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animaymay · 1 month

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SxF 96 Analysis: Some Small Details About the Reveal

Ok, hear me out. I haven't even read the manga for Spy x Family (yet); I've only watched seasons 1 and 2 of the anime, but I've somehow stumbled upon spoilers for the last two chapters (ch. 95 and ch. 96), and other small bits here and there.

And since I am not totally caught up on the story, I hesitate to call this a proper analysis since I'm mostly going off of what I know from the anime at this point. But!

I've been following the chatter and excitement following chapter 96 and I just wanted to throw this quick analysis out there, since I haven't seen some of these details mentioned yet.

So, I'm going to focus on this particular moment, just for what it is. Down the line, after catching up and having all of the character and story details, I might revisit this scene again with additional insight.

Of course, I'm sure we've all seen this panel at this point.

At first glance, this panel is beautifully drawn. You can tell that it was drawn with a lot of care and attention to detail. Typically, such manga panels are used to emphasize the fact that this is an important moment for these characters and/or the story.

There are even bits of confetti(?) flying around them, reminiscent of cherry blossom petals; this is another known technique used in manga to indicate the emotional importance of a scene for the characters featured.

That all feels pretty obvious, I'm sure. But I also wanted to point out other small details given here, which could potentially add another layer to this scene for folks.

I've seen a lot of discussion around how Anya's admission here is a big deal (and it is). But I haven't seen anyone mention the small detail here that she whispers, "I can read people's minds."

I believe that is also why we see that speech bubble transparently -- to visually show us the softness of her voice in that moment (in addition to representing Anya's willingness to be transparent about herself).

However, let's consider the conversation up until this moment. Right before, Damian had jokingly asked her, "How did you know about my dog and the pond, anyway? What, did you read my mind or something?!"

Of course, he was not expecting Anya to say, "Yes". But it's not the fact that Anya said, "Yes" that makes this scene impactful. Anya could have easily said the exact same words, at normal volume, with a smirk on her face, and nobody would think twice about it. Damian would have immediately understood that she was teasing him. And anyone overhearing their conversation would have thought the exact same thing.

But that isn't what happened. Because Anya was serious in that moment. With a genuine expression on her face, she says, "Yes" and then she whispers her secret to him.

And that is what shocks Damian. That is what causes him to freeze.

In that moment, he's able to sense her sincerity and hear the truth in her words.

His gut reaction is to believe her, whether it's because it's Anya or because of how she said it. It isn't until he has a second to think and his brain kicks into gear that he starts to notice the disparity between what he knows to be true and what Anya is telling him. In a split second, he questions this, and then ultimately rejects the notion that she could be telling the truth.

Why?

The obvious answer would be that what she's told him does not line up with what he knows to be true of reality. The rational and logical part of his brain overrides his heart and his gut, ultimately recognizing this disparity and forcing him to reject Anya's claims.

However, they are at a young enough age that it wouldn't be uncommon to easily believe in "impossible" things like magic or superpowers. So, there's also a chance that it goes a bit deeper than this.

Perhaps this sudden display of sincerity and truth from Anya didn't line up with her typical behavior with him. He's not used to seeing that side of her, and as a result, his mind resorts to him thinking that she's lying to him. He thinks that she's just teasing him. Not only because that's what he expects from her, but also because the only other alternative would be for him to admit that they've just shared a true moment of openness and transparency between them.

Anya's whisper implies, "this is only for you to know." As a defense mechanism, Damian's brain decided that it was more likely that Anya was teasing him than it was that she was being vulnerable with him in that way.

Another detail from this moment stems from the fact that this reveal takes place while they are dancing together. Partner dancing is an activity that requires cooperation and teamwork. At first, we see Damian and Anya struggle with getting the hang of it, but eventually they start working together.

That, in itself, seems to be a fairly good representation of their relationship with each other. However, even more so, it follows the flow of their conversation in this moment. It isn't until they start cooperating that they start to open up to one another.

And the pinnacle of the conversation -- the reveal -- happens at the exact moment when Damian dips her. Not only does this make for a picturesque panel, but it is also a symbolic visual of what's happening.

Dipping your dance partner inherently requires a level of trust. The person being dipped has to literally put themselves in their partner's hands. Depending on the dip, they are giving up varying levels of control and safety over to their partner. They have to trust that their partner won't drop them, or bring them too close to the floor; they have to give up their balance and trust that their partner can hold the weight that they're giving up. And their partner takes on the responsibility and burden of that person's trust (as well as trusting that the person that they're dipping does not throw themselves around carelessly).

And here, in this scene, despite the bickering we see Anya and Damian do, we see that there is at least that small amount of trust between them. Anya trusts Damian to dip her, and Damian trusts Anya to be dipped.

But underneath the surface level, the fact that Anya whispers her secret to Damian while he's dipping her reinforces the idea that she trusts him with that knowledge. In that moment, she gave up some of her own control and safety, and placed it in Damian's hands. Only his. Her whisper implies, "this is only for you to know." And he's been given the responsibility and burden of deciding whether to hold it, or drop it.

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lavendercharm · 2 months

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Linger, Chapter 5: Kiss With A Fist/Human Nature

A/N:

Ya'll. Writing this chapter felt like a marathon. But I think I'm ultimately very happy with it. Please let me know what you think!

This chapter is a bit longer, and I think it deserved to be named after two songs because of that. "Kiss With A Fist" by Florence + The Machine definitely fits the first half of this chapter and was one of the first songs I added to my playlist when writing this story, so I knew I wanted to use it for the big public confrontation.

The vibes toward the end are different. I discovered this song earlier this week and haven't been able to stop listening to it, so maybe I'm just reaching to try and justify including it lol. But "Human Nature" by Barrie is what I decided to use for the second half of this. Cause they're spitting facts when they say "Human nature doesn't always come easy" lmfao.

This is far from the end of this story, but it may be a second before you hear from me, depending on how busy the next few weeks are. I say that - watch me turn around and post something this weekend lol.

Thank you to everyone who's stuck with me thus far. I love you and I'm so grateful to know you're along for the ride.

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Summary: From the moment you meet her, you can't stand Melissa Schemmenti.

Warnings: Strong Language

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Barbara Howard did not take days off. It was only recently that she allowed herself her first mental health day, and while she could see the benefits, she had been eager to get back to her classroom, her students, her best friend, and even her coworkers. The life of a teacher was unpredictable, and the life of a teacher at Abbott Elementary came with its own unique set of challenges, but Barbara had seen a lot in her decades of teaching. With some hard work, support from her fellow teachers, and the grace of God himself, she had seen and survived it all. Barbara Howard could conquer anything thrown her way.

However, if Barbara had the magical gift of foresight, she might have chosen Monday morning to take her second mental health day in her entire history at Abbott.

As it was, Barbara could not see into the future, and so she entered the teacher’s lounge at 6:30 AM, on the dot. She claimed her usual spot, made herself a cup of coffee, and began sorting through her lesson plans for the week. She enjoyed her few moments of serenity in the lounge prior to the arrival of her more talkative coworkers. It wasn’t unusual for Melissa to arrive a bit later, especially on a Monday, so Barbara thought nothing of her absence. She politely greeted Janine and Jacob as they entered together; she did the same for Gregory shortly after. As the three younger teachers gathered at their table and discussed their weekends, Barbara continued her work, occasionally reacting to what she overheard. And when you entered the lounge, your first time visiting in the morning, Barbara was mildly surprised, but she shot you a warm smile all the same. She noticed you seemed to be a bit tense, but she chalked it up to the fact that you were still very new.

Melissa had talked her ear off about you last Monday, of course, explaining your tardiness and the shots you’d taken at her about her age. When Barb pressed her for details about your confrontation and what you’d said to each other, she simply said, “I took care of business, a’right?”

While Barbara agreed it was unprofessional of you to arrive late, she also knew Melissa better than anyone else in Abbott did; she knew Melissa could take things too far. Melissa was as passionate as they came, which meant she was one of the best teachers at the school. On the flip side, she also had a short fuse. Barbara knew she didn’t have all of the details, but she didn’t think much of it - you were a sub, after all. She expected she’d never actually meet you.

So when you arrived in the lounge for lunch the day after your explosive argument, she was shocked. While skeptical of you, she couldn’t help but admire your tenacity. You’d come face to face with the wrath of Melissa Schemmenti and still returned to Abbott. You’d introduced yourself, and as far as Barbara could tell, you were perfectly polite and well mannered. The displeasure and hostility radiating off of Melissa was felt by everyone in the lounge, but aside from giving her close friend a pointed look, Barbara chose to ignore it.

You’d continued showing up the rest of the week, greeting Barbara every day before taking a seat with Janine and Jacob, as well as Gregory, occasionally. The younger teachers seemed to have taken an instant liking to you, the four of you sharing stories from previous schools or discussing the latest movie releases. You’d even had a good-natured exchange with Ava one morning. The principal had leant against the corner with her phone and talked you through her “roster”, whatever that meant. Barbara was sure she didn’t want to know.

Barbara observed how seamlessly you integrated into Abbott’s social circles - with the obvious exception of the red head who always sat to her right in the lounge. Melissa pretended you didn't exist, which would have been fine if it wasn’t the elephant in the room. Your first day in the lounge, Janine had tried to talk to Melissa about you. She’d turned to Melissa with a huge grin on her face and said, “Man, Melissa, you’re so lucky to have such an awesome sub as your aide.”

Melissa had glanced at Janine over the rim of her cat-eye glasses, and in a sharp tone, retorted, “What sub?” That’s all it took for everyone in the room to grasp her unspoken message: If you value your life, drop it. The only reaction Barbara saw was a sharp flash of your eyes before you turned your back to the older woman and called Janine over, changing the subject.

But last Friday, Melissa caught up with Barbara after the school day ended and explained that you’d just given her two VIP tickets to the Eagles game on Sunday. If there was anything that would help Melissa forgive your transgressions, it was that. Once again, Barbara found herself impressed with you - you took the initiative to make amends and you’d knocked it out of the park. She was happy for her friend. She’d told Melissa, “Just think of how much you’ll be able to accomplish now that you and that young woman can work together. Now, you and Gary go enjoy that ball game.”

A week after your first morning at Abbott, all of the water was seemingly under the bridge, and the staff room could breathe easy again. No one paid much mind to the anxiety radiating off of you. For the most part, the energy in the room was calming as the day began.

The sudden CRACK of the door slamming into the shelves violently ripped the room’s occupants out of their morning zen. It was enough to cause everyone to nearly jump out of their skin. Heads whipped in the direction of the doorway as Melissa’s furious form charged into the lounge. Her attention was initially on Barb, but as she opened her mouth to speak, her eyes locked on you. The blush of fury rose instantly in her cheeks. She ripped her bag off of her shoulder and tossed it in the direction of her regular table, nearly hitting Barbara in the process, and as her eyes narrowed, you could practically see the steam rolling off of her as she hissed out, “You.”

And that’s when Barbara knew any chance of a peaceful morning had gone out the window.

—----------------------

As your weekend began, it didn’t take long for it to sink in that you were well and truly fucked. You completely failed to consider the consequences of your little scheme. There’s no way in hell Melissa wouldn’t be out for blood at the start of the next school week. The smartest thing to do would be to never return to Abbott, move to a new city across the country, and change your legal name. You went back and forth between chastising yourself for being ridiculous, and being so ridden with anxiety that you couldn’t eat. You felt so stupid - what did you think would happen?

Ultimately, you reached a point where you couldn’t handle the crushing weight of what you’d done alone, so you’d spilled to Ava. Her response had been about the least reassuring thing she could have said.

You did WHAT? I didn’t know you were crazy like that! You’re gonna die girl. I’m not even joking. We gotta go out this weekend, cause it’s your last one alive. I’ll make sure you have fun tho. Do you own any latex?

After refusing Ava’s offers to make your last days on earth worthwhile, you spent most of the weekend drowning in anxiety and imagining how Melissa would bring about your demise. You decided you had to do your best to prepare. You literally couldn’t afford to not go back to Abbott, especially after getting your headlights repaired Saturday afternoon. Under the anxiety, you could feel the ember of your rage, still pulsing with a red-hot glow, so you decided to grasp ahold of it. What you’d done was shitty, sure. But compared to smashing headlights? All you’d done was get even.

Seeing as you couldn’t afford to uproot your whole life and leave Philadelphia, the next most logical thing to do was to never be caught alone in a room with Melissa ever again. You were pretty sure this was something you could pull off - you figured you had two weeks left at Abbott tops, and as long as you had kids or other teachers in the same room, you would have witnesses who could recount your violent death should Melissa murder you.

This is what caused you to arrive at Abbott on Monday morning a full hour and a half before you needed to be there. You’d dithered in your car for about fifteen minutes, debating driving away and then talking yourself out of it. Eventually, you braved the outdoors, darting into the building and down the hallways as quickly as you could. You practically sprinted past Melissa’s classroom door - the lights were out, but even though you logically knew she wasn’t in yet, your mind conjured a vivid image of her jumping out of the shadows like a monster in waiting. You slowed down and tried to control your breathing as you entered the teacher’s lounge, and you were immediately soothed to see how many people were already there. Even better, Melissa was absent.

As you passed Barbara, you gave her a hesitant smile. You actually liked Barbara, as much as you can like someone who’s polite and whom you don’t know very well. You figured it may be the last chance you get - surely the woman would turn against you once Melissa told her what you’d done. Janine, Jacob, and Gregory were all sitting at your usual table, and after preparing your morning coffee, you quickly situated yourself in a seat, thankfully facing the door to the lounge.

“Hey!” Janine said, shooting you her adorable, slightly gapped-toothed smile. “How was your weekend?”

“Oh, uh… it was fine,” you said, your eyes darting toward the door as it opened. Not Melissa . “Mostly caught up on chores… had to get some work done to my car, fun stuff like that.”

“Car problems are tough,” Gregory said, spooning a bite out of his bowl of plain oatmeal. “What was wrong with it?”

“Uh…” you hesitated, unsure if you wanted to share what was really wrong. It would inevitably lead to questions and the last thing you wanted was for everyone to know the details of your feud. It was one thing for everyone to know Melissa didn’t like you - there were very few people Melissa actually liked in general. But it was another entirely for them to know she’d smashed out your headlights. Something generic - a bad alternator, maybe - would suffice.

You didn’t even get the chance to lie.

Despite the fact that you could see the doorway, the resounding SMACK of the door slamming open still made you jump. Before your brain knew what it was processing, in stormed Melissa Schemmenti, thick heels clacking on the linoleum tiles. She wore a form fitting pink sweater, the neckline questionably appropriate, and skin tight black pants. Her saint necklaces shimmered from their home on her collarbones. You supposed she wanted to look hot when she killed you.

It only took a moment for her eyes to lock on you, and in that moment you knew things were about to get ugly. To your surprise, seeing the flustered state she was in created a feeling of immense satisfaction. She was furious because your plan had worked. You didn’t even fight the smile that began to find its way onto your lips. The anxiety wasn’t gone, but you relished in the triumphant feeling of landing a critical hit.

“ You,” she hisses, tossing her bag from her shoulder. The tension in the air was thick enough to be cut with a knife.

Your eyebrows shoot up, feigned ignorance in your voice as you point at yourself and respond, “Who, me?”

She starts toward you, and everyone else at your table scatters. You’re shocked to see Janine step in front of you, her hands up placatingly. “Melissa-”

“Shut it, pipsqueak, and get out of my way ,” she growls, her gaze over Janine’s head burning holes in you.

“Hey!” You spit out, anger spiking and crowding out your anxiety. You’re suddenly standing. “Don’t call her that!”

Janine turns to you, holding a hand in your direction now too. “It’s fine, she calls me that all the time-”

“It’s not fine!” You shout, fists balled. Your eyes are glued to Melissa’s. “You think you can say and do whatever you want because no one will stand up to you. Well, I’m not going to put up with it!”

“Oh my god, please stop this. I will never psychologically recover from seeing your dead body,” Jacob pleads, wedged between the corner of the room and the fridge for cover.

“Can’t believe I was dumb enough to trust ya,” Melissa growls. “And after all that bullshit about ‘olive branches' and bein’ cordial.”

You smirk. “Oh, right! How was the game?”

Melissa starts forward again and Janine has to physically hold her back. She’s shockingly effective in spite of her small stature.

“Ya know I didn’t get into the game! Gary and I went all the way to the stadium, but you gave me fake tickets! We wasted our whole afternoon and got harassed by security!” she shouts.

“So what are you gonna do about it? Beat me up? Call the cops on me?” you challenge.

A deeply offended look crosses Melissa’s face as her jaw drops. “Are you callin’ me a snitch?” she snarls. She surges against Janine one more time, who manages to keep her back again. “That’s low, even for you!” Melissa says nastily over Janine’s shoulder.

“Oh, that’s low?” You ask incredulously. “Low like smashing someone’s headlights out?” There’s an audible gasp from Jacob in the corner, and you feel the heat of everyone’s gaze turn from you to Melissa, the whole room enthralled by your verbal tennis match.

Melissa glances around her before pointing an accusatory finger at you. “Ya can’t prove that was me!” You thought someone would have to have been born yesterday to believe that; anyone who worked at Abbott knew that’s exactly something Melissa would do.

“Oh yeah, because everyone else here keeps a bat taped under their desk like a neurotic asshole!” you proclaim, throwing your hands up in the air.

“I’ll show you ya stronza- ” Melissa hisses, pushing past Janine and beginning to reach for you. Your arms come up to instinctively protect your face, but before she can reach you, a figure closer to your height blocks your vision.

“THAT IS ENOUGH!” Barbara Howard bellows. The whole room comes to a standstill, frozen in time. Even Melissa has been stopped in her tracks, her eyes wide in shock as Barbara looks accusingly between the two of you. You feel immediately ashamed. “Are you both not grown adults? I cannot believe the absolute foolishness I’ve just witnessed!” She rounds on Melissa. “Especially from you!”

“Barb, she-” Melissa starts.

“I don’t care if she insulted your cooking to your face, you do not behave like catty teenagers! We are professional, grown people! Acting like this in front of your peers? Disgraceful! ”

She rounds on you, her eyes narrowing. “And you. To think that I was beginning to think highly of you. You went to all that trouble to make fake football tickets, just to get back at Melissa? Have you ever heard the phrase ‘An eye for an eye’ ?”

The pit of shame in your stomach is sickening as you slowly lower your arms, your eyes unable to meet Barbara’s. Feeling like a petulant child, you couldn’t help but mutter, “She started it.”

“And now I’m ending it!” Barbara yells. You feel her grip the sleeve of your sweater and pull. You stumble after, seeing her grasp Melissa as well. “You are both coming with me!” The rest of the lounge doesn’t move a muscle as Barbara Howard physically drags you into the hallway.

She marches with both of you in tow, Melissa sending you the nastiest glares she can muster from the other side of her friend. Stopping in front of a classroom full of bright colors and tiny chairs, Barbara turns to both of you. “This has gotten completely out of hand! You are both going to sit in my room and we are going to work through this. I don’t care if it takes all day - you will NOT be allowed out until you can act like civilized adults!” She folds her arms and gestures her head forward. You stare back for a moment, thinking she must be joking, but the woman doesn’t budge. After a moment longer, you enter the classroom. You’re followed closely by Melissa, who stalks to the other end of the room.

Barbara closes her door and pulls down the window blind. She turns to you both, her eyes closed and her shoulders rising in deep, even breaths. Eventually, she opens her eyes, and commands, “Take a seat.”

You glance around and only see chairs for children. You begin to protest, but the look on Barbara’s face prompts you to simply grab the nearest chair and plant yourself in it. Your knees are comically close to your chest and you don’t know where to put your hands. You settle on resting them on top of your knees. Melissa is pacing back and forth, muttering to herself - you guess she gets to ignore Barbara’s request.

“Now,” Barbara begins. “We are going to talk out your problems so we can put this whole mess behind us. Your students deserve you at your best, and you cannot be your best when you’re at each other’s throats!” She’s stern, chastising, and you feel ridiculous. “Where did all of this animosity start? Why are you angry with Melissa?”

You can’t help but scoff because the answer should be obvious. Barbara presses her lips together in annoyance and you quickly reply, “Well, where do I begin? Aside from smashing my headlights out, she’s done nothing but disrespect me since I stepped foot in her room. She was insulting me before she even learned my name!”

“I never learned your name,” she pipes up spitefully, and you whip your head around to glare at her.

“Memory not as good as it used to be?” you retort. A muscle in her jaw jumps out as she clenches her jaw, her face coloring once more.

Before she has a chance to rip into you again, Barbara cuts you both off with a stern, “Knock it off!” She looks exasperatedly between the two of you before pinching the bridge of her nose. “The Lord is testing me today,” she whispers to herself, shaking her head. She turns her attention to the fiery woman across the room. “Melissa?”

Melissa comes to a stop, planting herself and leaning her weight onto one hip. She rolls her eyes, gesticulating wildly as she speaks. “If we’re goin’ back to the start, then first things first, she strolled into my class thirty minutes late. Didn’t even have the decency to apologize.”

“You didn’t give me a chance to!” you protest. “I hadn't even stepped into the room before you were criticizing me. It’s not like I did it on purpose, it was a complete and total accident. And then you started insulting how young and inexperienced I look.”

“I was just givin’ you a hard time, that’s all,” she says indignantly. “How was I suppose ta know you can’t take a joke?”

Your head whips toward her. “And smashing my headlights? Was that a joke?” you retort incredulously.

Her eyes narrow and her tone is venomous as she hisses, “Nah, that was for throwin’ away my school supplies, stealin’ lunches, and callin’ me a bitch.”

You hear Barbara’s sharp inhale and jump to defend yourself. “Those supplies were all broken or unusable! You have so much on your hands with two classes and I was just trying to help you. Also, Janine gave me that lasagna because I forgot my lunch, I didn’t steal anything. You wouldn’t give me a chance to explain myself before jumping down my throat. Not to mention calling me degrading names in Italian!”

Barbara raises an eyebrow and gives Melissa a knowing glance. “Melissa uses gabbortz quite often, it’s nothing to get offended over,” she says, an attempt to reassure you.

Melissa’s eyes dart to Barbara’s as she huffs, “Uh, it’s gabbadost , Barb. And I mighta used somethin’ more… vulgar.” To your disbelief, the red head practically looks sheepish at this admission. Her arms cross in front of her as she shifts her weight, and your eyes are drawn to how the motion causes her cleavage to swell ever so slightly. Feeling heat flood your cheeks, you dart your eyes all over the room, attempting to find something else to fix them on. Luckily, neither woman seems to notice. Barbara’s eyebrows are furrowed in an inquisitive way that suggests she’s waiting for the shorter woman to elaborate. Melissa lets out a puff of air. “I mighta used the ‘P’ word, a’right?”

Barbara’s eyes widen as her mouth drops open in a gasp. “The ‘P’ word? Melissa Schemmenti, you don’t mean-”

“Yeah, yeah, the one I save exclusively for Kristin Marie. That ‘P’ word.” You don’t know who Kristin Marie is, but Barbara looks positively scandalized.

Tearing her eyes away from Melissa, Barbara stands and turns away from both of you, hands on her hips and head shaking in disapproval. As she takes her turn pacing across the room, the disappointed silence from the older woman allows the weight of the last week to settle on you, and you find yourself suddenly exhausted. You lean forward, your head in your hands and the shame rising inside of you like a tidal wave. How did you get here?

“Well, I think you both have been sufficiently horrible to each other,” Barbara says, turning toward you. “Now explain how this has all made you feel.”

You and Melissa groan in unison. “Come on, Barb,” Melissa starts, but Barbara holds up a single admonishing finger to silence her. The Italian woman becomes subdued immediately, and you notice how different Melissa’s reaction is to being silenced by Barbara.

“How has this made you feel?” the older woman presses, her tone of voice a warning to comply. Melissa leans against the wall, refusing to budge. You all sit in tense silence for what feels like an eternity, and you wish the floor would swallow you up. She was using the same tactics on you that you might use on two fighting eight year olds.

Eventually, you can’t handle the tension any longer and you burst out, “I feel totally disrespected!” You look to Barbara and she gestures for you to continue. “I uh… I feel belittled, and like you don’t take me seriously, but I think the worst part is I never got the chance to prove to you that I belong here… you wrote me off before you even met me. I’ve worked hard, and I love what I do, so to have you disregard me right off the bat, just because I made a mistake and I look young… it felt pretty shitty,” you admit, the confession coming out of you in one long rush.

“Especially because… I was excited to work with you,” you add quietly. You’re suddenly enamored with the floor, unable to bring yourself to look either woman in the eye. You feel exposed and vulnerable, and you’re majorly uncomfortable with it.

You’re forced to endure your feelings of discomfort for a few more torturous minutes. Suddenly, your eyes widen in shock as a husky voice meets your ears, and it takes a moment for your brain to process the words.

“I guess I feel a lot of the same,” Melissa admits. You raise your gaze to meet hers, and she’s staring at you intently, the earnestness reflected in her jewel-green eyes making your heart skip a beat. “Felt like you didn’t really care when you were late. Some a’ these kids? They got plenty of adults outside of these walls that don’t really care. That’s the last thing they need here. And then ya walked in and you look so young… I couldn't resist teasin' ya. But then you got me back and I got defensive, and I shouldnt’a.” She shifts her weight, casting her eyes to the floor. “I bought all those supplies with my own money,” she admits. “So seein’ you throwin’ em away, it really rubbed me the wrong way. But… you were right. I was tryin’ to stretch em when there was no more room to stretch. And then seein’ my lasagna on your desk… I know I can be a real hot head, and I took it out on ya and it wasn’t fair.”

As you look at Melissa, her red hair shining under the fluorescents and her evident unease at her own candor, there’s a swelling feeling in your chest and a warmth slowly spreading in your limbs. “Melissa,” you say, and her head snaps up to meet you. You search her eyes, waiting for her to snap at you for using her first name. She doesn’t. She simply waits, holding your gaze, and you can’t quite read what’s behind her eyes, but you suspect it’s something far softer than she’s shown you before.

You allow yourself to swim in those emerald pools for just a second longer before you admit, tenderly, “I’m sorry.” You see her shoulders drop ever so slightly, tension releasing as she allows your words to sink in. “I’m sorry for what I’ve said about your age. I’m sorry for throwing your things away without asking. And I’m really sorry about the Eagles tickets. That definitely wasn’t my finest moment.” You say the last bit with a touch of humor. You pause for a moment, before adding, “I’m not going to apologize for the lasagna, though. Janine insisted on giving it to me, and it was one of the most incredible things I’ve ever tasted.”

You see her eyes widen, her brows raising in surprise. A genuine satisfied smile graces her lips, and you can’t help but momentarily wish things had been different over the last week so you could have seen more of those. That smile made her entire demeanor change.

“Well,” she says, eyes flashing with her own humor. She shoots you a sly grin, and you return a small smile of your own. “If I’m bein’ real with ya, I’m impressed. Fake tickets? Pretty diabolical,” she continues, admiration in her voice. Her smile fades, though, and she brings her hand up, pressing a knuckle to her lips briefly in thought. She sighs, murmuring, “I’m sorry too. I shoulda given you a chance before jumpin’ to conclusions. And, uh… I’ll pay for ya to get your headlights fixed.” She mutters that last part, and you notice that she didn’t apologize for smashing them - but you know it’s as close as she’ll come, because you’re not sure she entirely regrets it. You’ll take what you can get.

“Thank you,” you murmur, and once again you suddenly can’t look at her anymore. Luckily, Barbara draws your focus to her as she clears her throat. You both look toward the older teacher as she stares down at you, a smug, triumphant smile dancing across her full lips.

“Now, was that so hard?” She asks, her voice teasing both of you. For the first time in days, you feel like you can breathe fully again. Melissa rolls her eyes, pulling herself away from the wall, but you detect a hint of relief radiating off of the woman as well.

“Don’t expect us to hold hands or nothin’ Barb,” she says as she heads for the door. When she reaches it, she pauses and turns to you. She considers you for a moment, and you begin to feel warm underneath her gaze. Finally, she says, “Well, ya comin’? We got lessons to plan for the day. How do ya feel about teaching Science?” Her tone is gruff, commanding, no nonsense. The carefully curated tough exterior of Melissa Schemmenti is back in place. But you’ve seen the slightest glimpse of the human being underneath.

“Right behind you,” you reply, and a tentative grin breaks out across your face as you stand and begin to follow the short woman. You pause briefly though, a thought entering your mind, and you turn to Barabra. Your hands grasp each other behind your back as you rock forward onto the balls of your feet, and you convey your gratitude by giving the older woman the warmest smile you can muster and uttering, “Thank you, Barbara.”

She returns your smile, her own radiant and warm, and you can’t help but feel like you’ve been blessed a bit. “My pleasure, dear. Go on, I’ll see you at lunch.” You nod in agreement, and turn on your heel, following after your lead teacher. You’re not friends - seeing as your time is limited at Abbott, you don’t imagine you ever will be. But you feel lighter, and there’s a newfound respect for the short woman. And for the first time since you stepped foot inside Abbott Elementary, you feel excited for the day before you.

-------

A/N:

Yes, I'm sorry, Gary will be briefly mentioned/perhaps even making small appearances. Stay strong lol. Controversial opinion but I don't hate Gary. Did I think he was good enough for Melissa? HELL NO. Do I think he should have respected her wishes and listened to her when she explained her boundaries? HELL YES. But ultimately he was just a big dumb guy who was infatuated with Melissa Schemmenti, and to that, I relate. Still, I wasn't mad about that split.

Fun fact - if you've watched season 3 episode 4 already, I wrote the Ava roster line before that episode aired. I died laughing when the kids were talking to Gregory about his roster. We don't need to talk about the firefighter exchange... denial is my favorite state.

#melissa schemmenti x you #melissa schemmenti x reader #melissa schemmenti #Spotify

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justanotherhh · 2 months

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alastor aroace semiotics: symbols/metaphors/codes (oh my!)

thinking about some of the aroace subtext, both in terms of what's definitely intentional, and things that one can pick up on within the burgeoning field of "what the heck does aspec (in this case aroace) semiology even look like in (this particular) narrative?"

there's the really obvious one of course "ace in the hole." funny as well, because ace in the hole could also reference Alastor being the card you play as a hidden advantage (potentially hinting that Rosie knows that Alastor has his own agenda and supports that, like she does in the song). Of course "Alastor is ace" is the main point of the joke, because it's a sentence that comes a little out of nowhere, and clearly confuses Alastor, because he doesn't know Stuff

2. secondly, there's the pilot episode's placing Alastor first next to and then on top of the Ace of Spades. tbh if this was an accident, it sure was a serendipitous one, because the Ace of Spades not only refers to being ace, but specifically aroace (with Hearts meaning alloace, Diamonds meaning demiace, and Clubs meaning grey-ace <- t Ace of Diamonds/Clubs are a more open to interpretation, I've seen some also use them for demiromantic and greyromantic)

3. Body language! Alastor's reactions to being propositioned or involved in a sex joke, or having to listen to romance talk ranges from discomfort (glitching), to blunt refusal/shutting down of the conversation, to boredom/distraction. I haven't made a study of Alastor's body language in detail, but I'd be interested in how his smiles potentially shift when around very sexual and/or romantic discussion, regardless of whether he's the centre of that (but probably moreso if he is). I think this would come more to the fore in future seasons if there were examples beyond Angel Dust, who also made Husk uncomfortable in the first half of s1, but Alastor -- especially in the pilot -- had very visceral reactions to Angel's "flirting/joking," moreso than anyone else, until Angel had really gone too far with Husk in ep4 (and he come onto Alastor as strongly/invasively as he did with Husk)

4. Speaking of Angel... Alastor not being present outside of a flashback in all of episode 4, and not in episode 6 either. Both episodes featured sex heavily, including Angel showing off one of his pornos, and the gang going to a sex club. Also, Valentino was in both of them (makes sense, seeing as they were Angel-centric). I wonder what Alastor feels about Valentino's whole... existence. He's also the only main s1 hotel character to not be involved in the trust exercises that lead them to the bondage/SM club. this has nothing necessarily to do with the character, but he's very much placed outside of sexual scenarios and places by the writing/plot, which is fun to notice, especially in the first two examples, as his not being in the episodes isn't actually explained. No Alastor in the sex episodes, because his fourth wall sex repulsed senses were tingling?

5. boundaries and power fantasies. that is, Alastor is a character who has very clear boundaries and ways of enforcing them. from blowing up Sir Pentious when he grabs his coat, to noping out of any space he wants to, to seizing the narrative from Vox and telling the story on his terms, to shadow tentacles (ironic), nobody touches him emotionally/physically unless they're allowed. Niffty, Rosie, and Mimzy so far appear to be the ones who have crossed into that "allowed" space the most, but considering he lets everyone (barring Lucifer and Husk, who don't want to) hug him in the finale, some of those barriers are coming down, which is another interesting analysis to make at some point

these boundaries aren't all entirely healthy either -- the way he lashes out at Husk who seems to actually be trying to look out for him (which suggests that Husk is emotionally close-ish to him, enough that he didn't realise he was overstepping), and the way he breaks down in the finale, shows that his inability to be vulnerable in front of others is... not actually a good thing. I wrote a whole bunch about how this part of Alastor's writing play into a very aroace-in-feel narrative for him, but suffice to say... a story about someone with boundaries that seems to be completely absent of "romance/sex will fix you" is refreshing. and very aroace coded

there's also a power fantasy in the idea that one can simply bend the space to avoid ones boundaries being trampled over. to be able to either nope out of a room or to make oneself so terrifying that nobody would want to try to get up in your space... it's got a little smthinsmthin of a "wish it were me" in there. being repulsed means an often constant erosion and invasion of boundaries, from people making your disgust and/or obliviousness the centre of their sex jokes, to being hyper-scrutinised and challenged every time you do or don't let someone into your space in whatever way, or challenge their notions of what's "allowed" as an aroace person. sometimes you just want to say "Demonic Powers Be Upon Ye" and be done with it

6. An Absence. most often aspec narrative is defined by an absence of allo-narrative. that is, Angel Dust, Husk, Charlie, Vaggie, Cherri, Sir Pentious, Lucifer, are set up as allo-figures with romance and sex featuring more or less in all of their stories. the only hotel residents so far who don't have that going on are Alastor and Niffty, and Niffty's story has yet to have the foundations laid out for beyond the very bare bones, and she flirts with others (her "bad boy" preference). whatever Alastor's journey is, it's not coded as alloromantic or allosexual in any way, whether through casual jokes/flirting, or a longform romantic and sexual relationship exploration, with the possible exception of...

7. Vox. the characters that Alastor seems closest to in this story are Rosie, Mimzy, Niffty, Charlie, and Husk (with the mysterious figure that owns his soul looming in the back as well). out of them, none of them are coded as anyone he's sexually or romantically involve with or heading in that direction. the last figure in Alastor's life that's very heavily figured so far is Vox. And Vox is obsessed with Alastor in a way that absolutely can be read as a bad one-sided break-up/jilted stalker type framing, with Alastor gleefully recounting his "no" when talking about their past, and otherwise putting Vox out of his mind, while almost all of Vox' big character moments revolve around how much real estate Alastor takes up in his mind (literally, considering his error message is all Alastor messaging)

Vox being a figure who is symbolically the trampler of aroace boundaries is a very good way of showing Alastor's total disinterest and even disgust (depending on whether or not he knows that Vox was/is into him), and can act as a future potential interesting barometer for other characters to be "less" invasive, but still not quite getting it to begin with (see, Angel Dust's casual flirting, Charlie's tendency to see everything from her perspective, who knows how Cherri and Lucifer might fit into this equation, and generally the sex-and-romance framing of a lot of the other narratives)

8. I talked about aroaceness being a humanising factor to Alastor in my other big ol' post I did, just want to mention it here as well. so far it exists somewhat as a Potential, in the sense that we're firmly in s1 and there's still a lot of ways this could all go, but I think it's worth mentioning as a form of foundational signposting work that's been done for his character

he's more on the dark grey end of the grey scale of all of these characters, he's manipulative, sadistic, cruel when he wants to be, petty, selfish, likes being the centre of attention + is easily rankled when he's not, and presumably he went to hell because he killed people for kicks <- these traits are not unique to him, considering the setting, but what is is the beginnings of a storyline exploring his particular relationship to vulnerability and power and why those things are a part of him in the way they are. this from the perspective of someone who is aroace (and possibly repulsed) instantly adds a potential sympathetic nuance to who he's become, similar to the layer of power fantasy mentioned above. both of these turn his narrative from a cautionary tale or a villain-played-straight (haha) trope into something much more interesting

with the semiotics of aroaceness already in place, these affect how we read the foundations for the rest of his narrative and where it's going. quite simply, it's one of the biggest factors right now that make all his other story beats more resonant and interesting, depending of course on where they take it...

9. his smile. since we've gotten deep enough into meta territory now that we're in hc/future theorising country -- the smile is of course a mask, that's known to everyone. there's a lot of future opportunities for how to utilise that alongside aroaceness-as-theme-for-him. aroaceness, or just "someone where there is a noticeable lack of romantic (and hinted at sexual) interest," is usually coded through a certain shallowness. a pathologisation of behaviours -- which is another deeper analysis post to make at some point (jeez there's so many). Alastor is off-putting, yes, but he's also very confident and charming when he wants to be, he can put people at ease despite themselves (see, Charlie). It's a very interesting mask to give someone who's aroace, because it makes him complicated, rather than a simple ableist "point at the weirdo with no friends, that's our Outsider/killer."

(it also hearkens back to the humanising factor, in that his shallowness isn't because he's aroace, it's because he doesn't know how to be vulnerable with people as the person he is in a world that is incredibly amatonormative and focused on sex)

His smile can be unnerving, but it can also be disarming, give others the illusion that he's in control, make it impossible to guess his emotions (etc. basically what he said to Charlie)

so quite simply, his smile as a twisted distortion of society's demands upon people. he's not being abrupt, aloof, asocial, unkempt, or all the things aroaceness is often stereotyped as. he's performing the most acceptable normative person you can imagine. his surface is unscratcheable because of normative ideals

it's a very fun, unique-to-this-story way of potentially telling an aroace narrative. I'd be interested in what it takes to make him drop it (if he can, or if the story takes the route of accepting that he can't -- the man who laughs kinda vibes) and whether that will tie into a piece of his story that itself takes on aroace proportions (perhaps related to worrying for others in a non-romantic way, perhaps in relation to being able to or being forced to be vulnerable in a non-romantic/non-sexual way, etcetc).

Potentials:

we haven't seen him around the aro/ace aroace colours yet as far as I can remember, which is a fun, easy way to signpost (see, Vox flashing the bisexual flag on his screen)

since we've had an "ace in the hole" joke, I think we could have an aro/arrow-based pun in there as well, maybe even as a deconstruction of when they're used in romantic ways -- (no aro going through his heart, too aro for cupid's arrow, idk I'm spitballing here) or as literal arrows in some way. also someone's gotta call him aces at one point, right? just cos? I feel like the "<2" emoji might be too niche (heck, maybe all of this is, but that's part of the point -- all of this should be ways we're able to signpost aro and ace and aroace characters), but there's characters who know modern emoji and online lingo

other asexual symbols I know of include stating a preference for cake or pizza over sex and/or dating and the black and white rings (worn respectively on right an left middle fingers, although since they only have four fingers in this world...)

I've really enjoyed "clueless cannibal about modern lingo" Alastor comics, including the one about serving cunt and the one about eating ass both by @nouverx. it goes nicely on from his being confused about "ace in the hole," with that HH style sexual comedy. there's a whole bunch of that one could play with

speaking of slang, confirmed bachelor has often meant gay, but the aro/ace community and the gay community has overlapped as long as anyone has been non-conforming. @creepysora suggested a gentleman never kisses and tells, either as Alastor being unaware that it's actually about sex, or as an aware deconstruction of the phrase that gives him the space (similar to confirmed bachelor) to sneakily go, "go mind your own fucking business 😊!" I'm sure there are others that could fulfill a similar purpose of allowing Alastor a certain kind of old-timey buffer

similar to the episode of Bojack Horseman that had Todd visit his girlfriend's parents (both Todd and his GF are asexual and not out to her parents), which depicted allosexuality from the perspective of asexuality as something nonsensical and Other, perhaps having something from Alastor's POV in which he's the observer of the rites of romance and/or sex in a way that shows their strangeness when one sits outside of their tenets

would kind of like to see him killing/hurting people for being pushy, either when alive or dead. I already see a lot of potentials for his past as a serial killer to be framed from an aroace POV, but I especially like this idea, similar to how Hannibal often targets people for being "rude."

more on what I was saying about aroaceness as a humanising trait -- more on how this affected him in life, how he feels about Vox's consistent obsessive behaviour, how it potentially makes it harder to imagine his place in a group setting like the hotel (which is rapidly being paired off into romantic couples -- often a nightmare scenario for aromantics), more on how potentially learning these words or something better to describe himself can make it possible for him to assert boundaries without shutting everyone out to a large extent, and also, tbh, to put Big Expectations onto a story that's barely even started, I hope that none of this takes away his less savoury traits necessarily. I hope he's still kind of an asshole, but simply that he is grounded in himself enough to be able to really believe in Charlie's work/aims and support her in them for more reasons than his own ends, and can admit to really caring for something

reiterating: I am interested in how his smile-as-mask will play into all of this

Any symbolism, metaphor, coding, and straight-up telling I've missed in the show itself? Any you'd want to see in upcoming seasons?

#alastor #aroace alastor #hazbin hotel #hazbin hotel meta #i keep saying *there's another analysis here* let's see if I ever do

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colourme-feral · 4 months

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Hi there. So I read your tags on an other post and thought I would give you challenge.

What were your 10 (or really how many you want) favourite locations in 2023 QLs? Can be places or buildings, or both. Your choice. Rose💜

@nothingsbetterthancoffee thank you for enabling on the clown website!! Did you have any favourite locations in this year's QLs?

I referred to MDL and so I've only included shows that started in 2023 and to keep this under Tumblr's maximum of 30 images, so I didn't include all screenshots for shared locations!

Anyway, these are my favourite QL locations from 2023:

1. Chong Nonsi Canal Park (Bed Friend, Chains of Heart and The Promise) (location) Shout out to @winnythanawin (aka @aprilblossomgirl) for our discussions about parks lol

2. The timber mill (Chains of Heart) I love wide angle and maximalist shots, so this location has been stuck in my mind.

3. Thai Muslim Women Foundation School (My Dear Gangster Oppa, Y-Destiny, Return Man, 55:15 Never Too Late, Midnight Motel, Never Let Me Go and My Only 12%) (location) I love that the building has specific motifs that are seen in other Islamic architecture. But also, an excessive number of chandeliers is always fun to me. (There are also far too many shared locations, so I picked only a few screenshots).

4. Chakngeaw Chinese Market (Moonlight Chicken) (location) Maybe it's the lanterns and the colours in the scenes, but I loved this location!

5. Como Metropolian Bangkok (Step by Step and Middleman's Love) (location) I described this as a Pride & Prejudice moment once. LOOK AT THE HUGE WINDOWS. That is all, lol

6. 13 Coins Tower Ngamwongwan (Playboyy and 3 Will Be Free) (location) I cannot explain how the slightly dead and uninhabited vibes of this hotel appeal to me but here we are 🤷‍♀️🤷‍♂️🤷

7. The houses (I Feel You Linger in the Air) (location, location) These details are *everything*. I'm especially a fan of the windows and stained glass!

8. Factopia (Pit Babe) (location) One thing about me is that I am chaotic. Look at this studio that's being used as a home. I love it lol

9. These two temples (Cherry Magic Thailand) (locations) The boat is selling the whole idea for me, though I've been told that there isn't actually a boat operating in these canals anymore, but let me imagine it!

10. Chao Phraya Sky Park (Last Twilight and Low Frequency Pilot Trailer) (location to come) I have actually been waiting to see this bridge/park used and was so excited to see it in Low Frequency's pilot trailer, though it didn't make it to the show. THEN Last Twilight showed up for me. Thank you to the location manager of the show.

11. Tokyo Tower (Shigatsu no Tokyo wa... / Tokyo in April is...) Please ignore how bad Ren looks in the screenshot. I don't care that only the base of my favourite tower can be seen. I'm taking it!!!

12. Whatever this building is (Pit Babe) I mean, I AM CURIOUS about it but haven't found the location. Maybe that's why I'm obsessing a little. Just let me find the location and I will get over it. Probably.

+ BONUS 13. Ikea Sukhumvit (Cherry Magic Thailand) I'm just kidding about this one, but I did google to see where it was @callipigio

Tagging @blmpff, @callipigio, @dribs-and-drabbles, @telomeke because we discuss locations, or at least I make you listen to me talk about them. I'd love to know if you had any favourites/ones that I forgot to add to the list!

If anyone else has their favourite locations, I'd love to know!

Also including these collections of locations, because why not: Troye Sivan's Got Me Started and its shared locations in Thai queer media

If I were in Bangkok, I might want to... in response to @lurkingshan's ask about my favourite locations

#the ask game #irl locations #2023 in qls

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valoisfulcanellideux · 1 year

Text

The 'diaspora from season one' discussion

I just watched Pix's stream from yesterday, wherein he discusses (starting at 01:11:45 into the stream) what the Ancient Capital actually is, while he builds part of the castle wall. There's a LOT of text, as I typed out the discussion - including some questions from chat (anonymised to just 'viewer', because I'm not going to intrude onto anyone's privacy).

WARNING FOR MAJOR SPOILERS

Behind the cut with you!

Viewer: Also i love your elden ring inspired castle Pix!

Pix: Thank you! Turns out this part is inspired by more than just Elden Ring, which we'll discuss in a second, but I still haven't seen anybody in the chat pinning down exactly what it is I'm doing here.

Viewer: Fwhips empire from season one

Pix: [Viewer] has it! Fwhip's empire from season 1. This is a Grimlands build. If you take a look at how I'm constructing this, it's basically copying the design of the outer walls of the Grimlands.

Viewer: That would imply that maybe members of grymlands moved to the ancient capital after the rapture

Viewer: Or that the ancient city was the remains of grymland?

Pix: The idea behind this place - and it's something that I will explain in more detail in future - but the idea is that this castle is going to be cobbled together from design ideas from a few different empires… like, across the history of this world, and that includes season one. So, in this case, I'm thinking Grimlands for some of the walls out here, obviously a bit of my own touches - but a bit of that is just the ruin detail. This [pointing to unfinished tower with diorite in it] is either Ocean Empire or Crystal Cliffs; I'm thinking probably the latter, so I want to do the roof out of amethyst and stuff like that. And then we're gonna to work in a few other details here and there. I'm not going to do absolutely everybody, because that would make the castle look like a huge mishmash of styles. But I do think that it's nice to bring some of that history to a build like this, right? That's kind of the idea.

Viewer: I like that the ancient capital seems to be seeing things that season 1 players did and copying those for their own area

Pix: My loose plan for this - like, the story behind it - is that, after the events of season one in which everyone's empires more or less get destroyed by this giant explosion, everybody started to migrate… the people who populated each of those empires travelled the world and went to different places, and some of them settled here, and started what eventually became this kind of ancient capital of commerce and technology and had this giant castle that they built, with architecture from the various empires. And then, over time, that area just fell into decline. And so there's gonna be bits and pieces of Mythland and Grimlands and Crystal Cliffs, and various other bits and pieces just kind of scattered around this. That's the idea.

Viewer: are you gonna have anything referencing the copper king?

Viewer: So this castle is like the ruin of season 1… I’m here for it

Pix: This castle is like the ruin of season one… kind of, yes. This area isn't meant to be any of the empires from season one; it's meant to have been… it's a very distant place that people from those civilisations ended up going to, basically. And then, over time, people… left. [laughs] And, like I said, this tower and that tower have clearly been attacked at some stage, so either war has broken out - some sort of conflict or some sort of disaster has happened. We've got the fallen masonry from this tower here; I'm gonna do something similar there once I know what I'm doing with the wall.

Viewer: So that explains how David exists, it's a remake of Pixandrian technology

Pix: Yes. So, people have come through vast journeys, ended up here, and a lot of the copper [points camera at museum roof etc] and the fact that there is a copper aging facility underneath here - and the fact that it's a slightly more advanced one than the one I had in Pixandria in season one - is all thanks to Pixandrian migrants settling here and bringing their technology with them.

Viewer: fitting in Pixanndria and Mesalea?

Pix: I don't know about Mezalea, because Mezalea's far too colourful for the build style that I have going on around here. I mean, look at this. A Mezalean build would just stick out like a sore thumb. Plus, Joel has already rebuilt some of Mezalea over there by Jimmy's base in the mesa, so like… that level of things is represented. Likewise, if you've seen some of Lizzie's series, she's hinted at some of her origins as a cat person coming from Joey's civilisation in season one. So I think there's a bit more stuff tying us to season one. I mean, Sausage's whole thing ties in anyway, but like… people have settled here, people have settled at Sanctuary, some of these civilisations are entirely new, there are people who were already here… I mean, I don't know how Joel fits into any of this. But yeah, that's the idea. The idea is that this is a wall, and the design, the architecture has come from the Grimlands.

Viewer: So the Pearl references are directly from that empire

Pix: Yes. So, obviously, with Pearl's death in season one having been like… her withering and that kind of stuff, she's taken on this sort of more… godlike, or sort of martyr figure in the world's religious history, and that's just kind of filtered down [he walks toward and gestures to the Ancient Capital statue] stuff like this. I mean, this is not explicitly meant to be specifically Pearl, but obviously her dress was green, there's like moss creeping up the side of that, there's the mural in the catacombs, there's all of the stuff that Sausage has going on. This [the statue] is meant to be more like how religious figures and iconography changes over time; the fact that it goes through various iterations, a lot of the traditions of the world are more oral traditions - they are storytelling - it's not written or pictographic kind of storytelling; it's more kind of just passed down from person to person. And so, the dress is absolutely modelled off Pearl's dress from season one, but then obviously the iconography of it - the fact that she's all grey and everything - that's a different kind of… that's an amalgamation of several different myths.

Viewer: A diaspora

Pix: A diaspora; exactly, yes. Great word.

[short discussion follows about how it shouldn't be assumed that any potential season three would contain parts of seasons one and two, how some people keep expecting Xornoth to return despite the empires people saying he won't, and how this season will not end the same as the last season with a big cataclysmic explosion or similar disaster because it's creatively stifling to expect that, etc]

Pix: Instead [of that] I wanna do stuff like this, and make it feel like this is already the product of a civilisation that has been enshrouded in the mists of time, and has disappeared into the past without it having to have come to ruin and been completely destroyed, y'know? Like, this is something that's really just been here over time, rather than something that's been destroyed all in one go by some kind of cataclysmic event, y'know?

#empires smp #empires s2 #empires s1 #empiresblr #pixlriffs

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sauroff · 4 months

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I want to bring up something serious here for once, because I joined a new Silmarillion group on FB (I'm old, ok?), and it's a particularly inclusive space BUT, because of that, there is a lot of debates going on. And I wasn't allowed to make this point there because the admins were saturated with risky posts.

I have seen a lot of people say things like "Tolkien wasn't racist/anti semitic because he was against fascism!". And I'm not here to discuss the logic on that, or accuse Tolkien of any of those. I'm here to bring up the fact that Tolkien supported Franco.

I get that to most people (even to me) he is not as well known as Hitler or Mussolini, but still. Tolkien supported him, a fascist and a terrible dictator, because of anti communism and very Catholics views. Franco's opposition burned catholic churches and killed nuns and priests. Now, I don't want to get into detail about the reasons behind that, and how different those actions are viewed depending on your history (For Tolkien, to whom being catholic make him part of a minority, this was very different to what it's for people from actual catholic countries in general and latin Americans in particular, in which the church, as an institution, was always complicit of dictatorships and oppression).

Even Lewis had called Roy Campbell, a poet who fought with Franco, as a sort of catholic fascist. And Tolkien considered that Lewis was just under the influence of red propaganda, believing only the things said against Franco. He couldn't understand Lewis reactions to Campbell's stories about his fight

This is mostly talked about in letter 83 which, I must admit, I haven't read. I have read other people's summaries of it. If anyone knows of some place where I could read it, please reach out and tell me.

My point here is not bashing on Tolkien. I've decided long ago I prefer not to engage too much with his personal history, since my position as a latin american, born so many years after him, raised as a catholic in a catholic country, with a VERY different history around it, makes my personal views very opposed to his in many levels.

My point is to bring awareness on the fact that Tolkien did indeed support one fascist regimen, and this is ignored by most people. I think it's not just that Franco is not as known for some as the other two, it's also that he seems to have a very different weight for those that speak Spanish and those who don't. For starters, this facts it's not included in his English wiki, while it's included on the one in Spanish. For me, that I usually try to read the English sources for English themed things, this meant that I didn't know about this until some days ago, and I learnt it through a meme.

So yeah, I just needed to tell this in case some other people are just as ignorant as me on this. Because the whole "Tolkien was against fascism" is something I have read too many times and never questioned, tbh. But maybe it was just me.

Picture of the Spanish wiki just for attention

#tolkien #discussion #cw fascism #ara speaks

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inf1nyxw0rlds · 1 month

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reposting my infinite is not weak essay because i got anxious and deleted the last one <3 i've been meaning to do this for months, but i'm not exactly the most functional person and i don't often put myself out there. in the process of rewriting it, i also altered the wording and added a few things, as you might notice if you've seen it before; and if you haven't, then welcome to whatever it is i'm doing here!

this is written with all my love, all my frustration, fueled by years worth of listening to a cycle of minsinformation that left permanent damage in the form of skewed perceptions – based in a false claim and the jokes that came with it – and a hesistance on sega's part to even address him save for a few tossed crumbs over the span of the last half a decade. originally i had an elaborate metaphor here, but there was no need for it and i'll cut right to the chase; there has always been good in infinite's character – but not everyone cares to look for it.

it's been six years since the release of sonic forces. which is insane! it's wild to me! as somebody who's been here since before the game even released, i've seen it all. to commemorate the occassion, when i wrote this originally, i thought that i would talk further about infinite's reception; in particular, the Weak thing. i've discussed it before in brief, and you can read that one here; this time though, i'm going to get more into dissecting the actual problem, and debunking arguments that supposedly prove infinite to be objectively weak and pathetic... when canonically, that isn't the case. i'd actually argue the opposite, but at the very least he isn't lacking strength – his skills are average at worst.

the first reason that i see, the one we're all plenty familiar with and the one i brought up previously, is that infinite is weak because he lost to shadow. once. that's it. do i really have to explain why this is stupid? yeah, he did lose, one time. even against a normal opponent, one defeat in comparison to what we can assume, based on his title, many victories, isn't much of an indicator toward being weak. shadow is also the ultimate lifeform, in case anyone has forgotten that detail, and bear in mind that infinite knows shadow to have just slaughtered his entire team – do you really think he would be at his best in that state?

there's also a fuckton of context clues implying that infinite had issues prior to this encounter, specifically inferiority issues. shadow literally told him, after having wiped his whole team out, to never show his pathetic face again. the face with the, you know. the big scar. the blind eye. (shoutout to the person who pointed this out in the tags in the "first part" of this, by the way! based for that)

this argument is so full of holes that it just drives me kind of bonkers how it can be used to claim infinite is weak and stupid. do i think that the scene is without flaw? of course not. if you want to say that the way they handled his breakdown wasn't the greatest, you can, you have every right to your opinion. but that's just it. we're talking about something else. i get it, the "i am not weak" was a memeable line, but it doesn't actually make him weak. people that reduce his reaction to "just" hating shadow because he got his ass beat, people who call it a "temper tantrum", i ... the context is right there. it was never "just" because shadow beat him up. would people say this about anyone else that shadow happens to beat up? that they're irrefutably weak? no. that's stupid. obviously. so why infinite? because it wasn't a strong enough spectacle. let me illustrate this more with another example;

another reason people say that infinite is weak is because sonic didn't need to go super in order to beat him. and... again, this one, too, falls apart pretty easily. sonic has beaten other characters without going super, and this includes shadow. the difference is the when, the how, the context. it's not that infinite is weak, but it was a weak final boss fight. do you get what i mean?

forces, in general, suffered a lot with this problem. it wasn't a problem that was exclusive to infinite. unfortunately, as the new character, he got the most heat. there was a huge amount of hype for him, so when the spectacle fell short, people were pissed. and i get it. but then that issue became, "infinite bad". that issue became "infinite's weak". it has never been that, though. this is why i personally hate weak jokes – because they're rooted in non-issue and misinfo.

a point i saw made once was that the characterisation of sonic and the rest of the cast are part of what made infinite's character hard to take seriously, and i'd agree! infinite actually fits the setting quite well; he has a mysterious, serious presence. he's harsh, he's edgy, but it's cheesy enough that it works in the typical style of the sonic franchise. the problem is, when the other characters aren't taking things seriously, it throws the whole thing off. we're being told this is a hard-hitting, high stakes plot, but how can we see it that way, when they're all just cracking jokes?

as a side-tangent of sorts, you know what's real funny? infinite's backstory, the one thing people use more than anything else to declare his obvious weakness, quite likely wasn't originally going to exist anyway, and he was instead going to be made by eggman. i say "quite likely" as, as i've stated, i don't like misinformation, and sega will probably never confirm this one-hundred percent, but this is something fans – myself included – have discussed a few times.

first, there's the odd dialogue and enviroment in stage 29. tails states outright, as you go through the fortress, where containment/test tubes line the walls in countless numbers, "so this is where eggman built infinite". the tubes do, in fact, appear to have low-res bodies inside them. this is also something they detailed in an early version of the script. infinite's remark on sonic's "data" also fits in with this idea of him being some form of android. prior to release, there was also a cryptic message that, when decoded, referred to infinite as "the fated son of daedalus"; in other words, icarus, who flew too close to the sun; his father being an inventor! that's really dope foreshadowing.

you can argue that tails and amy's commentary is speculation rather than solid fact and that they're mistaken, it's a possibility i definitely consider here, but given how rushed the dlc and prequel comics feel, the fact that there was a statement that big changes were made late into development... yeah. i'll buy it. i often find myself wondering what people would think of infinite had this been his story, whether they would view him differently. also, speaking of the dlc being rushed, there are actually unused lines for episode shadow implying that you would have fought the jackal squad; they were likely just unable to implement it in time. it's a shame, as it would have added to that spectacle factor i mentioned. but hey, gotta push for that holiday release!

what i find really interesting is that you can look at his character through either lense: the former mercenary turned war criminal, or the creation of our ol' doctor, and he still reads well! his behaviour makes sense in whichever context you choose to apply; what he thought he had to become, versus what he was made to be. it's cool and it makes me a bit insane. a lot of people criticise infinite for his one-dimensionality, but in my opinion, like... it's the point. he's meant to feel hollow. because he's masking; or because he wasn't made for feelings, but rather for destruction.

something that seems ironic is that many people attempt to "fix" him by... putting him into a box and inflating a single trait into his entire character and calling it "better writing". now, here's the disclaimer, okay: i'm all for people having fun and being proud of their work! i don't think that we should police what others can create. this is just about the phenomenon of watering a character down or changing them to fit ships and narratives rather than those characters being what shape the direction the story and their relationships take, things like that; which... i mean, i'm not a cop, you can still do these things even if i don't like them! i'm not saying it isn't allowed, but i think that you're kind of missing the point.

he never needed fixing. his story needed refinement. that's different. it's more about exploring what we've been given, looking below the surface; infinite is not just an evil, ruthless tyrant that deserves death nor a traumatised sadboy to be made good by the power of love and friendship – not to me. his trauma and anger are both part of him, and you cannot – or rather shouldn't – reduce him to one thing or another. it does him a major disservice, i think. there are good things there, things you can dissect, you just have to be willing to look.

in choosing to ignore what made him who he is, disregarding the loss of his squad and blatant insecurity unless it's funny, you're purposely looking at him through a faulty lense. bad writing doesn't mean that the intent isn't there. context is so important, and you can't analyse him or critique him with worth unless these things are acknowledged. it's like if you were eating a cake, avoiding the frosting and complaining it's not sweet enough. the frosting is there, not even being withheld from you. it has always been there. you decided not to eat it. sorry i'm making weird analogies again but hopefully this makes sense.

this has gotten long, wow. the point i want to highlight, overall, is that infinite is not nearly as awful as people make him out to be. it was never about his strength, it was about the limits and shortcomings of the narrative, a problem not exclusive to him yet one that has been pinned on him for so many years. i don't want it to sound like i'm saying he is immune to criticism, or that forces is, even though i've criticised forces during the creation of this post (and don't think that i think forces is terrible, either! it's my favourite game and i have lots of things i like about it as well! i've just been drawing attention to these parts to better explain what i want to convey lol); but i do hate how the wrong thing is being criticised.

this issue has been watered down into "infinite weak" when it's way more broad, way more complex than that, and i cannot stand it. it seems like such a trivial matter, like, oh, fandom is being mean about my favourite guy, but it did actual damage and forever altered people's perception of him. i am pissed about it! i'm mad! i don't care if you don't like infinite (because i can just block you as we will not get along!) but... it's about why people don't like him. they don't have to justify it, they can continue hating him, but it always bothered me that the reason is so often not a real problem. yeah.

okay, i think that's it. thank you for taking the time to read this, and if you made it this far, you're gay

#transmission #infinite tag #infinite the jackal #long post

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my-mt-heart · 6 months

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Where's Daryl?

This was very difficult to write. It opened up a lot of old wounds for me, so if you read this, thank you. If my thoughts on this show haven’t been your cup of tea, that’ll most definitely be the case here as well, so maybe just move along. ***Trigger warning for discussion of childhood abuse***

For about a year and a half, Caryl fans asked Where's Carol? as a pointed reminder that the spinoff was always meant to be hers just as much as it was Daryl’s. Even though she's back now, her fans didn't always know she would be (nor did the EP's 🙄) so her absence during filming and promotion of the first season was a heavy burden to bear. The irony is, though “Daryl Dixon” sticks out like a sore thumb in that ridiculous font, he's the one who feels absent sometimes, as if important parts of his character development were lost when he washed ashore while other parts come and go as the plot demands.

Zabel talks about swapping Daryl's iconic vest for "old man" suspenders as a matter of pragmaticism i.e. they were the only clean clothes available. Norman says it was a choice he wanted for some unclear reason, but neither of them seem to consider the intelligence of their audience, particularly Carylers, to see it more symbolically. The costume change is our visual reminder that Daryl isn't himself. In some scenes he's chattier than he should be, far more trusting of strangers with personal details, and far more theatrical. Then in others, the differences are even more alarming. He calls a child cruel names, puts his hands on him, and feels conflicted about returning home to his family, to the woman he said he loved.

I mentally prepared myself for retcons, but the one I'm struggling with a lot right now, which I haven't seen anyone bring up yet, is the retcon of Daryl’s childhood abuse. Daryl tells Isabelle that he and Merle had to take apart engines and if they couldn't put them back together, their dad wouldn't let them have dinner. It's a milder version of the stories the scars on his back tell us, though I can buy Daryl omitting the worst of it like he did in the pilot. What I can't buy is Daryl saying his dad was "hardly ever" around and emphasizing it as the main source of his pain growing up. It feels contradictory for one thing. When we see Daryl's scars for the first time in S3 of the flagship show, it's implied Daryl was trapped in an environment that enabled his dad to physically hurt him often. Presumably that's why Merle felt guilty about leaving him behind. The revelation also seems like it's only intended to highlight the consequences of an absent father figure, explaining Daryl's fear of not making it home, but also justifying his "close" bond with Laurent. The best stories allow a character's emotions to drive the plot, but this just does the opposite, twisting Daryl's backstory to fit the current narrative.

Daryl's backstory made so many people root for him in the first place. It allowed Carol to see him when nobody else in the group could. It helped me process my own childhood trauma. The ways I got to watch him overcome his violent past gave me hope that masculinity could mean more than what I grew up around—more than anger, shouting, and swinging fists. Daryl taught me that men could still be tender, kind, and loving even if those closest to them in their childhood never showed them how. I imagine Daryl's representation has been important to boys and men too, specifically to those who were afraid to speak up about their abuse because of the stigma around it. The implications of this scene may not be easily noticeable to some, but they are to me, and I'm deeply offended by it.

I’ve talked at length on this blog about how it takes a village to make or break a show, though it’s usually the showrunner who has to answer for it. I've already mentioned that I do blame Zabel. His knowledge of French history has no value when he obviously didn’t bother to study Daryl’s history aside from reading old scripts and (maybe) watching the first couple seasons. That's incredibly irresponsible and terrifying for S2. I also blame AMC for their short-sightedness and their determination to save face no matter how much it costs them. I blame Gimple for his pettiness. I blame Greg Nicotero for his insensitivity to Melissa and her fans.

As for Norman, he's hinted very loudly that he wants credit for the show being "different," so in theory he should be prepared to take some of the blame too. I can't name all of the decisions he specifically made, but no matter what they were, I can blame him for not speaking up about the shipbaiting, Daryl's wavering loyalty, and the childhood abuse retcon, all things that hurt his character and hurt the fans. I genuinely don't know what else to think other than Norman didn't give either the consideration they deserve. The show has been treated like nothing more than a vanity project, and it’s unfortunate when you think about what he and AMC had to gain from the original Caryl spinoff.

I love the version of Daryl I knew before this whole mess, I love Carol, and I love the relationship between them. I want them to have the story they deserve in S2. At the moment, I don’t know how to reconcile that with the agony I feel over the damages to half of my two favorite characters. If Carol is going to cross the Atlantic ocean to find Daryl, I want him to be the man who threatened to punch holes in all the boats so she couldn’t leave and the man who told her he loved her before—ironically—leaving himself. I need to hear Daryl admit he hasn't been completely honest with the French characters, not because he was afraid of getting too close to them, but because he didn't want to face the pain of potentially living without Carol and TF. I need to hear him say that he can't be Laurent's father, which is okay because the kid has plenty of other family to take care of him. I need to hear him say, out loud, that he could never love another woman romantically because he's already in love with Carol. That's what I need to feel better about this story. That's where my investment is. I feel like Carol is safe in Melissa's hands, but I don't feel like I have anyone to rely on for Daryl. That’s a big problem because their stories are so intertwined. There’s no Daryl without Carol nor Carol without Daryl. If you ruin one of them, you risk ruining both of them, and that’s a possibility I really can’t bear.

#caryl #carol peletier #melissa mcbride #darylneedscarol #the book of carol #twd caryl

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soracities · 7 months

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it's been a month since i encountered larissa pham's crush (pop song) (i think i saw it from you) and it hasn't left my mind, so i wanted to start a discussion or know your thoughts about it. i know that having a crush is something that most of us can relate to. but i've always seen statements where people say when their crushes start to like them back, they begin to lose interest. i haven't experienced it. although i think it's because i haven't been liked back (at least in the way that it's been properly communicated or something that I felt), i always experienced being treated differently whenever someone that I have a crush on became aware of my feelings (whether it's from my confession or someone who know us told them my feelings) nonetheless, i just don't get the reason behind people say they lose interest when their crushes start to reciprocate their feelings. isn't the point of a crush for them to notice you or like you back? if not, then please, can someone explain or let me understand the rationale why people lose interest when their crushes like them back? anyone, anons, pls feel free to pitch in. so sorry guys for this nonsense hahaha. thank you.

I haven't read "Crush", but in response to your question--from my own experience and understanding at least--I think a lot of our expectations around crushes depend a great deal on where exactly our feelings for them are coming from, and this isn't always straight-cut for everyone. As much as having a crush can sometimes be giddyingly freeing in a sense, as though you've finally been released from the boring confines of your own being, it can also be something deeply reflective with regards to your own life and your own emotional landscape. Crushes are interesting in that, in the early stages at least, a lot of the time it's not so much about the actual person but your idea of that person and what they represent: and unlike the actual person, what they come to symbolise for you is something that exists entirely in your own head--and when it is in your head it is, crucially, under your control. There's a really good section in Alain de Botton's Essays in Love that I actually think does a great job of explaining this:

Whatever you imagine unfolding between yourself and the person you like are at the end of the day nothing but fictional narratives that are entirely on your terms: you can play out everything you've ever wanted someone to say or do or express to you. It's a very safe and (somewhat) fulfilling form of validation with very little risk. And I think this element of distance, fantasty, and control is partly why some people find themselves no longer liking someone when this person likes them back--the illusion of control a secret or unrequited crush gives you is suddenly gone and now you have to contend with reality. And reality is unpredictable. You go from something totally risk-free to something fraught with risk at every turn. And how you contend with that risk is a good indicator of what actually might be fuelling your crushes beneath the surface, and who those crushes tend to be on. In your fantasies, you don't have to contend with jealousy, insecurites, miscommunication, petty disagreements. But in real life you do. And underneath jealousy, insecurity, disagreement and miscommunication lie a host of other issues that you have to confront and work through and that can seem, depending on how immense they are for you, daunting and terrifying because they do not allow you a way out of your own messiness and imperfection.

This is not to say that people who have crushes and respond in this way aren't aware of their own flaws--but I think the problem here is precisely that they may be too aware of them (and I include myself in this). Such hyperawareness is actually detrimental to the risks required to try and confront those issues because knowing every little detail about your flaws can make them seem insurmountably pervasive to you: you spend so much time analysing them that they actually eclipse everything else about you, so that it seems as though you are nothing but this deeply flawed and problematic being. In such a scenario the relative safety of your unspoken crush fantasy far outweighs the reality of having everything you feel you are defined by actually seen by someone else. Because you've spent so long cataloguing all your faults in microscopic detail, you assume everyone is going to subject you to the same harsh, withering glare you give yourself.

I think the difference between people who have crushes with the genuine hope and intention that they will be returned, and those who run away at the first hint of real affection comes down to that: an awareness and firm belief in the value of your own being, in what you do deserve and what you don't. Whatever the Crush™️comes to symbolise for someone, it can be just as indicative of what they like and value in a partner as it can be of what they lack and most desperately need for themselves: a crush, because of all the meaning, you've imbued them with, becomes a convenient stand-in for those needs (because it is a lot easier, as I said, than confronting them). As a result, we convince ourselves that this person is the solution when the reality is that, most of the time, the solution lies elsewhere. Sometimes it's simply down to a boredom that the giddyness of liking someone distracts you from. Sometimes it's something far deeper.

At the end of the day, a great deal of love, or any romantic affection, requires you to put yourself, at some point, into the eyes of your most beloved--you learn to understand and accept certain aspects of how they see and feel things in the world around them. Part and parcel of that, though, is that you also have to see and accept how they see you--you have to accept the love and affection they offer you, the love and affection they hold for you, as a fundamental truth to them. You have to accept being seen fully, with your virtues and your flaws, without imposing your idea of yourself on someone else who doesn't share that--in other words, not believing, as that excerpt says that there must be something wrong with them for liking "someone like me".

But if you're at a point where you cannot see that in yourself, or aren't ready to begin seeing, or even just accepting it from another, when you can only see everything that you feel is unattractive and wrong with you, you end up with your wires crossed: you assume that what they see has to be what you see or otherwise that you've just fooled them into thinking otherwise and it's a matter of time before they realise it--your own image of yourself is so certain because it's the most fixed and enduring image you have: it's familiarity makes it seem safer and that makes it harder to give up when someone arrives at your doorstop with an incomprehensible reality--that, actually, they do like you back. And actually, no, it's not a trick.

As I said, I think crushes are incredibly interesting because, the giddiness aside, the few times I've had them I've always wound up realising something about myself that had never ocurred to me until then. It's allowed me to recalibrate and reassess many things and a lot of it is painful, but it's also deeply important. Being loved and wanted romantically is something most people desire, one way or another, and when you find yourself frequently getting in your own way--despite genuinely wanting these romantic connections--there can be a variety of reasons underlying that depending on your own emotional makeup, your own personal histories, and your own fears and experiences.

#ask #anonymous #notes from elsewhere

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nadiawritessomething · 1 month

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omg so glad your inbox is open!!! i wanna know what you think Miles G’s sense of humor is like, because 1610 Miles has a pretty sarcastic one. Do you think G would make more jokes as a way of coping and keeping people around him just a tiny bit happier compared to the rest of his world? Or do you think he would make less jokes entirely? I personally think he makes less jokes in general, but if he’s with his mom, he’ll make a normal amount of them because he wants to see her genuinely smile ^_^

*looks through her infinite Miles G headcanons list*

This is quite an interesting question, because in fact, everywhere I like to look for the middle ground and the most likely option of all.

It is not difficult to say that until a certain moment in life, the humor of 1610 and 42 was basically identical. Neither Jefferson nor Rio are "stoned" when it comes to humor, so he wouldn't have any initial predispositions to a bad sense of humor. I can even say that if we take 1610 (and I always take him into account, because without it the analysis will be incomplete), that he has more humor from his father - similar slightly silly jokes and gags (they even became the authors of the same meme with that stairs). Rio, judging by her dialogue at the party, has a less...refined sense of humor, and I think that's also because she just grew up in a different culture, so jokes she used to might be unusual for New Yorkers, but I'm digging a little to far at that point.

Still, back to Miles G, I think their 1610 senses of humor would be similar BUT not the same, although they would be able to make each other laugh a lot more than other people (If Miles G would let himself to openly laugh near someone new of course) And the reason for that, again, is the family and other surroundings. It's not a stretch to say that there's a good chance he picked up some humor in Rio — especially when he's speaking Spanish, because the dialogue with 1610 shows that she likes to use Spanish when it comes to joking. As a bilingual, I can say that many jokes from one language are impossible to translate into another due to the peculiarities of the puns themselves (I can imagine how Aaron suffered because of this at first lol. Like he can't understand what this kid is saying and why is he so hard trying to keep this straight face)

Regarding Aaron and his influence on Miles' humor: I think his and Jeff's relationship with humor is quite different. Of course, there are similarities, because they grew up together, but Aaron looks way more...relaxed. While most of Jeff's funny moments are either his failed attempts to make amends, or phrases that should sound serious but don't. In general, one feels that he works as a policeman and tends to act serious when it comes to serious topics (wich was once he usually discussed in a movie).

At the same time, Aaron feels more in his element. He can calmly walk up to his nephew and start telling him some weird techniques or replying to messages with a bunch of emojis. I think he's the type of person whose jokes are really good, but not many people understand them; honestly, I don't even know if he was serious about that shoulder touch stuff.

Most likely, Miles also did not immediately understand some of his phrases, but over time of working together, he just got used to it, and became one of the few people who really appreciates his uncle's fun. Of course, they have to be more serious than 1610 in that scene, but I don't believe Aaron wouldn't throw in a joke at least once in a while (to which he would initially get a puzzled 'um?'). I'm not sure that he would have adopted some of those jokes, but in part - in part, this uncle's influence cannot but be felt.

And now for the weirder detail that I haven't seen anyone bring up yet - Earth 42's humor as a thing. Because it seems to me that Miles G understands sarcasm or dark humor - but not that he likes to use it very much. Because you have to understand something like this if you are part of Earth 42. Let me explain.

Six, as a group of people, are absolute idiots in themselves, and therefore, to problems or complaints in their direction, they most likely... simply did not respond with anything worthwhile. Respond with sarcasm like "if you don't have water, go bathe in our green river" (© the Lizard) might be quite of an option. One of the posters in the background of Earth 42 sometimes says "Don't do this" copying the slogan of the Nike company, so I think there are a lot of such billboards out there. Imagine if there were some sarcastic, ironic "Life is beautiful if you don't look at it" or "Just give it up dude" posters all over town. Because the Six benefit from keeping their slaves residents at bay, and this kind of passive-aggressive humor is part of that.

So yeah, Miles can't help but understand it when it's part of his environment and part of the job. But did he choose to use it often? Do not think. His life is already terrible enough, and knowing how he want to help and the way he honestly holds on to what is dear to him - I don't think he would have made the situation worse. (Especially considering that his mother would not like it, and yes, this is an important criterion). Sometimes he knows a sarcastic answer to some phrase - but he uses them only rarely and expediently. Usually when he feels hurt or uncomfortable.

I want to finish with how it was actually in the Vagabonds with humor. I think he's less funny than spiderman - he needs to be more quiet and focused or he might break a dozen bones (or fail a mission). It's not that he doesn't have jokes in his head - sometimes they do, but the work itself makes him very clearly analyze the moments when these jokes will be safe to tell.

He thinks that in a dialogue with thieves, he will rather start saying something like "Hurry up, I have to defrost the chicken before my parents comes home." with the most serious face ever. Like, really, he has things to do.

And well that's all for today cause I have to sleep. Thanks for your questions! Also I rly like your page and hcs they're all so TRUE/pos srs..

#character analysis #across the spiderverse #atsv #miles morales #miles 42 #prowler miles #miles g morales #earth 42 miles #spiderverse #aaron davis #jefferson morales #inbox #THANKS FOR YOUR QUESTIONS #I may not be fast but I'll answer another ones as soon as I can 🤲💓

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