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rocorambles · 4 years

Text

Trapped

Pairing: Sakusa x Reader

Prompt: Fantasy

Genre/Warnings: Yandere, Toxic Relationship, NSFW, Fantasy AU, Sorcerer Sakusa, Rape/Non-Con, Mind Control, Manipulation, Obsessive and Posessive Behavior, Degradation

Summary: You should have trusted your gut instincts, the lessons you had learned the hard way about just how cruel powerful men could be.

Author’s Note: This is my contribution for my HQ Discord Server’s NSFW collaboration. There are so many talented writers on the server and I highly encourage you to check out the collaboration masterlist here to see how everyone decided to run with this prompt. (Masterlist goes live Friday, October 30th 11:00pm U.K. time!)

You splutter awake, laughing, but also groaning as a wet tongue slobbers all over your face and you lightly shove the fox that’s currently standing beside your resting head, intent on waking you up to play. Blearily you blink your eyes, trying to gauge what time it is based on the light seeping into the cave you’ve come to call your home. Judging by the bright rays of sunlight, it’s already mid-morning and you stretch your arms above your head, petting your furry companion behind its ears before standing up and treading out into the forest, your friend walking right beside you, its tail brushing against your leg.

The familiar peace and quiet of the wind rustling past branches and the faint chirping of birds wafts through the air and you smile as you continue making your way to the nearby waterfall, various four-legged animals that have come to be your family and friends popping their heads out of grassy patches and from behind trees in greeting. You can’t even remember the last time you’d seen another human being and you grimace at the thought of your last encounter.

Orphans, especially female orphans like you, rarely survive for long and you bitterly remember the years of being a street urchin, never knowing when your next bite of food would come, never knowing who to trust in a world full of both humans and magical creatures who’d do horrible things to an unclaimed child and you shiver at the thought of possibly being eaten or harvested for ingredients for countless dark magic spells. But life had only gotten harder the older you became and as a single, vulnerable woman, you began to attract a different attention, no longer able to blend as seamlessly as you once had with predatory eyes trailing after you, resting too long on parts of your body that you desperately wanted to hide from the world.

You tried sticking it out, finding ad hoc jobs here and there as a maid, as a seamstress, as a waitress. But corruption ran deep wherever you went and disgust makes you recoil when you remember all the times you’d been cornered by all types of men and creatures, received unwanted touches in hidden corners and degrading remarks of what your only purpose in life was. And after being left to sob, pain lancing between your legs, your clothes ripped to shreds, knowing no one would ever take your side, knowing that this would just continue happening over and over again, you vowed to never have anything to do with another sentient being ever again.

You’d heard rumors of the forest, about its enchantment, about the stories of terrible things hiding away in its heart, but you couldn’t imagine any monster worse than the ones you’ve already encountered and you determinedly march forward, never turning back to look at the city you’re leaving behind. And as you step past the border of trees, even you, someone who’s never had anything to do with magic, can feel the surge of power, feel the crackling energy as you delve deeper and deeper. But maybe the forest could sense that you meant it no harm, maybe it knew that you were just a lonely, helpless soul, maybe it felt generous, felt pity for the damaged woman seeking refuge. Whatever the case was, it left you alone and in all the years you’d made a home in its lush vegetation, not once had you met any of the ghastly creatures you’d heard so many horror stories of. And maybe that’s why you let your guard down when you meet him, finding a false security in the wood and grass-filled world you now live in.

You don’t bother being quiet or stealthy as you walk. Why would you when there’s never been anyone else around? So imagine your shock when black human eyes are staring at you as you round the corner and reach the water’s edge and panic laces through you when you see how masculine and strong he looks, overwhelming fear making you tremble when you take in the staff you see laying next to him.

A sorcerer.

You’d learned the hard way that men were never to be trusted and that men with power and wealth were the ones to be even more wary of. Fortunately you’d only dealt with vile wealthy men and as awful as they had been, you know men gifted with an affinity for magic make those nobles seem as harmless as kittens in comparison. You’d seen firsthand the havoc sorcerors could wreak, seen the charred, mutilated, disfigured bodies put on display at the city gates as an example of the fate for anyone who rebels against the crown. To your knowledge, all sorcerors worked for the royal family, rarely leaving the walled fortress unless sent on a mission or task, but never in a place like this so-called cursed forest. So what was he doing here?

The urge to flee thrums through your veins, but when he makes no move to stand or get any closer to you, curiosity gets the better of you and you stay rooted to your spot and before you can stop yourself, you find yourself asking the first question that comes to mind.

“Who are you?”

When Sakusa had ventured outside of the castle walls for a break from the irritating humans inside the cramped corridors and bustling courtrooms, he had purposefully chosen a place where no other soul would be. His hand had immediately wrapped around his staff as the sound of approaching rustling interrupted his thoughts, but when you had made your presence known, he could only stare in awe, staff forgotten as he took you in.

You’re different from the usual noble women he sees on a daily basis. For one, you’re barely wearing anything, a makeshift dress of strung together leaves, flowers, and grass the only thing covering you and he can feel his face grow hot as he tries not to blatantly stare at your bare legs and arms. But as he really regards you, he can’t help but feel something wild, something primal in you and he blinks in shock when he realizes that you have the same energy as the forest, as if the forest has claimed you as one of its own and he’s so entranced by his realization that he’s startled by the sound of your voice.

From anyone else, he would have scowled at the forwardness and bluntness of the question, but for some reason, coming from you, he finds himself easily answering.

“Sakusa Kiyoomi”

People, conversations, human interaction. Those are all things Sakusa abhors and yet, as you tentatively draw closer to him, staring at him in wide eyed curiosity while the two of you exchange words, he thinks he doesn’t mind any of those things when you’re involved. He comes to visit you as often as he can, something warm blooming inside of him as he sees your hackles relax, notices how you inch closer and closer to him every time he arrives, and he can’t help but compare you to a wild animal and behind the warmth in his chest, something darker lurks, and he wonders what it would be like to tame you, claim you back from the wooded forest that had taken you in, mark you as his own.

And that thought festers and grows inside of him.

He does his best to keep it at bay, play it off as just a fleeting idea, but when your eyes and body begin to seep into his dreams, into his every waking thought, he can’t keep the desire down any longer and when he strides towards you once more, he drops to one knee in front of you, asking for your hand in marriage.

In hindsight it probably was foolish to think that you were as smitten with him, foolish to think that someone who had been scarred enough to escape from civilization would easily just return to the place full of painful memories, and yet red hot anger blazes through him when you turn him down. It doesn’t matter how sweet and kind you are about it, gently letting him down and telling him you’re sure he’d find someone much better suited to being his wife, someone prim and proper, someone educated and knowledgeable of court intricacies.

Humiliation only fuels his rage as he rises back to his feet and he can feel his magic churning, waiting to be used, dancing at his fingertips, and he has half a mind to forcefully drag you back with him, but he retracts it, pushes it down deep inside of him as he takes a deep breath. No, he wants you to come back and grovel at his feet, beg him to take you in, to help you. He wants you to feel the same need for him that he feels for you and he bites his tongue and restrains himself as his mind begins to plan and strategize.

He tries to remain as normal as possible, still going to visit you as often as before, but his nails dig into the palm of his hands at the pity in your eyes and he clenches his teeth at the way that you tread around him like he’s a wounded animal. But he takes those feelings and lets them drive him late through the night as he chants strange words, flips through old scrolls, experiments with different spells and ingredients and a rare smile stretches across his face when the pieces finally come together.

It’s time to take set his plan in motion and in the middle of the night while most of the city is fast asleep, there’s a strange flashing light, a rush of something sinister in the air, and the murmurs of masculine chanting swirling in the air, lingering, and foreshadowing the dark days ahead. But you remain asleep, peacefully ignorant of the shift in the atmosphere, naive to just how much your life will change.

You wake up, surprised by the lack of a warm furry body or tongue lapping at your face, and you vaguely wonder if you’d woken up in the middle of the night, but the sunlight filtering through tells you a different story. You feel strange, warning bells beginning to faintly clamor in your head, and you gingerly step outside of your lair only to freeze at the dead silence surrounding you. It’s always quiet and calm in the forest, but where there is usually the sound of nature and creatures, now there is only a deathly silence and you stare in horror as the forest seems to decay right in front of your eyes. What used to be green grass is wilting and brown. The trees you’d spent years climbing and picking fruit from are completely bare. But what makes a choked sob get caught in your throat is the corpses of the animals who’d you come to be so fond of littered around you and your slow stuttered amble becomes a frenzied run, as you race through your dying home, hoping to see any sign of life left.

But days pass and the state of your home only gets worse. Your throat is parched without clean water to drink, all the water sources near you murky and littered with fish corpses indicating just how toxic they’ve become. Your stomach aches with hunger, no vegetation, fruits, or animals nearby for you to ingest. And a deep loneliness churns inside of you and once again you feel as alone as you did when you were just a dirty street urchin trying to scrape together a living off the streets.

So when Sakusa comes for his regular visit and finds your weakened body slumped on the floor of your cave, it just makes sense to you, survival instincts kicking in, to drag yourself over to his feet, fling your arms around him when he finally bends down, and sob into his chest. You don’t question the way he’s slow to crouch down to your level and comfort you. You don’t see the cruel smile on his face when he sees you pathetically laying at his feet. You don’t notice the glee in his eyes as you beg him to take you with him. And when he asks you if you’d like to come and be his assistant, you eagerly nod your head and cling tighter to him, burying your face in his comforting and familiar presence as he teleports the two of you back to his living quarters.

Months pass and despite your initial wariness of returning to live among other beings, you find that Sakusa seems to dislike being around others just as much as you, and the two of you find a comfortable way of life mostly holed up in his living quarters with only the other as company. You’d never really been exposed or taught anything about magic growing up, so you’re genuinely fascinated as you watch Sakusa chant, attentively listening as he tells you what each ingredient is, eagerly following his every step as he shows you firsthand how to mix different potions. And Sakusa thinks that your aptitude for learning, the perfect synchronization the two of you have as you seamlessly work your way into his rhythm, preparing and setting things up before he even needs to tell you, speaks volumes of just how perfect the two of you are together, speaks volumes of how you were meant to be together.

He continues strategizing, gaining your trust, letting you grow accustomed to his presence, smiling at the way you don’t even bat an eye when his hands linger on yours a bit longer than normal when he hands you something, at the way you don’t tense up anymore when he presses his body against you from behind as he physically guides and shows you how to do something. And he knows he’s on the right track when you take the initiative to swipe a strand of his hair behind his ear as he concentrates on a task at hand, when you perch your chin on his shoulder, peeking over his shoulder as he jots down notes.

But even the greatest minds make mistakes and when he sends you off to find a certain piece of text for him from the bookshelf in the corner of his room, he forgets to clarify where on the shelf to look and not wanting to bother him, you meticulously comb through every book, forehead scrunching in curiosity when you find a notebook tucked behind, as if it was meant to be hidden. You consider just passing it over, not wanting to intrude on Sakusa’s privacy, but having gone through most of the books and not finding what you need, you wonder if perhaps the thing he’s looking for is in here and that this had just been misplaced or accidentally pushed towards the back of the shelf.

As you flip through the pages you quickly realize this is a book of Sakusa’s own spells and you stare in awe at how much work he’d done, how extensive his own self-created spell repertoire is, but suddenly your heart freezes when you flip to the last few filled pages. You’re not as fluent as Sakusa is when it comes to the ancient magical language, but you know enough after the time you’ve spent with him, the lessons he’s taught you, to recognize ‘plague’ and ‘forest’ and your throat and heart feel both heavy and panicked when you realize the implication of what you’d found. And suddenly you remember the day he had proposed to you vividly, ice cold shock and realization making you shudder when you remember a flash of something dark in his eyes when you had rejected him. And your hands tremble when you see the very last page, taking note of the phrase ‘mind control’. But before you can dwell on it, you squeal in surprise when the book is plucked from your hands and you’re rooted to the spot by dark eyes pinning you down.

You want to scream angry words at him. You want to escape. And yet, you do neither, frozen with fear when you remember exactly what happened to the victims who’d defied sorcerers.

“Hmm. This spell’s not quite ready yet, but I guess we can test it out early.”

And before you can even register what’s happening, a firm hand is placed on the top of your head, the other wrapped around your throat to keep you still as magic surges through the air and you vaguely hear yourself pleading for him to stop, until suddenly you feel trapped in your own body, the connection between your conscience and physical figure severed and you stare in horror as your body goes limp and docile in his arms.

Sakusa peers into your eyes in interest, humming in thought as he scrawls a few more notes in his notebook.

“The end goal of this spell is for me to be able to completely control your mind, but right now it looks like I only have control of the section that handles your physical functions if that ugly hate-filled look in your eyes is any indication. But let’s test my theory shall we?”

And it feels like a bad dream as your body submissively makes its way to his bed, seductively swaying your hips as you sprawl out on his bedsheets, eagerly wrapping your arms around the back of his neck as he joins you, bringing him down for a kiss. He’s rough and invasive as he tears your clothes off, calloused hands touching and contaminating every inch of you and you feel disgust as he examines you like you’re a piece of prime meat he’s purchased, coldly and meticulously pinching and prodding you as he observes what makes your body react. And for once, you hate how observant he is, how in tune to your smallest shifts he is, how sensitive your body is as your nipples perk up, as little moans escape past your traitorous lips when he pinpoints your weak spots.

But what you hate most is the triumphant grin on his face when his dexterous fingers swipe against your lower lips and you internally flinch at the glistening slick that coats his fingers when he holds it to your face, evidence of the heavy arousal mixing with your humiliation and hate. And you try to think of anything else, imagine you’re anywhere but here as he begins to wonder out loud while his fingers twist and turn inside of you, reaching and touching places you’d never been able to explore yourself, if he even needs to tweak his spell anymore seeing how you’re a slave to your body’s natural desire for pleasure. Maybe there wasn't a need to completely control your thoughts and emotions as well.

He hadn’t realized what a slut you are, getting off to anyone using your body, and he leers down at you while he continues questioning you, knowing full well you can’t answer or retort to his crude remarks. And he idly wonders if your mind would naturally break without additional magic if he pleasured you enough, transformed you into a warm body that constantly seeks and craves his touch.

The fear in your eyes at his words only fuels his need to completely dominate you and he grits his teeth as he slides into your drenched hole, eyes closing shut as he just stays still and revels in how tight you are, how perfectly you wrap around him. And when he opens his eyes and sees the glassy-eyed lustful look on your face from being filled, he finally releases himself from the controlled facade he so carefully always wears and lets himself dive headfirst into the sultry, dizzying, primal embrace of lust as he pistons his hips in and out of you at a brutal pace, dark eyes never straying from your face as your eyes begin to roll back and your wanton mewls fill the air.

He can feel his end approaching, but he’d be damned if he didn’t make you fall apart with him, drown you in inescapable pleasure, and his hand slips between the two of you, fingers finding your aroused clit and all it takes is a few rubs and thrusts before your body is tensing up, back arching, mouth opening in a silent scream, body convulsing and writhing underneath him, your cunt milking him as you’re forcefully brought to your peak. And he joins you over that edge, thick white spurts coating your twitching walls.

You pray that he’s done, that he’ll release you now that he’s thoroughly tasted and had you, now that you’re just sloppy seconds, used goods. But you’re startled when he lovingly kisses you and tenderly strokes your hair, and your stomach churns at the genuine affection you see in his eyes. And your heart drops, any last bit of hope you had extinguished as he holds your body close to him in a mockery of a loving embrace and whispers in your ear about the future he has planned for both of you, a future where you stay by his side as an obedient, submissive housewife, a future where you’re willing and eager to please him, to love him.

That was always his goal for the both of you, he insists, and a flame of anger burns inside of you at the exasperated and patronizing sigh he directs your way as he blames you for forcing his hands, for forcing him to do this the hard way, for forcing him to resort to magic when you could have saved everyone the hassle by just accepting his proposal all those months ago.

Hate and anger twist and coil inside of you and yet, when he kisses you once more, your body instinctively leans into the soft touch before obediently going lax as he tells you to sleep, eyes automatically closing at the command, and Sakusa smiles at your slumbering figure. It’s not exactly how he had planned to go about this, the mind control spell being more of a back-up option he had been trying to avoid, but you’re finally irrevocably his and that’s all that matters.

#yandere haikyuu #haikyuu yandere #yandere #haikyuu smut #yandere sakusa #sakusa x reader #tw: yandere #tw: rape #tw: noncon

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aspiringwarriorlibrarian · 3 years

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Ehat is your favourite rwby moment? Or moments if you are indecisive.

I don't like picking favorites but you gave me the option of Multiple so here's the ones I really really like:

Ren killing the Nuckelavee. I got into RWBY in volume 4 and this was The Moment for me, the one where I really, really respected what the show could do in terms of character and storyline. That entire fight felt so goddamn satisfying.

The triple awakening of Penny becoming the Winter Maiden, Oscar using magic, and Ruby using her silver eyes. That scene was just so goddamn cool how they shot it, and Penny was one of my favorite characters anyway so her becoming the Maiden is just a really cool moment of affirmation. Even if her being the Maiden turned out to be a bad thing down the line, I still refrain that Penny as is was meant to be a Maiden, and the problems came in when people tried to make her into a Maiden rather than let her decide what being a Maiden meant.

Qrow stopping the bomb. Qrow suffered this massive setback at the beginning of the volume, but I liked how even if he thought he was back to square one, the show didn't treat it as such. He opened up to Robyn and admitted he was hurting. He listened to her when she told him that he was better than petty vengeance. He tried to get through to Harriet and he finally made the choice to take a leap of faith that he could be more than the bad luck charm he believed himself to be. Characters in this show get better, get worse, have setbacks, but none of it is ever wasted. No one is exactly who they were before, and all the progress Qrow made before still existed in the middle of his relapse and helped save and transform him. Seeing how his Semblance is a metaphor for depression and I've struggled with the exact same thing, it was a massive balm to see this on screen. I've said before I don't pick favorites, but Qrow's arc is definitely one of the top 3 moments in the show because of how much it resonated with me.

The other shoe dropping in Gravity. I'm a sucker for a good villain arc, and what makes it so good is that this isn't treated as a "well he's evil now ". This is the tipping point and he spends the rest of the volume and volume 8 falling further and further until he's helpless on the floor and it is finally, finally too late to turn back. The ultimate tragedy of Ironwood is that at every moment he had an opportunity to turn back... and yet refused each one. It was the moment when I fully understood where they were going with him and how good it was going to be, and I enjoyed it thoroughly.

Cinder getting her groove back near the end of volume 8. I always hated how people insisted that Cinder was a useless or one-note villain because her trauma (and bad luck) was interfering, so this felt like vindication. They needed her to be off her game all those volumes because it took them this long to actually match up to her. She has finally, definitely, won. And she's about to find out how hollow that is.

Maria and Neo fighting. I dislike smug villains (not in a case of they're bad writing, more in a case of i just hate smug people in general), so seeing Maria knock her down a peg was quite satisfying. Plus, I'm a sucker for "plain old combat experience trumps tricks" any day, and how it reinforced what Maria said to Ruby about how the most important thing was to keep on training and learning.

Emerald's freak out moment with the Salem illusion. It was just so creepy and cool.

The Apathy, because they hit so close to home and because of Ruby's silver eyes and Qrow's alcoholism intersecting with it so well. While we're at it, the Hound as well. This show does horror very well.

Yang reading Raven for filth, both times. All those years of psychological manipulation and she wasn't having it.

Salem manipulating Cinder into staying on her side after electrocuting her with the arm. It was masterfully done and just underscored what an absolute monster she could be. Doesn't hurt that it was followed up by her shattering Atlas' defenses.

Ren seeing everyone's emotions. I am a HUGE sucker for characters gaining new senses, I loved Ren's entire Atlas arc (introverts being allowed to introvert and gaining power and understanding through that! what a concept!) and the visuals were so goddamn cool. Also, more magical girl powers.

Penny gazing into the stars after she decides to hold up Amity. In a volume about how Penny's choices were limited and the tragedy that followed, it was a great moment that showed how deeply Penny loved the people she cared for and the world she was born into, and how magnificent she could have been if she'd been allowed to fully realize herself. Helps that I'm a firm proponent of the Penny 3.0 theory so I see this as potential foreshadowing for when Penny truly comes into her own.

#rwby #you asked for an infodump you got it

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hopeswriting · 3 years

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I meant to do a post about my thoughts on the Daily Life Arc now that I finished rereading it, but I can't seem to find the time and it's been a while now, and if I keep it up I'll forget what my thoughts are to begin with lol, so here's the long story short:

I know it's a long arc, as in it starts being boring and more or less unbearable past some point, because the "gag of the chapter" format only takes you so far, and not actually very far if Amano's humor doesn't work on you much, if at all. I don't think it's an arc you can reread right away/soon either, lest you feel that one flaw even faster.

And I felt it too, starting with the fourty-something chapters I felt like it was dragging on too much, though to be fair that probably had to do too with the fact I knew things much more interesting were coming after that.

Still, all that said, like, it's an enjoyable arc. Amano's humor happens to work on me, and she does it really well, and I liked reading the arc. There are some chapters where you're really asking yourself why they were written for lol, but even then you read it for the characters, and it somehow keeps you going.

And like, even though I think Amano could have seen the fact the comedy was going to turn repetitive and thus boring at some point, and try to diversify it or something, it's just how comedy/humor/gags works? Some jokes land and some doesn't, but for me at least a lot more of them worked than not.

The DLA is a good enough arc is what I'm saying.

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On than note and on the contrary, of course it's fine if you think it's a bad arc, to each their opinion, but personally I really don't agree it's an unnecessary one.

I'm saying this because apparently it's not uncommon to advice new fans to skip the arc and directly start with the Kokuyo one? (Or so I learned on TV Tropes anyway, this might or might not be still relevent/accurate.)

Now don't get me wrong, the DLA does fail to hook the readers to the story for the reasons stated above, I agree with that, but it literally introduces the main character? And all the other characters, and gets us to know them, and establishes the dynamics between them and why they're the way they are, and, though only in a more or less superficial manner (and more than less) by design of the arc's purpose (not being deep in any way lol), it still gives us an insight into the characters and why they're the way they are. A glimpse into the core of their personality, the "stakes" of their characters, the flaws they have to overcome.

And all that in the context of their daily life, so if you skip it to go directly to the arc that challenges them, you can't appreciate fully how they rise to the challenge, how it shows their growth or reasserts their core values. You can't know how much or what it means, for example, off the top of my head, to have Yamamoto sacrifice his arm to beat Ken, when only a year ago he tried to kill himself over his broken arm. Or Hibari losing against Mukuro, thus telling us how much of a real threat he was. Or Tsuna screaming at Lancia for having hurt his friends, anger on his face, clearly despite himself, that Dame-Tsuna.

All these just wouldn't hit you the same, and it'd be such a shame? I mean I guess the ones who start with the Kokuyo arc go back to read the DLA, or you could compromise like the anime did by splitting the DLA between more serious arcs, but like I said I personally don't find the DLA that bad, so I still wouldn't advice it lol.

Even if, I suppose, it'd mean they might give up on the manga somewhere through the DLA, but like? Some mangas just don't speak to you, and that's fine, and it'd be a little of a shame from my POV as a KHR fan, but still, no big deal.

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I'm still very impressed with how smoothly Amano went from a gag manga to a shonen one, and how she made it so the DLA still fits with the rest. I mean the sudden change in tone/stakes/etc is jarring, sure, but it's all based on stuff she introduced in the DLA, which she presumably came up with with no intention to ever make it something deeper/more meaningful.

It's easy to believe the foreshadowing, and generally speaking the worldbuilding was planned all along, which, again, probably not, and like? Super impressive.

(Though once more don't get me wrong, there are inconsistencies/plot holes in Amano's plotlines and worldbuilding, but not, like, at their seams, if I can say it like that? It's more often in the details, and it's fairly easy to fill in the blanks ourselves.)

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Finally it was a lot of fun to rediscover the characters in a new light, and a bit of a disbelieving surprise tbh.

For context before I started my reread of the manga, all this time I was going with the time I read/watched it years ago plus the times I skimmed it, but mostly by all the fanon I was consuming. And it's not to say fanon is wrong per se, but it latched on one to three character's traits, or slapped an easy character archetype on them easy to "relate" to within, and apparently never looked back lol. And also often dialed up those traits (good or bad) in a very noticeable manner.

What I'm saying is, fanon is, in fact, wrong sometimes zldnslsz, and the characters are much more nuanced even in the DLA! (Which still leaves us at a more or less superficial level, because, you know lol, but still!)

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To name the ones that stood out to me the most:

Nana isn't abused by Iemitsu, nor is she unhappy in her marriage despite Iemitsu being an absent husband (which is not relevent in the context of the DLA, but still, you can tell). She isn't an abusive mother to Tsuna either, and she is literally never an airhead. She literally just isn't, she actually does react very normally to the crazy Reborn brings with him, but much like Yamamoto as long as no one gets hurt (or walks it off), she just brushes it off.

And she has friends she goes listen to piano recitals with, and tries to save on money by eating rests, and gets in two-way arguments with Tsuna, and raises his allowance if he gets better grades to push him to work harder, and all around is just your average mom that really didn't read as just The Mom, if you know what I mean.

She has her flaws, definitely, she's not a great mom, namely is apparently used to call Tsuna Dame-Tsuna, but she's not just that.

She takes care of him, worries over him, and seems to be the only one who hasn't given up on him yet when the story starts. She supports him (though sometimes in a tactless to hurtful way), praises him when he does well, and trusts him to watch over the kids.

She's not that bad is what I'm saying, and 100% redeemable (that is, if you think she needs to be redeemed to begin with, which I actually do think she does, calling Tsuna Dame of all things is just a really shitty thing to do.)

(Though it's interesting to note that she doesn't do it again after what happened with Kyoko iirc, even if she might very well still talk to him in a belittling way at times. I just wish Amano would have commit fully to acknowledge it and resolve it, what with already having made it Kyoko's Dying Will Regret.)

(Edit: I had forgotten but she literally forgets his birthday while preparing someone else's birthday, so I take back that she is 100% redeemable because it's being too nice. But my point still stands.)

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Haru is literally such a fun character, it makes me even more sad now to know what Amano did with her (nothing ansknslq 😭😂).

She's unhinged, has zero impulse control, does not reflect on the consequences of her lack of impulse control as Tsuna points it out, is ready and willing to throw hands at any given moment and is unapologetic of it, and is the one Amano actually calls an airhead.

The only problem she had with the mafia is that she thought Tsuna was forcing it on Reborn, and when she confirmed it was all true she literally didn't even blink at it, and immediately called herself the future Decimo's wife djosdkkd.

On that note she is literally mafia right from her first appearance, is more or less involved in almost all the mafia shenanigans, was right there with Tsuna & Co when they went to destroy the Tomaso's headquarters.

And like?? Amano could just have left it at that if she wasn't going to do anything else/more with it. Haru had so much potential, and not only Amano did nothing with it, she actually watered her down and took away all her distinct character's traits 😭.

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Hibari is so much more feral and playful than his fanon cool, overpowered, quiet badass counterpart. Which I love too, don't get me wrong, but these two sides of him don't have to be exclusive!

He talks and smiles and jokes often, and shows off and casually insults you, and licks the blood away from his lips after having beaten bloody other middle schoolers who dared to defy him (I know this happens in the Kokuyo arc, but it illustrates my point the best).

Not much more to add than that, we should just acknowledge that and put it in our works more often.

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Gokudera is a compelling character from the get go, and as far as the DLA goes, he's the most compelling character second to Tsuna. He's the only one to actually have flashbacks and a backstory. And what stood out to me the most that I don't see often in fanon, is that he's really a good friend.

Yes he has a short fuse and snaps easily and is easy to anger, but he's not always angry. And is seen having and being capable of positive exchanges outside of Tsuna (I'm thinking Yamamoto namely, who's made with Ryohei to be the one he gets angry with the most).

And yes he holds Tsuna on a pedestal and sees him through heavily tinted pink glasses, but even through that he's earnestly a good friend. And tries his best, and is hardworking and overachieving, so much so he messes up without meaning to, but he only ever has honest, straight-forward good intentions behind it all (well, maybe not always lol).

I love him a lot more now is what I'm saying.

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And Tsuna. I'm not sure I'll be able to articulate my thoughts properly, but like... he's just your average teenager. Which of course is his whole thing, and I'm saying it in a very not judgy way whatsoever, but he's often made to be at least a little more than that, namely about his bullying.

Like, it's kind of dramatised in fics? And I'm not going to elaborate on that more because it might come out wrong and I don't want that, but it's just, like—canonically he is just bullied, simple as that. Like many other teenagers are.

And it's all in a "chill" way (for unfortunate lack of a better word, I don't mean to trivialize bullying at all, it's wrong and unfair and never deserved or okay, just so we're clear), and by the time the story starts Tsuna is used to it and has given up fighting against it, and actually finds refuge and a twisted comfort in embracing his Dame-Tsuna's monicker, because at least he's not gonna hit rock bottom deeper than that if he does.

And I'm not actually going anywhere with this, it's just? It hit me how differently canon and fanon portray his bullying.

Back on the note of him being a (below) average teenager, Tsuna is not an uwu pure cinnamon roll too good for this world.

He's literally so quick to judge and criticise, whether in his head or out loud when he knows more the person (namely Haru lol, poor girl), it was actually a bit of a shock tbh lol. He snaps easily, and is lazy, does not want to try even one bit, and is happy to run away from his responsibilities whenever he can.

And not only I'm not saying that in a judgy way this time either, but I'm actually saying it in a good way. He really felt like your average middle schooler, and it was so refreshing to see. That, plus the fact the narrative never holds it against him, let alone punishes him for it even if he's made to grow out of these traits, and it's literally part of his character arc, is kind of unique for the shonen genre (maybe, I'm not exactly a specialist of shonen mangas lol).

And I can see why you'd want to change it in fics, but personally I think it really makes his character's arc even more meaningful.

#katekyo hitman reborn #khr #khr text post #daily life arc #i said long story short but this is actually the long story 😭#lile a lot of things i just really need to start to keep going uh sbdlsnks #if the read more doesn't work i'll add it on desktop as soon as i get my hands on a computer #in the meantime sorry about that #khr reread

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twdmusicboxmystery · 3 years

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Beth’s Memory Loss Arc, Part 2

So, about that line during their fight in Still. She’s referencing Sophia coming out of the barn and says, “I remember.”

I started wondering if it, too, could represent the memory loss. Like literally. In a template. So, I reverse engineered and what I found just makes total sense. Again, nothing we haven’t said before, but I think they laid out Beth and Daryl’s entire arc in the Still fight. That’s probably why (one of the reasons) it ended up being so powerful.

So, it starts when they enter the moonshine shack and goes all the way up until the hug. (I actually think we could extend it to the porch scene, but I’ll touch on that at the end.)

First, let me remind you of something I said very briefly a long time ago, about how Sasha and Bob in Alone are also Bethyl proxies. In that case of course, Bob = Beth and Sasha = Daryl. It’s just significant that Sasha is searching for her brother and Daryl will be searching for his brother, Rick.

Bob’s dialogue especially keeps running through my head. At one point, he tells Sasha she doesn’t have to be afraid, and she says forcefully, “I am not afraid.” That’s pretty much exactly what Beth and Daryl say to each other in Still.

Beth: “You don’t get to treat me like crap just because you’re afraid.”

Daryl: “I ain’t afraid of nothing.”

Later, Bob asks Sasha, “Why do you think Tyreese is dead?” He knows her well enough and can discern her mental state to surmise that the reason she keeps trying to stop, and doesn’t actually want to get to Terminus, is that she’s terrified she’ll get there only to find that Tyreese didn’t survive. She’s afraid to hope.

Now think about how that will translate with Daryl. Despite being determined to go find Rick, he may start dragging his heels at some point because he’s terrified that he’ll get there and find out it was all a hallucination, and that Rick isn’t really alive. Especially in the wake of Leah. I think Beth will talk him through that, just as Bob did with Sasha. That’s also when we see Sasha and Bob kiss, which probably means that this part of the story is where we’ll finally see ACTUAL on-screen romance between Beth and Daryl.

So, that’s just important to keep in mind as I go into this Still template. It will make more sense if you have that on the brain.

So, I’m gonna go through most of the fight here, and I’ll need to restate it even though I know we all pretty much have it memorized. Bear with me. What I’m going to show here is that the chronological order of the dialogue here corresponds with events in their arc. But it extends beyond where we are now to when they reunite, get together romantically, and perhaps beyond.

First there’s the “what are you, my chaperone?” line. I think this represents how Daryl felt about Beth in early seasons. I don’t think that he ever felt personally responsible for her, beyond her just being a member of the group, and of course a member of the family, but he always saw her as someone who needed to be protected and couldn’t survive on her own. So, his relationship to her was somewhat chaperone-like.

Then they start the game. I actually love when Daryl says, “I ain’t never needed a game to get lit before” and Beth says, “Wait, are we starting?” I feel like that’s the writers telling us this is the beginning of their arc, their relationship, their story together, etc.

Then they start the game. Beth begins with, “I never shot a crossbow.” Putting Still aside (I know; why would we, like, EVER do that? ;D) the next thing that happens in their story in 4x13, is he teaches her to shoot a crossbow.

Next, Daryl says he’s never been out of Georgia, which we all know happens right after Grady. So we’re going along in the chronology.

Beth says she’s never been drunk and done something she regretted. I think this probably represents them burning down the moonshine shack. And it’s interesting, because they don’t exactly regret it. But I still wonder if them burning down the shack somehow drew attention to them, and at some point we’ll learn that doing that is exactly what got Beth kidnapped to begin with. They drew a lot of attention to the smoke in 4b, even having Carol and girls comment on it several times.

Then he says the thing about never having been on vacation. I had to think a while about what this represented. I’m not claiming to have it totally pinned down, but I think this may just represent his time with Beth. For the first time, he feels emotionally safe and happy. To him, that probably felt like a relief. Like a vacation. Especially since vacations only last a short time before it’s back to real life, and he didn’t have very long with Beth before the shit hit.

Then Beth says she’s never been in jail, as a prisoner. Now, this may seem out of order, as Grady happens before Daryl leaves Georgia. But, 1) these could represent their two separate arcs and so they don’t need to line up that way. I think it’s more likely that 2) this represents Beth’s entire time in the CRM, not just Grady. And that will extend to long after Daryl leaves Georgia.

Of course, the prison question sets Daryl off and he gets up to “take a piss.”

So, I find this particular element of this template really interesting. Even though their separation has lasted for 5+ seasons, the part of this scene representing their separation only lasts about 30 seconds, and that’s a bit counterintuitive.

Think of it this way: Daryl gets up and walks away. We generally see representations more of Beth disappearing, but in this case, he walks away, leaving her behind. Leaving her back where he previously was.

Then we get his whole slew of I-Nevers. Never eaten frozen yogurt, had a pet pony, got nothin’ from Santa Claus, relied anyone for protection, or anything.

Some of these we think we’ve already seen, such as through Buttons. And maybe we have. But we can’t be sure. Maybe buttons, and all the ice cream references were just foreshadows of something to come. Or maybe not. No way to be sure, yet. (And remember that we have a huge ice cream theme this season at the Commonwealth. I’m just mentioning. ;D)

No matter what they point to, I think these represent things that either have or will happen before Beth returns.

Now, this is about to get really subtle and granular. I think the “Santa Claus” reference represents the moment when we, the audience, and maybe Carol, see Beth and know she’s alive, but Daryl doesn’t yet. The reason I think that is because at that point, when he’s saying all this, he’s still across the room from her. They haven’t come back together, yet. Therefore, all these things happen between the time he leaves her behind, and when they reunite. And Santa Claus = resurrection.

Most of us have thought for a long time that the line about not relying on anyone for protection points to Beth saving Daryl at some point. And notice that that comes after the Santa Claus line, but before the reunion. And I’m not saying she’ll necessarily save him before she reunites with him. That wouldn’t make tons of sense, unless it’s saving him from afar or something. But maybe it’s a matter of him not realizing it’s her in some way.

Oh, and then there’s a line I’ve never homed in on before. When Daryl is kicking stuff around and Beth is telling him to be quiet, he says, “Sounds like our friend out there is trying to call all his buddies.”

He just means the walker is being loud, which is in response to his yelling, but that just screams Carol is going to call Daryl (her buddy) to tell him about Beth.

So, then he eventually grabs her arm and drags her outside, right? Yes, I think that represents them coming back together. And I hear you: that’s a little weird since he’s being pretty borderline abusive right here. You’d think we’d have some indication of some tenderness or joy on his part. And I’m not saying there won’t be that wonderful, joyous reunion we’re all waiting for.

But here’s the thing. We’re all on the same page about Daryl maybe not believing it’s her because, especially because of Leah, he doesn’t trust his own sanity. He doesn’t trust his own eyes. I actually think that’s what most of the rest of this fight will translate to. Even when he does see her, I don’t think he’ll believe it’s her.

That’s why they did the Leah the way they did. To show that she felt very real to him, and he really can’t tell the difference. I think we’ll have a whole thing (probably more than just one scene, as this is; it may be an arc that’s several episodes or seasons long) where she has to convince him that she’s real. But more than that, she has to show him how to get his faith and sanity back. She’ll heal his psychosis and this whole hallucination problem, so he CAN tell the difference moving forward.

And like I said in my analysis of the Daryl Origins episode, she’ll have to convince him to open up to her emotionally again, just as she did in Still. Something no one else has been able to get him to do.

Think about everything they say here. When she talks about the people they lost mattering, she could be talking about their shared history prior to Grady, OR about everything that’s happened in the last 8 years since they saw each other.

Then check out these next two lines and think about how they fit in.

“You look at me and you just see another dead girl…

“…but, I made it!”

See how those work so beautifully? He literally thinks she’s the ghost of a dead girl and she’s trying to convince him that she never died.

Then the lines that so perfectly mirror Sasha and Bob.

“You don’t get to treat me like crap just because you’re afraid.” “I ain’t afraid of nothing.”

And then the remember line that started me thinking about this. “I remember.” Which may represent her getting her memory back. I think that will have already happened at this point, but maybe she tells him about how she had memory loss but now she remembers.

And the REALLY interesting thing is that here, she’s talking about Sophia. When this happens between her and Daryl in the future, they’ll be talking about her. About what happened at Grady. Because Beth = Sophia. The lost girl Daryl searched for. Which, incidentally, is probably why Kirkman said the thing about Daryl not caring about Beth any more than he did Sophia. Clearly, he’s trying to throw people off track, but I truly think that was code-speak for the symbolism, not a commentary and the romantic nature of Bethyl.

I still don’t know how the “you ain’t never gonna see Maggie again” line will translate in the future. No way to tell, yet. But we’ve always known it’s significant that he mentions Rick being dead. Where we are here, in the narrative, he believes Rick is dead, and then there were all those clues in the Daryl origins episode.

And then, of course, the hug. I think that probably represents the same thing it did here: her finally getting through to him, him finally opening up to her. Which means at that point, his faith in his own sanity will return and he’ll finally believe she’s real. It might also represent the romance angle.

So, that’s what I’ve been thinking about the past few days.

I did also say we could extend it until after the fight. I just have less to say about that. Them talking on the porch could foreshadow getting to know one another as a couple, or even just swapping stories from the past 8 years. Maybe every line in that convo will also translate to a future event, but I can’t be sure about that.

As for them burning down the shack, I just think of Dwight and Sherry in Fear and what the showrunner said of them. That they’ll be a badass power couple, now. So maybe this foreshadows Beth and Daryl burning down the CRM or something. Which I would 100% support. ;D

Thoughts?

#beth greene #beth greene lives #beth is alive #beth is coming #td theory #td theories #team delusional #team defiance #beth is almost here #bethyl

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swaps55 · 3 years

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POV Case Study – Have Some Writing Meta

Point of View (POV) is an integral piece of the storytelling puzzle for Opus, my main body of fic, so I thought I’d do a meta post that walks through how I use it as a narrative tool. The intention is not to tell anyone how they should or shouldn’t use POV, but rather to demonstrate one way I used it very deliberately to create narrative tension, weave in characterization, and develop an overarching theme.

Your POV character is an enormous tool in your writing toolbox, whether you are using a single POV or multiple. How you use it depends on a lot of things: what person you’re writing in (first, second, third), the type POV you’re going with (omniscient, meaning the POV narrator can see into everyone’s heads, or limited, meaning you only have access into the head of a specific POV character).

My preferred writing style is 3rd person “in-your-face” limited POV, that puts the reader so solidly in the POV character’s head it’s almost like 1st person in a 3rd person trench coat. That coupled with present tense gives me some extra intensity that I love taking advantage of in emotional or climactic scenes. Again, this isn’t to state a right or a wrong way to use tense or POV – there are lots of great ways to use these tools – but for the purpose of this exercise, this is my chosen loadout.

I made the conscious decision early in Sonata that I did not want to use Sam Shepard’s POV, ever. Every story in his series would be told through the eyes of the people around him. Why? Because one of the key character traits of Sam is that he makes himself whatever someone needs him to be. He sees himself as a tool, so to be a useful tool, he has to have the right shape for the job. This raises the question: who is Sam, when he is free to just be himself? I’m not sure even Sam knows the answer to that question, so to reinforce it through storytelling, I never wanted to reader to see what goes on in his head. Everything you learn about Sam comes through the perceptions of others, and to show the reader how differently he is perceived by others, I write with multiple POVs rather than just Kaidan’s.

Below the cut, I’m going to walk you through a specific example where POV was an essential part of crafting the story I wanted to tell. The chapter in question comes from Fugue, a story I’m writing that explores the aftermath of Alchera. You don’t need to have read Fugue to follow the logic, but if you care to read the chapter, it functions well on its own separate from the rest of the story.

Fugue – This Hole You Left.

This was a very complicated chapter that lived and died by POV choices, and it was extremely difficult to put together. The approach I took was a gamble that (thankfully) worked after much fretting, gnashing of teeth, and help from @pigeontheoneandonly.

This Hole You Left takes place after Sam dies over Alchera. I wanted to paint a ‘kaleidoscope’ of grief, and explore how Sam’s death impacted the people around him in very different ways. Therefore, I needed a plethora of POVs to work with, each one giving me something different. The goals were this:

Find differing POVs that would offer demonstrably different perceptions of Sam and/or illustrate different stages of grief and shock.

Allow each of those POVs to mold to that character’s specific goals and motivations. i.e., I did not want the grief of other characters to be tied to the romantic relationship that had been lost – because that’s not the lens those characters would look through.

Each POV had to move the chronology along in a way that made sense and felt natural.

Kaidan’s POV was off limits. In the absence of Sam’s physical presence, I wanted to treat Kaidan like Sam – the character people could see, but not explore the headspace of. Everything the reader learns about Kaidan in the immediate aftermath of Alchera comes from other people.

That last piece was important. Arguably, Kaidan’s POV was the most valuable one of all, but I was going to have lots of time to explore it in meaningful ways elsewhere. I thought it might be more powerful to express his grief through the eyes of others, and use him as a central theme to weave in and out of the chapter. More about that later.

This constituted one hell of a puzzle to put together, especially when it came to the chronology. For instance, an early mistake I made was putting the most powerful POV (Anderson) too early in the sequence, which diminished what came after it. Moving that POV around meant re-framing other POVs to keep the chronology moving forward (for example, Garrus’ POV initially came after Anderson’s, by moving it before his, I had to change the context so that Anderson’s POV wasn’t a step backwards in time).

Each POV scene was also intended to essentially be its own self-contained short, creating a microcosm of grief, that when put together, would create a much larger and significant whole.

I could write forever about all the trial and error that went into finding the right formula, but it’s probably more valuable to look at where I wound up, and why:

1st POV: Lora Alenko (Kaidan’s mother)

Why: She gave me a window to set the clock in motion and make the loss of the Normandy feel real, because she had the advantage of having no idea anything was wrong. Plus, her perspective felt like a unique one I hadn’t seen in fic when it came to Alchera. I’d set her character up in Sonata, so readers of that fic would be familiar with her and understand what that phone call meant to her in a more meaningful way.

How I used it: I put her in the middle of a mundane, normal, event – lunch with a friend – and then shattered that normalcy with a phone call telling her the ship her son was on had been destroyed. That shift from normal to a state of dread gave me the tension I wanted to use for the rest of the chapter.

Excerpt:

But before she can answer, her omnitool flashes. She frowns and looks down at her arm. It’s a message from Marc. SOS. Call now.

A chill runs down her spine. SOS isn’t something Marc throws around lightly. She’d gotten an SOS from him when he’d found Apollo, the warmblood she’d ridden for years, with a leg stuck through the paddock fence, and the day they’d learned about Vyrnnus.

Kaidan.

“Melia,” she murmurs. “Excuse me, I have to take this.”

2nd POV: Admiral Hackett

Why: Hackett gave me the chance to explore Shepard through the eyes of the Alliance. To them, and to Hackett, he’s a weapon rather than a person. He also gave me a chance to weave in a sense of anger, one of the stages of grief.

How I used it: This POV came about late in the revision process, but I’m thrilled it did, because I was missing that cold, calculated look at Shepard’s importance. Shepard dying fucks up Hackett’s plans and political machinations, and his immediate response is not to mourn someone who died, but to move on to plan B. This also gave me a shot to work in Shepard’s mother. By seeing her in Hackett’s POV, I could reinforce the ongoing theme that Captain Shepard sees her son as a legacy, rather than a person.

Excerpt:

There isn’t a list of people who can replace Shepard. Time to make one. Hackett exhales, gaze falling to the datapad on his desk, Shepard, Sam still displayed at the top of the casualty list.

He picks it up and hurls it at the wall. It cracks, screen flickering to black as it clatters to the floor.

What a goddamned waste.

3rd POV: Joker

Why: Joker was an easy one. I’d set up some rather terrible foreshadowing in Sonata with a scene in which he makes the comment “I’d go down with that ship,” and Sam replies, grinning, “Not while I’m around.” I wanted to spike the ball over the net in Fugue, so parking in Joker’s POV in the immediate aftermath was a no-brainer.

How I used it: Through Joker I could explore guilt and shock, so I went back to that memory from Sonata and used repetition to make Joker feel stuck in that moment. It was also my first chance to weave Kaidan in to reinforce the notion of guilt and lay some neat groundwork for narrative tension that would come to a head later.

Excerpt:

I’d go down with that ship.

Not while I’m around.

He should have abandoned ship. The escape pod was right there. He could have given up the Normandy at any time. All he had to do was step over the bodies of Pressly. Chase. All he had to do was leave them all behind.

Instead he’d stayed, and Shepard had made good on his word.

I’d go down with that ship.

Not while I’m around.

4th POV: Dr. Chakwas

Why: Through her, I could look at the adrenaline and denial that comes with managing trauma. To her, Shepard was a patient. Because she is overwhelmed with patients in the form of the Normandy’s wounded, she cannot stop to think about the one she cannot help: she has a job to do, and she has to do it. There will be time to grieve later.

How I used it: Again, I used Kaidan to emphasize her role as a caretaker. Kaidan, who is in command of the survivors, has a moment of weakness that she cannot afford to have, and he can only afford to have in front of her, because she overrides his authority in a medical emergency. Because we are in her POV, we see her outwardly refuse to crack, when internally she’s hanging by a thread. It made for a nice contrast.

Excerpt:

“There was no transponder signal,” she tells him, saying out loud everything she’s been repeating to herself. “We were in hostile territory, with over twenty injured crew. He was gone, Kaidan.”

His fingers curl, eyes still trained on the window.

She puts a hand to her forehead. Between Virmire, triage on the Citadel and this it’s too much. Before today she’s never felt old. Tears sting the corner of her eyes and she swears under her breath. Not here. Not today. Tears are something for tomorrow. Right now, she has a job to do.

5th POV: Garrus

Why: Garrus was a member of the crew who wasn’t on the ship, which is a completely unique perspective. But the question that took me forever to answer, was, how does he react to Sam’s death? What was Shepard to Garrus? I hadn’t written about them during ME1 yet, he was not part of Sonata, and ME1 Garrus is always a little tricky for me. I knew there was something important to gain from his POV, but I couldn’t figure out what it was to the point of tearing my hair out. Eventually, I settled on Garrus seeing Shepard as a mentor he couldn’t live up to, and made his POV about failure and regret.

How I used it: Shepard was everything Garrus aspired to be, but could never quite achieve. He left the Normandy because Shepard made him feel like he could make a difference, only he didn’t. And then, his friends needed him, and he wasn’t there, and now Shepard is dead. I wove a lot of doubt, regret and self-deprecation into his POV to drive that home.

Excerpt:

Dammit, why hadn’t he stayed on that ship?

He grabs another report from the top of the pile on his desk, which is getting tall enough to sway in the breeze.

This is why. Because Saren had obliterated the Citadel, and Shepard, damn him, had made him believe he could make a difference. He thought he could make it here. Crazy thing, having to fill out a form every time you find a corpse. He’s got three more to add to the list after today.

6th POV: Anderson

Why: Anderson was both a father figure and commanding officer to Sam. Because he’s known him for most of his life, he has a perspective no other POV character has. To him, Sam was more like a son he’d been tasked to protect, and in the end failed to protect him. He and Kaidan are the only people who know Shepard well enough to mourn Sam, and not just Commander Shepard. Anderson would really let me start to explore grief.

How I used it: This was my heavy hitter. Through Anderson’s POV, I could trace Sam the person as he grew into Commander Shepard, and explore the echoes of the kid that still lived in the adult. I was also able to use Kaidan in a really fascinating way. In Opus, Kaidan and Sam served together for four years before the Normandy. Therefore, Anderson is pretty familiar with him, but doesn’t know him the way he does Sam. He keeps looking at Kaidan expecting Sam. In a sense, trying to plug a puzzle piece into the wrong hole. It was a neat way to show Anderson’s grief.

Additionally, this was a great opportunity to demonstrate Kaidan’s sense of loss without being in his head. Anderson does not know there was a relationship between Sam and Kaidan, but the reader does. Thus, I could have my cake and eat it, too: The POV character wasn’t examining the relationship that had been lost between Sam and Kaidan because he didn’t know it existed, but the reader got to.

Excerpt:

He exhales through his nostrils. “The Normandy was attacked by an unknown vessel. Whoever they were, Joker says they came out of nowhere. Shepard got him into the escape pod, but the ship lost gravity. He…well.”

Alenko stares straight ahead, silent. Anderson looks for a tell, but he only knows Shepard’s.

Alenko isn’t Shepard.

7th POV: Tali

Why: Tali presented a similar problem to me that Garrus did. What was Shepard specifically to her, and what did his loss mean to her? As my closing POV, not only did she need to hit a home run, but she also needed to close out the chapter in a way that tied all the other POVs together and examined Shepard’s death through a much wider lens, without feeling like I was pulling the camera back from her POV to get there. That’s a lot to ask. Lucky for me, Tali never lets me down.

The answer I came to also called back to Sonata, in which exploring what home meant to each of the characters was an important theme. So I went back to this idea for Tali, as she and Sam had a very important thing in common that set them apart from everyone else: they were both born in space, and did not have the traditional fixed point of home that everyone around them had. Home was different to them than it was to everyone else.

How I used it: Tali was the only one left who understood how truly unique and special the home she’d found on the Normandy was. Therefore, when the crew starts to fragment and fall apart around her, she is forced to mourn the loss not only of Shepard, who gave her that home, but the home itself. I was able to use that grief to circle back to how much Shepard changed the people around him, and how deeply his loss will be felt in ways people haven’t even realized yet.

That conclusion was the magic final puzzle piece that made the whole thing work, and it was literally the last idea to take shape.

Excerpt:

Aliens don’t carry their ship names with them the way quarians do. Perhaps when you’re born with dirt under your feet you don’t need to. For them, home isn’t a vessel among the stars – it’s a fixed place in the universe, a way back no matter how far from it you venture.

But Shepard had been different. Like the quarians, he had no fixed point. Home was what – or who – he carried with him. He’d understood the power of a ship name, even if he hadn’t used one out loud. People who served with Shepard felt like they belonged, in ways they couldn’t anywhere else, because he said to hell with that fixed point in the galaxy and brought home to anyone who needed it. For Shepard, there wasn’t a way back. Just a way forward.

Shepard changed people.

They’ve lost so much more than a ship.

The primary objective of Opus is to examine the relationship between Sam and Kaidan, but to really understand the magnitude of Sam’s death, it was critical to explore it outside the confines of that relationship. Part of the struggle Sam and Kaidan have is that Sam doesn’t truly belong to himself or to Kaidan – he belongs to everyone else. That means his death doesn’t belong to either him or Kaidan. It’s shared with all the people he touched and shaped.

That’s what made this carousel of POVs a challenge I really wanted to make work. It required an absurd amount of juggling, but the diversity and uniqueness of each made Shepard’s loss feel real and devastating. But not only did each of those POVs tell us something about Sam, they provided some meaningful character development for the POV character. How they react to Sam’s death and what it means to them tells us a lot about that character, which in turn lends the entire story more depth.

If you read this far, I’m pretty sure you deserve a cookie.

I don’t know if any of that is helpful or meaningful other than to show an example of how POVs can be a really awesome tool to tell a story. There can be a lot of depths and layers to why you use a particular character to tell a story through, and those choices can greatly impact the story you end up telling.

#how writing is written #writing meta #POV meta #peak self-indulgence

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kittyprincessofcats · 3 years

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RWBY Volume 8, Episode 13 (Worthy)

Well, wow. That sure was an episode that happened.

Thoughts under the cut.

Anyone who leaves spoilers for episode 14 on this will get blocked.

- First of all, I want to now talk about the spoiler I saw for this episode last week, to put the anger from my last post into context: After I had just finished watching episodes 8-12 and started writing my post about them, I went into one of the RWBY tags bc I’m dumb and saw a post that said (I don’t remember the exact words, but more or less): “I’m so glad Yang is finally dead, so now her fans can shut up about her and everyone can ship Blacksun instead.”

… Yeah. Imagine seeing that when you haven’t seen the actual episode and have no idea what really happened. I honestly completely panicked for a few minutes, before remembering I don’t actually know anything and this might just be a “Weiss gets impaled in Volume 5, but one episode later it turns out she’ll be fine” situation. So then I had to look up what actually happened to Yang, because otherwise I wouldn’t have been able to sleep. So, to the person who made that post: Fuck you. Not only did you freak people out for no reason (because come on, there’s no way falling into the void actually kills you – and even if it does, we at least definitely don’t know that for sure after episode 13), but even if Yang had actually died, it’s super shitty that your first reaction to a beloved queer character’s death would be “yay, now people can ship my m/f ship instead”. Like, I don’t care if you personally dislike Yang/ dislike Bumbleby/ prefer Blacksun – show a little bit of decency.

Phew. Sorry, I had to get that off my chest because it really made me angry. Now let’s get into the actual episode:

- “Worthy” as a title pretty much already made me predict that Cinder would succeed in her plan, since “you have to be worthy” was what Watts told her in his speech. She’s gotten the message and is now back to efficient plans – and while I love to see it, it also very much scares me when it comes to our heroes’ survival chances. The last time Cinder was doing well, we lost Pyrrha, so… help.

- And gosh, this whole episode was so intense! I feel like it mostly set up a bunch of very intense situations that are going to escalate in the last episode that I’m very much not ready for.

- I still think the whole central location between the worlds is really beautiful, if dangerous. (They should have specified to Ambrosius that they want handrails or something.)

- Nora using her hammer like a witch’s broom was amazing.

- I also loved the scene with Jaune and the people at the train station; that was really funny.

- The middle of the desert might not have been the best place for the exit. Didn’t the group consider that there might be a sandstorm or something else unpredictable out there? Couldn’t they have picked a better exit point?

- Cinder causing an explosion in the middle of the evacuation that throws multiple people into the void was bad and all – but it was still one hell of an entrance!

- I love that now that Cinder realized that she has to rely on teamwork, she’s suddenly being so nice to everyone. Apologizing to Neo, complimenting Watts on “tearing the kingdom apart with nothing but his intellect”, that soft “You deserve this, Arthur”, complimenting Team RWBY on their plan, thanking them for teaching her “one last lesson”. Yeah, maybe she’s just talking to Neo and Watts like this because she needs their help, and to Team RWBY because she’s confident she’ll win – but it’s still amazing to see the shift in her attitude and how she’s clearly changed her tactic.

- It’s insane to me that some people correctly predicted that Cinder would ask Jinn the last question based JUST on the fact that there’s a part in the opening where everyone else freezes in time while she walks past them. Holy hell! I love trying to guess stuff based on the intro, but I would have never thought that far.

- Cinder’s question to Jinn seems like a waste considering it was Jinn’s last question, but maybe it just seems that way to us as viewers because Jinn didn’t reveal anything we didn’t already know. Was it the right thing for Cinder to do? I don’t know, to be honest. Yes, it did give her the chance to ruin the heroes’ plans, but I have a feeling Salem won’t be happy about the question being gone. Pretty sure Salem was going to ask Jinn how to get the Beacon relic, and now she can’t do that. (Cinder ruining Salem’s plans for the beacon relic? Let that be foreshadowing, please.) I mean, maybe it’s worth it from Salem’s POV if it gets them the staff and then she’ll have 2 of the 4 relics – but they could have still gotten the staff later, while I don’t know if Salem has any plan B for the beacon relic. And I’m a little worried about Cinder now. I always thought that Salem wouldn’t kill Cinder no matter what, because she still needs the Fall Maiden for the beacon relic – but if she now has to wait another 100 years for the beacon relic anyway, I’m not sure if she’ll have a reason to keep Cinder alive. (And I’m still worried about that “Some lives will end much too soon” line playing over that scene of Cinder clutching her Grimm arm in the opening.) I also wonder if Cinder even knew that this was Jinn’s last question. Did Jinn even tell her that? Also, when will the 100 years even be up? Do the questions just reset every 100 years regardless of when they were used? So maybe we’re already at year 80 or something and will only have to wait 20 years?

- The cut from everyone at the central command place screaming to them being dead was kinda funny in a “very dark humour” way.

- When Harriet first jumped onto that ship with the bomb, I, like an idiot, thought that she was finally being sensible and trying to get the bomb as far away from Atlas and Mantle as possible, not that she was trying to still drop it on Mantle. She and Ironwood might as well be working for Salem’s team at this point, because they’re doing everything to help the villains’ plan. And the villains are even counting on it! Watts freed Ironwood from his cell and is piloting Harriet’s ship. Those two are just straight up helping Salem’s team in their attempts to… what was it? Save Atlas?

- Ironwood killing Jacques was awful and proves once again that Ironwood has zero morals left. And I didn’t like Jacques, but that was the kind of death that absolutely no one deserves. He had no way to escape or fight back, he was defenseless, locked up in a prison cell with nowhere to run – that’s not just a murder, that’s an execution without a trial. And Jacques wasn’t even a threat, he wasn’t in the way of any of Ironwood’s plans. Ironwood killed him literally just because he could. And no one who thinks they’re the good guy (and Ironwood still thinks he’s the good guy) should go around just killing people who aren’t even a threat.

- And then we have Yang falling into the void. Honestly, as heartbreaking as Blake’s sobs and anger are, I kind of love this from a “supreme angst, let’s see my faves suffer” perspective. That said, Yang better actually be fine or else.

- Actually, my prediction is that the rest of team RWBY will jump into the void to save Yang in the last episode. Because they’re all falling in the opening, and because “Sometimes it’s worth it all to risk the fall and fight for every life”. That’s pretty much the only prediction I feel somewhat confident about, for the rest I have no idea.

- I wonder if it would have been better if Penny had just gone through the doorway and gotten the staff to Vacuo. I get why she didn’t, because Yang just fell and her other friends were in danger… but at the same time, she was supposed to protect the population and the staff (and she has the maiden powers that I’m sure Cinder still wants). If she had just gotten out of there, at least the group in Vacuo would have had some help against the sandstorm and the Grimm. But then again, it would have also severely weakened Term RWBY’s chances against Cinder and Neo… it’s a tough call, really.

- “Why didn’t you just learn your lesson?” “Oh, Penny… I did.” Okay, but that’s the thing: She really did! Just not the lesson Penny wanted her to learn. And notice how Cinder called Penny by her first name again? She didn’t use to do that. I still think somewhere down the line Penny has earned her respect.

- I wonder if Penny’s technically weaker now because she’s human (?? is she??). She’s definitely not used to fighting without her robotic parts (as you can see when she tries to reach for her swords and realizes they’re not there anymore). I summoning those swords like she then did her semblance or another maiden power?

- Blake now has to choose between helping Ruby and helping Penny and Weiss – gosh, the suspense…

- I’m glad Vine at least finally tried to stop Harriet now! (Better late than never.) But I really wouldn’t blame Qrow and Robyn for crashing into their ship. It’s not like they had any way of knowing that Vine was trying to talk sense into Harriet. Also, Qrow crashing through Harriet’s windscreen was amazing.

- Winter and Ironwood are going to fight to the death and I’m so scared of it. (I just need Winter to survive, please…)

- When Weiss described the doorway as a “one-way ticket to Vacuo” last episode, I briefly wondered if that meant they wouldn’t be let back through, but then I brushed it aside and didn’t think about it too much anymore. Oh, damn. You really do have to be very specific with Ambrosius.

- I’m not even sure which location is the best to be in right now because they all seem very unsafe: Atlas and Mantle are unsafe because Atlas is falling, because Mantle might still get blown up by Harriet, and because Salem might still come back any time. The place between worlds is unsafe because of the void and because there’s a big fight happening right there. And Vacuo is unsafe because of the Grimm and the sandstorm. So really, they’re all awful for the civilians right now.

- And now I’m thinking the volume might actually end with the protagonists split into three groups as well: Team RWBY in the void (that they’ll spend Volume 9 finding their way back from), one half of the other characters in Vacuo (Oscar, Ren, Emerald, maybe more?), and the other half still in Atlas/Mantle (Qrow, Robyn, Marrow, Winter, maybe more).

- I’m super nervous about the last episode. I haven’t seen any spoilers at all so far, and I plan to keep it that way. I’ll probably completely ignore anything RWBY-related until next week because the anxiety would kill me otherwise. I’m really worried we’ll get a character death or even several. And ironically, my first prediction on who might die this Volume (Penny, Nora, Winter, Cinder) hasn’t changed all that much. I’m worried about Penny because she has the Maiden Powers and the staff, so Cinder will come after her (but I really think it would be an awful writing choice to kill her off after we just went through so much to save her). I’m very worried about Winter because she’s engaged in a duel to the death with a man who has a big canon that he just blew someone up with. I’m worried for Cinder because of the opening and because Salem might be pissed at her for using the last question. I’m worried for everyone who’s still on Atlas and might get blown up by the bomb (Qrow, Robyn, Marrow, Winter again). And I’m very worried for the characters who are in the in-between realm. Not so much Team RWBY, but I’m worried about Nora, Jaune, and Penny. So yeah, I’m pretty much worried about everyone and very much not ready. Now let me ignore RWBY’s existence for a week – or only reblog posts I already have saved as drafts – because it’s the only way I’ll know peace.

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itsclydebitches · 4 years

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RWBY Recaps: “Gravity”

Good lord, folks. Buckle your seat-belts because we’ve got a lot to get through this episode. I think this is my longest recap to date, so settle in.

Episode Eleven’s “Gravity” starts out simple enough, focusing on the two fights we’d set up during “Out in the Open.” First up, Ironwood vs. Watts. Overall this fight does a really excellent job of showcasing their different fighting styles. Right from the start Watts is pointing his gun forward to take a clear shot at Ironwood, whereas Ironwood points his backwards to use as a surge of momentum.

He’s going to do this frequently throughout the battle, constantly using his gun to maneuver in the air, slow falls, regain his balance, and change directions, a much more complicated series of choices than the one-off shots we see Ruby use with her sniper rifle. This is partly because Ironwood seems to have a much larger supply of bullets---some sort of energy/dust ammo---than Watts does. His steampunk-esque gun holds only nineteen bullets, requiring him to keep track throughout the fight. Which is always a fun trope but sorry, Watts, you can’t compare to the king.

Thus, with limited weaponry available to him, Watts is forced to get creative with the arena itself. We see him manipulating gravity, shooting up columns of water and fire, and making use of his own pathways between platforms, all in an effort to throw Ironwood off and catch up unawares. However, Ironwood is, frankly, the much better fighter. He was right last week to assume he could handle Watts even though he sent three off to tackle Tyrian. He’s able to recover much more quickly and learns from any mistakes, as evidenced by his ability to hit Watts dead on while in the air the second time he takes out the gravity. When they come together in hand-to-hand Ironwood easily dominates, no doubt thanks not just to his military training and huntsmen lifestyle, but also in large part to his prosthetics which I would assume grant him more speed and power. Throughout the course of the fight we see Watts consistently take more damage to his aura and he’s unable to sense when Ironwood is sneaking up on him. After that little maneuver, Watts (presumably) grows reckless and lets off his last three or four shots in a random barrage. All of them miss.

This emphasis on emotion continues when they land back onto the main stage with Watts shouting, “You never appreciated my genius, James! You just stood atop it and called yourself a giant.” Oh, did Ironwood actually do something horrendous in the past? Is there something juicy that would explain---though not excuse---Watts’ turn towards villainy? Nah. He quickly follows that up with, “You chose that fat imbecile over me!” referring to Pietro. So... nice one, Watts. Crazy arrogance, willful ignorance of Pietro’s own, clear genius (anyone who can create Penny is no slouch), as well as a bit of fat-shamming on top of it all. No sympathy from me.

This moment emphasizes how unhinged Watts is becoming though as the fight turns against him. Even when he manages to setup a head shot Ironwood reveals, “You’re smart, but you’re not the only one who can count,” referencing that Watt’s emotions got the better of him, leading to him wasting his last bullet before it could be of real use.

...except not. I’ve got to admit, I was very pleased when all of this---or at least this particular moment---was merely a plan to get Ironwood to let his guard down. Watts is way too smart a character to be done in by the “You got too emotional and that made you sloppy” trope. So kudos there (even if it remains to be seen whether that Pietro comment was really his motivation, or just another part of the plan). Instead, he uses Ironwood’s confidence in his victory to trap him with the rings that control the arena, essentially pinning Ironwood’s non-prosthetic arm through the energy shields he’s been using. We can immediately see that the parts that have touched Ironwood already have horribly burned the skin.

And that ends up being Watt’s downfall. Not stupidity on his own part, but his lack of understanding of Ironwood himself. He assumes that this truly is a trap for him, rather than another sacrifice. After all, what fool would ruin their one remaining arm to stop him? Watts himself wouldn’t. Don’t pull, he cautions Ironwood, not “unless you’re hoping to add more metal to that body of yours.” Watts goes so far as to turn his back on Ironwood who then makes the sacrifice we all knew he would. One burned, useless arm later and he’s free.

I would like everyone to keep this moment in mind. Namely the utter devastation of it. I’d go so far as to say it’s as bad at Yang losing her arm in Volume 3. Despite seeing it bandaged later, Watts at least thinks it will be a complete loss if Ironwood sacrifices it. He’ll need to “add more metal,” AKA replace his arm, so though he obviously still has it in the following scenes, we don’t know if it will ever be functional again. Just as important, Ironwood had to choose to do that to himself. That wasn’t a horrific, but ultimately clean cut done in a moment of surprise. That was a conscious decision, a slow pull through all that pain, and then having to finish your fight immediately afterward. It’s a very different kind of psychological trauma, no better or worse than having someone take your arm from you by force. Throughout this volume I’ve seen a lot of fans being critical not only of Ironwood’s main decisions, but just his overall attitude as well. Too strict, too stern, doesn’t smile enough, yells sometimes, etc. basically associating someone who isn’t all sunshine and smiles with someone who is “bad.” Ignoring for the moment that we can say the same thing about many of our group---notably Yang---I have little doubt that I’ll see similar posts after this episode. Writings in the vein of, “Ironwood is unhinged! I can’t believe he yelled and hit his desk like that!” So everyone just keep this moment in mind and ask yourself how calm you’d be if you’d sacrificed your arm like that all of half an hour ago. And then found Salem’s calling card on your desk. And then came to the realization that the allies you trusted have been lying to you from the start. And then Salem herself appears to mock you. And then your city is about to be overrun. Basic summary of the rest of the episode: holy shit. So yeah. If Yang is allowed to be angry and upset after losing her arm, or just angry in general like she is in the later half of “Gravity,” I think we owe it to Ironwood to let him be angry too. I have a lot of feelings about the utter insanity he’s been forced through with little to no support and if he wants to take all that out by hitting his desk once, by god I’d say that’s a good coping strategy given the circumstances. Both the writing and the fans tend to erase trauma once you’ve passed age 25. The girls have every right to be upset, to break, to not trust people because they’ve been through a few months of hardship, but Ozpin isn’t allowed the same after a couple thousand years of that. We’re going to see the same hypocrisy later in this episode---the group can be upset about lies but Ironwood is not---and I’m hoping (against hope) that the fandom doesn’t make that worse by sweeping this injury under the rug. It’s horrific and absolutely has a bearing on his inability to keep his cool with the group immediately afterwards. We’ve long passed Ironwood owing them endless reassurances and calm responses.

Anyway, Ironwood still manages to finish the fight because his remaining arm is his robotic one, giving him the strength to easily drag and raise Watts into the air one-handed. He dangles him over the edge of the arena, announcing that he will “sacrifice whatever it takes to stop [Salem].” A clear bit of foreshadowing for his decision at the end of the episode. Watts responds that he hopes he does.

We then move to the Tyrian fight which, on the whole, I don’t think was done quite as well. Granted, there are a lot of enjoyable and badass moments. I like that Clover’s first act is to announce that Tyrian is under arrest, maintaining the law that Atlas (and Ironwood) works to uphold. It doesn’t matter that Tyrian is a crazy serial killer in league with an immortal sorceress hell-bent on destroying the world. Even crazy serial killers have rights and are given the option of surrendering, even when everyone present knows there’s exactly zero chance of that happening. It’s the principal of the thing and the ability to say, “We gave him a chance.” In a world overrun with inequality, this is a small but important attempt to level the field. If you do something wrong you face legal action and those rights are announced to you. Same for Tyrian. Same for Team RWBY. But we’ll get to that.

For now, we see Qrow attack first and like back in Volume Four he and Tyrian are pretty evenly matched. The tide doesn’t turn until Robyn and Clover come into play. Throughout this exchange we see a lot of cool combos among the three of them. Tyrian will block an incoming arrow with his tail only for Clover to snag it with his hook. Robyn can get another arrow to perfectly bounce off the walls and then Qrow’s scythe, hitting Tyrian dead on. Clover can dive between Tyrian’s legs, giving Qrow the opening he needs to attack. It is, as said, pretty badass... almost a little too badass. Personally, I would have appreciated them messing up once or twice. They’re all professionals, yes, but Qrow and Clover have only had one fight together. Robyn, meanwhile, wasn’t even allied with them until an hour ago. This is a situation where skills shouldn’t really trump, “We’re three very distinct people who don’t know each other’s fighting styles well, trying to attack one guy in very close quarters.” There should have been some screw-ups. Especially when we take semblances into account. What, are we supposed to assume here that Clover’s semblance just conveniently overrides Qrow’s? That no mistakes---let alone anything bad---will happen in this fight despite the fact that it’s an extreme parallel to Volume Four? That whole battle emphasized, “Don’t come closer!” because when people fight near Qrow bad shit happens. Now, he fights with two other people in a narrow alleyway and there’s not a single repercussion. Based on their travels looking for the geist, I don’t buy that Qrow’s semblance is just conveniently inactive while near Clover. Even if I did... that’s not a very good writing decision. To me, it’s just more evidence that Rooster Teeth doesn’t understand its own rules/doesn’t know what to do with an ability like Qrow’s. It causes problems only when they explicitly want it to. Then, miraculously, it’s no longer in effect.

Still, we’ll acknowledge that RWBY had a lot else it wanted to accomplish in this episode, so the need to power through this fight is somewhat justified. I personally would have had the entirety of this episode be the two battles---I was shocked when both ended just eight minutes in---but I’m obviously not the one writing the show. Thus, instead of an episode devoted to both the action and the emotion of confronting our two main villains this volume, Tyrian loses his cool after getting punched in the gut, manages to catch Robyn’s arrow in his teeth...

But it’s a bomb.

Down he goes. Fight’s done.

Which leads us into the second half of the episode. I want to preface this with a short acknowledgment before we go any further.

Did these last ten minutes give me what I’ve been looking for since the beginning of Volume Six? No. It’s easy to assume it did because all the pieces are there. Ironwood is finally angry about the secret keeping. The Ace Ops are criticizing the group left and right. Surely this is the “The group is capable of making mistakes and they should be called out for it!” that I wanted, right? Not really. For the simple reason that there is a massive difference between:

A story that acknowledges mistakes as mistakes. The characters either grow from this lesson or dig in their heels and are painted as being in the wrong for that decision.

and

A story that takes what the audience (me) perceives as mistakes and frames them as justified choices. The characters do not grow because they’re 100% sure they’re in the right and those who would criticize them are painted as in the wrong.

“Gravity” is so far into that second option I don’t think the series can come back from it. Does the group face criticism? Yes, but every single time the writing insists that it’s undeserved criticism. It paints the group as the underdogs facing unfair odds, rather than equals---with all the responsibility that comes with that---facing criticism that they need to own up to. Absolutely nothing in this second half implies that the group is going to learn from their mistakes because they, and the writing, still insists that they weren’t mistakes. Which is precisely what we’ve gotten before. Cordovin might criticism them, but Cordovin is in the wrong. Winter might criticism them, but Winter is in the wrong. Every time a character goes, “Hey, you shouldn’t have done this” the group responds with, “Yes we should have!” and the story backs them up. Yes, you should have attacked Argus. Yes, you should have stolen an airship. Yes, you should have lied to Ironwood and spilled the secret to Robyn. Yes, yes, yes. That’s the takeaway every single time. The group is never in the wrong. Others just think they are and those others are painted as cruel, militaristic, unhinged characters.

It’s not at all what I was looking for. Just more of the same.

So that’s the preface. In terms of what we actually get, Ironwood returns to his office with his arm bandaged and in a sling, carrying Watts’ bag, only to drop it when he sees the queen piece on his desk. He calls Winter asking, “Was anyone caught entering the school grounds while I was away?” and when she says no Ironwood has her race off to the Winter Maiden, unknowingly leading Cinder there in the process. “Now show me where you’ve been hiding her.”

We then cut to the group where the trouble begins. They’re not just curious about why Ironwood is recalling them with Mantle still in need of evacuation, they’re actively questioning it. This is the attitude I simply don’t understand. The group acts as if Ironwood is deliberately screwing everyone over when they know better. This is no longer the beginning of the volume where they thought he was some horrific dictator hell bent on destroying his own Kingdom. This is just an hour or so after, “We should tell Ironwood!” and the happy-go-lucky ‘We trust him now’ moment. Even less time after Ruby stared up at him in awe with, “He’s doing it.” They had reason to trust him before they even made it to Atlas. They were given even more reasons in the form of Ironwood sharing his secrets, early licenses, and being allowed to work on the tower. They then still waited until Ironwood was doing everything they wanted before giving him some of that trust back... but the moment he stops doing precisely what they want---we want to keep evacuating Mantle---he’s deemed suspicious again.

I mean seriously, is the group that dense? Are they incapable of thinking to themselves, “Wow, something must have happened if Ironwood is recalling us before evacuations are complete,” which is precisely the case. The scene tries to frame it as “Group Good” and “Ace Ops Blinding Obeying Orders Bad” but that aspect doesn’t even come into play. There’s nothing blind about it. It simply takes two seconds of critical thinking skills to realize that something really awful must have happened back at the Academy that trumps what you’re doing in Mantle. This is what I mean by the writing being biased. Before we even reach the fight in Ironwood’s office it’s trying to paint him as potentially cruel, potentially suspicious, potentially abandoning his people, look how worried our heroes are about this secret decision he’s made... when all that requires ignoring some really basic deduction in order to reach those assumptions. Remember that intelligence is a plot device in RWBY. If they want Ironwood forced to spill his secrets, he’ll randomly start talking about them in front of his enemies. If they want Ironwood painted as the villain, the group will randomly be incapable of realizing that maybe, just maybe, something went wrong on the home front and you’re needed there.

Things just get so much worse from then on. The group splits with JNR going off to find Oscar and, admittedly, I was shocked we got that at all. I mean yeah, it’s setup for the final reveal at the end of the episode, but the fact that anyone remembered Oscar was missing---let alone happily went off to find him---was still a surprise. So only Team RWBY heads back to Ironwood’s office where they find him (rightfully) panicking over the queen on his desk. Weiss tries to baby him, acting like he’s freaking out over nothing, when all these characters should recall precisely what Ironwood himself points out: the last time we saw this symbol it was a message that Beacon had fallen. He’s not paranoid here. He’s entirely justified in his panic. Ironwood likewise points out that they may have been duped into bringing thousands of people into Atlas as easy targets and Vine agrees, setting up that the Ace Ops are on Team Ironwood throughout the course of this conversation. Not out of blind loyalty, but because he’s right. That is a concern. That may be the plan. We do need to try and do something about that. Team RWBY, however, isn’t convinced.

That is, until Ruby realizes that the chess piece is made of black glass. Which means Cinder left it. Normally I’d congratulate her on that deduction---it is the one smart move we see Ruby pull this whole episode---but I just hate what follows. Namely that Ruby and Ruby alone controls her team’s opinions on a situation. Again. We saw it back in the snow, then again when Blake announced in the elevator that they’d do whatever she wanted. Team RWBY is the one who blindly follows their leader, not the Ace Ops, the only exception being Blake and Yang going rogue in regards to Robyn, but we see that hive-mind mindset here again. Ironwood brings up a good point? Nothing. Ace Ops support that point with more logic? Nothing. Ruby supports it? Oh, suddenly Weiss and Blake are taking this seriously. Suddenly Yang is fired up and ready to do whatever is necessary. Ruby controls the room. It’s only when she’s on board that her teammates decide this is worth getting riled up about.

Which, as I’ve said before, is a horrible way to write a diverse group. Especially when the writing is trying to paint the Ace Ops as mindless soldiers. For all their claims that they just have to follow orders, they’re the only ones parsing through this situation and coming to their own conclusions. It’s just that their conclusions do end up aligning with Ironwood’s which is the “bad” take in this scene. Team RWBY, however, waits until their leader makes a decision and then simply rides her cloak tails. The day that Blake, Yang, or Weiss legitimately disagree with Ruby---not a token “Are you sure we should keep secrets from Ironwood? We’re not actually challenging this. Just checking in”---is the day the writing will disagree with her. AKA, no time soon.

Blake tries to give some bland reassurance about them all being with Ironwood to which he responds, “Are you with me? How did Robyn know about the global communications tower?” Thank you! Thank you for giving us Ironwood’s characterization back and acknowledging that he has no reason to buy their generic ‘Got your back’ statements when everything they’ve done this volume has proven otherwise. They don’t support Ironwood, only themselves and their own teams. The minute he does something they don’t like he’s chucked under the bus. Too bad the writing doesn’t acknowledge any of this and instead continually paints the group as being justified in their decisions. It’s that hypocrisy again. When the group yells at Ozpin for keeping secrets we’re supposed to be on their side. When the Ace Ops yell at the group for keeping secrets we’re... still supposed to be on their side.

Weiss tries to diffuse the situation with “None of this matters right now!” which is real rich when they were just complaining about Ironwood not telling them why they were called back. They get to worry over that, but Ironwood isn’t allowed to worry about them outright betraying him? “Loyalty always matters!” he shouts back and he’s right. Why should Ironwood trust them to have his back in this crucial moment when they’ve never had it before? I’m already seeing more of this hypocrisy among the fandom. When Ozpin kept secrets and told lies the group was given a whole volume to be pissed about that and fans still, to this very day, insist that it hasn’t been enough time for them to get over it, to regain even a portion of that trust. But now that Ironwood has been lied to and betrayed in the same manner? People are annoyed that he’s not just shrugging it off. How dare you not get over in thirty seconds what our heroes got weeks to work through. His inability to just suck it up, as it were, is used to make him seem irrational here. I don’t see anyone, characters or fans alike, acknowledging that his anger is as righteous as the group’s was out in the snow. That there is the disconnect.

Of course, something has to break the tension. Drawn by all the fury and fear, a grimm pops out of Watts’ bag. A fail-safe for if he was defeated and captured. Salem immediately takes control of the grimm and kills it, using its form to appear before them. She reveals that it doesn’t matter that her men were captured. They were just there to “set the stage,” which they’ve done. Still doesn’t explain the random Penny side plot to my mind (seriously, why did the story bother to resurrect her when she has done nothing plot-wise or emotionally?), but whatever. Much more importantly, the stage is set for Salem herself. She’s approaching with the grimm army we saw her amassing which is... iffy.

First off, why? Why after a thousand years has she suddenly changed her MO from keeping to the sidelines to a full-on attack? Again, what’s the catalyst for that massive change? We don’t know. Meanwhile, from a writing perspective, I’m hesitant about having our Big Bad thrown into the mix before the finale. We know there are plenty of volumes left in this series, which automatically undermines any battle they might have with Salem. Will they win?? Of course not! Because RWBY isn’t over yet. Granted, this could all just be a ruse of some sort. Maybe Salem just wants them to think she’s approaching with an army, which would be much more up her alley in terms of long-distance manipulation. But if not... seriously, what’s the point of that?

Here’s hoping it’s a bluff.

Speaking of manipulation, we get a fantastically creepy moment where Salem tells Ironwood to “simply accept the futility of your situation” while smiling like a kind mother. That’s the Salem who is truly dangerous. Ironwood reaffirms that he won’t give up the relics and Ruby pips up with, “We don’t have to kill you to stop you.”

Hey wait. I’m gonna give you all another graphic.

This is Ozpin’s stance! This is his plan! His version of hope! We spent all of Volume Six having the cast beat on him for, “Omg Salem is immortal?!” and with the exception of Nora’s comment, no discussion of this in Volume Seven... but now suddenly Ruby is making this announcement? The group came to this revelation sometime off screen which we a) don’t get to see and b) once again created no scenario in the form of, “Wow! Ozpin was right all along! Maybe we should go talk to him...”

I’m just... wow. The number of times the writing takes what the group and the adults do, the exact same perspectives and decisions, and twists it so that the group comes out looking like heroes and the adults look like misguided, unhinged fools who need to be put in their place... I’m really over it at this point. And by extension the group themselves. Their characterizations have been so badly mangled at this point I legitimately don’t like them as people. I don’t care if they say they want to protect Mantle, or if they say they’ll support Ironwood, or if they say they’re unsure about their choices. All their actions claim otherwise.

Rather than grappling with the huge revelation that the group is apparently no longer obsessed with Salem’s immortality (or rather that Ruby isn’t. The rest of the group doesn’t actually matter. As established, they sync up with her beliefs the second she announces them), we return to Summer Rose. Salem goes, “Your mother said those words to me” and Ruby... loses it? What? I would have been 100% on board with this if we’d gotten it last Volume because then we saw Ruby losing her cool periodically. The smashed alcohol bottles. Chucking her scroll. Screaming at Qrow. That was all building to something. But then we had a year and roughly twelve episodes of normality. Ruby jumps into her fight with Cordovin and has been fine ever since. Hell, she’s been bubbly and confident, goofing off with Penny in one episode, then giving strong orders to her team in another. The one time we see her falter was in her conversation with Qrow and he reassured her completely that she was both doing the right thing and in no way comparable to Ozpin. Now, suddenly, one line from Salem and Ruby collapses? Full on incapacitated? I could buy the crying while still standing strong, I could buy a collapse if we’d kept her characterization going from Volume Six, but this kind of reaction in this context just felt so extreme. Doesn’t help that I really wasn’t sold on the voice acting here. Those cries sound less like devastated sobs and more like weird hiccups. Not to rag on Lindsay. On the whole I think she does a really excellent job as Ruby, it’s just this particular moment didn’t read right to me. I didn’t feel Ruby’s supposed grief here.

So that was... a lot for one line from Salem in a volume of otherwise confident and cool-headed Ruby. We also don’t see it amounting to anything, as per usual with RWBY’s writing. Ruby isn’t out of commission for the rest of the conversation or anything. She pops right back up after a second in Yang’s lap, just as confident and go-getting as before. There was no lead up to this and there are no consequences for the breakdown. Rooster Teeth honestly seems to think they can just chuck random things into the story---Ruby needs to show emotion at some point!---and then just leave it at that, entirely disconnected from everything else around it. Would we have known that Ruby just had her first breakdown of the series a minute later while once again betraying Ironwood? Nope.

Finally, this scene shows us again that the Argus battle was a bunch of nonsense. Ruby’s eyes nearly activate when she’s grieving for her mother, imagining---or perhaps seeing via Salem?---a sad Summer, not a smiling one. Just like her eyes activated while seeing Pyrrha die. Just like they activated when Blake was nearly killed by the Apathy. They activate now while thinking about her mother’s death. The montage of happy moments in lieu of the sad ones not working last volume was entirely out of place.

Salem finally leaves. Now everyone is panicking about this army. Elm points out that they’ll know if anything approaches. Vine checks and realizes that Watts took out their perimeter. Either that or Salem has already destroyed everyone and everything out there. It’s impossible to know. During all this Blake asks if the Amity tower is actually finished and we get more nonsense about how Ironwood is evil for telling a lie, but the group is always justified in telling theirs. The writing really tried to compare Ironwood telling Mantle---who I guarantee 100% does not care about whether a communications tower is finished while they’re getting attacked by grimm---a lie to lure out one of their biggest threats to Blake and Yang going behind Ironwood’s back to tell a potentially non-trustworthy outlaw about said tower, risking that the information would fall into the wrong hands and doom the project before it could be completed either way. Those are not in any way comparable situations, yet the writing really has Weiss going, “General Ironwood?” in a ‘How could you betray us like that?’ tone while Yang continues to look pissed.

And as if they didn’t know! How is this a personal betrayal? They were all helping to build that tower. Surely they’d know it it was that close to being done. Again, critical thinking skills, people. Anyone with two brain cells and their insider information should have looked at Ironwood’s announcement and gone, “Oh, that must be a bluff. Just a few days ago we were arguing about whether to continue taking resources from Mantle. No way is Amity ready. He’s going after Watts. Who is indeed the much bigger threat. Considering that he has control over the entirety of our technology and there’s literally no downside to telling Mantle about a finished tower when they’re getting devoured by grimm.” This is another, “But lying is wrong!” in the face of “But lying kept us alive...?”

Does everyone get what I’m saying here? How RWBY takes these situations and tries to paint them in an absolutely ridiculous light, expecting the audience to blindly accept this perspective despite everything else they’ve seen for themselves? Like, two episodes ago? I swear I’ve never encountered writing that treats its audience this badly. Scene after scene relies heavily on the viewer having no ability to think for themselves. Just accept that Ironwood is a horrible person for lying about the tower even though there are no repercussions for that and we JUST watched him defeating Watts as a result. Like, five minutes ago. That just happened. In this episode.

Ironwood then drops the bomb that Winter has gone off to claim the Maiden power. Interesting development. I wonder what that means exactly. Is she just going to lock herself away until the Maiden dies naturally? Do they have her on some sort of life support and is there an agreement to pull the plug if necessary? Are they going to use a machine similar to the one Pyrrha was in and try to force the change early? Or is this just a misleading comment and Winter is merely off to protect the Maiden, no intention of taking the power now? Who knows. We’ll have to wait until next episode to find out.

Ironwood likewise announces that the staff and the lamp need to be locked away now that they’re compromised, even though they’ve been compromised since they first saw Tyrian in Mantle. Insert another [this scenario is so stupid and contrived] explanation here. It’s made worse by Ruby’s childish “You said we could keep it.” Excuse me? What, did you think the lamp was your personal property now forever and always? Is Ruby really sitting there arguing that something Ironwood told her weeks ago trumps the obvious logic of putting the relic where it’s somewhere safe? That’s the characterization we’re going for, a leader who cares more about, ‘But you said we could have it!’ over the fate of the world? What even is this? The fact that Ironwood has to explain to them that the situation has changed just reinforces the group’s overall attitude. That is, one of arrogance and importance. They literally need to be told why putting the relic in a nearly impenetrable vault is better than letting them have it just because they want it. Plus, you know, they lied about the lamp from the start. So there’s that too.

Finally, Ironwood reveals that Amity was originally a plan of Ozpin’s but he didn’t push it far enough. Instead, he intends to use the staff to lift all of Atlas instead, hopefully taking two relics and a Maiden far out of Salem’s reach. Ruby wants to use the tower for its designed purpose instead, which is only a valid option in her mind because the writing was stupid last week. If there had actually been any logic there---if people had been allowed to react naturally and in a variety of ways to the Salem announcement, rather than a super convenient “Yeah! Let’s all work together!” across an entire, panicking city---she wouldn’t be quite so eager to tell the whole world. But we all know at this point that logic bends to the protagonists’ whims, so Ruby wants that same perfect ending across all of Remnant. She stands her ground, as does her team. Obviously.

Meanwhile, the Ace Ops aren’t just following Ironwood’s orders like the writing wants us to think via Harriet’s earlier comment. Rather, they’re each thinking through the situation for themselves and making very good points. If Salem has taken out our perimeter than we know our tech and people don’t stand a chance against this army. We just finished up the fight in Mantle and none of us are in a position to start another. Notably, Harriet brings this up, the one whose aura took a massive hit while nearly getting crushed underfoot. Vine points out that sometimes you have to lose a battle to win the war, but Team RWBY, to be blunt, simply doesn’t care.

I’ll be blunt myself here too: I don’t have an easy solution to this particular scenario. I don’t know what the “right” or the “wrong” choice is. Weighing starting a fight with VERY high stakes you’ll lose against abandoning the people of Mantle is just a straight up horrific decision. Like so much of what Ozpin faced, there is no clear-cut, good answer here. Do you stand by the people and risk the world, or work to save the world and doom the people? I don’t know and I do commend Rooster Teeth for writing a difficult choice... just not in giving each side the weight it deserves. Because as said, we’re meant to root for Team RWBY, always. Theirs is presented as the “right” choice every time, despite the fact that, as established, this is far from a black and white decision.

What frustrates me the most is when faced with all of these logical and very important considerations (we might not have backup, we’re in no position to fight, if Salem gets the relics and another Maiden the world is screwed) the group won’t even acknowledge these things. They’re so set in their own perspective they won’t even give these HUGE concerns the time of day. Rather, Yang shoots back, “You can’t just back down from a fight!”

That’s it. That’s the group’s problem in a single line.

This is what got Pyrrha killed.

It’s something the group should remember. She also insisted on fighting when she should have retreated and, since this was back during the days when characters actually faced consequences for their actions, it cost Pyrrha her life. Granted, going after Cinder was a truly useless endeavor. Pyrrha achieved nothing with her sacrifice. Here, Team RWBY hopes to save the people of Mantle, adding a clear justification for their insistence on fighting... but this is nevertheless indicative of that larger “punch it until it stops moving” mindset. It’s not that they decide to fight instead of retreating that’s the problem, it’s that to their mind fighting is the only option. Ever. This is what led to them attacking Cordovin and destroying Argus’ mech, drawing a massive grimm in the process. When faced with the option of backing down, Team RWBY doesn’t consider that an option at all. Which is heroic when up against an actual enemy, far less so when you’re facing an ally and the choice to fight has serious repercussions attached to it. Hell, the group doesn’t even consider compromises. They could have easily acknowledged that collecting the relics, the Maiden, and getting the staff to work on Atlas will take time. You do that while we focus on evacuating the rest of Mantle to the city. But no, even the concept of a compromise simply isn’t possible. You just always fight. Straight up. Anyone who suggests anything less isn’t a true huntsmen. “We’re loyal to the people!” Ruby shouts, as if “the people” doesn’t also include the rest of the world that Ironwood is trying to save and that they’re endangering by keeping the relics and Maiden within Salem’s reach.

That is one messed up perspective to tout in a story infused with the complex and the morally gray.

The real kicker though? Ruby’s ‘My way or the highway’ attitude obliterates a solution that fell straight into her lap. Jaune calls and says straight out that they have another situation. If Ruby had listened to her teammate for just three seconds they all would have learned about Oscar, thereby undermining Ironwood’s plan. He can’t keep the lamp safe if he doesn’t know where it is. You look for it while, again, we evacuate Mantle. Then we take everything out of Salem’s reach. Win-win. Instead, Ruby blasts her way through the situation. Literally, dodging Ironwood and hiding behind his desk shouting a highly bias version of his plan in the hopes of getting everyone on her side. And it works.

Because those like Clover don’t get to hear any of that context. Like how the perimeter is gone, there’s an army potentially coming, no one is in a position to fight, we’ve already lost a relic... they just here a Ruby’s version of events that paints Ironwood as the callous man Robyn thought he was---oh my god he’s abandoning Mantle for no good reason!---and people will react accordingly. Ruby likewise doesn’t care that shouting such information over all channels does things like, say, clue Tyrian into their plan. She just wants to do things her way, right now. Pausing to think (because thinking isn’t fighting) simply doesn’t happen.

I used to adore Ruby as a hero. Someone who was intrinsically good, hopeful, and wickedly clever in her ability to come out on top. Now she’s stubborn, arrogant, at times cruel, and charges in headfirst like her sister, refusing to consider any perspective other than her own. And her team endlessly supports that. The writing endlessly supports that. This isn’t our hero working through her flaws, but rather a flawed character that the writing refuses to acknowledge is flawed. When Ruby flies behind Ironwood’s desk the music rises triumphantly, just like it did when she attacked Cordovin’s mech. When Ironwood announces that they’re under arrest, Ruby spits back, “We won’t just let you take us” and we’re supposed to cheer.

Which brings us back to the question of whether the group really faced consequences here. Let me give you all a random, non-RWBY example of two scenes. Scenario One:

Parent: You punched her?

Teen: She insulted me!

Parent: I understand that, but that doesn’t mean you were justified in attacking her.

Teen: Oh, I was.

Parent: Maybe you were, maybe you weren’t, but you can’t solve all your problems that way.

Teen: I... I know that, okay. Back off. I just get so angry...

Parent: I know. We’re going to work on that. You’re grounded this weekend. We can discuss this more then.

Teen: [sighs] Fine.

vs. Scenario Two:

Parent: You punched her?

Teen: She insulted me!

Parent: I understand that, but that doesn’t mean you were justified in attacking her.

Teen: Oh, I was.

Parent: Maybe you were, maybe you weren’t, but you can’t solve all your problems that way.

Teen: Screw you! It worked didn’t it? I think a good punch goes a long way.

Parent: That’s not... okay look. You’re grounded this weekend so---

Teen: Like hell I am. [Proceeds to run off]

Teen: [Later to friend] ---and then she tried to ground me? Can you believe that?

Friend: Holy shit what an asshole.

If we put aside my own iffy dialogue for the moment, Scenario One acknowledges the complexity of the situation while likewise pointing out that the teen didn’t handle herself well. RWBY has achieved that here: the ethics of this scenario are acknowledged as complicated, but the group did things they shouldn’t have, as evidence by Ironwood’s anger and the Ace Ops’ criticism. However, Scenario One goes on to let the teen acknowledge that mistake, thereby validating it in the first place. A consequence is set, grounding, and they accept that, thereby further validating that their behavior needs work. They accept the consequence because both they and the writing acknowledge that the consequence is deserved. It takes what was previously two subjective stances---they say I’m wrong, I say I’m right---and encourages the audience to find the middle ground. Neither was totally wrong or right. The teen might be justified in some respects, but still made mistakes in others. She needs to improve.

RWBY, however, steers firmly into Scenario Two wherein the teen (Team RWBY) insists points blank that they never made mistakes in the first place, thereby encouraging the audience to question whether Ironwood and the Ace Ops (the parent) is right to be calling them out at all. We see no humility or guilt, only confidence. Ruby shouting “No!” at Cordovin when she’s told to surrender. Yang keeping silent after admitting that she and Blake told Robyn, not bothering to apologize or admit that this might have been a breech of trust. They challenge the validity of the claim that mistakes were made and by virtue of being protagonists encourage the audience to challenge it too. Finally, we see them reject the consequence because they will not admit that it’s deserved. The teen will not accept a grounding. Ruby: “We won’t just let you take us.” We’re then told by others that this rejection was warranted. The friend reinforces the view that the teen was right to run because that punishment is undeserved. The message is, “You never did anything wrong in the first place.” The plot of RWBY likewise reinforces the view that resisting Cordovin’s arrest was right by having her randomly let the group go. The consequence is replaced with a reward and, presumably, we’ll have a similar situation wherein the group either defeats the Ace Ops or is released by them. The consequences never take hold because the writing doesn’t think there should be consequences in the first place. Team RWBY isn’t going to be arrested here. They’re certainly not acknowledging that on some level they deserve to be. We didn’t see that humility while they were cuffed on the airship---that most basic acknowledgement of, “Did we make some mistakes? Could we have done something better? Is Ironwood right to be this mad?”---and there’s none of it now here, either. The tone is pure, “How dare you try and arrest us? We’re the good guys here!”

This remains as pro-protagonist as it has been the last two volumes. There are no consequences, only another hurdle for the group to overcome, painted as heroes for doing so. It’s Team RWBY vs. The Ace Ops and there’s no confusion about who we’re supposed to be rooting for. The Ace Ops because the group should rightly be stopped from hindering Ironwood’s attempts to keep the relics and a Maiden out of Salem’s hands, for their own lies and secret keeping that endangered them all this volume? Nope. It’s Team RWBY as the presumed heroes, facing off against soldiers who (supposedly) prioritize orders over what’s “right.”

And yeah, Oscar is gone. There are a number of dismantled robots and blaster fire in the room where Neo presumably took him. So unless they do a flashback we don’t get to see if/how Ozpin reacted to this initial attack. I hope they do provide a flashback because otherwise that’s another crucial scene of Oscar’s that happened off screen...

Can’t wait to see what else we’ll end up with next week! Until then, 💜

#rwby #rwby volume 7 #rwby volume 7 spoilers #rwby recaps #mymetas

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semi-imaginary-place · 3 years

Text

rewatching decadence

ep1: so... indoctrinating kids that they life their life in service to an upper class. also like, the way deca dence takes care of giant gadoll is to punch it like no giant sword or laser canon or anything just the power of a giant mountain sized fist. this show actually has some good foreshadowing from seeing Natsume from the perspective of Kaburagi’s hud, to Natsume’s dad (Muno) finding the Solid Quake logo at the beginning of the episode and the logo again being shown in the last shot at the announcement signs off with have a profitable day which is a weird public safety announcement but makes sense as a company slogan. I’m still not sure what the “TIME 1:00 POINT SE,07,G” means. I didn’t write it down last time because I was unsure of myself, but my first thought when the cyborgs showed up was VR chatroom for the upper class.

ep2: yeahs that’s totally an advertisement that plays right after natsume realizes the human costs of war as the tankers pay respects to the fallen. I realized what it was with the cartoony designs, the bright colors and patterns, the funky shapes of all the structures aboard the space ship, it looks like a tv show for toddlers. inoffensive and deliberately cheerful to distract from the horrors of a corporation owning your person. the eng subtitles are confusing here it should be “real death(simulation) awaits” in that the company is advertising being able to experience death but not have any of its permanent consequences as a feature of the game. The cyborgs are corporate wage slaves being compensated for their labor in company credits and the only other things we seen them do outside of work is play the company’s mmo, or recreational drugs. “I should be proud of my function and to be scrapped” as property of the company. aaaa that’s terrible. aaa. what are cyborg cores??? and why are they valuable. Solid Quake has no control over the core, only the cyborg’s housing. Is it that they cannot produce more? Considering the others on the team got executed for sentenced to an eternal forced labor camp with appalling conditions, Minato really did pull some strings for Kaburagi. ooh so “time until scrapping” and “operational limit near are two different warnings. the first is a general reminder of lifespan and the second is because oxyone levels are low. now its “TIME 20:00 POINT SE,05,I”. all those new gadoll events probably wreck havoc on the tanker economy. its 400c now and i think it was 500 for 2 earlier. First time through I wasn’t paying attention and totally thought kaburagi was an assassin, but no he’s just clean up crew. ahh yes, come spend you wages at the company run stores. micro transactions... wait so where were people getting the number 13 from?

ep3: ah yes Solid Quake charges to use the media center, truly a micro transaction hell. Natsume’s character arc is about whether to push herself or not. Here Fei acts as part of a continuing dialectic saying that Tankers have no place outside of Deca-Dence, that sooner of later Natsume will die from it, and once again highlighting Natsume’s right arm. In the other level of this though, tankers shouldn’t go outside because that’s not their role in the solid quake mmo, and those who would disrupt the mmo are killed. I like how you can see Kaburagi switch from videogame logic (oh she’s low level so let’s just stick her in the tutorial zone) to real life (what skills and experiences would help in fighting). So several corporations took advantage of desperate people to sell them a service that would augment them with mechanical parts. I get that pipe in a little outfit is funny, but does no one really realize its a gadoll, i meant natsume recognizes it instantly. like the scene where Natsume talks about her right arm, the anime does a good job of showing how her feeling about it are complicated. She’s lived with that arm for years, but it also hinders her sometimes, and people will comment about it. there’s this specific type of humor that pops up in this show and given how its the same joke, my guess is that its the same person behind it. The “joke” being that Natsume is put in a position that references sexual assault. The first is with fennel where she makes up an excuse of having to go see kaburagi to get away from him. And then there’s this episode. There’s also a few stray lines here and there that alarm me in that they imply Natsume has dealt with the threat of assault before. Since they didn’t do anything meaningful with this, I’d rather it just not be there. Minato is in on the secret of Pipe’s existence and by the way the two talk, they’ve called each other before in the last 7 years. Its good to know that Kaburagi wasn’t JUST brooding for 7 years and that the two of them stayed in contact.

ep4: Natsume after having gained confidence in herself takes down several gadoll and earns her place in The Power. Its a fulfilling payoff after seeing her train for several episodes. Natsume is where she always wanted to be, fighting gadoll in the Power. gahh It really is a patch release trailer. Ohh so I assumed that the other structures on the cartoon earth were other corporations, but in this episode we see one of them (the white and red striped cone thing opposite the deca-dence dome) and the cyborgs there are talking about the game (MMO LARPing lol), so either Solid Quake owns multiple of those structures, or these cyborgs are customers not owned by Solid Quake and playing of their own volition. that would makes the cone cyborgs where solid quake is deriving its profit from since its not like it pays its workers. reading comments online, a lot of people missed that because a ranker was found to be cheating (mikey), the rankings were abolished. In the present time, gears/players are not ranked. Ah so Kaburagi was transferred to the maintenance department from the warrior department. Wow reassignment is so much better than the poop jail. I remember it being said, armor repair, doctor, and weapon shop could be employee(cyborg) run so I wonder if the medics and that one armor shop guy are tankers or not. So this anime already snuck in a sex joke with the when the poop gang swapped kaburagi’s avatar with a sex toy, so i wonder if the safetyprivatemode was made so that the mods wouldn’t have to listen to robot sex. I really wish this show could have had 24 episodes. The trend for the past 20 years has been shorter and shorter shows so I know it would have been likely impossible to get the clearance and funding for 24 eps but oooh in som alternate universe maybe... i brought up fleshing out minor characters and character relationships before but there also stuff like Natsume’s right hand almost clamping on ... Mindy? Which usually would be a narrative flag but is completely dropped because of the episode limit. And the confidence Natsume gained last episode come to work against Kaburagi trying to keep her from the suicide mission. Its only from this point on that Kaburagi starts to really change, as of this point he is still a loyal cog to a machine that does not care about him. Kaburagi and Natsume in the 2nd half of the episode continue the same dialectic that runs through the whole of the show, about giving up and learning to try again, about pushing your limit, about why someone bothers trying. On the collectivist versus individualist spectrum, Deca-Dence is on the individualist side with assertions of the importance for deciding for yourself what you will do with your life. Its an interesting counterpoint to The Twilight Mirage (Friends at the Table) which I am currently listening to in that The Twilight Mirage is a western production and strongly collectivist with one of the antagonist being sort of kind of an embodiment of independence/individualism while japanese works as a whole tend to be more about the whole over the individual than western ones. Kurenai talking about why she fights is very good and very important for 2 reasons, first it help flesh out not only her but offer a very needed other opinion on what its like to live as a Tanker, second it segues nicely into Natsume’s memories of her dad telling her about the outside world and him being the only one to believe she can do it (fight in The Power) as contrasted with flashbacks of all the other characters telling her she can’t. This culminates in Natsume gathering her resolve to fight not because of something grand like changing the world or the fate of humanity, but something very personal scale: changing herself and proving to herself that she can do it. The is also the climax of her character arc, the point of no return.

ep5: If last episode was natsume’s point of no return, then either this episode or episode 7 is Kaburagi’s. Rationally speaking, the optimal scenario would have been for Kaburagi to stall long enough for the Tankers to escape before pulling back himself, but emotionally and narratively, there’s no way he couldn’t. After all the build up of deciding for yourself how to live and pushing your limits. Its appropriate that here in defense of the girl that inspired him to live and choose for himself rather than just continue existing in the default of what Solid Quake demands of him, that Kaburagi chooses to release his operational limiter (literally pushing him limit) and derail the company’s plans. How did no one realize purple dude was breaking imprisonment to play on a hacked avatar. Like he’s still as purple and bloodthirsty as ever. He acts and speaks the same. Someone would have totally seen him and gone “eyyyyy [i forgot this guy’s name] is back” and talked to people about it and someone should have heard. So I remember reading comments from various idiots who were mad because they mistakenly thought the anime took place in a virtual space and that Natsume was made of lines of code. And first off even if that was true there’s a difference between objective reality and the lived experiences of a person and what’s to say her experiences and emotions would be any less real than yours. And second, did everyone forget The Hunger Games? Like its just another game that plays with real lives and doesn’t care who gets killed. Solid Quake is just using humans as a stage prop. Man this episode is jam packed. Its like getting punched in the face 4 times. The pacing of the last 4 minutes was really good. The quiet scene as dawn breaks acts in direct contrast to the high energy of the Stargate takedown that preceded it. After time and against not listening to him, Minato still calls Kabu to check in with him. There’s also his certainly that it was Kaburagi that saved the Deca-Dence mech (i need to be clearer when I’m talking about the physical fortress city mech, the mmorpg game, or the deca-dence system itself). And then when the world state gets reset is just so good because it make it clear that the gadoll were never the true enemy. The tankers could kill as many gadoll as they want and nothing would change. Kaburagi’s at an interesting point here, in that he’s no longer in a state of having given up like he was in episode 1 just waiting to die and following along with Solid Quake’s orders, as of this episode he has deliberately gone against the company’s rules, and yet he’s still believes that nothing will actually change. He’s broken a rule and resigned himself to punishment instead of say for example getting rid of the punishment all together. He’s still a good little employee that hasn’t rebelled against the system. And then the “Take care of Pipe” and Natsume turns around and he’s already gone, is sooo good. The final shot too of his avatar face down in the snow! The “This world needs bugs” is in direct contrast to Hugin/Fugin(?) repeating that this world must be rid of bugs, and the same phrase Kaburagi repeated 7 years ago when he was transferred to the Maintenance Department instead of being killed. I wonder how much the cyborgs feel in their original bodies vs. how much they feel in their Gear avatars. Kaburagi doesn’t seem to care about food and no food stalls were shown in the Gear area so maybe they doesn’t have much sense of taste? The avatars also have a lessened sense of pain. And then the limit release sequence shows connections increasing between the two bodies so does it make the cyborgs more attuned with the avatar’s senses?

ep6: eh so this is another example of what I mean when I say some of the humor in this show is in bad taste. They probably put the oxyone port where the ass would be just to make this joke. But this is better then doing to it Natsume. The animators even had a gleam censor for the over where the capsule was inserted as if it wasn’t obvious enough what it was suppose to look like. Spurned on by the the promise that one day if they work hard and behave (”rehabilitated”), the cyborgs will get let out when in actuality its a forced labor camp so that Solid Quake can squeeze just a little more labor our of the cyborgs for even less compensation. The cartoony style here helps offset just how horrific there working conditions are. And Kaburagi still the good little employee (iiko) tries his hardest to play by the rules and win. Except in this game, there is no “win’ written into the rules. So finally he is forced to move outside of the system Solid Quake has made. I still can’t believe they let Donatello keep the gun... Maybe cyborg cores are brains. In 5.5 Kaburagi’s core is in the top half of his metal case, and Donatello’s is also in his head. I’m still not sure what that sequence where Kaburagi takes the head fin and an image of a cyborg core is overlayed, means.

#deca-dence #deca dence #anime #i think too much #reviews #writing

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cherry3point14 · 4 years

Text

Stranger Than Fanfiction: Ch 6

Series Masterlist

Pairing: Dean x Reader Warnings: Not much except for the dangers for staying up all night. And Meta. Word count: 1,900. Chapter Summary: Fanfiction is not your friend. A/N: I am very sorry but like all my writing we are in that awkward middle where we have to hang on for dear life and hope the writing improves by the end.

Ao3 if you prefer

You hadn’t gone looking for it, the story. Your new online friend sent you a link. Innocently. Casually. Like she wasn’t going to absolutely, swiftly, and utterly change everything.

It was only supposed to be a story.

You had tried to explain as gently as possible that you weren’t reading fics anymore but she'd sent you the link anyway, in case you changed your mind. She hadn’t been holding a gun to your head or anything, you didn’t have to click it. You could have let it sit in your little inbox till the end of time. She’d mentioned that you might like this story is all. This person, the writer she linked you to, was well known and pretty good. The stories were, her words, one of a kind. It had been late, you’d already been tucked up in bed and unable to sleep. The blue light from your phone was doing very little to help with the whole getting to sleep thing, but really, it’s Friday night. No harm, no foul.

Your bedroom was the perfect temperature, your blankets were the perfect weight over your body. Everything was soft and cocoon-like, the ideal place to hide from the world while you read something you’d promised yourself you wouldn’t. More fanfiction.

The first story was twelve chapters and you devoured them. Your new friend had been right. The story was brilliant. If you hadn’t known better this could have been another unpublished book, albeit shorter than Supernatural books usually are. There had been a vivid interaction between Sam and Dean finishing each other's sentences that felt bone-chillingly real. Probably because you’d seen the real them do the exact same thing in front of you a few days ago.

Well written fanfiction is not the issue. Nor is the fact that you’re reading fanfiction at all. The crazy, unbelievable part came down to four familiar words.

Little did she know.

If you remembered anything it was those words. They had haunted what nightmares you’d had since you heard them a week ago. Those words were the reason you jumped easier at every sound or movement.

Then you’d read them on the screen. Little had that character known that she wouldn't make it past the week. Alone those words weren’t irrefutable proof, not enough to convict anyway, the rest of the story might be. The way it was written. It was like you could hear the words in your head again, a different song sung in the same voice. An echo of what you heard most days since that first Friday in May.

Only when you get to the end do you dare to even think your suspicions.

There’s no way. It’s impossible.

The clock at the top of your phone tells you it’s nearly one o’clock in the morning now. You hadn’t devoured that first story as quickly as you thought. Maybe you’re tired. That’s what was causing this delirium. Tiredness was sending you further and into the realms of crazy. Crazier than the voice or the Winchesters or the fact that a shapeshifter is killing people.

It’s beyond deranged. It’s insane, it’s… it’s… unbelievable.

Your life, what you’ve been hearing, it can’t be just that; a story. It’s supposed to be in your head. Sure, everything you'd heard had been strung together like a book but it’s not actually being told. It’s something in you, broken, you needed an MRI. Or a therapist. You read too much, that’s all. You have too many books in your memory.

It would be easy to turn your phone off now. One a.m. That’s sleeping time. Your eyelids are heavy and it’s a struggle to keep them open.

But you click the link that says Masterlist anyway and see a post for something in progress at the top of the page. Till Death Do Us Part.

The synopsis alone makes your throat dry and your heart stop.

Y/N spends her days on paperwork and procedure. In the worst days of people’s lives, she is the full stop at the end of the sentence. When a loved one is lost, she replaces the irreplaceable; by completing the insurance claim. Her work sits on the outskirts of tragedy, far away enough that she pretends to have a normal life. But when she discovers two men attempting to steal her job out from under her? Everything changes.

The room is quiet enough to hear a pin drop. Gravity has forced you deeper into your pillow to the point where you couldn’t get up, couldn’t move, if your house caught fire around you. It’s a comfortable prison but you’re still trapped all the same, which only leaves scrolling, clicking, and reading as your options.

Yet your thumb is slow. It’s the only part of you that can move but you can’t bring yourself to do it too quickly. You suddenly can’t sleep either and indecision starts eating at you.

It might be an hour before you click on the first link—chapter one—it might be thirty seconds. The chapter eventually loads and when you do start skimming the words something steals the air from your lungs. A single line stands out to you, black letters on a white background that will haunt you for the rest of your short life.

This is a story about Y/N Y/L/N.

The early morning sun starts to leak through the gap in your curtains, sending a slither of light into the room. It slices over your bed, your arms still holding your phone and your face. It's not particularly bright but it's enough to inform you that you haven't slept yet and you paw at your cheeks to wipe the tears from them.

Six chapters out of ten. There are six chapters online for anyone to read. Every facet of your life. There’s so much more than the words you'd heard in your already. Entire sections where the real you deviated from the path, because the you that is being written about has no idea what’s coming. She has no idea that she’s going to die. Or that you both are.

When you’d first heard that you’d run home in a panic but in the story you never did. You sat at your desk and worked mindlessly, made small talk with Harry about his weekend plans. You’d carried on living.

The invasion of your privacy is not the reason for the tear tracks blotting your face though. No, you'd cried for two reasons. Frustration had been what made your chin wobble and your eyes sting. What you were reading is what knocked your resistance enough to feel the wetness on your cheeks.

It's poetic. The irony of this character only learning to really live in her final days, without knowing it's her final days. The foreshadowing and tragedy perfectly littered throughout. You may think you're better off knowing except what did you actually know? The only thing you know is the same thing everyone on the planet knows; death is coming. Yours is sooner than you'd like, sure, but you still had no idea what was coming at all.

You're not a crier, not pretty prose alone, but this isn't a character. It's you. The implication of sad, wasted days were your choices, your time, your shell of an existence.

You wouldn't have even thought your life was that ordinary until you'd read that it was.

So, you'd read. Over and over again as if you can will the ending to appear by memorizing whatever has already been posted. Sleeping was second hand to re-reading. You'd thought back to everything before this and your love of a good mystery, convincing yourself that you alone could find the clues. That’s where the key to solving this was. Hidden to anyone else but you.

Now you know every word; the good, the bad, and the ones you already heard in your head. There’s nothing. No glaringly obvious tips or hints anyway. Nothing that makes you sit up dramatically because of a fact only you know about yourself. Then again—you're reminded by the promise of an update soon—it’s still in progress.

The answer hits you between your eyes.

This story is in progress. It’s not a product of your mind anymore, it's being written by a human being. Although you have no idea how you are hearing it, or how she’s controlling you. Or if she brought you into existence like a monster from the books. There's still hope. She’s a person typing on a keyboard.

People can be stopped. Keyboards can be smashed. Stories can go unfinished.

You click back to her main profile and see her name. Emma. Your author has a name now, all the better to find her.

Emma. Iowa. That doesn't narrow it down much further. The only other slightly identifying piece of information on her profile is her age.

There's one thing Emma has gotten right in everything she's written so far, you have changed. Imminent death will do that to a person. Old you would have given up, let defeat win out. Luckily you're not that person anymore.

Not everyone is as honest as you would like when it comes to insurance. Sometimes you need to treat things like fraud because they are fraud, so you already have a friend who has dug up information for you in the past. With a lot less to go on.

Hi Stan,

It's been a while but I was hoping you had time to check something out for me. I'm looking for an Emma, 34, Iowa. I also have a link to her blog below. I know it's a long shot but if I can get a phone number, address, anything. You'd be doing me a huge favor. Are normal fees ok? Let me know if you're busy or if anyone else can do this for me.

Thanks,

Y/N

The email is brief but once your phone makes that tiny woosh sound to signify it's sent you feel comforted. A small semblance of relief wraps you up like the blanket you still have tucked under your arms. For the first time, you're not blindly trying things and hoping to solve the problem. You may not know how this is happening but you're being proactive with the facts you have. If your off the books P.I friend can actually find this woman then you may have an honest to God shot at preventing your own death. You might even get her out of your head to boot.

You check the time again, even though it's six a.m. you're finally tired enough to close your eyes.

Continue to Chapter 7.

5eva tags: @divadinag @darthdeziewok @fluentinfiction @witch-of-letters @supernatural-teamfreewillpage @magnitude101999 @alexwinchester23 Dean babes: @thewinchesterchronicles @akshi8278 @bloodydaydreamer StrangerThanFiction tags: @jaylarkson @starsandmidnightblue

#dean x reader #supernatural fanfiction #spn x reader #dean winchester x reader #spn fanfiction #supernatural #spn #spn fanfic #supernatural fanfic #dean winchester #dean winchester x you #dean x you #dean x y/n #dean dean the soft lil bean

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ace-oreos · 4 years

Text

Way of the Hunter Ch. 1

After MANY days of writer’s block, getting distracted by our favorite dorks, and listening to Watch What Happens from Newsies on repeat, @deltaturtle26 and I are super excited to share the first chapter of a fanfic that’s been a long time in the making!

Side note: I should not be allowed to write drama yee anywhere in the document when I don’t know what to write, nor am I permitted to write jokes or phrases that are actually foreshadowing. I am also forbidden from writing “we’ll just beat him up and see where it goes” in our outline.

We hope you enjoy! Fair warning, it is rather long but hey, plot reasons. I only wish you could see all our ridiculous side notes and comments. I apologize in advance for the formatting; I’ll play around with it for later chapters.

Edit: I added the prologue here like I was supposed to several weeks ago.

The past leaves scars on all of us.

Sometimes you can’t see them. Other times they’re right there in front of your face.

But they are there regardless.

Some are meant to be seen; they tell the galaxy that you lived and you were hurt, but you survived.

Others…

Well, there are others that should stay hidden.

“Why are you so stubborn, Sarge?” Tech asked, looking puzzled and mildly amused by Hunter’s continued struggles. Even Crosshair hid a smile at the sight.

“‘M not stubborn,” Hunter insisted, gritting his teeth and trying vainly to wrench his arm out of Wrecker’s grip. “Just - trying - to win.”

“No chance,” Wrecker taunted.

Hunter was convinced that he was going to be minus one arm by the end of this, but it was a necessary sacrifice. Really. He hadn’t spent the last six years telling his squad that he was entirely capable of beating Wrecker just to give up now.

Still, after five minutes with no progress, he was reconsidering his decision to challenge Wrecker in the first place. He strained to keep his brother from forcing his arm down; Wrecker, on the other hand, didn’t look inconvenienced in the slightest. Tech and Crosshair seemed to be losing interest, but Hunter was too far in. He would have bragging rights, at least.

“Y’know, I need this arm,” he grunted a moment later. “I know Wookies pull their enemies’ arms off, but can you leave mine where it’s supposed to be?”

Wrecker just grinned and raised his own arm. Hunter yelped, trying to find purchase in the grass, but he was still lifted bodily, legs working helplessly in the air. “Put me down!”

“Do you give up?”

“No!”

“Then no can do, Sarge,” Wrecker said, plainly enjoying himself.

“How old are you?” Crosshair muttered, rolling his eyes. He clearly had no patience for his brothers’ antics. “We’re on a mission, for fierfek’s sake.”

“We’re not completing an objective right now, though,” Tech reasoned as Hunter let out every curse he knew and some he invented on the spot. “Besides, it’s not hurting anything.”

“It’s hurting my arm --”

“You brought this on yourself,” Crosshair informed him, unamused.

“Hey, pulling someone off the ground is cheating!”

“Who cheats at arm wrestling?”

“Wrecker does, apparently,” Tech observed.

“You never said there were rules,” Wrecker argued.

“Okay, so it’s an unspoken rule.”

“Common sense,” Tech put in helpfully.

“Hunter, you’re the only one who actually invests any energy whatsoever into these things,” Crosshair said in exasperation.

Hunter didn’t bother to respond. His arm was likely halfway out of its socket by now, and he was seriously thinking of a dislocated shoulder. Resigned to the merciless teasing he’d no doubt have to endure, he grumbled, “Fine. I give up.”

Wrecker crowed triumphantly and dumped him to the ground unceremoniously. Hunter spat out a mouthful of grass and glared at his squad. Crosshair, for all he’d feigned indifference, was smirking at the sergeant. Tech stifled a laugh.

“If you say one word --” Hunter started warningly.

“Don’t need to,” Crosshair said drily. “The evidence is right in front of us.”

“Fifth time in a row, Sarge!” Wrecker declared, giving Hunter a friendly nudge that nearly knocked him off his feet again. “You’ve got a good streak going.”

Hunter made a face at him and turned to Tech, trying to salvage what was left of his dignity. “Have you taken a look at that city yet?”

Tech managed to keep a straight face when he responded, “Just getting a sense of the layout now, Sarge. Looks like there’s a number of ways to get in with a small team without the Techno Union noticing. We won’t be able to get in too close with the Marauder, though.”

Hunter shrugged. “Shouldn’t be a problem. It’ll be easier without the ship anyways.”

“As long as we don’t blow our cover again,” Crosshair said pointedly.

Wrecker scowled at the sniper. “That wasn’t my fault.”

“I never said which incident I was talking about…”

Hunter rolled his eyes. “On that note, I’m going to stretch my legs for a bit.” He fixed Tech with a stern look. “If they kill each other, you’ll catch it later.”

Tech just grinned. “You got it, Sarge.”

***

Tech decided to check on his brothers, and found Crosshair fiddling with some ammunition. Of course, he was curious, and stepped closer to get a better look.

“Whatcha got there, Crosshair?”

The sniper smiled and showed him an ammo clip. “Just something I picked up on our last shopping run.”

Tech stared at it for a bit, puzzled as to why his older brother seemed to make such a deal over extra ammo. Granted, he was the team’s sniper, so it really wasn’t any surprise that he enjoyed sniping or took good care of his weapon—one that had helped them survive and accomplish missions and other tasks on various occasions—but this particular thing was odd.

“You restocked your ammo supply?”

“These are no ordinary rounds, Tech. I believe these will help us tremendously in the future.”

Tech leaned forward, curiosity piqued and eager to learn more. “Really? How so? How are they different?”

Crosshair turned the clip around in his hand then tossed it to him. “They pack far more of a punch than most other ones. The next time we deal with tougher opponents, like supers or small vehicles, dealing with them will be a breeze.”

“Fascinating!” Tech exclaimed, examining the clip in his hand. “How much were they?”

The sniper looked away and remained silent.

“Crosshair,” Tech said slowly, “if I check our balance and find you’ve spent most of our credits -”

“I didn’t!”

Wrecker chuckled awkwardly. “Actually, I think I did.”

The short clone let out a squeak then hastily replaced his helmet in absolute irritation before handing the clip back to the sniper and walking away.

Hunter still hadn’t returned, but Tech wasn’t worried. It wouldn’t be the first time his brother needed space before the real madness broke loose.

True to his word, Tech continued to keep an eye on Crosshair and Wrecker. There was no way of knowing what might happen when they were left to their own devices. The Techno Union was completely unaware of their presence, and Tech preferred to keep it that way.

He sat down beside Wrecker, keen to look at the Techno Union’s latest movements. They still claimed neutrality, but the latest intel indicated a worrying streak of Separatist leanings.

Wrecker took one look at Tech’s datapad and yawned pointedly. Without bothering to glance up, Tech said, “If you’re not interested, go check the perimeter.”

“Droids aren’t stealthy,” Wrecker grumbled, but he pushed himself to his feet. Before he took more than a few steps, however, Hunter reappeared from the trees.

“Don’t bother,” he called. “It’s all quiet.” He gave Crosshair a friendly nudge with his elbow as he strode past and winked at Tech. “You can save those rounds for later, Cross.”

Crosshair merely rolled his eyes with a huff. Tech hid a smile and returned his attention to Hunter. “We’re all set to infiltrate the city, Sarge.”

“Good,” the sergeant replied. He settled next to Wrecker. “Get some sleep. I want to take the city tomorrow.”

“I’ll take first watch,” Tech offered.

After a few minutes, he recognized Crosshair’s light steps approaching. His brother sat beside him without a word. Wrecker joined them soon after.

Tech shook his head. “Shouldn’t you be sleeping?”

Wrecker smiled sheepishly. Crosshair just shrugged and said, “Yeah, well - ”

He broke off at the insistent beeping of Tech’s comm. Puzzled - Hunter was dozing just a few feet away - Tech exchanged a look with Crosshair and activated it.

“Execute Order 66.”

Upon hearing those words, he suddenly felt… different. But a good different.

He blinked, then turned to face their sergeant, eyes narrowing. He knew what he had to do.

“It will be done, my lord.”

Beep. Beep. Beep. Beep. Someone’s comlink was chirping.

Order 66.

Hunter was clueless as to what that was. Why would they be given an order they didn’t know? Tech acknowledged it, though; perhaps he knew.

Shaking his head to clear it, Hunter approached his brother. “Hey, Tech, do you know what this order means?”

“Good soldiers follow orders.”

#way of the hunter #the bad batch #bad batch #clone force 99 #hunter #tech #crosshair #wrecker #we're sorry #but not really #heehee cliffhanger #the angst train is coming to town

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eponymous-rose · 4 years

Text

I’ve also further progressed in my Vorkosigan re-read! Memory was as wonderful as I remembered (Illyan and Miles going fishing via improvised hand grenade out of boredom is always a highlight).

I love the way Bujold structures her books---I talked about that a bunch with Mirror Dance---but Memory is just brilliantly laid out. Miles is spiraling, Miles fucks up, Miles gets fired (the closest pop-culture parallel I can think of is a superhero having to permanently revert to their mundane secret identity), Miles’s friends manage to yank him out of the mire, and then... surprise bizarre out-of-sequence murder mystery! The victim’s not dead! Miles keeps finding clues out of sequence and realizing he was meant to be framed! And god, you’re so sure it’s Haroche right at the start and then you have that moment of “oh well shit of course he thinks Miles might have it in for the boss that just eviscerated his identity” and so you’re still surprised when that first instinct was right! And then he offers Miles his life as Naismith back. Even Cordelia placed a bet on Miles giving up his life as Vorkosigan. And... he doesn’t. Mirror Dance was about Mark fracturing himself to survive. Memory is about Miles dragging himself back together to live.

I love how Illyan takes the loss of his memory chip---it’s fundamentally a piece of him gone, but it’s also freedom from thirty years of being a tool of his emperor (and then of Aral), and his embracing this destruction of his identity and learning to move forward is such a great foil/foreshadowing for Miles’s revelation. Everything in this story is about moving forward, not without regrets, but moving forward. It’s so fitting that the romance story going on in the background is Alys and Illyan, two 60-somethings, falling in love (and god, I love the scene where Miles wanders in on them in the morning and thinks something like “huh that dress is more of an evening style isn’t it?” and then like ten hours later the penny drops).

And god, Miles and Elli. I love how this was done, how it’s made apparent that you can love someone, and they can love you, and you can be very good for each other in a lot of ways, but your circumstances can still be such that marriage will annihilate one or both of you. It’s nobody’s fault, but the inevitability and recognition of it means it’s not always a devastation: “He could feel the letting-go in them, with the easing of the tension and the terror, with the slowing of every pulse of their blood. Not pain, or not so much pain, but only a just sadness, a due measure of melancholy, quiet and right.” Even when they’re quite bizarre relationships, the relationships in these books are very mature and well-thought-out from a narrative point of view, and this is a wonderful example.

Just a really, really lovely book:

No wonder he was laughing. He wasn’t mourning a death. He was celebrating an escape.

“I’m not dead. I’m here.” He touched his scarred chest in wonder.

[...]

Harra Csurik had been almost right. It wasn’t your life again you found, going on. It was your life anew.

Aaaand on to Komarr! God! I love this book! The most Miles possible meet-cute for his future wife: board at the home of her family on an investigation, have combat flashbacks on a shopping trip with her, and wind up watching her husband die horrifically while chained to a rail on a planet with a toxic atmosphere, knowing if he reacts too strongly he’s likely to have a seizure that’ll dislodge his own breathing mask, killing him in the same terrible way. You know. Rom-com stuff.

Speaking of relationships portrayed well, Ekaterin and Tien’s disaster of a marriage is extremely chilling in its realism. Even as you absolutely detest Tien, you can see how Ekaterin got yanked into that orbit, and it’s all all all so tied in with the very same aspects of Barrayaran culture that we’ve seen Miles face: Tien destroys everything because of his perception of what the response would be to his illness (where Miles, for better or worse, never had the option of hiding it), and because of his shitty insecurities about Ekaterin’s fidelity (echoes of a young Aral come to mind). We’re given explanations (his brother’s literally impossible-to-live-up-to example) but are never expected to see them as excuses, which is a very fine line to walk. The end result is a believably fucked-up relationship that draws on parallels with every single time you’ve ever thought to yourself about a friend, “Oh god sweetie you can do so much better than him”.

And Ekaterin’s thoughts about being bound to this marriage are right along the lines of the most stick-in-the-mud traditional Barrayaran loyalties we’ve seen Miles exhibit, all tangled up in language about honor. And even though it very shortly (and mortally) becomes a moot point, I love that she gets the chance to decide to leave Tien in spite of that.

I also love the scene between Tien and Miles, talking about Nikki’s jumpship obsession, partly because of the obvious contrast between the two of them, but mostly because it illustrates how much of Tien’s awfulness is because he’s just... fundamentally a bitter coward with no imagination.

"Well, every boy goes through that phase, I suppose. We all outgrow it. Pick up all that mess, Nikki.”

Nikki’s eyes were downcast, but narrowed in brief resentment at this, Miles could see from his angle of view. The boy bent to scoop up the last of his miniature fleet.

“Some people grow into their dreams, instead of out of them,” Miles murmured.

“That depends on whether your dreams are reasonable,” said Vorsoisson, his lips twitching in rather bleak amusement. Ah, yes. Vorsoisson must be fully aware of the secret medical bar between Nikki and his ambition.

“No, it doesn’t.” Miles smiled slightly. “It depends on how hard you grow.”

The alternating POVs between Miles and Ekaterin are charming because we get to see Miles from an external (non-hostile) point of view and get all excited about each small revelation, and then we get to see Ekaterin both from Miles’s point of view and from the point of view of her own very active inner monologue, giving us insights we would otherwise have missed since she, as Miles says in the understatement of the century, has a tendency to underreact.

Their relationship is built up very carefully: there’s an obvious mutual interest practically from the first, but they both have reason to be cautious. There are those moments of genuine rapport early on, and then the shopping trip! It’s such a clever revelation, and so layered!

Miles was traumatized at Dagoola IV by watching Beatrice fall from the shuttle in front of him: he reached out to try to catch her, and just missed, and she died. And then we have this perfectly safe little parallel, with himself and Ekaterin falling off a water feature in a shopping district, and he manages to catch her, this time... and they both go over. It’s cute and oddly triumphant...

...and then he realizes exactly what it means. If he’d caught Beatrice, he’d have gone over with her. They’d both be dead, and that revelation hits right after he’s had a whole book to figure out just how badly he wants to live. And to Ekaterin, it’s a very quick summary of what and who Miles is: he’s the man who would not let go. BUT Ekaterin ALSO frames her leaving Tien in that context: she’s not just watching him fall, but purposefully releasing her hands. It’s so twisted and so complicated and such a weird little microcosm of their respective states of mind. And while part of it is Ekaterin giving Miles the little push he needed to properly process that trauma, fundamentally and on a larger timescale it places Miles as the “I’ve been in this hole before and I know the way out” path to Ekaterin’s healing. It’s so well done.

There’s also a hell of a parallel in the physical aspect of Miles’s seizures coming on unexpectedly in moments of great stress versus the psychological aspect of Ekaterin’s whole coping mechanism being built on trying desperately not to flinch or show strong emotion.

(And I don’t know where else to put this but special shout-out to the running gag of Vorkosigan House getting gradually overrun with cats, to the point where Miles starts, apropos of nothing and on a totally different planet, asking strangers if they’d like a kitten.)

These kids! Will they make it work? I may be only halfway through the book, but I have a funny feeling things might work out...

Also, here’s the “rescue” scene in full, because it delights me so:

The root-compacted soil of the edge sagged under her weight, and she began to slide precipitously forward. She yelped; pushing backward fragmented her support totally. One wildly back-grappling arm was caught suddenly in a viselike grip, but the rest of her body turned as the soil gave way beneath her, and she found herself dangling absurdly feet-down over the pond. Her other arm, swinging around, was caught, too, and she looked up into Vorkosigan’s face above her. He was lying prone on the slope, one hand locked around each of her wrists. His teeth were clenched and grinning, his gray eyes alight.

“Let go, you idiot!” she cried.

The look on his face was weirdly, wildly exultant. “Never,” he gasped, “again--”

His half-boots were locked around... nothing, she realized, as he began to slide inexorably over the edge after her. But his death-grip never slackened. The exalted look on his face melted to sudden horrified realization. The laws of physics took precedence over heroic intent for the next couple of seconds; dirt, pebbles, vegetation, and two Barrayaran bodies all hit the chilly water more or less simultaneously.

The water, it turned out, was a bit over a meter deep. The bottom was soft with muck. She wallowed upright onto her feet, one shoe gone who knew where, sputtering and dragging her hair from her eyes and looking around frantically for Vorkosigan. Lord Vorkosigan. The water came to her waist, it ought not to be over his head---no half-booted feet were sticking up like waving stumps anywhere---could he swim?

He popped up beside her, and blew muddy water out of his mouth, and dashed it from his eyes to clear his vision. His beautiful suit was sodden, and a water-plant dangled over one ear. He clawed it away, and located her, his hand going toward her and then stopping.

“Oh,” said Ekaterin faintly. “Drat.”

There was a meditative pause before Lord Vorkosigan spoke. “Madame Vorsoisson,” he said mildly at last, “has it ever occurred to you that you may be just a touch oversocialized?”

#vorkosigan saga #vorkosigan saga spoilers #long text post

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itsthwippingtime · 4 years

Text

so on Thanksgiving i saw Frozen 2 and it was AMAZING and I've only just now had the time and energy to finish my thoughts on the movie and share it with y'all so here it is. Disclaimer: Sorry for how long it is

!!!!! MAJOR FROZEN 2 SPOILERS AHEAD !!!!!!!!!

first, baby anna and elsa???? I’m dead

thjkhsdhjk the story they came up with is literally how every child played with barbie dolls and doll houses

(children are so dramatic also why did we all have the same childhood)

oooh mystery about the past

their dad is so dramatic now i know where Anna and Elsa get it from

four spirits: Earth Wind Air Water how original

(everything changed when the fire nation attacked)

(okay but while their dad was telling the story about the northedral (???) i was totaling believing this is where Elsa got her powers from)

THEIR DAD WAS SAVED BY THE VOICE

(but Elsa was born with powers so her mom is totally magical)

where the nORTH WIND MEEEEETS THE SEEEAAAAA

i love their mom omg i love this song also

(okay but at this point i was like??? did their mom save their dad)

ELSA IN PURPLE I LOVE HER

Elsa being startled and sticking herself to the railing with ice is comedic gold

ANNA’S HAIR I LOVE IT

why is Olaf’s never-ending existential crisis the most relatable thing in this movie

also i love this song about things never changing

hi the line about a stone wall never falling??? FORESHADOWING

KRISTOFF LOVES HER I LOVE HIM HE IS SO PURE

HE HAS A RING

Elsa singing about being afraid of change but seizing the day?? CHARACTER GROWTH

Arendelle flag will always fly??? FORESHADOWING

family game night??? i fucking love it

Olaf shouldn’t be allowed to play charades that way Anna is right

but Olaf imitating Elsa??? iconic

Elsa playing charades is me playing charades

THE VOICE

TELL ANNA ELSA

oooh Kristof honey don’t,, don’t do it like that,,, honey

if Elsa is comforted by their mom’s scarf where was their mom’s scarf in the first movie??

Anna singing Elsa to sleep????? so pure

THE VOICE (AGAIN!)

INTO THE UNKNOOOOOWWWWWWWN

i love this song

‘Everyone I’ve ever loved is here within these walls’ so she loves Kristof???? good me too

where does Kristof sleep?

THE SPIRITS!!! HER ICE IS SHOWING HER THE SPIRITS RIGHT????

oh its the part with the ice suspended in air from the trailer

EARTH AIR FIRE AND WATER

so um the fire went out and its windy and they’re going to the cliffs???? okay???

ummm Elsa did you awake the spirits on purpose??? did you know what you were doing?? you never said it was an accident????

Elsa you cant go alone you’re team has to go with you or else its not much of a movie now is it Elsa. don’t be selfish share some screen time

i just love their outfits so much i want to be a princess in Norway please and thanks

Olaf and his fun facts are literally me

ELSA’S ICE CASTLE THERE SHE IS i wonder if they ever go there. is it a vacation home

water has memory FORESHADOWING

‘Elsa and Olaf are asleep,,, whatcha wanna do?’ UM WHAT

’Sven, keep us steady’ UMMMMM WHAT

THIS IS A PG MOVIE I WAS VERY UNCOMFORTABLE NEXT TO MY TEN YEAR OLD COUSIN THANKS DISNEY

oh Kristof honey

oh no Anna he didnt mean it like that

Kristof stop just stop

ooooh the voice is back

‘Kristof stop’ ‘Good idea’ I’m dead

i don’t really remember what happens in between them stopping and them finding the mist if anything but THE MIST

oooh they’re locked in. nice

okay so wind. thats fun.

the wind spirit is v smart because she knows which one is Elsa

her name is Gale and i love her

hello water has memory

their father being saved by a young girl??? it’s their mom

okay so the northuldra (i googled it) begin to attack? or advance at least

ARENDELLE GUARDS

okay but lieutenant whats his name can get it

they’re frenemies

Olaf’s recap of the first Frozen is comedic gold i want him and Luis from Ant-Man to get together

i don’t really remember what happens at this part but: Elsa and Anna learn that their mom saved their dad (CALLED IT), their mom is northuldra (KINDA CALLED IT) and everyones been trapped in the mist since their grandfather was killed

(which that story is fishy but i don’t think king Elsa & Anna’s dad would lie so????)

OH WAIT FIRE SPIRIT HAPPENED BEFORE ELSA AND ANNA LEARNED ABOUT THEIR MOM

AND OLAF’S SONG OMG

samantha?

(that part was so simple yet so funny omfg)

olaf: “this will all make sense when i am older” all the adults in the room: :/

also notice how Elsa is mindful enough to keep the fire spirit away from the northuldra’s homes??? like i love her???

I LOVE HIM i think his name is Brunie but i don’t know how the people at the Disney Store came to that conclusion

oh also Kristof and Sven run in to save the reindeer but Anna is only worried about Elsa??? idk maybe she knows Kristof can take care of himself and knows that Kristof knows when it becomes too dangerous but Elsa is going to try to stop the threat until she physically can’t and at that point it may be too late okay i get it

(okay but if they’ve been trapped and nothing can get in or out what do they eat??? like theres a lot more northuldra than arendelle guards so do they have designated areas they’re allowed to go in?? what do they do with the people who died?? probably bury them)

(also some if them are born in there and they’ve been in for decades so a generation maybe the beginning of the next one but how many of them are related????)

Kristof has a new friend and I’m so glad they’re not fighting over Anna

(take that toxic masculinity)

HES GONNA HELP HIM PROPOSE I LOVE IT

Reindeers are better than people (cont’d.)

the following are my favorite parts/lines from Lost In The Woods

that guitar riff (?) at the very beginning? sexy

“you had to go and of course its always fine”

because Kristof loves Anna and knows that Anna loves him and they can do different things and still be in love and he doesn’t have to constantly be over her and controlling what she does

(take that toxic masculinity part TWO)

OKAY BUT Kristof saying its fine while simultaneously worrying that he’s losing Anna is absolutely breaking my heart

NORTH IS SOUTH RIGHT IS LEFT WHEN YOU’RE GONE

Kristof: “and i don’t know what path you are on” me: :((((

I NEVER THOUGHT IT WAS A QUESTION OF WHETHER

WHO AM I???? IF IM NOT YOUR GUUUYYY?????

WHERE AM I???? IF WE’RE NOT TOGETHEEEERRRRRRR??????? FOREEEEVVVVVEEEEEERRRRRR

NOW I KNOW YOU’RE MY TRUE NORTH CAUSE I AM LOST IN THE WOODS

UP IS DOWN DAY IS NIGHT WHEN YOU’RE NOT THERE

YOU’RE MY ONLY LANDMARK SO IM LOST IN THE WOODS

WONDERING IF YOU STILL CARE

BUT ILL WAIT FOR A SIGN

(FOR A SIGN)

(peep the Queen reference)

THAT I’M YOUR PATH CAUSE YOU ARE MIN

UNTIL THEN IM LOST IN THE WOODS

this concludes my favorite parts/lines from Lost In The Woods

every time i type Lost In The Woods I wanna type Lost Into The Woods

okay SO

Olaf doing the siren call with Elsa is comedic gold

THEIR PARENTS SHIP OH MY GOD

peep Olaf with that gruesome “maybe there was nobody on board” when they asked how the ship was able to get through the mist

peep Olaf with the “why didn’t they just make the whole ship waterproof”

THEY WERE GOING TO FIND WHERE THE NORTH WIND MEETS THE SEA THE RIVER FILLED WITH MEMORIES

THEY WERE GOING FOR ELSA

WATER HAS MEMORY BITCH

ELSA BBY ITS NOT YOUR FAULT

LISTEN TO ANNA YOU ARE NOT RESPONSIBLE FOR THEIR CHOICES

so they go to the river

(low-key thought that was their goal the whole time but its fine)

ELSA!!! ANNA AND OLAF HAVE TO GO WITH YOU WHAT ARE YOU DOING

if Disney doesn’t make the ice-canoe part of the Frozen Ride in Epcot in some way shape or form i will be deeply disappointed

uh oh rock giants

oh waterfall

cave

thats fun

ah Olaf always the optimist

(but where did Anna get flint?)

Anna’s hair??? i love it

oooh Elsa on the beach

she can’t get her shoes or coat wet i understand

PONYTAIL?????

GO BITCH

YAAASSS QUEEN USE THOSE ICE POWERS

oh shit that water horse is trying to drown her

what the fuck he’s actually trying to drown her

AH SHIT ITS ELSA’S WATER HORSE NOW

YAAASSSS BITCH

sdahjhdskjhdsjk

ITS A GLACIER BECAUSE WHY FUCKING NOT

every inch of me is trembling

SHOOWW YOURSELLLF

ELSA HAS A DUET WIHT HER MOMN

IM FINE

ELSASN IS TBHE FIFHT SPRIT

THE BRIDGE

ELSA’S NEW OUTFIT AND HER HAIR I WANT

WATER HAS MEMORY

Elsa destroyed Han’s memory I’m dead

OH SHIT KING RICHARD (Elsa & Anna’s grandfather, i don’t remember his name)

KING RICHARD IS AFRAID YAASSS QUEEN TELL HIM ELSA

WAIT ELSA

GO TO FAR AND YOULL BE DROWNED

ELSA WAIT

oh shit she jumped

OH SHIT SHES COLD BUT THE COLD NEVER BOTHERED HER ANYWAY

OH SHIT KING RICHARD KILLING THAT GUY FOR NO REASON

OH SHIT ELSA’S FROZEN

BUT SHE SHOT OUT ONE LAST ICE THINGY

we now return to this episode of Olaf and Anna Alone In A Dimly Lit Area With A Little Bit Of Fire

YAASSS ANNA GOT THE MESSAGE

BREAK THE DAMN

but Arendelle

OLAF

why isn’t that when Olaf and Anna are alone one of them is always dying

now i understand the no context memes featuring spider-man from Infinity War

okay so you’re telling me that Anna learned that her sister is frozen (pun intended) and Olaf dies in her arm and she still finds the energy to save Arendelle/the forest???

GO ANNA YOU GO GIRL ITS GONNA BE ALRIGHT

DISNEY CAN’T KILL ELSA AND OLAF THEY’D LOOSE TOO MUCH MONEY

oh shit the rock giants

KRISTOF TO THE RESCUE

AND SVEN OF COURSE

WHAT DO YOU NEED I LOVE HIM

THEY BROKE THE DAMN

OH NO ANNA DONT FALL

ANNA GET OUT OF THERE

LIEUTENANT WHATS HIS NAME AND KRISTOF SAVE ANNA TOGETHERDSKJAD

ELSA AND THE WATER HROSE THEY SAVE ARENDELLE SYDJHASDJKFHSDA

the Arendelle citizens literally are so hilarious to me all they know is: the spirits are mad and all the heirs to their thrones went on a dangerous journey to save their kingdom, with no guards to protect them, then a tidal wave comes rushing towards their homes and suddenly their Queen who has always been quiet, modest, and reserved comes riding in on a fucking water horse in a boss ass outfit with her hair down and saves the kingdom. like???? imagine being on that cliff??? and all they do is clap???? I’m so dead

poor Anna :((( but Kristof is doing his best to comfort him like i love him

ELSA GO TO HER ANNA GO

THEY’RE CRYING CAUSE THEYRE SO HAPPY KJDASDHSJKHFJKSAD

ARENDELLE IS SAVED ANNA ITS OKAY

OLAF IS SAVED ANNA ITS OKAY

KRISTOF PROPOSED IN THE DORKIEST WAY BUT ANNA’S REACTION WAS THE CUTEST I LOVE IT

(WATER HAS MEMORY)

ELSA STAYS AND ANNA IS QUEEN

CUT TO ANNA’S CORONATION AND THE NEW STATUE AND THE ENCHANTED FOREST IS ICE NOW AND ELSA HAS A WATER/ICE HORSE AND GALE HELPS ANNA AND ELSA COMMUNICATE AND THE ROCK GIANTS ARE NICE AND BRUNIE IS STILL THE CUTEST AND ANNA AND ELSA STILL HAVE FAMILY GAME NIGHT

(okay but did anyone else find it odd that Elsa didn’t go to Anna’s coronation)

(also the Northudral are just totally fine with living in ice and snow and cold now too??? idk i guess Elsa asked first but whatever its not like they can say much she’s the fifth spirit so)

Olaf wearing clothes has me dead

Anna: tells Kristof she likes him “better in leather” me: when does he wear… leather :O (Anna’s freaky yo)

final thoughts: Amazing movie, the constant shade of Hans was absolute gold, Kristof is so pure, Anna and Elsa’s relationship is so amazing, everyone’s character growth is absolutely amazing

if you read all of this, bless you child I’m so sorry it was so long

#IM SORRY OKAY #thank you for coming to my ted talk #theres so many other things I've missed but i saw it last week and i just #i cant #frozen 2 #frozen 2 spoilers #frozen spoilers

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