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river-bottom-nightmare · 3 years

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Nightwing 79 Review

i said i would and i will. i did like this issue! not as striking and attention grabbing as 78, but i think this issue was meant to be a foundation one, laying out the groundwork for the future. overall, pretty good. also there wasn't enough bitewing. as promised, overly extensive metaphors and me reading too much into things under the cut

i know i've talked about this cover before, but this particular thing is oddly important to me, so i'll talk about it again

this is me, once again screaming about how artists put nightwing in traditionally feminine poses and how every time i see it i just get whiplash. i mean, true, the main reason why is because nightwing is a so often sexualized character, and putting him in these poses just increases the objectification, which is a goal that dc producers have. but there are very few popular male characters that do this. the only one i can think of off the top of my head is deadpool, but that was so obviously a critique and a way to make fun of the media industry. when they draw dick like this, they’re being serious. they’re putting him in appealing poses meant to show him off, and that’s something that’s traditionally only been done to women.

it's a very direct and very loud breaking of traditional gender roles in media, especially for a character as high-profile and historic as dick grayson. colour also plays a factor in this. the entire background is pink. i was absolutely shocked when i first saw it, when the teaser came out, because i cannot think of any comic book covers of male comic heroes this high-profile where pink is even just prevalent in the cover, let alone the majority of the cover. the pink does look beautiful: it offsets and highlights the black and blue of dick's suit gorgeously, but does it with more finesse than orange or red. but the fact that the stylistic choice was made to accent and draw this cover with aesthetic and beauty in mind, completely ignoring traditional hard-set gender rules in art, was a conscious choice and one i wholeheartedly support.

just another example of the sexualization i was talking about. i remember seeing harley quinn in this exact pose in suicide squad.

so far, taylor's been pretty dead-set on bringing alfred to the forefront of importance in this series. he wants people to know how much he loves alfred's character, and how much the butler meant to dick growing up. he was dick's father too. but what i adore is how taylor managed to stress alfred's importance in a way that didn't insult or belittle bruce.

this is one of the best bruce and dick interactions i've seen, and it's done in one simple interaction. in this, bruce is tough and harsh. he knocked dick down hard, but then he reached a hand down and helped pull dick back up. let me analyze their dialogue for a minute

on your feet: this is bruce telling dick to get up. he's trained dick, he knows what the younger boy is capable of, he knows his limits, and he knows what dick can do. this is bruce telling dick i know you're strong enough to get up, so get up and prove me right

are you just going to knock me down again?: surface-level, it looks like dick's complaining. he doesn't like bruce's rough training, and he's tired of bruce knocking him down. but look at his face in this. he's smiling up at bruce, knowledgeable and a little hopeful. he knows that bruce is doing this to help dick better himself, he's completely on board with the rough training, because they both know the rewards are incredible. also, he's teasing. he's bantering with bruce. there's an ease in that joking statement, one that belies affection and intimacy. they've only known each other for a little bit, but they're already slipping into a close familial relationship.

it depends on how fast you learn: this is bruce bantering back. this is bruce not being a stoic, unfeeling asshole. instead, he's shown with the dry humor that a good batman writer knows is a staple of the character. he's teasing dick, telling him he'll basically whoop his ass if dick doesn't learn fast enough. it's incentive for dick to train harder, while also being lighthearted enough to tell dick that believes in dick and doesn't want him to push himself too hard.

gosh i love the titans. also it looks like wally's staring at dick's ass.

this was cute. a prod at dick's silly and playful sense of humor, while not dumbing him down for the sake of a laugh. instead, he's joking about food, which is stuff everyone jokes about. this is the kind of stuff that'll actually make me laugh, instead of just making me vaguely uncomfortable.

bludhaven's almost always portrayed as a cesspool of a city. and to be honest, it really is. but this panel gives the city a meaningful history, while also giving us a reason for why dick moved there.

it talks of a time when people still thought they could beat the monsters. that if they fought hard enough, they could win the fight. it was a tentative hope that you could always overcome hardship.

dick's little "i like that it's still standing" shows how he still believes that, despite what the rest of the world thinks. despite everything that he's been through, dick is still tentatively an optimist, and believes he can fight the monsters of the world and win. it's a beautiful testament to his character, and i'm like that they added his signature element of hope back in. it used to be what he symbolized as robin, and despite his growth and character arc from robin to nightwing, this is one aspect of robin that i'm glad nightwing still has.

remember when i said "things that make me vaguely uncomfortable??" yeahhhh,,,,,,,,,,,,,,

Shooketh Dick: A Sequel

(the expressions in this series are just,,,,on point)

this was an incredibly sweet and kindhearted thing for dick to do, but i found it kind of,,,,,,,,desperate? maybe that's just me, but let me explain.

dick's suddenly a billionaire, and he has entirely too much money that he knows what to do with. it's also alfred's money, what the man left to him, so dick forever links it with alfred. in addition to that, he's back and bludhaven and looking at it with "fresh" eyes. (at least, from a different point of view since he got shot in the head. then mind controlled.) he's desperate to do something with the money and he's desperate to help the people around him that so obviously needs up, so he comes up with an on-the-fly solution that's a little impractical and a little crazy, but it still helps and still does some good.

to me, dick seems a little lost. he hasn't completely found his balance yet, and he's trying to do things that will. he tries charity, because that's what bruce did and it's what he knows, even though he admitted that he always thought bruce could have done more as bruce wayne than batman.

they have a family group chat guys yall were right.

also, do i think that dick would ever actually get his wallet stolen?? no way in hell, he’d notice someone getting ready to pickpocket him a mile away. but i suppose it’s important to the Plot.

okay this is getting interesting. first blockbuster, now maroni (+ the weird heart stealer guy). i can officially say that i am intruiged

this particular artistic quirk is shown a lot in this issue, and from this art team in general, but i feel like this panel is one of the best examples of it. it was stunning enough to take up a full page, and it’s well deserved.

the way they show dick moving is absolutely brilliant. as a reader, i like seeing these smaller versions of dick getting clearer and in more detail as they come closer to the screen. not only do they show depth in the picture beyond what a simple 3 dimensional piece of art does, it also shows the passage of time.

in addition, it showcases dick’s skill. dick spots these mobsters running after a group of petty thieves. he then, and follow me here, leaps off the roof of one building feet first, springboards backwards off the side of the adjacent building with his feet, gracefully continues his backflip, rights himself, shoots a line with perfect timing: just in time to soften his landing but not slow him down, execute said landing on top of a moving bus, keep running on the moving bus without missing a beat, shoot his grapple, use the grapple to swing, use the swing to build up momentum, then use the momentum to deliver a powerful blow to the mobsters. and he did all that fast enough to catch up with the mobsters, even though he was a ROOFTOP OVER.

d a m n s o n

this panel, the very first in the issue, is also another example of that art style, but a little more distinctive. i love the way they showed dick’s different costumes through the ages, along with him simply growing up. it’s a little heartbreaking, but a lot uplifting to see how far he’s come. thank god he got rid of the red. now all we need is the fingerstripes, and we’ll be golden

discowing my beloved. also i can’t clearly see discowing’s hair but it definitely looks like it’s pulled back. it looks like he put it in a ponytail. guys. guys. dick had a ponytail omg.

he’s having a Hero Moment

are you talking about the city, dick, or are you talking about you? the kgbeast, the court, the joker. dick fell to each one of them, no matter how hard he fought. he won in the end, eventually and with his family’s help. but i think he’s feeling a little low, a little defeated right now. it’s almost like he needs a win, he needs to feel victorious, he needs to feel like he helped someone (hence the food and the hotel room), just because he needs to remember what it feels like.

these lines were supposed to resonate with you, and goddamn they did.

i looked at it from two ways. first, it’s the girl asking, begging nightwing not to hurt them. bludhaven doesn’t know dick the way gotham does, they’re still a little frightened of him. this child was brave enough to step in front of all of the other hurt and homeless kids and ask, to a strange man in a mask, if he was going to hurt them like the other men had. it’s heartbreaking, but commendable, and an echo of the city itself that dick’s decided to protect. they’re bloody and broken and terrified, but still gritty and brave enough to stare what they fear in the eye and ask it not to hurt them.

second, it’s dick seeing the question reflected in himself. recently, he got shot in the head and lost all his memories. while i think that the way ric reacted was a perfectly valid and human response to the situation, i think dick still regrets how callously and rudely he treated his family. then, he was manipulated by the court of owls, then he was brainwashed with a magic crystal by the joker. dick does have a guilt complex. it’s not a big as bruce’s, but it’s there. and right now, with this girl begging her not to hurt them, dick is probably thinking about all the times he hurt people, in control of his own actions or not, bc he “didn’t have a heart.”

little ambitious don’t you think, dick?

also just look at the sunset colours loOK at the they could not make this any more obvious oh my godddddddddddddddddddddddd

in conclusion, i need more of her

#dick grayson #nightwing #nightwing 79 #nightwing 79 spoilers #dc #dick grayson meta #nightwing meta #nightwing 79 meta #dc meta #river thinks too hard

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myfearless-love · 3 years

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The Wildest Place You Run (6/?) - No Intention of Hurting You

As promised, second chapter this week is here! Hope you like it! Thank you for reading, reblogging, liking! Also huge thank you to my bet and artist, @thejollyroger-writer!! Check out the art she made for chapters 5 & 6!

Summary:

Vampires, Werewolves, Mages, and Elves. For centuries, they kept their existence a secret, but the constant rebellions against the strict laws of the Guild had led to a terrible tragedy. In an open clash, it became apparent to humans just what kind of monsters lived among them. Emma Swan loses the love of her life in the first battle of the war. A few months later, while still trying to process what happened, a mysterious and terrifying figure worms his way into her life. But the man is hiding far more terrible secrets than he reveals to her, pulling them both into a horrible situation...

Chapter: 6/? - No Intention of Hurting You

Fandom: Once Upon a Time

Rating: M

Relationships: Killian Jones/Emma Swan

Read on: FF.net or AO3

Words: ~4.4k

Previous parts:

Ch 1 II Ch 2 II Ch 3 II Ch 4 II Ch 5

It was as if the whole world were swaying around her and a giant vortex was about to swallow her. She felt the cold biting into her bones, its cruel teeth like needles on her skin. Then she saw huge cordons emerge from the utter darkness around her, a pale figure appearing before her eyes. His arms swelled with muscle, his eyes gleamed black, and his mouth twisted into a satisfied grin. Behind the cordon, there were burning, overturned vehicles...

“Swan! Bloody hell, what’s happening?”

Someone shook her shoulder violently, the darkness flickered, and she found herself back in the comfortable leather seat of the Porsche with the soothing orange glow of the instrument panel. “Just a vision. I’m sure it was one this time,” she murmured, massaging her aching temple.

“A vision?” Killian’s gaze wandered back and forth between her and the road. “Your eyes were closed, and you weren’t breathing. I thought it was a… seizure.”

“No, it wasn’t. But we have to turn back, the road’s closed. Or it will be in a few minutes.”

“I can’t.” He shook his head. “It’s the only way out of town. It would be too much of a detour, and we’re running out of time.”

“But it’s closed!” she repeated desperately, the image of the man and the cordon still flashing before her eyes.

“And you think that’s going to stop me?” He raised an eyebrow, and she already knew the answer to his question: no, of course not.

After half a minute, the barriers appeared in the street, as did the uniformed policeman loitering before them. She was sure he was the figure she had just seen in her vision. With a half-smile on his face, he let his hand slide loosely into his pocket and walked toward the slowing Porsche.

“Good afternoon! As you can see, the road is closed. There has been a minor accident. You can get around to Vermilion Boulevard—”

“I’m afraid we don’t have time for that. Can we just…”

She blanked out Killian’s voice and instead stared at the cop in fascination. He looked so familiar, but she just couldn’t figure out where from.

Then the officer pointed to the back of the car, leaned lightly against the door with one hand, and turned his face away. The left half of his cheek was marred by a couple of circular scars.

And then it became crystal clear.

He was the vampire who had wounded Neal with the dagger.

After a moment’s thought, she reached for her gun. She would never have a better opportunity than this to settle at least a small score from that night. But the creature noticed her movement and immediately jumped on top of the car. She suspected he wasn’t in the mood to get a few more cuts on his face.

Killian didn’t hesitate for long either, he immediately stepped on the gas.

“Killian, the barriers!” she yelled, holding her arms in front of her face (as if that would protect her from a possible collision).

She heard the Vampire roll off from the roof of the car and hit the ground behind them with a thud, then she waited for the impact.

But nothing happened, only the soothing purr of the engine could be heard. Half a minute later, she blinked her eyes open and looked anxiously at the windshield, but by then they were speeding through the suburbs, dodging the burning cars in the streets.

“What the…?”

“Did you seriously think I was going to wreck this car?” Killian laughed, amused by her baffled expression, his eyes crinkling at the corners.

He was making fun of her a lot lately, and she didn’t like that at all. “I hardly know you, you could be a total lunatic!” She objected, but to her surprise, he only laughed louder instead of being offended.

“How true, lass.” He left it at that, but still smiling.

It was strange to see that expression on his face. Cheerful. Open. Sincere.

“And it would be best for you if it stayed that way…” he added, and the smile didn’t fade from his face, instead morphing into bitterness.

“What do you mean?” She raised an eyebrow, but she was almost certain she had guessed what he meant.

He didn’t answer right away. He bit his lower lip, then gave her a quick sideways glance. “It doesn’t matter.” He shook his head and said nothing more.

Emma, on the other hand, scanned his face and his rigid eyes curiously.

An awkward silence descended upon them, and for long minutes, neither of them said anything. She couldn’t decide whether to force the issue or not. She wondered about Killian’s past and wanted to know what had happened to him.

“It does for me. I want to know you,” she replied softly, opting for honesty.

Killian shuddered and looked at her again. “You don’t know what you’re asking for.” He shook his head ruefully.

“Then tell me. Let me be the judge of that,” she insisted, surprising herself at how vehement her tone was.

August would surely be interested, too, and after a long, painful month, something — or someone — was finally making her curious.

Killian didn’t answer this time, just kept his gaze on the road and wrapped himself in silence again.

“Why are you interested?” he began after a few minutes.

“I don’t know. I just am,” she admitted and shrugged.

She wasn’t trying to snoop in his past because of August, though. She wanted to know more about him because of her own curiosity.

“You’re strange,” he said quietly, but there was no trace of mockery in his voice.

“So are you.” She left it at that, counting down the seconds for when he would finally give in. But it seemed she had been overconfident, and cracking the nutshell would be harder than she thought.

“Are we far?” she asked after a good quarter of an hour. She decided to table the subject for now. He obviously didn’t want to elaborate and it wasn’t like she had a choice in the matter. If he didn’t want to talk about himself, she wouldn’t force him.

“Not long now,” he replied, his face suddenly looking infinitely tormented. He blinked flatly and slowly tilted his head back, rolling his neck.

“Are you tired?”

“A bit,” he murmured wearily, but kept his eyes on the road.

“Um, do you mind if I turn on the radio?” she asked, a little concerned.

She couldn’t let him fall asleep behind the wheel. If she could drive, she would gladly offer to take the wheel over, but since she couldn’t, her only option was the loud booming music.

“I’d rather listen to my own music,” he said, gesturing towards the glove compartment.

Without a word, she plugged in the USB player after fishing it out.

At maximum volume, "Sin" by Pet Shop Boys began blaring. Killian seemed to have perked up a bit, and she contentedly drummed the rhythm on her jean-clad knees. She was shocked, too, but she was actually having fun with him, in the middle of a huge storm and a possible Elf attack, while listening to one of her favorite songs. An inexplicable serenity took hold of her, and she returned Killian’s smile.

“I never would have guessed you’d like this genre,” she exclaimed over the music.

Killian raised an eyebrow, but decided to let the remark slide. “I see you like it too.”

“Yeah! I’m always up for some retro music.”

She was eagerly searching the USB player’s library for more songs when the car skidded through a dent in the road. With a jerk, she snatched her head up, only then realizing they were driving on a forest road.

“Where exactly are we now?” She began to grow uneasy.

“Not far from Firefly Hill.”

To avoid a nasty hit on the head in case of another bump on the road, she leaned back in her seat. Soon her phone vibrated again and, of course, it was David. Again.

“Get me Killian!” was her only greeting.

“It’s David. He wants to talk to you.” She handed him the phone.

Killian stared at the device in surprise for a while, but then took it from her grasp. “We’re on our way,” he replied after some silence. “We just left Firefly Hill … Yes, I’ll take her right there… Sorry mate, you’re late. It’s too late.”

With that, Killian ended the call and handed the phone back to her. She took it with a slight daze and put it back in her pocket.

“Where’s David now?” she asked seriously.

“At your place,” came the curt reply.

“Didn’t you just say he was coming too?” The whole thing was getting weirder by the second, and she was beginning to feel uncomfortable.

“That was the plan, yes.”

“Killian, what the hell is going on?” She stopped trying to pretend to be calm. She was in full panic mode.

“Your brother will be a little late, but he will be there,” he tried to reassure her, but he failed.

Killian gradually slowed the car at the edge of the clearing but didn’t turn off the headlights, so Emma could clearly take out the wood-framed house in the thick of the trees, which was ready to collapse at any moment.

“Why are we stopping here?”

“We’re here.”

“Are you seriously saying that this dump is the Guild headquarters?” She was beginning to lose her patience.

August was right, something was off about Killian. Involuntarily, her fingers wandered to her gun, the alarm bells in her head refusing to fall silent. She knew something was up.

“Aye,” he replied as calmly as he could, but then he noticed her hands slipping to the gun, and she slowly pulled back from him as far as she could. “Bloody hell, Swan! I’m not going to hurt you.” His eyes widened in shock, but she wasn’t fooled by his almost professional demeanor.

If she thought about it, maybe he didn’t even have to put on a show. She’s sure he thought he could play her for a fool and she wouldn’t realize he was reporting back to their enemies.

“August said we couldn’t trust you! And there must’ve been a reason for my vision!” She pulled out the pistol and pressed it directly to Killian’s forehead.

“You’ve got this all wrong,” he snarled, and she detected a previously unknown emotion in his eyes. Fear.

“Get out of the car!” she demanded, and all that was running on a loop in her head was his conversation with David. That, and the promise she’d made to herself a couple of years ago that she still couldn’t stick to.

You can’t trust anyone unconditionally.

Then Killian’s voice echoed in her mind again.

“Sorry mate, you’re late. It’s too late.”

“Emma, don’t do this! Trust me!”

“Why should I? I don’t know you, you’re just a stranger to me, and you just said it was better if it stayed that way. If you don’t do as I say, I won’t leave things to chance.” Only her words were confident; she and her voice were not.

What if he really didn’t want to hurt her and she was just a scaredy-cat?

But then, what she feared the most did happen. A strange light flashed in Killian’s eyes and the gun simply flew out of her hand, right through the back window, shattering the glass. He grabbed her by the wrist and dragged her out of the car.

“I’m sorry, love, but if we keep this up, they’re going to sense our presence,” he informed her, grabbing hold of her other arm and walking her toward the house.

His hold was firm, but surprisingly gentle around her wrist.

“Let go of me, you jerk! What the hell are you doing?” she was terrified now, unable to think, and yanked convulsively on her arm to free herself from Killian’s iron grip.

“Mil... Swan!” he corrected himself immediately. “Please, calm down. I don’t want to hurt you, you have to understand that! The Guild is here, the trapdoor…”

“Tell me what you want from me! You’re not going to blackmail David with me! They’re not stupid enough to jeopardize the Guild because of me, so if that’s your plan, you might as well let me go!”

“Have you lost your bloody mind?” He, too, began to lose his patience. “I said I didn’t want to hurt you! The Elves hot on our heels, on the other hand, might not be in the same mood!” he proclaimed, but she still couldn’t believe him.

He was only trying to trick her, she was sure, as he had done so far. She cursed herself for falling for the guise of the sad, lonely guy. How could they always fool her?

She dug her heels and then simply threw herself to the ground, hoping to slip out of Killian’s hands, but he was prepared for that move. All she managed to achieve was to pull him with her, but his grip on her wrist didn’t loosen a whiff.

The next moment, he jumped up and yanked her up with one hand, her head jolting against his chest. She decided to do what was most logical and easy in this situation: she kicked him in the groin with her knee.

Finally, something he had not expected.

He let out a painful groan, curled up, and pressed his hand where her knee had been a moment ago. She didn’t hesitate for a moment and immediately ran toward the forest. She hated running, and would never understand those who did it for fun, but that mentality would have come in handy now. She threw herself into the trees, trying to watch out for fallen branches and protruding roots. She certainly didn’t want to fall on the muddy, leaf-covered ground.

The wind roared cruelly among the trees as well, she heard almost nothing but her own gasps and the whistling of the wind in her ear.

She was surprised at how far away she managed to flee, and she hoped Killian had given up and “entrusted” her to the care of the forest. Exhausted, she leaned against the trunk of an old tree, trying to quench her thirst for air. Slowly, she let herself slide to the ground, her legs trembling with fatigue. All she wanted was to catch her breath and rest a little.

She closed her eyes and tried to think soberly, rationalize everything she knew so far about Killian. He was a traitor, that’s why he was such a loner and standoffish. He was not the best actor, so he took on few roles, always standing in the corner and listening rather than speaking.

But why did they always find her? Was her naivety that obvious?

It seemed like it.

All her life, she had only trusted three people who didn’t betray her. Mary Margaret, David, and Neal. Everyone else, no matter how good she tried to be to them, had taken advantage of her, deceived and betrayed her.

A sudden noise broke her out of her musings.

To her left, a branch crackled, the rustling of leaves swept towards her by the gust. With the last of her strength, she sprang to her feet and, without turning, she started running again. Her crumbling knees warned her she wouldn’t get far, but she had to try.

She could barely jog twenty yards when a sharp pain erupted in her shoulder. She let out a yelp, and as a result of a powerful push, she landed on the hard, cold ground. The muscles and bones in her shoulder seemed to be on fire, it was unbearable and she couldn’t stop screaming.

She rolled onto her back and pressed her uninjured hand to her wounded shoulder, which was already wet with her blood. She gasped for air and found it difficult to focus on the gray, bluish-skinned Dark Elf towering in front of her. His long, white hair fluttered about his waist as he glared down at her, an evil smile stretching over his lips.

He approached her slowly and leaned over her. She wanted to get up and run away, but she couldn’t get her limbs to move. She whimpered weakly and began to regret running away from Killian. It was possible that she would have died faster and in a gentler way…

Death. Was there life after that? Could she meet Neal? She missed him very much.

Then, however, the Elf straightened and sniffed the air furiously. His face twisted into a grimace and simply turned his back on her. At that exact moment, he flew back through the air at least thirty yards, and the trunk of the tree he had collided with gave out with a weak crack.

She decided that if she still wanted to live to see the next sunrise, she had to act now. Despite the shrilling pain in her shoulder, she rolled onto her stomach, propped herself up on her palms, and tried to convince her legs to support her weight. Suddenly, however, she got help: an arm wrapped around her waist and another under her knees, and she was swept up by a tall figure.

The man pressed her body to his chest and started running. Hesitantly, she chanced a look up at her rescuer’s face, but as soon as she met Killian’s gaze, the relief she had felt a moment ago instantly evaporated. She wanted to scream at him, to hit him, to protest, but she had zero strength left. She had no choice but to beg. Maybe it would work. Or maybe it wouldn’t even move him at all.

“Killian, no... Please, don’t.”

“Shh, Emma, calm down.” He pressed her body harder against him as she began to squirm. She almost managed to wiggle out of his arms and if it wasn’t for his fast reflexes, she would’ve slumped to the ground. He steadied her and, with a concerned flash in her eyes, he brushed an errant lock of her hair from her eyes. The gesture was so gentle that she all but forgot to twist out of his hold — and then something caught her eye.

She never had a close look at the tattoos on his left arm, but now a name stood out in contrast among the many designs.

Who the hell was Milah? Was that what he was going to call her earlier before he corrected himself?

But before she could ponder those questions any longer, the last drops of consciousness seeped out of her, her strength evaporating, her limbs going numb. The last thing she felt was Killian gathering her limp body into his arms. She greeted the sweet, empty blackness like an old acquaintance, almost relieved that they were meeting again.

-/-

“They’re coming! But... I don’t think Emma is doing so well.” Robin’s voice gradually entered her brain, and Emma found it hard to fully comprehend the words. She was still numb, every part of her feeling like lead.

“What? What’s happened? Jones! What the—”

“I can explain, but first—”

Killian’s voice was cut off by David’s outburst. “What did you do to her? You’re going to regret this! Didn’t I tell you to take care of her?”

“David, we don’t have time for this now!” Mary Margaret admonished him, her voice sounding used, slightly hoarse. “Killian, come with me.”

Squeaking doors, hushed whispers, shuffling footsteps, rustling of clothes. Silence and darkness. Again.

She was recovering from a long, dreamless sleep in a completely unfamiliar room. Her shoulder woke her, a pain boring cruelly through her flesh. The throbbing brought tears to her eyes in an instant.

She wiped her eyes with her hand, then looked around the room as best she could. It was very modest, the wide double bed she was lying on almost completely filling the room. There was no window, the only source of light coming from the simple chandelier that hung from the ceiling. The walls were covered in navy blue wallpaper that immediately sent a cold shiver down her spine. The bedding was also a light cerulean shade, but it was a visibly expensive piece.

Her throat was dry and sore, and in the back of her head sat an ache that threatened to grow into a severe migraine, a sure sign that dehydration wasn’t far off. She would have given half her life for a glass of water. Emma decided to ignore her discomfort until she managed to roll her body into a sitting position and set her lead-heavy legs on the floor, standing up a little wobbly and feeling like jello. She managed quite well as she headed for the door, but needless to say, she didn’t even know her vocabulary for swear words was that enormous.

She was already halfway across the room when someone hesitantly opened the door. At first, the person only dared to poke their head in the little nook. Emma, on the other hand, instinctively took two steps back.

Killian quickly entered the room and quietly closed the door behind him. He raised both hands up in surrender and studied her face as if she were a ticking time bomb.

“Swan, I still have no intention of hurting you,” he remarked softly, and she nodded slowly, swallowing hard.

The events of the last few hours were only now beginning to become real. Not only had she made a spectacular fool of herself — which she often managed to do — but this time it had almost cost her life.

“I’m sorry,” she murmured quietly.

She felt her cheeks turn warm, so she angled her body away from Killian’s searching gaze. But the tiny room began to spin in a strange dance before her eyes.

“You should rest some more, love,” he noted softly.

“I’m thirsty. I’ll get something to drink first.” She made her way towards the exit again, but her legs didn’t seem ready to cooperate for such a long journey. She was dizzy as hell, and if Killian’s reflexes weren’t so unbeatable, she would have acquired a new gash on her head.

“I’ll fetch you some water.”

He hooked an arm around her waist and practically carried her back to the bed. He gently pressed her back onto the pillow, and then hurried out of the room.

She barely had time to close her eyes when he returned with a glass of cold water in his hand.

“Thanks.” She took the drink from his hold with a grateful look and began taking generous sips of the refreshing beverage. It felt incredible in her nearly parched throat, but she couldn’t enjoy it for long before Killian snatched it from her fingers.

“Don’t be greedy now, Swan. Slow down.” He smiled, set the glass on the nightstand, then anxiously leaned over to her and slowly shook his head.

“I’m sorry.”

“I’m sorry!”

They said it at the same time, but somehow the scene didn’t turn out to be comical at all.

“What you did was incredibly foolish,” he said in a half-hearted, scolding tone, setting himself on the edge of the bed.

“Um, yeah, seems to be a theme in my life,” she joked. “But really, I’m sorry. You just scared me and I thought…”

“I know quite well what you thought. When you held the Glock to my head, you made it perfectly clear.” His tone sounded somber as he turned his head away.

She was incredibly ashamed and it must have shown because she was almost sure her face was the color of a tomato.

“You were cryptic and kind of shady,” she muttered defensively, but even she heard how pathetic her excuses were.

“I know, but I didn’t have time to explain, I sensed the Elves were on our heels.”

She didn’t know what to say in response, she would have preferred to turn into an ostrich and bury her head in the sand, honestly. “I didn’t think it through. My brain wasn’t working and I panicked,” she whined in despair. “I’ve been a little paranoid lately.”

Killian’s face became inscrutable again, and the whole situation felt strange as he sat on the edge of the bed. His presence somehow reassured her, because she was quite sure now that he really wasn’t going to hurt her. And it was good that they could work everything out in a civilized manner. Most Hunters would have talked her ear off by now. To be honest, she would have deserved it. She was acting like an irresponsible lunatic. Speaking of which...

“Oh, and I’m also sorry for kicking you.”

To her surprise, Killian let out a soft laugh. “I’m not saying I enjoyed it, but I must congratulate you on that move. I wasn’t expecting that,” he replied lightly. “Though, you did give me quite a scare with the gun.”

“I didn’t think you could be scared of anything, and you’ve outdone yourself in that regard…”

“I’m not surprised…” he muttered, fidgeting with the edge of the cotton blanket.

Then her brother’s shouting broke the momentary silence.

“Why is he in there? I made it pretty clear he wasn’t to come near her!”

His outburst of anger didn’t even surprise her. Nice little family she’d gotten here. Paranoia, anger issues… there’s everything. The hinges of the door creaked frantically as David stormed into the tiny room. The door slammed against the wall and he marched furiously toward Killian, who got up from the bed faster than she could follow with her eyes.

Within two fleeting seconds, David’s fist met with Killian’s chin. He made no sound at the blow but stumbled and fell to all fours. Blood dripped from his skin, the surface of his jaw scraped by the force of the punch.

“David, it was an accident! It was all my fault! I screwed up, I was stupid and—”

“If he’d kept you safe, this wouldn’t have happened! You could’ve died! Like Leo!”

#cs ff #captain swan #cssns 2021 #cssns21 #cs fic #emma swan #once upon a time #captan hook #ouat #ouat ff #killian x emma #captain swan supernatural #thejollyroger writer #TWPYR #cs fanfic #captain swan ff #my fic

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suncaptor · 3 years

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s7 adoration

First off, one thing I love about it is the versatility of it. some of my favourite parts are the humour of it, and the balance to the horror of it. It does lean towards dark, and is certainly darker than the rest of the show, but that just makes the gravity of it all lift off so intense when there’s randomly then dick jokes and so forth. same goes for the characters in it with the themes.

I genuinely think that leviathans are one of the scariest and best villains on the show because of the reflection of psychological horror and the flip on the script of hunted/hunter.

That being said, I also think Dick Roman is a great villain for comedic reasons as well and genuinely find his dialogue memorable. So memorable, in fact, I made this uquiz.

I also think that it is the darkest season psychologically in supernatural, like it rings out nadir to me, yet at the same time, this is all canon dialogue. but also it is quite unseen, the depth of it, which is infuriating (and my main fix would it being from Sam’s perspective), but it makes it compelling to me too.

I actually really like having sodium borate being corrosive to leviathans

There’s a canonical bipolar main character who’s vital to the plot and who’s talented and who’s also part of the inner themed reflections of paranoia within without systems and being incapable of trust anything even your brain while still retaining that vitality.

The season starts out with perhaps one of my favourite arcs in the show, as well, which brings me great joy in all the dialogue while also introducing one of the other most compelling parts of the show (being godstiel then Sam’s PTSD hallucinations retrospectively).

Two of the three main writer’s I look to as the core of what I love about Supernatural are perhaps the strongest voices in the season (Sera Gamble and Ben Edlund) and I really actually love the addition of Robbie Thompson and think some of his episodes are top tier. I don’t like Adam Glass, Buckleming, or Robert Singer writing any of the episodes, and my fix to s7 would be deleting those episodes, and Dabb is on like, thin ice, but I do really like most of the writing and theming and all and am genuinely enjoying the individual episodes and think that tied with 2, 4, and 5 it’s got the best quality for being entertaining to me.

And when I was looking at favourite episodes in Kripke/Gamble era (which I generally vastly prefer), it had the most of top 30 (8), and 20% of the top 10. And of that, it would skew towards the top total.

While Hello Cruel World sets up the season’s intent extremely well, I think that Defending Your Life drives the points home about how this reflects onto Sam and Dean in regards of their own psychological issues and how it will then impact their actions, the conflict not at all then revolving around leviathans but the concept of monstrosity and mental illness. While the season is incredibly ableist constantly and with some writers it’s clear that it’s intentional and the characters and they treat Sam with respect, other times it’s clearly not. I still am obsessed with this because it is directly and not metaphorically addressing these issues even if poorly.

Slash Fiction has some of the most in character and pointed analysis in the show immediately, including this scene and actually references and uses the history of the characters and the show itself to be more horrifying.

How To Win Friends and Influence Monsters is just also the epitome of s7 in general, from Sam hallucinating Lucifer and saying he’s lucky and people have it worse, Dean at his nihilistic worst about to lose Bobby admit while high on a sandwich what it’s really about, the fact they didn’t ever want to shoot deer, and just iconic dialogue from everyone including our favourite Dick Roman and “bibbing” while also having Bobby see the plans building the tension of the overall arc in the season right before being shot.

And while Death’s Door is very painful for me to rewatch, it is also an astounding episode of television from the terror of going back to the origin “You can never go home” and the only genetic case of bullet to the head (generational trauma), the insight into the abuse, how it shaped all the memories proceeding it, how Bobby didn’t escape it or what it did to him, but he also never was anything like his deepest fears or his fathers, and also Bobby’s speech towards his father. I also think the way Sam and Dean respond is extremely well written and their grief is palpable.

We also then get these lovely random images I get to share here :) X, X, and X.

Repo Man I may have some criticisms about in terms of ableism and homophobia, but it is still one of the best, and most horrifying, episodes in the show. Both the mirrors and the revelations throughout the episode and the dark intoxicating obsession while also seeing Sam’s actual trauma in front of us… I feel like I could literally analyse this episode for years, it’s so rich and deep, as much of Edlund’s episodes are when he decides he wants to make something deep instead of comical.

that being said I think The Born Again Identity may be one of the best episodes in the entire show. I can’t rationalise this because it would take hours if you don’t like this episode we just have entirely different taste.

Though, outside of the actual episode writing, the way it opens with the surreality and mental deterioration is very important to me, and it’s just one of many aspects of this episode, but I feel like it may be less popular so I thought I’d say it.

Charlie’s first episode and actually having our first actually good fully fleshed out lgbt character genuinely changes something in me when I watch it like. It is so full of hope for me personally just because of how fun and deep it remains. We get to hear Dick Roman describe the spark in humanity he can’t replicate while also saying “Nothing’s safe. I like that.” (the thesis of the season). Donald Trump helped him get the leviathan tablet. We get the scene where Dean coaches Charlie through flirting with a man and also have her make Harry Potter references which I just personally find very funny to watch. And Charlie’s mere existence just makes me hope, like the way she is.

Season 7 is the first season Cas tells Sam and Dean he loves them.

And Kevin Tran is introduced, one of my favourite characters who also adds much to the season itself.

Reading is Fundamental is the episode that Kevin Tran is introduced, that we get to see more into Cas’s past through the ways in which is he more open in his altered mental state such as how he loved Neanderthal poetry and bees, Hester’s accusation towards Dean, more talk around the hell trauma transfer which intrigues me even if it also infuriates me, and Cas actually faces and reacting to what he’s done, even if in an altered state. There are countless reasons I love it.

Also, this may not be something someone who doesn’t ship destiel can see and leans much more subtextual, so ignore this part if you are bothered by those interpretations, but I think season 7 is when Dean realised he was in love with Cas and like I do have a lot of reasons for thinking this and find it just another layer of why seeing the psychology of the main characters is intriguing to me. I also then can do parallels throughout that reflect this grapping too. And it adds layers to how Dean finds him married then, maybe even add the demon he kissed.

And then, of course, is the matter of the trench coat.

this is very very limited, but I tried my best to be comprehensive of my highlights and reasons for loving season 7!

#s7 #spn #supernatural #incoherents #lists

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the-darklings · 4 years

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coa one year later & self-reflection

(*drags out a creaky metal chair and plops down on it heavily*)

Hi. It’s me, ya boi skinny--

Wait, wrong one. Do over.

Hi, it’s me, Kat, and I’m not dead. Clearly. Today being one year anniversary of COA has kinda put me in a reflective mood, so I guess I decided to sit down and just...talk about some things, thoughts and feelings I’ve been bottling inside for a hot sec. Especially given how radio silent I have gone on here and people deserve a bit of perspective.

And before anyone starts worrying, it’s all good, and I’m still around and currently in good health for the most part.

So, let’s take it back to the start. Regardless of how dramatic it may sound, we need to go back a year for that.

By technicality alone, COA actually turned one year old on October 12th. That’s when the first part was posted. However, the reason I’m treating today as the aforementioned birthday is simple: I had no intention of this story ever being more than a short two-parter. I told this to the discord gang already but COA was only going to have two parts. V was going to die in Tokyo and the rest of the story follows glimpses of John throughout the movies and it’s her ghost that haunts him. Skipping ahead, it was going to have a bittersweet ending of John eventually dying, having completed his task, only to be greeted by V, Daisy and Helen in the afterlife. A peace of sorts. Then, I realised that, well, no. I have more to say on this world and intrigue about this placeholder character V kept growing.

November 1st happened and I made a very last minute call to continue COA but with the added pressure of doing it during NaNoWriMo 2019. And boy did I. Most of the story was figured out during that very intense month. I posted Part 2 on this day a year ago because I was so eager to share it. Perhaps, in retrospect, a bit too eager.

For those of you who may not know this, I work as a writer full time for my actual every day job. I’m the main writer for an original webcomic called In the Bleak Midwinter on Webtoon.com and have been for almost two years now. Getting what is essentially your dream job is amazing. I’m very lucky on that front but it also taught me stark realities of having your job and only hobby overlap. It’s a dangerous creative mix. Especially because I was not used to being constraint in what I create or the feeling like I have to please anyone else. Writing as a job is a whole other avenue of creative exhaustion. I love my job a lot and am very, very lucky to have it but it doesn’t change the fact that those initial stages made me fall back on COA a lot for creative freedom that I craved so desperately. To an unhealthy degree looking back on it now.

But going back to November last year. NaNo time. I did it. Finished on the 24/25th I believe. A juicy final count of 52k+. All while maintaining a weekly update schedule for a fic that usually hit around 10k per update, if not more, even during those early days. Add writing an original story on top of that. Writing every day for hours on end (we are talking 10-12hr days) without any time for other hobbies or time for myself in general. I kept pushing and pushing and pushing. Losing weight and sleep in the process. I think the thing that convinced me that I should continue doing so is the fact that the outpour of support for COA ended up surpassing anything I ever expected or even dared to hope for. I’m not a huge numbers person but the outpour of love and just sheer investment in the story and characters blew me away. John Wick fandom is on the smaller side and has been going through downtime when I posted COA so my expectations were...well, small tbh. I like keeping expectations low to avoid any disappointments in general. But I’ve also always had an issue of being a massive 0 or 100 kind of person. If I love something, it consumes me. In this case, it brought me as much joy and freedom as much as it was steadily pushing me towards the ultimate crash.

That being said, I can’t thank you all enough for every comment, like, reblog and message and fanart. You’re the reason I got this far. With your support. It brightened some really dark days for me.

But.

To be frank, it’s never been about you guys. I never wrote or pushed because I felt like I had to appease anyone. That creative mindset is pure poison and I long since learned to let go of it. I kept pushing and kept working myself to the bone because I liked it. I liked how reading peoples’ responses made me feel. I liked the addictive nature of reading all the comments and theories after an update. I loved the idea of brightening peoples’ days and giving them something to cheer them up after what might have been a shitty day. Even if that was at expense of my own time/well being. But for a long time, it wasn’t. I love writing a lot but facts remain facts.

It was beyond unhealthy and burnout wasn’t a question of if but when and that when was approaching at neck-breaking speed.

So we come to the end of November. Part 4 has just come out. People were invested and I was invested alongside them. I was just finishing up Part 5 which (back then) was the biggest single chapter I’ve ever written and god I still recall my sheer dread because that was the beginning of Santino being established as a LI. Looking back on that now, it’s downright hilarious how worried I was about the reception of him and V together after John.

So honestly, I hit burnout at around Part 8. Because that’s the first time I recall struggling with writing a chapter. Part 8 came out on December 28th. I had a brief break for holidays. But my mistake was not taking longer back then. Because I continued writing with a barely healed burnout. Followed by almost a year of struggling and continuously creating through that state. It wasn’t like I eased off the pressure, either. Oh, no. The chapters grew in size, the world and the characters with it. AUs amassed quickly and while I adore every single one - again, I didn’t know how to pace myself well enough.

I’m spiteful though. The more the chapters struggled the more I pushed against the burnout. By the time Chicago arrived, however, I knew I was in trouble. I ended up writing 43k+ in a span of 2 months, I believe. And while to some it may not seem like a lot given the time frame, it’s a lot when you’re burnout to a crisp & writing an original story for work + deadlines. Which I was burned out and then some. Chicago was something I was looking forward to writing for months. I have built it up since Part 4. It was a long time coming. So while I’m still proud of it, I would be lying if I said that some scenes were not sacrificed for the sake of keeping to my invisible schedule that no one but me actually cared about. You guys have always been patient. I never felt pushed into anything. It’s always only ever been me doing the harm.

Chicago was the downwards spiral for me mentally. I felt like I was failing to live up to my own expectations. That people were drifting away from it. I was plagued by the thought that the story I poured so much into was falling apart and growing weaker. Which this has always been an issue with me: I am my own harshest critic. Always have been. In fact, I’m a downright mean little fucker when it comes to just tearing at myself. I know writing is for fun - and it is - but I still like the idea of being proud of my work which only made everything worse despite the love each update received.

This takes us to the beginning of June. Specifically, June the 2nd. Or, as I like to call it: Kat Makes Another Impulsive Decision but This One Actually Works Out For the Better. On this day, I created the COA Discord server. And damn, I’m not sure what exactly I was expecting when I did ngl. I did it for fun and as an escape more so than anything. But somehow it ended up being the best decision I made in a long while. I know some of you are reading this. So love you lots, dorks. It’s such a privilege to be able to call so many of you my friends even outside of COA now. That little community has given me some of the best memories from this year and helped me to crawl out of my own metaphorical pit I was stuck in. Mentally, I’m doing much better than I did beginning of this summer. Which could be summed up as a constant self-hatred cycle and a feeling of inadequacy.

That, however, does not mean my burnout magically disappeared. If anything Chapter 17 just put a nail in the coffin so to speak. 2020 has been a shitty year just across the board for obvious reasons I don’t need to go into here but that can only partially be attributed to my mental state. Chapter 17 was...exhaustive. To say the least. But I was determined to stick with my vision and not split it up. I was also starting to be a bit more forgiving towards myself in terms of how long I may take to write it thanks to guys on discord though the feeling of failure and worry never quite faded fully. I’m proud of Part 17. Truly. But that was also when I hit rock bottom creatively on COA. It drained me completely.

I tried writing Part 18 for weeks after, day in and day out, not getting past the first scene and hating every word I wrote. So I took a deep breath and stopped. Figured I let it marinate and wait instead of trying to piece one of the most crucial chapters in this story like some Frankenstein monster two sentences at the time.

So my solution was simple: give myself some distance from it and write other things. Get my spark back. Of course that’s always a good idea. Having multiple creative escapes is the best thing you can do for yourself creatively. There was just one tiny little problem.

I was still burned out. Still am. The problem went deeper than just being burned out over COA. I was burned out over writing itself.

Which is an issue for a person who only has writing as a creative outlet.

I don’t have any other way to express myself. So I was stuck in a runt, trying to write because it’s the only thing that makes me genuinely happy even when I really shouldn’t have. And let me tell you. It’s a shitty fucking feeling. My burnout worsened. I had a thousand ideas but every time I tried to get them down it felt forced, fragmented, and weak. Repetitive and dry. Now, this is also in part because English isn’t my native language, so my vocab is limited as a result, but I hit that sweet rock bottom in that regard, too.

So, I worked on V (but in her OC form Clara), Lucien and The Elites. All those characters have grown so much since you last read about them. I have multiple original projects planned down the line that will feature all of them existing in their own world, with their own stories and no longer constrained by JW canon.

Which, finally, takes us to the end of October and beginning of November 2020.

I was convinced that the best course of action was to do NaNo again but with an original story this time (involving V). Suffice to say, it took a grand total of maybe 5-6 days and hating every second of writing it while also feeling like this project I’m so passionate and excited to write (still am) is just...going down the toilet to be blunt, to realise I may have made the wrong call.

Still, the stubborn ass that I am, I pushed through. Convinced I can get into it if I just keep going. The realizations that I am sharing with you right now won’t have been possible if it hadn’t been for a rather curious turn of events about a week and a half ago.

I recently bought a gaming laptop, all in preparation for Cyberpunk 2077 dropping ofc. But, in the meantime, I kept recommending a game to a friend on the COA server. That game? Far Cry 5. (It’s a blast to play btw, just a side note.) And playing it brought back all the feelings of nostalgia from the days when I used to write for that fandom. So I revisited some old work. Checked the stuff I never published and that has been sitting ducks in my docs for months and hoo boy. Let me tell you it was a vibe check of the worst kind.

The stark difference in the prose and the ease with which it flowed was...startling. It made me remember why I love writing so much and how proud I used to be of what I wrote back in the day. Which is not to say I’m not proud now, but it was just such a sharp dip in quality it was impossible to ignore.

So I didn’t.

I paused NaNo, moving it to another month. I paused writing for everything but work, which with our season coming to an end I will also get a rest from soon, too. I kinda paused in general. For the first time in a while, I finally forced myself to switch off. Rest.

The reason why I haven’t been on here is simple: guilt and not having energy to be on here. I like making my blog a safe space for everyone. Similar to escape it has become for me. I couldn’t pretend I was fine when I wasn’t. I felt obliged to perform and being here became exhausting. I haven’t been checking my inbox. Haven’t done much of anything except occasionally dropping by and reblogging a random post so people know I’m alive.

And that’s that, folks. That’s where I am currently. Resting. Completely exhausted mentally but resting. Getting my energy back.

So where does that leave us, huh? If you read this far, dunno what to tell you. Thanks, I suppose. It’s still odd to think people actually care about my existence sometimes.

I know what you’re likely thinking, too. So does this mean COA is never gonna be finished? What is gonna happen to it? Are you abandoning it?

The answer: no. 17 out of 25 chapters and 250k+ in, I’m too far in not to give it a proper conclusion. Not because I owe it to anyone other than myself. I want this story to be a stepping stone for my future as a writer. I want to prove to myself that I can get this done and finish it. As of right now (as you can no doubt tell with how long it’s been since last update) it’s on a soft hiatus while I rest. This rest? Not sure how long it may last. Right now, my plan is till mid December at which point I will reevaluate. Ideally, I finish the year with an update. But my New Year’s resolution is to finish COA. That timeline has become a little more murky now but, again, ideally it’s within the first quarter of 2021. Will that happen? I don’t know. And I don’t want to make false promises, either.

All I’m saying is that it will be done. I’m just no longer sure how long, exactly, it may take me to reach that Epilogue. I don’t expect many people to stick around for however long it may take me, but if you do, thank you. Truly. I really and deeply mean that.

So what’s on the cards for this blog in the meantime? Well, CP77 is coming out in under a month (if it doesn’t get moved again lmao rip) and I expect that to be my soft return to posting my writing on here again. We will see where the muse takes me, if at all. Regardless though, I’m excited.

One doctorate thesis later, here we are at the end of this really long rambling session. I hope that this has given you some perspective on things going on behind the scenes. I spared you some of the gorier details but I think this post has been long overdue. I suppose I, myself, was just too unwilling to face these things despite knowing about them deep down for a while now. I’m too self-critical not to notice but acting on correcting this behavior has been a whole other matter clearly.

Thank you for reading this post, my writing in general, and supporting me. I’m not going anywhere. I’m still around. More is on the way in the future. I’ll be seeing you all real soon. And all my love to all of you.

Love,

- Kat.

#kat speaks #blog psa #i suppose

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anakinthetrashking · 4 years

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BnHA One-Shot Fic Recs (pt2)

I AM HERE! With more recs for you! The last post was all about DadMight, such a beautiful genre *wipes tear from eye* This time its DADZAWA! if you happen to follow me, you might know that i really really(really) love Aizawa. a lot. So im going to try to keep this to only 10 recs, but,, well,,,, we’ll see anyway leTS GO

Aches and Pains by Badwolf36 Rating: G Category: Gen ~2700 words Summary: In which Izuku isn't willing to admit how much pain he's in, and Mr. Aizawa is just as much of a softie for his students as he always is. I’m always SO WEAK to stories that deal with the very real consequences of breaking all of your bones. Poor Izuku. I enjoyed the details of how he’s feeling, the way that the reader’s awareness of his pain waxes and wanes along with Izuku’s (temporary distractions can only do so much, A+ for realism there). Also, soft Dadzawa while not mushy-ooc-Aizawa! Conclusion: I love this and also want Aizawa to make me hot cocoa when there’s storms and i cant sleep!! (sidenote, everytime i see this username my brain shorts out bc my old ff.net account was also Badwolf## lol)

My Neighbor Shouta-ro by Hound_of_Heaven Rating: G Category: Gen ~2,700 words Summary: Yamada Hizashi, on Christmas Eve of the year he turns 19, jokingly presents Aizawa Shouta, also 19, with a Totoro kigurumi. Everything that follows after is pure chance. Heeeeeeeeeck this is ADORABLE. I- You guys- this is so pure and so precious and so!! go read it, i died. such fluff.

constrained by my own mind (im not fine) by CamsthiSky (tumblr: @camsthisky ) Rating: G Category: Gen ~1,500 words Summary: Midoriya Izuku is a problem child, and for some reason, Aizawa Shouta cares too much to let him fend for himself when the kid is obviously dealing with something First of all this is written by one of my fav Batfam writers!!! I was so hype when i saw this posted and OF COURSE IT WAS JUST AS WONDERFUL IF NOT MORE SO THAN I EXPECTED!!!! A+++++ in character for both Izuku and Aizawa. Izuku is jumpy and anxious and stressed and i love it. That the way Izuku started out, and while i am eternally happy at how much his life and social reactions have already changed, stuff like that doesnt just disappear in even a year, so I love fics that address that and expound on all the progress that he would have to make behind the scenes. and having Aizawa as the catalyst to begin getting actual help? *chef’s kiss* This checks boxes and then proceeds to cover the page in checkmarks LOL

remember from here on in by aloneintherain (tumblr: @captainkirkk ) Rating: T Category: Gen ~8000 words warning: spoiler heavy from manga chp 215 Summary: Aizawa glances from All Might to Midoriya quickly. It sounds impossible—he’s never heard of a quirk that can be handed down like a family heirloom—but at the same time, it makes perfect sense. Midoriya’s inability to use his quirk at the start of the year. The strange, familial relationship between All Might and Midoriya. The slow malnourishment of All Might’s body, like his power was being siphoned away. “You’re …” Aizawa begins.“I’m All Might’s successor.” Midoriya’s proud but shaky voice rings clearly down the empty corridor. Aizawa finds out about One for All. Awwwwwwww yiiiiiiiissssssssss!!!!! reveal fic!!!! one of my all time fav tropes!!! Plus it expounds on some future theorys/possibilities(Spoilers!!!) and you get some great interactions between Izuku and Shinsou, and plenty of opportunities taken to wear out our already worn out catepillar-sensei. poor guy needs a break but would do anything for these kids. Incredible characterization, great feels!!

Those Hardest to Love Need it Most by DancingintheStorm Rating: T Category: Gen ~8,200 words Summary: Shouta gripped the phone tight enough to make the phone case groan. “So it’s true. Midoriya was Quirkless.”“Until soon before the entrance exam,” Nedzu confirmed. “That’s not relevant now, though, because—““Relevant?” Shouta hissed. “Midoriya is barely functional, socially. He doesn’t trust any adult. He thinks the whole world hates him. He apologizes for everything except breaking the law, and I’m sure I can trace every single one of those things back to his Quirklessness. You call that irrelevant?” Aizawa visits Aldera Junior High and finds out some disturbing truths. Yes. Just. Yes. Righteous anger abounds, local anxiety-child is told for the first time that his life has worth, more at 10 (I LOVE THIS ONEEE)

The Gaunlet and friendships and how memes tie the two together by averypassionateperson Rating: T Category: Gen ~3,500 words Summary: Shinsou walks into his first day in the Hero Course hoping to get politely ignored. He walks out having gotten into a sanctioned fistfight with the entire Bakusquad and a whole lot of new friendships. Also, memes are responsible for most of this. This fic is SOOOOOOOOO much fun. Always sure to bring a smile and honestly all I could want from a fic about Shinsou’s first day in 1A!!!

like light through a window by achievingelysium (tumblr: @queenangst ) Rating: T Category: Gen 1,139 words Summary: The first time Shouta sees what Hagakure looks like, it’s because she’s covered in blood. Coming from one of the best Dadzawa writers around, is a delightfully haunting fic centered on Hagakure!! The Dazawa is of course, spot on, the premise makes your heart ache as it plays out like a movie in your mind. So smooth to read, while so emotionally painful. Ouch. It is a fic with imagery that has stuck in my mind like a plant with deep roots, bc i keep thinking about it despite my too-much-fanfic-reading-adhd-muddled-brain. I feel like i had more to say but tumglr erased the paragraph i had originally written. D: (side note, as i am keeping these posts to 10 fics... this fic came from her series of 30 min fics which you can find here on tumblr ao3 its an absolute goldmine of one-shots, go check it out)

a frozen pond, dark and deep by walking_through_autumn Rating: T Category: Gen ~3,800 words Summary: In the aftermath of Endeavour's battle against High End, Aizawa escorts Todoroki to his home for special leave, and they have a conversation that has been long in the making. (Or: Over two car rides and the mystery known as bubble tea, Aizawa divulges information, Todoroki returns the favour, and trust is built over unexpected similarities.) This fic felt just as quiet as the two characters it surrounds, which was really nice. Even deep emotional grieving can be quiet, since everyone feels things and reacts to things differently. It was a brilliant way to chip away at these character’s walls to let light shine through without creating an earthquake event to destroy the walls completely, you know? and it works off of canon so well. ah yes seeing the process of Aizawa realizing that hes has adopted another child is my fav anyhow i enjoyed it very much!

but still my heart is heavy (with the hate of some other man’s beliefs) by honeyandsunshine Rating: T Category: Gen ~3,500 words Summary: Nemuri jerks a thumb to the side window, presumably the one with the best view of the front gates. When Shouta looks, a small crowd, all of which he can recognize from his class, are gathered around a sleazy looking man with a camera and a microphone. Half their quirks are activated. Bakugou and Todoroki are smoking. From the bushes nearby, a rather enraged stag emerges. As he gets up, Shouta just hopes they haven’t already killed him. Or:Class 1-A defends their own. Aizawa suffers, but looks after them anyways. I love how this doesn’t go the way you expect it to. and how much Aizawa loves and trusts his class full of gremlin heroes. The Dadzawa is so soft, his logic is sound, my heart aches, and i kinda want to cry. really, really, really great you guys

bend, don’t break by heyhamlet (tumblr: @hey-hamlet ) Rating: T Category: Gen ~4,100 words Summary: It started, as it always seemed to, on what was supposed to be a pleasant day. ---A Christmas shopping attempt gone wrong, Aizawa and Midoriya have to survive a strange nightmare quirk, all while trying to work out how to get out of there alive. Aizawa is injured, Midoriya is panicked. It's less a question of what could go wrong, but more what could go right. Another fic that has not left my soul since i read it. Some of it is truly terrifying in a way that I hope never haunts my own nightmares. and honestly isnt that reason enough to read it? While near death experiences bond people together well, nothing beats being trapped with someone in a nightmare that is feeding off of your deepest fears! If Aizawa wasn’t considering adoption before, he certainly is now. Found family before the monster finds you...0.o go read it, its a treat from another top notch writer!

well, thats 10! the next post will probably be misc. bnha one-shots. Enjoy and don’t forget to give the writers your souls love and comments!

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itsclydebitches · 4 years

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RWBY Recaps: Volume 8 “Strings”

Happy Saturday, RWBY friends! I am, quite obviously, going to dive into the recap in just a moment, but first I wanted to take a short detour to discuss the elephant in the tumblr room. Namely, Supernatural.

For those of you out of the loop, the tl;dr is that a fifteen year, beloved show ended with a truly horrendous finale. Specifically, the finale rejected everything that the show had been building towards: the logical conclusion to character arcs, the theme that “family don’t end in blood,” the potential for a queer romantic relationship… I could go on. The point I want to make is that the fandom had every reason to believe we’d be getting these things. This isn’t a case of fans upset that the finale didn’t go the way they wanted as an individual viewer, but rather that the finale didn’t go the way the show clearly and explicitly said it would. It’s not an exaggeration to say that in many respects, viewers were straight up lied to.

(I recommend reading the reviews.)

What does this all have to do with RWBY? Well, I can’t help but think that history is repeating itself. Certainly there are some notable similarities between the two series. Both have long, meandering plotlines with no clear end in sight (though I hope RWBY doesn’t reach the 15 Volume mark…). Both began with a small, core cast, but quickly expanded—generating the expectation that these now equally important characters will be given their due. Both have moved from the small conflict of fighting everyday monsters to a god-based mythology. Both have a popular queer relationship dangled in front of the viewers, featuring scenes where they’re “obviously” in love… but will it ever be confirmed? Both have a fanbase that says loudly and confidently that the writers know what they’re doing. Just wait! It’s all been planned! We’ll be rewarded for our patience and soon all the naysayers will be proven wrong.

Thing is, the Supernatural fandom wasn’t rewarded. Right up until a week ago those fans—myself included—had faith that the writers knew what they were doing because they can’t really be that out of touch with their own story...right? It’s not possible. Yet they were, it was, and now that I’ve gotten solid proof of precisely how far a show can go to reject its own logic, themes, and premise, that just makes me more wary of RWBY’s mistakes. Before I had a solid faith that things couldn’t possibly get that bad, that no matter how much RWBY might be messing up in the short term, it will undoubtedly pull it together overall, because what show wouldn’t? Especially a show with such promise and, at times, wonderful storytelling. Well, Supernatural didn’t manage it and frankly I’m not sure what to do with that information.

Seriously. I don’t have any grand conclusion here. It’s not my intention to suggest that anyone should stop watching RWBY, or to claim that it will absolutely fail because Supernatural did. Obviously, we don’t know what will happen until we get to see it in the show. I only want to acknowledge these parallels and the similar journey I see both fanbases on. I can’t help but wonder if, a couple years from now, RWBY fans will be making incredibly optimistic posts about how it’s all coming together, just have some faith, everyone who says that the group won’t get a satisfying ending, or Blake and Yang won’t be confirmed are just mean trolls… only to wake up that Saturday morning and get another metaphorical slap in the face.

It’s something to think about.

But here I’ve spent a page talking about the wrong show. Let’s get into the episode!

We open on a black screen with lots of ambiguous noises. At first I thought this was Oscar struggling in the Hound’s grip or something, but then I remembered that RWBY likes to insert an episode between cliffhangers. I watched Ironwood (presumably) shoot a guy and he only came back this week (though that question still isn’t answered. At this point I kind of wonder if it will be). Oscar was kidnapped last week, which means we won’t get to see him until next week. Or… two weeks from now? RT skips the week of Thanksgiving, don’t they? Sounds familiar doesn’t it? Something horrible happens to Oscar and we need to wait two weeks to find out how it’s resolved.

Watch him escape the Hound off screen and return to the group with a new outfit 😂

So it’s not Oscar we hear, but Ruby, the last one coming out of the tube. Weiss is in the process of pulling Nora’s ear for that stunt… with a frankly strange looking hand. What’s up with RWBY animating weird hands lately? I’m pretty sure that’s not how anatomy works.

Anyway, Nora counters that this was a “Once in a lifetime experience,” but they were all going to go through the tubes regardless. Weiss isn’t pissed that you sent her through, she’s pissed that you did it unexpectedly when she was alone, heading into enemy territory. But of course, there’s no one in the room to hinder them, so the mistake is meaningless.

We’re setting the tone again though. For the first half of this episode everything is sunshine and giddy adventure, which doesn’t fit the situation at all. It also creates emotional whiplash when I’m suddenly supposed to be super worried about things later on. This sort of about-face works once in a blue moon, as an emotional punch, like we see in Mulan:

But RWBY does it every other episode, which makes the overall tone of the series confusing instead. Half the time RWBY feels like two different stories—the cartoony tale of girls going on fun adventures, and the traumatic tale of a fantasy war—that have been badly spliced together.

“Alight, Robo-Girl, which way?” May asks and Penny demonstrates why she’s the best for sneaking into a facility. She’s able to map out the whole place, including seeing where everyone is so they can avoid detection. Kudos to RT for going this route. I was worried that they would have Ruby and the others straight up attacking Atlas grunts, knocking them out/potentially even killing them because who cares, right? They’re the bad guys! So I’m glad they’re working to get in and out undetected. Granted, we see in some places that they’re clearly willing to fight the soldiers if it comes to that—they’re reaching for their weapons when Penny opens the final door, expecting the room to be full of people. They were going to attack—but at least they’re trying to lessen that conflict as much as possible. That’s the sort of choice I expect to see from heroes and I’m glad we got it here.

After scouting the area Penny corrects May: “And my name is Penny,” to which Ruby gives a satisfied “Heh.” I’ve got no problem with Penny rejecting nicknames, even potentially well-meaning ones, because she’s always struggled with her status as a real girl and her name is her own. She gets to decide what others call her. I do, however, have a problem with making the presumed trans character the one who is corrected. Granted yes, we haven’t gotten confirmation in the show that May is trans, but RT doesn’t get to cash in on that rep without likewise suffering the consequences for how the character is treated. You’re telling me that a trans woman is going to roll her eyes when someone asks her to use a specific name? Please give May flaws, yes, she’s a person, but out of all the millions of flaws across the human spectrum, this is the one we’re shown?

Not to mention Ruby’s continued attitude. It’s like, ‘Yeah, May. Stop being a horrible person who draws attention to the fact that Penny is a robot. I never did that.’ Except when Ruby first met her she didn’t know Penny was a robot. Just like she didn’t know Blake was a faunus—something we’re reminded of this episode. We might assume Ruby wouldn’t have ever made any missteps at the beginning of these relationships, but the fact remains that she got to know both girls before their minority status was ever revealed. Ruby loved them before she ever had to grapple with their differences.

Put in her place, May then demonstrates that she can make lots of people invisible, not just herself. That’s handy. She creates an invisibility bubble that reminds me of Harry’s invisibility cloak. In the sense that others might not be able to see you, but they can still hear and touch you, which makes sneaking around still pretty challenging.

No sooner have I thought that then two guards get into the elevator with them. The group keeps quiet as the duo discusses how no one can get close to Salem’s storm without “getting shocked right out of the air.” Interesting. And frankly one hell of a roadblock if the Hound escapes into the clouds. Oscar may be gone for a while if he doesn’t escape on his own... The woman also comments about how creepy it is that all the grimm are just hanging out, waiting. It’s “worse than if they’d attacked.”

No it’s not! RT, stop trying to implement the idea that Salem withholding her forces is some epically cool choice. She should have decimated everyone by now and the fact that she hasn’t just shows how transparent the problem is: you’ve created a villain that’s too powerful and now you don’t know what to do with her.

As the group sneaks out of the elevator Nora grins and presses all the buttons, which is, as expected, a dumb move. They’re supposed to be sneaking into this base. If they’re caught they’re going to be thrown in jail at best, killed at worst, but Nora wants to risk that for a practical joke? Again and again we see this insistence on incorporating comedy where it’s not only unnecessary, but actively interferes with other aspects of the scene.

Reaching a terminal, Penny inserts her finger and gains access via Pietro’s credentials. She’s really demonstrating this episode why she’s… pretty terrifying? I mean, Penny is an incredibly powerful fighter with a computer’s view of the world, access to everything in the most powerful Kingdom alongside its information, and she now has Maiden powers to boot. Which, I should add, it took her one fight to master (because remember, the heroes are now always as strong as they need to be to win…). Now that Watts is planning to hack her, I expect her to be an incredibly formidable enemy, just given the amount she could potentially do. I think Penny herself is too kind to exploit all that potential and as we’ll see via Pietro briefly taking control, she doesn’t always have the knowledge to use the tools at her disposal. But in the hands of someone like Watts? He’ll turn Penny into the ultimate weapon.

Access granted, they learn that they have to go “Right through central command!” Of course, Penny makes it sound like a fun game and the spy-movie music/cartoon lecture doesn’t help. Again, tone. It’s adorable! It just doesn’t fit sneaking into a military base with your lives on the line while Salem waits outside. That was a RWBY Chibi moment.

Penny explains—twice—that Ruby can use her semblance to fly them all through central command and it’s treated like a revelation. At first, I was pretty confused because Ruby has been dong this for ages? She carried Weiss in “Argus Limited” and Nora during the Geist fight. But upon close inspection, what Penny seems to have “figured out” is that Ruby can carry multiple people at once because the “mass doesn’t matter.” Okay. Not a contradiction then, though I think RT could have made it a little more clear that Ruby was shocked at the idea of carrying multiple people, not carrying someone at all.

What I do take issue with though is Ruby mastering this skill instantaneously. I mean, why is Ruby being forced to try this on the fly (pun not intended)—Penny has known the layout of the building since they made this plan. She knew they had to get past central control and that it would be packed with people. She’s obviously thought about Ruby’s semblance a great deal—and why is she succeeding? Give me a Volume 7 where Ruby actually trains in this technique, set up via Harriet’s comment early on about her semblance, and then she’s victorious here when it finally matters. Or give me Ruby assuming she can pull off this incredibly difficult skill only to fall out of her semblance halfway through, a roomful of Atlas personnel staring at them. Then what?

Not this.

This is a character who does everything perfectly on the first try without ever having to fail. Ruby is boring like this.

Crisis averted, we transfer to Ironwood who is… working with Watts.

What else is there to say? I’ve already laid out all the reasons why this is stupid and makes no sense. Others keep coming onto my posts to explain to me how Ironwood’s awful deeds up until now fully show his decent into villainy, conveniently ignoring the numerous limitations he was under and his choice to do what he thought was best for the world using inaccurate information. Ironwood was always a divisive character and many are happy to ignore the years’ worth of deconstruction done—a man who looks like the Evil Military General but actually isn’t—because they never liked him to begin with. Not liking him is fine, no one has to like any character, but I’m honestly shocked by the number of viewers who refuse to acknowledge how bad the writing is, even if it means defending a character they hate a teensy tiny bit (#SupernaturalVibes). As a friend put it, Ironwood now feels like a caricature of his former self, a Pure Evil Ironwood who appeared out of nowhere and is now here to stay. He shoots kids. He shoots unarmed civilians. He teams up with Salem’s men and tries to hack Penny. These are undeniably horrible acts, they’ve just been given to a character who never would have done them until RT randomly flipped the Evil switch.

The “RWBY” tag, alongside all the fluff moments of this episode, is now filled with posts encouraging Marrow to turn, yelling at the Ace Ops for being “bootlickers,” and capslock screaming at anyone who dared to speak up for Ironwood. It still sucks to have bad writing twisted into an attack on the fans and it’s going to continue to suck until at least the rest of Volume 8. I’d like to again remind everyone that Qrow teamed up with Tyrian a few episodes, yet because he’s again in Ruby’s graces, that was twisted into a ‘not that bad’ situation. The issue isn’t really that Ironwood is teaming up with one of Salem’s subordinates, but that he’s doing it to go against RWBYJNOR… the second a character teams up with Salem to get what Ruby wants (to not have her team in jail) then that’s totally fine… but that’s a wrinkle a lot of people are happy to ignore.

So yeah, Ironwood is an idiot now too. Like Qrow also was last Volume. He really thinks Watts isn’t going to betray him somehow? Although, I do wonder if the chance to ruin Pietro’s creation outweighs his loyalty to Salem, but the point is that Ironwood can’t be sure of that either. At least he’s smart enough to keep Watts under continuous guard. He puts his hand on Watts’ shoulders and goes, “I’d hate for us to have to try motivating you. Again.”

So he tortures people too now? Like I said, caricature. This was Ironwood and we were given no clear idea of where he disappeared to.

RIP a great character.

Watts notices though that Pietro has apparently accessed a secure area and alerts Ironwood to it. I laugh that the information is just ¡EMERGENCY! In large, red letters. Ironwood immediately makes an announcement for everyone to be on guard. It’s a level 3 lockdown — that won’t impede the group leaving via airship! — and they’re to use “lethal force” if necessary. Weiss is disgusted.

As much as I disagree with making Ironwood into a shoot first, ask questions later kind of guy — he’s definitely wrong to be doing this — I also find myself rolling my eyes at reactions like that. Yes, Weiss. You attacked four operatives until they were knocked unconscious. Prevented an entire city from escaping Salem’s wrath, endangering them all. Now you’re breaking into the most classified room in the Kingdom to steal an equally qualified project and use it for your own means. There’s no reason why Ironwood would level his might against you. Is death still an extreme response? Yes. Should Weiss be acting like Ironwood is crazy for responding to them in an extreme manner? No. Her remark makes it sound like Ironwood is attacking her poor, innocent, defenseless team… not the team that’s been lying to him, betraying him, attacking him, and stealing from him. Not the team carrying deadly weapons into a facility to take what they want at any cost.

With their presence known, May wants to go grab an airship. That’s the series now.

Meanwhile, Penny insists that they can still complete their mission and we see Nora come up with some sort of plan.

Except, what plan was this?? What did she say to the group? ‘Hey, let’s wait around until some guy conveniently walks by with a full cup of coffee. Then we can trip him and the mug will fly alllll the way across this gap to land on a terminal, startling at least two workers. Except this guy will be hated by the whole room because he’s always messing things up—his coffee mug has been changed from #1 Dad to #1 Dud—so that this little mishap will create a ruckus that gets everyone involved, giving us the opportunity to slip by them all.’

Seriously, what? This kind of “plan” only works with someone like Clover, where we know he has a good luck semblance and thus all these unlikely pieces fall into place. I could absolutely buy Clover smiling smugly, working under the knowledge that he just has to wait around a few minutes and something will come along that works entirely in his favor. But Nora? How did she know any of this would happen? Obviously she couldn’t have, so what exactly was their intention if this coffee carrying, hated guy didn’t show up? RWBY, your contrived plots are showing.

I do, however, love the grimm Jaws poster. Jaws is an absolute favorite of mine, so seeing a reference to it in RWBY? A funny one at that? It almost makes up for how bad this episode is lol.

Because frankly I’m bored. The group sneaks around, criticizes May and Ironwood, briefly confuses me about Ruby’s semblance knowledge, and gets through tons of Atlas personnel in the stupidest way possible. I have to watch this guy running out of the room with coffee on his pants screaming, “WHHHYYY???” and he doesn’t notice the five girls standing right next to him. It’s silly. It’s boring. Luckily for RWBY, things are about to pick up in the second half.

After Ruby gets them upstairs and the final room is also conveniently devoid of people, Pietro takes control of Penny—including yellow possession eyes like Oscar has with Ozpin—and he...gets Amity started. That’s it. After a whole volume of ‘It’s not finished yet’ and ‘We barely have the resources’ and ‘Robyn stole what we were using to do idek what with’ he presses buttons for a while and they’re in. How good for them!

I do love that Penny calls Pietro “Dad” though. I’m here for the android-father relationship.

While Pietro works we turn to Blake, Weiss, and Nora. Blake tries to convince the audience that Ruby and Yang had an actual fight with, “I’ve never seen Yang and Ruby fight like this.” Yeah, because no one in this group has ever said the sliiiiightest thing against Ruby, so you all read the tinniest disagreement as a “fight” to be worried about. I mean, doesn’t RT have friends to draw inspiration from? They’ve never disagreed about Huge and Complex Questions before? Never gotten pissed and then shrugged it off the next time you want to text? RWBY’s idea of a diverse friend group feels like many other writers’ idea of a sibling relationship: anyone with an actual sibling goes, “What is this?” Speaking of, Weiss explains that sisters often have “very different ideas about what’s right” as if, again, people don’t have different ideas? Just in general? Why is this suddenly a sister thing? She’s clearly thinking about Winter, but doesn’t actually bring it up, so all we’re left with is the same situation we had last Volume. Weiss thinks she’s right, Winter is wrong, and they’re just going down their separate roads because there’s definitely no reason to re-examine any choices here. It’s all static.

Until Winter betrays Ironwood, of course.

Nora tries to reassure Blake that the group will be fine (ha) even though they’ve split, the irony being that we, the audience, know they just got wrecked by the Hound. Jaune is a great leader though, Oscar has grown so much, Yang could defend them all in a fight, and Ren… well, she can’t think of anything to say about Ren. I hate the Nora is acting like Ren has drawn away from her for no reason, after she chose to kiss him—without consent—rather than listening to what was bothering him, then proceeded to pretend that this mystery problem never existed. What does she expect? I do, however, like the general acknowledgement that she doesn’t know who she is without Ren. Who is Nora? Someone who is “strong and hit[s] stuff?”

See, this feels like RT writing self-consciously because Nora doesn’t have much of a personality. Oh, on a surface level she’s bursting with it, but past the bubbly exterior? That single layer? We can add maybe one thing to this “Likes Ren, is strong, hits stuff” list: she’s funny. That’s it. Anything else we might add like “she’s loyal” or “she’s kind” is just a generic characteristic of this entire team. They’re all meant to be crazy talented good guys and even the “is strong” aspect is suspect when others frequently pull off attacks as showy as Nora’s hammer hits. So who is she? What are Nora’s dreams? What are her hobbies? Her fears? Her history? We’ve seen a single flashback of her on the streets and one scene back at Beacon where she listens to music and reads a magazine. Seven years worth of material and that’s it. There’s a reason why the go-to, non-combat action for Nora in fics is “makes pancakes.” We know so little about her still.

So I was excited for a brief, shining moment. Yes! Explore who Nora is outside of being strong and hitting stuff! … and then her big action this episode is, as she says, being strong and hitting something. Don’t get me wrong, outside of that setup it’s pretty epic. I like Nora going to those lengths to save Penny and I absolutely love the repercussions of the choice: a broken aura, passing out, and badass lightning scars all over her arms and neck (especially when women often aren’t allowed to accumulate scars in visual media). That’s pretty damn awesome. It’s just that it comes on the heels of the story insisting that Nora is more than this, that we’ll learn something new about her… and we haven’t. This is indeed cool, but we already knew that Nora was willing to crazy lengths by hitting things really hard. That’s already her established norm.

At least this moment has some really nice characterization alongside the stupidity. The conversation between Ruby and Penny is just plain stupid. Penny wants to stay to help with the evacuations, but Pietro says she should come with him in Amity. Why? As Ruby says, because then she’ll be up in the sky and Salem won’t be able to access the relic.

That’s what Ironwood wanted to do! We could have had this conflict episodes ago with you all working with him! I really can’t with this cast. Also, the rest of this is still confusing. I thought pretty much everyone was in the slums by now, so what evacuation are they talking about? Do they plan to evacuate everyone in Mantle out of the kingdom somehow… like Ironwood wanted to do with Atlas? And why are they acting like Amity is evacuating some people too? I thought they were just using it as a communication device? To add insult to injury, Ruby then contradicts herself a minute later when she tells Harriet that Ironwood can’t have the relic because “Salem will find her way to the relic no matter where you go.” Ruby, if Salem can access the relic high in the sky she can also access Penny in the sky. If you believe that literally nowhere is safe then why are you sending Penny away under the claim that she—and via her the Relic—will be safer? If you want Penny in Amity to lessen the chance of Salem getting the Relic, why can’t Penny be in Atlas while simultaneously (hopefully) getting a whole slew of people to safety?

I’m continually confused by this “plan” of theirs. Their claims just flip-flop according to what (supposedly) contrasts them with Ironwood. Even though that’s not actually the case.

Penny is me, sad while watching this train wreck of a scene.

So yeah, the Ace Ops are here. I’ve wondered since the trailer why Weiss looked smug while everyone else was startled. Turns out it’s because of her line, “So, your first time losing to us wasn’t enough?” I can’t express how much I dislike all the girls’ personalities now. I want to shake some compassion and humility into them. Plus, they never should have won that fight in the first place. Marrow yells, “We were holding back!” but coming from the team’s weakest member it reads as defensive. Like we’re supposed to go, ‘Lol yeah right, Marrow. Just admit you got your ass kicked,’ even tough the Ace Ops should have wiped the floor with them, holding back or not. That’s my biggest takeaway from this fight: it’s the reverse of what we should have gotten. The Ace Ops should have beaten Team RWBY with ease and struggled greatly against an android Maiden, not falling before a bunch of teens and succeeding against Penny if not for Nora’s timely breakthrough. Your half-trained cast of growing heroes should not come across as more powerful than an intelligently designed weapon now wielding magic.

Before the fight starts we get a whole lot of lines that are, frankly, frustrating. Vine tells Penny, “I thought you were supposed to protect the people, not hurt them” which is true enough. Penny is taking action that is putting a lot of people in danger, regardless of the fact that Ruby is at the helm. Problem is, the Ace Ops then blame her for Winter’s injuries and “stealing” the power? That’s not the issue here. The issue is Penny’s blind loyalty to Ruby, but by having the Ace Ops back a stance that is clearly inaccurate—Penny didn’t cause Winter’s injuries, Cinder did; Penny didn’t steal the powers, she was encouraged to take them—it makes them come across as Very Evil people who will twist things to make poor Penny look like the villain. Even if this is a case of Ace Ops having bad intel (which seems unlikely. Wouldn’t Winter have told them what happened?) RT has avoided letting the Ace Ops take a justified stance here because that would make them look too sympathetic… even though they do have multiple justified stances to take. Like, ‘Hey, stop keeping half a kingdom here where Salem can easily kill them all’ or, ‘Hey, why did you spend months betraying Ironwood and then turn on us instead of trying to find a compromise?’ Even, ‘Why did your uncle help kill our leader?’ There’s plenty that the Ace Ops should be rightfully pissed about, so choosing Penny and Winter out of everything feels like RT is firmly backing them into Ironwood’s corner: you’re just bad now and bad people blame innocent girls, rather than acknowledging the actual wrongs done against them.

So we have Ruby contradicting herself and the Ace Ops backing warped ideas that make them look worse than they actually are. Adding to the stupidity is the fact that Elm mentions that Winter is in “critical condition” and Weiss… doesn’t care. Harriet then tells Ruby that she’s “throwing [her] in jail right next to your uncle, runt” and... Ruby doesn’t care. Qrow is missing and Ruby just found out he’s been captured by Ironwood, yet there’s no reaction whatsoever. This show continues to go hard on the ‘screw adults’ mentality, huh? Ozpin needs to keep quiet and is horrible for coming back. Ironwood is now a cartoon villain. Winter made the wrong choice so no one cares about her anymore, not even her sister. The Ace Ops remain enemies despite trying to talk things out. Qrow? Barely know him. Who’s he? This is a Ruby loves Penny episode. There isn’t enough emotional nuance for her to care about him too.

The sad thing is I adore Nuts&Dolts. In a different context these moments would be a goldmine for me.

If anything, this episode feels worse than the majority of last week’s because there are good things here that have been thrown into a bad setup. I can’t get excited for the group’s battles when I see who they’re attacking. It’s hard to squee over Ruby hugging Penny when she doesn’t react to Qrow. Watching Nora go all Thor feels like it only has half its potential when it’s coming out of a very messing, ‘I’m more than just being strong and hitting things… which is why I’ll continue being strong and hitting things.’ RWBY has excellent moments set into a terrible story.

The fight, at least, is exciting. The Ace Ops goad Penny into stepping away so they can trap the rest of Ruby’s team—smart—and she’s forced to hold her own while Weiss tries to break through with her knight, then Nora overloads the system. To be frank, I’m not great at analyzing combat. Not unless I’m looking for something specific like whether a win is justified. I’ve already mentioned above the broad issue of the Ace Ops very nearly beating the most powerful fighter next to Salem herself, yet failing so spectacularly against Team RWBY. Outside of that context though? I really enjoyed this. Lots of tight action, creative attacks, teamwork, some emotional pauses throughout… it feels like a pretty solid battle. Put it on Youtube as a clip, outside of the rest of the story’s messiness, and you’ve got yourself a fantastic watch.

We can’t stay in the combat forever though. During all this Weiss calls the Ace Ops “cowards” for making it four vs. one. You know, RWBY should really just do away with dialogue and make the show purely action because the cast frequently sounds so stupid when they speak. Like her comment about Ironwood’s lockdown… really Weiss? ‘Yes, we might be wanted criminals who betrayed this group in the worst possible way, but how dare they not do the honorable thing and have three of their teammates sit out while trying to capture us? Even though the girl they’re trying to capture has magic. I mean, the nerve of them!’

Weiss, at this point I’m not sure how to explain to you that the people you’ve made into your enemies do not owe you a fair fight.

Another detail: we get to see Ruby fall off the edge of the walkway and this time she remembers she can fly! A definite improvement from Volume 6.

Finally: by the time Penny’s eyes go full Maiden in Elm’s grip, I think we’ve seen everything from our trailer. Episode 4 will truly be a mystery.

Ironwood has, of course, been watching the fight this whole time. When it looks like the Ace Ops will lose against the team he means to send in reinforcements, but Watts says he has “a message for your operatives.” Instead of capturing Penny they steal one of her swords instead, ending with a shot on Marrow looking conflicted.

Because remember, there’s no actual moral grayness in this story. The protagonists are right and everyone else is wrong. It’s (supposedly) black and white. Which means that if the Ace Ops have any hope of surviving this Volume and being seen as anything other than evil bootlickers, they have to join with Ruby. Marrow seems primed to do that.

Am I surprised? No. Disappointed? Always lol.

May has the airship ready to go and they fly off… despite the shields. And the lockdown. Consistency? Who’s she? Nora is said to be “in bad shape” and after another hug Penny leaves to hide in Amity, even though Ruby thinks that hiding is a useless, cowardly choice. Just not when she and her allies choose to do it.

We end the episode with Watts receiving Penny’s sword and making the statement, “If you can’t beat them… then make them join you.” I have to say, his cheesy villainy is something I continue to enjoy, even if it’s heavy handed at times. Watts is just fun. I do have to say though: if Penny is hacked, what does that say about her agency? We double-downed on the ‘real girl’ narrative by giving her the Maiden powers, but she’s simultaneously synthetic enough that a single piece of her can remove all autonomy? It once again feels like RT isn’t sure what point they’re trying to make, they’re just chucking a lot of themes at the wall and seeing what sticks. Still, we’ll have to let it all play out before making any judgements.

And that’s it for this week. It seems like this is a slightly shorter recap than normal, though that may be because I struggle with discussing pure action sequences, which made up a decent chunk of this episode. I’ll no doubt return to the Ace Ops vs. Penny fight when I’m not on a self-imposed, one day deadline for posting. The only thing left is to update the Bingo Card, but I don’t think we made any headway this week. So... good job, RWBY?

I’m still going to hold off on the civilian’s square until Salem’s army actually attacks, as well as the two day timeline square.

No Winter this episode

Watts is teaming up with Ironwood which is… so much worse than him teaming up with Jacques again. Does a square get an X if the canon is even worse than what you assumed it would be??

Maria was mentioned this episode. Jury’s out on whether she’ll actually do anything.

Atlas is still standing, we knew Penny was heading towards a hack so it’s not much of a cliffhanger, no Qrow, no Ozpin, no Neo or Cinder.

It certainly looks like we can check off “The team gets Amity up and running,” but let’s just see if there are any problems next episode. If the problem is only ‘We would have launched it if not for Salem’s attack’ or something, I’m checking it off. The point is it would have worked.

I’m also leaning towards “More obvious Blake/Yang implications without confirming a relationship” given Blake’s heart-to-heart with Nora… but let’s see if the Volume does anything more egregious.

All in all (and perhaps despite what I’ve written above), I don’t think it’s fair to totally drag this episode. As said, this feels like a strong episode in a bad story, something that I would have LOVED if a) Salem weren’t here and b) the ‘ethical dilemma’ wasn’t boiled down to a ‘Team Ruby is good’ and ‘Ironwood and everyone associated with him is evil’ situation. It’s an episode whose tone and character action belong in a different version of RWBY. If you gave us this fun episode in an earlier Volume against a Pure Evil antagonist? It would have been great.

Ah well. It is what it is. Expect more emotional whiplash when we come back and everyone learns that Oscar has been kidnapped by Salem’s talking pooch 🙃

See you then! 💜

#rwby #rwby spoilers #rwby volume 8 #rwby strings #mymetas #rwby recaps #apologies if this Recap is messier than normal #I have a zoom meeting in five minutes lol #gotta go fast!

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ordinaryschmuck · 3 years

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Why I (Want To) Love Amphibia

Salutations random people on the internet who probably won't read this. I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons. If you've been paying attention to my posts, you would have known that I made a top twenty list of the best-animated series of the 2010s. And if you read my Honorable Mentions list, you would have known that I consider Amphibia one of those shows that, while I like it, I wouldn't go so far as to say that it's one of the best. Don't get me wrong. It's good. But there are issues that I have with Amphibia, and I can't recommend it without being hesitant. I still like it fine, but I doubt some people will be as forgiving as me. So I'm going to explain the quality and faults that the show has, while still being considerate to those who do love it. Because unlike some people who would make a two-hour-long video essay about how much they hate something, I can at least acknowledge that while something doesn't entirely work for me, that doesn't mean it won't work for everyone else. Because there is a reason why this show has such a following...I don't think it's earned, but I won't knock people down when they love something I find passable. And I hope that respect goes both ways as I explain why I (want to) love Amphibia.

Also, this review is going to contain spoilers for the entire series. So if you haven't checked it out yet, I recommend you do it to form your own opinion. Season one is on Disney+, and you're on your own for season two. And I suggest you find a legal way to watch it if you can, because I'm not going to leave a link to a pirating website filled with every animated series and movie you can find. And I'm definitely not going to insert that link into a random letter in this review with the thought that if you have to pirate something, then you might as well work for it. Because that would be crazy.

...

Stop being crazy.

....

Anywho, let's start with:

WHAT I LIKE

The Comedy: Let it be known that this show is funny. Like, really funny. I wouldn't go so far as to say that it's funnier than Gravity Falls, which got me chuckling with every episode, but Amphibia definitely hits more than it misses. There are occasions when the jokes aren't really character-oriented and could be said by anybody in the Plantar Family, but if they're still funny, then who am I to complain. Although there is one issue that I have with the comedy. But I'll save that for when I talk about what I don't like. For now, I can assure you that if you're hoping for some laughs, Amphibia has plenty to offer.

Warnings Against Toxic Relationships: But even the best comedies know when to offer some substance. Because I won't lie, when Anne described what is clearly a toxic friendship in the second episode, I was hooked. I love it when kids shows breach topics that can be important for children down the line. And for the most part, I think Amphibia does it well. There are so many instances that the writers' point out the several red flags that a person should avoid when it comes to a friendship and when it's time to either cut that person from your life and stand up for yourself. One of my favorite episodes is "Prison Break," where Sasha explains how she manipulates people and shows zero remorse for it. Then there's the episode "The Sleepover to End All Sleepovers" that shows how a person's influence can affect others and how much it changes perception as Anne and Marcy still believe they need someone like Sasha in their lives...At least I hope that's what the intention is. Because if the writers are trying to say that Anne and Marcy really need someone like Sasha...Well, I'll save that for my dislikes. Because even though it could use a little polishing, warning kids about toxic relationships is what keeps me hooked into seeing what happens next in this series.

It’s Not Afraid to go Dark: On top of breaking borders with morals intended for kids, I just gotta respect a show for playing around with what's considered "too dark." Especially if that show is on the Disney Channel!

The writers are not afraid to imply that death happens in the world of Amphibia, primarily because it is like a swamp ecosystem filled with predators and food chains. And I feel like because the characters are mostly amphibians, the writers can get away with an entire cave filled with the bones of victims as long as they're not humans. But frogs? No one gives a crap about them. There's a reason they're the ones who get dissected in schools.

Plus, a good majority of the monsters that Anne and the Plantars face are pretty horrifying at times. The crew who work on the show do a great job balancing the line of making these creatures look scary, but never go too far that they'll scar kids for life. Except in the Halloween special...How the f**k did they get away with the monsters in the Halloween special? And while they don't ever show what these monsters do, the implications honestly make things much worse, which again, I kind of respect. It's good to have shows like Amphibia that can scare kids a little bit. Getting through something fictitiously dark helps make kids feel braver and prepare them for the real horrors in the world. Especially since most of these creatures are just exaggerated versions of real-life predators...google them.

The Season One Finale: It was "Reunion" that made me realize that Amphibia has the potential to be amazing...it's also the last episode of season one, so let that sink in.

Joking aside, I honestly do love this episode. It's funny, it brings in elements from other episodes, nearly everybody does something useful, and it all ends with a satisfying and equally gut-wrenching climax. A climax, by the way, that is so perfect that I'm going to do a scene breakdown for why it's so good...so, you know, add that to the to-do list (I have so much s**t to make -_-). "Reunion" has so many elements about what makes a season finale so good that I feel like future writers should take notes for their own series that they plan to make. While I wish every episode of Amphibia had this level of quality, the writers know that the last impression is one of the most important. Because I will defend this show if this is the episode people use to trash it.

Marcy: I will also defend this show if someone trashes Marcy. Trust me, the best way to tell that someone is just hating on Amphibia for little to no reason is if they utter the word, "Marcy is a bad character." That is not true. Marcy is a great character, and I'd go so far as to say she's the best character in the series. She's sweet, adorable, and has a story ten times more interesting than Anne's. Anne learns what a sincere relationship is like through the Plantars, where Marcy falls victim to another manipulative relationship through King Andreas. It's her co-dependency that has the chance to get fleshed out more, and I can't wait to see if she has a moment to break out and form her own path.

Also, in the mass expanse of the multiverse, there exists a world where Amphibia is about the adventures that Marcy had in Newtopia as she uses Dungeons and Dragons logic to get by. And I want to see that universe! Because this clumsy nerd is already a blast to watch with the briefest of cameos. Imagine how much fun she would be if she had her own series!

Sprig: I don't know how much love Sprig gets within the fandom, but I got a feeling that it's not enough. He's funny without being annoying (most of the time), there's a whole lot of heart and sincerity to his actions, and above all else, he's the best friend that Anne needed. When Anne explained her very flawed views about friendship in "Best Fronds," it is clear how essential someone like Sprig is as he teaches Anne what friendship really means. It means caring for each other, supporting each other, making equal sacrifices for one another, and just being on the same page as each other. It is genuinely sweet seeing their friendship bloom, and I honestly hope the Amphibia fandom gives Sprig the amount of appreciation he deserves. Sure, he can be annoying sometimes, but for the most part, he's easily up there as one of my favorite characters.

Wally: Same with Wally! Who would have guessed that a character who appears as an dumb source of comic relief has a level of depth and lovability to him? "Wally and Anne" shows that while he is a nonsensical goofball, he doesn't really care what the frogs of Wartwood think of him. What matters is what he thinks of him. And that is just an incredible lesson to teach kids that just makes me love Wally more.

(It also helps that he's probably the funniest character in the show. I know I said that he's dumb, but when he works, he works.)

Kermit the Frog Cameo: ...It's Kermit the Frog, y'all. I physically can't hate him. Especially since this is the perfect show for him to make a cameo in!

WHAT I DON’T LIKE

Anne’s Character: I don't have a problem with Anne. I think she's a serviceable protagonist, and I love the fact that she's Thai, offering a form of Asian representation other than Chinese, Japanese, or Korean. But here's the problem with Anne: After a season and a half, I still don't know what her character is. If you were to ask me to describe a Disney show protagonist within one sentence, I could do it effortlessly. Watch:

Star Butterfly: An adrenaline junky of a warrior princess who slowly learns to be responsible with each passing season.

Luz Noceda: A generous nerd that obsesses about fantasy and fiction, who still understands when to take a step in reality when the moment calls for it.

Scrooge McDuck: An old Scottish miser who has the heart of adventure and is a duck that almost loves his family as he loves his money.

For Anne, I don't know where to start because her personality is so inconsistent. Sometimes she makes friends with others without even trying, and other times, she gets on others' nerves easily. Sometimes she's a thrillseeker with the heart of adventure, and other times, she's a person who prefers to hang back and avoid doing work. And sometimes she's the only sane character with logical advice, and other times she's the most insane character who needs advice. Now, you could argue that these are all character traits that make Anne multidimensional. But if you ask me, it seems like her personality is dependent on what the writers want her to be for the episode. Someone like Luz going back and forth between two traits only works if there is a dominant personality trait that takes over the other. If Luz spends an entire episode being angry and serious, it proves that there's more to her than just a character that's nerdy and optimistic. But it's clear she is still that lovable nerd by having her say a corny line like, "Talk to the glyphs, Witch!" But because Anne has so many personality traits, it's hard to tell which is the norm and what is out of character. Case in point: Having Anne obsess over hang-gliding in one episode and doing a puzzle in the next is off as neither correlates with each other. Nor do they tell me who Anne is, other than the fact that she's clearly a character lacking a singular identity. And seeing how she's the main character, the one audiences are supposed to root for and identify with, it's probably not a good thing.

The Story: For the record, I have no problems with the story itself...the way it's written, however...

First off, there's too much filler. This isn't necessarily a bad thing, as filler episodes have the potential to be fun when written well. The problem is that relying on filler instead of telling your story can leave some people (me) uninterested and angry. And the thing is, there is a perfect way to avoid filler that doesn't involve telling the overarching narrative: Introduce personal plotlines. Look at The Owl House, for example. There are several character-oriented narrative threads that get introduced within the first few episodes. Such as Luz learning magic, Eda's curse, her relationship with Lilith, and Amity's redemption. Therefore, The Owl House avoids any filler episodes just as long as it focuses on any of these plotlines and even introduces new ones. Amphibia has the plotlines, but it rarely focuses on them. Especially since the story takes way too long to develop.

Every time I think the show is finally going to start moving forward and we can continue the story, there are like ten more filler episodes where everything comes to a screeching halt. Now, to be fair, there is an explanation why we're forced to wait for the story to move forward, and it's because the characters are forced to wait as well. But, even then, there could have been better ways to pad out that waiting than just adding filler. For example, I may not have been forced into an alternate universe where nearly everything wants to kill me, but if I was, I WOULD SPEND EVERY WAKING MINUTE I HAVE TRYING TO FIGURE OUT A WAY BACK! In the first season, how many episodes does Anne spend trying to figure out the mystery of how she got there and how to go home? Two. There are two whole episodes, out of thirty-nine, where Anne tries to figure things out...That is insane to me. But to be fair, season two is doing a much better job at moving things along...but it doesn't change the fact that the writers are kind of bad at telling their own story.

There are two episodes, "Anne Vs. Wild" and "Lost in Newtopia," where the story continues, but it's only in the last few minutes. The problem is that if you take those endings out, the episodes themselves do not change a bit. BUT because those are significant and essential moments for the plot, you can't take them out. Resulting in scenes that, while intriguing, come across as awkward in the long run. So now, my question is why. Why is the story handled so poorly? And I have one theory.

It Feels Like the Writers Can’t Decide What they Want the Show to be: Sometimes it seems like Amphibia is written as a pure slice of life series like Big City Greens. However, there are times when the show seems like it's intended to mix slice of life with fantasy like Gravity Falls. Now here's the problem: Big City Greens and Gravity Falls are two very different shows in terms of storytelling, tone, and character work. Big City Greens is an episodic comedy series where character development is unimportant, and the adventures rarely go beyond just being wacky. As for Gravity Falls, it is a show that is semi-serialized where the character development is constant, and the fantasy-adventures are always prevalent in every episode. And there are several episodes of Amphibia that could be a part of either show. Episodes like "Stakeout," "Lily Pad Thai," and "Little Frog Town" have plots that I can see being in Big City Greens. Then there are episodes like "The Domino Effect," "Toad Tax," and "Marcy at the Gates" that I could see being in Gravity Falls. These two groups of episodes are vastly different from one another that it causes Amphibia to feel disjointed in the process. Usually, I'm a fan when a series mixes different genres together, but do you want to know why something like Gravity Falls does such a great job at mixing slice of life with fantasy-adventure? Because, as I said, fantasy-adventures are always present in every episode. "Dipper vs. Manliness," "Boss Mabel," and "Roadside Attraction" each have the most basic slice of life plots of the show, but there is always a fantasy element or a monster to fight. There are entire episodes of Amphibia where there is no monster, and even when there is, it doesn't have the same amount of tension and weight that the creatures in Gravity Falls have weekly. A show like Big City Greens doesn't have to worry about monsters or evil villains every week because it doesn't need to. It's a show about the wacky adventures of a family of farmers adjusting to city life. Why would they have to worry about a monster every week when they just have to worry about each other. If Amphibia was the same way then there would be no issue. But because if it wants to be a mix of slice of life with fantasy, then it does need to worry about a monster every week. I usually try to defend shows that try to play both sides, but this show has to be the one occasion where I have to say pick one or the other. Because the writers tried hard to be both, and personally, I don't think they did a good job.

Characters Don’t. Stop. SCREAMING!: It's here we move on from what's objectively wrong with Amphibia to the things that just bother me personally...and this is one of those things. I get it. An over-the-top reaction to something minimal can be funny on occasion...but it's never "on occasion" with this show. Nearly every episode has characters screaming to get a laugh, and most of the time, it's more annoying than it is funny. It's Hop Pop who does this the most, and I just feel so bad for Bill Farmer. That voice already seems like it's hard to do, so being forced to scream and yell with it for the sake of comedy can't do him any favors. Other shows, especially ones on the Disney Channel, have characters overreact for the sake of humor, but it's Amphibia that I feel like it relies on this the most. I'm sure some people aren't bothered by this, but I am, and this is my review, so I'm mentioning it.

Poly: Speaking of things that probably don't bother other people...I feel like I'm making some enemies with this one. Because, boy, do I not like Polly. Her voice is annoying, she mostly causes problems for the family, and to me, her entire character seems pointless. No, really. Think about it. Anne is the main character, Sprigs acts as her emotional support, and Hop Pop acts as the voice of reason. What's Polly's purpose? Because all she adds are unnecessary jokes, character traits that could have gone to anybody, and acting more as a plot device than an actual character. The only justification for her that I can think of is that she adds gender balance to the main cast. Which would be more than acceptable if there was a point to her existence. But I think it's pretty evident with her exclusion from the original pilot pitch for the program that Polly's personality is practically pointless...that is most likely the only alliteration I'll ever do for a review, so you have better appreciated it.

If you like Polly, then more power to you. For me, I just don't enjoy her.

Sasha: Oh, nelly. I can already see the hateful messages I'm gonna get from this.

Now, as a character, I actually do like Sasha. I think her personality is interesting enough to dissect, and I think she acts as a perfect antagonist to Anne, the Plantars, and even Marcy if you want to get into it. My problem relies on how much the fanbase is already jumping on the "Forgive Sasha" train. Because, "Aw, she's just like Catra and Amity! So sweet, tortured, shippable with the main character, and--" STOP IT! Stop it right now...and think. With Catra and Amity, you see the environment they grew up in, you feel the abuse they deal with, you understand the reasoning of their actions, and you come to forgive them for who they are...At least for Amity, you can. For Catra, it requires more of an argument. But Sasha? Did we see the same cruel mistreatment to her friends? Did we hear the same coldness in her voice as she describes how to manipulate people? Did we witness the same damage she's done to Anne and Marcy in how they perceive healthy relationships? Apparently not! Because while everyone else is already on the same page that Sasha deserves redemption, I'm sitting here thinking that maybe it's for the best to be a little more hesitant. So far, we have yet to see any way to understand her reasoning and have yet to see how she deserves forgiveness. Sure, Sasha was willing to sacrifice herself for Anne, but did Sasha really earn that? It works as a sudden realization that Anne deserves better, but Sasha has yet to do anything that proves she can be better. Especially since the next time we see her, she's trying to help a fascist ruler get back up on his feet...THINK ABOUT THAT!

But, sure, she's meant to be forgiven. That can work. Because while Sasha shows kids the type of people they should avoid, she can also work as a warning for what kids should avoid becoming. That is a great thing to teach...but it can also be potentially dangerous. Because if incorrectly interpreted, Sasha can show kids that every person who seems toxic just needs a chance to change. And that is the last thing you want to teach, given how very few toxic people actually change. You want to know why The Owl House gets away with an equally dangerous lesson about how not every bully is awful? It's because it shows two sides of the spectrum by proving why someone like Amity did the things she's done while also saying that characters like Boscha and Mattholomule are just a-holes for the sake of being a-holes. Sasha has no one to compare to. Sure, there's King Andreas, but he's a government figure. They're built to be manipulative. Sasha needs someone that's on her level of cruelty to prove that while some people can change and have reason to do so, others don't. And seeing how I don't think she deserves to change, at least not yet, that is an issue. It's the biggest issue out of all the issues I have with this show.

------------------------------------------------------------------------------------------

So, yeah, I think it's pretty evident how I feel about Amphibia when I can write paragraphs about the stuff I don't like while barely being able to talk about the things I do like. Because I do enjoy this show. It's funny, most of the characters are enjoyable, and its discussion on toxic relationships still has me hooked to see what happens next. My issue lies with inconsistency. The main protagonist, storytelling, genre, and thematic purposes are all inconsistent. I'm interested enough to watch more, and who knows, maybe I'll make a final verdict review once the series comes to an end. For now, if you had to ask me what I’m excited to make a return, I don't know if I'll be willing to hop to it by saying Amphibia.

(Also, if you're still looking for that link for that pirating website I mentioned, now would probably be a good time to tell you that I really never did put one in. I told you, that would be crazy...That should teach you to try to break the law.)

#amphibia #what i thought about #why i want to love #anne boonchuy #sasha waybright #marcy wu #sprig plantar #polly plantar

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titan-fodder · 3 years

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ok um. where does one begin to talk about this story?? well i guess first with this last part, the ending, the epilogue, the grand finale, and oh my god, you delivered. it was so good. it felt like everything fell into place. of course they would meet up in their work (work that they love). of course hange would bet on them. of course they would reconnect no matter what. i think my favorite small part about this last part is rhi. i didn't like her, but i didn't know her. but just thinking about her and reader bonding over shitty college dudes? no yeah good for them. the way mike knew how he was gonna propose with those godforsaken fucking short oh my god. he's perfect, the love i have for the way you write him it's like i want him. i want giant man to propose to me with his stinky old frat boy shorts. and erwin? oh my god, i know you have spin-offs planned but literally just getting his speech at the wedding and nothing else would be the cherry on top of this massive fucking cake. i literally have to go back and look at everything i loved about this last part because it's everything. it just so fucking good, i can't stress that enough.

this whole fucking story was not just fanfic, i mean yes that's what it is, but the story, the characters, your writing style. it all feels like an actual book. i want this book. i want to see netflix adapt this shit because they could never come up with something this good. i've been reading your writing for a while now (it's kinda ironic bc deflowered was the first thing i read from you and i can't look at zeke rn after this) and this whole thing just proves not only how good you are as a writer but how much you love it? i hope this makes sense, but prima vista is such a labor of love. even with all the fucking pain and frustration you made all of us go through, it was clear that it was made like with so much care (clearly with how much it fucking hurt me). also you never tagged this as a soulmate au, but god fucking dammit they're fucking soulmates. they struggled, but they also knew they were for each other and it sucked it took them ten fucking years, but like it also gave us this wonderful story i will be re-reading like every fucking week. i love prima vista. i love ur writing style and characterization and this only further solidified that. thank u so much for sharing this frat au (i forgot while reading the last part this really did start off with some rando coming up to her and being like "shotgun this (gross) beer?" like how did u make a frat au so beautiful. how.)

this is a monster of an ask, and i am not lying when i say it brought me to tears. like, i just kept shoving my face further and further into my hand cause *shrieks*

i'm so stoked you liked the ending so much. i tried to add in as much as i could without turning it into its own fucking fic (and believe me, it was tempting). but yeah, i needed them to have the long break, grow, then reunite cause hhhh reunions get me every fucking time. and bro, i love that everyone is digging the rhi arc. like i wasn't sure if it would be well received but people seem to like that little circle.

i had a ton of fun writing erwin in this whole fic. like, i don't know if y'all noticed, but he was probably my favorite part aside from mike x mc. he just ggjkjgn i love him, okay. even when he was being a dickass, i had so much fun.

I FEEL SO VALIDATED knowing i kind of ruined zeke a little after dragging so many people down into hell with deflowered like kjgernkjn my greatest achievement. mike deserves so much more love than that rat bastard does (but i'm a little biased lmao). but really, i'm flattered you like my writing so much. i would be mortified if netflix ever tried to make an adaptation, though hahah

it really was a labor of love. that said, it felt really natural. like, the words just flowed. i had so much fucking fun writing it. i have never been able to write something of this length in such a relatively short time. i think it took me, like, a month, or so to start and finish writing it. but i wrote a lot. like, pretty much all of my free time went to this fic. i didn't mind, though. i had a blast. so i'm glad that showed through.

your soulmate comment is what really choked me up like erkjnrekj you're making me fall even deeper in love with my own story, and i cannot thank you enough for it. seriously. it means so much to me.

it really all did start off with mike chanting "shotgun! shotgun! shotgun!" hahahaha. what a dork.

#mels nonsense #mels prima vista

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somedrunkpirate · 3 years

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AO3 Writing Tag

Name(s): Somedrunkpirate Fandom(s): The man from uncle, The Witcher, Good Omens, Inception, Where you post: Ao3 Tagged by @iamanonniemouse Tagging: @theheirofashandfire (good luck lmao)

Most Popular Multi-Chapter (by kudos):

This year: A Lover’s Lament, The Witcher, Geralt/Jaskier, M, 25k

So,” Jaskier begins, as casually as he can, “you are telling me, that in theory, if I were to be in love with someone — anyone — that person could well be in terrible danger?”

Of all terrible and ridiculous things that have threatened Geralt’s safety, Jaskier had never thought that loving him might be what will get him killed.

Of all time: Drowning Deep, TMFU (pacific rim au), Illya/Napoleon, M, 101k,

Don’t follow the rabbit. He knows this. Don’t fall into the rabbit hole of memories. You’ll drown.

But Illya lives there, deep in the past, it’s the only way he gets through the day.

Favorite story you’ve written so far:

This year: The Golden Ocean, TMFU, Napoleon/Illya, 85k This story taught me to write for myself in the best and worst way. It is so hard to keep writing a prequel if it doesn’t receive a similar amount of feedback as the initial story. But I worked through it and got it done, for myself and my beta who supported me all throughout. And in the end, it’s probably my most original story I’ve written.

Of all time: A Lover’s Lament, The Witcher, Geralt/Jaskier, M, 25k I think this story really shows how I’ve learned to become a better writer over the last couple of years. It’s densely packed with original lore, worldbuilding, fun character interactions and has a plot that reveals more about the characters on a second read. It also has an original female character that I feel is my first 100% successful 3d side-character who has a whole story of her own outside of the main ship plot. Honorable mention: Cold Frost and Sunshine, TMFU, Napoleon/Illya, 50k What initially started as purposefully the most trophy thing I’ve ever written (it’s a Hockey AU, for crying out loud), turned into an actual honest exploration of therapy and recovering from mental illness. I still get the occasional comment on it from people who said that the mental health parts really spoke to them, or that they even showed passages to Real Actual Therapists because it verbalized what they were feeling. This is the fic I always return to when I feel like my writing is worthless. Even the fic that I intended to have no deep value from the start, ended up being meaningful to people. It helps to remember that.

Fic you were nervous to post:

You’re a dream, darling, is a story where the main character experiences intense dissociation and believes his reality is a dream. I am very aware that this is an actual thing that people experience, and I wanted to make sure I was careful and respectful when handling the topic. I based the story on what I had researched and what I experienced once myself while having a bad reaction to medication + being high (really be careful with weed and adhd meds folks). I was so nervous to post it, and worried that I hadn’t trigger warned it clearly enough or something. But in the end I’ve received a lot of positive feedback from people who experience dissociation, and that meant the world to me!

How do you choose your titles?

Nine times out of ten the title is just kind of There, sometimes before I write it even. If not, I usually take inspiration from a line somewhere in the fic. Only once I needed to consult the poetry gods.

Do you outline?

Does daydreaming the story a bunch count as outlining? I usually have some vague ideas about upcoming scenes and possible endings, but for my larger fics those ideas get thrown out and I flail around for something else. I think Lover’s is so succinct because I had most of it already in my head when starting, whereas with Drowning Deep I had no clue what had actually happened to break the characters apart until like chapter three. So I guess it depends on the fic and whether I have to due to a big bang sign up or something.

Complete

51 fics (556k). This year: 9 (180k)

In-Progress:

The Angel of Greenwich: A good omens detective story set in the 1920′s, 22k. In The Dark We Travel: Geraskier (the witcher) sci fi au, 28k. They’re both on a hiatus because pandemic times are fucking with me, but I’m chipping away at them and could use the encouragement. Coming Soon/Not Yet Started:

Tragic Superbat alternate universe shenanigans: Clark gets switched with Alternate Universe Clark, who has been in a relationship with Bruce for years. Bruce falls in love with AU-Clark while also trying to get his Clark back (who he is convinced still hates him).

Amnesia Jaskier with magical powers: Jaskier gets kidnapped and made into a powerful sorcerer, but the process removes all his memories. Geralt finds him completely dependent on the same mage that kidnapped him, and has to convince him that 1) Geralt is his friend and 2) Jaskier is not a dangerous monster, as the mage has convinced him. Very tragic all around.

Original femslash idea, Stern Orc Woman with golden heart and ADHD Monk. Can only end in chaos.

The Bullington Club: an original idea of a group of idiot lords looking for treasure and taking their longsuffering servants/guards with them on the ride. Aka that thing that completely got out of hand brainstorming with @theheirofashandfire

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orionsangel86 · 5 years

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15x04 Episode Review - What a Meta Rollercoaster THAT was!

Jensen Ackles directed this. Let that sink in before you read on. Because this means EVERYTHING.

Davy Perez said on Twitter that he had a lot of help with this episode from Bobo, Dabb, Meredith, Even from Jensen and Rob. Which seems pretty clear from me as I was blown away by what I consider a meta masterpiece.

There is a lot to unpack here so let me just jump straight in with my favourite part:

THE REDEEMED FANGIRL AND THE BRONLY GOD

In an episode directed by Jensen Ackles it both astonishes me and pleases me immensely that the strongest and most interesting plot didn’t involve the brothers. Every single scene with Becky and Chuck was a galaxy brain of meta and my head is still buzzing about it.

**Meta Essay under the cut**

Becky has changed. She has grown up, has gone to therapy, has channelled previously unhealthy behaviour into a stable and successful Etsy business. She is the model fangirl. No longer the source of this shows mockery. Becky shuddered when remembering what she did to Sam. Showing her regret and guilt over her former actions leading the way for this fanbase to forgive and redeem her. Formerly Becky was portrayed as a mockery of those in the fandom who irritated Kripke, now she has grown beyond that dark and hateful corner, has welcomed Castiel into her home as the character whose form appears most often on her shelves. Clearly Becky is a Cas stan now. I bet she ships Destiel in those domestic AU’s she writes on AO3. Only Cas stans and Destiel shippers proclaim “not enough Cas” when referring to the source material after all.

However even though the positive message of the reformed fangirl from obsessive incest fetishist into healthy Cas fan filled me with joy, it wasn’t my top take away moment from these scenes. The entire message of Chuck and Becky’s conversation makes me want to cry tears of joy. After all, it isn’t often your favourite show includes an avatar of yourself arguing with an avatar for the writers - or at least, the villainous arrogant writer who refuses to acknowledge you.

Becky likes the character drama. Chuck likes the monsters. Becky doesn’t care for the monsters. Chuck brings up the Leviathan (because of course Chuck would enjoy the season that first tried to “go back to the shows roots” and reduce the format back to just “Sam and Dean alone on the road”). Chuck tells her that fanfiction doesn’t count, but our strong willed fangirl avatar tells him “writings writing!” and damn right you are Becky. It counts.

Then Becky goes and blows my mind by speaking aloud in my favourite show the kind of things that I think and talk about every time this show brings out another generic MOTW episode:

“If I had to give one note, the jeopardy Chuck, its feeling a little thin. No stakes. It’s fun to hear the boys voices but a story is only as good as its villain and these villains are just not feeling very dangerous. Not to mention there’s no classic rock, no one even mentions Cas, the climax is a little stale. The boys tied up again while we get the villains monologue which frankly isn’t one of your best. A hint of originality wouldn’t… hurt.”

(x)

At this point I might as well be on the floor because holy shit Becky is me. When did the writers become so very aware of their fanbase? It’s taken them 15 years, but they are finally here. Chuck is fuming of course. How dare a fangirl criticise his work, so instead of taking her advice on board, he plays up. He gets mean.

Chuck’s perfect SPN ending is tragic and in some weird insanely meta way this feels like a message from the writers telling us that they hear us because Becky once again says what we have ALL been screaming on Twitter about a tragic ending:

“It’s awful. Horrible! It’s hopeless! You can’t do this to the fans! What you did to Dean? What you did to Sam?”

I keep thinking that the SPN writers have made Chuck into a parody of the GoT writers. Chuck is arrogant, egotistical, and completely incapable of taking criticism. He went to Becky hoping she would fluff up his ego, but she shot him down and unfortunately, he destroyed her for it.

The message here though is one of hope. Everything about Chuck is framed as negative, as villainous - this includes the tragic ending. Therefore if there is one thing I am practically certain of after this episode it’s that the actual finale will subvert Chuck’s vision. We will not be getting a tragic death ending to the show.

The other thing I can’t quite believe that the writers have done here, in an episode directed by Jensen is the shaaaade. I’m honestly feeling a little sorry for the bibro’s right now. Because the writers have been shading them HARD this season. Chuck has proven himself to be one of them. Imagine having the writers see you and the things you like about the show, and make you into the actual villain? I mean... ouch.

Reasons Chuck is a Bibro

He has tunnel vision on Sam and Dean (ignores Castiel completely)

He is all about the MOTW episodes. Doesn’t pay attention to depth of character

He clearly enjoyed season 7 MOTW brother only season

He believes a tragic brother only ending would be loved by the fans

He wants a dark tragic ending

When Becky recommends he write something else, he moans that he only likes Sam and Dean and only wants to write about them.

He is arrogant, egotistical and doesn’t listen to criticism.

(this is technically a crack intermission to an otherwise serious meta post but ADMIT IT there is truth to this crack!)

SAM AND DEAN - CHUCKS PUPPETS?

Whilst Becky faces Chuck and makes all our meta writer hearts pound with excitement, the other main story was a rather generic MOTW episode. But wasn’t that the whole point? What a genius twist on a MOTW this episode was. We all know the formula, so overdone now in the show that it has grown tiresome. Yet to have that tiresome format called out in the very episode that... includes... that...format... well, that’s gotta be one of the most meta things this show has ever done. I’m in awe.

Sam and Dean investigate the mysterious death of a cheerleader at Beaverdale high school (and even though I don’t watch Riverdale even I can see how this school is a blatant nod to that terrible show #sorrynotsorry). It starts off pretty boring and normal. Sam and Dean do their thing, they wear the suits and pretend to be feds. They suspect Veronica (again Riverdale fans are probably enjoying this) but realise that she can’t be their vamp. The boys seem quite lost as to who is responsible... until Chuck starts writing that is. Then suddenly a random car driving past the crime scene on CCTV is enough for them to enter someones house with a machete. It’s a sloppy MOTW storyline, but this seems intentional IMO. From the moment Sam and Dean are back in their lumberjack chic and storming the family home to accuse the father of being the vamp, something feels off - or it did to me anyway.

In fact, as this was all playing out right at the moment that Becky critiqued Chuck’s writing, it felt as if she was critiquing the very MOTW hunt that we were watching, at least from that point onwards.

Suddenly we are back in Chuck’s world and he’s made it dark and tragic.

The son in this nuclear family is Jack. unwillingly monstrous, innocent and guilty at the same time. The father, so desperate and self sacrificial for his child - heartbreakingly Castiel:

“You don’t have children do you, because if you did you would know that to see your child in pain, rips your heart out, and you’d know that you’d do anything. You’d die for them.”

The mother, wide eyed, armed and dangerous - Clearly Dean:

“Or kill for them.”

The son plays his part perfectly. Chuck be proud:

“I killed someone that I loved”

“I’m a monster”

Compare this to Jack in 14x20 saying to Dean as he stares down the barrel of the gun “You were right. I am the monster.”

But we as the audience know that this situation is wrong. There is no real monster here other than Chuck. The boy is a victim just as Jack was. The parents forced into desperate circumstances out of love. They may be the stereotypical white middle class American family made of privilege and self obsession, but what they do is still purely out of love. It is a situation they are forced into by Chuck, just as he forced the TFW family into the same situation at the end of last season, and we are made to look on in horror as what happened in the season 14 finale happens again, and yet Sam and Dean barely blink or question their actions. This is the strangest part of all.

Sam’s reaction is interesting, because he knows this is wrong. He knows they shouldn’t be killing this kid. He can see the mirror, the repeated story here. He can TELL that something isn’t right... but he doesn’t speak up, doesn’t protest, doesn’t stop it.

Dean doesn’t question a damn thing. He plays his part perfectly. It’s haunting. Chuck almost had his clutches in Dean before, but this time his hold is tight.

Look at how this was framed and tell me this whole thing isn’t Chuck’s doing?

In both scenes Sam looks on in horror knowing that it isn’t right. But this time no one protests, and Chuck get’s his horrific ending.

Chuck banishes Becky and her family, and arrogantly proclaims that he “can do anything, I’m a writer” and the next scene cuts to Sam and Dean in the car ready for the classic Bro Melodrama moment as to be expected of all standard MOTW, but this time, it feels like they are reading from a script - at least at first:

Dean: “Well that was an interesting one.”

Sam: “Yeah. What Henry did. We’d have done the same thing. For Jack, if we’d had the chance.”

Dean: “Yeah. Yeah we would. Look man I get it. I get it we have lost way way too much. And its hard enough to feel like just cashing up. I felt like that. After Chuck back at the crypt. But you know what brought me back, you did. You saying that what we do still matters.

That’s why I wanted to drag us out here, to work the case, to save lives. Ya know. Because it is, it’s a crap job. We do the ugly thing so people can live happy.”

Sam: “Lucky them.”

Dean: “Yeah lucky them.”

Sam: “But it doesn’t change a thing. Ya know you still do the job. We don’t do it for us. We do it for Jack, for mom, for Rowena. We owe it to everyone whose ever given a damn about us to keep putting one foot in front of the other. No matter what.

Hey man like you said, now that Chucks gone. We’re finally on our own. We are finally free to… move on. Ya know.”

Sam: “Yeah I dunno I dunno if I can move on. I can’t forget any of them. I still think about Jessica. I can’t just let that go.”

Dean: “No man that’s not what I’m talking about.”

Sam: “I know I know I’m sorry I know. What I’m saying is that I don’t feel free. What we’ve done, what we’ve lost, right now that is what I’m feeling and sometimes its, its like I can’t even breath. Maybe tomorrow, maybe ill feel better in the morning.”

Dean: “And what if you don’t?”

Sam: “I dunno.”

First of all, would they REALLY have done the same thing for Jack? Kidnapped and bled an innocent girl to feed him? Because I don’t think they would have. Then Dean goes into a monologue that we have heard over and over again and it feels like he is reading from a script. It’s like going through the motions. We are back in Chuck’s worlds. There is no freedom here. Even the lack of Cas mention which we can argue is because Dean is burying those feelings and in denial, even so it feels jarring in the episode where the lack of Cas mention was already called out directly by Becky, so it only further adds to how disjointed this whole scene is. Like this scene is pure wank fodder for Bibro Chuck. Quite frankly, it is. But this time it feels like the writers are aware of this and are doing it purposely to MAKE it feel off.

The one time the script seems to trip is when Dean mentions moving on - triggering Cas’s words from last week, which he struggles with, and then Sam protests and actually opens up to how he is really feeling. The brother’s are back in Chuck’s maze, and this time it seems like he has made it impossible to deviate from the path - but I do wonder if Sam is going to be harder to control because of the connection...

The final shot of the episode only seems to further confirm that the Winchesters are once again being manipulated by Chuck. They are his puppets again, and this time it may even be worse:

There is a huge sense of foreboding with this final shot. The shaking funko pops seemingly in fear of what Chuck plans to do. The two feathers behind them indicating their missing guardian angel (as Chuck continues to neglect Cas’s role in classic Bronly form) the tree indicating a garden? Heaven? and the grey paper with the Winchester tattoo potentially the gravestone that Chuck visualised?

Whatever Chuck has planned, it appears to have played out in some form in this episode. Whilst I don’t think that the boys have been completely robbed of their free will, it is safe to say that they are back to playing by Chuck’s script, but this time with the confidence of men who think they are free.

CASTIEL AS THE CATALYST FOR FREE WILL

For years now, I have been one of those annoying people irritating Cas fans by being irrationally happy when Cas isn’t in key episodes because I can see him so clearly in the negative space that his absence basically forms its own overshadowing presence instead.

When I have rambled on about negative space in the past, it is almost always connected to MOTW episodes following some big DeanCas drama, and on the surface level, people have moaned about how the Cas mention wasn’t enough, or Dean hasn’t acknowledged him or something like that.

Well, this episode is no exception. But this episode IS different in that this episode textually calls out the lack of Cas blatantly within it’s script. Which is just some next level self awareness from this show that I am amazed by.

The entire first three episodes of this season spiralled around this DeanCas tension and drama which us Destiel shipping meta writers could barely believe we were watching since it is practically unheard of for this show to set its emotional A plot around Dean and Cas rather than Sam and Dean. But that is what Dabb has done. When that tension came to its climax in 15x03′s final scene, it was well speculated that 15x04 would understate the DeanCas break up due to the episodes being filmed out of order and therefore Jensen not knowing exactly the impact of the break up when he filmed his scenes for this episode.

Well, we were certainly right that it was understated, with Dean basically burying his feelings in denial and work and food and drink. Until Chuck started writing and therefore took control back of the script, Dean was eating or drinking in practically every single scene. As he is well known for using food and alcohol has coping mechanisms when spiralling into a dark mindset. Other than these key clues, Dean doesn’t mention Cas once. So we can speculate that he hasn’t told Sam what happened, and probably made up some excuse about Cas leaving so that Sam wasn’t concerned. Though no doubt we will find out the extent of what Sam knows fairly soon.

On a surface level, DeanCas shippers and Cas fans have a right to be somewhat upset by this lack of acknowledgement of Cas, even though it is perfectly in character for Dean to bury his feelings in denial and distractions. But beneath the surface this meta masterpiece of an episode was so full to bursting with Cas it left me very happy. Lets go through the key Cas positive areas:

1. The AU world vision of Sam’s that opens the episode is dark and depressing and indicates a world in which Sam's demon blood obsession got the better of him, which was a season 4 story arc (which we all remember as Cas’s introductory season), and yet Benny appears as Dean’s right hand man, a season 8 story arc founded in Purgatory (which we all relate heavily to Cas). Castiel is mysteriously absent from this vision though, even though the two key story lines here in the OG world heavily revolved around Cas. The question has to be asked, in fact the entire vision demands we ask it, just as Becky points out later: Where is Cas? This AU world is sure to appear later in the show, and I have a feeling Castiel’s absence will be explained.

2. Becky’s house - The crew clearly had a lot of fun filling this set with fan made merchandise (and what a wonderful way to reward your fanbase by including their creations in the show itself?). As a Cas girl my eagle eyes were mainly looking for any Cas merch and I was not disappointed. In fact there wasn’t a single scene in Becky’s house where a Cas figure of some kind wasn’t in frame. Whether that was Jensen’s decision or not, it makes me very happy. I talk here about the specific arrangement of Cas merch paired up with Dean merch which blatantly proves Becky is a Destiel shipper). In fact, Cas looms in the background in every scene until Cas sits down at the end to write his tragic ending when the camera pans to the Winchester funko pops bobbing like puppets. Cas is jarringly absent from that scene which only further indicates that he has been overlooked and is therefore still free of Chuck’s manipulations.

3. “No one even mentions Cas” - Obviously this was the line that pulls everything else together. For this to be said in an episode in which the very complaint actually occurs is a whole other level of self awareness and by including it the writer is of course reminding the audience to question this very thing. Like with the first scene, like with every moment that Sam and Dean are on screen together stubbornly not mentioning Cas or the extremely dramatic emotional break up scene at the end of the last episode, this line links everything together and forces the audience to keep Cas at the forefront of their mind.

4. The Bro Melodrama scene - As I mentioned above, this whole scene feels like the brothers are reading from a script and going through the motions but particularly Dean, whose stubborn refusal to mention Cas when he says “ We do it for Jack, for mom, for Rowena. We owe it to everyone whose ever given a damn about us to keep putting one foot in front of the other. No matter what.” it feels so intentional that they have left him out here. Thanks to that one line from Becky, the lack of Cas mention is impossible to ignore. He is so present in the negative space that its like a brick to the face. There is no way that there isn’t an agenda here regarding Castiel.

5. Castiel as the self sacrificing father - The second most glaringly obvious mirror in the episode after the son that mirrors Jack, the father of the vampire boy was far too ready to be killed by the Winchesters if it meant saving his sons life. Neither Sam nor Dean ever willingly offered themselves up for Jack, but we as the audience know all too well that Cas did in one of the most heartbreakingly emotional moments of Season 14. In an episode where the Winchesters stubbornly refuse to mention Cas (though Dean’s drinking on the job and overeager consumption of meaty food are a good indicator of his repressed feelings), Cas forces his presence on them anyway. It is a clear indicator of how close and important Cas is to the story that it is impossible for the boys to ever really forget about him, and I suspect that this will start to eat at Dean very soon.

6. Chuck overlooks the most powerful player - What ties in everything I have mentioned above already about Cas in the negative space, is Chuck. Because the whole point of this episode is that whilst he argues with Becky - the avatar for an inclusive healthy fandom that clearly adores Castiel and surrounds themselves in his image - we are left watching a stale and relatively boring MOTW episode where the Winchesters really do act like nothing more than shallow two dimensional bronly versions of themselves - because that’s what Chuck forces them to be. Chuck, who sits down and types with his Sam and Dean puppets metaphorically shaking with fear as they are condemned to live under his pen once again. It isn’t an accident that in a house surrounded with Cas merch no matter where you look, the one time his image isn’t in frame is that all important last shot - an indication that whilst Sam and Dean may now be under Chuck’s control, Castiel is not. Therefore Castiel’s importance in freeing the boys from Chuck’s villainous tragic ending becomes elevated. This episode symbolically makes Castiel the catalyst for true free will - after all, Castiel himself finally took control of his life and his mental health last week when he chose to walk away. In an episode where his presence in the negative space couldn’t be more obvious - he is the metaphorical elephant in the room - I can’t help but wonder just what role he has to play in Chuck’s vision, because right now it seems Chuck has simply forgot about him. A terribly foolish thing to do given everything Castiel has proven to be capable of.

OVERALL

As a quick summary, I’ll say I loved this episode and everything about it. Even the puppet bronly Winchesters because they were so clearly framed as being wrong. It’s such a hopeful episode, that indicates a hopeful non tragic inclusive TFW ending at least. Chuck is the villain and he will be beaten in the end. Dean and Cas will reunite and it will be the kind of scene that will rip all our hearts out in its emotional investment. Jensen Ackles directed an episode that threw major shade at the Bronly fandom corners, that celebrated TFW inclusivity through the reformed healthy successful fangirl Becky. That villainised the dark tragic brother only ending. This was a thoroughly validating and satisfying episode for me as a meta writer to watch. It has elevated my hope for the rest of the season, and following the incredibly emotional Destiel break up scene that held the focus of the last episode, I can’t stop myself from feeling joy just knowing that right now, everything that I watch this show for, all the things I adore about it, are the same things the writers of this show enjoy and are making the focal points for the series.

This isn’t a show for people that only care about seasons 1-3. This isn’t a show for people who hate Cas. This isn’t a show for people who fetishise the dark, depressing tragic game of thrones style brother ending. This is a show for people like me. Who actually enjoy it and celebrate it and can’t wait to see what happens next.

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sadviper · 3 years

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2020 Creator Wrap: Favorite Works

Rules: It’s time to love yourselves! Choose your 5 (or so) favorite works you created in the past year (fics, art, edits, etc.) and link them below to reflect on the amazing things you brought into the world in 2020. Tag as many writers/artists/etc. as you want (fan or original) so we can spread the love and link each other to awesome works!

Succumbing to peer pressure, haha, thank you @rain-hat, @smylealong, @ibelongtomousse, @macgyver-sheriff, @avauntus for tagging me~

It seems the common refrain is that this was the year everyone exploded into massive creative productivity after years of nothing, which is the exact same story for myself. I had read all the strategies of course: write 5 min a day, 1 sketch a day, don’t think about quality, do *something* just to keep the spark alive, etc etc, but it just got worse and worse. Honestly, I had been feeling so dire about it that I had made up my mind to stop trying anymore, because it was so depressing to try and fail so many times that it was much better to not hope at all.

Buuuuut.....then quarantine and telework happened, and woooah, guess what, all I needed was LOTS of time and space to myself where I’m not wasting it in an office checking emails and doing random training to fill all the downtime!!!

Much thanks to the serendipity that had me stumbling into @rain-hat , reading her early JY/KSR fics, and her encouraging me to go ahead and write that office yearly budget oneshot for TKEM (who writes BUDGET fics?? Who reads them???? lol). That’s not in my list here because it was very new and awkward, it was definitely the ball that got everything rolling.

Cut for super long-winded rambling:

1) Before There Was Zero (TKEM)

This was my first big fanfic in my life, and my most popular, and it absolutely gushed out of me in this massive torrent of *I MUST WRITE* where I would walk around at lunchtime giggling to myself, and type on my phone as I went, or wake up at 1am to scrawl something in a notebook in the dark because I couldn’t stop the words from coming. (How I miss that feeling now! ;__;) Actually, it also is the 2nd fully complete long-form story I had ever completed as well, so...lots of milestones here.

Looking back, it clearly was the product of my years of bottled up silence, where I stewed and dragged myself to the office every day wondering if I was going to calcify in a bureaucracy for the rest of my life (yes). But even as an office drone, I learned a lot of valuable lessons in how to manage, what leadership actually is at the worker bee level, the types of games white-collar workers play, and how to be a decent co-worker (and by extension, a decent human being--I don’t believe it’s possible to separate work life and private life. All your personas are you). It wasn’t all a waste after all!

Somehow I connected my day-to-day to the faceless, long-suffering Royal guardsmen in TKEM, headed by the utterly gorgeous, devastating, thoroughly underutilized, comedic prop military action star Jo Yeong, and thought--yeah! :D

2) Nil Desperandum (TKEM)

My biggest fic by far, full novel length at this point, massive in scope, I don’t even know how I came up with it based on the 10 collective seconds of screen time that Jeong Tae-ra and tyrant Jin got as a joke, but I was clearly still on that dam-gushing-pent-up-creative-high because this idea was fighting me when I was in the middle of writing “Before There Was Zero”.

I actually figured out the title while watching “Call the Midwives” where one of the peppy, indefatigable British nurses said to never despair, and I thought, yes, that’s it. All the horrible things I put my tyrantverse characters through, it was only so that when I save them at the end, it will be completely worth it. It’s a bit more violent (nothing beyond My Country levels tho) and quite emotionally dark, but I also tried to inject a lot of friendship, humor, and love into it as well, because there must always be hope.

For My Country fandom friends who didn’t realize, the tyrant!Yeong in this fic is essentially modernAU!Seon-ho, and I lifted Sung-rok entirely from My Country to be tyrant!Yeong’s second-in-command and loyal-superstar-extraordinaire. Writing them in this modern AU, and seeing the positive reception to Sung-rok’s grouchy, dogged devotion was the start of my love spiral for Sung-rok. <3 <3

3) The Veritable Records of King Taejo (My Country)

Going to cheat and lump 3 fics (soon to be 4) into one link. I rested a little bit after “Nil Desperandum” because I had completely emptied myself out at that point, just a husk of an author shell. Then I started poking out oneshots! Each one got progressively harder to write, lol, the creative gas tank was running out of juice, so I had to really start figuring out new strategies as a writer to keep going. One magic tool was coercing recruiting @rain-hat to beta for me, and WOW, THE BEST???? Who would’ve thought it’d be FUN to be edited!!! <3 Due to her efforts, I could avoid the “no beta we die like Liaodong” tag, hahaha.

I grew up watching cop shows, lawyer shows, monster-of-the-day shows, endless procedurals-- so I was super miffed that the drama would imply that Seon-ho spent YEARS just single-mindedly chasing private armies??! No! I want more family and friends development for this sad, dramatic whump child! I want him to be smarter than the show, inherently brilliant despite the stupid he descends into, and be recognized as such by the people who do recognize his value! And I want them all to be happy with no pointless death!

Also, the 4th WIP is now a Sung-rok lovefest written as an ode to his awesomeness, has stretched to 47K+ words, and is being an absolute royal pain to finish. ;__; All the ease and creative fervor from earlier? GONE. I’m a lone salmon flopping upstream on a ladder. I might get eaten before I finish laying my eggs. Any one have tips to get over this?

4) First Translation of Woo Do Hwan Japanese Interviews

More firsts! So much thanks to @ibelongtomousse to inspiring and encouraging me to do some real translating after talking to her about her sublime TKEM fics and translations thereof, and @staidwaters from emerging from the Internet depths to boost/correct my neophyte efforts! I’m now chomping at the bit to do more, even though I may ultimately discover that these interviews have absolutely nothing interesting to say, lol. But my first priority is simply to get better at the language, and 2nd priority is to soak in the words (and photos) of Woo Do Hwan, hahahah. Also, as far as I can tell, no one is filling this niche, so I guess I’ll keep going??

5) Fanart!

I started drawing again! As a procrastination tactic from writing oneshots, but it still was really nice to see that I hadn’t lost the touch entirely. I feel like I’ve mentioned this here and there, but writing wasn’t my first interest--drawing was. Animals first, then people once I discovered anime/manga. I went all into drawing comics, only to face the hard reality that I didn’t know how to tell a story end-to-end. Hence how I started trying to write. Along the way, things happened--I got RSI and had to stop drawing/writing for awhile. I discovered that pictures are NOT worth a thousand words, esp when it comes to long-form comics; my preferred tools of trade (dip pens) ended up exacerbating my RSI problems; then once I got a handle on my RSI, I found I could type faster than I can ever draw, and so here I am. I saw what @convenientalias was doing with their My Country werewolf fic though, so I am excited to try that for my Sung-rok WIP? :D

I think I’m the last hold out among artist/writer friends in answering this wrap-up, hope you enjoyed reading!

#meme #fic meta #2020 accomplishments

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lightaroundthecorner · 4 years

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TROS - What did I even watch? Or how I lived to see the day Disney murdered a prince, left Cinderella alone in the desert, and hoped for the world to rejoice because it was “fun”?

Dear friends, I’ve been here for the spoilers and I’ve even talked with some of you. I went to watch the movie today, with 0 hope of anything except of seeing my baby Ben Solo and Adam’s fenomenal acting (and listening to some good John Williams).

I knew it would be horrible, but as @nevernerdenoughblog said seeing it makes it even more. Like @clairen45 it felt so wrong. Should I rejoice with a Reylo kiss that Rey gave but seconds later didn’t even cry over Ben’s dead body? I refuse to acknowledge this characterization of Rey. She was the only one that ever believed in Ben Solo, she shipped herself to make him know he was loved and wanted and to help him. Where was this Rey in this movie?

I am sorry guys (especially for the tagging) but I need to write this out or it will eat me and you guys are the few ones that relate to my pain. You know what really hurt me the most in all this? Toxic masculinity disguised as feminism.

1) FAREWELL HEROINE’S JOURNEY

They trashed the Heroine’s Journey. They murdered it and spit in its face. JJ Abrams simply decided that the Heroine’s Journey (done in act 1/ep. VII and act 2/ep. VIII) was not cutting anymore and decided to send Rey on a Hero’s Journey (ep. IX only, new 1st, 2nd and 3rd act altogether), where she has become this almost toxic masculine fighter under Leia’s training — Badass girl? Yes. Full of anger? Yes. Logical? Yes. Connected to anything? No, not even herself, she kept on the run, afraid. In search of the Jedi detachment? Yes. —, only to send her happilly off to a desert planet in the end of her journey and finishing with her alone talking with an old lady.

Which remind us of the start of TFA, meaning she has comeback to what? Luke didn’t even comeback to that “home” in Tatooine the end of his Hero’s Journey? So she went to a place of death to what? This is a slap on the face of the Heroine’s Journey. This is how toxic masculinity corrupts and interrupts the most uncomfortable (to psychologically unhealthy bystanders) and fundamental (to the woman herself) phase of Heroine’s Journey: You want love, family, a partnership, connection, nurturing or progeny? That is weak, it is foolish. You need to fight, to conquer, to take, take and take. Otherwise you won’t be strong or independent.

REALLY???????????

I AM CRYING! WHY? WHY? WHY? Daisy, are you really seriously satisfied with this ending? Because REY DESERVED BETTER.

BTW, BEN SOLO DESERVED BETTER! The true feminist of this story DESERVED SO MUCH BETTER! ADAM DRIVER DESERVED SO MUCH BETTER! He always respect the director’s view, does his best to accomplish it and brings his best acting to the table. The only saving grace in the whole movie to me was Ben’s arc because 1) Adam was doing it and 2) He honored his character. Man he deserved so much better!!!!!

I’m not even going to repeat what everyone already said about where is George Lucas’ Fairytale Story, because you guys said it all. But I have a beef with Disney executive decisions:

2) WALT DISNEY - HOW I WISH WALT WAS ALIVE

Walt Disney. Much have been criticized concerning his choices to make HEA in fairytales. But what now? We find balance by wanting our children to grow up to be cynic and seeing the feminine as weak? Unhelpful? Bad?

“Yo independent women! You need no prince even if you have one. He can compassionately and selfelessly die to save you because he loves you and you can go off, happily, to celebrate with your friends! You don’t mourn his body, oh no. You don’t tell him you love him. You forget him. You go be that cool lonely warrior.”

Excuse me but I can kick ass and have the romantic love life and children I want! I can have both! Because I am a human being and I deserve it. This is not a matter of being a men or women. This is a matter of balancing the feminine and masculine within.

But that is not just it. BEN SOLO DESERVED BETTER! WALT WOULD NEVER, EVER LET A CHARACTER THAT WENT THROUGH ABUSE AND SO MUCH PAIN DIE THE WAY BEN SOLO DID! Is that a Disney movie??????? I mean, what did I just watch????

Walt Disney, the man who promised P.L. Travers, upon knowing who Mr. Banks was to her (her deceased alcoholic father) and what Mary Poppins, her work, meant to her, said:

“George Banks and all he stands for will be saved. Maybe not in life, but in imagination. Because that is what we storytellers do. We restore order with imagination. We instill hope again and again and again.”

THAT IS WHAT STORYTELLERS DO! Like so many fanfic writers in this fandom @nite0wl29, @stargazer1116, @intp-slytherin97, @eleanor-writes-stuff, @postedbygaslight, @raven-maiden, and so many others!! Btw, thank you all!! My vacation starts tomorrow and I’m going to read again all your amazing fics to regain exactly that: HOPE!

What was TROS? Leia and Luke believing in the good in Rey? The whole Jedi Order believing in her? I have nothing against that but why didn’t they believe or help Ben too? Ben didn’t receive any of that love, WHY? What was wrong with him? What did he do?! He was the most selfless of souls, just like his Father and Grandmother. Is this vicntim blaming??? WHY DISNEY, LUCAS FILM and JJ ABRAMS, WHY?!

I used to think people were wrong when they said Disney was only doing SW for money. Because Walt Disney also said and lived by this rule:

“The important thing is the family. If you can keep the family together — and that’s the backbone of our whole business, catering to families — that is what we hope to do.”

SW is about family and I refuse to accept ep. IX as SW. It has all the make up of SW, but it lacks the heart and very essence of it.

As dear @eleanor-writes-stuff said, so much for criticizing Rian Johnson, only to consagrate his work. That man honored the storytelling art and I’ll be forever grateful to him for his touch in SW and for how his writing touched and changed my life. And I know Waltz would have approved too because he also said:

“I prefer to entertain people in the hope that they learn, rather than teach people in the hope they are entertained.”

3) PLOT? WHAT PLOT?

Leia’s feelings for Ben have remained ambiguous, you can both read her as someone who wants her baby boy dead (because her death allows Rey to stab Ben to death if she wants to, when Ben was never going to harm Rey) or not. Actions speak louder than words, and this was the movie when Leia would have the chance to assume the responsability for her mistakes and take action, instead of only claiming she believed her son was alive.

If she clearly wanted to reach Ben, was Maz’s words needed? No, they weren’t. It was exactly because Maz needed to voice it that proved Leia’s actions could be read as ambiguous. Again, actions speak louder than words. Her body only disappeared after Ben’s did too because what? She was expecting him to die so she could collect his soul?

I dearly love Leia’s character but LEIA DESERVED BETTER! CARRIE DESERVED BETTER! In the end I’m not sure what to make of the ST Leia. She could have helped Ben but clearly sent him away to Luke because? What?

Ben Solo get his redemption from his own 2 hands + his father’s memory (not force ghost) + Rey’s confession. In the end he becomes the bride of the monster, only to die right after, in a what? Plot twist?

Finn, who? That was so messed up! Rose? Poor Rose!!! Hux? Oh Hux deserved better too. I was glad to see that Poe matured though and grew in his arc.

I’m also mad and confused about other plot points:

Ben throws his bleeded kyber krystal away because of his father. Okay. Why did no one help him when he cried on the Force to crack his kyber and soul, but Luke Force Ghost appears to catch Rey throwing a lightsaber in an on fire tie fighter?

Rey would turn to the Dark side if she killed Palpatine, right? 5 minutes later she won’t turn to the Dark Side anymore even if she still kills him in anger? Just because the self righteous jedi chose to let Ben get thrown down the abysm by himself but Rey was the Chosen One?

Still on this topic, so she choses to give up her soul so Palpatine uses her body as the vessel of his soul and the legion of siths, in order to save her friends, but she won’t take Ben Solo’s hand, even if she claims she wants to + retaining her body, to do the same?

I think force bonds don’t make much of a difference anymore when one of the parts dies. Ben can die and Rey seems pretty okay?

INTERESTING FACT: Beside me there was a father with his 6 or 7 year old son. The child kept asking what was going on everytime the movie introduced any plot twists or too much information too quickly. When the Reylo kiss came on screen, you know what the kid said? “I told ya!” I wanted to cry when seconds later the boy was claiming now was Rey’s turn to bring Ben back. Children understand the Heroine’s Journey and it doesn’t scare them. It is beautiful like that. The father then had to try and explain to the boy that other things were going on and that no, “that guy was gone”. What have you done people?

4) EPISODE X

I must have a clown face. They lied to us about this movie being “The Rise of Skywalker”. Maybe they lied to us about this being the end of the saga? Considering JJ claims this is fun, happy and hopeful, yeah, I doubt they are making an episode X or ressurecting Ben Solo after throwing in the garbage the Heroine’s Journey. I vaguely remember Adam also said he wasn’t going to appear in another SW.

IF they do announce an ep. X, I’m not watching it unless Ryan or someone like him directs the movie.

I loved to see Han Solo’s memory helping his son. That man trully loved him and it is tragic that he screwed up as a father only because he thought he wasn’t enough to be a good one and that Leia and Luke would know better.

I also loved to see Ben Solo as his father son and grandchild to his grandmother and great grandmother. He was beautiful and I love him and he’ll be forever with me.

I liked the Reylo kiss... but Rey’s actions in this movie have affected me so that it doesn’t feel like they scrapped the surface of making justice to this that could have been the happiest and most balanced of all SW couples.

IT COULD HAVE BEEN EPIC. IT COULD HAVE BEEN GRAND. But it wasn’t.

I’ll forget TROS. YBTOTT is now canon to me, because it is a perfect 3rd act in this trilogy, and @postedbygaslight honors the Heroine’s Journey like few writers have the gut and courage to do. Thank you so much Wayne!

And if anyone had the patience to read this to the end, thank you. I feel it too guys, this was awful and horrible.

#star wars #sequel trilogy #heroine's journey #tros spoilers #ep. ix spoilers #the rise of skywalker spoilers #spoilers #I extremelly rarelly consider a movie horrible #but this I can't deal with

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ricky4479 · 4 years

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First, hello. A few facts about me: I'm German, currently still living in Germany, going to school, 10th grade and am somewhat interessted in history. As it is in Germany you can't be interessted in history without at least knowing more about World War 2 than the average person, although I believe that Germans tend to see the horror in it, yet still make jokes and laugh about it more than other nations. There also are a lot, and I mean a lot of movies about WW2 or set in WW2. One of these is my number 3 favorite movie, Inglorious Basterds. Now, when I first watched IB, I immediately (as so many of us probably) fell in love with SS-Colonel Hans Landa, whom I'll just be referring to as Hans from now on. I wondered about something everytime I watched him though and that was what exactly made him so terrifying? What makes our blood run cold the moment we hear this abstract, weird version of Für Elise, or at least this abstract song with the Für Elise beginning? What makes us feel as if we're in serious danger everytime Hans is on screen? It couldn't just be the uniform or his obvious Nazi typical mannerisms, no, otherwise we would have been just as scared of Gestapo Major Dieter Hellstrom and I don't know about you, but the more I watch IB, the more I think Dieter is just hilariously failing at trying to be like Hans.

So, what made Hans so different? Well, in my opinion you can already see that in the first scene.

Let's make one thing clear here, I'm a writer, I want to become a psychologist, I can't and won't talk about this in a cinematography kind of way, but rather on a people level. Also, I'm a theatre kid, so I'm gonna use some of the shit I learned in drama class and all in all this is just a lot of rambling and me fanboying over Nazi Daddy Landa, so don't take everything I say too seriously.

The first thing I want to briefly touch upon is the music. The iconic intro of Für Elise, a song that screams German and what is it followed by? Abstract, not at all fitting notes, making you feel uneasy because something isn't right at all. LaPadite and his daughter also show this perfectly. She sees the car driving their way, the music sets in, their erratic, nervous and you as the audience don't know why. You can guess why, a German song in the background, a movie set in WW2? This is going to be Nazis, no doubt, but you're still uneasy because something just doesn't seem right. Not one bit.

And then Hans arrives, open top car, showing that he's not at all scared about what he is doing. He tells his men he doesn't want to be disturbed and walks up to LaPadite, asking if this land belongs to the LaPadites, fully aware that of course it does, but still being polite, asking questions, introducing himself and shaking LaPadites hand. This handshake shows perfectly that from that moment on Hans has full control over the entire situation. Hans is the one initiating the handshake and he holds it. If you look closely you can see LaPadite trying to take his hand away, but Hans doesn't let him. He looks into LaPadites eyes, holding the stare, his hand still firmly gripping LaPadites. Hans politely asks if he could be invited in, a clear order disguised as a polite question and when LaPadite agrees and wants to walk off, Hans lays his hand on LaPadites upper arm, showing that he has a higher status than LaPadite, that he is in control and they both know it.

The next bit that just makes you hold your breath is when Hans meets LaPadites daughters, mesmerized by Charlottes beauty, her having blonde hair and blue eyes, the Arien norm the Nazis were so fascinated with. She is the only one he pays attention to, staring at her even after sitting down, his face devote of emotion, just an emtpy stare that you're unable to read. When another of the daughters was asked to get him a glass of wine, Hans gripped her arm, soft, yet clearly in a threatening way. We know he has power over everyone in that room, but we don't see him clearly abusing this power, we only see small motions like that and that makes us nervous, because we wait for the moment he snaps but it just doesn't happen.

When he tells LaPadite to sit down with him and tells him to send his girls outside, we see that this is Hans' stage. He decides who goes where when and you follow those orders.

Next Hans asks to switch the language to English because his French is exhausted and he would only embarrass himself if he kept on talking, but once you have seen the full scene, you know this was only so that he could have a full conversation with LaPadite without the Dreyfuses underneath the floorboards knowing too much and making a silent escape.

From here on it gets really clear that Hans doesn't accept a simple yes or no as an answer, or any answer that he deems as too vague. He asks LaPadite to „please tell me waht you've heard“ after asking him if he's familiar with who Hans is, reminding LaPadite of the monster that is sitting in front of him. He wants LaPadite to talk, to slip up and reveal himself so that Hans can get the job done with and leave.

Hans smiles when LaPadite tells him that his visit may be pleasant, but LaPadite doesn't know why Hans is there. Hans smiles because he knows LaPadite is lying and we know that Hans knows. That's a terrifying thought. We don't know how he knows, all we know is he does. Hans entire preperation happened off screen, we know exactly nothing about him except for the fact that he knows. That he has power and knows the secrets hanging heavy in the air.

He drags the entire process as long as he can, doing everything neat and tidy, getting LaPadite to talk, asking him questions, still accepting no vague answers. When LaPadite asked if he could smoke his pipe, Hans reacts in a sort of „don't be silly“ demeanor. As if he isn't the one in control of everything, but just a mere guest in LaPadites house out of pure friendliness from LaPadite.

Now, let's get to my favorite part of the scene, the rat speech. This entire speech is just so that we would agree with Hans. Makes us understand his position, maybe even feel sympathy for him. He says he loves his nickname „precisely because I've earned it.“, saying it as if he means „I worked hard for this“, trying to gather sympathy. „I don't consider the comparison an insult“ can be read as the typical „I'm not the bad guy here, I'm not like them, I don't have anything against Jews.“ and I'm pretty sure I am not the only one believes him with that, who believes him that he never had anything against Jews, but merely just followed the regime flooding the entirety of Europe. When he says he doesn't consider the comparison an insult, he puts a hand onto his chest, underlining this „it's not me who's the bad one“ meaning. He makes us agree with him through comparisons like the one between a rat and a squirrel, because it's true. He repeats certain aspects, making it clear that they are important, making us think about it and in the end agreeing. It's terrifying to realize how easy he can make you agree with something so atrocious. It's as if he gets into your head with complete ease.

I always felt as if the phrase „Because I'm aware of what tremendous feats human beings are capable of once they abandon dignity“ felt off. Just, not really fitting, but that's for another time. After smoking his ridiculous pipe, which, let's be honest here, was not intended to intimidate LaPadite further, but was probably just something Hans thought was fucking hilarious (it was) since Hans is someone with a sense of humor. A really dark and disturbed sense of humor, but he loves cracking jokes and this was one of them. Anyway, he emphasizes a lot on the word „dictates“. His job dictates that his men conduct a search. Hans doesn't want to do this but he has to. It's again this weird sense of sympathy we feel for him. When he talks about the irregularities and says that „rest assured there will be“ some, we have the last clue that we needed. Now it's obvious that Hans knows everything. He knows that the Dreyfuses are hiding beneath the floorboards, he knows LaPadite has been lying, he knows everything.

What he is doing now is disguising obvious threats as rewards, telling LaPadite that his family would be save if he told Hans everything Hans wanted to know, reminding him that his daughters were outside with Hans men and that with one word from Hans, they could be shot on the spot and by now not just LaPadite but also the audience know that Hans would indeed give them the order to kill the girls just to get the information he wants.

I believe that from here on it's very obvious why we're so scared of Hans, if you don't remember, go back and watch the scene again. Actually, go watch the entire movie, it's wonderful.

Now, this was just a short retelling of the first 20 minutes, a lot of the things I mentioned were repeated to enhance the feeling and of course I may be reading way too much into this, but honestly? I don't care. It was fun writing this, it was even more fun staring at frame for frame of those first 20 minutes for more than 2 days, talking to myself more than I talked to anyone else the entire past week, but I just love Hans on so many levels. Christoph Waltz acting is amazing, he is an amazing actor that deserves the two Oscars he won and even more and I hope we will see him in a lot more movies before having to part from him.

Please excuse any mistakes since it's fairly late, I'm dying on the inside (well, I'm already dead inside but you know what I mean), English isn't my mothertongue and all in all I'm just ranting as always.

Stay hydrated you wonderful human beings.

#hans landa #inglorious basterds #christoph waltz

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