#The final case is kind of interesting if only because it's basically three cases in one | Explore Tumblr Posts and Blogs

cissyenthusiast010155 · 10 months

Text

My Kind of Crazy ~Young!Morissa feat. Fem!Professor!Reader

This is a Morissa Fic collab with @v3nusxsky with the Sex Pollen troupe!! Basically, the tension between Morissa grows and Reader is the Professor who finally snaps and confronts them. This was so much fun to write with you, darling 💋 Hope you all enjoy!

Mommy… Master List

Requests & Prompt-List

Warnings: NSFW, 18+!!!, sex pollen, smut, angst, drugging, gagging, kissing, fighting, tension, fingering, eating out, mentioned masturbation, face sitting, feeling confessions, etc.

Enjoy (;

A new school year at Nevermore always brought a new wave of student drama. You were the botany professor, having specialized in magical herbs & plants as well as herbology history. For the most part, you greatly enjoyed your job. You spent most of your time in lessons and then grading papers. But this year had brought an interesting love triangle of student drama…

Morticia Frump, Gomez Addams, & Larissa Weems…

You found Morticia to be an average student, although by no means was she an average teenager… Not fully devoted to her work, but certainly not dumb. She was polite for the most part, and quite the socialite. And she most definitely had a darker, cruel streak in her at times, especially towards other students…

Gomez was a harmless fly. His sights were on Morticia and Morticia only. The only mean bone in his body was when someone threatened his hold over Morticia. You didn’t pick on him in class or anything, because he’d genuinely not be paying attention.

And then there was Larissa Weems. She was also an odd ball… (I mean for a school of outcasts, you wouldn’t expect any less…) But Larissa was different. She was a strict rule follower. She was obedient, reserved, a people pleaser. She also had the occasional attention seeking streak, although with her appearance, the poor girl couldn’t really help it…

And boy how the three of them could divert a lesson… At one point, you were discussing how the Black Death was actually spread by flower pollen (hence the flower, The Black Death) instead of rats, and the next, Gomez and Larissa are in a screaming match. Standing up from their chairs, Larissa berating Gomez for all his PDA violations with Morticia, and Gomez going loco right back at the blonde. And poor Morticia was caught in the middle of it.

You did your best to settle and diffuse all arguments, but lately they were getting more and more out of hand… It came to a point where you had to have conversations with each of the three. And even that didn’t stop the insistent fighting.

So in you’re moment of need, you turned to the Principal. Who disgusted you. He was a sexist prick whom you avoided at all costs. But the ends in this case had to justify the means. This feud needed to be settled. After having a chat with the Principal, the three were called into his office. You stood in the corner, watching the events unfold in front of you. Of course, he blamed it all on Larissa and Morticia…”Morticia Frump was an attention seeking slut who only caused trouble” and “Larissa Weems was an ungrateful brat who was constantly stepping out of line.” Of course, he didn't use those exact words, but he was pretty damn close…

It boiled your blood. And ended up solving nothing. Although the encounter wasn’t entirely useles… During the meeting, you picked up the amount of longing glances Larissa threw Morticia. And the amount of flickering glances that Morticia sent back. The blushes the two girls held towards each other. The scowl Larissa held for Gomez. The look of sadness Morticia held for Gomez. This put things in a new perspective: Morticia wanted Larissa as much as Larissa wanted Morticia. It all made sense now.

But neither of the two would do anything about it. Not Morticia with her strict upbringing and expectations. And not Larissa with her tendency to either be extremely shy or just straight up fight with Gomez and miss the point entirely. No, you decided that you had to do something. And this case, the ends most definitely and absolutely justified the means.

~~~

Truthfully, Larissa hated when Gomez Addams would walk Tish back to the dorm. It shouldn’t be him, no, it should be her. But every night before curfew she would watch the raven haired goddess kiss the young boys cheek in thanks and bid him good night. It was the same routine every day. Larissa’s keen eye and observation skills meant she was always hyper aware of the way Gomez flirted with her roommate, in the halls they would walk and in hand while she walked behind drowning in jealousy.

Gomez wasn’t keen on Larissa that much was clear, he would always up his flirting or adopt a more possessive hold on Morticia whenever they were with Larissa. Larissa and Gomez always found something to bicker over and it often left the raven haired girl stuck in the middle of them. On one hand she desired to run with Larissa and risk everything to finally act on her true desire. On the other hand she wanted to keep her distance from the blonde in order to not hurt her and please her family. They expected children and Gomez was a pure candidate for her affections in their eyes. Yet with every passing day she found herself ready to risk everything and follow her heart. To end the constant bickering. But someone was going to get hurt and either way she would be affected by that hurt. Larissa pined for Morticia, she wasn’t interested in anyone else but her but always assumed she was too busy with Gomez to even notice, little did Larissa know just how much Morticia noticed and wished for the same. Fear of rejection from her family holding her back.

“You don’t have to constantly thrust your relationship down others throats Gomez!” The blonde practically screamed, her eyes blazing with anger and longing for the girl who didn’t want her. “It’s not my fault you’re jealous, maybe you shouldn’t be trying to take my girl” he snarled back. When Tish wasn’t around this is all that occurred, outside classes were worse because no one could stop them. “You treat her as if she’s an object. A prize. A goal post for you to score in” Larissa couldn’t stand that idea, she was beautiful inside and out and deserved to be cherished as such. Not some object or trophy wife for some dumb guy.

~~~

On the appointed day, you called the two young women into your office. You explicitly stated they come without Gomez. You prepared for their arrival and the action of your plan by brewing a very special tea from leaves that you had grown in your private herb garden. They were an ambrosiac. You knew it wasn’t the 100% morally correct action, but you had had it up to here with Morticia and Larissa dancing around each other. And with a little help from a friend of yours in England, who had given you a strong love sensing potion, you dosed their teas. You used black tea as the base, as nothing could penetrate its strong flavor.

Larissa was the first to arrive, punctual as always. You kindly told her to have a seat. She did so, and you could tell that she was nervous. She probably thought she was in trouble… A few minutes late, and a tad late as usual, Morticia burst.

“Sorry I’m late, Professor…!” Morticia frantically apologized, “I got hung up in the hallway and couldn’t get away…”

At this, Larissa scoffed in annoyance. Morticia went immediately silent. You chose to ignore todays drama and just went forward into your business.

“Please sit, dear.” You told the raven haired teen.

When both girls were sat, you began. You poured some teas for the both of them.

“Please have some tea. It’s a relaxant and calming brew, one I made myself.” You urged the two.

They followed your instructions without a further thought.

“So,” you took a deep breath and began, “As of late, I have noticed things getting quite heated between the two of you and Mr. Addams… I brought you to hear to reason with you and ask you both to put this childish nonsense behind you...”

You knew they wouldn’t be listening to your words, rather to enveloped in each others presences. But you lectured the two women for a solid twenty to thirty minutes, just to make sure the tea would have time to set in, before you released them.

~~~

Larissa immediately headed back to Ophelia hall knowing Morticia would go to find Gomez. After all, it was expected of her. That didn’t mean it didn’t hurt. Being put in her place in the meeting was weighing heavy on her mind, had they really been that noticeable? Had she? She could try to tone down her annoyance towards Gomez but truthfully she thought that everyone was obviously not noticing her situation until now. It would be hard to watch the girl who held her heart with him but she would have to suffer in silence. It’s true what people say, nothing can break like the heart can.

It started as a niggly pain, one that was more of a hindrance than painful. But it seemingly worsened as time went on. The blonde decided to give up on her homework, concentrating was becoming increasingly difficult due to the pain, so she settled on her bed curled up in her favorite blanket just willing the sensation to leave her.

About five minutes later, Morticia entered the room looking to be in the same state as the blonde teen. “Larissa? You feel it too?” She gasped and the blonde withered and whimpered a yes. Neither girl knew what it was or why it was happening but they guessed you’d put something in the tea. Maybe that’s why you didn’t drink any, now they come to think of it.

~~~

“It must be some kind of ambrosiac…” Larissa whimpered in pain from the heat waves shocking her body.

Morticia collapsed on her own bed.

“Ambrosiac? Wait you mean like some ‘sex drug’ shit??”

“Must you be so crass…??” Larissa groaned, “And yes, I do indeed mean something like a ‘sex drug’...”

Morticia chuckled lightly, but stopped quickly as she keeled over in more intense pain.

“We will be miserable like this for days if we’re unlucky, unless—” Larissa began.

“No.” Morticia groaned, “I can’t.”

“I can’t live like this…” Larissa whimpered.

“Then go fuck yourself…!” Morticia hissed.

“That won’t work… It has to be another person…” Larissa whined.

Morticia let out a lengthy groan towards the blonde, sending shivers down Larissa’s spine. Silence ensued, while the tension built. Larissa was the one to break the silence…

“Please…” She quietly whimpered, a tear falling from her eye.

At this, Morticia suddenly got up from her bed.

“I can’t! I can’t!” She exclaimed, going into a ramble, “I’ll… I’ll just go to Gomez… Yes, He’ll fix it…”

But as Morticia went to the door, Larissa spoke softly, “It… It has to be with a person who will make you climax…”

At this, Morticia turned around to face Larissa who was now cradling herself on the edge of her bed.

“I’m sorry, are you implying that Gomez does not?!” She furiously exclaimed.

“Maybe I am…!” Larissa seethed, standing up to tower over Morticia.

“Oh you’re so full of it!!” Morticia yelled.

“No!! I just like you..!!!” Larissa yelled back, not registering the words coming out of her mouth.

Truthfully, Morticia had known this. But Larissa saying the words to her… It suddenly made everything real.

Before Larissa could process anything else, Morticia had smashed her lips onto the blonde’s plump, red ones.

~~~

Larissa whimpered desperately into the kiss.

Suddenly Morticia pulled away. Her eyes were frantic. She didn’t know what to do. But one more whine from Larissa’s lips had Morticia rolling her eyes and gripping the blondes chin tightly.

“Shut up.” The raven haired teen growled, “Or I’ll gag you…”

The blonde went silent after that, happily allowing Morticia to ravage and explore her lips once more. At one point, the raven haired teen bit down on the blonde's lips, eliciting a gasp from Larissa. This gave Morticia the perfect chance to slip her tongue inside the wet cavern of those plump, red lips. She drew blood, making both girls moan.

“Please… I can’t take it anymore…” Larissa whimpered into the kiss.

Morticia pulled away with a groan.

“Take off your knickers.” She simply said.

“I… what… ok.” Larissa whimpered, but was quick to follow Morticia’s words.

With her knickers in hand, Morticia took them and stuffed them into the blondes mouth.

At this, Larissa thought she would just keel over in pleasure. God this girl was hot…

“I told you, If you whined again, I would gag you.” Morticia sternly stated.

Morticia’s own breath was getting erratic and uneven…

“You want me…?” She breathlessly growled.

The blonde nodded vigorously and desperately, a muffled ‘yes’ being slightly heard through the gag.

“Strip.”

Larissa’s eyes widened and she scurried to remove all articles of clothing, Morticia did the same thing right alongside the blonde. And as the two stared at each others naked forms, all resolve broke.

Each one was all over the other. Kisses. Markings. Sensual touches. Frantic touches.

At one point, Morticia pushed Larissa back onto her bed, and she crawled on top of the blonde, nipping at her skin along the way. Larissa’s eyes showed urgency and need as her mewls and cries were muffled by her knickers.

The blonde was quick to open her legs for Morticia, who graciously accepted the offer of access, bringing her hot mouth immediately to Larissa’s clit. Larissa’s hands fisted the sheets and her creamy thighs were quick to shut around Morticia’s head, and in any other circumstance, Morticia would have cared, but not today. As her mouth worked the blonde’s clit, Morticia brought her fingers through the blonde's folds, making Larissa shudder in pleasure and buck her hips sloppily. And when Morticia slid two of her fingers into the blondes heat… Larissa thought she’d come right then and there.

The raven haired teen worked the blonde up with skill and dedication. There was no time for foreplay or teasing right now. The combination of Morticia’s tongue and fingers sent Larissa spiraling over the edge. Morticia eagerly drank all of Larissa’s juices, as her walls clenched deliciously around Morticia’s fingers and her screams were sinfully muffled by her own knickers. But as Morticia moved her head back up and went to pull her fingers out of the blondes soaking heat, Larissa interrupted her with strangled cries. Morticia removed the gag to hear what the blonde needed to say so desperately.

“Please Tish please don’t stop please Tish…!!” The blonde moaned out, bucking her hips up to sloppily meet Morticia’s fingers.

The raven haired teen smiled wickedly at the blonde.

“Haven’t had enough, have we…?” She lustfully taunted.

“No please need more, need more so badly…!!!” Larissa cried out.

At the blonde's plea, Morticia brought her tongue down to Larissa’s aching cunt. Larissa’s eyes rolled back as the raven haired goddess entered her throbbing hole with her tongue. Morticia proceeded to tongue fuck the blonde to high heaven, and all Larissa could do was try and stifle her screams of pleasure. Her next orgasm came out of nowhere and hit her like a brick.

“Tish I… I…FUCK—!!!” Larissa cried out, her head violently thrown back and her back arched, as her walls squirted and clenched around the raven haired goddesses tongue.

Morticia worked Larissa through her high with ease, and she came back up into the blondes view with her cum all over her face. The raven haired teen then connected her lips to the blondes, making Larissa moan into the kiss at the taste of herself. Both girls pulled away breathless from the heated kiss. Larissa’s red lipstick smeared all over both of their faces

“Be a good girl and let me sit on your face…” Morticia husked.

Larissa’s eyes widened and she nodded eagerly at this proposition. Morticia was quick to straddle the blonde and scurry up against the headboard, hovering her throbbing cunt above Larissa’s hot mouth. Larissa’s hands gripped Morticia’s thighs and guided her glistening core eagerly down to her lips. As Larissa licked through the raven haired goddesses folds, Morticia was quick to stabilize herself on the headboard as she started to rock her hips against the blondes face.

“OHhhHhHHh Fuck—Right there…!” Morticia moaned, only egging the blonde on even more.

Morticia came almost as fast as Larissa had, crying out the blonde's name on repeat. But Larissa wasn’t ready to stop there. No, she brought Morticia over the edge again with that skilled tongue of hers, lapping away at her walls as they clenched around the blondes tongue.

After which, the raven haired teen then collapsed next to the blonde, panting heavily.

~~~

Instinctively the two teens shuffled closer to one another, seemingly seeking the comfort they’d denied themselves of for so long. The steady beating of Morticia’s heart as she regulated her breathing was easily lulling the blonde into a fuzzy mindset. The pain is now satisfied but the raven haired girl feels guilty. How could something that’s meant to be wrong feel so good?

Unknowingly Mortica let a few stray tears fall. One taste of Larissa and now she couldn’t imagine not ever having her again. But there was Gomez to consider. “Tish?” The blonde mumbled and came up gently, swiping the tears away, “are you okay? I’m sorry if you didn’t want-“ Mortica cut her off with a kiss. “I want you, I always have. You were perfect and are perfect. But they want me with Gomez. I don’t know what to do. I want you but they say it’s bad and that I have to marry a man to have children and marry up” her little rant filled with a sniffle. “We can take it slow” the blonde stated which seemed to ease the other teens worries. And that’s exactly what they did, just with more “sleepovers” where they’d fall asleep wrapped up in eachothers arms.

~~~

Larissa Weems Masterlist

Morticia Addams Masterlist

277 notes · View notes

pagannatural · 1 month

Text

2.04 Children Shouldn’t Play with Dead Things

-“Yeah right—stuck with those people making awkward small talk until you show up? No thanks”

Clingy Dean is my favorite. He’s going through a hard time and he only wants to be around his Emotional Support Sammy

-At the hotel, Sam does that thing he does where he tells Dean he can see through him and he knows that he’s feeling some type of way about their dad’s death. This is a common romance trope. He knows Dean so so well.

-Every single episode now Sam has pushed Dean to talk to him. I wonder if he suspects that there is more to it than grief for Dean.

-It’s so interesting how their different ways of caring for each other come out—in s1 Dean was always worried about Sam because he’d just lost Jessica. He was patient with Sam and didn’t push him, but it was clear he was noting how much he ate and slept, and he did things like letting Sam sleep while he researched or offering food or letting him drive or putting on music he likes to doze to. Sam needs that respectful caregiving. Sam, however, is relentless when he sees that Dean is suffering and won’t let Dean ignore it. Dean needs that so that he can’t lie or turn away.

-Dean finally looks at Sam head-on after evading him the whole conversation, and Sam kind of draws back. Not fearfully, more like when the person you’re walking with suddenly stops so you do too.

-Sam says “you wanna take another swing? Go ahead, if it’ll make you feel better.” He sounds a little bratty, almost condescending. Like, You wanna do it again since you loved it so much? Since you felt so good after? (Dean didn’t.)

Underneath that, though…there’s softness, like Sam really would let Dean hit him again. He needs Dean to give him something. That punch in the face just didn’t last and he’s desperate.

Dean leaves and I think he’s feeling pretty exposed right now. He’s a liar and his lies don’t work on Sam.

-Sam is a kicked puppy when Dean leaves him. He looks much more devastated here than he did after Dean punched him and walked away. At least when he punched him he didn’t ask to be alone after.

Sam is so worried about Dean. His expression is pleading.

-When Dean comes back, Sam is watching something called “casa erotica 4.” He’s watching it with what looks like scholarly interest, or like he’s trying to figure out the plot from the first three movies he missed. Did he think maybe erotica would make him feel less sad about Dean? Evidently it’s pay per view so Sam had to have actually sought this out. He hasn’t done more than kiss anyone since Jessica died, so maybe this is meant to remind the viewer that he’s horny. So to recount, this episode he’s horny and he’s pleading desperately with Dean for something. I’m just contextualizing.

-Sam says “where the hell were you?” which is something an angry girlfriend would say.

-Dean is very indignant that Sam thought he was wrong about the case. Dean was right, and tells Sam he does actually know how to do his job. Sam used to openly look up to him so of course this is important to him, that Sam still thinks he’s capable.

-Their fights are just SO good. Sam is yelling at Dean that he’s scary and erratic and if this hadn’t been a case “you would’ve just found something else to kill” which gets Dean’s attention. Last episode he basically told Sam that he needs him to keep him from his violent impulses, from just being a killer. Dean walks away again until Sam says “Please—Dean—it’s killing you. Please.” I wonder if Sam says “please” to Dean like this only when he really, really needs him to listen because he knows that it works. Dean finally stops and looks at him, almost reproachfully. His kryptonite.

The fact that Dean feeling unhappy is such an issue for Sam that he’s fighting and begging and asking to be punched makes me want to hurl myself into the sun. He REALLY needs Dean to be okay. If Dean ever tried to pull away from him when they were kids, or ever seemed like he was refusing to talk about something bothering him, Sam must have lost his damn mind. And that’s exactly how Dean would’ve coped with feelings for Sam.

-Sam says they’ve already lost their parents. He says “I’ve lost Jessica. And now I’m gonna lose you too?”

If someone said to you “I’ve already lost my girlfriend. And now I’m going to lose you too?” It would probably feel like you were in a similar role to their girlfriend.

It’s also wild that Sam is comparing their parents’ and his girlfriend’s horrific and violent deaths with Dean just simply not talking about his pain. Like, Jessica burned to a crisp on my ceiling and now this? Emotional distance when I’m sad?

-The way Sam nods when Dean says “I’m being an ass and I’m sorry” is very baby brother. It’s similar to the way he nods when Dean asks him if he’s hungry when he comes back from the dead, just more cross.

-Dean tells him “I hear you” but right now they have a zombie to catch, and he starts walking, leaving Sam crestfallen.

-Dean thinks that Angela’s description of Neal being a shoulder to cry on and understanding what she’s going through sounds like Neal is in “unrequited ducky love” with her and your honor that’s exactly how Sam is treating Dean in this very episode, if only Dean would accept his shoulder.

-Dean says the following while making uninterrupted eye contact with Sam:

Okay!

-Sam tells Dean his plan was “pretty sharp” so now Dean can stop worrying that Sam doesn’t think he’s good at hunting

-Episode theme is “what’s dead should stay dead.”

Dean eventually pulls over and gets out of the car to tell Sam they both know John traded his life for Dean’s. Dean thinks he should be dead and that Sam thinks so too.

This conversation is heartbreaking because Dean asks what Sam could possibly say to make it alright, and when Sam struggles with something but doesn’t speak, Dean seems to take this as him agreeing.

Sam clearly doesn’t agree that Dean should be dead or blaming himself. Sam looks frustrated and worried and upset that Dean could even think that. For one thing Sam just sees things differently and probably hasn’t bothered questioning John’s death very much, and for another Sam chose Dean over John so many times that we can safely assume he’s at peace with this exchange. But he couldn’t possibly say anything right now to make Dean understand, so he just listens.

-Dean’s guilt over John dying for him weighs heavily, and keeping things from Sam is slowly ripping him apart. It will be important in later episodes that Dean struggles so much to keep anything from Sam.

-The way Sam looks at Dean here. He loves him so much. He looks resolute, and I wonder if he’s thinking that he’s going to show Dean he wants him and doesn’t blame him.

#samdean #supernatural #spn meta #sam and dean #spn 2x04 #wincest

58 notes · View notes

aroaceleovaldez · 1 year

Text

Tumblr kept breaking when I tried to reply to the ask about this since the post is too long, so answering this here finally:

A non-comprehensive list of misc things I’d change in HoO, since apparently people wanted me to elaborate further (Re: [This post]). Semi-off the top of my head since I don’t feel like re-reading all of HoO with notations right now. Also this will be followed up by a Things I Would Change About TOA post as well at some point, since that was also requested and kept breaking, but my brain is exhausted from getting this post set up so that will wait. I will link it [here] when I complete it.

Going under a read-more cause it’s very long. Literally Tumblr crashed like three times while I was trying to answer the original ask:

As said before (and what is a given):

1. Goes without saying - fix all the distasteful offensive character descriptions/traits. Similarly, fix the whole "these characters inexplicably look down upon their cultures" cause that's stupid and it's really annoying every time one of the Argo 2 crew brings up something about their cultures only to immediately go "but THAT'S SILLY and WEIRD."

2. Remove Calypso from the active plot, rather than the current canon retconning that doesn’t work saying that she was never actually released from Ogygia like she was supposed to be. There's no excuse for why she wasn't, unless it's supposed to be the gods sent Leo to release her to fulfill that promise, but that's not really implied to be the case at all. There's no excuse for the Olympians to just go back on their promise, since Hephaestus is established to visit Calypso regularly and basically is her only friend. It isn’t the type of thing he’d let be overlooked given all the characterization we know about Hephaestus, and given they are explicitly friends it can’t be that Olympus just “forgot” either. Also Calypso doesn't actually add anything to the plot of HoO or TOA besides serving as a love interest for Leo (not even a motive, just a love interest that "fixes him,” because he already has motive in saving Jason from being the hero of the prophecy and helping save the Argo 2 crew/camp/etc from Gaea etc etc. Leo's romance arc completely derails the established depressive spiral/destructive character arc that's been set up for him and it basically ruins Leo's entire character. He's a tragic character! Let him be tragic until he's done being tragic and then the end of BoO and TOA can be him starting his recovery arc! (I have some thoughts for how Calypso could work removed from HoO but an active character in TOA but that’ll be for the TOA post.)

If Leo still ends up on Ogygia, then have it be clear that Calypso's already left and the island is abandoned (which imo is WAY more narratively compelling for readers of the first series, because you already know the context of the island, but for readers who don't have that context it leads to this being an interesting mystery - who was Calypso? What was this island and why do all the signs/notes left by her imply she wasn't always alone but usually was and was desperate to leave?) and Leo has to collect the scraps left behind to build an escape for himself while he goes through a fun identity crisis. At some point maybe Hephaestus shows up and Leo gets an interaction with his dad that probably does not help his identity crisis and then he goes back to the Argo 2 to have a further identity crisis about how the rest of the crew got along in his absence (a good identity crisis or a bad identity crisis? depends on how they did without him! you decide! I personally like "they managed okay" and Leo feels Really Horrible About That Cause It Feels To Him Like They Don't Need Him. I like Leo's tragic arc, okay? It's compelling.) Iirc Leo’s also the only member of the Seven who doesn’t get to have some kind of direct conversation with their godly parent, at least in-person, so yknow. It’d be nice to have. Also if you want Aro/ace Leo Valdez this is the perfect spot to put it while he's having his identity crisis on Kiss Kiss Fall In Love Island, or when he gets back.

3. Jason's stab wound in BoO is not healed by the Power Of Friendship, and instead they use the Physician's Cure for that so it doesn't feel like they're literally deus ex machina-ing their way to cheating death like 3 times in the same book. It makes more sense to use Potion Of Don't Die on Wound Of Excruciatingly Painfully Slowly Killing You instead of Whoops You're Already Dead, Just Get Better. Ctrl+Z That Real Quick.

Given they already used the Physician’s Cure on Jason, Leo doesn’t die/get revived at the end of BoO. Instead he just almost dies, probably lands in CHB’s woods somewhere, and is found and patched up with the series ending on him being on the mend and starting on the path to healing and getting help for his Numerous Issues that he was putting off for The Entire Series. Which parallels nicely to Nico basically having the same thing (overexerting his powers to near death, ends series getting medical treatment/being on the mend and the indication that he’s moving on to a happier period of his life). Again, grand happy ending rather than aggravating fake-out.

Further notes:

- Heavily tweak Ella's character cause I get what Rick was going for, but the execution is… not awesome! Please, there's already so much ableism in HoO just. hmm. We can do better.

- Jason and Piper break up in HoO, probably around MoA when they start seeing Percy and Annabeth interacting and after they’ve had time to hang out with each other and realize their arranged relationship is Kind Of Fucked Up, Actually. (Probably something something them having gotten to spend time actually getting to know each other between TLH and MOA while they’re both at camp.) They have no problems with each other specifically and do genuinely like each other, but it just gets really awkward given all the memory manipulation and being set up as a "picture perfect couple" - emphasizing stuff like them both being children of really famous movie stars in their universe, or Jason as a son of Jupiter/Jove (an "all-father" type god) [and Juno - mother figure goddess and goddess of marriage]/"son of Rome" and Piper as a daughter of Aphrodite (goddess of love, also Aphrodite/Venus indirectly is associated as a sort of "mother of Rome" due to Aeneas). They just feel like they have too many expectations being put on their relationship and even though they do both like each other it feels too forced for them, but they’re comfortable staying just friends. This just gives way more opportunity for low-stakes character conflict among the Argo II crew outside of Monster Of The Week Chapter so things don’t feel unreasonably busy and chaotic and we actually get some consistent development. Just a nice mini-arc to follow in the downtime. Also while we’re here, more directly establish Piper’s bisexuality earlier on. If she’s already having an arc where she’s contemplating her romantic life, throw in a couple of nods to like “Piper thinking about her old childhood crush on Shel, the kid of a family friend she’d see when her and her dad visited Oklahoma” or something. Literally anything just to establish some kind of set-up to her getting a girlfriend later. Just for consistency’s sake.

- Bunkernine has a very good post about wishing the Argo II didn't have the magic plates from CHB, which I agree with in concept. Like I was just saying, MoA through BoO lacks a lot of little moments where we get to really focus in on the characters, probably in part because Rick was struggling to juggle so many parties given this was his first foray into writing a major cast that size. We can definitely cut out a lot of the random unnecessary fights and dramatic moments that don't really do anything for the plot and instead replace them with little moments of casual life on the Argo II - the scenes like those that do exist in HoO are some of HoO's most memorable moments to me! And they'd help a lot with how the characters never felt fully and properly fleshed-out. Let them exist as a cohesive group without two-to-three of them being absent at any given time! I don't think we necessarily have to remove the magic plates entirely because they do solve a fundamental problem ("where are these kids getting food?") but like, there is nothing stopping them from still cooking and just using the plates to get ingredients! Let these kids bake or something! Even just for fun! Though also I have personal headcanons about the Argo II crew's cooking skills and I really like the concept of like, during HoH or something at like 3am everybody hears something and they all suspiciously shuffle into the mess hall. And it’s just half-dead Nico standing there in his PJs making food for himself because Dammit They're IN VENICE and he’s FROM VENICE and they DON’T HAVE TIME TO STOP AT HIS OLD FAVORITE RESTAURANTS THAT MAY OR MAY NOT STILL EXIST and he Hasn't Had A Proper Meal In Weeks so By The Gods He Will Make His Mom's Old Recipes At 3am before he keels over from this quest. He just stares at everybody and goes "What are you all looking at. go away." and the rest of the crew just shuffles away awkwardly and leaves him to it. (Is Nico’s 3am meal actually good? Who knows. It is left a mystery.)

- Tweak the god characterizations. Remove the "gods splitting" thing and maybe play more with different aspects of gods/verisons of gods across history/city-states/etc presenting themselves instead. The Roman gods are not wholly equivilent to the Greek gods and it's actually really interesting from a historical perspective, and I think there's a lot you could do with that but instead it gets flatted in HoO which is sad to me. Just generally though, with the god characterizations, like. [uncomfortable pagan noises]. Which is almost impressive because it is difficult to write the Greco-Roman pantheons poorly since a good portion of them are basically just very complicated metaphors turned into personifications and characters. So they work fine for narrative purposes when applied accordingly, and yet! and yet!! Rick managed it! He managed to really bungle it in HoO and TOA. Because instead of leaning into the aspects of metaphors and dynamic characters he just fell into 2D tropes, gimmicks, and stereotypes. Off the top of my head the only deities written Okay in HoO is like. Hades/Pluto and Thanatos. (even Chiron in TOA is extremely lackluster, it's sad.) In the first series it ranges from “okay” to “actually really interesting” so it’s sad to see that drop-off and I would like it to be fixed.

Some potential examples for this: Play with the historical ties combo of like, Athena, Minerva, Enyo, Bellona, and etc! Annabeth and Reyna parallels! if the first 2 books are about the trios, let MoA be about Annabeth and Reyna and both their connections to Athena(/Bellona). Let Reyna be a second half in the Athena prophecy! It'd be cool and fit with her thematically and would set-up the whole Getting-Blessed-By-Athena thing later in BoO and make that scene feel so much cooler!

- Also retcon the whole "Hestia appears as an 8 year old for no reason" thing. And maybe also Artemis only appearing as a teen, because while Artemis has a mythological excuse, Hestia doesn't, so it just feels weird and at worst comes off as a little aphobic (depicting a character who explicitly is uninterested in relationships/romantic love as a child despite them being an immortal god with no basis for appearing as a child or even being comparatively young to other gods) with how it relates to aphobic tropes about disinterest in romance being "childish".

- Remove the "no children of Minerva" thing. Also maybe emphasize the aro/ace vibes there cause Athena being implied to be the only ace character in the entire series who a.) isn't literally a child/teen nor appears as one, and/or b.) hasn't had an unfortunate relationship that makes them disinterested in romance, but also at the same time being the only one out of herself/Hestia/Artemis to have relationships of some sort (having kids, implied to possibly be romantic but unclear) issss bad! actually! Bad tropes, don't like that. (Again aphobic tropes of disinterest in romance being “childish” and something that can be grown out of, or a result of trauma. Also it feels weird that the only a-spec characters in the series are all women. Can we have a male a-spec character please.) Just let Athena be aro/ace and vibing and occasionally having brain children cause she can do what she wants and everyone is aware of this and chill with it (And being a-spec doesn’t mean she’d be disinterested in having kids). Also maybe make her feel less cold cause "a-spec character is cold and loveless" is also an aphobic trope that PJO!Athena falls into, actually.

- Speaking of aphobic tropes, fix the Hunters! Please. Please just redo the Hunters of Artemis entirely. Holy cow. I wrote up an entire alternate oath/rules set for the Hunt because it's just so weird and poorly done. There were male Hunters of Artemis in Greek Mythology! Multiple! And most of them were chill! The "swearing off all romance" thing is also questionable, because depending on what versions of myths you’re looking at it’s potentially implied the Hunters had romantic relationships among themselves. And in Greek Mythology all the Hunters were definitely not all pre-teens. And it feels especially bad that the only adult Hunters we ever see are explicitly ex-Hunters who are heavily implied to be not ace and definitely aren't aro and are also implied to have "grown out of" being disinterested in romance. (That gagging noise you hear is me being sick of how many aphobic tropes the Hunters are juggling).

The version of the Hunters i have written up is, and I quote (from my notes): "Hunters can be any age, species, and gender identity (so long as they are comfortable enough being occasionally referred to as “Huntresses,” “Sisters,” “Maidens,” and etc). Relationships between Hunters are allowed so long as it will not endanger/distract from the Hunt or endanger any other Huntresses. Having a child is not allowed within the Hunt and any Huntresses who wish to do so must leave (purely because having a pregnant person/young child on the Hunt is dangerous, and safety is the number one priority - especially as Artemis is a protector of youth and goddess of childbirth. Once they turn like, 12 they can join, that’s fine. Everyone knows middle schoolers are the optimal combination of bloodthirstiness and ability to wield a weapon)." Also, just as like, a side-thing, I wanna see a clear-sighted mortal Huntress, because we're told thats a thing but we never see them. Closest we get is like ancient semi-immortals and Technical Nymphs, or other Huntresses who are of unspecified mortal/demigod status.

- Similar deal - fix the Amazons. they're… better but still a little wonky.

- Some slight tweaks to the Cupid Scene - Nico still has a confrontation with Cupid cause that is a very compelling scene that works well for Nico's character and informs a lot about him (and serves a purpose in a very meta way - not so much for the plot but reflecting something the first series did occasionally which was a kind of showing an example of a situation, usually a negative situation that either mirrors or directly references a type of situation a kid may find themself in, and explains and shows sympathy for the character being hurt in that situation. Which is notable because the demographic for the series is young middle schoolers and particularly neurodivergent kids, who are probably approaching a lot of new social situations or may struggle with empathy. It acts as an introduction to “unfortunately this is a bad thing that happens sometimes, and it hurts people, which is why you should be nice to this kid. Look at beloved character. Here’s an elaboration on why they’re hurt so you can understand.” So for the purposes of that, the scene of Nico getting outed would likely remain, but it would still keep the very overt “WOW THIS SUCKS, THIS IS A BAD SITUATION.” stuff) Most of the tweaks are just slight adjustments to minor prelude dialogue and/or setting, like. Jason does not forget that being gay is a thing for a second. And etc. But Nico having a very literal metaphorical conflict about grappling with how he views the concept of love by LITERALLY GETTING KICKED AROUND BY THE GOD OF LOVE is actually kinda badass from a narrative analysis perspective. This is exactly what i meant in the previous bullet points about the gods in a lot of myths and classical stories playing the roles of personifications of metaphors and that being used well. Admittedly I'm 50/50 on tweaking Cupid's general attitude in the scene itself, because a more hostile Cupid lends itself better to the meta use of the scene as described before but a more sympathetic-to-Nico Cupid who is nonetheless still kicking the shit out of him is interesting from a metaphor standpoint (something something Nico overcoming internalized homophobia but in the very literal form of it’s the god that literally presides over protecting gay love [yes that is an actual thing Eros/Cupid is the god of] beating him up).

- Remove Reyna's “prophecy” entirely. It's stupid and pointless and doesn’t make sense with her character at all. Just say she's ace. There is not a single scene in any of the series that ever indicates that Reyna believes that she can only be happy if she’s in a relationship and that’s some kind of internal struggle she needs to overcome. The closest we ever get is Reyna being upset that her best friend disappeared and when he returns she finds out he had forgotten about her completely. Which does not apply to the “prophecy” at all. We just don’t need it.

- Absence of "a character" can work! Jason's lack of personality and backstory can work but it works best if it's absence is felt and properly explored. This works best if we get more information about Camp Jupiter from SoN and from the other Roman characters, especially Reyna (and maybe even Nico referencing his trips there!) because that inherently informs us about what Jason's life was like there. Have other characters note things about Jason and highlight the fact that this is absent from Jason's own POV! He's lost that part of his life! It was taken from him! That's such an interesting dynamic to have and explore! But we don't get any of that!

Side-note: Part of the problem with Jason's amnesia is that it feels so awkward especially compared to Percy's amnesia because we already know what Percy can't remember. We have the context that informs his character, even though he can't remember it, so that absence is felt and it feels really compelling! Also, Percy is unfamiliar with Camp Jupiter, and we're unfamiliar with Camp Jupiter, so it feels new and interesting (even though we don't actually get much about it so we never actually form any real attachment to it and that's a problem later on in every subsequent scene when we're supposed to care about what happens to Camp Jupiter but we. don't). The reason it doesn't work for Jason is because we don't know what's absent and we already know CHB. Jason also already knows about demigods and stuff, so if you're a new reader starting at HoO it just doesn't work. Because Jason already knows everything and we're being led from his POV primarily for that portion of TLH, and even Piper and Leo's backstories both heavily include being pushed around by Gaea/and or Hera/Juno, so if you aren't familiar with the universe you're just being hurried along and it ends up feeling weak. At least with Percy even if you don't know the contexts of his backstory, we can feel the implications of other characters referencing things about him extremely often, so you feel the weight of his memories being gone, and he doesn't know about the roman gods and you, the reader, aren't expected to know much if anything about it either. We don’t get the full demigod debriefing (but that's also the second book) but we at least get a Camp Jupiter debriefing. The first two books are a bit messy in those specific regards with setting up the camps for the series, and we don’t really see the camps much for the rest of HoO (except for CHB, of course).

This is personally why I stand by that if we ever get a roman series it should be a three-part series from Reyna's POV, because leading with Jason is basically like trying to lead PJatO with Annabeth - a demigod raised in camp and surrounded by the knowledge of this stuff their entire life. It doesn't work as a character who's acting as an introduction to this world for the reader. There's no real clean way to work that out for HoO unfortunately, since literally all our protagonists are given established pasts involving knowledge of Greco-Roman mythology being real and half of them are either already at camp or have been to a different camp. I'd say best solution would probably actually be leading from Piper for TLH and tweak her character set-up slightly in that she Does Not Know What's Going On At All re: Gaea and the Giants. She just knows Something Happened To Her Dad and she's the POV we follow into TLH, because that mirrors Percy in beginning of TLT well (with Sally being kidnapped)! It's a fun call-back for the old readers and a good lead-in for the new readers.

- Fix Nico backstory inconsistencies caused by Rick almost making his birthday in March and confusing himself over it. He's 12 in TLO, 13 in HoO. He was born January 28th, 1929, and got put in the Lotus Hotel and Casino in 1939 (If you wanna be cute, we can specifically say May 1st, 1939, to reference the musical). Hazel is one month older than him chronologically and one year older than him post-revival. Something something also smooth out the inconsistencies about Nico being raised in Italy and how Maria met Hades and stuff. Fill in the rest as you will.

- I do stand by that the entire PJO timeline is not one-to-one with the real world. That's always been a thing with the series. We're basically condensing everything from ~1998 to ~2020 into an 18 year timeline. We don't need to be exact with things. Don't get too bogged down with it.

- Make the whole "injuries caused by celestial bronze/imperial gold for demigods makes their souls self-destruct" thing specifically relating to cursed weapons/materials or feature some more volatile abomination combo weapons like Backbiter (with Backbiter being described as unstable due to being both celestial bronze and mortal steel). (Ex.: the spear used to stab Jason in BoO is just cursed, and maybe Octavian's catapult plan is a "well i put a bunch of mortal steel and imperial gold in a pot and melted them together a bit and now it really wants to explode so im gonna just chuck the entire thing and hope it kills everyone lots and lots <3" which is tbh significantly more dastardly and fucked-up, which makes Octavian a bit more compelling). Having it just be a plain trait of celestial bronze/imperial gold doesn’t make any sense and is only referenced like twice in HoO and never again in basically the entire three series. Again: consistency.

- Make a more prominent reference to the whole "btw there are retired adult Romans just living wherever but they're legally required to help any campers who request aid" thing, cause you could totally do something really fun and cool with that but idk what.

- PICK A THEME! First series theme was family! Second series theme is….. we don’t know! It felt like maybe a theme was intended at some point but we lost it. Forging a new life for one’s self/choosing your own path/etc could be a good theme, or something similar. or found family. or both. We’ve got a bunch of characters absolutely ripe for “I didn’t think i’d get this far and now I have to like, actually consider what i want to do in life. huh” arcs! (Frank! Leo! Hazel! Jason! Percy! Nico!) Do something with that!

- Lean more into the characters having aspects inspired by myths, or legends being mirrored in plot points: 7 against Thebes, the Argonauts, etc etc etc. The first series leaning into it heavily worked really well! More of that! HoO and TOA suffer a lot from lack of mythological basis to lean their plots on, despite there being plenty to work from. It instead just kind of messily mashes random misc myths (haha, alliteration) together into a very incoherent plot. Annabeth is known to be explicitly based off Atalanta, Percy is mostly based off Perseus and Theseus, Leo has loose connections based off of Demophon of Eleusis and possibly also his brother Triptolemus, etc etc. There’s stuff to work with! Poke around at the mythological figures of the original Argo and maybe match them up a bit (though most of the Argonaut myths were used in Sea of Monsters, so focus more on the figures/archetypes rather than just exact myths of what they did. For more plot-things, maybe consider Seven Against Thebes, though admittedly the plot of that is just Kinda Depressing.)

- Slightly related to that - lean into Piper presumably mirroring Orpheus! Or even if she isn’t supposed to, let her do that, because it fits with her thematically SUPER well. Her charmspeak is OP and that needs to be appreciated. In canon she brings Jason back from the brink of death in TLH and just straight up gives Festus a soul/free will/sentience. Let her go Orpheus-mode on everybody. You can even tie that in with the half-hearted snake theme that Rick tried to throw in there that didn’t work at all. We can make this work, just lean into it. It’ll be fun.

- Remove scene of Nico confessing to Percy at end of BoO. it’s just. random and feels sudden and OOC. Give Nico time. You could maybe replace it by having him come out to Reyna on his own terms while they’re on their quest discussing their adventures thus far and them having a very sweet little emotional moment rather than it being a weird out-of-place afterthought comical scene.

- Remove Bob and Damacus. They’re just half-literal dues ex machinas for Percabeth in Tartarus that don’t make sense. It feels extremely cheap and doesn’t fit with the established mythos of either figure (and Bob feels extra awkward without the context of knowing Sword of Hades). If they do run into a figure who helps them out in Tartarus, Arke could possibly be a good option - especially since in SoN Percy meets Iris. There’s a lot potentially you could do there with Percy mistaking her for her twin and stuff like that. If we want a figure to more-so take the role that Bob fills (Nico encouraging an immortal to be sympathetic to Percy and thus indirectly helping him later) that role could be filled by Nyx instead of making her a minor antagonist - imply Nico encountered Nyx in Tartarus or something and she took pity on him as someone who also understands the dark, and he told her about Percy and so Nyx is willing to help Percabeth escape. Plus imagine how COOL a Nyx & her children vs Tartarus/Titans/Giants fight would be. That’d be a significantly more memorable scene than the Tartarus fight scenes we did get. (“Why would Nyx help though?” One of Nyx’s kids is LITERALLY a goddess of friendship [Philotes], we have excuses.)

- On a similar note, this is more of a TSATS thing, but for goodness’ sake STOP THROWING CHARACTERS INTO TARTARUS. You’re overusing it! It only works when we use it sparingly! In fact, just in general Tartarus works better the less we see of it! Nico going through Tartarus once in SoN-MoA, yes, that works! Especially since we have almost no idea what happened to him down there, just that it was Terrifying and Horrible and he Barely Survived. Not going into much detail means we get more out of it. The only exception to that really was when Percy realized that Nico saw Tartarus as it truly was the entire time, because that’s one hell (ha) of a punch to the gut in terms of added information! Percabeth falling into Tartarus in MoA? Eh, fine, sure, because we’ve established that Nico (who is implied to be more resilient to that environment on virtue of being a child of Hades) talked about his experiences down there so they know what to expect and how to survive. Though it does kind of just feel like Rick went “Oh wait hey I can use this to make angst!” and then overused the hell out of it. It feels way weaker in general in HoH because of how much detail we get, because Tartarus has been built up so much until that point that literally anything we get will feel lackluster in comparison, especially with how it kind of feels like Percabeth just. breezed through it with little more difficulty than they’d usually face on their quests. Solangelo jumping into Tartarus in TSATS is honestly just a blatant “Oh boy we can make Solangelo into Percabeth 2!” and it doesn’t work at all because NICO HAS ALREADY BEEN TO TARTARUS.

The only way you could make Nico going into Tartarus two times work is if he fell into Tartarus a second time to replace Percabeth falling down there. Because we’ve established he knows what it’s like down there, he survived it once, and he is actively sparing someone else he cares about from suffering his same fate. And then he can return once again even closer to death and A Little Fucked Up and it turns into a rule of threes where we know “Oh, Nico can’t go back to Tartarus again because if he does he’ll Lose Himself Completely” which is way more interesting than romance angst for the sake of romance angst. Especially since again, we don’t see it, it’s all only implied. Also it then also turns Tartarus into even more of a “Nico is probably the only demigod who could ever even hope to survive Tartarus” which keeps Tartarus as an ominous thing. Percabeth falling into Tartarus lessens that by a lot because it implies that it doesn’t matter that Nico is a child of Hades; that had absolutely no bearing on his ability to survive down there. TL;DR: Stop throwing characters into Tartarus. Either throw Nico in twice in a row and no Percabeth or Nico and Percabeth once only and never touch it again.

- More heavily set up Percy’s emotions/mood/etc being influenced by water around him. If we keep most of Percabeth in Tartaurs, then this would really make the Achlys scene pack a bigger punch. Up until HoH everything is “oh how quirky” but the minute Percy’s surrounded by the rivers of the underworld and the acid/poision you get hit with the “oh shit” realization that Percy Is About To Get SCARY.

- Maybe have Annabeth keep her blindness from Tartarus, or trade Jason having glasses to her having glasses as a result of that, since vision is actually an aspect of Athena so it kind of fits her more, thematically-speaking.

- Change the judo flip percabeth scene in MoA to Annabeth picking Percy up and spinning him around in a hug/swinging him into a dip cause that’s cuter, makes more sense given Percy’s PTSD, and still highlights Annabeth being very strong and showing off in front of the Romans while they’re still being lovey-dovey.

But also, related to that, you could potentially make a sub-arc for Percabeth throughout HoO (so that they actually have like. some type of character development that fits them rather than them feeling stagnant the entire time) about Annabeth learning she doesn’t know as much about Percy as she thought (learning about Gabe [since as far as we know she actually doesn't know much if anything about that!], seeing his behavior change with different types of water, etc) kicked off by the judo flip scene, and possibly vice versa (Percy learning more about Annabeth’s time spent traveling with Thalia and Luke, growing up at CHB, her relationship with Athena and other campers at CHB, etc) so they gain a deeper understanding of one another. If Percy keeps his curse of Achilles, that could also factor in (contrasting Percy’s “perfect” image [relationship, near-immortality] against Annabeth realizing she doesn’t know as much about Percy as she thought [could also parallel that dynamic to Jaspiper, which opens opportunities for Annabeth/Piper and Jason/Percy bonding] [Or Annabeth/Jason and Piper/Percy bonding! I want more Annabeth/Jason and Piper/Percy parallels so bad. They’re almost there but we never get them. Please.]/ the Argo II crew learning about Percy’s past) with Percy being more prone to seek out conflict or solve problems with violence due to the Curse of Achilles and eventually recognizing that [possibly after Tartarus] and it scaring him just as much as it frightens Annabeth. Maybe at that point Percy tries to make some sort of deal to rid himself of the curse.)

- Maybe also explicitly parallel Percy getting the curse of Achilles with Nico’s help to Poseidon giving his lover Caeneus iron skin. There’s no really smooth way to do it, but maybe even just a during Nico’s pov him going “I heard about this myth once and got an idea. It didn’t work.” Just for that added through-line of connecting the series and further establishing “yeah, no, Nico’s been gay this whole time. this isn’t a new thing. we aren’t pulling this from thin air.”

- Give Piper a different weapon than the knife from the beginning cause she stops using it eventually anyways. Also just... no cornucopia. That part is just stupid and there’s no point for it. If we have to keep it as a plot object, give it to someone else - Nico could work because then there’s actually at least a valid relation there regarding his godly parent (yes, Pluto sometimes has cornucopia associations). Also Nico having a cornucopia would be kinda funny in a subversion of expectations thing. Maybe even have Nico go on a little exposition-y rant complaining about Hades/Pluto versus Plutus (the Greek god of plenty/wealth, later merged with Pluto).

- Similarly, either remove Diocletian’s scepter (if we have multiple characters who can boss around skeletons, why do we need an entire separate extra object whose sole purpose is to let them boss around skeletons?) or let Nico keep it but it loses its abilities, so it’s literally just “well now he has a cool bashing stick for bashing things.” Or let him use it as a cane to highlight him being disabled!

- As I slightly touched upon in a previous bullet point, give Piper more connections to her dad’s community in Oklahoma - where’s all her family friends? Tristan is a major pop culture figure in the Riordanverse, so it’d make sense that people from the community he grew up in would like. know him? But all we ever hear about is Piper’s Grandpa Tom. Even though apparently Piper is already good enough friends with Shel presumably before Piper moves to Oklahoma that the two start dating soon afterwards. Heck, again, have Piper reference Shel specifically. Just at any point. For any reason. Just to establish that she knows people her own age that exist outside of CHB.

Similarly, flesh out the background Romans in Camp Jupiter more in SoN and possibly also BoO, particularly the ones Jason references by name but we never see anything of, besides at most maybe more background references. Highlight them either through the SoN trio interacting with more characters while at camp (and we’re left to glean specific details of Jason’s past through others, which would make Jason more compelling and how these details are absent from himself but present to those around him, playing into his memory loss more) and possibly also through Reyna (and maybe Nico)’s POV(s) in BoO. (And maybe if we get a Reyna POV in MoA, then there as well).

- Let Reyna use magic! We establish that she studied under Circe and then never see anything come of that other than referencing her Tragic Backstory™. It could be a fun point for Reyna and Hazel to bond over, even!

- Remove the random “Hunters of Artemis death fodder” scene with Orion in BoO. There’s no reason for that. It’s just kinda dumb and feels bad given it’s basically just “We’re gonna kill a bunch of nondescript allegedly a-spec coded characters now for no reason. <3” like ???. That served no purpose. It just felt weird.

- Also just as a like, logistics thing - change the route Team Statue takes in BoO from the huge jump over the Atlantic into Peurto Rico into them traveling up into like the UK, then over to Iceland and Greenland and then Canada and down the east coast rather than the huge jump and up the east coast. The smaller jumps make more sense given the entire POINT of their quest taking as long as it does is that Nico can’t make extremely large shadow-travel jumps at that time. Plus if they’re traveling south then they could pass through Maine and we could maybe cameo Nico’s old school and that’d be fun. The pit-stop in Puerto Rico doesn’t really give us much that we couldn’t have just gotten from Reyna explaining it anyways. If they pause in Maine that can be where Nico and Reyna have a heart-to-heart about their tragic backstories and past experiences with horrible ghosts that they had to exorcise.

- If Team Statue travels a northern route we can make jokes about Nico learning specifically 1930s British English before he moved to America. The gang goes to London and Coach proceeds to incessantly make fun of Nico for not only using British slang, but using OUTDATED British slang (which is made weirder given he doesn’t have a British accent).

- Also extremely tiny detail but a specific acknowledgement that Piper was helping out Nico once they got back to the ship when Nico’s getting rescued from the jar. Since Piper just kind of drags him off-screen. Just any kind of follow-up to that. Like Nico doing his classic “You were vaguely nice to me. I would now Die For You.” Just them having basically any kind of interaction or acknowledgement of that scene, mostly cause I think it’s funny.

- Let Annabeth keep her laptop, and get rid of the sphere of Archimedes cause it just feels kinds pointless and random? We don’t really have any emotional connection to Annabeth’s laptop (and her hat gets replaced in Demigods & Magicians anyways) so her losing it doesn’t really feel impactful at all. Maybe have Leo use Annabeth’s laptop while she’s in Tartarus and that acts as the point of guilt for him rather than weird random curse stuff with a random new introduced object. Instead of “oh no fortune cookie thing or whatever” it’s him feeling guilty he saved Annabeth’s laptop but couldn’t help Annabeth herself. Especially since Leo would also have his Ogygia identity crisis in the same book so he can feel extra bad about himself for a bit, to lead up to his role in BoO nicely (sometimes a character negatively spiraling is more narratively compelling than them having positive development for the majority of the series and that’s okay! Let him be tragic but again he gets a happy ending and an implication post-BoO that he’ll begin a road of healing/recovery surrounded by loved ones. It works out.) AND there could be a very sweet moment once Annabeth gets back from Tartarus and Leo gives her the laptop back and it’s a huge relief to her that one of her prized possessions was in safe hands while she was gone and that she has it back when she thought she might have lost it.

- Further highlight Jason’s whole Greek/Roman/etc identity crisis. Bonus points if we go further into acknowledging Jupiter/Zeus’s epithets and roles and Jason having some epiphany that the Romans look to him with the expectations of Jupiter/Juno as king and queen of the gods making him some kind of perfect leader, but he’s not that at all. He’s the son of Jove and Juno, father and mother of the gods. He doesn’t want to be a general or praetor or anything like that, he wants to spend time with his friends and family at a summer camp where they’re safe. He wants to regain the childhood he lost being raised as a perfect soldier and get the chance to go to school and learn about his long-lost family and do cheesy summer camp activities. He is a wolf but he is not a creature built for the hunt - he is part of a pack.

- Touched upon it briefly in a previous bullet point but Curse of Achilles can stay/go, does not particularly matter to me either way. I do think it’d be funny though if Percy does keep the Curse of Achilles that he also randomly gets the Nemean Lion’s pelt back. Initially maybe as like a gift from Hera/Juno to help him cover his Achilles’ Heel while he’s running around with no memory just as insurance so he doesn’t die (with bonus points of the Romans being introduced to Percy either wearing the stupidest looking coat ever or wearing just a straight up bullet-proof lion’s pelt, which would even further solidify his “Are We Sure This Guy Isn’t A God In Disguise” vibes). But then later on into the series it’s just kind of part of his outfit or maybe even a running gag. The praetors have their magic bullet-proof cloaks, Percy has a very silly looking bullet-proof fur coat that is sometimes a whole lion.

- Keep Hazel’s blackouts. There’s not really a reason for them to disappear altogether for her? They’re somewhat tied to her powers and are a consequence of her coming back from the dead, which also helps keep the concept running in the series that death is a consequence that can’t just be easily evaded, even while we’re operating with the Doors of Death being open. That way future deaths in the series don’t feel like they could be as easily negated/avoided. Also, Hazel is disabled! This is a disability of hers! Why are we somehow magically getting rid of it without even an explanation as to why? Heck, if we’re getting rid of Piper’s knife, Hazel’s dreams when she has her blackouts could be used to supplement the dagger’s insight into the future, since we’ve already established that Hazel gets prophetic dreams sometimes anyways. Also fun thematic matching for the Death Sibs with them both having disabilities and random ways to glean the future (Hazel’s blackouts, Nico talking to ghosts). Her blackouts would probably improve slightly over the course of the series but never fully disappear, and it ends up mostly a thing of she can tell when they’re about to occur and prepare quickly for that or let someone know before she passes out.

- Get rid of Frank’s curse in SoN instead of waiting until The Tyrant’s Tomb. If we’re going to get rid of it eventually anyways, do it during the big scene of him freeing Thanatos. Let him have his cool big moment of embracing his destiny and that breaking the curse the first time he does it rather than him doing it twice but it only breaking the curse the second time? Also if the curse is broken earlier on then Frank’s entire arc gets to be about him realizing he has a life to live, since in SoN a major part of his character is that he’s not afraid of death because he’s used to the idea that his curse could kill him at any point. He’s actually pretty reckless for the beginning of HoO because of that. If he realizes that he no longer is at risk of dying at any given moment because he thought about candles too hard, then that opens the opportunity of him having a whole existential crisis about what he actually wants to do with his life and him looking to the future for once.

Bonus opportunity for this - maybe Frank actually gets fire powers as a result of his curse breaking. Ares/Mars has an association with fire so it would fit for him as a son of Mars. Plus, then we could also have an even more overt dynamic of Frank and Leo acting as each other’s parallels and foils and the two of them slowly growing more used to one another and actually becoming close friends. Lots of bonding over getting used to their fire powers and overcoming their mutual fears of fire and probably also solidarity in having lost their moms. Just - the boys are bonding! The boys are bonding. Fire boys hours.

- Related to Frank’s curse, give Hazel and Frank parallel narratives of them realizing they have a future ahead of them (Hazel re: getting a second chance at life and Frank re: realizing he’s no longer at risk of spontaneously combusting) and them grappling with trying to figure out what they want to do with their lives and how they want to live them after everything is said and done. And also being motivated for once to make it out the other side in one piece because they’re determined to not waste the opportunity they’ve been given. The two of them coming to terms with realizing they have a future if they can make it through this (which is also a fun contrast to Leo and Nico actively almost sacrificing their own lives for others and having essentially an opposite character arc for the majority of the series).

- Especially while Frank (and Hazel) are having these arcs, going back to the idea of Leo getting stuck on Ogygia alone for a bit - very strongly contrasting the arcs of Frank’s mental health improving over the series while Leo’s is very steadily decreasing (until BoO at which point again the series ends with Leo getting help and beginning to improve/heal).

- Also further emphasizing Leo and Nico’s parallels throughout HoO. They’re both autistic on top of the usual adhd/dyslexia and have issues with social interactions and care a lot about Hazel and are having a majorly bad time throughout the entire quest and are pretty depressed, etc etc etc. Again, parallel narratives at the end of BoO with them healing and things looking up for them - I think I’ve mentioned that like four times now you get the idea.

- Make Frank ADHD/dyslexic. There is literally no reason for him not to be and him being the outlier for being neurotypical feels weird and doesn’t fit with the literal entire worldbuilding we have for demigods. If it’s part of “demigod instincts” or whatever then Frank should be ADHD/dyslexic! And it’s not even a “the Romans aren’t ADHD/dyslexic” because we’re explicitly told they are! They are specifically also ADHD and dyslexic! So why isn’t Frank? There’s no reason. It annoys me.

- The Frank/Hazel/Leo “love triangle” can stay but it’s significantly more one-sided. Frank is mostly just intimidated by Leo for multiple reasons (mostly fire-related reasons) and Leo is mutually intimidated by Frank (because Frank is bigger than him and Leo is scared of everyone, really, but especially people who are bigger than him, because they could beat him up. Which is basically everyone). Hazel is not romantically interested in Leo and Leo is not romantically interested in her, though they are very close and do have a very confusing time trying to figure out the whole Sammy situation. Frank still misinterprets this as Hazel and Leo being romantic. Leo does not realize Frank is misinterpreting that as them being romantic and think Frank just hates him for the general reasons that Leo has found people usually hate him for no reason over. Leo wants nothing to do with that situation though. Eventually they all sort it out and become a very strong trio.

- Again as I briefly touched upon before, maybe give Reyna a protagonist role in MOA if not an outright POV. Probably an outright POV, with the main POVs of the book being her and Annabeth. Again, themes of historical associations between Athena and Bellona and playing with that, alongside making Reyna more of a prominent player earlier on in the series and letting us see more of the Romans. Use this opportunity to heavily parallel her with Annabeth (and also highlight her parallels with Percy, and Annabeth’s parallels with Jason).

- Really I just want more Annabeth/Jason and Percy/Reyna parallels. There’s so much you can do there. The blond(e) gifted kid/smart aleck raised at camp and their best friend, the former newbie raised with a difficult home life. Percy and Reyna both have dogs (Mrs. O’Leary / Aurum and Argentium) and pegasi (Blackjack and Skippy). And a sibling they don’t see often (Tyson / Hylla). You could have notes about Jason and Thalia and Annabeth and the dynamics within that and how those internally parallel each other. Or more about when Reyna encountered Percy and Annabeth while on Circe’s Island. Really anything more about Reyna’s time on Circe’s Island. Heck maybe you could parallel that to Percy’s difficult time in school, since Circe’s whole thing was that she was training the sorceresses living there, so that’s kind of like a school environment. Paralleling first quests between Reyna and Jason with the events of the first series with Percy and Annabeth. Etc. etc. etc.

- We are taking BoO and just. Throwing it out the window, really. We don’t have time to unpack all of that. Just start mostly from scratch, same extremely rough overarching elements are there.

- Also actually just. Rework the whole main prophecy too while we’re at it. It kinda sucks. It’s just kind of a weak prophecy. “To storm or fire the world will fall” or whatever; we can do better. I don’t have the brain power to write a better prophecy right now but just [see my recent post] for notes about what I think makes for a good prophecy in the series and why the main HoO one is kinda lame.

Footnotes:

Again, I will be following this up with part 2 electric boogaloo: Things I Would Change About TOA* (*That I can say without spoiling Deadangelos too much) at some point and I will link that when I make it. If you made it this far, gold star.

279 notes · View notes

sheikzeldatetra · 1 year

Text

I've been seeing a lot of posts arguing whether or not Goncherov is simply a case of typical 70s toxic masculinity, some semi-subtle homoerotic cautionary tale, or some combination of both (and, let's be real, it's probably both.) But I think there's another angle that hasn't been addressed that I feel the need to bring up. In theatre (and also film, but my background is in theatre so bear with me here) there's something called the "flight or fuck zone." Staging--or in the case of film, framing--is all about creating a long series of interesting tableaus that also inform the story. You want your movie to be interesting to look at as well as tell the basics of the story.

And this brings us into theory of space. In many Western cultures, there is a specific range of space that two people can exist in and have the interaction be "normal." In America, that range is about 3-5 feet. If you're closer or father away than that range, then it gets weird.

Goncherov is so fascinating because of the way it plays with space, and this is why I lean a little heavier into the suppressed homosexuality lens than I'd otherwise be inclined. The easiest way to build visual tension between two people is to have them interact from beyond that 3-5 foot range. Two people talking from eight feet apart clearly have some beef with each other. But that's rarely where Goncherov and Andrey exist!!

Instead, they're usually interacting from inside that 3-5 foot range. Think about the bar scene. People often skip over it, but the way they find their own private corner to talk, but also the bar is so crowded that they're forced to share a space that should be for one person... They're in the flight or fuck zone. When you put two people in a range closer than three feet, it immediately creates tension, because that space is very personal, and the only way to dispel that tension is to 1. have one person leave 2. initiate a fight or 3. initiate a moment of intimacy.

And this is the kind of tension Scorsese chooses to visually demonstrate their relationship!! Over!! And over!! There's no release, it's all intimacy with no payoff. Which, imo, is part of what makes the whole movie so relentless. The tension just keeps building until the very final moments. It's not even the same with Katya and Sofia, their spacing is a lot more conventional, which makes me wonder... how intentional was it? Is the forbidden element of Katya and Sofia supposed to be a foil to Goncherov and Andrey? idk but it all makes me feral

#unreality #goncherov #I wasn't even into the meme all this much I simply blacked out and wrote this

367 notes · View notes

alpaca-clouds · 5 months

Text

Becoming What You Hate - On BG3's Final Character Decisions

This is kinda based on a discussion we had on the BG3 Discord Server a few days ago and I cannot help but write this down in a somewhat more orderly fashion now. Because I think it is one of the most interesting aspects - storywise - of the game. With the exception of Karlach basically all characters do face some sort of decision in the end to become what they hate. Or to be put differently, to become their abuser.

Spoilers for BG3 behind this. Also CW for abuse.

As with the grooming theme this is very much a topic that is the most obvious with Astarion and Shadowheart. Because in both cases the game really beats you over the head with this.

If you let Astarion ascent, he becomes like Cazador. Which is another aspect where I got to say: Yes, you are allowed to like Ascended Astarion, but this is really the ending in which he becomes like Cazador. Which is also why he will not turn you as the player into a full vampire, keeping you around as his spawn. Yes, he makes for a cute bat, but he will give into what ends up being generational trauma.

Because yes, with him and Shadowheart it is also made very clear that this is in some form generational trauma. Cazador was abused as a spawn by his sire - and once he overcame him, he became the next abuser. And if Astarion ascends, this story is going to repeat itself once more.

The same happens with Shadowheart. With her it is fairly similar. You have the option to overcome the abuse she was put through by Shar and start over anew - or she can basically upsurp Viconia and become just like her.

It is not that dissimilar with Gale. In the end his decisions boils down to is "crawl back to abuser", "become a god like Mystra (eg. another potential abuser)" or "let go of the power". Which goes back into the same kind of idea.

In all three characters there is also a very big emphasis on the idea of "ultimate power corrupts ultimately". There is always this idea in a lot of people. The classical "I can fix him/her". Which I absolutely understand. But the game here very much ends on the idea that this really is not true and that power will not allow you to overcome trauma.

It is a bit less clear with Wyll, I admit. Because he never can become an actual devil to overcome Mizora - the only thing he can become is the next duke. Make of that what you will.

Admittedly I do not know how this exactly plays out with Lae'zel. I have been told it is similar with her, but... I admit, in my first playthrough I mostly ignored her, because I found her so abrasive.

Again, Karlach really is the incorruptable. She is never even tempted to use her engine to gain power for herself or anything. Because she is a good woman. Which kinda makes her special. :D

#baldurs gate 3 #bg3 #astarion #astarion ancunin #gale #gale of waterdeep #gale dekarios #shadowheart #wyll ravengard #lae'zel #karlach cliffgate #abuse #cw abuse

32 notes · View notes

thegeminisage · 7 months

Text

star trek: the motion picture rewrite

star trek the motion picture was bad so i'm fixing it. here's how

problem #1: everybody got interesting setups and nobody got any payoffs.

problem #2: ilia and decker were just not that interesting (sorry ilia and decker) and they either needed to be more interesting or have less screen time or both.

problem #3: it took more than half the film for the enterprise to even leave earth. this seems like poor pacing, which the overall film also suffers from.

problem #4: those damn 20-minute cgi scenery sequences. enough is enough.

sorry in advance but this post won't make much sense if you haven't seen the first star trek movie, "star trek: the motion picture." i don't have the time or patience to re-explain the entire plot! the novelization also ties into this but i do explain some of that.

MAIN PLOT

it wasn't a GREAT plot but i'm keeping it mostly the same, except a few changes:

the enterprise leaves much earlier in the film. all the interpersonal drama can happen ON THE WAY to v'ger and it would make very little difference to the main script and series of events, but the reminds that they're only x hours away from interception would help keep things tense and moving along. also, it would get spock in here earlier. we went a LONG time without seeing him.

the engines can still fail at the outset and get fixed by spock, but it's kind of weird that he shows up out of nowhere. i would change this to kirk leaving him messages - and spock finally answering at the exact right moment (more on this in spock's section)

less of those long cgi sequences, obviously. the enterprise deserves all the fanfare in the world but we do have other stuff to do. maybe we can learn a little about v'ger through the ilia-probe in bits and pieces before we get there rather than learning all at once at the end - the book sort of did that and it was better. but i think we just need to cut them to allow time for a LITTLE more interpersonal drama - the balance of interpersonal stuff to plot stuff was WAY off, even after you consider how the tos episodes are somtimes

i don't think decker should fuck the probe.

the book and movie seem to disagree on whether the ilia-probe really "is" ilia or a very convincing copy. i think we would do better to leave it open, as scifi so often is, because both answers feel slightly wrong to me

kirk just taking the ship at the end and going "ok thattaway" was heartwarming but lacks any semblance of logic. rather than beaming down to debrief, though - in case they don't let him go back up - i'd like to see him doing a power move where the required personnel for his debrief come to HIM. and THEN when the dust clears he can go "thattaway"

CHARACTER ARC: KIRK

there's a lot more on this in the book than the movie, but kirk begins this story three years post his five year journey. in the movie he's framed as "washed up" but the book sometimes implies he's "damaged." starfleet offered him the promotion to admiral to keep him out of space because his was the first ship to come back relatively intact after a five-year and they're using him as a poster boy for their pro-space propaganda. (kirk wholly disagrees with "intact"; he lost a total of 94 crew members over those five years and objects strongly to his new legendary fame.) it's worth noting that bones begged him NOT to take the promotion and he and some other officers actually RESIGNED over it.

also, for the first year back on earth, starfleet totally just SENT HIM A WOMAN? to like keep him distracted and "happy." he got honeypotted into not going back out into space. how many planets have tried to trap people by making them happy? how many times has kirk refused to stay in such a place because it leaves him nothing to strive for? and then, irony of horrific ironies, he was trapped on earth. he doesn't realize this woman was basically sent to pacify him until the very beginning of the film/book. anyway, this woman's name is lori, she's gonna matter just a little bit later. after she left, kirk got pushed into a desk job he was utterly fucking miserable in. he notes that it was the only time he ever ignored bones's advice and he suffered greatly for it.

when the "intruder" (v'ger, obvs) is revealed to be approaching earth (via brain implants? stupid, let's just switch to everyone seeing it on TV), kirk, for totally normal reasons, jumps at the chance to take the enterprise away from decker ostensibly because he's got more experience but also because (the book gets into this) he feels like he's been jerked around on a string for the last three years by the admirals (specifically he names nogura to give us a face but they were all in on it) and also that he's totally dead inside. he has to guilt trip bordering on BLACKMAIL nogura into letting him back aboard (ie bringing up the fact that he placated kirk with a woman and sweet promises instead of like...actually caring about his PTSD). we're keeping that part because it's sexy and fun.

the question the movie seems to be asking is, "is jim kirk too old and feeble to captain the enterprise again?" i would like to posit instead we go with "is jim kirk too DAMAGED to captain the enterprise again?" they really put him through the wringer in season 3 in particular and that total nervous breakdown from the romulan espionage episode was supposed to have been REAL before they changed it, so i'm sticking it in that three year timeskip instead. in the book, jim fucks up several times - can't figure out his seatbelt, gets lost, and notably fails to be able to save his former honeypot lori and his new vulcan first officer (off-brand spock) during a transport malfunction - they get rearranged horrifically and then die right in front of him. rather than frame this as jim being old and out of practice i'd like to frame it around the totally untreated PTSD of space and his five-year finally catching up to him.

the book ALSO gets into how jim feels more at home in space, how being away from it gives him physical symptoms almost like withdrawal, and how he felt he has been brought back from the dead and out of a miserable, meaningless life when stepping aboard for the first time. IMPORTANT FOR LATER.

at the same time though i think we might greatly benefit from mixed feelings - perhaps JIM HIMSELF has wondered if he was too damaged to get back out there - if, after everything, part of him wasn't a little hesitant to go back out into the unknown and risk putting himself through the kind of hell he got put through in some of those later tos episodes. maybe he wanted the captaincy to prove it to himself, yes, but also it was something he was determined to do (even though part of him was a little worried about doing it) because he thought he was the only one that COULD. there's a hidden element in this film of facing one's fears to benefit emotionally, so it would be important to squeeze something like this in, even if it's only in hints or light implications.

the ultimate answer to jim's question of course is that he ISN'T too damaged to be back out in space, especially not if spock and bones and the others are out there with him. but to get into that we have to move to...

CHARACTER ARC: DECKER AND ILIA

i'm putting these 2 together because (sorry) i don't care very much. side characters in trek are always supposed to just highlight the main characters anyway, right? again, i'm so sorry. anyway so. in the movie and especially the book, ilia is pretty constantly sexualized - deltan females and their pheromones or whatever - and she has very little personality. decker is mostly just mad (justifiably) that kirk stole his job after 18 months of prep and sad that ilia got zapped, but we feel neither of these things very strongly. the movie doesn't even MENTION decker's father killing himself in space* which is a huge waste of potential when you consider the name of the game re: kirk's arc, at least in the book, is PTSD.

*matt decker, will decker's father, is the captain from doomsday machine (consider this a spoiler warning): when a giant machine showed up and engaged in battle with his ship, the constellation, he evacuated his crew to a nearby planet and stayed behind, planning to go down with the ship. unfortunately the machine was a planet-eater, and ate the planet his crew was on, so his crew all died while he listened to them beg him for help, and he later tried to suicide bomb the machine with the enterprise and then later one of its shuttles, which tragically ended in his mostly-pointless death. kirk did at least use the idea to suicide bomb the machine with the damaged constellation and have himself beamed out just in time though, and he had the record made that matt decker died in the line of duty, omitting some of his shadier actions so as not to stain his memory or whatever.

ANYWAY, i think the only way to make decker and ilia interesting is to foil them with kirk and spock. decker is who kirk was before his five-year: smart, capable, ready to take on anything and chomping at the bit to get out there and bite off as much as he can chew and then some. also, he's emotionally distant from women because of his status as captain/his need to not be tied down so he can explore space.

ILIA on the other hand is more like spock - she has limited telepathic abilities, she is othered and sometimes sexualized by the people around her because of her VULCAN BIOLOGY sorry because of her race, and she has a passion for learning and pursuits of intellect. and also a semi-formal telepathic link with decker - they had met before, and were preparing to bond (the way a vulcan might), and then decker more or less got cold feet and left her at the altar because his own passion for being in space left him unable to commit. but she WENT AFTER HIM (important for later) and wound up as the enterprise navigator.

for decker, instead of showing kirk up once near the beginning, apologizing, and gradually learning to get along with him, i think i'd like him to be showing kirk up a lot - being subtly snide when kirk can't work his seatbelt, for example. this film has no real antagonist aside from an incomprehensible alien entity, but we could bring a little humanity to it by having decker justifiably resent not only being confronted with ilia again but also having his captaincy snatched away from him after EIGHTEEN. MONTHS. of prep. that's some serious bullshit.

but, while decker IS younger and more familiar with the enterprise's redesign, while he's had more recent space hours and suffers from none of kirk's PTSD, what he lacks is experience - this was the whole basis of kirk taking the fucking ship to begin with, and the movie as it is kind of totally invalidates that plot point. to that end, near the end of the film when they're in v'ger, i would make a bigger deal out of kirk knowing better than to perform the scan - because that's what got the klingons killed (when v'ger interpreted their scan as hostile). decker, shaken, realizes his own hasty decision would have resulted in all of them dying horrifically, and rather than kirk grudgingly respecting decker first, we get it the other way around - decker grudgingly respecting kirk, and kirk returning that respect after decker stops being an asshole. this does the job of helping the AUDIENCE respect kirk after spending so much time wondering if he was indeed too washed up and damaged to do the job, and it helps to begin to warm us up to decker too.

also, it would be fun to have decker overhear bones arguing with kirk or spock or even talking to chapel or something, to know that kirk was thought too washed up EVEN BY THE ADMIRALS (who decker does respect bc he doesn't know better yet), and then for decker to realize later kirk got jerked around - and maybe realize, once he begins to see kirk as a person instead of an obstacle, that something like that might be in his own future even if he succeeds in almost every possible way, as kirk had. we might even use this to get into decker's dad basically killing himself after losing his crew - it can go other ways than right for captains. it can also go so, so, so wrong. (this would require some exposition, though, since we can't expect everyone to have both seen the episode and remember the details.)

another moment that wasn't used to its full potential is when decker basically has to honeypot the ilia probe - this is extremely difficult on him emotionally, and kirk knows all about the perils of emotionally difficult honeypot missions (sorry that i'm linking to this twice). i think decker realizing kirk has done this same kind of thing like a zillion times and that's part of what led to his breakdown gives him respect not just for KIRK but for the position of captain itself - he would have no choice but to do this to protect 500 lives, if it were him. you don't get to tap out when you're captain. and this is good for kirk too, because in sympathizing with decker (and the horrific situation of having to honeypot the image of his dead lover) he can learn to sympathize with himself, and forgive himself for being at less than his best during his own worst moments - some of them during the five-year, some of them after, when he felt weak and without purpose. it also gives him the job of connecting the audience to decker - through him, through thinking of decker as a younger version of him, we can forgive decker for being an asshole earlier and sympathize with his pain. and he becomes someone we root for.

as for ilia - i think she should have gotten to yell at decker rather than passively act like he wasn't even there and hide her pain. her pain at being left behind and betrayed and having to find her own way could mirror spock's (more on this in a sec) but it could also mirror v'ger and its abandonment issues, even though she was abandoned by a boyfriend and not god. there's only so much you can do with truly misogynistic writing but she could've been likable!! her sitch and spock's are the same and she gets to complain while he refuses! even one iota of a personality would have helped so much.

ALSO, on that point, at least one conversation between her and spock would have done a lot to make her more interesting too, because then she would be adjacent to him. spock, too, left his home planet to chase after a space captain he was in um a relationship with, and that bit of kinship ("your answers are not here") could lead to a bonding moment - i think spock would respect what she's doing and that would lend her a lot of credit in the eyes of the audience. much like v'ger, much like spock, ilia has left her home to find out who she is, and part of that answer lies within emotion, within the people she loves: in this case, decker. i would also, if we HAVE to fridge her (DO WE?? more on this in the ending section), choose to have her take a blow meant for decker - her last act being one of love, because the film IS ultimately about love's importance, even in spite of all the pain it also causes (see: decker in his grief).

which leads us to...

CHARACTER ARC: BONES

we have to have a brief interlude here for bones. unfortunately, bones in this movie is little more than an extremely loveable afterthought. while fixing his ENTIRE deal is out of the scope of this tumblr post, what i WOULD do is give him more screentime by having both his AND spock's lives upended by the same event: kirk, the Main Character(tm), choosing to take the admiral stripes and "abandon" them.

i think theres enough evidence in tos to argue the case that bones places a lot of importance on jim and spock's lives - he claims to hate space, but he never resigns, and he finds meaning in taking care of them, even if (to my own interpretation), he can sometimes feel like a third wheel to their legendary "friendship" (so legendary that it's historically important both in-universe and in real life). when kirk agrees to "retire" and let starfleet make him their poster boy because he has PTSD and burnout, bones CANONICALLY objects to what starfleet is trying to do to him so strongly that he literally resigns. again, kirk notes in the book that "retiring" is the only time he ever ignored bones's advice and he came regret it deeply. so kirk needs bones back - in the book, he says outright he needs bones back because he, gaslit, cannot trust himself to be making solid calls emotionally, and he wants bones to call him out if he steps out of line.

for fun, i think bones should be a little more pissed about being "drafted" and like genuinely grumpy rather than fond and gruff - at least, until kirk apologizes. he tells bones all about being yanked around by the admirals and being honeypotted and how much he regretted not listening to his advice...and the gaslighting, not bones's medical expertise, is why kirk feels he needs bones now - why all of earth needs him, because this is a mission to save the entire planet. i think bones LOVES to be needed and especially by jim and/or spock, and he of course has a natural desire to caretake, so after the apology he could soften up to "gruff." he found meaning in what he was doing on earth, but he finds meaning in this too, and kirk telling him that of COURSE he can leave if he wants solidifies his decision to stay, even at the end of the film when the immediate threat has passed. put simply: he loves kirk and spock, and, like them, he wants the three of them to stay together, even though they previously broke his heart.

i think also that once spock comes aboard this gives bones a second job, which is to poke holes in spock's outward unemotional demeanor, which he genuinely is doing from a place of love (since it was bones who said the release of emotions is healthy). instead of standing around and being a lovable and nostalgic set piece, this would give him an actual purpose and an arc, even if his arc (healing spock via negging, healing jim via not gaslighting people) is holding up the other characters.

and speaking of spock...

CHARACTER ARC: SPOCK

post five-year, spock goes back to vulcan to undergo the kolinahr, a ritual meant to purge all remaining emotion from vulcans. he does this because he detests his human half and the many weaknesses and challenges it brings him etc etc but i also would like it if he does this because kirk retires - he has no logical, ready-made excuse to be around kirk and bones anymore, and just like kirk, he truly felt at home on the enterprise, where people valued him for his skill and what he could do rather than what he was (or wasn't). (this sentiment from spock is semi-canonical - it's in william shatner's tarsus iv novel, collision course.) kirk and bones are both an important part of his support system and it is crumbling without any way to save it - of COURSE he chooses not to feel emotion rather than face that pain. every human being ever has wished at some point or another they could numb themselves rather than hurt, and spock is half human, too. (that said, i would also not complain if kohlinahr was spock's way to escape the trauma of what the five-year did to HIM, making him feel emotions differently than what he believed was acceptable, changing him fundamentally as a person, and kirk only agreed to resign because space wasn't worth it without spock aka because he got dumped, but this is a minor detail.)

while on vulcan, kirk, equally adrift, sends him messages (this does admittedly make more sense if kirk only resigned because spock did) - but spock is potentially kind of mad at him (if kirk resigned first) and also trying not to feel anything, so he ignores those and goes out into the desert to get rid of all his gross icky feelings. when the masters read his mind and see that jim accidentally contacted him telepathically (which...girl WHAT was that all about did they bond fr during amok time) and that "his answer is not here," he reads or listens to all the messages at once (maybe including the deleted one spock prime had from aos...ouch), gets emotional (or resists, but it's a near thing), and realizes that if he can't purge kirk from his mind he has to at least find out why. the last message can be about the intruder (v'ger) and their fucked up engines, spock can feel reluctant concern and race to the rescue.

spock is initially very very cold to his old shipmates because he is trying to hold onto his logic and not allow the emotion back in his mind, but absolutely nobody is having this. like in the movie, kirk and bones drag him away to the lounge to interrogate him (he should admit to feeling kirk telepathically here just as he did in the book - i don't know that i'd go into the whole bond business in this movie because that's just writing fanfiction and is also a lot of exposition but i would never deny fanfic writers their fodder).

later, after talking with ilia, who did a brave thing (in spock's eyes, anyway, because he is terrified of what HE'S doing) by chasing down her man to give him an earful, spock is troubled, which prompts bones to start going IS THAT AN EMOTION I SEE MR SPOCK? (and make him more troubled). i think spock grieves ilia's death in his own way because of how much like him she is, or was. all of this culminates in his choice to attempt to mind-meld with v'ger, in the end - if he isn't a human and isn't a vulcan, WHAT is he? if he can't live with the emotion and he can't purge it, what is he supposed to do? if he dies in the mindmeld so be it, but at least he will have been useful - iirc, i think it was roddenberry or leonard nimoy who said that was always a primary motivation of his.

of course, AFTER the mindmeld, he does indeed realize that logic is pointless without emotion, and that he's been adrift not BECAUSE of his emotions but because of his refusal to deal with them and his refusal to feel. so spock, too, will decide to stay at the end of the film.

side bar on the scene where spock cries for v'ger: it's kind of dumb because v'ger is so unknowable. i think spock crying could be a bigger deal - maybe with happiness, as he holds jim's hand, or maybe when he thinks they're all gonna die (kirk says when he sees spock crying "it's not for us" but like what if it was though). i'd prefer him to cry after he finishes laughing post mindmeld of course but either instance could work.

and finally...

THE ENDING

i don't mind the ending in its plot - that v'ger really was just looking for its creator, as a child looks for its parent - but i really want the question of whether or not the probe IS ILIA to remain open. if you make an exact copy of a person that truly believes it is the original, is it? if it's indistinguishable from who ilia used to be even to itself, is it ilia? i like leaving this open because i DON'T like fridging her, but i also think it stretches believability to have this machine magically extract a consciousness and put it in a robot when we had a whole episode of s1 revolve around this exact same plot twist (is chapel's now-android fiance really still her fiance just because he thinks he is?)

it should be spock's idea to have a human join with v'ger - it was the joining with humans that ultimately led to HIS feeling emotions he was unable to ignore, which ultimately led to his understanding and acceptance of emotion and its value in general. spock would see the ilia probe as still being ilia, but in distress, as he was when he came aboard the enterprise, as v'ger is now. and he knows what fixed him (holding jim's hand lol sorry i mean accepting his emotions) and what would fix her.

and then of course decker does join with her - volunteers, insists even. i think he takes the chance on optimism and hope - something kirk lost along the way due to various traumas - but also because this film is about the importance of love, and he can't bear to live without his, even in facsimile. it's partially a sacrifice too though - decker's life and body as he knows it in exchange for the earth's safety - because that's what kirk would have done, what he HAS done. he did learn from kirk after all.

and kirk learns from him too - decker, who by now will know about the awful years the brass put kirk through prior to the start of the film, would tell kirk to give 'em hell, like it's something that can actually be done, because at his heart he's an optimist, and that's something kirk sorely needs emotionally at this low point in his life. a very gen-z-saving0the-millennials moment. (apologies to both gen z and millennials.)

so after the dust has settled, kirk, who has just saved earth, can basically ask for anything he wants, and what he wants is not to get sent out to pasture again. so that leads into him refusing to leave the ship and letting the admirals and everyone else who wants to debrief him come to HIM instead of him going down - he finally has back what he needed, which was simply control and agency over his own life, and his loved ones - since spock and bones decided to stay aboard. i would have liked some challenging action moment prior to the ending with the ilia-probe and decker included, a moment to highlight that kirk has still got it (kind of like his badass moment in the deadly years where he saves the ship in .2 seconds once they cure his dementia). but insisting that they see v'ger directly and not deal with its probe is okay too.

FINALLY, after we've established that kirk is In Control again and not just like, stealing a starship, we can do his scene where he begins a new five-year mission, and when directing sulu, says, "out there - thattaway."

THEMES

HOPEFULLY this ties together the various themes and foils in everybody's arc - the main ones being the importance of dealing with emotions, even painful ones, the importance of love, and the question "who am i?" - the theme of seeking answers

kirk wants to know who he is - is he still a starship captain who braved the unknown and returned alive? he tried to numb himself (or rather starfleet tried to numb him) after his five-year mission with a woman and a desk job and it didn't help - he had to risk getting back out there to do himself any good at all.

spock asks if he is a vulcan or a human, and seeks to answer the question by purging emotion, but must answer it by accepting the emotion instead - and he learns this from v'ger, who is asking the same question and cannot answer it without emotion anymore than spock could. spock is and always will be both vulcan AND human and no amount of resistance on his part can change that.

bones feels adrift without loved ones to take care of - who is HE if kirk won't even listen to his advice not to "retire" - and of course he is someone who takes care of others. which is a little sad because it's not a deeper arc, but it sort of rhymes with his whole deal in tos and there ARE five other movies. there's also a little bit in there about being willing to try again after your heart's been broken, which is also something kirk and spock are struggling with, to have the trio's arc rhyming with each other.

decker asking who he is - is he a real captain or a psycho case like his dad and kirk, is he someone who could have been ilia's husband - and ilia wondering if she is someone who could have been his wife, and later the PROBE wondering if it's truly ilia or not. MORE questions that have to be answered by overcoming fear of emotional pain - decker takes the chance and joins with her to answer both his own question, and the probe's - and, of course, v'ger's.

THIS CONCLUDES. my movie rewrite. i am so glad to have gotten it off my chest, which is the main reason i wrote it, but i don't think it's terribly popular...so if you actually read this whole thing you're a rock star. okay BYE!!!

#liz makes stuff #liz's star trek stuff #liz's meta #star trek #star trek the motion picture #star trek: the motion picture #star trek tmp #personal #star trek blogging #WHEW. that too so long. barely finished in time. wrath of khan SOON!!!#tmp lb #tmp #st ep edits

33 notes · View notes

divinecomedyproductions · 7 months

Text

I think I also want to explain my big bias about romance in epics: a heavily opinionated thread

Keep in mind, I’m not trying to throw shade at any indie creators who do this, just trying to explain my style and why

I really don’t like “Star-Crossed” Lovers and “Love interest to be built up and killed off” tropes. Not sure I ever did honesty.

I get why they work, they just don’t work for me. Unless like Peter Parker they get another chance again.

And three franchises were the final straw for me, and what drove me to go indie along with being inspired by indie works of others

First it was RWBY the tragic end of Arkos and what I feared to be sane of Black Sun among others along with the doomed fate of Oscar Pine

I tried to express my distaste of it on tumblr on my past accounts and RWBY wiki discussion forum(big mistake, I know) and I regretted it so much

Never had I met a fanbase so arrogant, self righteous, and sanctimonious about this kind of stuff, going on how amazing these tropes and dark stories like RWBY initially seemed circa V3-Finale along with Madoka Magica and Akame Ga Kill were and sneering at anything even one shade lighter than that

They were either passive-aggressively judging and gaslighting me, or outright lecturing me

How a epic story that has Dork knight and a lonely warrior woman isolated by society crushing on him, or a unlucky moody girl and sunshine himbo, a doomed hero having a well earned happy ending, especially if it involved resurrection as a good thing was nothing but “pandering”, petty, and worthless and the preference of the weak and cowardly

Even one fan said “people don’t find that interesting, sorry.” And that another fan seemed to stated characters like Pyrrha and Jaune are only fit for tragic endings because “that’s the kind of character she is” both of which these fans spoke as these things were gospel, or they themselves had some kind of storytelling authority

Then I heard about Superman and Lois Lane getting married and having a kid and even Bruce and Selena getting hitched, until hearing both marriages get trashed along with a few others

Along with the defense Dan Didio gave

It was absolutely MADDENING to me

"Heroes shouldn’t have happy personal lives. They are committed to being that person and committed to defending others at the sacrifice of their own personal interests.

That’s very important and something we reinforced. People in the Bat family their personal lives basically suck. Dick Grayson, Bruce Wayne, Tim Drake, Barbara Gordon and Kathy Kane. It’s wonderful that they try to establish personal lives, but it’s equally important that they set them aside. That is our mandate, that is our edict and that is our stand."

Like, these guys want to hopeful, but only in certain ways the pop-culture/literary ‘intellectuals’ deem acceptable as well as what they deem to be ‘interesting’ and what I had in mind did not only not qualify, it was seen as outright heresy

When I brought this up in my grievances with stories like RWBY, one holier-that-thou jerk supported it because

“Single Batman and Superman sells well”

After writing my preferences off as “pandering” and only for the likes such as Disney and Marvel,

The Self-Centered hypocrisy was staggering because what he said and his many followers were basically saying this;

“We don’t like it when your niche interest stuff is forced into our stuff, but when the case is in the reverse? We’re totally cool with that, and we hope it keeps happening.”

other fans said what I wanted was only for sitcoms, imposing themselves as gatekeepers of *epic storytelling itself*

From where I was standing, there is a growing hatred of couples in epics go through and making it and even getting married and having children, especially those of certain dynamics all under the guise of “hopepunk” and “The Greater Good.” Or whatever the term is now

Prattled on by conceited fandoms who in my opinion, have become a bunch of literary snobs who think way too highly of themselves

Who go around deciding what ways are legitimate “raised stakes” and “consequences”,

both which might I add are defined by their *own* standards,

along with their own preferences, especially fates for of certain kinds of ships and characters, which they flaunt as “objective” and above those of “the unwashed masses” in order to justify glorifying them as well as themselves for liking them

youtube

Which then afterwards these fandoms pressure these standards onto aspiring writers such as myself or be exiled to sitcoms, romcoms, Disney, or Marvel.

Because it’s not “entitlement” if it’s directed at the peasants I guess.

That along with the fact their so insecure and discontent with just being different, they need to feel superior than others for their own preferences

Nor they can’t handle the idea somewhere out there there is story that have characters like the those of the stories they enjoy, but with a different outcome

All epic fiction, its characters, its settings, its themes, its use of its inspirations, the creator’s style needs to begin and end on terms of these self-appointed arbiters who, once again, try to justify by presenting their preferences, tastes, and “personal emotional beats” as objective and superior

And once again: I’m *NOT* saying creators who goes with the tragic romance route are bad or malicious, most of them are just doing their thing

This problem lies with sycophantic individuals among fandoms who appoint their chosen champion’s ways as law and act offended on their behalf, even though they never spoken to these creators personally nor did these creators asked them to pick up a sword in their name and are not held accountable for their behavior

And what’s worse, is that these groups imply epic stories where heroic couples get married and have families are allegedly incompatible outside of Disney or Marvel or else it ends up as terrible story

Which they will imply is the case for stories like DragonBall Z, Sword Art Online, and Naruto/Boruto

But when *their* way of doing things ruins a franchise like DC comics and people complain about it?

It’s the whining of unwashed masses or vocal toxic minority opposed to the enlightened few or informed majority

Because *their* way makes everything better and always will

It’s incredibly self absorbed and narcissistic

So that’s why I’ve been so keen on having my heroes find love, get married and having families. Especially ones who’ve been through so much sorrow.

I’m just weary of this and tired of fandoms telling me when I’m disappointed;

“It’s not for you” and implying “nothing should be for you and everything should be for us”

And I’m certain I’m not the only one who feels this way

You don’t have to share my personal tastes and distaste’s in story beats in epics, once again, I just want you guys to understand.

31 notes · View notes

rojaceartandgaming · 25 days

Text

Hello IEYTD fandom, I know I'm not much of someone who... participates much. I lurk, I drop in to throw an ieytd fic at y'all and put Jackson through more hell, but... I have a legitimate question. Please don't be mad if I am out of line, but I'm genuinely confused as someone who is a storyteller himself and is learning game design in college. This leads me into another point here-

This will go into game and story analysis!

I'll admit most of my questions are rhetorical, so as rude as I may accidentally sound... I want to have a genuine discussion about this fandom, and I am coming in as a third party who doesn't partake in anything here really other then loving people's fanfiction and art. I watch, I listen, and yet... I am utterly exhausted and kind of frustrated with the state of this fandom as a mostly outside observer.

So, I'm legitimately just putting these questions out there to get them off my mind, and I really don't have the energy to partake in any arguments. I am not looking for any arguments like "well I don't think so" or "I don't see that." I have been here silently watching and yet what I shall bring up has stood out to me near-constantly.

Why is there just... such blatant mischaracterization in this fandom? And why, furthermore, are people so... shocked that people enjoy villainous characters? And even furthermore.... why are people constantly dumbing down antagonists? As a writer myself, I often constantly find myself mentally praising Schell on this amazing trilogy of games. Especially because 99.9 percent of the characters are villains. A hero is only as good as their villain - that is a crucial part of video game development. Of storytelling as a whole.

I am studying game design. Actively going to college for this.

I have been reading and consuming and analyzing fiction since I was a kid.

I've been working on an RPG for the past three years, my passion project.

No matter if you're reading a story, watching a movie, or in this case playing a video game, this is a fundamental concept. A hero is only as good as their villain. That is what makes us root for a hero. A villain has to be menacing, a threat to the main hero, needs to be compelling, and furthermore most of the time needs to be understandable. A villain that you can see exactly how they got to that point and can kind of empathize with that is a well written villain.

Being able to see or analyze how a villain got to that point is not excusing their bad actions or ignoring that a character is a bad guy.

That is someone critically analyzing a character and enjoying their arc. And furthermore, that is a testament to good writing.

Being able to understand exactly how a villain got to the point they're at makes them more terrifying.

Characters like Sephiroth (honestly most Final Fantasy antagonists, really), the Dead Three's Chosen from Baldur's Gate, basically every villain from Splatoon, Count Bleck from Super Paper Mario and so much more are not beloved characters just because they're just like, considered hot (idk fandoms be wild) or blorboified (is that even a term?).

They're loved because they are genuine threats who have such depth to their character and are interesting because they are villains. And furthermore, vanquishing or going against these villains feels important because they have depth. Because they can be analyzed.

That's what I love about IEYTD as both a gamer, and a storyteller myself. The Phoenix is a complete blank slate. The Phoenix is a player insert. That is not a personal stance. That is an intentional game mechanic. That is not a consequence of IEYTD being a VR game - many VR games have a proper named main character, even if they are a silent protagonist. The Phoenix is once again a blank slate for the player to project onto, and that is an intentional decision by Schell. This is how they wanted to tell their story. I love an oc-ified Phoenix as much as the the next person - I mean, look at Jackson - but the Phoenix is a literal blank slate. You cannot ignore that.

So how do you make a silent character with no appearance or voice interesting? How do you make the player care? Furthermore, how do you make the game feel rewarding?

You fill the game with a plethora of characters - primarily villains - that have enough character and drive that make the player feel good about overcoming the challenges and trials that come. That is just good game design.

Every single villain - from someone who barely gets any mention like Daniel Sans, to major, major villains like Solaris, Juniper, and Prism, to even a villain who we don't know shit about like Zor - is a menacing force. Overcoming the obstacles that are sent your way leads to a rewarding game play loop where you, the player, actually give a shit about the story, the world, the villains, and the player insert of the Phoenix themselves.

There is so much to every single villain that one can pick apart, that it becomes insulting to the characters and honestly to Schell's writers when you reduce their characters to just "a girlboss who kills people" (Fabricator) or "a whiny bitch of a privileged asshole" (Juniper) or "just a silly guy who likes bees" (Hivemind) or "she didn't do anything wrong, she was just manipulated" (Prism).

Even the most minor of a villain in this game has so, so many layers you could pick apart and analyze and... so many people in this fandom all but Flanderize them. It almost feels like people in this fandom cannot grasp the concept of characters being multifaceted.

And even more, that they cannot imagine liking a villain even though they are a villain.

This is a trend that I've seen a lot within fandom recently and... it's something I don't get. Writing a character who is a terrible person (and liking said character) does not make someone a terrible person. That is something that people do not seem to get nowadays thanks to likely lack of media literacy and... it kind of kills me a little bit as someone who analyzes so many types of media and is working on a story driven RPG, and once again is going to college for game design.

A character who is flawed is believable. No realistic character is infallible.

John Juniper is prone to anger, he is a man who is egotistical, arrogant, and a bit of a prick. However, these bad traits of his were likely preyed upon by Zoraxis and he became worse because of that. I am not saying he did no wrong, I am saying that you have to acknowledge that he is multifaceted.

The Fabricator has a fair bit of flair too, but to reduce her to just a quote-en-quote girlboss ignores her work. She makes Saw-esque death traps and delights in the pain and ultimately death her traps make.

Hivemind delights in killing people with literal bee stings. Think about that, think of how brutal of a death that would be. The average adult can withstand over one-thousand bee stings, or approximately ten stings per pound. And he laughs about it.

Prism knew what she was getting into, and hearing people say she did nothing wrong is... confusing. She worked for the EOD. She knew who Zor was. She knew what they would do. It is no secret that they regularly backstab their own employees. Zoraxis elite have a target on their back from their own employer. Prism likely knew that, and yet worked for them anyways. Yes, she helps the Phoenix in the end. But that is the culmination of her arc. You have to acknowledge that.

These are but a few examples - I am not going into full rants about every single character. I have an essay due on Sunday, I need some of my sanity left. But I feel like this had to be said.

To reduce these characters to Flanderized versions of themselves is to almost insult the writing in these games. To insult the very complexity and depth and thought that was put into these characters. And as a lover of story driven media who often analyzes - occasionally over-analyzing - these sorts of games for fun, and is aspiring to complete a story driven RPG with hopefully in-depth villains.... it is simply saddening to witness.

I felt this had to be said, thank you for your time if you read this. I now hopefully should have some peace of mind for the time being.

#ieytd #i expect you to die

17 notes · View notes

dokidokitsuna · 2 months

Text

(mild spoilers ahead) I finally finished my first run of Side Order! DX Tbh, I haven't had that much time to play lately, but I'm still kind of ashamed that it took me this long...^^;

...I'm also ashamed that the boss that killed me on both failed runs, Asynchronous Rondo, didn't show up on the run where I finally succeeded. So it feels like I didn't really "earn" the victory, which is a little frustrating...I'm sure I'll handle it next time, though. *knocks on wood*

Overall, I would rate Side Order a 10/10. ^^ It's simple, but it works.

The theming and atmosphere is very polished and immersive-- tbh I was convinced as soon as I saw the little animation when you step into the cage at the beginning of a level, and it SNAPS shut kinda violently, just enough to sell that oppressive vibe. ^^; It's those little aesthetic details that make Splatoon special...I can't think of another game that does that as successfully.

The gameplay itself is harsh, but fair. Every time I screwed up and lost a life (or failed a run...) I never felt like it was the game's fault; it was always in a moment where I wasn't paying attention to my surroundings or my ink levels...and conversely, when I made sure to pay attention to those things, I always did well. Basically, it feels just difficult enough to reward you for staying focused. I also think the design of gaining power-ups as you go (including dropped items in-level) was a great move for this game mode-- not only does it make gameplay feel rewarding by its very nature, but it makes it stand out from the rest of Splatoon's game modes, where things like specials and extra ink are treated more like precious rarities; things you shouldn't use until you really need them. On the contrary, in Side Order I really let loose with Splashdowns and Inkstrikes for the first time...ever, actually. ^^ Like, I've gained an appreciation for specials now, after being trained to do without them for so long. It makes battle feel refreshing and dynamic~.

Finally, I'm glad they actually filled the game up with relevant goodies to collect. ^^ Palettes, color chips, Marina's diary entries, Cipher's merchandise, even hint-descriptions for the chips and enemies...when they said Side Order was designed to be replayable, they weren't kidding. My completionist instinct is already champing at the bit to accomplish as much as I possibly can...this is one of the main things that was missing from Return of the Mammalians, in my opinion. In RotM there are collectibles, but half of them are just objects lying around on the ground-- if you wanna 100% the game mode, you better count on spending a very dull hour inking the map to try and dig them all up. And once you're done...hurray, I guess?? You found all the meaningless trinkets... :/ Then the other half is just replaying the meaningless missions with multiple weapons...which isn't a very engaging challenge. Despite being more complex than Side Order's floors, they're much more linear-- you basically just do the same thing three times, and either it's embarrassingly easy or frustratingly tedious. I think the main reason I still haven't done them all is because I just can't be bothered: what's the point in trying to replay an annoying mission when the only difference in the gameplay is that it'll take a little longer to move and shoot...? So I can get rewarded with a tiny checkmark...? No thanks...

With Side Order, on the other hand, the collectibles either flesh out the characters or affect the gameplay (or in the case of the locker decorations, actually look nice), and the sheer randomness of the experience keeps things fresh. ^^ No two runs are alike; the simple objectives paired with creative map designs invite a variety of approaches even with the same weapon, and even on the easiest difficulties. The game itself encourages you to roll with the punches, strategize with what you're given and get creative, which not only makes replays exciting and interesting, but fits perfectly with the story's message. Like I said, 10/10~

#splatoon #musings #side order #side order spoilers

9 notes · View notes

chip-potato · 1 year

Text

Hey, so I think I figured out why the Gaster Followers are the way that they are, and also why nobody seems to talk about Gaster himself, despite his very apparent importance in the Underground society's history. The Followers are, literally, being hurt and consumed by bad memories. (tw: suicide mention) Monsters' bodies are made of magic, and as such, they work differently than human bodies do, which is evident especially with the concept of Falling Down, described by Alphys in the True Lab logs as a monster, after losing all hope, falls to the ground in a comatose state and seemingly has no way of reawakening or doing anything except for eventually dying. Hope, or rather the absence of it, plays a key role in this interaction. From this, we can gather that how a monster feels can have a tangible impact on their physical health. It stands to reason, then, that witnessing a traumatic event can cause a similar kind of damage to a monster's psyche, and therefore their bodies. Not only that, but turning our attention back to the True Lab, we can encounter amalgamates called “Memoryheads”--

-- which, if you interact with them in a specific way, can fill our inventories with an item called the "Bad Memory". These bad memories cannot be thrown away, and if you try to use one, you take a little damage. But that's just what happens to Frisk, a human. What happens if a monster were to be given a bad memory? The game, according to my theory at least, gives us the answer to that question in the form of the three Gaster Followers you can randomly encounter around Hotland. Yes, followers plural. It is my personal belief that all three of them have pieces of Gaster. Or, perhaps it’s more accurate to say that the pieces... have them? Deltarune finally gave us a look at what Follower 3′s normal self looks like, and due to the fact that everyone in Deltarune doesn’t change that much physically from their Undertale counterparts, we can (in my opinion) safely make comparisons between every Follower and their more colorful selves.

To be frank, it’s... a little concerning, because looking at it all at once, it’s quite obvious what’s happening to these monsters. They’re holding onto Bad Memories, which are apparently in the process of consuming them. Follower 2′s hand has been replaced or melded with one piece, the borders around 1′s eyes and mouth seem to suggest (at least to me?) that it’s practically being WORN, like some kind of bodysuit.

And, of course, 3... good lord, look at Follower 3. Knowing what’s meant to be what in this sprite now makes it appear that 3′s body has Fallen Down, but the memory might be able to keep it upright and sort of... puppet it around? It’s almost like a burlap sack was thrown over the guy, honestly. Possibly while it was frozen in the second frame of its animation, as you can tell from its beak and wing shapes matching up with the “jaw” of their Follower/Undertale version. Follower 2, though, is especially interesting due to the fact that his piece seems to bear the most resemblance to an attack the Memoryheads are known for doing:

In any case, the trend is clear: holding onto Bad Memories (or in other words... trauma) literally eats monsters up. You can tell it’s eating them up in the metaphorical sense, too. Vague as they are, all of their dialogue revolves around Gaster, and as a matter of fact it’s basically the only confirmed sources of information on this character that we have. It’s all they know, too. Due to its importance to my theory, here is a comprehensive list of everything directly told to us by the three Followers: 1 - Doctor W.D. Gaster was the Royal Scientist preceding Alphys. 2 - Gaster’s brilliance is described as “irreplaceable.” This is corroborated by another Follower, calling Gaster an “act to follow.” 3 - Gaster created the CORE. 4 - Gaster, at some point, “vanished without a trace.” 5 - There was a rumor that “(Gaster) shattered across time and space.” I specify that it seems to be a rumor due to this being prefaced with “they say,” a common way to simply say that something you heard is a rumor being passed around. 6 - This same follower, #2, is able to say this “without fear,” due to possessing a piece of Gaster themselves. 7 - At some point, Gaster’s “experiments went wrong”. 8 - Gaster’s life was “cut short”. This wording of “cut short” is shared across two of the followers, and given Undertale’s style of writing, it’s likely significant in some fashion. 9 - Gaster “fell into his own creation.” 10 - Asgore “waited so long” to hire a new Royal Scientist. 11 - Asgore "took so long” to hire a new Royal Scientist, which seems to imply something different to the “waited so long” anecdote from another follower. “Took so long” implies a process that took a lengthy amount of time. “Waited so long” implies, well, waiting a long time before beginning the process. 12 - Alphys “works faster” than he did, most likely meaning that her output in terms of experimentation results and inventions were faster. 13 - There is speculation that Alphys will “end up the same way”. 14 - Despite everything else said about Gaster, Follower 3 refrains from elaborating on the experiments going wrong, claiming that “... it’s rude to talk about someone who’s listening.” Potential conclusions to draw: - (3 + 9) Gaster fell into the CORE. - (10 + 11) Due to Asgore seemingly dragging his feet, there was a long stretch of time where there was absolutely no Royal Scientist. - (2 + 12) Gaster was, seemingly, quite the perfectionist. - (3 + 12) Alphys was the creator of everything hi-tech seen in Undertale, with the exception of the CORE. - (7 + 13) Gaster and Alphys, perhaps, experienced similar situations of their experiments going wrong during their respective tenures.

Now, a lot of this is important, but I want to draw attention to the things concerning comparisons to Alphys, and Gaster’s experiments going wrong. Alphys, as I’m sure many of you know, is depressed. She is depressed due to her feelings of failure regarding the Amalgamates, an experiment into Determination that went wrong, in the True Lab... and she fights back against that regret by watching anime and blogging about her bad opinions online. It’s not exactly a healthy coping mechanism, but at least it’s... something. Something that Gaster, presumably, did not have. Now, let’s look back at Gaster’s Entry Number 17: “ENTRY NUMBER SEVENTEEN DARK DARKER YET DARKER THE DARKNESS KEEPS GROWING THE SHADOWS CUTTING DEEPER THIS NEXT EXPERIMENT SEEMS VERY VERY INTERESTING ... WHAT DO YOU TWO THINK?” Due to Deltarune's frequent allusions and ties to this piece of dialogue (and the noise being emitted in the room it’s found in), we now know, more or less, what was happening here: Gaster was witnessing the creation of a Dark Fountain, hinted at by the present tense of the words like “GROWING” and “CUTTING”. Due to Fountains requiring Determination to open, however, it is unlikely that he would be able to open one himself and survive, so it is likely that he enlisted the help of... someone. Possibly one of the “you two” mentioned at the end, or perhaps even a third party. Due to the fact that Gaster is a historical figure of sorts, this narrows down who this Fountain-puller could be by... a lot, actually. There’s only one real candidate, I’d argue.

But that’s a theory for another time, I think. Getting back on track, it would seem that, either soon after this Entry or at a later point, something went wrong with these Dark World experiments. Gaster presumably thought that things went wrong to such an extent that he would be unable to face the consequences of his actions, for whatever reason, leading to him “falling into his own creation”. Due to the parallels between him and Alphys made by the Followers themselves, and assuming this to be accurate information, it is very likely that Gaster was attempting to take his own life. However, that did not happen. Instead, while his life was indeed “cut short”, pieces of him scattered across time and space. Some, ending up in the hands of monsters who would later come to obsess over him and his legacy. Consider the broader context of this, for a moment: this sort of news would likely come as a deep emotional cut to a populace of monsters stuck in a cave with seemingly no way to break the barrier preventing them from leaving. Monsters that, mind you, go into a coma and eventually die if they lose hope. How could Asgore go about explaining to everyone that Dr. Gaster, one of the most brilliant minds monsterkind has ever known, was just... gone? It’s simple: he couldn’t. No formal announcement could possibly be made that wouldn’t result in bodies dropping like stones. We are talking potentially pounds of dust littering the streets. So, my theory-within-a-theory here, is that Asgore allowed news of Gaster’s fate to pass from one person to another in the forms of vague rumors. Once he felt confident in it being spread enough, he began to hold auditions for a new Royal Scientist, to complete the cover-up. The reason why nobody (aside from the Followers Three) talks about Gaster is because, due to the way monster bodies interact with their feelings, it quite literally hurts to talk or even think about him. Additionally, anyone who does think about Gaster for too long, starts to be consumed by those thoughts. The same Bad Thoughts that the Memoryheads give you. It's not any sort of memory wiping/timeline shenanigans, or at least not in the way people may think at first glance. It’s just... simple monster biology.

#undertale #deltarune #undertale theory #gaster #gaster followers #long post

146 notes · View notes

iasmelaion · 3 months

Text

what happens when you listen to three audiobooks in like a week and a half

We've been at trial for like the past two weeks at work, which means I have been alone in the office, with approximately 2 hours worth of work to do every day max, mostly just there to answer frantic emails and texts about "what exhibit number is [vague and potentially inaccurate description of email or other document]?" and occasionally file supplemental trial briefs. Anyway, it's all up to the jury now! Only not now now because it is a court holiday and because this case lives to torment me and never ever ever finish ahahaha it's fine i'm fine, we better win.

Anyway, all of that is to say I was bored as hell so I decided to finally finish listening to the audiobook of Gideon the Ninth, which I had started listening to LAST FEBRUARY. You can perhaps guess that, as good as the audiobook narration was, I was not entirely feeling the book. Ahaha. Ha. I was already mentally writing my Goodreads review, complaining about how yes, the narrative voice is great, and yeah, the set up and genre mashup are fun (lesbian necromancers in space! country manor mystery! slasher horror!), but there's just not enough context and the worldbuilding is so vague and what are the overarching stakes even. And then the last 1/3 of the book happened, and I listened to all three current books in the series in like a week and a half and I have spent the last two days rotating these characters in my head and reading meta and such. Sorry in advance about how in approximately two weeks time, my queue will be full of TLT shit.

Spoilers and assorted jumbled reactions below, because I'm not about to ramble like this on goodreads. But real talk, I have skimmed so much spoilery talk/fan art/etc about these books and absolutely none of it made any sense at the time so tbh I don't think it matters all that much if you're spoiled. The spoilers won't even make any damn sense most of the time.

I wish I could give this series some kind of pitch that would, idk, explain it or make it seem enticing, but lol I have no idea where I'd even start. I'll just say that if you are in need of Enrichment in your Enclosure, these books are like being tossed a very meaty bone full of delicious marrow which you can gnaw upon for a good long while.

Gideon's narrative voice is a lot of fun, and I do quite enjoy how she's basically a big lesbian jock, even if that did make a lot of the first book rough going for me because alas, Gideon, bless her, is not interested in much beyond hot ladies, swords, staying alive, and getting off her home planet. And Harrow, of course.

HARROW. For 2/3 of the first book, Gideon hates her passionately, they've been enemies their entire lives, they are vicious and awful to each other. Now, I knew Gideon/Harrow was like THE ship for these books, and I was like "...hm. Listen, I simply do not vibe with this kind of enemyship." But then that last third happened, and auuughhhhh. They're enemies, they were all the other had, they were two rats trapped in a barrel, desperate to get out, clawing and biting and snarling and hurting each other, they were each other's only solace, they were doomed from the start. They've been trapped in a cycle of terrible violence, and I have no idea if they can ever get out. And the love Gideon wants from Harrow is to be used and consumed and destroyed by love, and the love Harrow wants to give is to save her and keep her even if it means forgetting her. Like, y'all, I ship it, but I have no idea how there's any kind of future in it.

And then Harrow the Ninth happened, and goddamn, poor fucking Harrow. I felt for her already after the revelation in Gideon the Ninth, but Harrow the Ninth made me so desperately sad for her.

Good job on the soup though, Harrow!

Also the low key comedy of all of them stuck with each other on the Mithraeum was *chef's kiss*. Just like THE most demented and toxic workplace sitcom while poor Harrow is descending into a total mental breakdown.

The worldbuilding is so fascinatingly, complicatedly BONKERS. Also it's so SPACE CATHOLICISM that I don't even know what to say about it. I'm not qualified. But like. It is. It's so Space Catholicism, but also make it More Goth. And it's clearly concerned with religion and faith and all that, but not in a Narnia kind of way, and I am FASCINATED about where it's all leading to.

What a fucking villain this series has in John Gaius aka God aka Necrolord Prime aka the Prince Undying aka the Emperor of the Nine Houses aka Jod. Just absolutely skin-crawlingly horrible, the literal Worst Person Who Ever Lived, even as he's affable and funny and occasionally endearing and pathetic. And like I'm not even sure all of that stuff is a mask or a cover for his monstrousness! Like I think he genuinely is affable and funny and endearing and pathetic! He is just also quite literally History's Greatest Monster. I'm not sure if he was always like this, though I'm leaning towards him having been an awful man before he became god, in all those quiet, too-easily unnoticed ways men are awful, the moment they have any power over someone. And then Jod gets all the power so of course his awfulness becomes correspondingly greater.

I will say though that Jod's origin story is an actual horror movie, the stuff of nightmares. It's the end of the world because climate change and he and his team are frantically working on some way to save everybody but it doesn't quite work, not well enough, and no one is listening to him, and the clock is ticking down and of course the billionaires have a way out, of course they're gonna get on some space ships and bounce, but what about everyone else? Jod is sure he can save everyone else, if only he had the resources, if only they'd listen to him. And someone was listening, it turns out. Someone--something gives him power. Terrible, terrible power over life and death. And he becomes something else and makes choice after terrible choice, enabled by his friends, and then whoops not whoops! He's killed everybody on the fucking planet and ate the sun and the whole solar system too!! Absolutely terrifying reveal, and it's built up to so well. We spend so much time listening to Jod and so much of what he says is reasonable or understandable, but every so often there's a hint that under his commendable politics and goals and general hapless nerd vibes, there's something else, something much, much worse.

Actually, this whole part would make a truly great horror movie, especially if it starts off as an almost dark comedy that shifts genres as it goes: from dark comedy to suspenseful thriller to eldritch horror.

Also he gets, like, super weird about the cadavers he's been experimenting on. Like, deeply, horrifying creepy and weird about them.

Lotta people get weird about corpses in this series, if I'm being honest.

CAMILLA AND PALAMEDES. I am UNWELL about these two. I am UNHINGED. I am still rotating them in my mind, unable to do much but WEEP. "So...do you ship them??" you might ask. To which I say idk and idc, what does to ship these two even MEAN at this point, they are platonic, they are romantic, they are eros, philia, AND agape, and they're the Love that Is Perfected in Death. The absolute fucking pinnacle of insane codependence. Childhood BFFs who crawled into each other's skins and hearts and souls and never crawled back out. How much more codependent is it possible to get? NONE. NONE MORE CODEPENDENT. They have MERGED THEIR SOULS AND BODIES TOGETHER INTO ONE BEING. [actually, real talk, i am uncertain of the Soul Situation, I am pretty sure they've merged their souls together, but like. idk. they do also say they will be known as themselves "beyond the River" after death] I am WEEPING just THINKING ABOUT IT. That is not fucking hyperbole btw, the mere thought of them basically makes me cry, it's fine, i'm fine. They love each other SO MUCH. I CANNOT HANDLE IT.

Anyway, rather difficult to "ship" a pairing that has become...one person. Like, still willing to make a game go of it even during the period where they're sharing a body, but like. Now they are one person??? Because this is not a Steven Universe-style fusion where Ruby and Sapphire can unfuse from Garnet, Camilla and Palamedes are now one person, no takebacks while they live. I do love Paul though! Fucking adore that some of Paul's first acts as a new person were acts of kindness and mercy. Jod's lyctors are called saints, but I think Paul is the only one who is a saint in truth.

So, a triumph or a tragedy or both that Camilla and Palamedes died to become Paul? Idk! I adored Camilla and Palamedes as individual characters, I adored how in many ways they're the certain, just moral center of this entire series, I love their intelligence and ferocity, and oh, after Nona the Ninth, I loved so much how they loved. Each other, and other people. I loved Camilla using truths like her swords, her dry humor, how she was still so kind even while being an absolute stone cold fucking badass. I loved Palamedes, his brilliance and how he bent basically all that brilliance into helping people. I loved so fucking much that he was the one who figured out that there was a better way to achieve lyctorhood than the way Jod and his lyctors set out for them. I loved that stuck in a bubble in the underworld, with nothing but a terrible erotic novel, he started having serious opinions about said erotic novel and undoubtedly wrote terrible fanfiction in his head about it.

Ahem. Anyway. Abigail Pent and Magnus Quinn were also delightful, and I was especially charmed by the lovely Welsh accents Moira Quirk gives them in the audiobook. Love that Abigail has immensely powerful, friendly mom friend energy while simultaneously being an immensely powerful Eldritch Speaker for the Dead. Gideon observing her all like "ah, her eye contact is...extremely very unsettlingly intense! but also she is wearing an apron and is cheerful so that's alright then."

God, this is really long, sorry to anyone who actually read it, possibly i will reblog with more disjointed thoughts.

#the locked tomb #books

10 notes · View notes