.

Racing out of your room and into the dimly lit manor hallway, you make a bee line for the attic but before you’re able to reach the steps, Guillermo runs into you, just about knocking you into a wall of various stolen ancient weapons. Sharp ones at that.

That was close.

“Y/N are you okay!” Worries the familiar as you quickly gather your bearings.

“Guillermo! The decorations! Nadja’s birthday!” You whisper yell as the human man simply smiles. “Why are you smiling, this situation does not call for smiles.”

“Don’t worry. While you were sleeping I set up all the decorations.” He replies with a shrug, “No problem.”

“What? But that must have taken you all day, you could have asked me for help. I would have come.” Your brows furrow as he shakes his head, though you still feel bad for not helping with anything.

“Well I did try, but um,” Gullimero awkwardly clears his throat, giving the camera a quick glance, “Nandor was with you and last time I asked for you while you and him where having alone time he threatened to carve out my eyeballs and force feed them to me.”

Pinching the bridge of your nose in annoyance you take a deep breath, “Sounds like him. Very creative when he wants to be, alright, well....where’s everyone?”

“Oh, they’re not up yet. I was actually on my way to get you. I made blood popsicles and the pool floaty is all done and in the pond.” He says with a sense of pride for his decorating skills. “I think she’ll like what we’ve come up with this year.”

-

Standing in the living room with your three fellow immortals you search a dresser for her card, “Oh shit where’s my card? I could have sworn I had it yesterday on my dresser but I don’t remember seeing it there in the morning. Maybe it’s in this one?”

“Witches!” Hisses Nadja as you huff in frustration, where the hell did you put that damn card?

“Oh, Y/N my love,” Intervenes Nandor with a gentle tug of your sleeve, “I took it with me when I left your room before sunrise because I wanted to put my name on it too so she would know it’s from us.”

“What?” Replies Lazlo dramatically, “Now hold on just a damn minute, this card competition is individually scored so I won’t be having any of this nonsense. I worked really hard on mine this year.”

“Oh lick a donkey’s arse, look here,” You retort with, quickly holding up the card for Nadja, “there are two separate drawings on ours so either way if one of us wins she gets both our pictures. So you better hope your drawing doesn’t resemble a night clubs bathroom wall.”

“Yeah.” Mutters Nandor, who’s hiding behind you while resting both hands on either one of your shoulders as you glare at Lazlo.

“Fine.” Agrees Lazlo begrudgingly, “And mine will be amazing, this bitch of paper took me a whole six months to plan and produce. Can’t get quality this good anywhere else I guarantee it.” Adds Lazlo with a firm nod of self approval as you glance at the nearby camera.

“Right, okay everyone sit it’s time for presents. I want to know what you all got me.” Beams Nadja excitedly as she smiles a fangy grin in delight, plopping herself down in one of the arm chairs. Lazlo quickly finding the other one while you and Nandor seat yourself on the large couch. Colin and Guillermo finding somewhere to sit close by respectfully.

“Well, all I can say is hold onto your socks my dear cause this is going to blow you away.” Smirks Lazlo as he pulls a small box from out of his jacket pocket.

“If it’s a self made business card that says invitation to sexy town I will puke.” You deadpan while Nandor laughs from beside you, causing Lazlo to lose his smirk as Nadja hides her amusement the best she can manage.

“He he, sexy town, nice one Y/N.” Mutters Nandor with a proud grin as you raise a brow at Lazlo who’s giving you a hard glare.

“Oh, my dear pumpkin pie love, don’t listen to Y/N I will love anything you gift me.” Encourages Nadja with a bright welcoming smile, no doubt immediately boosting Lazlo’s once irked mood.

Rolling your eyes you shift a bit to find yourself leaning into Nandor’s body as Nadja opens up the rest of the vampire residents various gifts. A joyous fangy smile gracing her pale features every single time, revealing this birthday party was a thrilling success.

After much more fun that just about lasts throughout the whole night, and some rare but hilarious attempts at dancing between the five of you vampiric individuals. You’re feeling rather sleepy and you can tell Nandor is ready for a trip to dreamland as well.

Swaying to the lowly playing record instrumental, you hold Nandor tight while simultaneously enjoying the feeling of him so close, him doing just the same as he keeps you firmly pressed against his chest. His long dark hair tickles your face as he presses his head to your cheek, doing his absolute best to keep the flow without tripping up.

Sensing his growing fatigue, you gently squeeze his hand, “My love the sun will be up soon, let’s get you to bed, yes?”

A small lazy smile tugs at the corners of his lips while he looks down to meet your gaze, “But my dark angel I’m not tired. I want to dance with you a little longer.” He whines adorably before failing to conceal a big yawn.

Giggling, you lean back to slowly lead him towards the door, “That yawn says otherwise.”

“That wasn’t a yawn Y/N, I was just smiling really big.” He protests, though he still follows your lead to the door.

“I’ve never seen anyone smile like that.” You add with a raised brow.

“Well maybe that’s just how I smile.”

Letting out a breathy snort, you pull away from him to at last take his one hand, “Come. I can’t have a single ray of that dreaded sun to get a taste of your precious skin. Not on my watch.”

Glancing at the closed front door, Nandor squeezes your hand, “Well um, now since you’ve mentioned the sun...I think I’d like to go to my crypt now.” He says, the flash of worry crossing over his face for only a brief moment.

“You sure? I mean a sunrise is pretty beautiful if I’m being honest and I know you never get to see them...”

“Not funny Y/N. And not fair, you know I can’t because I am full vampire.”

“And you’re missing out.”

“And I’d like to stay alive Y/N.”

“Aren’t you dead?”

“Yes and I am your only husband so I need to stay not burnt to a crisp.”

Chuckling, you follow him down the hallway, “Oh really? Don’t want me finding myself with another vampiric lover? Some new beast to sweep me off my feet and take me away into the night.” You tease.

Side eyeing you, he frowns, “No. Don’t I sweep you off your feet?”

Stepping into his crypt you stop him with your hand against his bicep, “Always.” You whisper sincerely with a quick wink, causing him to break out into a big fangy grin.

“Good. And if anyone would try and whoo you I would make sure there would be no more whooing again!” Exclaims Nandor, making the candles rise in flame for only a short second at his rise in emotion for how much he loves you.

“I don’t doubt they would fall by your blade. Not for a second.”

[mochegato]

I Can’t Fight This Feeling

Inspired by this

Chapter 1 

 Ladybug only paused momentarily as she ran.  If you weren’t watching carefully, you would miss it entirely.  And nobody in Paris was, their attention too focused on the ongoing akuma battle and avoiding becoming collateral damage to pay attention to Ladybug swinging away from the battle.  Or rather, nobody but one persistent prowler, whose focus was and had been entirely on Ladybug.  

She threw out her yoyo, attempting to get as much distance as she could in her swing.  “Our shadow is back.  And they’re fast and good.  They’re keeping up with me.  Not sure I’m going to be able to outrun them,” she commented quietly, trusting her com to pick it up.  She paused for a second before giving an affirmative hum.  “Just you, Rena.  Chat, you stay with the akuma.  We don’t know what this thing is.  I don’t want to pull both of you off the akuma if we don’t have to.  It’s causing too much damage to leave unattended.  But, I’m almost out of time, so there’s a timer on this.”

She swung, ran, and jumped at top speed for another minute before she ducked behind a chimney and hid in an alcove.  The shadow would have to be extremely good to be able to trail her, or have magic of their own, both of which were definitely options.  They had been able to keep up with her for the most part and observe them in fights mostly unobserved, which no matter how well the general public and reporters thought they were, they weren’t.  

But this person, whoever they were, was that good. The only reason she knew about them was because Sabrina had joined them using Barkk for only the second time, the first time being seen by the public, so she’d been able to detect them observing from the shadows.  What Sabrina hadn’t been sure of was how dangerous they were.  Thus far they had only observed the miraculous team, they hadn’t made any moves.

But, it appeared they were tired of waiting and she was about to find out how good they were first hand, because he was, in fact, extremely good or magic.  She could hear him land on the other side of the roof.  His landing may have been almost soundless, but he clearly wasn’t magic, because she could still hear it.  She gripped her yoyo and tensed in preparation.  She crouched down and waited until he came into view before striking. Luckily, he had expected her to try to attack from above so he had been looking above and missed her, giving her the fraction of a second she needed to get her yoyo out and wrapped around him.

Unfortunately, he seemed to be able to react quicker than a normal human and was able to avoid the brunt of the string.  It wrapped around his arm instead of his body. Ladybug hesitated a fraction of a second.  She didn’t want to pull too hard.  If he was human, which despite the quick reaction time, he appeared to be, pulling too hard could cause irreparable damage.  Damage she wasn’t sure if the miraculous ladybugs would repair since it wasn’t really akuma related.  

He reacted immediately.  He wrapped his arm around the string again and pulled.  Ladybug fell off balance and sprawled forward. He reached out to grab her, but she twisted out of his reach.  The advantage of being so clumsy all her life, she knew how to direct her falls. She pulled her string back as she fell. It instantly detached from his arm and curled back to her.  Ladybug rolled out of the way of the boot that descended with a resounding thud where her head had been a few seconds earlier, leaving a slight dent in the roof where it landed.

Ladybug jumped up and backed away from him, twirling her yoyo by her waist as she scrutinized her opponent.  He was large.  He would give her dad a run for his money, but she seriously doubted he was as soft and gooey as her father.  His outfit flowed around him, but clung enough for her to tell that he had more muscle strength in one leg than she did in her whole unsuited body. He moved with grace and confidence that spoke of elite training and skills.  One thing was for certain.  He was definitely a threat.

“No words?” Ladybug taunted as she jumped up.  “I mean, I can tell you’re not an akuma or you would have demanded my miraculous already.  But not even a villain’s dialogue explaining why you’re doing it and your justification?”  The Shadow stared back at her, easing into an attack position.  “That’s fine.  I can work with that.”  She ran at him straight on.  He swung at her, but she veered at the last second and dropped to her knees, sliding past him.  She twisted as she slid.  Now facing him, she threw out her yoyo, binding his feet, and pulled.  He fell to the ground with a resounding thud.

She was running out of time.  She had maybe a minute left.  Not nearly enough time to immobilize someone with his level of skills. Her eyes darted around, searching for anything that could help her formalize a plan.  He took that moment to launch at her.  He dived at her midsection, which was insulting quite frankly, that he thought she could be captured so easily and with his feet still bound.  She realized too late, she wasn’t his target.  He held up her yoyo, shaking it slightly for her to see and releasing his feet. He tossed it over the side of the building and launched at her again in the same movement.

She flipped over him, pulling his hood off as she did. She landed immediately behind him and kicked her leg out to sweep his legs out from under him.  He jumped to miss her leg, but with his balance already off due to his earlier move he stumbled and crashed into the ground.  He turned to glare at her.  Ladybug gasped.  He couldn’t be much older than her, if at all.  He took advantage of her momentary pause to launch a volley of hits at her. She blocked them, but was having a hard time keeping up with the attack.  She was trying not to hurt him, but he was showing no such compunction. She just had to hold out until Rena could get to her.

She backed away from him, creating necessary distance between them.  She needed to distract him.  She wouldn’t be able to keep this up for long.  “Strong silent type, huh?”  She arched an eyebrow at him and channeled her best Thor with a cocky grin.  “I’ve fought stronger.”

“Not without your magic,” he answered calmly.  It was the first time she’d heard his voice.  It was deep and gravely, it didn’t match the young features, but it did match the harsh eyes.

And now she knew his plan.  He knew he wouldn’t be able to take her on while she was transformed and he knew she was running out of time.  He was running her out of time.  He was banking on his skill to overwhelm her civilian self, and with the training he had, he was right.  “Are you sure,” she asked as confidently as she could, plastering on a confident smirk.

He studied her for a few seconds before responding. “I’ll take my chances.”

She flicked her eyes to the horizon, diverting her attention.  It was a stupid mistake, one she knew better than to make, but she was getting desperate for backup.  The shadow grabbed her and pulled her closer to knee her in the ribs.  She managed to block the hit with her own knee, lessening the impact, which was still enough that if she hadn’t been wearing a suit, her femur would have shattered.  With the same momentum, she leaned forward and kicked over her head, catching him in the face.

He loosened his grip just enough for her to break his grip and jump away, but he jumped forward as well and sent another volley of attacks at her.  She gasped as she felt the familiar sensation of her suit melting away as she detransformed. She braced for the pain of impact his fist would have with her face from the punch he just threw.  After a second, she opened one eye to see what he was doing. His fist hovered less than an inch from her face, his eyes scanned her incredulously.  “You’re a kid.”

She looked from his fist to his eyes.  She took a beat to assess the situation and try to slow her wildly beating heart.  “You look like you’re the same age as me,” she said pointedly.  Was it her smartest move, sass instead of caution?  No, but it was the one that felt right.  And until she had a better idea what was going on, it was the one she was going with.

He stared at her unmoving for a few beats.  “You’ve been doing this for years.  It’s been you since the beginning, right?”  Her narrowed eyes and pursed lips were answer enough.  He lowered his fist and backed away a few steps.  Still close enough to react, but giving some distance.  “Fuck.  You were a baby when you started.  I’ve seen video of you dying.  Why would you choose that?  Who made you think you had to?  You should have gotten to have a childhood.”  

His voice was harsh and accusatory and it grated on her. He was attacking her and he was mad at her for… being attacked?  She scowled at him.  “I’m sorry, were you going to fight the akumas?  Because it seems like your priorities might be incompatible and somebody had to protect the people of Paris, try to defend the children of Paris.  And you’re awfully the same age as me for someone so judgmental of my age.”

“How about an adult instead of a kid?” he yelled back at her.  He let out a long, angry breath.  “And where is your mentor?  There’s a Guardian, right?  I’ve studied your fights and never saw an adult.  Why isn’t your mentor out here fighting with you?  What kind of depraved asshole just gives a few self-defense classes then sends them out on their own?”

Marinette scoffed before she realized what she was doing. She slapped a hand over her mouth and looked back up at him wide-eyed.  “You have a mentor, right?” he growled as he stalked closer to her with each word. “One that taught you how to fight? One watching out for you?”

“You’ve spent the last few weeks stalking me so you could attack, and I’m guessing, put me in the grave.  Why do you care?” she growled at him.

“Who is protecting you?” he yelled at her.  Her continued silence seemed to confirm something for him.  She was pretty sure now that the fury in his eyes was not directed toward her, which was… odd.  He closed his eyes and took a deep breath.  Marinette backed away from him slowly and nodded to Tikki to grab a cookie from her bag.  

Her eyes searched the skyline for any sign of Rena. She was sure Rena would be here any second.  She just needed to last another few seconds.  If Rena couldn’t make it, maybe she could transform in time to save herself.  And then deal with a hostile knowing her identity. But that was a problem for later. The problem for now was surviving the Shadow, recharge Tikki, and defeat the akuma.

His head whipped to the side as a movement caught his attention.  A figure in orange was making their way over to them rapidly.  They only had a few seconds before the figure would join them. He hissed out a breath and backed away from her.  He gave her one last glare and jumped off the side of the building.

Chapter 2

@jasonette-july-event

[shazos]

Rouxls is Hiding Something Big: A Deltarune Theory

FORENOTE- For some needed context, it may help reading my previous Deltarune theory here for important details that I will cover in this post. (My previous theory provides notable evidence on why Gaster is indeed the “Knight” figure talked about by multiple characters in Deltarune.)

Now, this is going to sound crazy. But after much time of poring over and analyzing Deltarune, I have come to a conclusion. One that I’ve been convinced of for awhile now. Something that’s been lying right under all of our noses without many of us even realizing it. We have all been bamboozled. Hoodwinked. Tricked. Why, you may ask?

Because the comically stupid and inept Duke of Puzzles is actually... not an idiot. No, he’s the complete opposite. He is a downright mastermind.

As collective players, we are all falling into the same trap once again. Putting faith into a character’s preconceived personality !

When their true personality turns out the complete opposite of what we expected...

It is here, my evidence for this claim begins—and we delve into the true identity of Rouxls Kaard. Buckle up everyone, cause this one’s gonna be a fun ride. 👀

So, to spill the beans up front, and get it over with. I believe Rouxls Kaards identity... is none other than W.D. Gaster in disguise.

Now. I didn’t immediately become invested in this theory—I was skeptical at first like everyone else. But, once I began examining Deltarune and all of its characters a bit closer...things weren’t exactly adding up about the Duke of Puzzles.

Point #1: Anagrams

I initially began to become suspicious of Rouxls Kaard because of his odd name. Sure, it is a play on the words of the term, “Rules card”. But it is spelt in such a peculiar way. If it were just simply a play on words, I think that there would be a much better way of going about spelling it rather than just jumbling a bunch of random letters together. There is a very intriguing reddit post found here that goes more into depth about his name that ties well into my theory. The thing that stood out to me in particular, is that Rouxls’s name is actually also an anagram for “A Dark Soul RX”, (with the left over RX typically being used in terms relating to doctors/medicine.) Not only is Gaster a Doctor, but he’s also always associated with darkness and the research of souls. Toby loves his anagrams—so I wouldn’t be surprised in the slightest if this was intentional. But it doesn’t end there.

I’ve noticed that Toby Fox has a tendency to tease certain things about his games through merch. And wouldn’t you know it—he has in fact, a particular item on fangamer of a “dark heart.” One which description describes the Angel’s Prophecy. Hm...

But let’s back on track onto my second observation, shall we?

Point #2: The Physical Resemblance to Gaster

Now, there seems to be some interesting foreshadowing related to inverted colors in Deltarune. Before Ralsei takes his hat off, he appears black. But once he takes his hat off, voila, his colors are inverted, and he is revealed to actually be a white goat highly resembling Asriel.

In addition, the entire Dark World is literally just. An inverted version of a normal world.

The Dark World could have hypothetically been the created world/experiment that Gaster had fallen into in the first place. After all, his experiment had to do with “darkness”, and “negative” photons--AKA the Dark Fountains, and the negatively/inverted landscapes of the Dark World.

And how does Rouxls Kaard appear inverted anyways? Well, he looks like THIS.

He even has the strange dangling lip thing—which another character said to directly resemble Gaster, Seam, has as well:

In addition, if you look at Rouxls’ text-box profile very closely, his eye colors are actually mismatched which is a rather interesting detail!

Point # 3: His Accent is Extremely put on.

I think anybody that has read any sort of Shakespearean/Old English writing, can instantly realize that Rouxls is as bad as imitating an Old English accent as a high-schooler reading Hamlet for the first time. Rouxls absolutely butchers it. He practically adds eth, and est at the end of any word he chooses, and calls the job done. What is even more interesting though, is when he gets nervous or panicked, he drops the act all together and talks normally.

Point #4: He is Pretending to be Dumb; His Puzzles are Actually Impressive!

I found it intriguing how there are countless puzzle traps in all the forest areas and in the Card Castle prison that were actually very well done. You have to flip the spades, diamonds, hearts, etc to unlock doors, and open secret chests. They require a decent amount of thinking skills, and are actually competent. But who made them?? Oddly enough if you observe one of them in the forest areas, it appears that Rouxls Kaard vandalized one of the puzzles to make it harder for the player to beat it—which further implies that he actually indeed made those puzzles himself. This shows that Rouxls is much more competent than only being able to make a single box shove puzzle that is comically easy. Where else do we see a place full of plenty of rather well made puzzles + traps seen? All throughout the Core in Undertale—a place which Gaster himself created!

Point #5: Rouxls IS Aware the World is a Game--AKA DON’T FORGET TO READ NPC DIALOGUE FOLKS!

I think it is well aware by now that Rouxls likely wants us as the players to underestimate him--and deem him a fool so we wouldn’t bat an eye at what he’s actually up to. But the most biggest give away to this is something that I have surprisingly seen no one mention at all. And oh boy, it is the most damning evidence that Rouxls is no idiot to be trifled with.

To the left of Seam’s shop, there can be found a little group of former puzzle-makers that used to live at Card Castle, until they were fired and replaced with Rouxls Kaard. They are now all out of a job, and are just barely scraping by since the Spade King didn’t give them any severance pay. However, Rouxls Kaard offered them a way to get money--by selling the tutorials he made.

These tutorials go over TP, stats, information about Susie, Ralsei,  and Kris. Rouxls Kaard has never once met any of the players yet--and he knows everything about them. He knows about stats. He knows the world is a game.

HOW??

In addition, when you talk to Rouxls in his shop, he calls you three the Heroes of Legend. He is well aware of the Angel’s Prophecy. He knows.

Whenever any character in the world of Undertale & Deltarune knows that the world is a game, it is an instant red-flag. It goes to show that they know much more than they let on. Flowey and Sans are big examples of this in Undertale. Pure hearted, dorky idiots that we trust earlier in the game--but wind up seeing the real side of them later on.

...So why should we treat Rouxls any differently?

Point #6: The “Control Crown”

Something that I immediately thought was kind of weird, was the fact that Rouxls Kaard was able to control the K. Round with a “Control Crown” device. If he is so stupid, how was he able to create a full on mechanical device that can brainwash a life-form into being violent/cause it to triple in size?! That is genius material right there!

But things start to take on a much darker side when you begin to look at the subtext of this realization, which I will get to in a moment...

First of all, Seam claimed these exact words.

The remaining king was the Spade King-- as the King of Hearts, Diamonds, and Clubs are seen to be locked up in the Dungeon. Therefore, the Spade King put the Knight, and his strange son into power. IF it were the Spade King in power, the dialogue box WOULD have said “himself”. Therefore, the Knight, and his strange son were put in place to control the kingdom. And who are they?

Gaster/Rouxls Kaard, and Lancer.

Evidence to back this up:

Lancer calls Rouxls his “Lesser Dad”. And Rouxls calls Lancer, his Strange little darling/son.

The Spade King is not in charge. During his boss-fight, he states that he obeys the word of the Knight.

If you observe more of Lancer’s dialogue in the scene right before the gang enters Card Castle, he states that his dad, (Spade King), recently forced his troops to listen to Lancer instead. Therefore, Lancer is by all respects actually second in command to the Knight.

One of Rouxls main interests is...Lawmaking. Even though he is just supposedly an innocent Duke of Puzzles.

Another one of Rouxls main interests is...Cages, and long strolls in the dungeon... 

There are innocent puzzle-makers locked up in the Prison who are terrified--they were arrested for the simple act of making a puzzle without a license. HM, I wonder who could have possibly locked them up? *Wink wink nudge nudge*

And what ties this all together, is perhaps the most obscure, tiniest detail that no one would have likely observed on a first play-through. If you go to the first floor of Card Castle and click the description tablet next to the elevator to the Prison, it claims that the Prison used to just be a Basement Which Just Happened to Have a Lot of Cages. This is backed up by the caged animals in the basement, who say that they miss the “good old days” when they used to be the only ones there in cages, and not a bunch of people behind bars.

In summary, Rouxls is locking up a bunch of innocent people, and playing nice to our faces. He IS the knight. And he is not to be underestimated.

Point #7: Rouxls’ Plan is Already Set in Place

The part where this theory gets a little dark, ties back to my mentioning of the control crown earlier.

If you observe the throne room, it looks like it was recently torn apart in a sort of...conflict.

Why was the Spade King the only king left un-caged to begin with? Why wasn’t he locked up too?

Well...Rouxls Kaard needed someone to put him in charge. But not only that—he needed a scapegoat. Someone to blame. Someone to be “The Bad Guy” for the Heroes to fight.

The Spade King...is actually innocent. He is obeying the Knight, because he is being controlled by a Control Crown. The throne room is in ruins because the Spade King likely fought against this at first, but Rouxls won and successfully put the Spade King under his command. I thought it was strange how the King was so...violent. So irredeemably evil, and even murderous toward his own son Lancer. Yes, it could be argued that this is indeed his true personality, that he is a complete, abusive jerk. But, the whole ending battle of Deltarune chapter 1 feels so...set up in a way? It feels so starkly good vs evil, black and white. Almost like a play.

And oh boy. I think I was onto something.

If you pay close attention to the fight with the Spade King, there is a brief moment at the beginning where he is completely shrouded in shadow. Except. For. His. Crown. It glows stark white in comparison to himself. Like a Chekov’s Gun if you will.

And even more interesting, in the supposed good/pacifist ending, the Spade King is locked up in Prison, the other three kings are still locked up in cages, everyone else is freed, and Rouxls and Lancer now have full control of the kingdom...

Guys. We just played right into Gaster’s hands.

Point #8: Seam Knows that Rouxls is the Knight...

The final observation that genuinely makes me convinced in this theory, is a small detail I noticed at the end of the Pacifist run of Deltarune. Once you have beaten the game, and all of the prisoners are freed, everyone comes to celebrate at Card Castle for your victory. Everyone, except for Seam. That is because Seam knows what the “Strange Knight” did to Jevil. He knows who the Strange Knight is. And he knows what the Knight’s true intentions are.

Point #9: Extra Tidbits I noticed:

When compared to the other denizens of card castle, Rouxls seems out of place. He is the one vaguely humanoid character among a bunch of card and chess themed Darkners. 

His puzzle is... too easy.

Rouxls is oddly excited about overthrowing the king/taking his place. 

Rouxls is well versed in calligraphy of all things. (Relation to fonts + letters.)

Rouxls “sparkles” have an odd resemblance to the shining save states...?

He makes pop culture references, such as ones seen here and here. Could just be random throwaway jokes, but often times more “aware” characters such as Sans and Papyrus are keen on breaking the fourth wall at times/making references to relate with the audience.

His hair looks strangely out of place. Especially the hairline which is really receded to an unnatural degree on the left side. It’s a wig guys...

He gets a suspiciously new position for no reason at all. In any normal situation, he would be extremely unqualified for it if he were as stupid as he makes himself out to be.

Rouxls is literally wearing armor, akin to a medieval knights.

If you pay close attention, Rouxls has a few very subtle similar speech patterns to Gaster. They both occasionally repeat words twice. They both use the words wonderful and truly a lot, etc.

When Kris and the gang beat the K. Round, Rouxls said it was just to test their abilities.

Rouxls theme has leitmotifs from Gaster’s theme.

End of discussion. Deltarune’s finale is legit going to be Gaster getting his wig snatched.

[a-darling-thing]

Moon Knight - Ep. 3 Observations

(spoilers under the cut)

Negatives out of the way first: The dialogue in this show continues to be so weak. Like no offence to talented and well-educated middle schoolers everywhere, but it reads like it was written by a 15 yo. Sigh... Some of these situations and scenarios are clearly 'comic book' and I do find that sometimes they come across as cheesy or just a step too far beyond belief, even within that context. Especially when put in there beside some of the other themes of the show. There seems to be a slight imbalance to the vibe of this show sometimes. It's like it doesn't 100% know what it is or wants to be. Which now I think of it, since this is a show where the protagonist is a DID System, might not be wholly inappropriate. Lol. Still not really loving this 'we need mirrors to chat and switch' thing that they're doing. Like there are different accents to differentiate the different alters, and I don't think that Marc and Steven should need mirrors to talk and switch. It's kinda an odd choice, even given the fact that this is a visual storytelling format.

Now the Highlights:

That being said, I'm still having fun.

Was that Jake when he and Layla were in the boat and then again in the car. I keep hearing that Jake accent off and on and he seems to slip to the front effortlessly (no mirrors for Jake!!), which is why I think the other two don't really know about him yet. If that was him in the boat and car, then it's obviously him who initially wooed/married Layla (and probably asked the woman out at the museum). Also Jake who killed the guys in the knife fight, right? 'Cause neither Steven or Marc took responsibility for that and both seemed confused by it.

Nice evolution of system dynamics and cooperation going on in this episode. Marc and Steven are still struggling, but it's nice to see Marc giving up the front to Steven, twice (!!), even though Steven kinda screwed them over the first time. The fact that after that he still trusted Steven enough to give him a shot with the star charts was huge!

Layla! My utter love of Layla from Ep. 2 was not unfounded. I LOVE Layla. Also, I think Layla has a lot of fondness for Steven. For all of them really. I think the main beefs she's had with the relationship may actually be coming from her interactions with Jake mostly, and his complete unwillingness to be honest or emotionally vulnerable, but time will tell (did Jake murder her father?! - Yikes).

Super interested to see how Marc and Steven are going to deal with learning about the existence of Jake. Finding inter-system balance only to have a new alter show up can be so destabilising, so I'm wondering if they are going to go there and how they are going to handle that.

[peppermintbee]

OMORI has poor writing (Part 1)

OMORI stans, just block the #omori hate tag now because I’m going to use it to vent my frustrations with this game. If you love this game, I am not going to try to convince you otherwise. I am glad you enjoyed it so much. I am glad it means a lot to you. I’m not here to take that away from you. I honestly wish I felt the same way!

However, if you are like me and finished the game feeling disappointed, underwhelmed, and maybe a little frustrated, then I am here to say you are not alone. OMORI--while having the right set pieces for an interesting game--is a narrative mess.

I’m splitting this into two posts. This first post is about problems with the plot. The second is about problems with the message/moral. 

(Note: I use “OMORI” in all-caps for the game title, and “Omori” in title case for the character name.)

Spoilers and criticism below.

Part 1: Plot Writing Lies

There’s a book by Brian McDonald called Invisible Ink which is about how to write a compelling story (you can read this great book online for free here). There’s an explanation of the writing “lie” that I find myself frequently thinking of. A “lie” in this context does not mean something is literally untrue, it means something FEELS untrue, unrealistic, improbable, or unlikely. For example, if a character gets shot in the leg but manages to do parkour, this is a “lie” since it seems unrealistic for that to happen. If a character witnesses their beloved parent’s death and shrugs it off, it’s a “lie” because that reaction seems highly unlikely.

In OMORI, the plot is held together by multiple little lies that--try as I might--I just couldn’t bring myself to believe.

1. Sunny’s friends care about him, and vice versa

A major theme of the game is how friendship can overcome any obstacle. Friendship gets Sunny over his fear of heights, spiders, and water. Friendship is what Sunny remembers before the final boss fight, and allows him to face his guilt and defeat it (and prevent him from committing suicide). With the photobook and dialogue you are reminded over and over and over and over and over again that Sunny’s friends love him unconditionally.

However, I just couldn’t bring myself to believe it. The childhood memories are cute but shallow, boiling down to simply hanging out and eating treats. Plus, Kel and Aubrey fight constantly, with Aubrey even physically hitting Kel when he steps out of line. Hero and Mari behave more like babysitters than true friends to the younger kids. 

But at least the other kids interact with each other. Sunny, on the other hand, showed nearly no affection or consideration towards his friends. He floats through the memories like a ghost--he could have been completely absent from all the photos and it would have made little difference. I was ready to accept this as Sunny being an unreliable narrator and not thinking he was a good enough for his friends, but this never contradicted. Instead we are given even more memories where Sunny just silently exists there being “cute.”

[Sunny enriching the lives of his friends by LARPING as a cat.]

Because of the lack of meaningful interactions between them, there was nothing in the game that made me think that these 12-15 year olds would have a strong enough bond that would survive 3-4 years of no contact after finding their friend hanged. In fact, that discovery only drove them farther apart. The only person who I could believe actually had a close bond was Basil, who almost literally filled that trope of being the friend who would help you bury a body (or in this case, help Sunny cover up the accidental manslaughter).

The writing fix for this would be simple: instead of showing us the same boring birthday and beach scenes over again, give the kids memories of overcoming some age-appropriate adversity together: heartbreak over an unrequited crush, anxiety over homework, sports injury, lost dogs, divorced parents, running away from home, bullying, etc. Set a precedent of the friends supporting each other through good times AND bad times. Without such backstory, Sunny’s friendships allegedly giving him the courage to overcome his guilt feels like a lie.

2. Sunny abandoning Basil in the bathroom scene

One of the most confusing moments in the game was Sunny’s negligence when Basil has his first breakdown in his bathroom. This part of the game is player-controlled, which is a strange writing decision because all you can do is click on Basil and various bathroom amenities over and over which completely saps the urgency out of the scene. When you try to leave, Basil begs Sunny to stay, but (due to a lack of player options) Sunny walks out without a word. With no option to talk to him OR get help for him, it makes Sunny seem exceptionally cruel to Basil. In fact, I was starting to wonder if the game was setting up for some sort of twist that Sunny DIDN’T care about his friends, which would fix some of the confusion in point #1. However, as we know, that is not the case. Therefore, Sunny’s negligence/apathy towards Basil’s pain feels like a lie.

The writing fix would be to make it MORE clear that Sunny is intentionally running away from Basil. Make it a cutscene, or, give a false choice such as “Leave Basil? Yes / Yes”. After Sunny leaves, Kel should make some remark about Sunny looking odd, “You look sort of shaken up, is there something you want to tell me?” then hit it home with Sunny shaking his head. This would make it more clear that Sunny is intentionally hiding Basil’s state, as opposed to just being a bad friend. As it stands, it just felt like a writing mistake.

3. Basil and Sunny working together to stage Mari’s death as a suicide

This is the plot hole that I see the most complaints over, but it’s so big I have to address it. Accidentally pushing Mari down the stairs I understand, but the rest is too absurd. Below are some of the “lies” that the writing tries to get away with:

That Sunny and Basil wouldn’t just claim she slipped and fell.

That either boy would even come up with this sick plan.

That they wouldn’t back out of this idea during the multi-step process (carrying her downstairs, outside, getting the jump rope, tying a noose, putting it around her neck, stringing her up, hiding the evidence... This is a series of multiple decisions, not one quick accident like the initial push.)

That it’s not the image of Mari’s death that traumatized Sunny, but the image of what they chose to do to her body that traumatized them. I understand the image of Mari hanging is more dramatic, but they literally did it themselves so why is that more haunting than Sunny killing her?

That Mari’s true cause of death wouldn’t be immediately obvious to the parents, the police, the friends, EVERYONE. (I’ve seen fans try to get rid of this plot hole by hypothesizing that the parents knew and covered it up, but the evidence of this is circumstantial at best. The father saying, “You’re not my son,” is unreliable since it happens in Sunny’s headspace. Divorce is common after the death of a child, and, at the very least, Sunny’s mom doesn’t show any evidence of knowing what happened. The way it is written, only Sunny and Basil know the truth.)

The ridiculousness of this twist is so extreme that it completely broke any immersion I had left. Frankly, the reveal that the happy, loveable Mari committed suicide is a far heavier and more realistic twist than a crazy murder-cover-up story is.

Additionally, it seems like Basil was only written into this scene in order to make Sunny the true victim of what happened. After all, Sunny may have pushed her, but it was Basil who came up with the demented cover up. (This is apparent from just the photos but the datamined Truth Album confirms it.) By having Basil come up with the plan, the game splits the guilt between the two of them to make the kids easier to sympathize with. It’s problematic because if Basil was not in the scene, there would be no way to justify what Sunny did to Mari. So why is what they did easier to accept when they worked together?

Fixing the writing lie: Sunny lies and says that Mari slipped. Remove Basil from the scene, and instead have Sunny confide in Basil which forces Basil to become a co-conspirator and burdens him with the terrible truth.

4. Sunny’s friends forgiving him and Basil for what they did to Mari

Last but not least, the story heavily implies that Hero, Kel, and Aubrey will forgive Basil and Sunny for what they did to Mari. I found this to be almost as unbelievable as the staged-suicide stunt.

It feels like a lie since the group’s friendship is never established as anything beyond shallow hang outs from 3+ years ago (see point #1).

It feels like a lie because this is hot off the heels of Aubrey being so distraught over Mari and the following fall out that in the last three days she 1.) attacked Sunny and Kel with a nail bat TWICE, 2.) Stole Basil’s photobook, and 3.) Shoved Basil in the lake. This trauma is still very fresh for her.

It feels like a lie because the complexity of the staged-suicide is so extreme, one would be hard pressed to forgive ANYONE for doing that, be it friend, foe, parent, sibling, lover, etc.

I’ve seen fans argue that the ending is not about forgiveness, it’s about telling the truth, and I want to believe that. Really. If the ending was about Sunny starting his redemption arc by telling the truth no matter what the consequences are, that would be a meaningful lesson. But the writing does not support that. The ending headspace segments are focused on assuring Sunny that his friends will support/forgive him no matter what. To do this, the game shows us the shallow photobook memories (again) to show how much they allegedly care about each other. Then, when fighting Omori, Sunny remembers these quotes from his friends, which directly correlate to their unconditional support:

KEL: Friends... Friends are supposed to be there for each other.

AUBREY: I hope you can find some peace... or you know... some happiness.

HERO: We made the mistake of leaving each other when we needed each other the most. This time... we’ll stay together.

BASIL: Maybe one day... things can go back to the way they were before.

The really direct evidence that this ending is about getting forgiveness is this quote from Basil in Sunny’s headspace:

[BASIL: “AUBREY, KEL and HERO are good friends. You have to trust that they’ll forgive us.”]

This is one of the last scenes before Sunny tells his friends the truth, proving that obtaining forgiveness from his FRIENDS is in fact the leading motivation for Sunny’s actions.

Fixing this writing lie is easy. Instead, adjust the writing to be about telling the truth, not about how much the friends will still love Sunny. Have headspace Basil say, “Even if they don’t forgive us, Aubrey, Kel, and Hero deserve to know the truth. It’s the only way to make things right... or close to it.”

Conclusion

OMORI is undeniably a cute game with a strong visual identity, and has a premise that could make for a very compelling experience. However, the sloppy plot and weak character writing cause the potential of this game to be squandered. There are other issues as well that I chose not to cover for the sake of time, such as the poor pacing of the dragged out dungeons and the bizarre, unrealistic behavior of characters in the “real” world. 

However, there are a few more glaring problems with OMORI that I have to address: In part 2 of my critique, I break down what may be the biggest problem with OMORI’s writing: the message.

[ Link to Part 2: OMORI’s Message is Mishandled and Distasteful ]

[fannishcodex]

So I was just gonna finally share my thoughts on a little moment of c/// that always rubs me the wrong way about her, something that's worsened by what ultimately happens with her; and I was rewatching the scene to try to take a screenshot (which I apparently can't do, so I just took a photo), but...well, I rewatched the scene.

And I think the dialogue really does suggest c/// is aware that her triggering the portal caused the loss of Angella? This is the scene I was thinking of, from S4E1; this is the dialogue (with italics for emphasis):

c///: We need to talk about plans for--

Hordak: Plans? (Bitter laugh.) Your last plan was to set off the portal machine before it was ready. Do you remember how that ended?

c///: Whatever. It worked out for us, didn't it? (Gloating grin.) The Rebellion's a mess. Their queen is gone.

It just really sounds like Hordak and c/// know that c/// activating the portal machine led to the loss of Queen Angella. (Does anyone else read it differently?)

It’s not perfectly explicit, but it really seems very close. Not every word is said, but their connections seem clear. It really seems to read to me that both c/// and Hordak know that c/// starting the portal caused the loss of Angella, and c/// treats it as a success/something to take advantage of (while Hordak seems more stuck on, y’know, c/// activating the portal apparently starting to rip the world apart--but then he’s very depressed over the belief that Entrapta betrayed him because of course he was never truly worthy of affection from anyone let alone someone like her; so it feels like he loses a grip on his pretty valid point to sink back into despair).

Like, I always thought c/// knew, but there’s been some fandom talk that she might not, as part of general fandom talk wondering how many characters actually know the specifics of what happened to Angella and who was directly responsible for it--and I honestly wasn’t buying that c/// didn’t know, though I was buying that Glimmer didn’t know because I keep thinking about that for salty post-S5 fic

[more discussion under the cut, and warning: even more spop salt below. i was late to the fandom and finished the show early this year, it still feels fresh to me--that, and this dialogue ended up reminding me of things.]

(fic where Glimmer freaks out after learning it wasn’t just vaguely the Horde in general that got Angella trapped, it was specifically c///--and that’s the only reason she’s been weirdly chill with c/// in S5, Glimmer didn’t know what c/// actually did to her mom--but Glimmer flips out when she learns). But I thought the show might not be as explicit as I thought. But then I rewatched the scene I was thinking of, the one from S4E1, and it seems like both c/// and Hordak know c/// triggering the portal caused the loss of Angella.

Like even if looking at the on-screen events doesn't seem to make sense (c/// finally gets destroyed in portal disaster before Angella steps up to save everyone [even c///], c/// doesn't know Entrapta ended up foiling c///’s portal plans after all by figuring out what can be done to save everyone from the portal disaster), the dialogue seems to really say differently. Like the dialogue doesn't seem to comprehensively consider what was shown and just suggests that c/// and Hordak actually are aware of this piece of information after all.

Here’s some more analysis of the dialogue, again with italics for emphasis and my notes in brackets:

c///: We need to talk about plans for--

Hordak: Plans? (Bitter laugh.) Your last plan was to set off the portal machine before it was ready. Do you remember how that ended? [It sounds like Hordak is very much directly talking about what c/// activating the portal caused, and his tone (that bitter laugh, etc.)/the context implies it was not good in his mind.]

c///: Whatever. It worked out for us, didn't it? [This directly follows and responds to Hordak bringing up how c///’s last plan with the portal ended, and it sounds like c/// is acknowledging what Hordak said, that her activating the portal had consequences, but then she suggests they turned out to be good for their side. And look at the next few sentences that directly follow this.] (Gloating grin.) The Rebellion's a mess. Their queen is gone. [This part directly follows “It worked out for us, didn't it?”, suggesting they’re all connected, suggesting it’s c/// then elaborating/specifying on how it worked out for them. And due to the context of their conversation, it feels like she also implies that it’s because of her it’s all worked out, she’s claiming ownership over what happened--the rebellion in disarray, the loss of their queen, and those are all good things for their side in her mind, and they’re results of the portal machine she activated, as pointed out by Hordak and seemingly acknowledged by c///. It’s not quoted here, but as the scene continues, Hordak doesn’t seem to dispute these last lines from c///, he doesn’t deny that c/// activating the portal led to the loss of the queen, he just seems to silently acknowledge her last lines as fact and continues their conversation. It feels like meaning is in the order of the sentences, how they seem to respond to each other and connect.]

It just feels less ambiguous, and more clear to me. It actually feels harder for me to read the dialogue as c/// and Hordak not knowing the portal c/// activated led to the loss of the queen; it really feels like they talk like they know who’s responsible and what their actions caused, it really feels like they talk as if they know c/// activating the portal machine led to “the rebellion [being a] mess” and to “[t]heir queen [being] gone.” Their conversation actually starts feeling odd if it’s instead read as if Hordak and c/// don’t know c/// activating the portal didn’t lead to the rebellion in disarray and the loss of the queen, because the text of their conversation really suggests the opposite to me. 

I noticed in some of the same fandom talk wondering about how many people knew the specifics about Angella’s fate, I remember there was someone who suggested that maybe the rebellion just sent out news that Angella sacrificed herself to prevent a critical disaster. And now I’m thinking maybe they even more explicitly said Angella did it to close a disastrous portal; either way, c/// and Hordak could’ve heard about that and put two-and-two together and realized c/// “set[ting] off the portal machine before it was ready” led to the loss of the queen--and now that they know that, they can have a conversation where Hordak criticizes c///’s plan with the portal and can ask her “do you remember how that ended?”, with c/// just responding with “it worked out for us, didn’t it? the rebellion’s a mess. their queen is gone.”

The dialogue feels like it’s missing a few words that could make it even more explicit, but they’re only linking words, and the meaning is plain enough without them. Like (bolding example of more linking words/phrases):

c///: We need to talk about plans for--

Hordak: Plans? (Bitter laugh.) Your last plan was to set off the portal machine before it was ready. Do you remember how that ended? Do you remember what you did?

c///: Whatever. It worked out for us, didn't it? (Gloating grin.) Look what it did for us, look what I did--the Rebellion's a mess. Their queen is gone.

And the dialogue as “screenshots”/pics here:

Again, it really feels like c/// and Hordak know that c/// activating the portal led to the loss of the queen, and it’s something that c/// sees as a win, something that makes her smile.

Even before rewatching this part, I felt other things still pointed to c/// knowing what she did to Queen Angella, or suggested she knew even on a thematic level (like, it would be thematically appropriate if she knew). Again, as mentioned above, maybe the rebellion/royal alliance shared news about what happened to Angella, and c/// could put two-and-two together and realize she was responsible. I also was thinking that c/// was aware that the portal disaster was literally destroying/killing everyone, and she still didn’t care to stop it--

Adora: Catra, look what’s happening! You’re going to destroy everything!

Catra: I don’t care. I won’t let you win. I’d rather see the whole world end than let that happen.

So, kinda feel like, with the timing of it all actually, c/// could connect the dots--the portal’s somehow fixed (Adora’s won after all, again), Adora looked murderously furious, probably not long after there’s news of the queen’s loss...I feel like with that, with the close timing of those moments and with the knowledge of the portal’s destructiveness, c/// could put two-and-two together and even assume that not everyone was able to escape the portal’s destruction even after the portal was apparently fixed, that the queen couldn’t escape the destructive portal c/// caused. And tbh feel like the show makes other sorta jumps in logic anyway, and I feel like going “forget it, why not make my own jump in logic about spop then?”

But then I rewatched the S4E1 scene, and...well, again the dialogue really seems like it suggests that c/// knows what she did. And that Hordak knows too.

In any case, I think it works better that c/// knows she caused the loss of Angella, even if S5 doesn’t follow up on it with any sort of satisfying narrative payoff. I feel like c/// not knowing would be another poor writing choice. I feel like it would take away too much emotional weight if c/// doesn’t know and never knows by the end of the show that she caused the loss of Angella. And season 5 already ends up taking a lot of emotional weight away from the previous seasons, so I wasn’t looking forward to more getting discarded. Like...it’s okay c/// actually appears this knowingly cruel. So much of her character really does end up like that. It’s less okay when S5 tries to ignore that and sweep it aside.

And after everything, it would just be...jarring if on top of everything, on top of no character essentially being allowed to express negative feelings toward c///* and on top of S5 ignoring Angella, if c/// also apparently had no idea what she did to Angella. It would just feel like another thing artificially bending to give c/// a very unearned and flat “happy resolution.” Like so much in S5 is artificially forced to cater to c///, the show artificially forcing c/// back into a being a punching bag instead of acknowledging/honoring her ascent in power in a very artificially forced attempt to make the audience Sympathetic for c/// without addressing what c/// did and her twisted behavior (i.e. it really feels like the show tries to force, “ohno look at what’s happening to c/// forget-everything-she-did-before look at what’s happening to her now and-definitely-don’t-think-about-how-c///-activating-the-portal-brought prime-to-etheria-and-she-literally-summoned-her-own-defeat-while-trying-to-destroy-etheria-out-of-spite-for-adora-and-successfully-trapped-Angella-between-dimensions-or-that-c///-tried-to-brainwash-adora-in-season-2-or-that-c///-electrocuted-adora-in-season-4-and-how-for-most-of-the-show-c///-has-very-willingly-and-maliciously-fought-adora just forget all that”), so many characters don’t get to have more natural-feeling reactions to her, it feels like too many of her actions are clumsily swept under the rug, so tbh I don’t like the idea of “c/// also didn’t know she caused the loss of Angella” added to that.  

(*It’s just so...weird/unsatisfying/monotone and frankly boring that ultimately only c/// gets to wallow in negative feelings with ultimately little consequence while no other character ultimately gets to feel as negatively as her. Why is that by the end, only c/// got to absolutely lose it? And that’s a lot of “ultimately’s” since I find it a pretty good one-word adjective for how I feel about spop canon, like there are things it does before but then ultimately a lot of it is undermined and negated in the end.)

(And even if c/// really didn’t know, feel like in this context it would not lessen the harm she did--though it would very much ditch a lot of emotional weight and lead to even more weak writing/an even weaker story. It would just be another poor writing choice.)

And tbh I don’t mind venting/criticizing c/// because canonically she’s fine. She gets everything she wants, every character given screentime and dialogue time with her pretty much just accepts her, no one ultimately rejects her, no one ultimately gets to be mad at her. She’s fine in the show and she has a large fanbase. I feel pretty much zero compunction over criticizing her and not caring for her because it’s really not gonna cause any problems, she’s fine (poorly written, but fine). I’m not about to enter the c/// tag (and I’ve been trying to avoid her name for partly this reason) with my criticism for a character they like.

...And it’s just weird, because I was, I really was thinking “I guess c/// knowing what she did to Angella could’ve been less explicit than I thought, but I still think she knows, and I guess it’s my headcanon now--” and then I rewatch the S4E1 scene I’m thinking of and I’m just surprised and thrown by how it does seem to actually more explicitly/clearly suggest that c/// and Hordak definitely know c///’s responsible for what happened to Angella after all. Like even if the visual scenes don’t add up, the dialogue suggests c/// and Hordak know that c/// activating the portal led to the loss of the queen. It could be like contradictory info, but it’s there on the screen (and spop’s contradicted itself before); it’s viable enough to just go by what the characters are saying/their dialogue. And I can headcanon all I want about the specific logistics of how they know. I think that’s kind of already happening with more talk about how much characters actually know about Angella’s fate and who’s directly responsible for it, and it feels like it’s partly a way to rationalize why Glimmer ends up so bizarrely chill with the person directly responsible for the loss of her mom. And the S4E1 dialogue at least does more to address c/// and Hordak knowing about the consequences of c/// activating the portal than all of S5 largely ignoring Angella and c///’s role in her fate and how Glimmer should really feel about that.

And tbh, I’m more inclined to believe/headcanon that Glimmer didn’t know in S5 that c/// is directly responsible for the loss of her mother. So except for the idea of c/// not knowing, I’ve been finding the talk about how much characters actually know about the portal disaster to be interesting. Again, think Glimmer might not know c/// activating the portal led to the loss of her mom. It again makes me wonder if like all of Etheria’s citizens remember the portal disaster almost destroying them and if they have some existential dread, or just passed it off as an awful dream because they had no context for what was happening, what was that if not a bad dream? But it was so terribly strange, and so many seemed to have had the same or similar nightmares... Can you imagine the portal disaster happening and you have zero context for what the hell is going on? Adora and co. had context/more understanding; most of Etheria did not. Kyle and the Horde Trio touch on this a little, but it’s sorta...more a gag and I kinda wish in retrospect this had been explored more too. This may be yet another instance of the show nonsensically holding back to cater to c/// and avoid any natural follow-through on plot/theme/character threads in favor of ultimately ensuring everything’s too easy for c/// and she doesn’t have to deal with any real emotional consequences. But this might further fuel the idea that the rebellion did make some announcement about Angella saving everyone from a portal disaster for everyone’s peace of mind, to try to explain to them what the hell happened.

Anyway, did like how this all made me think of some new spop ideas, and it felt like it personally clarified more things about spop for me.

[wecantseeyou]

a note on color - how line of duty series 6 uses wardrobe to frame narrative (pt 1)

author’s note: this began as a personal observation on the use of cool tones for AC-12 and warm tones in opposition to AC-12, and evolved into a spreadsheet tracking most every outfit 3 of the 4 leads wear in every episode (through 6). 

Why Jo, Kate, and Steve? 

Jo: This is ultimately a rumination on Jo and her character, and the non-textual ways the show indicates Jo’s feelings, actions, and allegiances.

Kate: Jo’s major emotional connection in the series. Kate’s wardrobe often mirrors Jo’s in both style and color, and Kate’s wardrobe also gives hints to Jo’s true identity, while also reminding the audience of her allegiance with AC-12 (in both principles and action)

Steve: As the face of AC-12 in many ways (especially in this season, whereas past seasons that would’ve been Kate), Steve’s wardrobe is the control. He is firmly planted as an anti-corruption officer, is an ally of Kate, and he acts as Jo’s foil.

Why not Hastings?: Lord knows I love Ted, but the man really only ever wears his uniform (which is an entirely different essay about his views of the police force, ‘bent coppers’, and the ‘bad apples’ view of addressing police misconduct)

Some of the colors folks wear are difficult to quantify - I note circumstances where a shirt or sweater could be interpreted as multiple colors, and some instances where I believe that open interpretation is intentional. To be incredibly simplistic for how I coded the colors, cool tones are the good guys, and warm tones are the bad guys. Where possible, I have included reference images for the outfits I’m discussing (low quality screencaps ahead). 

It took me some time to choose the organization of this essay, but ultimately there’s only one way to really do it - scene to scene. So buckle in, cause this is a doozy. I’m posting just episode 1 today, and then plan to post analyses breaking down the other episodes through Saturday. Essay under the cut.

DISCLAIMER: I’m American, so there’s likely something about the UK that I miss here. Alas, we’ll persevere. I barely edited this because I’m no longer a student and don’t have that kind of time. Also, I already wrote one dissertation and I refused to admit I wrote another one. 

METHODOLOGY

To kick off, I went through and looked at every outfit worn by Jo Davidson and Kate Fleming, and most worn by Steve Arnott, in series 6. Steve acts as my control because he begins and ends my sample as a working member of AC-12, which for the purposes of this narrative represents police who are not corrupt. He is exclusively shown in cool tones in every scene I discuss here. Kate serves to bridge that gap in analysis between Jo and Steve - she is anti-corruption through and through, but she is no longer a member of AC-12, and she also has a close relationship with Jo, which is clearly romantic in tone. Kate often wears cool tones and white, but the occasional brown, orange, and green pop up (hold that thought on green). Jo is my main focus of my analysis, because I believe her wardrobe is most clearly impacted by the struggle between internal desires and external pressures. She wears a range of colors, but most frequently it is a combination of warm and cool tones. For the purpose of this analysis, black is considered a warm tone, white is both cool and absent allegiance, and grey is considered a cool tone.

THESIS

Since the first episode of series 6, Line of Duty has used color to indicate that Jo Davidson is not bent by aligning her with the tone of AC-12 as a whole and Kate Fleming specifically. TL;DR: The show has used wardrobe to tell us that Jo is not (intentionally) bent from the beginning.

Jo isn’t ‘bent’ in that she doesn’t want to be corrupt, but she’s forced to be. Surrounded on all sides by the OCG because of her uncle/father, Tommy Hunter, Jo therefore has no choice but to follow OCG orders for fear for her life. The show works to show us this visually in a few ways. Cool tones, representing ‘justice’ through AC-12, are seen throughout her screen time, but they are often peppered with warm tones, representing corruption and the OCG. This is true of her wardrobe overall, but is perhaps most succinctly demonstrated in her apartment. Keep these thoughts in mind as I break down each outfit. 

EPISODE 1

There are points where the wardrobe informs us of things that the text directly contradicts. For instance, in the opening scene of episode 1, Jo arrives at the Hill wearing a black coat over a dark grey turtleneck, and is shown talking to Lomax about a new lead in the Gail Vella murder investigation. She is then shown talking to Buckells about this lead, an unknown CHIS who claims to have spoken with a man named Ross Turner who claimed to have killed Gail. The interaction seems innocuous, and Buckells denies permission for a raid on Turner’s home, but look more carefully at the dialogue here. Jo is manipulating Buckells by presenting him with information about the source, including that he was a sex worker and speculating on his potential drug use. These two factors are what makes Buckells hesitate, and he ultimately stops the raid from being carried out that night. 

While Jo in this scene seems to push Buckells to give permission for the operation, Jo’s dark wardrobe is telling the audience that something else is happening on another level here. We learn later that Jo would take advantage of Buckells baser instincts and desire for upward advancement in order to manipulate him, which is what she does in this scene. She specifically mentions the CHIS’s sex work and the potential drug use because she knows Buckells will worry about the reliability of the witness and want more to go off of, hence cancelling the operation. Jo’s dark clothes hint at her manipulation of Buckells while the audience is not yet clued in.

The next time we see Jo during the team briefing about Ross Turner is also the first time we get a hint at the fliration between her and Kate. Jo’s “dirty stop-out” line and Kate’s “glass houses, boss” response, coupled with Jo’s smile that she hides by looking down show a clear shift in tone. The black jacket is removed, and she’s wearing a grey turtleneck. Jo is slightly more at ease here, enjoying the easy banter. Meanwhile, Kate is wearing a cream/light brown sweater, our first visual clue of her separation from AC-12 and her connection to Jo. 

Note here that Jo’s black jacket was on top of her grey turtleneck, and could be removed. The turtleneck, a very modest and in some ways restrictive top, also serves as an armor Jo wears to brace herself against her own actions. 

When the operation to arrest Ross Turner is approved, Jo again dons a black jacket under her body armor, while Kate wears a green coat under her body armor. Jo putting on the black jacket is symbolic of how she is about to waylay the team with the staged armed robbery at the bookie, allowing time for the OCG to replace Owen Banks with Terry Boyle. Kate’s green coat is symbolic of her mixed allegiances between AC-12’s blue and Jo’s yellow.

Later, when debriefing the operation with Lomax and discussing the importance of learning the CHIS’s identity, Jo and Kate are back to the grey and cream sweaters they were wearing earlier. Their banter is also back with Kate’s “great minds” line, demonstrating their comfort and also telling the audience these two women are in sync with one another. 

Immediately after this series of scenes, we see Steve for the first time. His first scene is at AC-12, wearing a grey suit, white shirt, and red tie, when he is notified that Farida Jatri is there to see him. We learn in the next scene, where Steve is in a blue suit with a blue shirt and blue tie, that Farida brought her concerns about Jo to AC-12, particularly about the odd armed robbery that Jo spotted. He asks Hastings for permission to look into it further, which is granted. The all blue outfit on Steve represents his desire to root out potential corruption in this complaint. He continues to wear this outfit for most of the episode when dealing with the investigation and MIT.

(Note: there’s an interlude scene here of the MIT crew in crime scene suits at Terry’s, but I’m not including that here.)

We next see Jo with Lomax, interrogating a frightened Terry Boyle, while Kate watches the video feed of the interview. Jo is wearing another grey turtleneck, but this time is wearing a grey jacket, while Kate watches on with a cream oversized sweater. The interview with Terry goes nowhere for the most part, as he refuses to comment, which seems to be to Jo’s relief. Kate, however, clearly isn’t done.

Donned in a green mockneck and navy suit, Kate visits the crime scene at Terry’s apartment again. This green top still aligns her with both AC-12 and Jo, but the navy suit serves as a reminder that she doesn’t think the MIT has the full story on Terry Boyle. 

Later, we see Kate in the same outfit debriefing Jo on the new information at the crime scene, namely that there is no new information because it’s been wiped clean. Jo is wearing a grey suit jacket, brown sweater, and a white shirt. Both agree that Terry isn’t a solid suspect, and want the ID of the CHIS in order to confirm that he’s the man identified as Ross Turner. Jo’s layering here is interesting - cool tone, warm tone, cool tone. She agrees with Kate externally, she knows Terry is in the frame for Vella’s murder, and she doesn’t feel comfortable pursuing Terry as a suspect she knows is innocent.

They then visit the CHIS’s handler, who refuses to give up his informant’s ID, but reveals to Kate that he is concerned about the CHIS’s welfare. Kate is wearing a long navy coat, while Jo is wearing a long grey coat with a blue and orange scarf. Kate wants to know the CHIS’s ID to genuinely pursue justice, hence the blue, while Jo wants the CHIS’s ID for ostensibly the same reason, but for her, pursuing justice with the CHIS would also clear Terry’s name. Jo doesn’t want Terry to be punished because he’s innocent, but she also knows a negative ID on Terry will lead to trouble for her with the OCG.

We see Jo in the same outfit minus outerwear in the next few scenes - when she is called into Buckell’s office and convinces him to put pressure on for the CHIS’s ID (while Kate watches), and later when Kate informs her that there was a surveillance gap on Terry Boyle’s flat due to the wrong authority being sought. Jo pushes Buckells and manipulates him to reveal the CHIS’s ID, and also blames him for the gap that she’s responsible for, hence the warm coloring of her sweater. Kate, meanwhile, is showing her allegiance to Jo by telling her about the gaffe, the green of her shirt being the visual representation of that act. 

Next we have a scene of Steve looking at CCTV of the armed robbery, and their suspicions are raised about the speed the convoy was traveling and the likelihood that Jo could have actually spotted it. Again, Steve is in an all blue outfit. 

Back to our favorite murder investigators, Lomax, Jo, and Kate arrive on the scene of a murder victim which turns out to be their missing CHIS. Jo is dressed in a long grey coat, green sweater, and light blue shirt, while Kate is rocking a long navy coat, navy suit, and an orange and navy striped turtleneck. Later at MIT, Kate and Jo discuss the CHIS further, lamenting the loss of the only witness who could ID Terry as Ross Turner. Throughout this scene, Jatri is watching the two of them interact. Jatri then calls Steve, in a grey suit with a blue tie, and tells him she can no longer be an informant. 

Round two of interviewing sweet Terry begins, with Jo in the same outfit and Kate watching on video, again in the same striped turtleneck. They all seem to think Terry is hiding something, but Kate seems taken aback at some of Jo’s lines of questioning (Vicky McClure, expert reactor) but is mostly saddened by Terry. Later, Steve meets with Kate outside of Hillside and they discuss his inquiry into Jo. She refuses to help, but gives him the name Carl Banks as someone to look into. 

We then see Jo arrive at Farida’s house with a suitcase, moving out her final belongings after their breakup, where they have a row over Jo’s refusal to introduce Farida to her nonexistent family. After, Jo returns to her own apartment with its 18 dead bolts. Nearly the entire place is blue - the walls, the furniture, even the refrigerator. However, those warm tones pop up throughout - lemons on the counter, golden pillows in the living room, gold lights framing the picture of her mother. Jo at her heart is good and believes in justice, but she has been groomed and manipulated by the OCG into acting against her nature in the name of self-preservation. She is blue, but the pops of gold and yellow of the OCG catch the eye. 

The following scene shows Jo getting chewed out by Buckells in the briefing room in full view of the rest of MIT, again in the green sweater and blue shirt. Kate looks on in concern, still wearing the orange and navy striped sweater. Buckells storms out, and Jo rushes into the hallway. Kate follows quickly behind, asking after Jo, who vents her frustrations with the pressure to charge Terry with murder because she knows it isn’t right and wants to find real justice for Gail. The color choices in this scene are clear. Kate is wearing orange and navy, highlighting both her connection to Jo and her pursuit of justice. Jo is wearing green, combining the blue of her heart and the pollution of OCG yellow, with a light blue shirt, again highlighting her true self and alignment with Kate.

This also highlights something we don’t learn until episode 6 - Jo wanted Kate on her team to keep her in check and be a barrier to the things the OCG was asking her to do. This includes the arrest of Terry Boyle. Jo specifically identifies several odd things about the recent evidence - and tells Kate that something doesn’t add up, essentially encouraging the DI to look into these inconsistencies further. This is her way of looking for help when she still feels trapped in many ways. 

Of course, no analysis of this scene would be complete without mentioning the hand grab and subsequent hold. They’re gay, kids!

The final scene shows Jo watching as Terry Boyle is released and remanded to police bail, a look of relief on her face. Because yeah, she’s done a lot of bent things, but Jo isn’t bent.

And that’s where the episode wraps.

Stay tuned for more wardrobe analysis tomorrow!

[incoherentbabblings]

Hi!

I love your content, your love for TimSteph, and I was actually going to ask what you love so much about them. I, for extra credit for English, decided to write an analysis of Stephanie (and why I love her so much), but I just got into comics, and cannot really put my feelings for her in words ... which is odd, considering how much I love her and writing. Also, I was going to do a section on why TimSteph is narrative genius, and I needed help elaborating on that too.

Could you help me out, please? Thanks!

(I feel the need to mention that I have read quite a lot of comics with Stephanie in them, though not all. I'm not much of a comic book fan, but I'm really interested in the Batfamily!)

I'll be very happy to write out bullet points that you could talk about, and feel free to go through my ask and I'll babble/TimSteph meta tags for anything that you think may be worth discussing in your own words - there's like four or so years of stuff there to spark your brain.

HOWEVER!!!! Keep in mind though that much of what I have written is half based on textual evidence and half me just writing what I like/wish would crop up in canon.

For example, yes I like to draw comparisons between Tim being cold and Steph being warm, moon and sun and so on, but there's genuinely nothing in text to hint as this being an actual character trait or symbolism. If anything Tim's stated to be warm several times, more than Steph.

So, and I am sorry to be so blunt, but if I take your request in bad faith for a moment, don't use either directly or indirectly what I've written for your work. Especially without actually going and reading the arcs I talk about. A lot of the time it doesn't hold up under genuine textual scrutiny, and we want to be good academics here! There's Death of the Author and then there's me making crap up because I want to include it in a fanfic. Not the same thing! My blog is called IncoherentBabblings for a reason after all!

I will therefore say this: If you want to write about Steph as a character, I would use the below video as a point of reference. Using the below, you can then go into why she resonates with you the way she does, or why her relationship with Tim is so interesting to you.

If I were you: focus on her dynamic character development: cynical to idealistic. And use three points in her publication history to do this: her introduction in Detective Comics, War Games, and Batgirl. I am sorry to recommend War Games as something to read but it is important to her character. Use the Stephanie Brown Wiki to help!

That lends itself to a biography of her character, a look at her motivations and values, her role within the batfam, and so on. You can also use this to make comparisons with her peers, specifically Tim moving in the exact opposite direction development wise; Babs and Cass in their approaches to Batgirl; and the other Robins through her similar character progression as Dick, which in turn allows her to be a good mentor to Damian, and finally how her character arc runs perpendicular to Jason's. Does that make sense?

Anyway, let's get going! If I were to write an academic piece on Stephanie, these are the main points I would work through. In other words, this is what I would do. You probably will not need nor want to go into this level of depth, and you will want to make it much more personal about why she resonates with you, which may be different to why I love her. So don't worry about touching base with all of them. This is like... 10,000 word essay level stuff. And don't get overwhelmed. I've taken your request far too seriously is all.

Again, I can't write it for you! You gotta do the reading and writing I'm afraid.

...But I still wrote 1,500 words anyway. Gosh darnnit.

Steph’s Character Development

Always keep three points in her character history in mind – her aged 14/15 in her introductory arc in Detective Comics, her aged 16 in War Games, and her aged 18/19 in her Batgirl run.

How does she change? How does she grow as a character? What events caused these changes? Compare that angry 14-year-old trying to choke her father, to the 19-year-old crying happily on the roof. A lot happened between those two points! Outline the main plot beats.

Steph's Role as a Batfam Character:

Protagonist or Antagonist: Supporting Protagonist

Static or Dynamic: Dynamic (think of her character development - angry to alturistic; she softens in her life outlook and in the way she treats others as the years go by)

Minor or Major: Minor and we all mourn that fact :(

Foil or Symbolic: A foil to Tim Drake (and to a lesser extent the other Robins, specifically Jason Todd)

Importance of the character/Position in Society: Fourth Robin, third Batgirl, own superhero. Tim's girlfriend, Cassandra's best friend, one of many of Bruce's 'children'. Initially introduced just as a one-off character for a small arc in Detective Comics, brought back with the intention of being a supporting character to Tim Drake, and eventual love interest. Eventually gained enough popularity on her own terms to support her own solo comic, but has since returned to a supporting role. The character she supports, at the end of the day, is Bruce Wayne.

Motivation

What influences their decisions?: Stephanie's dynamic characterisation comes in here. Compare her motivations during her introductory arc, versus why she does what she does in War Games, versus why she dresses up at Batgirl - Stopping her father, getting Batman's approval, need for redemption.

What do they value?: Values emotional openness, vulnerability, second/third/fourth chances.

Goals/Hopes/Dreams: No long term goals/hopes/dreams in the domestic sense... Continue to be vigilante. Be respected by her peers. Continue to improve self worth through deeds. Graduate college?

What are their views: Views the justice system and police as corrupt, but still trusts in the inherent goodness of people. Focus is usually on the individual, rather than societal or structural.

Actions

Behaviour, Attitudes, Impact on Story and other Characters, Internal Struggle (Wants versus Needs): This is why I think you are best to look at three points in her story - Intro Arc, War Games, Batgirl. Focus on her Wants versus Needs - Steph's take a very long time to align, but they finally do in Batgirl.

Character development is usually driven by the conflict between what a character wants. The plot forces them normally to confront the fact that what they want is not gonna work out, and what they needed instead takes priority.

Everything usually goes tits up for Steph when she is in the driver's seat of the narrative because what she wants from a situation is rarely what she actually needs to happen. See every time she seeks Bruce's approval. She wants it. She absolutely does not need it. And only as Batgirl do we get that acknowledgement, which coincides with her being at the healthiest point in her life emotionally. Look at what she wants as Spoiler during her introductory arc, as Robin/Spoiler during War Games, and then as Batgirl. Why is she so unhappy in the former two? Why have her wants finally aligned with her needs with her time as Batgirl?

Character Traits

Personality: Cynical but perky. Sardonic but sincere. Think about how she changes over the time. This can be attributed to her different writers, but - for example - is there a universe reason for why Batgirl Stephanie is so much more socially awkward than Spoiler Stephanie?

Strengths & Weaknesses: Link these two together because Steph is a very good example where her strengths as a character can simultaneously be a weakness. Her determination can lead to her making ill conceived decisions. Her empathy can lead to her putting her trust in the wrong people. Her forgiving nature can lead to her being taken advantage of. Her temper, whilst landing her in hot water, can also just as often get her out of it.

Relationships

How do they interact with others: Focus on which characters pop up in all three arcs – Steph and her parents; Steph and Bruce; Steph and Tim. I am chucking Cass out the window here, sorry Cass, but if you’re focusing on these three arcs, Cass doesn’t really fit in.

How others view them: Conditional love/affection from her father and Bruce. Unconditional love/affection from Tim and her mother (though both are not without serious pitfalls).

How they view others: Stephanie has explicitly never loved her father. She has also never explicitly hated him either. What does that say about her? Look at her changing closeness with her mother. What changed between them, and again, what does that say about Stephanie? Crystal got sober, supported Stephanie through her pregnancy, Arthur was removed from their lives, Stephanie makes a conscious effort to be closer to her after returning ‘from the dead’, though continues to lie consistently to her. Stephanie admires Bruce, whilst also right from the get go insisting she does not answer to him. She never quite lets go of wanting that approval.

How does society view them: Her outsider role within the Batfam. She never quite belongs, and at points her closest relationships are actively discouraged from seeing her. Which Tim specifically never entertains. This outsider nature bites literally everyone in the butt during War Games. Her outsider status is still in place by the time Batgirl concludes, due to its largely self-contained nature as a book, but this is less being an outsider more having earned to right to operate independently. Trust has been given and earned.

Dialogue

What does she say and how: A teenage girl in New Jersey from a working class background has a very distinct voice. She does not mince words, nor does she hide what she is feeling. If she is happy, she will say so. If she is annoyed, she will say so. What she won’t do is ask for help when she needs it, due to her background formulating a need for her ‘to do things on her own’.

Think of famous/important Steph quotes from the three arcs I keep talking about – the excuse me if I don’t jump when you bark, the I really was part of the legend, the only variable you can control is yourself. These show how Steph views others and herself.

When I was writing I Would Have Loved You, I literally made a spreadsheet where I have picked out what I think are pertinent quotes from every New 52 issue featuring Tim or Steph along with a synopsis that explained what they were up to/what the main theme of the issue was. Not saying you should do the same because I’m just that goddamn anal when it comes to this sort of stuff, but the point is – look for quotes by/about Steph which highlight the above things we’ve talked about. You have thirty years to go through!

Author Intention

What purpose does this character serve?: A character that young female readers could get attached to – the every girl/girl next door archetype or a character that young boys could have a crush on – the kind of girl who’s into the same sort of stuff as you, I think Chuck Dixon once said of her, from her initial appearance. Fodder for Bruce and Tim’s man pain in War Games. Batgirl it’s a combination of filling the void for a female lead solo character in the batbooks, but also tonally taking on a much lighter and self-contained book that new readers could jump into very easily, directly compared to the more lore heavy Batman, Detective Comics, and Red Robin books.

What is the author trying to communicate: Steph’s character shows that determination can only get a person so far, a support system and doing things for the right reasons (again remember that want versus need argument) is the only way a person will genuinely succeed.

What is her main theme?: Balancing cynicism and idealism – doing acts for the right reasons, and discovering what these reasons actually are.

...

Is this even usable for anyone but myself? Possibly not!

Still... Go write! And good luck!

[ceridwyn2]

This may seem like a stupid (and unpopular with some) question, with AO3, is there a way to filter out some writers in search results? I’m doing a search through a particular fandom (no, not stating which one, as I’ve seen it across more than just one fandom) at the moment, and there is a lot of crap there amongst the good gems. I’m picky when I read fanfic 😅 , and a lot of times I don’t have time to wade through hundreds/thousands of stories to look for the good ones.

By the way, this ended up being a lot longer than I originally intended 😂 as I was thinking it through. What I like in the stories I read as follows:

A) Be grammatically correct

B) Spelling correct

C) Sentence & paragraph structure correct. Dialogue for each character in separate paragraphs.

D) Point of View: maintain one person’s point of view either for the whole scene or whole story. Especially important if stories are written in first person (I/My/Me) or second person (You/Them/They). These stories are often harder to write and maintain throughout well. If it’s first person, you’re only writing from one character’s point of view: on how *I* see/hear/experience the things around *me*. *I* don’t/can’t know what the other characters are thinking/feeling other than what *I* see/observe in their behaviour, unless they tell *me* what they think/feel. Writing in second person is equally difficult to maintain unless you’re very skilled at it. You’re writing as though your addressing the reader/person directly, as if you know them personally, intimately (does not need to be sexually) by using *you*. / Example: You love to write; you should do it more often. / If you’re of a certain age and remember the ‘choose your own adventure’ child/young adult books of the 70s-90s, they were in a person point of view.

Majority of fanfiction, and fiction in general is written in third person. Third person is like you’re the audience watching a tv show/film/play/book. You’re a non-active participant of what is happening and cannot affect the direction or outcome of the story. The primary subject of the scene is referred to by their name or rank and their pronoun(s), and is often the first character mentioned at/near beginning of the scene / Example: DCI Cassie Stewart walked into the incident room of her Historic Cases Unit, with a quick glance at her officers before heading into her office. It wasn’t long before her second in command, DS Sunil Khan, or Sunny, as he preferred, wrapped on the glass window pane of her office door. / That scene is dictated from her point of view, how she directs those around her and how those around her interact with her. Had it been slightly different, but same scenario: /DS Sunil Khan looked up as the door to the Historic Cases Unit opened and saw his boss, DCI Stewart, make her way to her office, glancing at the team as she did. Having got some new leads on their current case overnight, Sunny headed towards her office to notify her ahead of the day’s briefing. / This obviously changes whose point of view is the primary for that scene to Sunil.

Third person It allows the writer to explore different perspectives and viewpoints of different characters to move the story forward. However, that being said, to avoid reader confusion, pick one character - a main character, supporting character, or a villain - as the primary character of that scene and stick with their focus/perspective for the duration of a scene/chapter. If you want to express multiple character’s reactions or points of view to a specific same scene (like say a team of detectives coming onto a murder scene) and if it makes sense to do so, you can write the scenes same but different as each character will have their own take on what they saw/perceived/when they entered/exited the scene - but each character that you’re writing about will have a separate section, separated by punctuation marks, above and below the change of perspective. However, that can easily come across as too repetitive for the reader. Might be best to put that in a notes page each scene of how each sees the same scene - because you as the audience can visualise the characters as being there, when they arrived and what they observed. When you write the scene, write it from one character’s point of view, but as you have the other characters interacting with them, they can comment on what they saw observed, contributing to the overall pieces of information, without repetition, unless it contradicts or adds to a specific point being made.

E) Age correlateable. By which I mean, if someone’s going to write about established characters that are in their 40s, 50s, etc., their life experiences, maturity, have them act/respond to each other as such. I have read stories - or rather attempted to - but the mental maturity of the author was showing through characters in their 40s, 50s, and it was obvious the writer hasn’t grasped that maturity of the characters. Listen to the character’s voices (what they’re saying, how they’re saying, even what they’re not saying but expressing visually) you’re writing about. This really comes out when writing arguments and sex scenes, btw.

F) Physical/mental characteristics: If a character has an illness or physical disability, or like affecting joints or paralysed limbs, amputations, or anything that affects movement, be aware of that, esp if writing a sex scene (a whole other rabbit hole of bad writing exists there, see next item). If in an argument, you’re trying to express the character throwing something in anger, like a mug/glass, etc., for example, and the character has an injured/disabled arm, their strength to throw is going to be limited. Show the character’s frustration that the action they wanted had less effect at releasing that anger/frustration. If the character has a visual (partial or full blindness) or auditory disability (eg. hard of hearing, deafness in one or both ears, over-sensitive to sound/volume), take that into account. Esp in arguments, if one of the people in the scene has a tendency to mumble, they may not be understood as words run together are not easily decipherable either by sound or lip reading. Mental health /illness (eg PTSD /complex PTSD [cPTSD], depression, anxiety affects physical health responses. If the characters have mental health disorders, be aware and maintain that continuity through the story. Don’t need to mention it all the time but be aware it can affect movement/physical responses, behaviour. And unless you’re House, you don’t need to include every odd, weird, very rare symptom he seems to need to diagnose something for the character 😂 .

G) Sex scenes: some are done so well that it’s seamless and flows well with the other parts of the story, where the intimacy blends well. Others, very much no so. Unless it’s a specifically written PWP (plot, what plot) story, and those can work when written well. Trust me, I’ve read otherwise well-written stories ruined by a sex scene that reads like a bad porn with characters that otherwise had physical limitation(s) in the rest of the story but were suddenly able to pull off manoeuvres of someone 20 years younger and fully able-bodied. Like someone just tacked on an explicit sex scene on that didn’t mesh with the story as if they were two completely different people that happened to have the same names as the ones in the rest of the story.

H) Continuity. Whether your story is short or long, be aware of where your characters are/what they’re doing. Having a sense of timing. Helpful to have a notepad (digital or paper) sometimes to keep track of movement. They can’t be in two concurrent scenes at the same time. Passing off information between the characters; don’t assume one character (or group of characters) knows what the other(s) are doing, unless they are in contact with each other (visual/audio/both/text). Cause/effect. Action/reaction. There may be delayed effects or reactions (over scenes/chapters), but reference them back to the original cause or action and why there was a delay. For example, somebody witnesses or experiences a tragedy, war, fire, sexual assault, accident, or other traumatic experience, and it triggers a delayed emotional or physical response hours, days, months, years later. The character may or may not be able to explain to their partner, colleague, friend what it was that caused effect/reaction. Similarly, following onto earlier example of a thrown glass/mug/vase, if it smashes there could be subsequent injury from ceramic/glass/etc. like a cut finger/palm of hand if picking up the pieces/cleaning the mess. So maybe it requires a bandage or wrap. Continuity would include making further grasping of things discomforting or painful, maybe a comment from another person inquiring what happened later on if they’re noticing a bandage that wasn’t there the last time they saw them.

I) Alternate Universe stories. I don’t mind AUs when done right - so that even if the characters are placed in a different setting, their general personality traits are very recognizable. I’ve read quite a few that nail this perfectly. Others, not so much. When it works, it works. Otherwise it’s just slapping familiar names onto original fic just to get more eyes on a story.

[temple--ghost]

SNK Chapter 133 - Levi on Eren’s Eventual Death

An analysis of Levi’s emotional state in SNK’s recent chapter.

___________________________________ Boring Disclaimer: I’m Ereri trash. However, in terms of Isayama’s intention for the series and these characters, I believe Isayama has sought to depict their relationship as one completely without romantic or sexual undertones. 

However, there are enough "blank spaces" and "building blocks" in his work that a reader can conceptualize and read given scenarios in many ways. In aspects of film and media theory, characters and narratives are often treated as if they aren't just blots of ink hitting paper, but as a hypothetical reality in which to judge character morals and meaning. When we intake any piece of fictional media, the ideal is an engagement with the characters and the story. We can consider the author’s intent, while also acknowledging multiple, theoretical “realities” of this created world as it is portrayed to us using media-driven language. 

That said: I cannot argue that there is a romantic undertone between these characters; instead, I believe there is a significant relationship here that is vague enough to be twisted by interpretation. 

___________________________________

Introduction

This is where we begin:

Hanji has been left behind to die. Eren’s rumbling has slaughtered thousands. Countries and cultures have been left to ruin. 

And, our group of protagonists are unsure how to stop Eren. 

We have two crucial suggestions from Armin: try to talk with Eren and, as a last resort, kill Eren.

Coming off of Armin’s mention of this “last resort,” Levi says:

We know there are a multitude of reasons for Levi’s death-wish against Zeke, 

So, in trying to understand his motivation here, I can see Levi’s words being read in two ways:

1. Going after Zeke in place of Eren may prove a simpler solution, while also fulfilling Levi’s desire to kill Zeke. Furthermore, if both Mikasa and Armin are hesitant in killing Eren, logically, Zeke could be the substitute. Levi’s suggestion is made out of intelligent convenience. His main priority with this suggestion is Zeke. 

or

2. Replying directly to this “last resort,” Levi offers up an alternative TO this last resort. “I’m fine with us having a last resort BUT...” and he offers Zeke’s death in the place of Eren’s. Simply put: he, personally, does not want Eren to die. 

My following argument and theory correlates to what is stated in #2: 

Based on the way in which Levi is portrayed in chapter 133, it is clear he remains emotionally invested in Eren’s life. 

And, notably, this is not the first time Levi has offered this solution...

Substitution 

Chapter 112: the Jaegerists are uprising. Eren has now not only forced the Survey Corps into action by attacking Marley on his own, but has also begun an uprising within Paradis himself. Soldiers find Levi and relay the information; Levi is told of the plan to kill Eren.

His reaction...?

To offer up Zeke. 

He goes on to admit:

“I don’t know if Eren’s really being controlled by Zeke or not. But we just need to end Zeke and they’re done for.”

There’s an obvious parallel to chapter 133, in which:

- Levi seems aware that Eren’s actions are likely his own. Eren is likely guilty in being a provocateur of destruction and yet...

- Levi acknowledges that Eren’s life is threatened. He offers Zeke to save Eren from death.

(For the sake of length, I’ve omitted a few panels. Eventually, I intend to address this entire moment in a future meta post, wherein I want to discuss if Levi’s desire to protect Eren stems from a personal attachment, or if his only concern is the concept of the “wasted” lives that have died for Eren’s sake). 

Let’s return to chapter 133.

Eren’s Answer 

Levi’s suggestion to kill Zeke with the help of the others prompts a discussion point from Reiner.

“Eren might want us to stop him, no?”

A scene change occurs soon after; our protagonists are transported to PATHS. Levi is the only character to realize:

In this moment, Levi acknowledges the possibility that Eren may have been listening and reacting to the idea that he (Eren) wants to have someone kill him. Levi is putting the pieces together -- Eren has heard them and this will be his response.

Our characters call out to Eren. Levi is the last to speak.

Somehow, in this moment, there’s still a sense of humor in Levi’s dialogue.

Despite Eren causing the deaths of thousands... despite the loss of Hanji, Levi’s comrades, and of the hope Eren was supposed bring... Levi’s greatest “threat” is to “let [Eren] off with an ass-kicking.” 

Through the lens of the odd and physical nature of Eren and Levi’s relationship, the threat is sentimental, almost. 

His final callout (”Why don’t you speak up for a change?”) brings to mind a fantastic meta done by @yaboylevi​, in which they explore Eren’s process of verbally retreating from Levi and the others. As well as how, in multiple instances, Levi tries -- and seemingly fails -- to speak to and understand Eren, but Eren would not let him in.

Directly following Levi’s words, Eren appears -- seen first by Levi -- and Eren’s monologue begins.

This is it. Eren has heard and is responding directly to our protagnoists’ question. And it is here that Eren not only confirms but takes it a step further by threatening further destruction unless he is destroyed. 

And it is only after this moment, after Eren has given them no other choice but to kill him, does Levi's knees hit the sand

The monologue continues. We see a close-up of Levi's face, while all of the others are in the background or not made purposely distinctive -- his is the face that sticks out.

Let’s talk about scene framing or, in a more common term used by those in media criticism: mise-en-scene.

Per Dictionary.com, we can define this term as:

The arrangement of scenery and stage properties; the setting of surroundings of an event or action.

In visual media, story-boarders and artists use the placement of characters to communicate messages to an audience. Mise-en-scene is often one of the first and most important concepts taught to those within the industry. Why? Because how these characters are placed within a frame manipulates an audience; there are, across all aspects of visual media, certain “tricks” a director or artist may use in order to convey a message through the visual representation of a scene.

If you wish to understand this aspect further, I highly suggest this article. But, let’s move on and apply this concept to Levi within this chapter.

I would argue that it’s significant that, within all the ‘PATHS panels,’ he is not only portrayed on the left-hand side, but also at a lower elevation than the rest of the characters. Characters portrayed at a lower elevation often intend to display ‘weakness, defeat, insecurity.’ The left side of the scene is also reserved for this indication. I’ll quote filepicker.io for this:

“Left: weaker side of the frame, reserved for villains, powerless or insignificant characters”

I want to bring up this page:

Where the others stand together in (what I see as) the same level of awe and shock, Levi’s differing in his placement and emotions is made purposely distinct. 

With Levi in the foreground, he is made completely separate from the homogeny of the rest of the group. The reader's eyes go to him on the ‘weaker’ side of the frame. While all others stand and look at the same point, he is the only one sitting and staring downward, listening and in thought.

He feels weak. Defeated. Powerless. I read the downward tilt of his head and the slump of his body as conveying a deep and thoughtful sorrow. 

The audience is told not only in Levi’s expression, but in the author’s entire use of framing, that what Eren has communicated in PATHS has a very significant effect on him and we, as an audience, are meant to see this. 

Levi’s Response

Immediately after this page, we return to the plane. 

Note Levi, whom remains in the similar crestfallen state as before --  still, obviously, in the same state of emotions and thoughts he was in just prior. 

One panel later he states:

He is back on the other side. He has been told, by Eren himself, that Eren’s death is the only option.

He has been given a straight-forward answer. He has obviously ruminated on this. He must now have an inkling of doubt that killing Zeke will stop Eren. He must understand the further depth of terror that will happen should Eren not be stopped. He must understand the loss of lives lost in Eren’s wake.

And yet, his emotions remain tethered to Eren. Despite his original promise in chapter 19. 

At this point, after all that has taken place between them, between then and now...

 Once again…

“...Now what?”

He does not consider the option of killing Eren.

[zeldareyesblog]

Bayonetta 2: The Controversial Witch Trials

**This was a responsive essay that I had written back in February 24, 2020 and revised on March 1st, 2020 for “Introduction to Composition” college class. Yes, I got an A+ on this.** 

                            Bayonetta 2: The Controversial Witch Trials

           In Giuseppe Nelva’s article, “Bayonetta 2’s “Over-Sexualization” Complaint: A Perfect Example of What’s Wrong with Modern Reviews”, I  found the reviews of the game to be unfair because Bayonetta 2 was judged based on the amount of provocative imagery it contained rather than Platinum Games’ improvement from the first Bayonetta’s gameplay, mechanics, and creative execution. Nelva’s concerns were the same as mine because we believed that no videogame should be judged by the amount of controversial content it has. Instead, video games should be judged if the video game’s creators have exceeded beyond expectations to entertain the players.

Video game reviewers are needed to help companies like Platinum Games improve their work ethic, so that the next video game they make from that specific series would not feature the same issues again. However, we have big video game reviewers like Polygon, who has judged this video game based on its “blatant over-sexualization” rather than Bayonetta 2 game’s execution as quoted from article, “I won’t guess why the blatant over-sexualization is still there, often more intensely than before. But it causes an otherwise great game to require a much bigger mental compromise to enjoy.” Even though a 7.5 out 10 would not be considered an awful rating for Bayonetta 2, it deserved more than that and it also deserved a more objective review rather than a subjective review despite the obvious adult content mentioned by Polygon’s throughout most of the review. While Bayonetta 2 did include sexual themes and references throughout the franchise and characters as much as strong language and violence is concerned, should it be used to solely judge the merits of a videogame? What if the creators of Bayonetta 2 intentionally put the controversial content there to show how our virtuous boundaries could be broken under harsh circumstances, but can still become a strong, wise, and beautiful person against all odds?

           To be honest though, I did understand that when my mother and I bought this video game from GameStop just last year during the holiday semester break as my New Year’s Eve present when I was 19 years old, she and I were both already aware of the  content.  Such as female characters being portrayed in a sexualized manner with extremely exaggerated proportions displayed in tight-fitting suits while in combat. There were also female characters being stripped of those suits for a brief amount of time to summon “infernal demons” as an aid in combat for huger enemies until their wicked weaves covered their private parts, and the innuendos spoken while the female characters interact with male characters in advance. However, the reason my mother approved of me playing that game, regardless of the adult content, was because she took her time to educate me about such content prior to succeeding my first semester in college. Because of our mother-daughter conversations,  it was still pointless to judge the game based on its own provocative content and more on how it has executed itself as an entertainment medium as a result. Unlike most parents that I met who let my friends play M-rated video games before they completed their secondary education and reached the appropriate age, my mother never let me play any M-rated game until I completed my secondary education and when I reached the appropriate age of 17 years old or older according to the Entertainment Ratings Software Board (ESRB) guidelines because she believed that proper  education and parental guidance would develop a real sense of maturity and high tolerance on all adult content that I would be exposed to in the future and she was right about that.

           Furthermore, when I compared my now adult self to the friends that played a variety of M-rated videogames while they were underaged and still in middle school a very long time ago, I remembered that they were complete hyperactive chatterboxes to the point of aggravation, became more aggressive in their gaming habits and personalities, and even learned new curse words that I have never even heard before. When it came to sexually suggestive content in mature-rated video games, my old middle school friends did not seem to process that kind of content in a composed and civilized manner which resulted in them having some misogynistic and judgmental views of women, especially fictional video game women like Bayonetta who had self-confidence on and off the battlefield and remained fearless in her sexuality and beauty. Although, I did not blame M-rated video games alone because I knew that it was obviously the parents who enabled their underaged children to play those mature-rated video games since they were impatient and did not take the time to teach their kids about what kind of content they could be getting themselves into if they bought the game no matter how entertaining it was, and why they should not expose themselves to it until they are at the appropriate age anyways.

           Moving on, Nelva has mentioned in his article that “What should be reflected, first and foremost, in a review’s content and in its score is the game’s quality, and while several aspects of “quality” are subjective, there are also many that aren’t. Production values are an example: graphics, animation, audio, textures, effects; Those are objective aspects of a game’s value that should not be overlooked.” As somebody that has owned and played this video game series, in my perspective I think that Bayonetta 2 has exceeded expectations from the Bayonetta 1 when it came to smooth gameplay mechanics – being able to reduce the amount of constant button pressing to fully complete charging attacks. Not only that, but Platinum Games has provided extra abilities for players such as giving Bayonetta the ability to glide on higher platforms with her Madama Butterfly Wings after jumping upwards and a variety of random “hack and slash” combo attacks on all bosses and mini bosses that will leave the players in suspense on what Bayonetta would do next, and included online gameplay levels and offline quests that challenge the players’ skills after completion of the story mode. The graphics and textures of Bayonetta 2 were beautifully executed to even reach cinematic levels of gaming throughout cutscenes and gameplay with the camera angles strategically displayed on the entire environment, and used closeups appropriately on the characters to present details on their unusual cosmetic makeup, clothing designs, and accessories as the characters communicated with each other. As for audio, the music soundtrack provided a mysterious, foreboding, yet epic emotions that could keep all players on edge and interested in the story mode. Furthermore, the dialogue between the characters was uniquely portrayed and ranged from what strong, young women and men would realistically say or react if they had encountered any enemies based on their three-dimensional personalities.  If videogame players were tight on budget to own a headset, they could still experience the same amount of interactive and immersive fantasy-adventure gaming that Bayonetta 2 has provided as an entertainment product that would keep the players entertained for many years to come.

           That objective review I made would convince so many young adult audiences to play Bayonetta 2. Eventually, it would have gained plenty of new fans to move this game up the ranks from being stuck in the “under rated” games category to gain widespread popularity. Never had I put in my own opinion on Bayonetta 2’s provocative content, because I know that judging a game based on what kind of adult material it had was not my job as a reviewer and I already assumed that my audience knows better what kind of material they would get themselves into before buying the game to begin with.

          What amazed me now was how the world wanted to showcase diversity and promote less censorship in the entertainment industry. Although, once we get what we asked for there are a lot of negative people out there on the internet that make so-called entertainment reviews to talk about how the characters in a television show, movie, or videogame do not fit their own beliefs.  According to Nelva, “It saddens me that between the many calls for diversity we’ve seen lately, some actually fly in the face of diversity itself by implying that games that celebrate sexuality and beauty like Bayonetta 2 should not exist or are not worth playing and enjoying.” This quote was a reminder to me that I should not judge any video game based on the number of suggestive themes it contains, but if it exceeded my expectations on quality video game entertainment.

         Overall, I believed that Bayonetta 2 was a compelling video game that unfortunately received a bad reputation since huge video game reviewers like Polygon judged this video game based on the amount of provocative content it contained rather than the actual gameplay and creative execution itself. The creators behind Bayonetta 2 were considered artists because they told a narrative story and designed characters beyond our own imagination and made money from our fascination in this fantasy, action, and adventure game. Besides that, the purpose of video games was to provide another form of quality entertainment that all young adult audiences could enjoy at their own leisure time and Bayonetta 2 would have been one of those videogames if we had better reviewers that judged it based on gameplay and performance, instead of content.

  Works Cited

Nelva, Giuseppe. “Bayonetta 2's ‘Over-Sexualization’ Complaint: A Perfect Example of What's Wrong with Modern Reviews.” DualShockers, DualShockers, 17 Oct. 2014, www.dualshockers.com/bayonetta-2s-over-sexualization-complaint-a-perfect-example-of-whats-wrong-with-modern-reviews/.

[macgyvertape]

Castlevania kinda had a pacing problem

spoilers for all of Netflix’s Castlevania. I haven’t seen much analysis for the show on tumblr, im honestly curious if discussions I had with irl friends mirror what fandom talks about

tldr: Castlevania seems inconsistently paced from season to season, and within season as well, leads to a lot of characters motivations feeling unclear so characters repeatedly explain why they are doing something while they’re doing it

overview of the seasons:

S1 I know somewhat of a test for Netflix but it has good main trio character establishment and sets the scale of the conflict

s2: pretty complete emotional arc for most characters and resolves the plot of killing Dracula while setting up additional characters to continue the story. Isaac, Hector, Carmilla all established with the audience as characters whose story would continue

honestly I would bet this is the most popular season

S3: s2 did a bit of worldbuilding, but this season really fleshed out the world with both a wide range of locations and exploring the question of “what now, Dracula is dead but vampires and night creatures remain”.

There were basically 4 plot threads: 1) Sypha/Trevor investigating the cult & Saint Germain; 2) Hector & Carmilla (also introducing Lenore, Striga, Morana); 3) Isaac’s journey of revenge & self discovery; 4) Alucard sits around the castle and is betrayed.

overall characters roughly feel like they are in the same place if not worse. A big criticism I saw at the time, which hold up after rewatching this before s4 is nothing felt resolved for the main characters

I would say this season is where the pacing issues start to become apparent, juggling 4 plot threads that lack a central theme or even mutual character connection. If there was a central theme it would be “humans are awful to each other”. The Judge doing Hot Fuzz style murders, The Wizard in the tower, Sumi & Taka

S4: it starts with the same 4 plot threads, though upfront it is made clear that the plot theme is “people are trying to resurrect Dracula”, and the progression of the plot works to resolve unrelated plot threads until the main trio reunites for the boss fights. To me and my friends watching it was obvious that the show would reunite the main trio, the question was how and how far into the run time.

Season 4 is why I’m writing this essay, for the past 2 days I’ve been like, yeah that character sure explained their motives repeatedly maybe with some philosophical discussion, but it’s just such a weird place considering where they were in s3

Alucard’s arc:

Where he was left in season 3, it was after killing people he had trusted in self defense and impaling their corpses. It was clearly meant to parallel Dracula’s dislike of humanity. However overall his character lacked a proactive motivating force.

Honestly the most interesting thing I found in s3 was Alucard clearly misses Sypha and Trevor, however they don’t miss him or refer to him

One reason Sumi & Taka betray Alucard is for the secrets and power of Castlevania. After inviting the village including St Germain who Alucard was warned of into the Castle, Alucard makes 0 effort to secure anything, not even his personal childhood room. Guess he really learned nothing

Discussing St Germain, I think it’s funny that they had a several minute flashback sequence for his lost girlfriend (who doesn’t have a name or a voice actor), to remind the viewer of who he is, and to justify how he’s suddenly back and down for murder.

In s4 there is the call to help the village, and the walk back to the castle is a montage of Alucard opening up to Greta and becoming friendly literally overnight. He laughs off the impaling, and basically all of the darker things he went through in season 3, which has me asking what was the point of his season 3 arc then? 

Honestly writing this I realize the biggest parallel he has with Dracula is the call to action from a bold woman with a dramatic entrance speech which then leads to a romance

Isaac’s arc:

in s3, with all the other themes of “humanity sucks” I was always unsure if the townspeople were meant to appear irrational while attacking a larger force instead of letting him pass through an leave, or him not caring about how he’s provoking them is meant to show his insanity

ive seen the discussion elsewhere, curious about the Discourse here

is s4 Isaac has the whole monologue about how he now has agency but him gaining that agency was his s3 arc. In s4 he’s already at the point of accepting it. By the end of s4 he’s one of those who comes the furthest from his first character appearance to his last.

s4e5 where of Isaac attacking Carmilla in Isaac’s 2nd appearance had him resolving like 4 plot threads at once (Carmilla, Striga& Morana, Hector, and Isaac himself).

but i do wonder if Trevor, Sypha, or Alucard even know any of these people exist. I think not

I was honestly confused if I missed a scene from his dialogue about building something and what is inherent nature, to “My plan has evolved, my plan is now conquest” because he only conquests the one castle and the rest is left unclear

Upon rewatch the connection there is “killing [the wizard] felt just ... I liked that feeling”, so the show says that Isaac in the end attacked Carmilla for the sake of justice and not revenge.

Isaac in his last conversation expresses the theme of s4 “build something new on these old bones, where people can live for the future”

however, his arc honestly feel scenes were cut, and then dialogue was written around it. He’s the only living character who doesn’t show up in the epilogue and the sentient night creature “what if I could empty hell” dialogue was some of the most interesting worldbuilding. Night creatures with sentience and possibility of regaining memories!!!!

The Council of Sisters & Hector’s arc:

oh I’ve already seen s4 discourse about Lenore/Hector while searching for character analysis, a chunk of it seems to be rationalizing the absolute difference between how s3 ended with these characters and s4. It was extremely confusing for me and my friends; wondering if 1) was Hector showing more emotional intelligence than before and putting on a facade to cover up hatred? Nope 2) did more time pass than 6 weeks for there to be some kind stockholm syndrome? No, Hector seems fine to let Lenore kill herself

The slave control ring: played up in the climax of s3 and easily solved s4. s3 Lenore says if he tries to harm them, flee, or take it off it would cause crippling pain, in s4 Hector just easily cuts off his own finger.

for a control ring that they take time to show a version being on the Rebus, it doesn’t do much controlling of Hector

also guess the definition of “do harm” just refers to direct action

Lenore in s4: has no purpose in conquest, has that useless remarked on by multiple characters, is imprisoned, then kills herself after a genre aware philosophical discussion. This essay is long enough, but what the fuck happened to this character who ended s3 clearly physically and sexually abusive? Seriously this was one of the biggest writing changes to the point where she was treating Hector as an equal. Compare her last words in s3 “shh the real people [vampires] are talking”. The change in the relationship is actually something I would have taken being shown, or atleast told of what exactly caused this change other than the vague “you adopted him”

Striga&Morana get the best arc of the Council. 3 scenes: the tent argument, Daybreak armor fight & argument resolution, declaration of feelings and turning away. You could argue Castlevania is plot to be connective tissue between fight scenes, but for all the dialogue about human resistance in different seasons it was nice to see it. Overall the scenes were short but had a lot of showing what their relationship is not just telling,

unlike Carmilla. For as much hyping up as they did with her, and as much power as she had, she only appeared in 2 episodes and no other group except Isaac knew about her military conquest.

the map scene where she states her motive for conquest of wanting to take things from old men is the key example of how characterization became tell not show. How interesting was that monologue compared to the past seasons flashback to her murmuring the old vampire lord, or all her repeated insults of men/man-children that shows how she judges people??

That monologue had to carry the weight of justifying the Sisterhood bonds falling apart as well as why her motivation changed from building a human pen from Styria to Braila to world conquest. I think it did so poorly

Sypha & Trevor

really Sypha & Trevor have the main plot in the show. I checked and post season 1 the only episode they don’t appear in is s4e6, which is entirely devoted to the Isaac, Hector, and Council of Sisterhood arc. Their partnership and adventures are the main plot of the show.

Its easy to see what Trevor’s arc was over the show: coming to peace with the deaths of his family, taking up the mantle of being a Belmont, and starting a new family with Sypha.

With Sypha I actually had to scroll through tv tropes for what is her character arc, and I guess hers is disillusionment from adventure and life outside the speakers? My friends joke that Sypha’s magic is what the plot demands to look cool in a fight, which isn’t necessarily a bad thing.

Tangent: the ending of their arc was easy to guess: as soon as Trevor went to fight the final boss alone I literally said “oh i bet Sypha’s pregnant, Trevor’s doing a heroic sacrifice, theyll use the unexplained magical dagger mcguffin, and 60/40 odds that he goes through an infinite corridor to outright come back vs just the implication he might come back”

I guess my final thought of the show, was overall the SUPER Final Boss got my by surprise. It was a good twist I enjoyed. Not that Death appeared, I had guessed that from the heavy foreshadowing, but I was surprised by who it was, because I had thought I thought the characters involved feeling shoehorned into the plot was just more bad writing. The Alchemist who put St Germain on the path or murder for no discernible motive for helping? Sure gotta move the plot along. New Dracula court member Varney who has a whole introduction with almost every character he meets and banter about his smell? Sure thats basically how all characters talk with a snarky and acerbic voice.