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aohendo · 1 year

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Prince for Hire Deleted Scenes, Part 11

Amount deleted: 4 chapters (appr. 12k)

Reason for deleting: although this whole raakva sequence was interesting, and I thought it would remain for thematic purposes, after some fun dicing and splicing in draft 2, there was no more room for it without it feeling like an unnecessary diversion.

Way to fix it: rip it out and patch the holes (some references to raakvas remain).

Excerpt Length: 1655 (first half of the 3rd chapter in sequence).

Context: about half-way through Competition. Batar knows of Kiris' magic by this point, although still thinks he is 'Yphant na Suem'. Kiris, Batar, and Kaar Kulok have been deposited in the labyrinth of a raakva--a shame, soul, and magic eating creature (so, extremely bad for Kiris)--and, after Kiris found Batar, the raakva consumed of Kiris for several seconds.

Wip intro here

Taglist (ask to be added or removed): @whimsyqueen, @on-noon, @cactusmotif, @paradisiacalshroud, @houndsofcorduff, @stuffaboutwriting.

Kiris woke to a heartbeat under his ear, his staff lain across his body, curled into Batar’s arms. He woke to absolute silence from the Other, almost silence in the Human, senses deadened from… from…

The nothing pulled at what remained of him. It hurt. Waters, how it hurt.

“I have you,” Batar said, words bouncing with every step.

He spasmed. Sparks raced down his arms and he convulsed, whimpering, feeling returning and he had to make it stop. He had to go back. Make it stop.

“Look at me.”

The nothing was right there. It was right there, and it was growing farther and farther away and he needed to go back, return to it, find it and help it and become it.

“Look at me, na Suem!”

He couldn’t. Too much. She was too much, his eyes burning. Too much, too much noise, too much sound—it was so loud, it hurt, he couldn’t make it stop he had to he couldn’t—

“There’s a light ahead,” she said. Shouted. Something tacky and sticky and too strong slipped from his ears and matted his hair and the sensation stabbed into him. He had to go back.

“Kulok!”

Proofing washed over him like an acid bath. His throat tore, screams ripping from him. It was too cold on the floor, each bump a sword, and there was a clamp over his mouth digging into him. Kiris tried to roll away but he was caged. Iron bars on all sides, he didn’t know Erosion, flailing against them and he may as well have struck a castle.

“How long did it have him?”

The nothing was gone. It was too far away, no escape from this. No escape.

“A few seconds.”

Iron warmth froze his nostrils, frostbite clinging to his ears and fingers and toes. He spasmed and it was too much. Too much, everything was too great, and—

If the Headmaster saw him like this, it would be worse.

Kiris shut down. Stopped moving, stopped twitching, stopped whimpering and it made it worse, but he didn’t want it to become worse. He wasn’t sure he could take worse.

“That’s it,” Kaar whispered. “You shall be fine, my friend. The raakva cannot reach you here.”

It was too loud. It was too loud, like the Realms were too thin. Kiris swallowed and his spit felt molten. He could handle the Realms being too thin. He could tune them out, ignore them, fight for a more human level of sensation.

“Focus on my voice. You can hear me, and it must hurt. I am sorry to do this to you. You cannot return to the raakva, do you understand? It will consume you. Neither Prince ni Musyr nor I wish to see you dead.”

It wasn’t the sun blinding him; it was the cast light of a pair of torches, set against the wall. It wasn’t a glacier of swords beneath him, but the dirt floor of the labyrinth. It wasn’t the voices of the Other screaming at him to listen, but Kaar, barely a whisper. The nothing was gone.

Kiris gasped, iron on his lips. Clumsily, he wiped his face, and his fingers came away smeared in blood. His own. From his eyes, and from his ears, and from his hands themselves.

“Lean him upright,” Kaar whispered, just as quietly as all the words he’d spoken.

Hands found under his armpits and it felt he were flying again, Bascia beneath him and the Currents guiding him. Kiris slumped against the wall. He did not fall.

“The raakva will not pass through these proofs,” Kaar said, and now, Kiris could see him, lit in profile by those two torches. Kiris’ staff lay abandoned on the floor. “These will give him time enough to recover, but we cannot remain here. Every extra minute is another it will have processed what it took from him. I dare not think how powerful it will become by the time of full digestion.”

“It only had him a few seconds,” Batar whispered. “It cannot be that bad, surely.”

Kaar looked to Kiris, and sloppily, Kiris blinked. His mouth now felt of cotton, his hands stinging from re-opened wounds, blood still faintly trickling from about his eyes and ears. The Realms were silent. Horribly, horribly silent. He felt deafened.

“There is only one I have met whose Affiliation appeared at least equal to Prince na Suem’s,” Kaar said, slowly. “He was a child, in Toor Temple, and similarly given to the Waters. It terrifies me to consider what a raakva might be capable of upon full consumption of either the Prophet, or Prince na Suem.

“Not only for the purposes of this Competition, but also for the purposes of avoiding unleashing this raakva upon the Plateau, it is in our best interests to remove Prince na Suem from this labyrinth as quickly as we can.” He sighed. “It would be my preference to avoid killing him, but—”

“That will not be an option,” Batar said, simply. “We will destroy the raakva before we destroy him.”

“As you wish, Prince ni Musyr.”

“Batar.”

Kaar bowed as much he could, seated on the floor. “As you wish, Batar.”

“Na Suem.” Batar nudged him, and when Kiris was slow to respond, she took the sleeve of her tunic and wiped his face with its edge. It stung. He blinked, slowly, as she moved to his ears, and then finally took up his hands and wiped them as well. “Are you awake?”

Was he awake?

The third prince of Msvoulga knelt before him, her tunics stained with his blood. The first prince of Cym sat next to her, his leg in a cast and his crutches spread out to either side of him. A line of proofs, scripted in lovely font—royal penmanship—divided this part of the hallway from the spreading darkness of the labyrinth. Behind that darkness, there was nothing. Behind that darkness, there was a raakva. It had eaten of him.

Kiris shivered, unable to stop it. He couldn’t stop how he shook despite that it wasn’t truly cold. He couldn’t stop how he longed for the numbness, the absence, which the raakva had gifted him. The Realms remained painfully silent.

“There’s no one here,” he whispered, voice breaking. “There’s no one here. There’s no one here there’s no one here there’s—”

Batar tugged his head against her shoulder, and Kiris stared into it. Unable to see through the darkness, unable to hear her soul, nothing left not given to the Other.

“This is a godless land,” Kaar said, distantly. “The raakva took nothing of you; it has only muted you. It will wear off shortly, my friend, and you will find you have lost nothing. The Other will return.”

Kiris shuddered. It was too quiet. Too little. Too much. “It hurts.”

“I know,” he said. “I know it does. Be strong, my friend.”

Kiris wasn’t sure how long he remained like this, leant against Batar with Kaar inches off to the side. He wasn’t sure how long, and it didn’t matter, for this was a godless land. Without the Other, unable to hear even the Soils, it was timeless.

#gotta love unedited drafts #princeforhire #pfh deleted scenes #stuff i deleted #editing #fantasy #writblr #writeblr #pfh d2

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purple-dragon · 3 years

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in defense of chapter 139 (spoilers!)

it's still hard for me to get my thoughts in order so this might be a little disjointed but:

the (seemingly) extremely unpopular opinion: i liked it. a lot.

first let me go over the things i'm !!!! about that don't need further discussion: EXTRA FUZZY CONNIE!!!! jean and connie live!!! jean and connie see sasha and get some closure!!!! lmao this is just the jean and connie show isn't it

okay next. did the chapter feel a little rushed? yes, of course. is there stuff i wish was elaborated on? yeah, no shit. i wanted to see how the battle with hallu-chan ended. i wanted to see historia's side of the story. i wanted to see ymir's side of the story. if yams ever decides to come out with a series of epilogues or something that go more in depth, i would 100% support that. i want more. however, i'm still happy with this chapter because even though it didn't answer all of my questions, it was thematically consistent with the rest of the work. the ending made sense with where the entire manga has been building up to. it wasn't some kind of ass pull that came out of nowhere.

on ymir... i'm a little conflicted on how her story ended. i interpreted her backstory like this: she was in "love" with fritz the only way she knew how to be. fritz slaughtered and enslaved ymir's people, and yet he gave her attention, favor (i'm assuming), and sex (which we know to be rape, but she probably did not). this of course isn't actually love, but to an orphan with quite literally nothing else and no one to teach her differently, it must be love, right? it's got all the right ingredients (but we know it has none of the necessary dynamic).

so with all of that, ymir had no concept of what love actually is until mikasa came along. mikasa, who, much like ymir, loved someone so much that she dedicated her whole life to him. who would willingly lay down her life for him, just as ymir did for fritz. they're incredibly alike wrt the people they love, but with this major difference: mikasa is able to put herself and the world first, even if it means killing eren, while ymir has chained herself, intentionally or not, to fritz for 2000 years. mikasa ends up being the real inspiration for ymir - that's why we saw her smiling at the end of 138, because she sees the real, true love between eren and mikasa, but mikasa is still free, so ymir can free herself too.

actually, now that i've typed all that out, the more i realize that i like it, i just wish we saw it, rather than me interpreting a whole character based on a handful of panels.

now i guess i'll talk about reiner and levi? first off, i'm so so so happy that they both survived. levi was arguably the most damaged character through the whole series, and reiner was actively suicidal - i know a lot of people thought they were going to die as the end to their character arcs, but i'm so glad they didn't. i'm very happy that they both get the chance to rest and heal from everything that happened. reiner gets the chance to figure out what he wants to do with his relationship with his mother (and he's still simping for historia alskdfjasld), levi can live quietly (with the kids!!!!!!). they've both found something new to live for and i love it

also,,, gabi and falco are so cute i love them so much (wish udo and zofia were here too tho,,,)

okay. to the meat of the chapter.

i can't fit all of my thoughts on eren here, i'd have to write a whole essay on him, but i will say a little. i didn't see this chapter as a character assassination at all - i saw it as us finally seeing what was under the hard, cold mask he's been wearing since the time skip. because like, we know eren. at his core, he's the same emotional person he's always been - more grown up for sure, and more of an edgelord, but still him? and he must have been in constant pain, seeing all of time all the time... my poor boy. and even knowing that he has become an irredeemable monster, he still wants to live with mikasa and his friends, winning their freedom at the cost of his own... that's tragic, man. that shit hurted.

"thank you for becoming a mass murderer for us" excuse me??? armin??? sir hello?? is this allowed hello??? armin what the fuck?

also,,, did eren reincarnate as a bird? is that what that was implying? what was up with the birds through the story then?

eren and armin finally seeing the world together... i am in Pain

hooooooly shit, that dina reveal was not at all what i expected out of this chapter. like i knew the theory was out there, but i didn't expect it to be confirmed at all? i've seen the interpretation that eren just directed her into shiganshina, or that he directed her straight to carla, and tbh i like the second one more. it's darker and more messed up and i just think it's neat. ymmv, though.

i don't know how anyone thinks this is a happy ending, rather than bittersweet or outright tragic. like sure, our favorite characters are alive (except the obvious), but the world is still massively fucked and will be for the foreseeable future. 80% of humanity is dead, there's probably even more wildlife gone, and most of nature has been absolutely flattened. ecologically speaking, eren might have pushed this world into a mass extinction. additionally, removing titan powers from the world wasn't a magic ticket to peace - all it did was level the playing field between countries, and we can see that where the alliance becomes ambassadors and it says in the narration "this fight won't end until either the eldians or the rest of the world is wiped out". the equivalent to this would be to magically remove all nukes from existing and stop them from being made in our world - would it magically bring peace? no. of course not. would it put countries on a slightly more equal footing? perhaps.

basically, what i'm trying to say is that the fight hasn't ended, it's only been brought down to a human v human level, rather than human v titan v technology. what the implications of that for the world are, i don't know, and i wish yams had elaborated on that a little.

what eren did, then, with the rumbling, was give back the world's choice. there's no more titan threat, no more of his friends being forced to fight and die in 13 years, no more babies born with their choice to fight already stolen from them. he gave them freedom by eliminating the titans - exactly what he said he was going to do.

also on that note, what is up with the jaegerists? it seems like in and before the rumbling, all the extremists died out? maybe? like floch and his ilk, and that's why they aren't rushing to massacre the rest of the world, but who really knows... i want more post-rumbling worldbuilding...

finally (i think), that brings me to mikasa. i'm... not mad about the way we see her story end, tbh. i've seen people saying she just stays on paradis forever with eren, alone and practically in exile, but i don't think that's it? like we only see the gang 3 years in the future. mikasa loved eren so much, she dedicated her life to him from the time they were 9, and in the end he died because she killed him. let that sink in, y'know? the love of her life didn't just die, she killed him herself. if it were me, it would take me a lot longer than just 3 years to heal from that. and i think that's what we see her doing there at the end - resting and healing from undoubtedly some of the worst moments of her life. healing from grief isn't a quick or linear process; you don't just get over something like that. i know the saying goes "time heals all wounds" but sometimes it doesn't.

if we saw her maybe 10 years down the line, it might be a different story. maybe she would be in a much better place, with her own new family and goals. maybe she would be worse off, still missing eren and stuck in the past. i don't think that would be the case, though who knows? but for 3 years in the future, i think chilling on paradis with the memory of eren was the right place to leave her.

here's what i like to think happens in the future (and this is why i love semi-open endings, because some things are concrete but there's so much left open to interpretation): over the years mikasa heals, as does the world. she goes traveling the world with armin, and sees the rest of her friends often. she and levi are close - you can often find them having tea together. on occasion, she returns to paradis to share stories of her adventures with eren('s grave). in the end, she lives according to her definition of happiness, whatever that may be now, and though she never forgets eren, she keeps moving forward, and much like reiner and levi, finds a new purpose in life.

annnddd... that's all. unless i come back to add something i forgot about later, but we'll see if that happens.

#long post #snk #aot #shingeki no kyojin #attack on titan #spoilers #snk 139 #snk spoilers #in defense of chapter 139 #the dragon does meta

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drawingtr · 3 years

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Random thoughts - FT. The Walking Dead: Season Two Best Ending.

Wow, two posts in a row. I am on fire today!

So anyway, let’s talk about this not at all controversial topic in the community haha.

Now, this is just my opinion. If you don’t agree, cool. Just, ya know, don’t cancel me or anything lol (plz don’t).

Let’s begin like all great stories do, in the end.

There are in total seven endings in Season Two (Leave Kenny, Leave Jane, Stay with Jane and the family, Stay with Jane alone, Stay in Wellington, Stay with Kenny and Let Kenny kill Jane and then kill him).

Those are a lot of endings, but which one is the best one? Well, I believe it to be the Leave Jane ending.

Here is why. We know that the Second Season was sorta of a mess, but some of the ideas that the game wants to present are ‘independence’, ’ the past’ and ’the future’.

So the independence theme is clearly represented with Clementine. Making choices that affect people’s lives and always taking great risks for others, showing her capability as a survivor.

The past theme is represented by none other than the Boat God himself, Kenny. And like the past, talking with Kenny is comforting and is able to bring good memories, and process the bad ones, while also showing what the fiery desire to protect someone can make a person do. But also, by his characterisation, is shown that the past can be violent and can do more harm than good if we hold onto it desperately.

And the future is, of course, Jane. A future in which being alone, or with few people, gives you the better chances. A future in which you are capable of anything that comes in your way and nothing will be able to stop you. But like anything, this has a down side. This could make you cold and uncaring, not only to your enemies but to the people close to you, this makes it easier to leave them behind when it is better for yourself.

Now, let’s see the more-or-less macguffin of the story. What is that, since the beginning, persons around Clementine had been trying to find? Wellington. In the story, Wellington serves the same purpose as the Holy Grail in the Quest for the Sangreal. The protagonists are not supposed to reach it, they never lay eyes on the price but they change throughout the journey and that change, usually, is for the better.

Thematically speaking, shooting Kenny is cutting Clementine for her past and not letting her drag her down, while abandoning Jane is a rejection of this cold vision of the future. By going alone she is not only showing her independence from the past and the cold future, but that she can apply everything good that she learned from Kenny and Jane if she wants her and AJ to survive.

She needs to be resourceful, capable of fighting no matter what and able to think on her feet to get out tight situations. She also would need to have a heart, so she can help AJ whenever he is in danger and to not leave him behind for convenience.

That’s why I think Leaving Jane is the best ending, at least narrative speaking.

So what you think? Am I full of shit or do I make any sense?

... And personally speaking?

Well, I didn’t believe Jane had killed AJ but I knew she hid it from the beginning. Some people argue that in the end Kenny had the power to stop the fight, but I tend to think other ways. I think Jane had the power the whole time to stop the fight at any minute by simply telling the truth, but if she deemed it necessary to bring the fight to its final consequences, then she reaps what she sows.

She wanted a violent fight with Kenny, and that’s what she got.

While I stay with Kenny. Of course it has some sentimental value and that I just like the guy, but also because I understand that he is still hurting. This is the second time everything he has is gone in a matter of days. He seemed to be doing alright when Clementine and he met in the lodge. Maybe not perfect, but better just… alright. And maybe he could be just alright again, just giving him a bit more time.

And also, if I’m going to stay with either of them, I will stay with the one I have history with and will go ape-shit on someone if we (AJ and Clem) get hurt than with the person that just met a few days ago, was able to abandoned us when we must needed her and feels bad to killing a man that was not shooting at her.

#the walking dead season two #the walking dead #the walking dead telltale #telltale twd #twd #twd season two #kenny #kenny twd #the walking dead kenny #jane #jane twd #the walking dead jane #clementine #clementine twd #the walking dead clementine

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wisteria-lodge · 4 years

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Character Analysis - Sorting Sherlock Holmes (Sir Arthur Conan Doyle)

a quick note on why I’m moving away from the HP terminology

So @sortinghatchats is brilliant. Absolutely my favorite character (and person!) analysis system. Instead of one house, you get two - a PRIMARY (your motivation, why you do things), and a SECONDARY (your toolbox, how you get things done.) A very stripped down refresher --

IDEALIST PRIMARY Lion/Gryffindor - I do what I feel is right. (MORAL) Bird/Ravenclaw - I do what I decide is correct. (LOGICAL) LOYALIST PRIMARY Badger/Hufflepuff - I do what helps my community (PEOPLE MATTER) Snake/Slytherin - I do what helps me/my inner circle (MY PEOPLE MATTER)

IMPROVISATIONAL SECONDARY Lion/Gryffindor- Charge! React! Smash the system! Snake/Slytherin- Transform, adapt, find the loophole. BUILT SECONDARY Bird/Ravenclaw - Plan, make tools, gather information. Badger/Hufflepuff - Community-build, caretake, call in favors.

Now let’s talk Sherlock Holmes!!!

***

Mycroft Holmes has a terrifying Bird secondary. He knows everything. He sees everything. He holds all the information in his head, all the time, and can tell you exactly how it connects. “Spymaster Mycroft” didn’t become proper fanon until 1970: in the books he’s more like a human computer, or a Mentat from Dune. This man is incapable of improvising. He hates casual conversation, hates changing his routine, just wants to sit and process and plan. He is the cartoon version of a Bird secondary.

Mycroft is so insanely ‘big picture’ that he barely notices specific individuals. He’s off in in the corner thinking about currency regulation and the situation in Siam. In “The Greek Interpreter” he hears about a woman who might be starving to death… and sort of vaguely puts it on his to-do list. Sherlock ends up handling it.

You could make a case for either a Bird or Lion primary. But I’m going with Lion. Mycroft values instinct like Lions do (”All my instincts are against this explanation.”) And Sherlock describes him as someone who “would rather be considered wrong than take the trouble to prove himself right.” This is teasing, but it’s a joke about a Lion who just sort of feels the answer, not a Bird who needs a reason to be correct. Mycroft’s Cause, the one we see him respond to emotionally, is the smooth functioning of his world. He has a little pocket carved out for his brother, but if he had to choose between the country that he embodies and Sherlock Holmes’ well-being, it’d be England every time.

Knowing that Mycroft has that much power but doesn’t care about individual people makes Sherlock... uncomfortable. It takes him a while to even mention his brother to Watson. And then he lies about how important Mycroft’s job is. Thematically, this where Moriarty comes in. James Moriarty – the older genius hiding deep in the establishment, running a criminal empire from behind a tenured professorship, never getting his hands dirty – is Dark Mycroft. Because Sherlock is pretty sure his brother is one of the good guys. He’s pretty sure Mycroft isn’t going to break bad and go full-on ‘ends justify the means’ supervillain.

But… like… he could.

Sherlock Holmes is also defined by his Bird secondary. His deductions, data, knowledge of crime – it’s his loudest trait. But it’s a model. He tells us it’s a model. This “habit of observation and inference which I formed into a system” is something he built – and honestly, he probably built it for Mycroft. The Holmes brothers don’t do conversations, they have deduction games. Sherlock never wins, but at least he plays on Mycroft’s level.

(Everything about Sherlock Holmes makes more sense when you think about Mycroft. Like the “brain-attic” metaphor. How did Sherlock get this idea that there’s some fast-approaching limit to the actual pieces of information he can fit in his head at once? Because he knows someone with far, far greater processing power).

Underneath this logical Bird secondary model, Sherlock Holmes has something that looks a lot more Snake He’s moody and mercurial. He improvises on the violin to help himself think. He loves acting. He loves disguises. He crushes on Irene Adler because their Snake secondaries have so much fun playing together. And when it’s important, Holmes goes full-on Snake. Need to get Watson away from Moriarty? Better forge a letter sending him on a fake errand.

And as far as primaries go... he’s a Badger. Sherlock Holmes cares about people. Oh wow does he care about people. If he doesn’t protect his client, it’s not a win – even if he solved the case with some brilliant bit of detection. He despises blackmailers, because they destroy lives in a cold, impersonal way. (At least murderers care.) He doesn’t mean to upset people with his deductions, and apologizes when he gets too coldly Bird: “Pray accept my apologies. Viewing the matter as an abstract problem, I had a forgotten how personal and painful a thing it might be to you.” When Watson talks about the “depth of loyalty and love which lay behind that cold mask,” Holmes is thirty seconds away from going vigilante killer because somebody hurt John Watson.

But the feeling isn’t just Watson-centric. Holmes doesn’t require Watson at his side the way a Snake would, because as long as he knows Watson is safe and happy, he is content. Holmes need-bases. It’s important that he works for people who need him. He generally dislikes working for the rich or upper-class (Soviet Russian Sherlock Holmes was totally a thing, they didn’t have to change much). He also has a *real* problem with overworking himself, which is very much a Badger primary and not Snake primary thing to do

He even community-builds. His Baker Street Irregulars, his connections over at Scotland yard, his tribe of interesting contacts and informants. Holmes values community. To him, community = safe. He loves London, but isolated rural areas makes him nervous:

“[in London] there is no lane so vile that the scream of a tortured child, or the thud of a drunkard’s blow, does not beget sympathy and indignation among the neighbors, and then the whole machinery of justice is ever so close that a word of complaint can set it going... But look at these lonely houses, each in its own fields… think of the deeds of hellish cruelty, the hidden wickedness which may go on, year in, year out, in such places, and none the wiser.”

And don’t get me wrong. Holmes loves his double Bird armor. It makes him feel powerful, and hides the fact that he cares so damn much. He likes to pretend he doesn’t: to care is to be weak, ineffective, and untrustworthy. (Mycroft is probably to blame for this bit of thinking too.) But Sherlock Holmes is still able to take off his Bird. He takes it off around Watson.

Dr. John Watson is a bright charging Lion secondary who is completely incapable of telling a lie. He’s ex-military. He’s Holmes’ muscle/backup. He’s got a gambling problem. And the thing about Holmes and Watson’s dynamic is that while Holmes calls the shots about 90% percent of the time, when it’s important – Watson goes full unstoppable-force Lion. And Holmes just buckles.

“Well, I don’t like it ; but I suppose it must be,” said I. “When do we start?” “You are not coming.” “Then you are not going,” said I. “I give you my word of honor – and I never broke it in my life – that I will take a cab straight to the police station and give you away unless you let me share this adventure with you” “You can’t help me.” “How do you know that? You can’t tell what may happen. Anyway, my resolution is taken.” Holmes had looked annoyed, but his brow cleared, and he clapped me on the shoulder. “Well, well, my dear fellow, be it so.”

Watson’s absolutely a Lion Primary too. First going into medicine, then joining the army even when that’s not the best career move? At the beginning of A Study in Scarlet, Watson is in terrible shape. Can’t sleep. Can’t stand loud noises. He’s “spending such money as I had considerably more freely than I ought.” But it’s not so much the PTSD as it is the the lack of purpose that’s getting to him. He talks a lot about his “meaningless existence” and how how “objectiveless was my life.” That’s a hurting, burned Lion, without a Cause.

And then Sherlock Holmes stumbles in. Overnight Watson’s life has meaning. He is going to help Holmes bring criminals to justice. He is going to make sure Holmes gets the recognition he deserves. And he’s going to get him clean. (ACD gets massive kudos for being against recreational cocaine and morphine use). The things Watson loves about Holmes, things like his “high sense of professional honor” – those are things that get under the skin of a Lion Primary. This is a guy with pictures of abolitionist preachers framed on his wall. John Watson’s not subtle.

“You don’t mind breaking the law?” [said Holmes] “Not in the least.” “Nor running a chance of arrest?” “Not in a good cause.” “Oh, the cause is excellent!” “Then I am your man.”

And of course, Holmes got lucky in Watson too. Holmes is a Loyalist primary who distrusts other Loyalist primaries – you can’t really blame him, he comes across so many repulsive ones in his day job. (Interestingly, the handful of times Holmes absolutely misreads a motive – “Yellow Face,” “Missing Three-Quarter,” “Scandal in Bohemia” – it’s because he’s going up against a Loyalist primary who is using their powers for good.)

But Watson is a trustworthy, dependable, predicable, honorable, Idealist who can look like a Loyalist because his Cause is so focused on one person. So Holmes can be secure in his doctor’s devotion while also getting to lean on the instincts of someone just unflinchingly moral.

tl;dr

Mycroft Holmes – Lion Bird. An extremely big picture Lion whose Cause involves keeping England together. He’s the light-side counterpart of Professor Moriarty.

Sherlock Holmes – Badger Snake. Builds a loud Double Bird model, partly for pleasure, partly have a relationship with his brother, and partly because dealing with so many low-life Loyalist primaries makes him distrust those instincts in himself.

Dr. John Watson - Double Lion. When we meet him he’s pretty burned, due to his twin Causes of Queen and Country not really working out. Luckily, he meets Sherlock Holmes, and finds a new Cause in him.

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lpenvs3000f21 · 3 years

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Prior to this course, I had never heard of an “environmental interpreter”, but in the last two weeks, I have been learning about their significant role in many settings! I was reflecting on places I have been to where I have come across interpreters, and one place would be the Roman Baths in Somerset, England, where I listened to an audio tour by dialing the numbers at the various stops. I had never considered that with this type of tool, such careful planning goes into the story telling to appeal to the tourists.

An environmental interpreter requires specific skills in their practice. They need to know how much to share about a topic, and the key details that are of interest and relevance to the listener. In my upcoming projects, I will be abiding by various formulas to connect with my audience through podcasts. Mill’s formula is a great place to start, to create podcasts that appeal to the imagination and the reason, to give life to cold facts, make stories to breathe life into inanimate objects, deal with principles rather than isolated information and give biographies rather than classifications (Beck et. al, 2018).

Freeman Tilden’s six “principles of interpretation” (1975) is also resourceful, and builds on Mills’ formula:

1. Any interpretation that does not relate what is being shown or described to something within the personality or experience of the visitor will not resonate

2. Information alone is not interpretation, however, all interpretation includes information

3. Interpretation is an art, therefore is teachable to some degree

4. The chief aim of interpretation is provocation

5. Interpretation should aim to present a whole rather than a part and must address itself to the whole person, rather than any phase

6. Interpretation addressed to children should not be a dilution of the presentation to adults but should follow a different approach. To be at its best it will require a separate program. (Beck et. al, 2018).

Additionally, Brochu & Merriman’s (2008) POETRY approach is another great tool to follow to ensure an environmental interpretation podcast will be successful (Beck et. al, 2018). P, for “purposeful”, is important because I want my topic to be of interest to my listeners, but also of significance, which in turn should motivate more people to listen. O, for “organized”, is also important for a successful project. The information in the podcast must follow a certain order to make listening enjoyable and easy for the audience. If I am jumping from topic-to-topic, the podcast will be difficult to follow and disorganized. E, for “enjoyable”, goes in-hand with purposeful and organized. An enjoyable podcast should not be dense with facts. For example, while the topic of climate change is purposeful, and can be explained in an organized way, if I go on a tangent about the science behind oceanic currents and the Coriolis effect, I may lose some of my audience to boredom. It needs to be a mixture of scientific facts and symbolism to reach a larger scope of viewers. T, for “thematic”, also correlates with enjoyment. It is important to stick to a theme as not to confuse the listeners, and to keep them engaged. If I title my podcast “wildlife in a concrete jungle” and begin my podcast about the different wildlife in the Toronto area, I do not want to conclude my podcast with results of the recent election (which is another point, that talk of religion and politics should be avoided). R, for “relevance” is key to being a successful interpreter. They must remember why the audience tuned in and what they are there to learn. While analogies can be made to make the understanding easier, when teaching a historical lesson, the facts should remain present and relate to the topic. If my audience tunes out and asks themselves “So what? What was the purpose of listening to this?”, then I failed. Lastly, Y which stands for “you” (as the interpreter) is important to consider when creating a podcast (Beck et. al, 2018). The only way to display my passion and enthusiasm about a topic is to be curious and interested in what I am teaching!

I am very excited to start practicing and building upon my skills as an environmental interpreter. I have always loved nature and wildlife, and want others to perceive it the way I do, but this is only possible through technique and effective communication. I hope that soon, I can help more youth and adults perceive nature in a positive way, and highlight aspects of nature that often goes unnoticed! I would love to know, what other skills do you think an environmental interpreter needs to successfully engage their audience and how do they obtain these skills?

Reference

Beck, L., Cable, T.T., & Knudson. D.M. (2018). Interpreting cultural and natural heritage for a better world. Sagamore-Venture.

#environmental #interpretation #explorinwithlauryn

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aion-rsa · 3 years

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Vikings Ending Explained

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The following contains spoilers for Vikings season 6 part two.

Vikings has always been concerned with legacy: that of the Vikings themselves, and of Ragnar and his sons. It’s clear from the show’s coda – Ubbe and Floki side by side on a distant beach, contemplating existence as the sun glows down upon the endless stretch of ocean before them – that the two ultimately are inseparable. Bound up in this spider’s web of myth and mayhem, too, is the fate and legacy of the show itself. How will it be remembered now that it is gone? In a word: fondly.

Creator Michael Hirst has left us a show for the ages, one that transcends the war, blood, and murder that first drew audiences to its story. The closing run of episodes is at turns thrilling, stirring, chilling, harrowing, heart-breaking, savage, sensual and ethereal, and is capped off with a mesmerizing, mytho-philosophical finale that retroactively elevates everything that came before it, all the way back to the moment when Ragnar first asked Floki to help him sail west. So how does it achieve this greatness? And what does it all mean? Let’s break it down.

Groundhog Deity

One of the central themes of the show is the cycle of violence and bloodshed in which Viking society finds itself mired, and the battle between those who seek to perpetuate it, and those who seek to break free from it. It’s a dichotomy that burns down through the wick of the show, and often rages within its characters, most notably Ragnar, Lagertha, Floki, Bjorn, and Ubbe. Season upon season, each promise of peace is swiftly pounded into the blood-soaked earth by the vengeance, skulduggery or megalomaniacal ambitions of a chaotic individual, faction or rival; the old ways refusing to cede ground to the new. But still the dreamers and visionaries struggle, against themselves, against the furious roar of tradition, again and again. This rise and fall happened so frequently throughout the show’s run that its rhythm caused some sections of the audience to grow weary. This repetition, though, this sense of helplessness, is largely the point (not to mention an accurate portrayal of the brutish life endured by most people in the Dark and Middle Ages), and one that’s made more explicit than ever before in the final stretch of the season. Like the characters themselves, we the audience must feel – truly feel – the suffocating hopelessness of it all before we can begin to appreciate the burst of light at the end.

All throughout the series the Vikings’ thirst for war and conquest is cloaked in the language of fate, destiny, glory, and the Gods. In a telling sequence half-way through the final ten episodes, these justifications are stripped away to reveal the dark, very mortal truth that lies behind them. Ivar, Hvitserk, and King Harald reunite in a calm and peaceful Kattegat. All three are burnt-out, frazzled, and dissatisfied. There’s a real sense that “the age of the Vikings is gone” and that this is “the twilight of the Gods”. Harald and Ivar admit that there is no pleasure in being a King, despite it being a title both men have dreamed of and longed for, and for which they’ve lied, cheated, betrayed, and killed. In the final analysis, we can see – and finally they can see, however indirectly – that the great cycle in which the Vikings are trapped has been perpetuated not by the Gods – those great scapegoats in the sky – but by bored and angry men seeking in bloodshed distractions from a cold and brutish world whose quotient of misery has only ever been increased by their actions. It is especially sad to see Ivar churned back into this mill given the growth he experienced throughout this season, not only in being a caring, surrogate father to the Rus heir Igor, but in becoming an actual father after his body asserted itself just long enough to plant his seed in Princess Katia’s belly.

Ivar witnesses two men in a public gathering-place squabbling over a trivial matter, and extrapolates from this that war is a necessary state for the Vikings, because in peace they fight amongst themselves. It’s patently obvious that the lesson Ivar pulls from this incident says more about his pain and psychopathology – his hatred, his emptiness – than it does about society at large. Ultimately, it is he, and Harald, and Hvitserk, and a million other men just like them, who need war. They need external conflict to distract them from their own internal conflicts and inadequacies. Never-the-less, and perhaps unsurprisingly, Ivar’s facile supposition is all that King Harald needs to hear. Before long, the three men and a ready-made army are heading back across the sea to England for a final confrontation with King Alfred and his Christian Saxon soldiers.

“The Twilight of the Gods”

This climactic confrontation is, on one level, less a battle between two armies and more the continuation of the chess game Ivar and Alfred once played as children, as their fathers – King Ragnar and King Ecbert – cut deals and hatched plots in another room.

In many ways, Ivar was always marked for monsterhood. He grew up with the fierce love of his mother, Aslaug, which she wrapped around him like a blanket made of steel. By over-compensating for his condition and physical fragility to such a suffocating degree, she left him isolated, conceited and angry. His father, Ragnar, was absent for most of his youth. Though Ivar had Floki to teach and guide him in the ways of the Gods, Ivar didn’t realize quite how much of himself had been missing until Ragnar returned and took him under his wing. Ragnar was one of the few men who seemed to have faith in Ivar’s abilities; who told him that he could be something other than a liability, a cripple, a joke. They journeyed to England together with conquest in mind, but when a storm sank most of their boats, Ragnar swiftly refocused the purpose of their visit, enlisting Ivar’s aid to kill the surviving members of their party (to remove all evidence of their initial intent) and surrender themselves to King Ecbert.

Ragnar tells Ecbert to deliver him into the hands of King Aelle, so that Ecbert will not be blamed for Ragnar’s death, and the full fury of the Vikings will be directed at their mutual enemy instead. However, Ragnar has instructed Ivar to return home with news of Ecbert’s duplicity, so that both Kings will become the targets of the rage-and-grief-filled Viking horde. Ivar is the perfect capsule for this incendiary message, as Ragnar gambles, quite correctly, that King Ecbert’s sense of fair play, filtered through his Christianity, won’t permit him to harm or imprison a poor, harmless crippled boy. Ragnar thus succeeds in turning the Saxon’s Christian compassion into a fatal weakness, while at the same time teaching his weaponized son that love, violence, deceit, and death are so intimately connected as to be almost indivisible.

When Aslaug died at Lagertha’s hands, soon after Ragnar’s death, it removed his only other source of love, cloying though it was. He took that love and turned a mutated version of it upon himself, imbuing himself with delusions of Godhood, something his fury at his parents’ deaths only served to magnify.

In the first dramatic round of the final battle against Alfred, Ivar repeats his father’s tactic of weaponizing kindness. He orders traps to be set in the forest with which to painfully ensnare the first line of Alfred’s advancing soldiers. The hope is that Alfred’s Christian compassion will compel him to send the next few lines of soldiers to assist their wailing brothers, allowing the Vikings to ambush them like lambs to the slaughter. And so it proves. Many lives are lost. The fighting is kinetic and savage; the pervading mist and gloom only enlivened by the occasional eruption of fire, like a melding of Valhalla and the Christian conception of Hell. King Harald is killed, finding some solace and peace at last with a dying vision of his brother, Halfdan, whom he’d killed in a previous battle.

After this, there is a lull in the fighting. Alfred and Ivar meet under a white flag to discuss terms. Alfred will not yield. He will never again reward Ivar for his unprovoked attacks, nor fall into the trap of trusting his word. He tells Ivar to leave his kingdom, leave England, and never return; entreats him to save his people from further pointless bloodshed. He goes on to declare: “My God is the God of peace and love. Your Gods are savage. They demand sacrifice. They do not know human love.” The final fight that follows is as much the culmination of a struggle between two competing religious and cultural ideologies as it is a battle between Ivar and Alfred; and by the end of this final episode the matter is settled, at least in a thematic sense.

Alfred and Ivar cleave to their God and Gods on the battlefield, looking to them for guidance and answers. As the situation becomes ever more desperate, both leaders soon find themselves deserted by their Gods, their imagined connection to them severed.

“What am I supposed to do?” Ivar shouts to his suddenly deaf and mute Gods. “Answer me!”

“Speak to me, please. I’m afraid. Speak!” Alfred beseeches his lord Jesus.

Stripped of their Gods, both men are forced to acknowledge in whose image they’ve truly been forged: their fathers’. What they do next will decide if history is doomed to repeat itself, and also settle the question of whether it is their own wills or the wills of their fathers that are the stronger. Ultimately, it is love and compassion, in both instances, that proves to be their guiding light, leading Ivar to reject his father’s ways, and Alfred to embrace his father’s – his real father: the monk Athelstan, who was once a friend and confidante of the great Ragnar Lothbrook.

All You Need is Love

Ivar watches the battle from the side-lines. Hvitserk has long been a tormented, tortured and fractured man, but in combat he’s whole, screeching and roaring through the flames like a mythical demon. But one man can’t best a whole army, and it becomes clear that Hvitserk isn’t long for this world. Ivar’s eyes shine an electric blue, a physical indication known since childhood that his brittle bones are about to break. Ivar knows his actions in the next few minutes will serve as his last will and testament, the means by which the world will remember him. Ivar watches Hvitserk – the brother he’d many times mocked and tormented, whose life he’d tried to ruin, who’d long forsworn to kill him – and charges onto the battlefield to take his place, submitting himself to the same forces of compassion he’d spent a life-time deriding and subverting.

“I could never kill you,” he tells Hvitserk.

“I love you. I love you brother,” Hvitserk replies tearfully.

“Now go. Go!” hollers Ivar.

Ivar’s rage and defiance seem to shake the very earth around him. He is at one with his army. He fights and lives through them. In the midst of his last stand a young soldier, shaking with fear, approaches him from the mist.

“Don’t be afraid,” says Ivar, an almost Christ-like evocation at this, his moment of sacrifice. The soldier stabs him repeatedly, and, as Ivar falls, his bones snap and break. Hvitserk runs to him and cradles his dying body, while Alfred calls for the fighting to stop. “I am afraid,” Ivar splutters, words no-one thought they would ever hear from Ivar the Boneless. And then there are three more; his final words: “I love you.”

Ivar has thus broken the cycle. He has sacrificed himself not for hate, as his father once did, but for love. He was finally able to know and to feel human love; and crucially to demonstrate it instead of demanding it, even if it was right at the end of his life, and only for a few moments. Already Ivar had begun to demonstrate humility. On the eve of the battle he told Hvitserk: “Hundreds of years from now, someone will be proud to find my blood is in their body and my spirit is in their soul.” Maybe part of him realized that in becoming a father he’d finally achieved the immortality after which he’d always hungered, and it was enough.

Hvitserk is carried away on the back of a wagon. We’re given an aerial view of this, lending Hvitserk the appearance of a corpse returning from battle. In many ways he is. Hvitserk is dead, in a sense. The merciful Alfred baptises Hvitserk, allowing him to be reborn with a new name: Athelstan.

We know from our future vantage point that the loving Christ Hvitserk has now embraced is destined to eventually, and irrevocably, defeat the old Norse Gods. Not only that, but there will be a millennium of distinctly non-loving conquests, wars, decimations, genocides, enslavements and cultural destructions carried out in His name, all of which will make the exploits of the 8th and 9th century Vikings look like the tantrums of naughty children in comparison. But Hvitserk doesn’t know this. All he knows is that he has found peace by rejecting war and embracing love. He has finally found a way to honor his father – or at least the part of his father that loved Athelstan, and came to see Christianity and Paganism as two sides of the same coin. Love and mercy, then, are the instruments that Hvitserk and Alfred use to break free from the ‘endless cycle of suffering and war’.

Out With The Old

The show’s themes converge, coalesce and crystalize in the New World, too. The journey from Iceland to Greenland to North America is one fraught with danger and death, but characterized by faith and hope and sacrifice. And it is Othere, the Christian wanderer once known as – appropriately enough – Athelstan (no relation), who leads them there.

“This is everything [Ragnar] was searching for,” Ubbe tells Othere, in their new land of milk and honey. “And I found it.” Othere cautions Ubbe against behaving in the same ways that he did before – the old ways – lest this land become just like the land he left behind.

They are not alone. The Vikings discover that the land is occupied by a tribe of indigenous peoples they refer to as Skraelings. The tribe welcomes them warmly. Ubbe soon discovers they have a friend in common: Floki, who somehow reached these same shores from Iceland, alone, and now lives on the periphery of the Skraelings’ land as a revered mystic. If it wasn’t for the Skraelings’ kindness, Floki would have died on arrival. They showed him mercy and kindness.

Asked why he left Iceland, Floki says it was because he was ‘imprisoned in sadness’.

“What made you so sad?”

“I don’t always remember,” he says, with a wistful smile.

Floki here represents the past of the Vikings as we in the modern world have come to know it, a patchwork of tall tales and omissions. Floki embodies how time will continue to wash away both the Vikings’ history and their legend, until there’s little difference between them, and nothing much is left of either. Floki also embodies the idea that the golden age of the Vikings is gone; he remembers that he once was a Viking; he remembers Ragnar, the sons of Ragnar and the people who were important to them, but little else. There was a time when Floki was the greatest soldier of and preacher for the Gods, but he has now let them go, shed them like a dead skin. “I called to them and no longer heard their voices, or they didn’t make sense,” he tells Ubbe. Again, entropy, evolution, death, re-birth, legend, past, future: all suffused.

The old ways make one last effort to re-assert themselves, even here in this paradise, and Ubbe gets his defining moment – just as Ivar and Hvitserk and Bjorn before him got theirs. One of his party murders the son of the Skraeling’s leader while ransacking the leader’s home for gold. The Skraelings – clearly more civilized than the Vikings ever were – hand this man over to Ubbe to decide his fate.

This is a pivotal moment for the series. Where once we were encouraged to see Ragnar as the hero, even when he was killing and pillaging his way through innocent peoples, here we perceive this man, this murderer – who has simply acted in accordance with how the Vikings have always acted – as a dangerous savage. We, the audience, have already made a choice about who the Vikings are now, or who they should be – and so has Ubbe.

At first the murderer is to be publically blood-eagled, a particularly savage and painful form of execution that never-the-less guarantees its sufferer entry to Valhalla. At the last moment, Ubbe changes his mind, and slits the man’s throat instead.

“Valhalla is not for you, my friend,” Ubbe tells him, mere seconds before carrying out his sentence, “Let me put you out of your misery.” Ubbe does not say this to be cruel, to rob the man of his place in the afterlife. He simply doesn’t want to inflict unnecessary pain, and is showing mercy. But it’s deeper than that, too. Valhalla doesn’t seem to matter to him anymore. Ubbe has come to understand that life can be lived without the old ways and their Gods, and be all the better for it.

On the beach, Ubbe seeks Floki’s advice and counsel. Floki smiles. “You don’t need to know anything. It’s not important. Let it go.”

It’s fitting that Floki is there at the show’s end. Without his innovation as a boat maker, Ragnar would never have sailed west and discovered Saxon lands; would never have met Athelstan. Without Floki, the Vikings would never have discovered Iceland, or Greenland, or the New World on whose shores they now sit. Ragnar is the one who will be immortalized in legend, while the world will slowly forget Floki. He has already started to forget himself. Perhaps that is the point. Warriors live on in legend and infamy, while the people who built the world around them and at their backs fade away. But wasn’t it ever thus? Legends change the world; love saves it. And here we see that love is the more important, and more enduring, force of the two, even if we’re sometimes too proud to acknowledge it, or too blind to see it.

“I love you, Floki,” says Ubbe, as they stare across the ocean, at their past, at their possible future, at eternity.

What a beautiful, and truly surprising, sentiment for a show as blood-soaked as Vikings to bow out on.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Of course the status quo clings on in Kattegat, and I guess this will be picked up in the spin-off series. Set 100 years after the events of Vikings, Vikings: Valhalla is reportedly coming to Netflix sometime next year.

The post Vikings Ending Explained appeared first on Den of Geek.

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synthient · 5 years

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The Key to Understanding Deltarune: The Halloween Hack

So we’re currently in the middle of a 4000 year content hiatus

Which is unfortunate, because ever since the big iconic Halloween-day surprise demo drop, my brain has been rattling a baseball bat against the inside of my skull and chanting “CONTENT, CONTENT, CONTENT”

Undertale was like candy for the thematic analysis side of my brain. I still wake up in a cold sweat some nights going “fun value......he put a quantitative value on fun.....numbers going up.....”

I am desperate to know what kind of themes Deltarune is going to tackle. Can you effectively predict that from one (1) 3 hour demo? No. Does my brain care? No.

Which is what lead me to the wonderful world of intertextuality, or examining how a media text is shaped by other media texts

It started out with a kiss, how did it end up like this with me doing a playthrough of EarthBound, the video game that Toby has cited as his biggest inspiration for Undertale

That was fun & interesting (the “throwing away an emotionally engaging experience to grimly make Numbers Go Up” thing feels a lot closer to home after trying and failing to get the sword of kings), but it didn’t provide much insight into Deltarune, specifically. It wasn’t enough. I needed more. I was willing to dig into literally any intertext (except Homestuck, which no force on this earth can compel me to read :) )

anyway thats how I ended up playing Toby Fox’s high school fangame

And somehow (sorry Toby) I walked out of there with an unironic theory (a game theory....if you will....): Deltarune is Toby’s adult reexamination of the Halloween Hack.

What is the Halloween Hack?

You know that thing where, like, people take the engine of a Pokemon game and edit it so there’s a new region and a bunch of new fakemon, and also There’s Swears Now

In 2008, Toby Fox entered a contest on an EarthBound fansite for the best Halloween-themed EarthBound hack

In one sense, reducing the Halloween Hack to a “bad romhack with swears” is a little bit of a disservice. There are some glimmers in there of a really affecting, thought-provoking game, and you can see some of the early blueprints of what would later become Undertale (“do video game ‘monsters’ really deserve to die” is a major theme, and the character of Dr. Andonuts was effectively split up into Alpyhs, Asgore, and Sans)

But it’s also. very much a fangame made by a 16-year-old.

You can read a basic summary of the Hack here. High school-age Toby wrote two pretty extensive analyses of his thought process behind the game. I’ll be referring back to them a lot, and I’d highly suggest giving them a read--Toby’s been so famously resistant to making any Word of God statements about Undertale that it’s kind of fascinating to see him being so candid

an extremely long and rambling examination of How This All Relates To Deltarune

The Halloween Hack opens in the town of Halloween Twoson. Twoson is one of the cites in EarthBound, and here it’s been painted orange. and there’s pumpkins now

See, high school Toby had...a bit of a chip on his shoulder. In the Making Of notes, he explains that he was frustrated that “most people generally thought I was just ‘another funny guy’”. So he designed the opening of the game to seem unoriginally close to the original EarthBound--like “a regular, funny, lazy hack”--to lull players into a false sense of security before the horror elements set in.

Two interesting things there:

“Lazily, unoriginally close to the source game” sounds an awful lot like the Dark World segment of Deltarune

Halloween Twoson looks very visually similar to Hometown

Toby’s description of Twoson also sounds pretty Hometown-esque:

The main impressions of Twoson that I wanted to give the player were: It's funny. It's a nice fall day outside. The person hacking this game is ridiculously lazy. It's a nice place to live. If you look at it a little closely, it's kind of claustrophobic.

And when does the horror kick in? When the player descends into the underground tunnels beneath the city.

The “horror” in the Halloween Hack is, however, Pretty Not Good.

There’s a whole lot of the flavor text narrator (put a pin in that one) insisting “this is so scary. you’re so scared. your hands shake and your head throbs because you’re so scared.” There’s also a thing where the battle text keeps going “the shambling zombie BITES your HEAD OFF!!! (you lose 15 hp).”

I think the True Lab sequence in Undertale is a decent demonstration that Toby’s come a long way since then (and that Honey We’ve Got A Storm Coming :’) ). But you know what the Hack’s style of horror reminds me of?

My first thought when I beat the demo and saw this stinger was “this looks like an intentionally shitty creepypasta.” Now I wonder if it’s lowkey adult Toby poking a little fun at teenage Toby

The Halloween Hack is a game about railroading. It’s Spec Ops The Line before there was Spec Ops The Line.

According to Toby:

The main theme of this game is the lack of choice. There is really no choice in this game. From the moment you start to the moment you finish, you're destined to kill Dr. Andonuts. There are two endings, but they both eventually end up the same way. It's all a big joke on the player.

You know why there isn't a choice there? Because you already chose to make Varik go into the door. You already chose to go forward. The only real choice, as Varik realizes at the end of the game, is to stop or keep going. By "stop" he means "turn off the game," and that's all you can do. Anything you play is your own fault for playing, and that's the only real choice you can make.

Interesting? Yeah. A little obnoxious? Also yeah.

That’s one of the criticisms people had of Spec Ops. "The atrocities we commit when we feel like we don’t have a choice” is an intriguing theme, but “~the only way to win is not to play~ [the game I worked hard on for the express purpose of people playing it]” isn’t a very satisfying conclusion.

Undertale, in direct contrast to the Hack, is all about choice. It earns the right to guilt you for the No Mercy Run by giving you every opportunity not to go through with it.

But even Undertale plays a little with the concept of railroading--you can’t stay with Toriel; you can’t spare Asgore in any of the neutral runs; you can’t save Asriel.

Now Deltarune seems to be returning full-on to the Hack’s “your choices don’t matter” premise. But it’s going to need to find something more insightful and satisfying to say about it.

Which makes me really curious about this:

If the Hack has a secondary theme besides railroading/lack of choice, it’s The Soul-Crushing Impact Of Internalized Homophobia.

The tragic antagonist, Dr. Andonuts, destroys his own life trying to repress his gay desire. He retreats into a dream world made of his neuroses and trauma, and he’s inevitably Otherized and murdered by the player. He’s something of a dark version of Alphys, who “disappears” into her lab without ever meeting and getting support from Frisk, Papyrus, and Undyne.

Undertale takes an opposite approach to its lgbt themes--the Underground is a utopia where homophobia and transphobia don’t exist. Everyone respects Frisk’s and Chara’s pronouns. Alphys finds solace and healing in her relationship with Undyne.

It’s a heartwarming growth from the despair in the Halloween Hack. And it’s a vision that’s been deeply meaningful to a lot of people. But that doesn’t mean that there’s no value in exploring issues of homophobia. 16-year-old Toby tried to do that, but...wasn’t exactly at a point where he was equipped to handle it with a ton of sensitivity and nuance.

(There’s. There’s a boss battle where you fight the physical manifestation of Andonuts’ gay repression. It’s a crotch. You fight a crotch.)

Some of the hints in the Deltarune demo, however--the Toriel Has Become Catholic thing; the fact that Alphys and Undyne haven’t met and Mettaton hasn’t been able to transition; the potential trans implications of choosing a name only to have it discarded for an assigned one (“you can’t choose who you are in this world”)--make me suspect that’s one of the themes that Toby will try to revisit from an adult perspective.

The Hack is interested in the idea of the flavor text narrator as a distinct, intelligent entity, whose thoughts and goals don’t always align with those of the player character or the player.

The Hack’s narrator makes a habit of dictating “your” emotions to you (you’re scared; you can sense ‘the monster’ and you want to kill it; etc). The narration starts to seem more and more unreliable, until, as Toby put it, “The narrator starts talking to you personally...rambling about incoherent things.”

At the game’s turning point, you’re given a yes/no choice to kill Dr. Andonuts. Choose yes, and the narrator (mockingly?) calls you a good person, describes the murder you commit, and then narrates what appears to be your (or their? or Varik’s?) psychological breakdown. Choose no, and the narrator tells you that’s not a real choice and redirects you back to the yes/no box. If you press the b-button to try and opt out of the choice (the game’s unofficial subtitle is “Press the B-Button Stupid,” and doing so allows you to follow Andonuts into his dream world), the narrator starts to panic, although the game ultimately ends the same way.

Not to NarraChara Real, but NarraChara Real

The Hack is also interested in the idea of the player character as a possibly-unwilling puppet controlled by the player (who in turn is controlled by the railroading/their need to beat the game).

According to Toby:

As you approach someone you've never met that you're labeling as a monster, your body pushes you forward to kill him. What's funny is that it's not even uncontrolled, it's really just the force of the player's controller pushing that little bounty hunter into murdering Andonuts. You might not realize it, but Varik is almost dead, and yet he can't stop moving because you keep pushing those buttons.

The Halloween Hack is, fundamentally, a nostalgic meditation on an existing game.

It’s a little obvious to say, but the Hack isn’t a standalone game. It’s a hack of EarthBound.

Toby writes:

EarthBound dominated my childhood, shaped my preteen years, and played a large role in molding me into the offbeat pseudohippie I am today. It gave me a sense of humor. It helped me learn how to read. Its lessons served as a basis for my sense of justice and courage.

But at age 16, Toby’s feeling about the game that had shaped him were a little mixed. He describes “the staleness of a fifteen-year-old video game” as one of his motivations for making the Hack.

In Deltarune, he (kind of hilariously) has Alphys parrot his teen-self’s “staleness” line:

(I could write a whole meta just on the Mew Mew Kissy Cutie vs Mew Mew Kissy Cutie 2 thing)

Still, Toby’s nostalgia for EarthBound is essential to how the Hack operates. Earlier, I said there were glimmers of an thoughtful, affecting game buried in the “bad romhack with swears.” The most genuinely moving moment in the Hack, in my opinion, is the Onett sequence.

You wander though a faded, dream world version of Onett--the hometown from EarthBound--while a slowed down arrangement of the Onett music plays. Snatches of forgotten conversations appear on road signs. Various monsters from EarthBound follow slowly behind you, but don’t attack. The only battles are against creatures called “Remember Me?”

The EarthBound characters appear to recognize “Varik” as Ness, EarthBound’s protagonist--or are they recognizing you, the player, as the same person who played EarthBound once upon a time?

The one problem, of course, is that not everyone has played EarthBound. It’s a relatively niche game. The sense of remembrance and regret and loss in the Onett sequence is universal, but being shaped as a person by the specific video game EarthBound isn’t a universal experience.

But in the years since the Hack, Toby has created something with a wider reach than EarthBound. Something that can evoke that sense of memory and nostalgia in players. A familiar game that he can take apart, rearrange, and examine in an entirely different light.

He made Undertale.

And now he’s rearranging the pieces into Deltarune.

#deltarune #undertale #o and to clarify: i don't think the flavor text thing means that chara's evil #in fact i think deltarune's going to deconstruct that very reading of undertale #which is maybe a whole nother (hopefully much shorter) meta

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jonarchivistcansing · 4 years

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So I have a magnus archives playlist

I’ve been making a long chronological Magnus Archives playlist for my own amusement (So This Is Basically The Magnus Archives) , but since season 5 is close and my college kicked everyone out i decided to Do Something Unnecessary.

I have taken painstaking effort to not only properly organize this stupid thing with specific tma episodes, but also have documented the episodes as well as why I included the songs (under the cut). This is my Magnum Opus. I have officially pulled an all nighter to work on this. AND i’m making another playlist with songs that I wanted to keep tabs on in case I end up needing to use them as s5 comes out (here) Spoiler warning obviously

Please send me some songs if you follow the playlist and think they should be on there!

TLDR - Grace for sale = season 1 finale; Bad Bad Things = season 2 finale; Greatest Show Unearthed = season 3 finale; Just Did a Bad Thing = Season 4 finale.

I bold the songs I added most recently. Honestly I recommend listening to the playlist first because its way fun and like referencing this if you really care about it. Please give me song suggestions or alterations!

Song Name - MAG00 - PoV/Sung at/etc; Event. NA = Not Applicable

The Office Theme - NA

memes

Turn The Lights Off - MAG 01

The whole “Dont go in there” theme is applicable to the danger of the Angler fish, which also parallels that first statement acting as a lure for Jon

Don’t Worry We’ll Be Watching You - NA

I didn’t want to comb through to find an episode where Jon says hes being watched. I might move this somewhere else because it’s really slow for the begining of the playlist. Maybe where he went to America

Somebody’s Watching Me - NA

Same as above + memes

Bloody Nose - MAG 17 - PoV Jared Hopworth

the boneturner’s tale statement

Grace For Sale - MAG 39 - PoV Jane Prentiss; S1 Finale

I didn’t know this was part of a whole carnival themed album when I added it, but I felt that the themes of shedding your skin and worms were relevant enough. Still looking for a good song for the s1 finale tho :/

I Don’t Trust You Anymore - MAG 40/41 - PoV Jon

Immediately after the Worm Attack, Jon realizes he can’t trust anyone in the archives.

Losing My Mind - NA - PoV Jon

Jon makes a lot of mentions of his paranoia thruout this season and I feel it just fits best here

Little Pistols - NA - PoV Jon

Same as above, but its like Really Sad because this one paints the paranoia as much more self-destructive.

Afraid - MAG 77 - Multi PoV/Sasha

Jon just realized the NotSasha replaced Sashsa. Could be from Sasha or NotSasha or even Jon realizing the implications a shapeshifting creature, just fkcn love the chorus for the whole NotSasha fiasco

Mr Capgras - MAG 78/79 - Sung by the NotThem

Jon’s a huge idiot and the NotThem is Out For Blood

Bad Bad Things - MAG 80 - PoV Elias; S2 Finale

Bitch boy Murkd Leitner and Gertrude and he’s an asshole for it

Its not overly literal but i think some characters in the song could be interpreted as Leitner and Gertrude, with the POV Elias speaking to Jon.

I’m Not Ok - MAG 81 - PoV Jon

Georgie pls....help this nasty man

The Cult of Dionysus - NA

Honestly this isn’t very specific at all there’s just a lot more cult activity in this season and this song lines up well with the next few

Rejoice - MAG 89 - PoV Jude Perry/Lightless Flame

this ep is jude’s statement and this is a Good cult song

Bust Your Kneecaps - MAG 67 - PoV Agnes Montague

Keeps with the theme better here than in order with s2. Statement of cafe boy who tried to romance Agnes that one time

Are Things Still Burning - MAG 67/89 - PoV Agnes Montague

You’ll get it.

I’m Gonna Win - MAG 101 - PoV Gertrude or Michael

Really connect this song with gertrude’s Bad Bitch energy and MAG 101 is the episode where we really get a scope of how morally gray she is

But the overall cocky tone of the song is real good for Michael

The Distortionist - MAG 101 - PoV Michael

this ep is Michael’s statement.

Its kind of hard to tell because of the vocaloid, but the song's character seems to have been pushed and manipulated into something like Michael. I can see the song shifting from Michael singing about how Gertrude created him into accepting it and them singing at Jon

Has wayyyyy too much Spiral imagery to not include

Seven Devils - MAG111 - PoV Gerard Kaey

this is the ep where Gerard properly explains the fears to Jon

Dirty Night Clowns - MAG 104 - PoV Tim Stoker?

sort of Tim about his brother

Blood End Credits - no MAG/MAG 119 - PoV Tim Stoker

god i miss tim. I don’t think it translates exactly to 119, but it’s more of the climax of his character arch. He’s literally given everything to the Institute and to Elias and now he has to fucking die? FUck.

Greatest Show Unearthed - MAG 139 - PoV Nikola/The Circus

This one is literal lol. u can figure it out

My Time - MAG 120/121 - Sung about Jon

*Mable pines picture* “He’s resting”

Who Are You, Really? - MAG 121 - Sung at/for Jon

Jon has to decide whether to let himself die human or risk becoming a monster to protect the people he loves*

*Martin

Cold Cold Man - MAG 124 - PoV Jon

This is the first time Jon and Martin have seen each other since he woke, and I think really the first time Jon has sought out Martin because he just...wanted to see him

Ruler of Everything - MAG 124 - PoV Martin

This is Martin’s side of the exchange he and Jon had. This is where he started pushing Jon away (Shot as wily one/only friend), and Peter is making him into the “ruler of everything” aka running the Institute, and just doing his best to go one day at a time until whatever Peter has planned gets done

Catabolic Seed - MAG 125 - PoV Melanie

Honestly, I just really wanted this song for melanie. The Magnus Institute is taking too much out of her, making her into a hollow, and she’s just trying to keep herself together with emotional duct tape

Body - MAG 131 Build Up - PoV Jon

I see this as the culmination of Jon’s survival guilt and desperation to make himself worthy of humanity again. Since he has a healing factor now, he has no sense of self-preservation and is willing to sacrifice his entire body to make himself worthy of humaity.

Skeleton Appreciation Day - MAG 131 - PoV Jared Hopworth

THE MEATBONE MANNNN

What Am I Becoming? - MAG 146/147 - PoV Jon

It hurts

in 146 Jon admited to Basira, Daisy, and Melanie confronted him about his live feedings. 147 Jon realises that he doesn’t want to stop feeding

Human - Mag 147/152 - For Jon

Couldn’t decide where this goes chronologically, but these in these two eps jon is seriously debating his humanity and disturbed that he even needs to do that

Isle Unto Thyself - NA

this fits....somewhere in this season. I believe i see this as Jon singing about Martin’s isolation, but really its just applicable to their whole situation

Train Remastered - MAG 154 - PoV Jon

a fukn EASY one FINALLY.

THis bitch is Jon asking Martin to blind himself with Jon so they can run away together. Their romantic arcs got me feeling all sorts of ways

No Eyed Girl - MAG 157

this is so literal lmao its just Melanie and Georgie

Not Human - MAG 158 - About Daisy

She’s spent so long serving the Hunt and trying to undo its power over her, and she really just Did That(tm) for her friends. We stan a werewolf queen

Monster - Many MAGs

honestly can fit Martin, Jon, Melanie and Daisy at different points, but i think its a good end to Daisy’s character arc currently

Ship In A Bottle - MAG 159 - About Martin and Peter

I like to see this as the climax of Martin’s Loneliness and his relationship with Peter as well as like the culmination of Peter’s deal with Elias and Martin’s Deal with Peter

It’s Alright - MAG 159 - To Jon and Martin

Jon Rescued Martin from the Lonely and is finally able to have a purpose and they are allowed to Be Okay

Honeybee - MAG 160 - PoV Jon

WE STAN TRUE LOVE AND SATISFYING ROMANCE IN THIS HOUSEEEEEEE

Great Vacation - Thematic transition

If Honeybee was the first 2 minutes of 160, then we know what’s coming next. The Scottish Cottage isn’t a vacation

Just Did A Bad Thing - MAG 160

ᕕ( ᐛ )ᕗ

Its the end of the world as we know it - Season 5 trailer

ᕕ( ᐛ )ᕗ

#The Magnus Archives spoilers #the magnus archvies #tma #tma s5

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hellyeahheroes · 4 years

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Building Kara Zor-El in D&D 5e

What? I haven’t done one of these in a while and I had a few done (check out the Masterpost). So why not, it’s Halloween (I was working on this whole night), let’s build someone many kids want to be and quite a few likely dressed up as for Halloween. Admittingly this might be a bit standing the boundaries of “more obscure characters than Tulok the Barbarian does”, buuut seeing how he hasn’t yet got around building her more popular cousin, I’m not exactly expecting her build from him soon. Anyway, why not surprise your DM on Halloween game or later and come with a sheet for Girl of Steel?

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First, let us state our goals for this build. First, we need to be able to fly, use heat vision, cold breath, super hearing, and sight. Second, we need to be able to punch and take a hit as well. Finally, we need to ensure Kara is an inspiring hero other can look up to.

For Ability Scores, I’ll be sticking to standard point array - 15, 14, 13, 12, 10, 8, if your DM would you rather use a point-buy or roll, consider these to be the guidelines.

Strength: 15, Kryptonians are known for their physical might

Dexterity: 12, Kara usually isn’t wearing armor and is known for her speed and reflexes.

Constitution: 13, you’re Girl of Steel, not Woman of Kleenex (watch no one gt or care for this outdated reference and make me feel older than dirt -.-)

Intelligence: 8, Kara is pretty bright but her education was Kryptonian, meaning she had some trouble catching on what humanity knows and what it doesn’t, in some continuities at least

Wisdom: 10, Kara is often shown as more reckless and impulsive than her cousin, but her heightened Kryptonian senses mitigate it a bit.

Charisma: 14, the second-highest stat. Kara is beloved by people, has a reputation of a sweetheart, is inspiring to many and you kinda need this to pull off that whole “secret identity” thing.

There is no Kryptonian Race in 5e. There are two races I’ve been thinking off for this. Aasimar has more thematic sense but since Half-Elf makes it easier to mitigate the inherent MADness (MAD - Multiple Ability Dependent) of playing a Supergirl, it will work better for our purposes. You get +2 to Charisma and +1 to two other Ability Scores of your choice, round up Strength and Constitution to start with 2 16s and a 14. You have an advantage for saving throws against being Charmed, helping us mitigate a bit that poor WIS save. You get Darkvision, allowing you to see in the dim light up to 60 feet as if it was a bright light and in darkness as if it were dim light. You learn Common, Elvish and one language of your choice, pick something Campaign relevant and whatever instrument you want to play when fighting Music Meister. You also get proficiency with two skills of your choice. Pick Persuasion and Perception

For Background we will be picking outlander - you are not from around wherever the campaign is taking place, a wild-eyed idealist in a world that needs more smiles. You gain proficiency with Athletics and Survival, one type of musical instrument and one language of your choice. You also get a Wanderer Feature, which makes you more adept at traveling, better at using maps and gives you an excellent memory.

Now, with this out of the way, let’s go to the bread and butter of D&D, the Classes.

We will kick off with a level in Warlock. Yes, you heard me right. Warlock. The edgelord of all classes. Where are you going, hear me out! I swear I didn’t lose my mind. There is logic to this choice and I will be explaining it in a moment, but first, we need to get a number of Warlock features out of the way. Warlock gets proficiency in Light Armor, Simple Weapons, as well as Charisma and Wisdom saving throws, further helping mitigate that poor WIS score. Add proficiency in two more skills, Investigation to scoop villain plots and Deception for your secret identity.

Warlock gets to have spells. Warlock spells work in that you get a small number of spell slots that go back after every short rest and you can use them to cast any spell you know. As you learn higher level spells to know, your spells are treated as cast from the highest level possible. Cantrips you can cast any number of times you want and they scale up with your level. Your saving throw for spells is 8 + Your Proficiency Bonus + Your Charisma Modifier and if you make a spell attack roll it’s just the last two of those.

You get to learn two Cantrips and two First Level Spells

Let us get the Cold Breath first. Frostbite is a cantrip that forces a target to make a Constitution saving throw or take 1d6 cold damage and get a disadvantage on the next weapon attack roll if it makes one during its next turn. Damage increases by 1d6 on your 5th, 11th and 17th level

Eldritch Blast is the Warlock Cantrip. It sends a beam that requires a ranged spell attack and on hit it deals 1d10 Force Damage to the target. On get to send one more blast at the same or different target as a single casting on 5th, 11th and 17th level. Play it as part of your heat vision or Kara blowing her enemies away with a regular super breath.

Armor of Aghatys lets Kara surround herself with some of her cold breath, giving her 5 extra health points. Additionally, if a creature hits you with a melee attack while you have these hit points, it takes 5 points of cold damage. And for each spell slot level above the first both these numbers increase by 5.

Hellish Rebuke is cast as a reaction when a creature damaged you and lets you burn them with heat vision, taking 2d10 fire damage or half on successful Dexterity saving throw. At higher levels the damage increases by 1d10 each.

Okay, now let us talk about the Otherworldly Patron. And here is why I decided to go with the Warlock. Because there is one that fits perfectly. Celestial Patron means you draw your powers from some sort of celestial being or entity and these are divine in nature. It would fit Kara perfectly if only there was some sort of fitting thing. I mean, t’s not like Kryptonians gain their powers from some sort of body on the celestial pantheon, something great and powerful in the sky, source of their powers is...

OH MY GOD IT’S THE SUN!!!!1!!!!

You’re Sun Warlock, you made a pact with the Sun. Sun had enough of BBEG’s bullshit. If a goldilocks guy with a pair of wings can count as Celestial Patron then I assure you SO CAN AN ACTUAL STAR! Also, I now recall in 4th Edition Stara were actually sentient so who knows, you can work something out of that, maybe such a star survived to a new edition. We even know Stars are sentient and have personifications from one Sandman story.

Celestial Warlock lets you add two spells for each level of your spell list and you learn two extra cantrips:

Light lets you make one object not larger than 10-feet shine a bright light in a 20-foot radius and an additional 20 of dim light. If you cast it on an object held by someone they need to succeed a Dexterity saving throw or drop it. You can always use it to make yourself shine or make something shine as an effect of your heat vision.

Speaking of which, Sacred Flame deals a 1d8 radiant damage to a target, with an additional 1d8 once you reach 5th, 11th and 17th level each, half on a successful Dexterity saving throw.

You also get Healing Light, granting you a pool of 1d6 dice equal 1 + your Warlock Level. You can spend them as a bonus action to heal a creature within 60 feet that you can see. Roll a number of dice, not larger than your Charisma modifier, that’s your upper limit for single use of this feature, then add that many to the creature’s hit points. Once you spend all the die out, you get them back on short rest. Remember, hit points aren’t meat points, they can symbolize also how many chances at avoiding a certain death a hero has or their determination to keep going against overwhelming odds. Play Kara as so heroic and inspirit she reinvigorates her friends for further fight.

ALTERNATIVE: Weird, I wasn’t planning for an alternative here. We’re *zzzzzzzzzzt*-ing to the Celestial, it is only *shhhhh* fitting option. Weird, it seems we have some ---LET ME IN--- problems with the broadcast but don’t worry, I’m sure we fi *scratching noises* it in no time. Why do I suddenly feels like if I someone was standing right behin...DEA--

Well, well, well, what do we have here. You really thought I’m going to let you have something fun and wholesome on Halloween and do not...spice it up a bit. HAHAHAHA! Aren’t you funny? As if I could keep myself from seeing something related to my new...pet projects, and not want to corrupt it.

Forget the Celestial Patron, I have a much better one right here, to truly make your Supergirl a little bit more...Infected. My good old friend Barbatos, a horror trapped in the darkness below all of us. In this game, they call that Great Old One. Instead of some meek Cantrips, I will be freeing Supergirl’s mind from all these pesky limitations and allow her to spread this Infection. She will gain Awakened Mind, allowing her to telepathically communicate with any creature she can see within 30 feet. You may call it super hearing and I will call it the influence of her new master.

But maybe that’s not up to your taste? Maybe you want something more...crispy. Well, you can always ask my new best friend who has his own interest in Supergirl one time. Am I right, buddy?

WHO THE FUCKING JAR OF COCKROACHES STUFFED INTO A FLYING SQUIRREL’S ASS ARE YOU AND HOW DID YOU GET MY NUMBER?! ONCE I FIND OUT I WILL BURN ALL THAT LEATHER AND FLESH UNDERNEATH IT TO A GODDAMN CRIPS! THAT WILL TEACH YOU CALLING 3RD IN THE FUCKING MORNING! FUCKING TRICK OR TREATERS!

ANYWAY, IF YOU WANT TO TURN YOUR SUPERGIRL INTO RED DAUGHTER OF KRYPTON, PICK UP FIEND PATRON, THAT WILL BE ME OF COURSE. OR THE BUTCHER, SAME THING AT THE END OF THE FUCKING DAY!

YOU GET DARK ONES’ BLESSING, IT MEANS THAT WHENEVER YOU REDUCE AN OPPONENT TO 0 HEALTH POINTS, YOU GET BACK HEALTH POINTS EQUAL YOUR CHARISMA MODIFIER PLUS YOUR WARLOCK LEVEL! PUNISH THE GUILTY TO KEEP ON FIGHTING!

Ah that Atrocitus. A crude man, but gotta give him that, he sure is excited about his craft. We will be sticking around to make this thing a bit more...fun. Do not tell the fool hosting this. It will be our little secret.

I’m sorry, I must have dozed off, I must been just very tired, but I’m better now. So, where did we left off...

2nd Level Warlock gains Eldritch Invocations. Armor of Shadows maybe is not properly named but you can always refluff something. It allows you to cast Mage Armor on yourself without expending a spell slot. It lets you change AC of yourself or one willing creature to 13+Dexterity modifier, this should help with your poor AC. As you probably use Eldritch Blast a lot as part of your Heat Vision, let's make it a bit hotter - Agonizing Blast lets you add your Charisma modifier to any damage dealt by it.

You also get to learn a new spell.

Guiding Bolt from Celestial Patron lets you make a ranged Spell Attack against the target. Not only you deal 1d6 radiant damage on a successful hit (+1d6 for each spell slot level above 1st that it was cast from) but also before the end of your next turn next attack against the target gets an advantage since you basically lit the target on fire. Party Rogue is gonna love you.

Yeah, yeah, yeah, but where is fun in that? How about you instead pick something more...entertaining? Tasha’s Hideous Laughter from Great Old One Patron lets you pick one target and let them show how fun the world really is, make them appreciate how everything doesn’t really matter! Make them laugh so hard they fall prone and cannot stand up! It’s like you sprayed them with some good old Joker Serum, except you need to concentrate to keep it going for up to 1 minute and once you cast it, at the end of each their turn and whenever they’re damaged they make a Wisdom saving throw to break free, that last one with an advantage. So, you know, don’t punch... A Man Who Laughs. YAHAHAHAHA!

WHO THE FUCKS FIGHTS PEOPLE WITH LAUGHTER?! FUCK THAT SHIT! YOU WANNA SPELL? FIRST OF ALL, FUCK YOU AND SECOND, PICK BURNING HANDS FROM FIEND PATRON LIST. DON’T LET THE NAME FOOL YOU, WHAT YOU DO IS SPEW FIRE FROM YOUR MOUTH IN A 15-FOOT CONE AND DEAL 3D6 FIRE DAMAGE TO EVERYONE IN IT, HALF ON A FAILED SAVE! YOU CAST IT FROM HIGHER LEVELS, 1D6 EXTRA DAMAGE PER EACH! YOU’RE WELCOME! EVERYTHING FLAMMABLE NOT WORN OR CARRIED IS SET ON FIRE AS WELL! GOOD! BURN IT! BURN IT ALL DOWN!

3rd Level Warlock gets a Pact Boon Feature. Pact of the Chain lets us cast Find Familiar. We can use it to summon a pet to aid Kara in combat. Familiars are very useful if you know what you’re doing (seriously, Party Rogue is gonna love you even more just for using it to flank), once it dies you can summon it again, it can deliver your touch spells and you can sacrifice one of your attacks to let it attack. Sadly, you cannot get Krypto out of it, as dogs aren’t allowed for summon. But a cat is fine. Or in Warlock’s case a flying creature like Imp or Pseudodragon, Sprite or Quasit. First 3 can fly, all but Sprite have an advantage against Spells and Other Magical effects they share with you as long as you’re within 10 feet of them. Your DM shouldn’t probably be mad if you use statistics of one and refluff it as Streaky the Supercat

You also get to learn your first 2nd level Spell.

Celestial Warlock’s Flaming Sphere is a concentration spell you can keep up to 1 minute, it basically makes you cause huge ass fire in an unoccupied area 5-foot in diameter, dealing 2d6 (+1d6 for each higher spell slot level used) of fire damage, half on a successful Dexterity Saving Throw. You can even move it as a bonus action, up to 30 feet, and rise it up to 5 feet above barriers and 10 feet above pits, igniting all not worn or carried flammable objects, causing its damage effects on any creature you ram it into. More of your heat vision, really.

WHY DIDN’T I GOT THIS THING?! WHO THE FUCK WROTE THAT?! NEVERMIND, I HAVE SOMETHING AS GOOD! SCORCHING RAY LETS YOU MAKE 3 RAYS OF FIRE YOU CAN HURL AT A SINGLE OR MULTIPLE TARGETS, EACH DEALING 3D6 POINTS OF DAMAGE ON A SUCCESSFUL SPELL ATTACK ROLL! CAST IT FROM HIGHER LEVELS, YOU GET MORE RAYS, ONE PER SPELL SLOT LEVEL!

Personally, I just couldn’t resist picking Crown of Madness. It lets you force a Wisdom Saving Throw on a target and if they fail they get Charmed and go mad. They even get a crown of jagged iron on their heads. You can keep it up for up to 1 minute with concentration and on each of its turns, you choose a target your victim must attack. Sadly it has few downsides - you must waste your actions on your turns to maintain the effects, the target makes another WIS save on end of each of its turns and they must hit someone before they move and if you do not choose a target or cannot, they can do whatever they want. Still, how can you say no to...spreading the joy?

4th Level Warlock gets an Ability Score Improvement, but we will take a feat. Tavern Brawler increases your unarmed damage die to 1d4, makes you proficient with improvised weapons, when you strike a creature with an unarmed attack or improvised weapon, you can use your bonus action to attempt to grapple the target. You also get to increase Strength or Constitution, I’ll go with the latter.

You also get a new spell AND a new Cantrip

Chill Touch lets you make a ranged spell attack, on a hit it deals 1d8 necrotic damage (plus extra d8s at level 5th, 11th and 17th) and makes the target unable to regain hit points until the start of your next turn and if the target is undead they have a disadvantage on attack rolls against you. More of your freeze breath.

Shatter lets you make a super noise, I assume a super scream, dealing each creature within 10-foot radius sphere around the target you choose 3d8 thunder damage (+1d8 for each higher level of spell slot), half on a Constitution saving throw, on which all creatures made of inorganic material have a disadvantage on, and also dealing these damage to all nonmagical objects not worn or carried in the area

Now let’s take a move to Paladin and add some strength to all that magic. Kryptonians worshipped Rao, their star, which is close enough to your Patron, THE SUN you should probably not have much of a conflict. Maybe. Combining Patron and an Oath on a single character means that even with similar entities there might be a need to carefully balance the needs of your two masters. GM will either love you for providing such great opportunities for torturing you or hate you for having to come up with what kind of beef Rao and the fucking Sun could have.

Paladin gets you proficiency with martial weapons, medium armor and shields if you want to have your Kara in Lena’s power armor. You also get Divine Sense, allowing you to open awareness to your surroundings and detect any celestial, fiend or undead within 60 feet, as well as the type of that undead and also all areas that have been consecrated or desecrated. You can do it a number of times equal 1+ your CHA modifier and you egin uses after long rest.

You also get Lay on Hands, that allows you to, as a bonus action, restore hit points of you or a creature you touch up to amount equal your Paladin level x5 or you can spend 5 points from the pool to cure one poison or disease affecting the target. Again, treat this as Kara using her warm words and attitude to restore the fighting spirit of your comrades.

2nd Level Paladin gets to pick a fighting style. Mariner adds you +1 to AC and makes your swimming and climbing speed equal your walking speed as long as you’re not wearing armor.

You also get a Divine Smite, letting you burn a spell slot to deal extra radiant damage, 2d8 for 1st level spell slot and 1d8 extra for each higher level of the slot.

You also get Paladin Spells. Your save DC and Spell Attack Bonus are as for Warlock. However, Paladin just knows their spells and after every long rest, when they regain hit points, prepares a number of them equal to Charisma modifier + half your Paladin Level. To cast a spell paladin needs to burn a spell slot of an appropriate or higher level. Also, you multiclass Warlock and another caster and that’s very simple - you keep an eye on each of their spell slot numbers separately but can use one’s to cast the other’s spells or for other’s features. Meaning you can burn Warlock spell slots to smite. You get 2 Spell slots but you should have at least 3 spell prepared per day so I’ll list 3 spells

Shield of Faith is a concentration spell for up to 10 minutes, providing the target with +2 bonus to AC. It stacks with Mariner and Mage Armor, meaning your AC can be up to 17 now.

Thunderous Smite is another concentration spell, it lets you on your next attack while you maintain the spell to punch someone so hard you cause huge sound wave, deal extra 2d6 damage to the target and forces them to succeed a Constitution saving throw or be pushed 10 feet away or be knocked prone.

Heroism lets you make yourself or other creature immune to being frightened and gain temporary hit points equal to your Charisma modifier. Casting from higher levels lets you pick up multiple targets for one spell.

Thunderous Smite in action.

On 3rd Level Paladin gets the Divine Health, making Kara immune to Earth diseases. You also get to choose the Divine Oath. Every Oath has rules you must follow and gains bonuses and extra spells known you can prepare.

Oath of Heroism from Unearthed Arcana is about embracing your heroic call. It’s basically built for He-Man types but it will work for Kara as well.

You get a new spell to know - Expeditious Retreat is a Concentration spell, letting you Dash as a bonus action on each of your turns as long as you maintain it. Adds a bit of super speed to the mix.

You also get Channel Divinity, which you can use once every long or short rest. You gain two options, both activated as a bonus action. Pearless Athlete lets you gain advantage on Athletics and Acrobatics checks, while Legendary Strike makes you crit on 19 or 20 instead of just 20 for 1 minute.

Bah, who would want that boring, tied, goody-two-shoes crap. Choose the Oath of Conquest instead. I’m not much a guy for the rules myself, but you may like the stuff Oath of Conquest has to offer

For your new spell, choose Wrathful Smite. it works similar to Thunderous Smite, but deals psychic damage and the target hit must make Wisdom saving throw or be frightened of you.

Channel Divinity options are also better. Conquering Presence as an action forces each creature of your choice within 30 feet, as long as you can see them, to make a Wisdom saving throw or be frightened of you for 1 minute or until they succeed a save at the end of their turn. It’s like the Smite I just gave you...but you don’t need to get your hands dirty. Meanwhile Guided Strike lets you add +10 to an attack roll, you can choose to do it after you’ve rolled but before DM declares if it’s a hit or a miss.

UNSURPRISINGLY, I SEE ONLY ONE OATH WORTH MY TIME! OATH OF VENGEANCE! CHOOSE HUNTER’S MARK FOR A SPELL! REQUIRES CONCENTRATION BUT ONCE YOU MARK A TARGET, YOU DEAL EXTRA 1D6 DAMAGE TO IT WHENEVER YOU HIT THEM AND HAVE AN ADVANTAGE ON PERCEPTION AND SURVIVAL CHECKS TO TRACK THEM DOWN! AND WHEN THEY DROP TO ZERO HIT POINTS, YOU CAN PUT IT ON ANOTHER TARGET AS A BONUS ACTION!

OW FOR THAT CHANNEL DIVINITY! AS A BONUS ACTION YOU CAN ACTIVATE VOW OF ENMITY, SWEARING YOUR VENGEANCE UPON A TARGET AND GAINING ADVANTAGE ON ATTACK ROLLS AGAINST IT FOR 1 MINUTE, UNTIL IT DROPS TO ZERO OR FALLS UNCONSCIOUS! FOR AN ACTION YOU CAN ABJURE ENEMY, FORCING A WISDOM SAVING THROW ON ONE TARGET! IF FAILED, THEY’RE FRIGHTENED FOR 1 MINUTE OR UNTIL IT TAKES DAMAGE AND IT’S SPEED IS REDUCED TO 0 AND CANNOT BE INCREASED! ON A SUCCESS ITS SPEED IS HALVED FOR THE SAME DURATION!

4th Level Paladin gains an Ability Score Improvement or a Feat. Resilient lets us round up Constitution and makes us proficient with Constitution saving throws.

5th Level Paladin gains an Extra Attack, letting you attack twice as an attack action and can now use 2nd level spells and one 1st level spell

Our 1st Level Spell will be Protection from Evil and Good. Up to 10 minutes on Concentration it grants all creatures of a chosen type - Celestial, Fiend, Fey, Undead, Elemental or Aberration - get a disadvantage on attacks against you, or another person you used it on, and are unable to charm, frighten or possess you. If the target already was under one of these effects, it gains advantage on saving throws to break free.

Enhance Ability is a concentration spell from Oath of Heroism list, up to 1 hour of duration, giving an advantage on checks for one ability score and some extra bonuses depending on your choice.

Find Steed lets you summon a steed you can ride on. Sadly you’re too big to ride Krypto but, well, Comet the Superhorse exists. While riding him you can make any spell affecting you also affect him, you can communicate with him telepathically and if he dies he is sent back to whichever dimension you called him from and you can summon a new one. So that is a thing.

Yeah, ignore any of that. A horse, that guy is crazier than I am. Hold Person from Oath of Conquest lets you paralyze a target for up to 1 minute on concentration or if they succeed a saving throw. Immobilize them and then finish them off, while they watch hopelessly. That’s true fun!

WHILE THIS IS INDEED A GOOD SPELL, SINCE IT IS ON MY LIST TOO, I HAVE A BETTER IDEA! MISTY STEP LETS YOU TELEPORT UP TO 30 FEET IN AN UNOCCUPIED SPACE YOU CAN SEE! YOU WANTED SUPER SPEED?! HERE!

Back to Warlock. 5th Level Warlock gains a new Eldritch Invocation - Eldritch Spear increases the range of your Eldritch Blast to 300 feet. We will swap it for something more climactic next time we take the Invocations. You get access to 3rd Level Spells. Fly. Grab Fly. You are Supergirl and Supergirls just fly. It's a concentration spell and lasts up to 10 minutes, gives you a flying speed of 60 feet.

Weird, I was expecting to have this strange interruption here. Maybe they’re gone? I hope so.

6th Level Warlock gets otherworld Patron Feature and a new Spell.

Celestial Warlock gains Radiant Soul - resistance to radiant damage and adds their Charisma modifier to spells that deal flame and radiant damage, which we have a lot. For a spell pick Counterspell, which lets you as a reaction interrupt one spell of level 3rd or less and if you want to stop a higher-level spell you need to pass a Charisma check at DC 10+Spell Level

Great Old One Warlock meanwhile gets Entropic Ward, which once per long or short rest lets you impose a disadvantage on an attack against you and until the end of your next turn grants you an advantage on the next attack against them if they miss. For bonus points be a meanie and say “look what you made me do” when you use it. For a spell, Fear is a Concentation one, that forces a Wisdom saving throw on each creature in a 30-foot cone. On failed save, they’re frightened and up for 1 minute or until you break concentration must take Dash action to get away from you and can only make another save once they no longer see you.

FIEND WARLOCK GAINS DARK ONE’S OWN LUCK! ONCE EVERY LONG OR SHORT REST YOU CAN CHOOSE TO ROLL A 1D10 AND ADD THE RESULT TO AN ABILITY CHECK OR A SAVING THROW. AND FOR THE SPELL CHOOSE FIREBALL. IT LETS YOU HURL A FIREBALL AT ANY POINT YOU CAN SEE AND THEN EVERYTHING WITHIN 20-FEET RADIUS GETS HIT BY AN EXPLOSION OF FIRE THAT DEALS 8D6 FIRE DAMAGE, HALF ON A SUCCESSFUL DEXTERITY SAVE! HIGHER LEVELS FROM WHICH YOU CAST? MORE D6S, 1 PER EACH! GREATEST SPELL IN THIS STUPID GAME! DO NOT LISTEN TO THESE FOOLS! THEY’LL TRY TO TELL YOU THERE IS MORE TO MAGIC THAN A FIREBALL! TO WHICH I SAY, BRAVE WORDS FOR SOMEONE WITHIN THE FIREBALL RANGE!

7th Level Warlock gets to pick another Eldritch Invocation and we can change our Eldritch Spear to another one, since there are two 7th level ones we want. Ghostly Gaze lets you once per short or long rest see through solid objects, it is a concentration effect. Trickster's Escape allows you to cast Freedom of Movement on yourself without expending a spell slot once per long rest. For 1 hour, no concentration, you or another creature ignores different terrain, no magical effects can reduce your speed, you cannot be paralyzed or restrained by magic and you can escape nonmagical restraints by spending 5 feet of movement and underwater you are not impaired when moving or fighting underwater.

ALTERNATIVE: New Warlock Eldritch Invocation from Unearthed Arcana, Investment of the Chain Master, allows you to sacrifice some of your own power and instead have Streaky the Supercat be an actual cat - when you cast Find Familiar you can grant the familiar flying or swimming speed of 40 feet, removes its need to breathe, makes their attack be treated as magical weapons and lets you substitute your Spell Save Difficulty instead of theirs whenever they force a creature to make a saving throw.

8th level Warlock gets Ability Score Improvement, increase your Charisma.

On both 7th and 8th levels you gain two new Spells and access to 4th level spells.

Elemental Bane forces a Constitution saving throw on a target and if they fail up to 1 minute they lose resistance they had to a chosen type of damage, say fire, and take an extra 2d6 of damage whenever they’re taking that type of damage. Sadly it is concentration.

Wall of Fire is also Concentration, it creates a 60 feet long, 20 feet high ad1 feet thick wall or a 20 feet in diameter, 20 feet high, 1 feet thick ring of fire, dealing 5d8 fire damage to all creatures within the area, half on a successful Dexterity saving throw, and any creature that ends its turn within 10 feet on the side of the wall you choose takes 5d8 fire damage, with no save. It’s a bonus spell from Celestial...

..AND FIEND WARLOCK! THESE ARE GOOD SPELLS, I SHALL STICK TO THEM!

Well, I will not. Forget these two, let’s make something more...creative.

Blight kills the moisture within the target, dealing 8d8 necrotic damage, half on a succesfull Constitution save.

Evard’s Black Tentacles turn a 20-foot square you can see into a difficult terrain and any creature that starts or finishes its turn on it must succeed a Dexterity saving throw or take 3d6 bludgeoning damage and be restrained. If it already is restrained it doesn’t get the save, just the damage. On concentration, spell lasts up to 1 minute. How do you explain this one? Your Supergirl is just so twisted, of course! It doesn’t make sense but...does it need to?

How Supergirl probably looks casting Wall of Fire...or any fire-based spell we gave her

Back to Paladin for the rest of the build. 6th level Paladin gets Aura of Protection - as long as you’re conscious you and your allies within 10 feet add your Charisma modifier to their saving throws.

At 7th level you get a new Spell, Aid lets you choose 3 friendly creatures within 30 feet and strengthen their resolve, granting them 5 extra hit points for the next 8 hours + 5 more per each higher level of the spell you cast this from. No concentration and hit points can get over their maximum number, meaning you can cast this before combat.

You also gain Sacred Oath Feature

Mighty Deed is Oath of Heroism feature that you can use once per turn whenever you score a critical hit or reduce a creature to a 0 hit points, you can choose a number of creatures you can see up to your Charisma modifier. You can either decide to restore 1d6+your Charisma modifier of their health points or force them to succeed a Wisdom saving throw or be frightened of you until the start of your next turn.

I can do it better. Oath of Conquest’s Aura of Conquest that extends 10 feet from you and makes it that every creature that is frightened of you within the aura, their speed is reduced to 0 and every time they start their turn within the aura, they take psychic damage equal to half your Paladin level.

OATH OF VENGEANCE MAKES YOU THE RELENTLESS AVENGER! YOU CAN NOW MOVE TO INTERCEPT THE GUILTY’S ESCAPE! WHEN YOU HIT A CREATURE WITH OPPORTUNITY ATTACK, YOU CAN MOVE UP TO HALF OF YOUR SPEED AS A PART OF THE SAME REACTION AND WITHOUT PROVOKING OPPORTUNITY ATTACKS YOURSELF!

9th Level Paladin gains access to 3rd level spells. Oath of Heroism AND OATH OF VENGEANCE gains you two following spells

Haste lets you choose yourself or a creature you can see within the range. Up to 1 minute, requiring Concentration to maintain, the spell doubles the target’s speed, grants +2 to AC, advantage on Dexterity saving throws and a bonus action that can be used to make an extra attack action, dash, disengage, hide or use object. When the spell ends, the target cannot take any actions for a turn.

Protection from Energy is a Concentration spell up to 1 hour of duration, granting resistance to acid, cold, fire, lightning or thunder damage.

Yeah, Oath of Conquest doesn’t get these two. We’ll pick Bestow Curse, another of the Concentration spells lasting up to 1 minuter or until a Remove Curse is cast. The target must succeed a Wisdom saving throw or have to suffer one of the effects: disadvantages on all saving throws or ability checks of chosen ability score, disadvantage on attack rolls against you, being dealt extra 1d8 necrotic damage from all your attacks and spells or having to succeed a Wisdom saving throw at the beginning of its every turn or be forced to waste it doing nothing.

Blinding Smite is another Smite on Concentration spell that you cast and it works with your next attack within 1 minute, dealing extra 2d8 radiant damage and forcing a Constitution Saving Throw or be blinded until the rest of that 1 minute duration.

10th Level Paladin gets Aura of Courage, making you and friendly creatures with 10 feet of you immune to being frightened as long as you’re conscious.

11th Level Paladin gets improved Divine Smite, dealing extra 1d8 radiant Damage on using a Smite. You also get one more spell slot so grab an additional Spell - Crusader’s Mantle. Another Concentration, up to 1 minute, it makes you radiate an aura that boosters the courage of your allies, making them and you deal 1d4 additional radiant damage on all weapon attacks.

Our Capstone is 12th Level Paladin and an Ability Score improvement. You should have maxed your Charisma by now, so boost Strength.

So here we are at the end, with a Celestial Pact Warlock 8/Oath of Heroism Paladin 12. Let’s see how valid this build is. First of all, you have multiple ways to deal with additional damage and it is damage of various types, so you are always prepared and Warlock Spell Slots can be burn for Smiting and be regained on short rest. Warlock Cantrips work well with a large number of Concentration-requiring spells, meaning you aren’t reduced to just punching things while maintaining effects of your spell. You’re also very mobile, having multiple abilities to ensure you will not be impaired on the battlefield. Finally, you have multiple means to revigorate your allies in combat, meaning you can be the inspiring hero whose heroism and smile often let your friends gain the second wind in time of need.

On the downsides, your base damage is 1d4, we didn’t max Strength, meaning you kinda relly on your Smiting and extra damage. While you should have a decent amount of Hit Points, you didn’t max your Constitution and many of your spells require concentration, meaning you often may have it broken and that you have to choose which of Supergirl powers you need at the time. Your number of spell slots is also limited and even with Warlock Slots, there will be the times you will just burn out of them with your reliance on Smite. Finally, while you have a variety of damage types to deal, the majority of them is Fire and Radiant, meaning you will run into enemies that have resistance or outright immunity. And sadly our ability to use Cold Breath is limited and mostly relies on low-level spells.

THIS IS AN EVEN BIGGER PROBLEM WITH MY BUILD! TOO MANY FOOLS THINK THEY CAN HIDE FROM EVERBURNING FIRE!

My build meanwhile is more...controlling. You can multiple abilities to mess with your enemies’ minds, threaten or incapacitate them. You will control the battlefield and sow fear and terror among your enemies...or should I say, victims? Sadly, these abilities grant Wisdom saving throws. So stay away from antagonizing Druids and Monks, they’re no fun anyway.

Overall Supergirl is a strong and surprisingly versatile ally that will make a great addition to many teams. Just remember you cannot save the world alone and get yourself some good allies before you go to save the day.

For example. D&D can make that team actually come true.

ALTERNATIVE: Since a new Unearthed Arcana came up with an option for Paladin to pick Unarmed Fighting Combat Style, here is a quick guide how to run Kara using it:

When you take your first level of Paladin, Pick Unarmed Fighting. it makes your fists deal 1d6+ your Strength modifier in damage and if you use both hands to fight it changes to 1d8+STR modifier. In addition, whenever you successfully grapple a creature you can deal it 1d4 damage and later whenever you deal damage to a grappled creature, you can add a 1d4 to the roll.

On 4th level replace Tavern Brawler with War Caster, which lets you make Concentration rolls with an advantage and allows to cast spells even when you’re holding something in both hands, like a weapon.

Spend the rest of your Ability Score improvements increasing Strength and Charisma so that you round them up.

As a result, Kara will be squishier and have worse Concentration checks but she should mitigate the latter with an advantage on those checks and what she loses in defense she gains in the offense.

You have any criticism or advice? Share it and be sure to check the masterpost for my other Builds.

- Admin

#Supergirl #Kara Zor-El #DC

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erenthecoordinate · 5 years

Note

How confident are you that Levi is alive? Will he be able to fight again? I’m happy he might be alive don’t get me wrong but I don’t know what else he can do?

I’m actually very certain that he is presently alive right now. I’m also inclined to believe he will remain alive for the series’ end. At the minimum, he’ll be around during the finale climax and have some sort of role in it.

Reasons to believe he is alive now:

The cliffhanger status concerning the severity of his condition shows that there is at least skepticism over his demise. I don’t recall Isayama ever doing this with another character. Ymir may be the closest example, and even then her fate was implied and the act was (sadly) offscreen. We know Levi’s whereabouts are in Paradis, and we know that he is in critical condition, so that needs an answer.

Hange was also quick to “confirm” Levi’s death. We don’t see them checking for a heartbeat, pulse, or breath. While they are knowledgeable about the functions of the thunderspears, the primary warning since the weapons’ introduction was that the handler’s limbs would be torn from the body at close proximity. We’ve seen flesh melting and faces blown off from direct contact, but this is the first secondary contact injury, so it’s hard to say what happens. It isn’t farfetched that the scorching electricity from the spear would fry someone’s organs, and blood around the mouth and nose can indicate internal damage in the chest and lung area, but with the eyes bleeding it can also be due to a head injury rather than by explosion. Either way, Hange makes a point of saying Levi died from internal injuries, since there is reasonable doubt when observing his superficial ones.

Hange was tense when Floch offers to check a pulse, which could mean they were offended by the disrespect to Levi’s body or because they didn’t want to reveal the truth. Hange doesn’t appear depressed or frantic when declaring Levi dead. I imagine we’d be able to see those emotions clearly.

And of course, once Zeke distracts Floch and the rest long enough, Hange takes initiative to jump in the river with Levi, which would be a wasted effort to carry the extra weight if Levi was indeed just a corpse.

I also think the injuries we do see are very prominent and intentional. The deep scarring on his face shows that this is more than likely a permanent character design change. It would be a waste to emphasize the marks with thick outlines if it wasn’t going to be a consistent alteration from here on out. It even appears on the volume preview sketch, albeit on the opposite side of the face.

His missing fingers (possibly hand) are also notable because the last thing they grab is the weapon that was going to cut up Zeke’s legs again. It’s a grim testament to his last actions before being literally thrown into this life-threatening situation. If those are the only fingers missing, he still has the fingers (and thumb) he favors for his reverse grip, which is another ironic twist to his injuries. He has that special strength but now lacks the support.

Also, there is the fact he is an Ackerman, with healing properties beyond that of a normal human being. Enough said.

But can he really fight again? Hm.

It depends on the time frame between now and the climax, how severe his injuries are, and if there will some compensation for the handicap he gained from the incident.

Time seems critical and Marley is already on the island. If the climax only involves Marley, then Levi won’t have time to heal to be of any physical support. If the climax involves international forces, there may still be time. I predict it will take at least a few to several days for Marleyan forces to attack Paradis, especially since Pieck has Eren held at gunpoint. They’re probably hoping to secure the Coordinate before eradicating the island entirely. In which case, Eren needs to stay out of their hands long enough for that to happen. But again, time is critical, it just depends how soon danger will arrive.

If he is rendered unconscious for a while after rescue, he would need to wake up before the story calls for character assistance. Fortunately, resting can speed up recovery time, depending where he and Hange take refuge. They will appear again with the main cast, but time for healing and waiting out the proper moment to evade danger is a must. If Levi’s injuries are solely superficial, such as cuts to his body and blown digits, he’ll recover fast enough to stand and be of some verbal assistance. If Ackergenes kick in for speed-healing he could be coordinated within a week (see: his leg/ankle injury and Mikasa’s broken ribs all healed within 2 weeks when normally those injuries would take longer). If there is internal damage, it’s a matter of how severe it is to continue being life threatening or how he is able to move afterward. Ackerman blood or not, they are still human to some degree.

But-- I am a sucker for the strongest characters coming out of their struggle by fighting in the end. While realistically, the possibility is not looking great, there can be compensations for his physical limitations. We know that 3D maneuvering is not impossible with a missing arm. Levi has handled single-blade weapons in his underground life; it would be an excellent callback to his roots, a time where he used to make his own decisions. Except now he has extra discipline and extra understanding of his desired purpose. There can be an on-the-spot solution like wrapping the blade handle to his injured hand or arm so that it acts as an extension of himself (this one is definitely wild wishful thinking but I’ve seen fanart haha).

Otherwise, Levi may become more of a groundwork assist than an offensive soldier. It can still work thematically, no longer having to be the big sword of the military. He would have to put his focus onto his military weaknesses along with his emotional ones, such as proper communication and teamwork. I think he would, however awkward, still be a good verbal support as well.

And then we got the most important factor- plot relevance. If the story really wants to portray Levi’s lesson as a tragic one, he will have no physical use for the remainder of the series. But I’ve criticized the excessive bleakness of this manga, so I think it would be more effective for Levi to understand his emotional flaws and change his usual actions. Make him regret his choices, but then give him the opportunity to not be consumed by his vendetta. Giving him that chance instead of forcing him in a state of inactivity will benefit his character, if Isayama truly isn’t finished with his development. There is so much to work with and even in the little time left Levi can be a complete character with very little to no loose ends. It would be too boring to force him to be a benchwarmer and have him potentially seethe in his resentment. Especially since his mistake was one with no witness besides his enemy. He would be too easily validated that his state wasn’t his fault and there is a possibility for no lesson learned for him. Giving him free agency and having him decide to pull back would be great development and bring him closure from his vengeful mindset, which is the biggest counter to his heroism.

Plus, I believe Levi still has some unfinished business with some characters. If he were to die later, it’d be premature to write him off with these loose ends. Zeke is an obvious one, and I’ve mentioned it before. That’s not to mention Levi is thus far the only one from the other party to know that Zeke’s plan is euthanasia and genocide. Survival to the point of speaking would give Hange (and therefore the others) information and they would have to decide whether they can trust that Eren wants this or if there is something more going on. But it gives them a chance to come up with a counterattack or line of defense.

Levi hasn’t had proper time to react to Eren’s scheme-y actions. All we know is that he doesn’t believe Eren should be the one to be sacrificed for it. While it’s possible to get some flashback relevance from him, interaction between him and the main cast (Eren included, and probably especially) has been expected for a greater part of this chapter. Instead, we’ve gotten a bit of Levi and Zeke banter, with very little input from Levi. Reactions to seeing his state from all of them instead of word from Hange would be effective in stirring their emotions and perhaps affect their actions going forward. As for Eren, if he truly had been adamant of caring about his friends and comrades, it’d be another moment to see if there is a break in his emotional deadpanning when Zeke directly caused this damage. It’s quite different from Sasha’s death, who was killed by a miscalculation, as Zeke calls it. It is why this is lamented over up to now and so forth. This is no mistake. So will Eren grit his teeth to suppress because he has to or is he really so distanced from people that he no longer cares about their fate? Whatever the case, actually seeing the damage (unlikely to be dragged to him in corpse form because what is the point there) can provoke a response and an additional clue to the uncertain characters as well as the readers.

Also, and I brought this up when looking at this scene in ch105, but I feel like this interaction here needs some explanation. I think is could serve as some importance. Eren seems to react a tad bit and this is before he goes stone cold in Paradis. We already have other characters’ reactions to Eren post-Marley, I would like to have more input by the normally silent observer Levi.

And I’ve already mentioned a possible role in Hange’s own epiphany about themselves. But he would be the most beneficial support for them, while also realizing a sort of independence within himself. Neither would have to follow in Erwin’s shadow anymore. Release that pressure. They support each other while trusting themselves. It’s a dynamic they have always had before Hange was commander, but now with full-fledged confidence, it’ll be refreshing for Levi as well to encourage that growth instead of lingering in his past vendettas.

A greater question to “why does he need to be alive for this” is “why does he need to be dead?” He can accomplish stirring these turmoils in other characters just as or more effectively than if he were dead. Yes, he is strong, but he isn’t an answer to all their problems. He is injured to an non-measurable degree at the moment. Even if Levi has a history of kicking Zeke’s ass, they will know that having him guarded by Levi isn’t a foolproof plan. Is being incapacitated not enough? Can’t other character still step up to the plate on the offensive even if he is still living? What purpose besides “it’s a grim story and everyone dies, blah blah” is worth telling without being either dull or frustrating?

There is still potential for his presence in the story. I dished out some ideas. If Isayama does absolutely nothing with Levi’s aftermath, then perhaps I’ll have confused questions over why these loose ends still exist even at the end. But so far we can only guess (and hope) that there is a purpose yet to be shown. It’s too early to say there is nothing for him when there is still more story left.

To some degree, I expect him to play a role in taking down the “biggest obstacle” of the story (why wouldn’t you have your most popular character participate in something like that?). This can mean his physical state is still capable of externally fighting or he must represent morale support to those who will end up fighting in his place. I hope whatever ends up happening to him will be respectful to the character he was created to be. He honestly deserves it.

#levi ackerman #levi #snk meta #snk chapter 115 #analysis #theory #reply #mypost #Anonymous

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chilly-territory · 6 years

Text

K ~ Four Seasons of K: One Month After

Munakata and Suoh as kids. The original Japanese text is kindly provided by blueseraphima, as always.

One Month After by Raikaku Rei

On that day, Munakata Reishi, after coming back from radio calisthenics, decided to go out.

To Munakata, a 5th grade student at a local elementary school at the time, any distance not easily covered on his bike was like a journey. Munakata put on a straw hat that he had his mother buy for him, slung a flask with cold water over his shoulder and slipped into sneakers.

"Oh, Reishi. Going out to play?" Munakata's older brother Taishi called out to him, watching the boy tag on his shoes. "No." "Hmmm? Then going to a library or something, despite having done all your homework ages ago?" "No, I'm not going to the library either." Munakata finished lacing his shoes and rose, standing with a ramrod straight back. "There is a place I wish to see, so I'm going to see it. I will be back by evening." Having said all he had to say, Munakata left the house.

He went by train, changing them a few times, to get as close as the transportation system allowed to the place of his destination, and then walking the rest of the way.

Although it had been already a month since the tragedy, at the same time it had been only a month. Needless to say, the uproar had yet to die down. In order not to be in the way of people heading in the opposite direction, Munakata avoided crowded places, taking a route along the deserted seacoast instead.

The August sun had climbed to its zenith, grilling the earth below with its violently scorching heat. The breeze blowing from the sea helped though, being surprisingly refreshing.

Once he stepped into the coastlands, Munakata lifted his head, staring into the sky. Direct sunlight rained down on his face, protected by the wide flaps of his straw hat until now, and made his glasses glint, reflecting off their surface. When he had had enough basking in the midsummer sun, Munakata's eyes shifted down, to the sea this time.

The water wasn't really transparent, but the surface glistened as it reflected the rays of the sun. Munakata found himself gazing at the glittering waters for some time before setting off to walk along the coast at a leisurely pace.

The beach wasn't sandy, nor did it have piers. What Munakata trotted cautiously on was unstable debris.

After a while, he came across an old man sitting on the rubble. Said old man stared at the sea with a stern-looking expression. His face was plowed with wrinkles, and his form, as he kept staring at the water without even the slightest of movements, was reminiscent of an expensive thematic carved artwork.

Munakata kept walking in silence, the distance between him and the old man gradually closing until the man finally noticed him and raised his head abruptly. That movement helped Munakata ascertain that the elder wasn't an actual statue, the fact coming as a relief somehow.

"It's not safe for a child to walk here all alone," the old man reprimanded. "No, it is not. I shall proceed with caution, sir," Munakata replied.

The old man took in all of Munakaka, from the top of his head to the tips of his toes, in one quick sweep, and in a voice quieter than before, asked, "...What, did yer friend die or somethin'?"

The wording was callous, but the old man's tone betrayed sings of concern, letting Munakata sense that the man did care, in his own way. Munakata shook his head.

"No. None of those I know personally died here." "Then why did ya come to a place like this?" "Because I wished to see it."

Munakata's answer made the old man grimace bitterly.

"And whatcha gonna do once you saw it?" "As I am now, there is nothing I can do. But I believe I must see it regardless. Although it is hard to put into words why I feel this way."

Munakata was a child who excelled at putting things into words. Not being able to find the right expressions to explain something was a rare state for him. Still, for once, he had a feeling that the moment he tried to describe this sensation with words, those words would become false.

"Hmph," the old man snorted. "Y'know, when I was a kid, there was a war raging," he suddenly changed the subject. "I see," Munakata nodded, unfazed. "And there were air-raids. Countless, again and again. And every time, we fled. Those who couldn't flee usually died. Many of those who did flee died too." "I see." "Tons of people died... The deathtoll in this incident is the same or even more, I hear."

Once again, Munakata turned his gaze to the sea. The old man stared at the water too.

This time, quite a while had passed before Munakata nodded and said "I see".

"Why did it have to happen, I wonder..." the old man wondered aloud in a seemingly laid-back tone. "It was said in the news that the cause was an explosion that occurred in the research institution of next generation energy sources. ...There are many suspicious points that do not add up though." "No, that ain't what I'm talking about. I don't care what the actual cause was... I was wondering why these things keep happening... just grumblings of an old man," the man chuckled with derision directed at himself. Munakata's lips thinned.

When a calamity strikes, it strikes.

However, Munakata pondered, was there really no one who could foresee it or prevent it? Or, maybe, there were those who expected it and tried to prevent it, and it all combined and fit together like a puzzle, with the picture revealed in the end being this calamity?

What would he do if he were one of those who had predicted such a catastrophe? Munakata tried to imagine it. Could a helpless child do anything? Or would he actually be able to see, if only a little, the right option to choose?

Munakata's age being what it was, he was often asked about his dreams and hopes for the future. And every time Munataka was hard-pressed to answer. He did have a picture of his ideal world in mind, but he could never quite tell who he needed to become in order to make that image reality.

A world where everyone could be happy could never exist, but a world that could gain peace while avoiding hurting people as much as possible or making them suffer was not too far fetched, and he wanted to become someone who would strive for such a world. Someone who would sense an impending calamity first and minimize the damage from it as much as possible.

Munakata thought long and hard about who he should become to be such a person, all to no avail.

"I... I want to become someone who would do everything in his power to prevent such things from happening," Munakata blurted out before he could check himself. He was sure, to the old man his declaration sounded as nothing more than a child's irresponsible dream and was no consolation at all, and he felt he made a blunder with his word choice, but after a second of surprise, the old man showed a tiny smile for the first time. "I see," he nodded.

A red-haired boy chose this time to abruptly come out of the sea waters long ways off from where Munakata stood.

Munakata's eyes opened wide, and for a fleeting moment, he believed him to be a ghost. Munakata's eyesight wasn't good enough to let him see the boy's face clearly at that distance, but from the boy's stature and physique it appeared they were the same age.

The boy rose from the water and climbed to the land. It seemed he swam right in his clothes, his tanktop and breeches soaking wet and clinging to his body. The boy gave a shake like an animal, shaking off the water.

"Did he swim at a place like this?" Munakata frowned. "Do you find it sacrilegious?"

In reply to the old man's interested question, Munakata nodded. "I do not find such an act agreeable." "It would be desecration if he actually meant to desecrate this place, but he has no such a goal, I assure you."

From that statement, it appeared that the old man knew the red-head. Against his better judgement, Munakata found himself sending a reproachful look to the old man upon the realization.

The old man narrowed his eyes in mirth, watching Munakata, then got up heavily and, without saying goodbye, turned around to walk away.

It was 1999, the 11th of August, a month after the landscape of Japan had been altered due to a mysterious explosion, and South Kanto had become a crater that sunk to the sea.

It seemed grandfather's friend died in the incident that turned South Kanto into a crater.

It was summer break, and one morning grandfather suddenly announced that they needed to go to a month anniversary of death.

Suoh Mikoto lost his parents at a tender age and now lived with his eccentric grandfather, just the two of them.

In exchange for living like he wanted, said grandfather seldom made any demands of Suoh, but on that day his utterance was an order with no room for objection. Not waiting for Suoh's reply, he began making preparations.

Suoh never even met his grandfather's friend. But he had no particular reason to object either, so he didn’t, simply following his grandfather out of the house in silence.

The place they went to visit wasn't an area with survivors or an altar to lay flowers on. Instead, it was a deserted location to where no one bothered coming on purpose, a quiet place where rubble piled up, becoming makeshift breakwaters, and beyond that there only sprawled the vast sea - the endless blue ocean.

Until just a month ago, this was land.

Suoh's grandfather sat down on the rubble without a word and stopped moving, becoming what was essentially a living carved statue. Suoh, standing by his side, absentmindedly took in his surroundings that turned into the sea only a month earlier.

He, among countless others, remembered vividly what happened last month.

It was the 11th of July, and on that day, at that time, Suoh was playing soccer. Trapping the ball that came flying his way with his chest, he dropped it to his feet, and it was at the moment when he made the ball his that a thunderous roar reverberated through the space and the ground shook as if bouncing up and down.

Screams echoed around him. Everyone was frantically pointing in the direction of the south, trying to make out something there.

Suoh, too, was caught by surprise, if slight, but being a young child he was, the concentrated look on his face didn't change when he turned to the south to look.

The sky in the south was boiling hot red, and a massive column of fire towered there, as if piercing both heaven and earth. Even from this significant distance away, that red pillar looked thick and vividly blazing, and trying to guess just how exceedingly vast the area it had swallowed was defied imagination. From its shape alone, one could have mistaken it for a backbone of the world, propping the sky, but that burning hot red color triggered instincts signaling that it was much more violent than that.

Suoh's eyes were fixed on the sight for a while.

Commotion and shrieks filled the air, sounds mixing together, and Suoh heard somebody moan, "Looks like it's the end of the world".

'If this is what the end of the world looks like, then I guess it's surprisingly pretty,' Suoh thought at the time without much emotion.

The sea he was gazing at today was the result and remnants of that.

When he saw satellite photos shown on TV every day, he thought to himself, 'Oh, I see, so South Kanto turned into a crater and got submerged, changing the shape of this country a little'. Now that he stood there, on the coast of said crater, a thought of 'Oh, so this is what this place is like now' did flash through his mind with a little more gravity than before, but it wasn't like the sinking in reality of it hit him all that hard.

After a moment of consideration, Suoh kicked off the ground and jumped into the sea with a splash.

Once he submerged, all the sounds audible on the surface disappeared without a trace, leaving only the bubbling of the water in his ears that made up the whole world.

In the water, Suoh saw the ruins of the destroyed world.

Nearly nothing still preserved the shape it once had. Having sunk to the bottom of the sea, what was part of things and objects that once were part of the life of people that used to be alive was now broken and absorbed by the sands of the seafloor.

It was hard to call visibility in the water good, but Suoh did make out that what he was seeing was by no means a regular seafloor.

'I see,' Suoh thought.

It didn't invoke any further stronger emotions or impressions in him, neither did it trigger feelings of sorrow, indignation or compassion; he kept gazing at the view stretching before his dispassionate eyes as a fact of life.

Somehow or other, he remained submerged for as long as he could, rising back to the sea surface only after almost running out of air. He resurfaced at a spot much further from where he dove in, partly due to indulging in swimming in the ocean for a short while, and partly due to being carried away by the currents without him noticing. He found that his grandfather who was by his side earlier, was now sitting long ways off, and for some reason there was an unfamiliar boy standing next to him.

The boy's glasses reflected sunlight mercilessly, and Suoh couldn't get a good look at his face, but he did perceive that the boy was about his age. He also thought that the straw hat the boy was wearing didn't really suit him. To be exact, as a headgear for a child on a little summer trip, it was the right choice, the problem lay with this particular child who didn't go well with summer at all: he was pale and looked the type to never even sweat.

Suoh gave a shake, trying to shake the water off his drenched person, however futile the effort was. Intense sunlight was drying the seawater out of his clothes rapidly though, but not without leaving a sticky sensation of the seasalt still remaining on his skin in its wake.

Suoh's grandfather got up and was now walking towards Suoh. He must have had enough of being here, then.

For some reason, Suoh's eyes strayed to steal a glance at the unfamiliar boy who stood by his grandfather earlier.

The boy did the same, looking at Suoh.

The piqued interest lasted for only an instance, and before his grandfather even reached him, Suoh had already turned on his heel and started walking.

In the end, he and the unfamiliar boy who didn't mix well with summer didn't even have a chance to pass each other by.

#k project #project k #k translation #short story

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apolesen · 6 years

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Cardassian Reproductive Anatomy

I decided to do something with all my ideas about what Cardassian genitalia looked like, and here we are. Below the cut are some anatomical sketches (of the kind you get in text-books, so they are mostly SFW, but it depends on where you work, I suppose) and a description of my take on the Cardassian reproductive systems.

Content warnings: anatomical sketches, anatomical descriptions, mentions of menstruation and pregnancy.

As this is about reproductive anatomy in broad terms, I have used the terms ‘male’ and ‘female’ in an essentialist way. This is mainly to be as clear as possible. I think that we should move away from referring to, for instance, “external female genitalia” when we could just say “vulva”. However, when you discuss an alien species where writer and reader don’t have any common frame of reference, that can get very confusing. There are definitely Cardassians who are intersex, trans and non-binary, so what is described below are broad generalisations describing cis Cardassians.

Cardassian male and female external genitalia are fairly similar to one another. Both have a cloaca (in Cardassian, ajan), which the urethra and anus lead into. This means that Cardassian men and women urinate in the same way, and they find the human organisation very confusing. The reproductive organs are mostly internal, which makes it harder to tell at a glance what you are dealing with. It is very difficult to tell the sex of newly-hatched Cardassians, as their external genitalia will look basically the same. In adults, the only real difference is that in males, the tip of the penis usually sticks out of the cloaca, most often no more than one or two centimetres (5/8ths-4/5ths of an inch). Both males and females have a chuva, sometimes called (though never by Cardassians) as the groin spoon. The evolutionary reason for the chuva is to catch water and lead it over the outside of the genitalia when the Cardassian is lying on their back. From the point of the chuva, two thin scale-ridges run, one on each side of the cloaca’s opening.

Cardassians are oviparous, meaning they lay eggs, so the internal reproductive organs of the female are collectively called the oviduct (a word that in viviparous species is only used of what in humans is called the fallopian tube). Cardassian females have two ovaries. After ovulation, the ovum enters the infundibulum, a funnel-shaped organ. (The term infundibulum is used of many other funnel-shaped anatomical features.) The yolk is also created by the ovary, but is distinct from the ovum, which is the actual cell. The ovum and yolk migrates into the uterine tube, where the albumen (egg white) is added. It stays here until one of two things happen.

If the ovum is not fertilised, it is pushed through the isthmus, which divides the uterine tube and the shell gland (which is analogous to the human uterus). It passes through the shell-gland and vagina and is expelled through the cloaca. The result is analogous to human menstruation. As the foetus does not grow inside the Cardassian body, there is no uterine lining to shed, so there is no blood. (Bleeding from the cloaca is always a bad sign, and the average Cardassian is pretty freaked out that the concept of menstruation.) An unfertilised Cardassian egg does not have a shell, and the membrane holding it together breaks when it is expelled through the vagina, so what comes out is a runny mixture of albumen and yolk, a little like what one gets by messily cracking a chicken’s egg. This gets called vitelline effusion or passing yolk.

If the ovum is fertilised, it is again pushed through the isthmus, but then stays in the shell-gland. There, the body starts creating the shell, including additional membranes. The time it takes to create the shell is about fifteen days. The Cardassian in question is able to tell they are gravid (the homologous term for mammals is ‘pregnant’) about five days into this process. The Cardassian egg has about the same circumference as a human baby’s head. A gravid Cardassian will in no way be as large as a pregnant human, but it will be obvious. As the creation of the shell is relatively rapid, it is not a comfortable experience. The oviposition (egg-laying) is not unlike human child-birth, with the exception that there is no afterbirth (which means no blood - again, blood is a bad sign) and an egg instead of a baby. At the point of oviposition, the foetus is still in the early stages of development.

Because Cardassians do not have placentas, they do not have umbilical cords and therefore they do not have navels. It probably leads to them being weirded out and fascinated by belly-buttons.

Cardassian male genitalia are in many ways not unlike human male genitalia, only it is internal. The testes have about the same position as the ovaries in female. As Cardassians are ectotherms (cold-blooded) and have no constant body-temperature, there is no danger of the sperm being damaged by the body-heat. The vas deferens runs from the testes to a gland analogous to the human prostate, which produces seminal fluid. Cardassian females has a homologous gland which creates lubrication. The vas deferens then goes into the penis (sometimes called prUt). As mentioned above, Cardassian males do not urinate through their penises, so the double-duty that the human urethra does must weird them out to no end. The Cardassian penis is usually retracted, with only the very tip being visible. The rest of the penis is held in a sheath (the Latin nerds among you can imagine that this makes things complicated, as ‘sheath’ in Latin is vagina). However, arousal makes erectile tissue fill with blood, both in the penis and around the sheath. This pushes the penis outwards, making it protrude much further. This is referred to as eversion, literally tuning outwards. The penis is not covered in skin but mucous membranes, like the human vulva. The sheath is self-lubricating through glands on either side in order to make eversion easier. Without that lubrication, eversion is not fun. It also comes in handy during penetrative sex, of course.

The female homologue of the penis in Cardassians, roughly their clitoris, is referred to as the vit. It looks much like a small version of the prUt, with similar sheath and erectile tissue. It is far narrower (as much of the area taken up by the sheath in males is taken up by the vagina in females) and shorter (possibly because of hormonal reasons). It also does not have the vas deferens that the prUt has. Like the prUt, the vit will lengthen and be pushed outwards because of arousal, but because of its smaller size it tends not to reach the cloacal opening. The sheath of the vit has glands like the male homologue, though the posterior ones also lubricate the vagina. (This is mainly for the purpose of oviposition, as penetrative sex tends not to reach into the vagina).

Naturally, there are individual variations. For instance, a vit may be longer than average, and a prUt may be shorter than average. Also, just like among humans, there are Cardassians who are intersex and do not fall into one of these categories but somewhere in between.

Addendum: Cardassian/Bajoran hybrids (or: how narratives win out over anatomy)

It makes no sense to me from a scientific point of view how a cold-blooded oviparous species and a warm-blooded viviparous species can have children. What I have decided to appease myself is that through some odd coincidence, it is possible for a Cardassian man to impregnate a Bajoran woman, but not for a Bajoran man to impregnate a Cardassian woman.

The reason I want to salvage this instead of just reject it is that Cardassian/Bajoran children are the most interesting hybrids in terms of narrative since Spock. Spock’s human/Vulcan nature was a way of dealing with stories about internal struggles and external prejudice. Spock is clearly coded as mixed-race, while many TNG and VOY hybrids lack any thematic aspect within the narrative. However, Cardassian/Bajoran children are interesting because they are a living reminder of the Cardassian occupation. They represent the way that both Bajorans and Cardassians now have to live with what happened, and how they are interlinked through that history. This makes me willing to put aside how unlikely it is for these two species to be able to have children together. What changed my mind was Una McCormack’s novel Enigma Tales, which I highly recommend for its depiction of Cardassian/Bajoran children and Cardassia’s attempts at dealing with its past.

With that put aside, what about the anatomy? I think Bajoran genitals are fairly close to human ones. Considering the Cardassian anatomy described above is so different, Bajoran/Cardassian children probably need surgery at a fairly early age to function well. (Some of the surgery might also be unnecessary and mostly be about making their anatomy more Cardassian.) They are also very, very unlikely to be fertile, but again, I am happy to turn a blind eye to this when the result is interesting enough, as it is in Enigma Tales, which deals with the ways in which Bajoran culture becomes part of Cardassian culture because of the descendants of Bajoran comfort women.

Sources, further reading and acknowledgements

Girling, Jane E. (2002), “The Reptilian Oviduct: A Review of Structure and Function and Directions for Future Research” in Journal of Experimental Zoology 293, pp. 141-170 – an article that was hugely helpful and also made me realise how little we actually know about reptiles.

Anapsid.org - My go-to place for reptile information.

Speculative Cardassian Reproductive Xenobiology - Good meta on Cardassian genitals, with special focus on sex.

Comparative Anatomy - A very smutty NSFW Garashir fic. It does an excellent job discussing Cardassian anatomy (even if I have ended up developing different ideas from this person).

The Hatchling – A short fic by yours truly about Doctors Bashir and Parmak discussing Cardassian eggs, babies and sex assignment.

Thank you to my sister for letting me show her my work in progress, and D, who has been instrumental in my figuring these things out and first suggested the evolutionary reason for the chuva.

#cardassians #xenobiology #exobiology #ds9 #star trek #meta #cardassian worldbuilding

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comicweek · 5 years

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Some Thoughts on Batman #70

Tom King’s work, due in part to the properties he’s working with and their positioning in DC’s marketing strategy, is guaranteed to generate reactions. I don’t always enjoy it, but his work gives me plenty of material to poke at with theoretical sticks. When it comes to his Batman run – which has shown remarkable stability in the DM – the reaction seems to be born from an inability or refusal to tell it in a form more agreeable to a standard 22 page floppy. As writer his work is better understood and red in collections, which is how I primarily consume it. Batman #70, the star to “The Fall and the Fallen,” is among the best single issues of his run produced so far, it acts as a restatement of thematic purpose as it echoes earlier issues of the run. After unconsciously voicing his greatest fear and King’s central dramatic question, will he be able to get over his fear of loving something more than the Vow and grow. Batman #70 doesn’t have an answer to that yet, casting him in the same perpetual, nightmarish cycle, he’s been in from the start.

(Batman #69 - Yanick Paquette, Nathan Fairbairn, Clayton Cowles)

On the first page we are greeted by an Arkham inmate reciting a slightly modified version of ‘The Argument’ from William Blake’s The Marriage of Heaven and Hell. By the end of the issue he’s preforming Dante’s Divine Comedy. The use of Blake serves two key purposes. First the creative team recontextualize the poetry, by breaking the meter and stanza and juxtapose it with panels representing the previous “Kightmare” arc. Using the poem in this manner transforms it into a metaphor for the plot of both the arc specifically and the larger Bane/Batman struggle that is at the center of the run. The second is how using that poem draws a comparison between the poem itself and King’s Batman run. The Marriage of Heaven and Hell was part of William Blake’s personal mythopeia that used his own characters, and other religious figures, written in the style of biblical prophecy by way of John Milton. In short, William Blake wrote John Milton fanfic (and I mean that with love.) King is doing something similar with Batman and the DCU, with clear influences by Frank Miller, Alan Moore, and Grant Morrison. Which is also pretty much what every Batman writer sense Morrison and the conscious idea of writing a “Bat-Epic” came into being. If you did and interview with Scott Snyder and he didn’t explain how whatever arc was inspired by some psychological fear or feeling of inadequacy, you did a bad interview.

Batman awakes from his Fear Gas fueled Knightmares, seemingly with the knowledge he needs to break the cycle of violence that is consuming him and grow as a person. But, like our perspective as readers, it is up to interpretation and actualization his part. From a plot perspective Batman #70 with its action heavy nature echoes Batman #12, where Batman battled his way through Santa Prisca and Bane’s army. This time around things are decidedly less spread out. The echoes aren’t lost on Calendar Man, the antagonist from the Rebirth issue, as he reminds Batman through a mixture of pantomime in the second great single page for the issue.

As he battles his way up from the bowels of Arkham Asylum he seems to be disavowing nor even attempting to deal with what he has woken from, it poses too great a threat to his (split)identity. Instead like the start of “I Am Suicide” he verbally mocks Bane for giving him “bad dreams” in an overwrought display of machismo. Because he is more than a man, he is Batman, the Nightmare incarnate. There is a cold brutality to the art Mikel Janin and eventually Jorge Forgens create with colorist Jordie Bellaire to represent the fight through Arkham Asylum. Batman #12 is told entirely through double page spreads, save for two single page bookends. Telling that issue through spreads makes it light in terms of turning the page, but Janin’s layouts are highly considered to guide the readers eye and track Batman’s movements across pages. The spreads are spectacular, highlighting the absurd fighting but visually don’t call much attention to the damage or cost. In Batman #70 things are shorter, Batman dispatches his rogues often in less than a page. As he pummels the Riddler, letter Clayton Cowles punctuates a knee to the face with onomatopoeia. Other times all we are shown is the wreckage of bodies.

(Batman #12 Mikel Janin, Hugo Petrus, June Chung,Clayton Cowles)

That series of spreads and the action Batman #70 works in the way Stella Bruzzi theorizes the mise-en-scène in film, the totality within the frame, constructs the action male subject to suggest that “the hero’s internal damage or frailty exists in virtually inverse proportion to the external damage he suffers.”(1) Batman achieves immortality through insanity.This visual treatment of Batman isn’t too far removed from Jason Vorhees or a recent cinematic counterpart.

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With the series recent use of dreams, their interpretation (or misinterpretation), and sadomasochistic proving, Batman #70 brings concepts of from Batman v Superman: Dawn of Justice to mind. That is a movie built around a Batman misinterpreting dreams and pushing himself to the sadomasochistic edge out of fear. The film opens with a pair of dream sequences, over the credits audiences are once again greeted with the murder of the Waynes before transitioning into a restaging of the finale to Man of Steel. Placing those sequences so close together is perhaps a bit much, but along with the opening monologue as Bruce expresses a loss of faith, lays the foundation for how this character as has constructed a phantasical narrative that justifies and drives his hatred/fear of Superman and reinforces the dominance of the Bat-persona. It’s only after experiencing a psychic break, constructed through the film during the “Martha” sequence, that the character of Bruce Wayne reinterprets these dreams and comes out a new person. The film places a new found emphasis on the stupidity of the swing by Thomas Wayne, and how that emphasis reinterprets Bruce’s conception of his origin and purpose.

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Tom King’s Batman isn’t there yet, the transition to artist Jorge Forgens represents a break with artistic style and potentially a psychic one. After he eventually defeats Solomon Grundy and Amygdala, all he can do is laugh. I’m sure whatever torture Flashpoint Dad has planned to prove his point will bring about some moment of realization. Until then, Bruce and Bane will just continue to lean into the overwrought defense mechanisms, their split identities as Bane and Batman, of two scared little boys from the alleys of Gotham and depths of Santa Prisca. Tom King’s run is entering the later stages, making Batman #70 a nice moment to restate things as the final journey begins.

#Batman #Tom King #mikel janin #stella bruzzi #dc comics #bvs #thoughts

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childofsquidward · 6 years

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Queen’s Battle (pt. 1 + pt. 2)

*WARNING: SPOILERS AHEAD*

First off, I didn’t think we’d get Queen’s Battle before 2019. I can’t be the only one. I for sure thought that Frozer would be the last episode we’d get to see for 2018.

Moving on, literally every time Marinette goes into freak-out mode, I want to reach through my screen and give her a hug - stop stressing my child out 2k18 and beyond. Everyone needs a Tikki in their lives, btw. Also, why do I feel as though the writers scroll through Tumblr? Because everyone’s been talking about Adrien’s allergies, and the writers fixed that plot hole up real quick with synthetic feathers. Like, I feel as though they’re getting better at not leaving us with a million questions…?

AntHoNy -

Girl, you forgetting his name on purpose or…?

(Gorilla’s face was everything though, he was probably just like, “my boss may be Hawkmoth, but at least he remembers to treat me like a human every now and then, sayonara bitch.”

Why isn’t the carpet made out of marble - jfc! I can’t deal with this woman and it’s only been like two minutes. Her magazine is named Style Queen? Why didn’t anyone on here think of that? Also, Audrey’s just a straight up bitch, I want to knock that ridiculous hat off of her head, she is the worst, and not to condone Chloe’s own actions, but if that's what I had to look up to, if that was my main influence growing up, I’d be Chloe too.

cLarA?!

Thomas, what the hell is this?! We can’t have parents on this show who are worse than Gabriel, he’s the fucking villain!

“And you’re fired.” - from what, being your daughter - wait, actually, that’s not the worst idea, run Chloe run (I’d just quit if I could)

Aw, Adrienette, my sun, my stars, the only way to turn this episode around… No, seriously, I missed their adorkably awkward interactions, it feels like it’s been a while since we’ve had on of those (maybe it’s just the shipper in me, but whatevs)

Okay, I know that everyone thought that Nathalie might deliver some savage comebacks or whatever, but her monotonous air of ‘shut up, god, why are you still here?” was the funniest shit ever, I lived for it people! Oh Nathalie…

Moving on, are they really gonna’ have Audrey get akumatized cuz she thinks that Gabriel making her sit in the second row (GOD FORBID) is a sign of disrespect? So he reserved the front seat for his son’s closest friends, one of whom designed a piece for the show, big deal.

The coffin - oh dear god, I knew it was coming but with the music and everything, chills, literal chills. Also, why does Emilie’s outfit look like a fencing uniform…?

But like, my boy Nino living his best life, fulfilling his dreams - YAAAASSSS DJ!NINO

“Is this supposed to happen?” - Tom is so precious!

ADRIEN WHY DIDN’T YOU RUN?! (I knew it was gonna’ happen, but he could’ve gotten away and transformed, ugh)

I know that Style Queen’s the villain, but she’s not wrong about the costume. Is it practical and thematic? Yes. Does it look like the work of an aspiring fashion designer? Don’t make me laugh.

Aw, Chloboats just saved her hero’s life - Chloe’s a real stan, like she’d do anything for Ladybug, even somewhat defy her mother.

Also, I can’t believe they actually made Adrien as Sleeping Beauty canon. I’m telling you, someone in that writers’ room is on Tumblr.

Mari met Plaag guys, she met Plaag- I LOVE THIS SEASON SO MUCH!!!

Yo, I need flashbacks of what Plaag did to Atlantis, the leaning tower, dinosaurs, and god knows what else. Master Fu was quick to jump on him though. Like, Marinette comes in full panic mode and he’s just chillin, meditating, living life, but the minute Plaag starts talking he was in Mari mode like “no, nope, nopitynopnope.” and Wayzz just groaning in the background - highlight of the episode for me honestly.

Alya nearly became Queen Bee y’all!!! I love how Marinette just knows that she’ll be there, so she’s like, ‘yo, how’s about a second miraculous, you up for it?’ By the way, what are rules of being a miraculous holder exactly? Like, are you allowed to be in possession of more than one? Can they like, switch miraculous all willy nilly depending on the situation?

Is it wrong that I love Plaag even more now knowing that such a tiny little bean can cause so much damage? God bless Marinette and Tikki’s powers cuz’ otherwise, I think Plaag’s cataclysm would’ve probably destroyed the entire city, or at least half of it.

Also, Mari, sweetie, the bee miraculous! The bee mirac- this girl...

Nathalie knows?! Did we know she knows?! I know we headcanon she knows, but did we know?! Guys, this is too much for me. On that note, Pollen is adorable, I love her already, she must be protected at all costs!

Now onto part two…

HE’S GIVING UP?! GABRIEL, REALLY?! I mean, should be happy…? I did not see that one coming but I guess this was the final straw for him, so I kind of get it. Like, Style Queen was supposed to be his end all be all, and even she failed to seal the deal for him, and with Adrien being caught in the crossfire once again, it was just too much, and goddammit, am I relating to/sympathizing with Gabriel? Especially after what an asshole he was to Nooroo during the last episode, like, guys, I wanted to wring his neck, what is this feeling?

Okay, so after all that crap in part one, Audrey’s suddenly doing a complete 180 and being sweet and complimenting people? I mean, she’s still a shit mother so I still loathe her existence, but giving credit where credit is due is actually pretty fair of her considering everything we just witnessed. Everything’s coming up Marinette, and I want to be happy for her, I really, truly do. But we all know Chloe’s hurting and she’s gonna’ blow a gasket.

Imagine doing everything you possibly can to follow in your mother’s footsteps despite the way she treats you, imagine loving her so much that you nearly start to become her, and she doesn’t give a fuck and simply continues to refer to you with the wrong name (casserole, really?). Then imagine watching her praise your classmate who you despise, and offering to take her to New York with her when she wouldn’t even take you, her daughter. Add that to said classmate getting support from her own parents, one of your oldest and only friends and his dad, the biggest name in fashion who is known for being cold-hearted and ruthless. And the cherry on top is said mother not feeling a single speck of guilt, remorse or regret. I feel bad for Chloe you guys, her outburst makes sense, her anger is justified in my opinion.

Pulling out the miraculous though… I get it, rash decision taking her heightened emotions into account, but still not okay. Despite my feeling bad for her, I still don’t think her actions were okay, she’s so all over the place emotionally, she’s going about things the wrong way. She’s so desperate for her mother’s approval, she’s ready and willing to do anything, which actually makes her so dangerous taking her powers into consideration.

CHLOE WHAT THE FUCK?!

NONONONONONONO

SHE INDIRECTLY BROUGHT HAWKMOTH BACK TOO, DAMMIT, EVERYTHING WAS GOING SO WELL!!!

Of course Mari’s parents are the first to rise to the occasion and help save everyone, everything about Marinette makes so much sense now.

Moving on, the fight sequences in this episode were exceptional! I don’t know why, but they were so cool in this episode I just had to talk about them. Queen Wasp was like a one-woman arsenal, she was the most badass villain ever, which is saying a lot considering Anansi and Sandboy. The underwater fight sequence was good too, my only complaint about this episode is honestly just the lack of Pollen, like, she’s so precious, I wanted more than four words to come out of her mouth y’all.

I don’t know how the rest of you felt about the episode, but I don’t think that they forgave Chloe too easily. Obviously Adrien knows her, he knows she is and he understands why she did what she did. But that look on Mari’s when Audrey told Chloe that she wasn’t exceptional, and then later on when Tom said he was willing to do anything for his daughter, I think something may have clicked inside Mari like, ‘I have two parents who love me, so I’ll never understand how Chloe feels, but I guess I get why she is the way she is,’ and just like in Zombizou, this was Marinette extending the olive branch in a way. This Marinette is definitely different than the one from Antibug, and I like that Marinette is being patient with Chloe and letting her come terms with her actions on her own rather than being so quick to just berate her for her mistakes - THANK YOU CHARACTER DEVELOPMENT (for both my girls).

Now, as far as the confrontation with Audrey goes, I think a little part of Marinette used helping Chloe as an excuse to stick it to both Bourgeois women, and honestly, I see you Marinette and I must admit, you made me proud. Mari throwing shade aside, I feel like they could’ve ended it with a much more tender moment between Chloe and her mother rather than Audrey just being ecstatic at how her daughter is as horrible a person as she is, which I honestly think just regressed all the progress she made, like, come on Thomas, give me a break!

All in all, I did think that Queen’s Battle was a really great two-parter, part two was definitely a lot more action-packed and hit me right in the feels, but part one really brought that comedic element, so I guess they’re both pretty even in that sense.

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