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cto10121 · 3 years

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Does R&J Play With Gender Stereotypes?

So I came across this piece of meta by @hamliet that rather intrigued me:

There’s also another layer here: the imagery Romeo uses for Juliet (the sun) and that Juliet uses for Romeo (the moon) is the inverse of how imagery was typically presented in those days. The moon was feminine; the sun, masculine. Even if we look at Romeo and Juliet’s respective character traits, Romeo is the flighty, impulsive, love-struck one who cries all the time, while Juliet is the decisive, bold, and loyal one. That’s the first thing Juliet declares to Romeo in the balcony scene: that she will always be loyal, and she shows this in every choice she makes in the story.

Let’s break this down.

“the imagery Romeo uses for Juliet (the sun) and that Juliet uses for Romeo (the moon) is the inverse of how imagery was typically presented in those days. The moon was feminine; the sun, masculine.”

Romeo does indeed call Juliet the sun, but Juliet never calls Romeo the moon—or likens him with anything symbolically feminine, come to think of it. The closest she or the play gets is a small but clear association with night: Romeo has “night’s cloak to hide me from their eyes” and Juliet implores “loving, black-browed” night to give her her Romeo. Even then it is so that he can “make the face of heaven so fine / That all the world will be in love with night / And pay no worship to the garish sun.”

Instead, Juliet consistently uses the same love language of authority as Romeo does with her, calling him her lord, husband, knight, “day-in-night,” “mansion of a love,” “god of my idolatry,” and, (my particular favorite), “tassel-gentle” or “falcon.” “Pilgrim” is the lowest social rank she uses, but of course she is following Romeo’s pilgrim-and-saints flirtation and its wink-wink bilingual allusion to his name. Romeo’s use of “sun,” then, could be viewed in the context of both lovers conferring cosmic/earthly authority, beauty, ownership, and sovereignty to each other—the Elizabethan equivalent of calling each other wife/husband. And of course they begin doing that immediately after they marry.

Even if we look at Romeo and Juliet’s respective character traits, Romeo is the flighty, impulsive, love-struck one who cries all the time, while Juliet is the decisive, bold, and loyal one.

Definitely not. Romeo is plenty decisive and bold—making the first move in wooing Juliet, climbing the orchard wall, showing himself to Juliet, immediately agreeing to marry her, nearly killing himself when he thinks Juliet might not take him back and, er, actually killing himself for her. I wouldn’t say he is impulsive, either—though he makes decisions fairly quickly, it is almost always with some deliberation beforehand (“Can I go forward when my heart is here?” “Shall I hear more or shall I speak at this?” and his monologue after Mercutio’s exit) and of course there are instances in which he restrains himself (“I am too bold” and his monologue after Mercutio’s death). The most accurate description of Romeo is that he is a risk taker—at least when he is well and truly motivated. And even then it does not rob his deliberation or even his wits.

He is also not flighty. In fact, he proves just as loyal as Juliet—as soon as he meets her, he forgets about Rosaline and leaves her clear behind. He doesn’t once waver in his conviction that Juliet is for him and makes plans to die with her (and does!). His love for Rosaline is clearly framed by the narrative as shallow, performative, and passive, and the verse bears this out. He was never in any kind of relationship with Rosaline—his love was an unrequited crush that he was at perfectly liberty to have ditched, frankly. After that, it’s Juliet, Juliet, Juliet until he dies.

Also, once more, Romeo is no crybaby. He explicitly cries a total of two times—one even before the events of the play, when he pines over Rosaline under a grove of sycamore, and another when he’s 1) seen Mercutio get mortally wounded, 2) killed Tybalt, 3) learned that he is banished from the city, and 4) mistakenly believed that Juliet no longer wants him (the Nurse’s reply is vague enough to be misinterpreted); at the very least he is devastated to have been the cause of her pain. Anyone would break down in those circumstances. Juliet herself breaks down on hearing the news and arguably is more verbally vehement than Romeo—namely, that even the words “Romeo is banishèd” are worse than if herself, Romeo, her parents, and Tybalt were dead. She ends that monologue with a passive suicide threat: “And Death, not Romeo, take my maidenhead!” How anyone can argue Juliet isn’t as lovestruck as Romeo is beyond me.

What Shakespeare was most likely aiming for was showing the mutuality of R&J’s love with parallel scenes and even language. Both have chances to act strong, decisive, and bold, both show vulnerability and great emotion and passion, both are lovestruck. Both demonstrate so-called “masculine” and “feminine” traits, which is almost always culturally-and time-based, anyway. There are only a few key differences between the two—almost all of the above traits, however, they both share. It’s almost as if…Shakespeare understood that no man or woman had all masculine or all feminine traits.

Moving on to the conclusion:

In other words, Shakespeare was deliberately playing with gender and its stereotypes in the play, which gains an even more interesting layer to it when you consider that Shakespeare was himself almost certainly bisexual (his sonnets are preeeetty explicit). It’s not a patriarchal narrative; it can well be seen as a queer narrative in a patriarchal society. And it shouldn’t take two kids having to kill themselves to get society to realize how effed up it is. It isn’t an out-of-touch play, but instead one extremely relevant to our society 500+ years later.

You just opened up 200+ years of fandom wank, OP. I’ll just do a quick sum-up.

The Sonnets are a complete mess. They are contradictory as hell, there is clearly more than one persona speaking, there is evidence that Shakespeare edited and revised them, evidence they were published with his permission, quite a few sonnets are based on pre-existing sources, and, most damnably of all, none of the most likely candidates for the so-called Fair Youth and Dark Lady fit the narrative of the Sonnets perfectly or even satisfactorily—if there is even a clear narrative to these things to begin with. Sonnets were artificial works whose clichés and conventions were heavily satirized in Shakespeare’s own works—Berowne’s own rant-y sonnet swearing he would never believe in love sonnets comes most readily to mind. They were usually not meant to denote an actual real-life relationship, although there was a kind of “game” in trying to figure out which parts are true and which ones fiction. At least one sonnet sequence had a completely fictional addressee (Fulke Greville, I think).

Shakespeare’s sonnets do break a lot of these rules and conventions, and radically, and as they seem to have been compiled over many years, they lend themselves to autobiographical speculation. But, as a bit of a poet myself, I feel this: No one writes 154 sonnets—plus a whole narrative poem!—to one lover or even multiple lovers. Poetry is much less personal than laypeople think. Outside the sonnets, Shakespeare is not linked to any man romantically, and, besides his wife, only to two women (unnamed citizen’s wife and Jane Devanant).

Even if we assume Shakespeare’s bi, though, that doesn’t mean R&J is a queer narrative, which brings us to…

It’s not a patriarchal narrative; it can well be seen as a queer narrative in a patriarchal society.

A queer narrative that has its lovers express their love through the language of heterosexual marriage (husband, lord, wife, lady, pilgrim/saint), and commit suicide by a chalice-and-blade symbolism that mimics heterosexual sex (Romeo drinking a “cup” of poison and Juliet stabbing herself with Romeo’s dagger. Freud couldn’t have done it better). If Shakespeare was thinking “gay allegory!!!” he would have had to at least change or erase the symbolism (straight coding?) of the double suicide, or have Juliet attribute to Romeo explicitly feminine imagery. He would have to have done some major plot rejiggering. He would have had to, in short, change the whole story.

(Unless by “queer narrative” you mean “anything that has an emotionally constipated male lead who doesn’t growl sexily and a female lead who doesn’t cry/faint at the drop of a hat.” That’d be most every narrative, lol.)

Also, I’m hard-pressed to think of love romances that are 100% patriarchal narratives, and those that do (Casablanca, maybe?) are not really true ones, anyway. Patriarchy inherently opposes all romances of love and sex, including heterosexual. It demands that men be raised as soldiers to kill enemies, slaughtered, and discarded, and women as chattel and land to be bought and sold. Marriage was that transferral of property. Having children is necessary, not out of love and care for them, but to propagate the species and create even more future warriors and womb incubators. It grudgingly accepts only (mostly straight and like maybe 1 or 2 gay) love narratives that can be subsumed into this narrow paradigm, but the tension of interpretation is always present. Ideally, it prefers to ignore, diminish, scorn and mock, or even suppress them. I suspect most people’s problems and discomfort with R&J stem from this pathology, this deep-seated unease over anything that touches on human experience patriarchy can’t quite control or subsume.

Shakespeare was obviously no lover of patriarchy (in his personal life, though…well, it’s debatable). His plays resist it greatly to various degrees, and R&J is no exception. R&J hews much closer to the reality of heterosexual love and love in general, which are informed by, though are not inherently tied to, patriarchy (as are gay relationships, sadly). Shakespeare is just being a good writer in throwing most of that rotten apple away; it doesn’t apply to what he was trying to do, anyway. R&J’s challenge to patriarchy, though, is heterosexual in nature.

And it shouldn’t take two kids having to kill themselves to get society to realize how effed up it is. It isn’t an out-of-touch play, but instead one extremely relevant to our society 500+ years later.

True dat.

#romeo and juliet #shakespeare #cristina metas #rj meta #r&j meta #rj are just so boyxgirl op #accept it and you will find peace #repressive traditional gender roles are back in fashion it seems #the victorians couldn’t accept romeo as a man either and had him be played by an actress #but if we’re going to take our notions of gender from the victorians of all people well…

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firaknight · 3 years

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idk if ur still doing the writing requests but uhh maybe a kirfluff love confession?

I absolutely am!!!!!!! Here you go anon!!

Alternative title: These puffs gay and one of them has no idea what gay means while the other gets gay panic.

~~~{+}~~~

It was a noticeably chilly night in Dreamland. Despite it being the middle of summer, the chill of the night was stronger than ever. The sky was clear and empty, stars painted across the darkness. Soaring under the sky was the Warpstar, leaving sparkling trails of stardust in its wake. The Warpstar itself had taken on a slightly different form, resembling a large pillow rather than a star built for transportation.

Sitting atop the Warpstar were Kirby and Prince Fluff, nestled together beneath a thick blanket. Their bodies sunk into the center of the Warpstar, like sitting on a particularly squishy pillow. It was warm, the kind of warmth that was just comfortable enough—not too hot, not too cold, just perfect.

The night air was crisp, the sweet summer breeze gently blowing. Fluff noticeably shuddered at the breeze, colder than usual. Kirby huddled a bit closer, oblivious to the blush that slowly grew on Fluffs cheeks. The prince stared into the starry night sky, his mind wandering, his expression twisted in deep thought. Kirby noticed the sudden shift and turned, gently nudging him, and in a quiet voice asked...

“Whats wrong, poyo?”

“Hm? Ah, it’s nothing! Just... lost in thought.” Fluff hoped that simple answer would deter the pink puff. To his dismay, it only seemed to make Kirby more intrigued.

“It’s not nothing! You look upset.” Kirby scooted a little closer. He took note of how warm Fluffs cheeks were. Maybe he was sick? Maybe that’s why he wasn’t feeling good.

“Really, Kirby, I’m fine. I’m just thinking.” Kirby gently placed a paw on Fluffs cheek, feeling said cheek grow progressively warmer and turn a brighter shade of red.

“Thinking about what?” Fluff bit the inside of his cheek. He knew this conversation wouldn’t end well...

“Love.”

“Love? What kind of love, poyo?” That question caught him off guard.

“What do you mean “what kind of love?” Isn’t there only one?” Kirby shook his head, smiling.

“There’s lots of kinds, poyo! There’s platonic love, one-sided love, puppy dog love which I don’t really understand, romantic love, really really romantic love—Meta Knight and Dedede don’t like talking to me about that one for some reason—poyo, and familial love! I’m probably forgetting a bunch, but there’s a lot, poyo!!” Fluff thought over the responses, staring down at the Warpstar.

“Wait, hold on— really really romantic love? What’s that and why won’t your dads explain it to you?” Kirby stared blankly. Even he was a little confused on that one.

“Uh, I don’t really know, poyo! Dedede changes the subject before I can ask and Meta Knight tells me I’m not old enough yet. He says that in a couple years or so I’ll be old enough to understand what he’ll tell me, poyo.”

“Guess it’s really personal, huh?” Fluff mentally patted himself on the back for changing the subject. Maybe this time Kirby wouldn’t pry for more information.

“No, I don’t think it is. He says it’s got something to do with puffball puberty, which I haven’t hit, poyo.”

“Oh, ok.” The two sat in silence after that, but it wasn’t a pleasant silence. It was the kind of silence that made you want to talk, even if there was nothing to be said.

Maybe he’s done-

“Back to the original subject; what kind of love are you thinking about, poyo?”

Yod yammit.

“Romantic love. There, happy?” Fluff tried to stop himself from sounding too blunt. He didn’t want to talk about this, but Kirby wouldn’t let up, even if he said he wanted to change the subject.

“Romantic love for who? I promise I won’t tell anyone, poyo!” Fluff furrowed his brows. He was going to dodge these questions for as long as he could.

“A friend.”

“Oooo!!!! Which friend, poyo!! There’s so many!!” Fluff was mentally cornered. He couldn’t say “a close friend” because that would narrow it down to maybe 3 people, of which Kirby could easily deduce who he had feelings for. He also couldn’t just repeat “a friend” because Kirby, while naive, isn’t stupid, and would narrow it down to those few close friends almost immediately. He couldn’t stay silent, because Kirby would think he struck a nerve or something and would most likely never bring up the topic ever again, which, while helpful in this situation, wouldn’t be in the future. He bit the inside of his cheek again and decided to take a risk. A calculated risk in the form of a puzzle, but a risk nonetheless.

“A pink friend.” Kirby tilted his head in confusion.

“Pink? That’s weirdly specific, poyo.”

“Mhmm.”

“Pink, huh... hmmm...” There was an unbearably long amount of silence between the two. Fluff couldn’t tell if Kirby was lost in thought or spaced out, and he really didn’t want to ask. He decided to throw in the towel, realizing this was getting nowhere.

“Y’know what, nevermind. Forget I-“

“It’s me, isn’t it.” Fluff felt his cheeks get hot.

“H-how did you-“

“Well, it’s not like you were super vague about that hint!” Fluff mentally hit himself for that one.

“...”

“Well, I’ve got a confession for you, poyo.” Fluff ran over the options in his head, all of which were bad. Kirby was probably going to say he didn’t love him back like that, and would prefer to stay friends.

Just get over the fact that he doesn’t like you back. He’s Kirby, he probably hasn’t had a romantic thought in his-

“I love you back. In a romantic way.”

Fluff was speechless. Completely taken off guard and a little shaken by the response.

“Y-you’re joking, right?”

“No? Why would I be, poyo?”

“I...”

“To tell the truth, I’ve been too cowardly to mention it. I-I mean, you’re a prince, poyo! I’m just a kid with superpowers, I guess. I always felt like I was waaaaaayyy out of your league and that, if I mentioned that I liked you, you’d shrug it off like it was nothing, poyo.” He paused for a moment, thinking.

“You were always so friendly with me, even when I was just some random stranger who got thrown into your world by accident. I-if I’m being super honest, I’ve had a crush on you since we made it to Treat Land all the way back when we first met, poyo.” The realization that, maybe, just maybe, Kirby was trying to flirt with him all those years ago made Fluff put his face in his paws.

“I can’t believe I didn’t realize it sooner...”

“It’s not your fault! I’m not super great at showing romantic love, poyo. I’ve only ever felt that kind of love once or twice before I met you, and I had no idea how to respond to it other than my usual acts of love!” Kirby gave him a smile, that adorable smile he gave everyone.

“S-so... uh... d-does that make us... b-boyfriends?” Fluff couldn’t figure out why saying those words made him unbelievably nervous.

“I think so!”

“W-what do b-boyfriends do...?” Kirby went silent, thinking on it.

“Well, Meta Knight and Dedede are gay, and they kiss each other on the lips a bunch.” Kirby could see Fluffs face go from blue to almost entirely red.

“U-u-uh... I-I don’t think I’m ready for that...” Kirby gave Fluff a small pat, smiling.

“We don’t have to then! What about an alternative?”

“L-like what...?”

“Nuzzling! I do it a lot with friends and it’s my way of saying “hello” and “I love you” in a platonic way, but we can make it romantic!” Fluff thought about it and decided that nuzzling was probably a good start.

“S-sure! B-but you’re going to have to demonstrate that. W-we don’t do that back in Patchland, I think.”

“Fine by me! Now sit still!” Kirby peppily scooted closer, pressed one of his cheeks to Fluff and nuzzled him. Fluff swore he could cook something on his face with how hot it’d gotten, yet at the same time, he loved this. Every second of it, while it made him more and more of a blushing mess, was wonderful to him. He decided to return the gesture, squishing his cheek against Kirbys and nuzzling back. Almost immediately he heard the low rumble of a purr. His face turned maxim tomato red upon hearing it. He’s never heard Kirby purr before, and good lord was it adorable.

“Y-you can purr???”

“Mhmm! All puffballs can, I think!”

“...I think it’s adorable...”

“Awww, Fluff!!!” Kirby nuzzled him a little harder, giggling.

“Well, my dear boyfriend, would you like to watch the stars with me?” Kirby giggled at Fluffs sudden flirtatious tone.

“I’d be happy to.” The two smiled, resting against each other, staring up at the night sky. Maybe it was just Fluff, but with Kirby around, the sky looked more beautiful that night than ever.

#fira knight screeches #firas box #fira makes braincells #THESE PUFFS GAY!!!!!!!!!!#anytime Kirby says something he doesn’t understand please imagine him saying it as nonchalantly as possible #he’s like ‘yeah idk what gay means but if it means I love you then yea!!’ and Fluff just has a heart attack on the spot /j #also RENAAA!!! RENA RENA RENA!!!!!!!! COME HERE!!!!#PSPSPSPSPSPPS MUTUALS EVERYONE COME HERE!!!!!! KIRFLUFF FOR YOU!!!! PSPSPSPSPSPSPSPS #long post #fira writes and bites

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moonamite · 3 years

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Smoke in the Mirror

Escargoon set the potted plant on the dresser, along with some books. He had decided to take a break from the garden and read a bit. When was the last time I read? I’ve been so busy tending to the plants lately... Maybe I should sell some? Now that he’d thought about it, it didn’t sound like such a bad idea! He had plenty, and the more rare and hybrid ones would sell for quite a bit. And maybe it would help him control the number of plants. He backed up from the dresser and admired the little cactus beside the mirror. He looked up to the mirror and- “Ack!” He yelped, jumping back. In the mirror stood the mysterious figure. “Don’t sneak up on me like that!” He sighed, catching his breath. This wasn’t the first time he’d seen the shadow in his mirror. He’d been seeing it for the past few weeks, actually. The only reason he didn’t tell the King or his Knight is because he didn’t want them to worry. And also because he’d warmed up to it, despite the fact that he wasn’t real. Just an illusion. Not real. NOT AT ALL. The shadow in question remained expressionless through his cracked mask- which was eerily similar to Meta Knight’s- and shrugged. “How would you like me to sneak up on you, then?” He said, wryly. Escargoon recovered from the spook and straightened himself out. Why am I still not used to him? He wondered. There was a beat of silence. Then the shadow spoke first, which surprised the snail. Usually it was him to do all the talking. Maybe he’s warmed up to me? He wondered. Does he enjoy my company? “Is this from that garden you speak so much of?” He asked, pointing at the potted cactus that sat before him- Or rather, the mirror. Escargoon blinked, recovering from the unusual talkativeness quickly. “Um, yes. It’s a Saguaro Cactus. These are easy to take care of, like all cacti, since they don’t need much water to live.” He explained. “They usually stay small. And they’re nice to look at, too!” He added. The dark figure viewed the plant for a while. “It looks well taken care of.” He observed. He looked back up to the lavender snail, his yellow eyes glowing sharply. “You’re quite the talented gardener, Snail.” He said. Escargoon looked away, flustered. He wasn’t used to being complimented, no matter how many times Dedede assured him that he deserved such praise. The figure made a noise which sounded slightly like a chuckle, most likely amused by his reaction. He glared at the person in the mirror. He acts so much like a real person. Escargoon noticed, shivering. Sometimes, I really question if he’s really just in my head... He sighed. The shadow tipped his head, intrigued. The snail looked back to him. I’ve said some pretty personal stuff before... Why hide my thoughts from an illusion? He took a breath, then spoke. “I just... I wish you were real. Sometimes I wonder if you’re real or not and... I’ve found myself thinking about you as a person. A friend.” He added. It was still hard to read the Mirror person through their mask, but Goonie had a feeling he wasn’t expecting him to say that. “I’ve been through a lot, and... It’s nice to have a person to talk to. Even if you’re not listening, it feels good to let it out. I guess what i’m trying to say is... Thank you.” He said, meeting his gaze. The shadow was quiet for a long time. “Thank you...?” He echoed, as if dazed. Escargoon nodded, smiling. “You know, if you turn out to be just a hallucination, i’ll be very disappointed!” He said sternly. “And if you’re real- Which I hope you are- Maybe we could... see each other? In person? I mean- If you want to! It’s up to you.” He said, quickly. The shadow was quiet, as if he was considering taking him up on that offer. “I’ll... See what I can do.” He responded, sounding unsure. “And- Ah- It’s getting rather late, isn’t it? Maybe you should sleep?” He suggested- Almost sounding anxious. Escargoon laughed. “Not you, too! Even the shadowy guy wants me to sleep good.” He chuckled. “But If you say so.” He agreed. “Ok. I guess i’ll, uh... See you on the other side? Maybe? If I can.” He said, beginning to fade away, like smoke in the wind. Escargoon picked up his books and headed to his bed, smiling to himself. What a day. In love with a Mysterious Mirror man. What’s the world coming to? But he wasn’t complaining. He quite liked the feeling he got whenever they had their little talks. He just hoped he was real. And not just because it would mean he hadn’t gone completely insane. And if he wasn’t real... If he’s just a dream... I don’t want to wake up.

#mini fic #Kirby fic #dark meta knight #escargoon #Darkgoon #the perfect timeline au

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so-i-did-this-thing · 4 years

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Hi there! i don't really play many video games, but i've been wanting to get into fallout for a while now, and was wondering if you have any recommendations or tips? Which fallout game would you recommend? Thank you very much, and your cosplay so far looks amazing as always! :)

Thank you!

I’ve played Fallouts 3 and New Vegas to completion and am halfway through 4, which is currently my COVID-19 depression game.

I’ll say right now that FO3 was a largely forgettable slog for me. So, that leaves us with FNV and FO4.

I feel like playing on a PC is essential, because it gives you access to more mods. Fallout as a franchise doesn’t always know what its players wants or even what *it* wants, and mods go a long way to tailoring your experience. Having access to console codes also is a godsend for dealing with bugs or quests that just aren’t fun for you. Learning which mods to use is an organic experience gleaned from seeing what other people do + Googling every time you feel yourself going, “man, I wish this was different”.

Ok, tech stuff out of the way.

I am a player who is drawn to RPGs because I like to explore and I like to have an impact on the story (that doesn’t mean the story needs to be about me, though). I identify strongly with the Knight in Sour Armor trope and tend to play characters who are the same.

Fallout New Vegas

FNV ditches the “you are the chosen one” narrative, which is very refreshing. It’s brave enough to not even make you a Vault Dweller. You are literally just some rando in the middle of a political conflict (that you aren’t even aware of), go have fun.

There are multiple endings not only for the main storyline, but also for each of your companions and each of the DLCs. Dialogue is text-heavy, giving you more options and more nuance. Most choices are morally grey in a way that is interesting instead of being edge-lordy.

FNV has a lot of choice, and the game having a proper collection of endings makes it feel like you accomplished something. You feel driven to finish it and it’s satisfying when it’s complete.

Fallout 4

Fallout 4 is wonderful to explore. The settings are diverse and vibrant. I’ll spend hours just wandering.

Fallout 4 is the first in the series where I feel seen as someone who doesn’t want to be just another post-apoc murder hobo or aloof wanderer. I want to rebuild the wasteland. I want community. I can actually do that with settlements! I want to be kind in video games. Holy crap, I have dialog options to make sure my companions are doing ok emotionally. Holy crap, did my companion just stop someone on the street and ask them if they’re ok?

FO4 is full of tons of very satisfying/intriguing little story and character moments. To me, it feels a lot more hopeful, less nihilistic than FNV. I feel like I have a more personal connection to the characters and the world, even though I have zero interest in the main story.

tldr;

They are both fun games. I’d suggest starting with FNV because it’s the technically older game and it might be jarring to go back to older graphics/UX if you started with FO4, first. But, if there is a companion or quest line from either game you really dig, focus on that game, first. You should know what motivates you most as a player. :)

They are notoriously buggy games. You’ll want to mod the crap outta them. You’ll likely spend 100s of hours having fun, suddenly burn out, then pick them back up again years later to have fun again.

You may not finish them, and that’s not only ok, it’s a very common and acceptable way to play. Your tumblr likes will be an eclectic collection of shit posts, heart-felt art and meta, aesthetic mood boards, and no-holds-barred criticism of missed opportunities and hurtful/tired tropes. It is a fun, frustrating franchise that has been elevated to much more by fan intervention.

Welcome to Fallout.

#fallout #fallout new vegas #fallout 4 #if I really had to choose I would go with FO4 and that is like 80% because I love Nick so goddamned much #I also really enjoy settlement building and expect to spend about 100 hours of gameplay just futzing around making fun settlements #the older I get though the more I just want to be kind in video games #FNV and FO4 each have the elements of my perfect game it's a shame they're so imperfect

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ladyherenya · 3 years

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Books read in December

I set myself some reading goals for the end of the year -- finish any books I’d already started, read the books I'd already borrowed, and to read ebooks I’d bought before buying any more. But I guess most of those books just weren’t the right genre? A few exceptions aside, this month I read a bunch of other things instead.

Also read: The Frost Fair Affair and Holiday Brew by Tansy Rayner Roberts, and Sweetest in the Gale and 40-Love by Olivia Dade.

Reread: Love Lettering by Kate Clayborn and Bookish and the Beast by Ashley Poston.

Total: thirteen novels (including two audiobooks and two rereads), three novellas, and three story/novella collections.

Favourite cover: The cover was what caught my attention for Finding My Voice and Old Baggage.

Still reading: Between Silk and Cyanide by Leo Marks, Or What You Will by Jo Walton and The Disorderly Knights by Dorothy Dunnett.

Next up: A Most Improper Magick by Stephanie Burgis.

Queen’s Play by Dorothy Dunnett (narrated by David Monteath): In 1548, Francis Crawford of Lymond arrives in France, incognito in order to protect Scotland’s queen, seven-year-old Mary. I enjoyed this, even though I am not very interested in the antics of the French court and thought The Game of Kings benefitted from having more characters who I found wholly likeable and/or who matter, personally, to Lymond. Dunnett is an impressive storyteller -- vivid descriptions, lively dialogue, nuanced characters and twists that take me by surprise. Moreover, those satisfying puzzle pieces explain the plots and intrigue, give insight into personalities and develop the narrative’s themes (here, the consequences of power).

The Kinship of Secrets by Eugenia Kim: In 1950, four year old Inja lives with her grandparents and uncle in Seoul, while her sister Miran is in America with their parents. War delays the family’s reunion. This is a fascinating portrayal of two sisters growing up in different countries, and an incredibly poignant story about a family separated. Compelling, and beautifully written, and despite moments of intense grief, hopeful. I liked how, in the end, Inja and Miran didn’t have all the answers.. But I wonder if I’d have found the ending more satisfying if I had a deeper understanding of who they both were as adults.

Teacup Magic series by Tansy Rayner Roberts:

Tea and Sympathetic Magic: Stephanie Burgis recommended this novella as something similar to her Harwood Spellbook series and it certainly has a similar appeal: romantic fantasy, bordering on comedy-of-manners territory. Like Georgette Heyer but with magic and diversity and an intention to challenge problematic and outdated attitudes. Charming and cosy, like a good cup of tea rather than a frothy hot chocolate. Miss Mnemosyne Seaborne, a reluctant guest at a houseparty. She joins forces with the other guests after an unexpected abduction occurs. Entertaining, and even though it was too short for me to really become invested, I immediately wanted to read the sequel.

The Frost Fair Affair: After her previous adventures, Mneme has new friends, a suitor and a campaign: overturning the social conventions which prevent women from travelling by portal. After someone in Town steals her political pamphlets, she gets caught up in a mystery. I enjoyed this oh so much! I found myself caring a lot more about Mneme and her relationships; I liked the mixture of intrigue and danger, and how in the cause of dealing with these, Mneme learns more about the man she hopes to marry; and the Frost Fair, on a frozen river, makes a delightful setting. I'd love to read more.

Belladonna U(niversity) series by Tansy Rayner Roberts:

Unreal Alchemy: Oh, this is my new favourite! Urban fantasy about Australian uni students who are connected to an indie rock band, Fake Geek Girl. These stories are funny, geeky and romantic, with great chapter titles and lots of fandom references. They employ different points of view and different narrative styles in a way that’s really effective. I love the characters and how important and intense their non-romantic relationships are. Between them they have a variety of romantic/sexual relationships and feelings, but friendships and familial relationships, like the one between twin sisters Hebe and Holly, also drive the narrative. The first collection contains four stories/novellas.

Fake Geek Girl -- Ferd moves into the Manic Pixie Dream House; Holly and Sage argue about the future of the band.

Unmagical Boy Story -- Viola has feelings about her best friend losing his magic, transferring colleges and making new friends.

The Bromancers -- The band and frriends spend a weekend at a magical music festival.

The Alchemy of Fine -- A prequel about the band’s origins.

Holiday Brew: This collection is more serious and less overtly fandom-y than the first, but arguably still very meta (especially if you consider Viola, Jules and Ferd as a response to the trio in Harry Potter). I sat down intending to read just one of these stories -- and ended up reading them all.

Halloween Is Not A Verb -- Holly invites various people to their mums’ place for Halloween.

Solstice on the Rocks -- A short story about university graduation.

Kissing Basilisks -- Begins on New Year’s Day, is compelling, and picks up the non-band-related narrative threads from Fake Geek Girl.

Missing Christmas by Kate Clayborn: This novella is loosely connected to Beginer's Luck but stands alone. It's sweet. Business partners and best friends Jasper and Kristen pay a last minute trip to a client and get trapped by a blizzard, which pushes them to reconsider the boundaries they’ve drawn in their relationship. I liked the moments which showed that they’re an effective team because they know each other so well and can communicate through subtle body language.

Finding My Voice by Marie Myung-Ok Lee: Ellen is a Korean-American teenager in her final year of high school. Her story is about applying for college, gymnastics training, Ellen’s relationships with her best friend and her first boyfriend, dealing with racism at school and with her parents’ expectations that she will follow her sister to Harvard. It’s very short, first published in 1993. I was aware of all the places where a YA novel written today would be allowed to give more details and to expand the story, but it was still interesting.

The Magnolia Sword: A Ballad of Mulan by Sherry Thomas: I’ve borrowed this several times this year, only to return it unread each time, and I was starting to wonder if I really wanted to read it. But once I actually sat down and focused, I quickly realised that I definitely did! I became completely engrossed in this Mulan retelling. It’s a tense adventure. I enjoyed the characters and their interactions, particularly the elaborate courtesy of formal conversations, and the way Mulan and her companions value loyalty and camaraderie. I thought this was a very believable take on the whole girl-disguised-as-a-boy thing too.

Dear Mrs Bird by AJ Pearce: In 1940, Emmy wants a newspaper job but is instead typing up letters for a women’s magazine and discarding mail from readers whose problems are Unacceptable. Frustrated that Mrs Bird won’t offer advice to so many women in need, Emmy's tempted to take matters into her own hands. Her optimism means she makes some naive mistakes, some of which made me wince, but it’s also an incredible strength. She's delightful company. I really like how much of this story is about her friendship with Bunty and I enjoyed the insight into women's magazines and the Auxiliary Fire Service.

The Lonely Hearts Dog Walkers by Sheila Norton: Recently separated, Nicola moves back in with her mother, starts as a teaching assistant at her daughter’s new school, gets a puppy and joins a group of dog walkers, who embark upon a mission to save the local park. This was very low-angst and, once I realised the sort of story it was, kind of predictable. I can recognise the appeal of this brand of realism, but personally would have preferred more humour or more emotional complexity. Were Nicola a colleague, it’d be easy to find things in common to discuss, but her story wasn’t quite what I was looking for.

Chasing Lucky by Jenn Bennett: When Josie and her mother return to Beauty to look after the family bookshop, Josie has plans -- keep to herself, finish high school, secure a photography apprenticeship, move to LA. But after Josie accidentally breaks a store-front window and her childhood friend Lucky takes the blame, Josie’s priorities change. I enjoyed this more than I expected to. I particularly liked how Lucky subverts people’s expectations, and how Josie’s family works at communicating better with each other.

Old Baggage by Lissa Evans (narrated by Joanna Scanlan): It’s 1928 and Mattie Simpkin, a now-middle-aged militant suffragette, lives in Hampstead with her friend Florrie Lee (aka The Flea). Mattie gives lectures about the suffragettes but realises she’s not reaching the younger generation. So she starts a club for “healthy outdoor fun” for teenage girls. Mattie is wonderfully forthright -- amusing, engaging and informative when it comes to things she’s passionate about -- but she’s also fallible. A really delightful yet bittersweet story about friendship and loss and the opportunities available for women. I liked its awareness that being able to loudly be yourself is a privilege not everyone has.

There’s Something About Marysburg series by Olivia Dade:

Teach Me: Rose is unimpressed -- not only must she share her classroom with the new history teacher, he’s been given her Honors World History class. There’s something particularly satisfying about people who have been hurt and lonely finding support and love in each other. I like that they get to know each other over many months. I like Martin’s relationship with his teenage daughter and Rose’s relationship with her ex’s parents is so touching that one scene made me cry. And it was interesting seeing the US school system from the perspective of experienced teachers; I appreciated the details about their jobs.

Sweetest in the Gale: a Marysburg story collection contains three novellas about couples in their forties.

Sweetest in the Gale -- Griff is worried when Candy, a fellow English teacher, returns for the new school year uncharacteristically sombre and subdued. A really sweet romance about people who are navigating loss and grief.

Unraveled -- Maths teacher Simon is assigned to observe and mentor the new art teacher, Poppy. I enjoyed the threads of mystery.

Cover Me -- After a concerning mammogram result, Elizabeth marries an old friend so she’s covered by his health insurance. Predictable as anything, but that made it a safe position from which to explore serious and sobering topics.

40-Love: I’m not interested in tennis or holiday resorts; I was disappointed that this novel wouldn’t show Tess being an assistant principal; and even though some of my favourite fictional couples have a significant age-gap, I’m wary about age-gap romances (and socially-programmed to think it’s odd for a woman to date a much younger guy). But I liked the other stories in this series and I was curious. It’s Not really My Cup of Tea, but I was convinced that Tess and Lucas were both capable of making their (somewhat unconventional) relationship work. An interesting exercise in challenging my social-programming.

The Viscount Who Loved Me by Julia Quinn: After watching Bridgerton (not always to my tastes but mostly fun), curiosity prompted me to read the opening of the second novel, and I was so entertained by Kate Sheffield verbally sparring with the viscount, whom Kate is determined to prevent from marrying her younger sister. I continued to be entertained up until the viscount acts a bit too entitled on his wedding night (that’s unattractive, if outrightly problematic). Which left me in rather an uncharitable mood for the final act, so I can’t identify if the drama of dealing with past traumas didn’t meet the standard of the earlier comedy or if I just hold such scenes to differing standards.

#Herenya reviews books #sooner or later

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askthekirbysquad · 4 years

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I figure now is a good time to go over the game timeline in this blog's universe, since it’s not just the order the games were released in. I’ve been wanting to talk about this for a bit, but I figured I’d wait until that last ask was posted since it kinda brought the timeline up.

I’ll leave my explanations for everything under a cut, since it’s pretty long.

- Dream Land 1/Spring Breeze

- Dynablade

- Great Cave Offensive

- Meta Knight's Revenge

- Meta Knightmare

- Adventure/Nightmare in Dream Land

- Dream Land 2

- Dream Land 3

- Kirby 64: The Crystal Shards

- Revenge of the King

- Meta Knightmare Ultra

- Milky Way Wishes

- Amazing Mirror

- Squeak Squad

- Return to Dream Land

- Triple Deluxe

- Dededetour

- Planet Robobot

- Meta Knightmare Returns?

- Star Allies

- Guest Star and Heroes in Another Dimension

The spin-offs with plot (Epic Yarn, Mass Attack, etc.) are all in there somewhere as well (probably around their release order), but they don’t matter as much.

So yeah, Super Star is split up and scattered around. I think it makes more sense for Meta Knight’s Revenge, where Meta Knight was more of a villain, to come before Adventure/Nightmare in Dream Land, where’s he more like a mentor to Kirby. And then I just figured that everything that comes before Meta Knight’s Revenge in Super Star might as well still happen first.

Basically, Meta Knight attacks Dream Land in an attempt to overthrow Dedede, but Kirby stops him. Impressed that Kirby was able to defeat him and intrigued by how similar he and Kirby look, Meta Knight decides to keep an eye on him and eventually starts to act as a mentor.

Meta Knightmare 1 is something I think I might wanna explain in an ask, though I guess it doesn’t matter too much. If you’d rather I explain it out of character just tell me, otherwise you can ask Meta Knight about his experiences with Nightmare/fighting Nightmare. …Or about his cape, since that’s connected.

After 64, Dedede recruits Bandee as his second in command (or something like that), and gives him the bandana as a sign of status. Kirby and Dedede are on pretty good terms now, but Dedede still decides to challenge Kirby to one last battle for fun (though Dedede does also want to prove to himself that he can beat Kirby.)

Meta Knightmare Ultra only consists of the Meta Knight’s Revenge and Milky Way Wishes parts, since the others aren’t too important. Meta Knight accidentally goes too far in a training exercise with his crew and crashes his own ship. Unfortunately, repairing the Halberd the first time used of most of the spare parts he had, so Meta Knight has to travel to the surrounding planets to gather more. Nova is pretty well known around Popstar, but only as a myth. Most people don’t know he actually exists. Still, Meta Knight decides to try his luck and summon him, since he’s heading to the planets anyway. Nova appears, and Meta Knight fights Galacta Knight instead of asking for parts because he’s a dumbass (and to be fair, he already collected most of what he needed.) Meta Knightmare Ultra comes before Milky Way Wishes so that Nova actually dies in the fight against Kirby and doesn’t somehow get revived by Meta Knight.

Dededetour pretty much just involves the last part. Dedede decides to head up to Floralia and help Taranza clean up the remains of Sectonia's Castle. He finds the Dimension Mirror and fights Shadow Dedede and Dark Meta Knight. Taranza probably also learns what caused Sectonia to go crazy (or at least gets a good idea of what happened). Also, Taranza and Dedede reconcile after the whole kidnapping thing and are now on fairly good terms with each other.

I have no idea how to handle Meta Knightmare Returns, honestly, cuz Kirby completely destroys Star Dream in his fight with it. I guess one idea could be that after being released from Susie’s control, Meta Knight is able to meet Star Dream, who puts him through all those trials. I dunno. The entire thing could also just not happen, but I feel like Galacta Knight appears so rarely that I shouldn’t do that.

I’m not sure which order Guest Star and Heroes in Another Dimension should be in. I have ideas for both cases:

The portal to Another Dimension opens up after Void Termina is fought. After coming to his senses at the end of Heroes in Another Dimension, Hyness realizes that sealing Galacta Knight away forever was kind of a dick move, so he decides to free him. The Star Allies don’t realize Hyness' good intentions and go to stop him, but Galacta Knight is still released. And then the whole thing with the butterfly happens. I’ve got no explanation for that.

Or, after Void Termina is defeated, a spiteful Hyness releases Galacta Knight in an attempt to unleash another galactic crisis. The summoning opens up the portal to Another Dimension, and Heroes in Another Dimension occurs after Morpho Knight is defeated.

One last thing: the Arena and True Arena never happen in this universe. Instead, though, extra forms like Star Dream Soul OS and Void are added to the story mode fight so that Kirby fully defeats the boss the first time around. The two exceptions to this are Marx and Magolor. Marx is rescued by Magolor before he can absorb Nova's power, so Marx Soul is never created. Magolor EX and Magolor Soul aren’t really necessary to include, so I’m thinking that the regular mode and extra mode forms are combined to have the appearance of the regular mode forms but the strength of the extra mode ones. Not that that really matters though, I guess. Oh, and also the arena short version of Magolor Soul's death scream (this one: https://youtu.be/wNrjR6gmpu8 ) is kept because that shit's creepy and depressing and I need it.

#not a comic or an ask #long #gonna give this its own page eventually

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princesstutufandemonium · 5 years

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Presenting my huge theory, or: Why Duck might actually be Princess Tutu, reincarnated into the real world

(In a series of points that grow more coherent as you go along)

*Now that I’ve had a little more time to think about this theory, I’ve added to this. New parts have an asterisk.

Point one: Duck is never shown to have any memory of her life as a duck. After becoming human, she seemingly has no problem whatsoever adjusting to human life. She goes to school, dances, gets dressed, eats, speaks the human language perfectly, understands what is 'normal' and what is not, etc. The idea of becoming just a duck once more terrifies her, as shown in the series finale. She has no attachment or fondness for her life as a duck despite the fact that she has supposedly been a duck for almost her whole life.

So, really, was she truly a duck to begin with? At least, a normal duck? After all, Duck is the only animal in the show to always possess human intelligence, even at the end when all magical animals have reverted back to their original human or 'normal' animal form. In other words, all enchanted beings return to what they were before. However, direct creations of Drosselmeyer's, like Mytho and Uzura, stay the same. They don't disappear or change; they exist exactly the same as before. This implies Duck was never a normal animal or person, and was directly made by Drosselmeyer.

But, okay, why did Drosselmeyer make her into a duck? To make things that much harder for her. heh

But in all seriousness, we don't KNOW what the 'original' Princess Tutu was. Was she really just a spirit? Was she a magical girl too, a clumsy girl who fell for a prince, just like Duck? Is it possible she was originally a duck too? Remember, Drosselmeyer never finished writing The Prince and the Raven. The version that exists only has a small part with Princess Tutu, but it's entirely possible he had a whole arc fleshed out for her, as the entire plot of the anime seems to imply.

Point two: Mytho never differentiates between the two Princess Tutus that he knows. Even after most of his heart is restored and he seems to regain the memory of his storybook past, he never treats Duck Tutu any differently or even seems to recognize her as separate from the one in the book. He continues to call her Princess Tutu all the same. Does he just not care? Does he see no point in making the distinction? Or does he think she's the real thing?

*Even at the story’s end, when it is clear the current Princess Tutu he knows is truly a duck, he continues to address her as Princess Tutu. This also carries into the epilogue skit.

Also, we don't see much of him, but the Raven himself recognizes Duck Tutu as THE Princess Tutu. He calls her by name and knows who she is just by looking at her. Either she really must be a dead-ringer for the storybook one, or she is the real thing.

Point three: Here's one that sticks out sorely once you shine light on it. Out of all the girls already infatuated with Mytho, why did Drosselmeyer choose a random duck? Remember, he's got a huge master plan that by that time was years in the making, and Princess Tutu is a major player. He's gambling a hell of a lot of his story on the supposed feelings of an animal. It doesn't make any sense, especially considering how well thought-out Drosselmeyer's plan for his tale is. He would only choose someone who he knew was a perfect fit, who would act and feel exactly how he wants them to.

This leads me to my next point.

Point four: Drosselmeyer knows exactly how Duck feels and thinks, and in the first season is almost always a step ahead of her. He knows what she's going to do and why, and even the actions she seemingly decides for herself have been accounted for by him. This is shown at the end of episode 13, when, despite having seemingly defied her fate of vanishing and outwitting Kraehe, Drosselmeyer implies he knew and planned for things to develop this way. Obviously, the only way this would be possible is if he has a deep understanding of Duck and what makes her tick.

Point five: Duck seems to fall for Mytho at first sight. Interestingly, Drosselmeyer's first words to her are, "Do you care for him, little duck?" He doesn't ask her if she thinks he's handsome, or if she wants to get to know him. He asks her if she cares for him, and of course (since he needs her to agree) he asks already knowing what her answer will be. Drosselmeyer needs someone selfless who passionately loves the prince, who is willing to die for him. Someone who maybe already loves him from before the story in the real world began. After all, how else is it that Duck could care for someone she just met, let alone take on the duties of Princess Tutu shortly after to save him, someone she doesn't know?

Point six: Duck is a hell of a dancer. No, really. Everyone around her, from her teacher to her friends, has her convinced she's awful at it. However, remember that scene early in the first season when she has to stay after class to practice? When alone and at peace, she begins to do some perfect ballet positions to rival Rue's. The implication that it is really her confidence that decides her performance in dancing is also hinted at in episode 13, when Kraehe's mocking makes her stumble and lose her grace, even as Princess Tutu. Contrast this with episode 25 when Duck dances a perfect pas-de-deux with Fakir. This idea is again reinforced in the final episode, when despite being confined to the body of a duck again, she pulls off moves that previously she could only do in form as Princess Tutu. Duck's dancing ability does not come from transforming - she already has it; it just tends to show when she is at full confidence as Princess Tutu. What is Princess Tutu's most renowned ability? Her ability to dance.

*Point seven: Duck is the only supposed non-storybook character to ‘flourish’ within the role she is given. Rue and Fakir, both ‘story outsiders’ chosen to play roles, become unable to fulfill or rework the role given to them by Drosselmeyer and end up abandoning it entirely. Rue completely leaves her role as the Witch, and Fakir gives up on any idea of being a Knight. This is because, ultimately, their roles do NOT suit them - they were not ‘hand-molded’ to play the part. Drosselmeyer was trying to force them into a box that they don’t fit.

However, Duck not only sticks with her role as Princess Tutu to the end, she even uses the abilities given to her as the character by Drosselmeyer to rebel against him. Even when she struggles and is doubted in her role by others, she continues to successfully act and identify as Princess Tutu - within the ‘parameters’ of the character. Mytho does something similar by finally defeating the Raven and rescuing Rue once he is restored to his full state as the prince. To summarize this point, Duck continues to act in character as Princess Tutu and succeed in her own way. The only other person to accomplish this is the actual storybook-character-brought-to-life Mytho.

Point eight: Here's some more food for thought - why is Duck such a dead-ringer for the storybook Princess Tutu? By that, I mean two things: Her 'idiot' hair, which is supposed to be a hint towards her true nature as a duck, is also present in the storybook Princess Tutu. *(I did find an illustration of story Tutu without the hair. Interestingly, promo art for the series, however, always depicts story Tutu with it) Storybook Tutu also has... wings. Duck is never depicted with wings when transformed as Tutu. Princess Tutu has no 'bird' abilities, so why the wings? Are they just symbolic of book Tutu's status as an ethereal spirit? Well, hold on, because things are gonna get a little meta.

The last, most intriguing piece:

Point nine: Episode 26. Duck no longer has her pendant, and shouldn't have her abilities as Princess Tutu anymore... Until, THROUGH DANCE, she SUMMONS A SPIRIT AURA OF PRINCESS TUTU AS DEPICTED IN THE STORYBOOK. And it becomes clear why the storybook illustration of Princess Tutu has wings - it is the marriage of her two forms, her current duck self and Princess self. Princess-Tutu-with-wings represents Duck at full power, using her full being and summoning her true magic.

Magic that only the Princess Tutu could have.

*It has been mentioned that Fakir empowered Ahiru in her moment of magic, and this is totally true. However, why did her aura take the shape of the storybook Princess Tutu and not the form Duck has when she transforms?

So, in summary, my theory:

Drosselmeyer wrote Princess Tutu out of the story and into the real world to get the gears for his tragedy moving again. Princess Tutu did die in the story, but Drosselmeyer, placing great importance on her character and needing her to act exactly as he had intended, brings the original back to 're-use' her and have the story he wants.

Which, obviously, if true, is totally screwed up, because this time around, although she didn't die, she still didn't get a very happy ending.

It's late and I'm sure this sounds mostly like rambling, so I'm going to bed, but let me know your thoughts. I know there are holes in this thing, and maybe I'm just connecting cracks in the anime's plot that weren't meant to be pondered so deeply, but I think this theory holds just enough water to be true.

#princess tutu #mytho #pt #theory #drosselmeyer #ahiru

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ansheofthevalley · 5 years

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What do promos tell us? - Characters and their journeys

It’s been a couple of days since a new teaser dropped for s8

We also had this

Putting these two little teasers together, we get what will be one of the two major plots of the season: D@ny in Winterfell (which is, in its very nature, politically-driven)

A thing I want to point out: teasers like these ones (clips) are very malleable. People in editing can make it look like one thing before the season premieres, and then, it’s another thing entirely (I’m not talking about these teasers in particular, because the fandom, at least the part of fandom I interact with, was right in their theories and assumptions. I’m talking in general. Go watch the trailers for previous seasons, especially the early ones, they can be misleading, and that’s actually its purpose)

Ok, with that out of the way...

Given season 8 is the final season, it’s already established that we know these characters: their way of acting, of thinking, of approaching things.

For example:

We got the ones that are involved in the Big Game, the politicians/diplomats (Tyrion, Varys, Sansa, Cersei, Davos, Missandei)

We got the ones involved with prophecy/magical elements (D@ny, Jon, Bran, Melisandre, Night King)

We got the warriors (Jaime, Brienne, Arya, the Hound, Tormund, Beric and the Brotherhood, Gendry, Yara, the armies of men and the dead)

We got the loose canons (Euron and Bronn, though I really wish Bronn will somehow ride north with Jaime)

We got the unlikely heroes (Theon, Sam and Pod)

We got to a point where we know these characters’ traits and faults, we know what they’re good at and what their bad at.

But how were these characters introduced?

(I will focus on promotional pictures for this. This meta will focus on Jon and D@enrys, since they are two of the main players used to promote the series before it premiered)

So let’s start with Jon:

Jon Snow-Season 1

This is the first promo pic we had of Jon Snow. It has a quote of the oath of the Night’s Watch, instantly painting him, at the eyes of the audience, as a warrior, as a defender of men. It clearly contrast with the one for Cersei, which paints her at the eyes of the audience as a cunning, not-to-be-trusted politician

Now let’s go to Season 2:

After all that has happened in S1 (i.e: the political intrigue of the South), we see Jon is still tied to the Night’s Watch, still tied to his vows, as another part of the oath is quoted on his poster. His poster is apolitical, with no ties to all the political upheaval that Westeros is going through. He’s still a defender of men, a knight on a noble crusade. Only now, he will learn that there is more than one way to defend people. He will learn that information is as valuable as a sword when it comes to battle. It is from this season onward, that Jon will learn how to be a strategist. It is in the season 2 finale that he infiltrates the Wildling army under Qhorin’s command. No matter how things might seem, he’s still a sworn brother of the Night’s Watch, the watcher on the Wall, the sword in the darkness. His loyalty lies with them and this quote reminds us of that.

His ties with House Stark are severed, even though the fact that he’s the bastard of Winterfell is constantly brought up throughout the seasons. Let’s compare his poster to Robb’s:

Robb’s promo poster is political. He ended season 1 being crowned King in the North. The War of the Five Kings is at its genesis. But the Young Wolf is different from the other kings, he doesn’t want the Iron Throne, he goes to war to avenge his father and achieve northern independence. His quote is “the North remembers”; it’s a promise to the enemies of House Stark and the North. It instantly solidifies the conflict between the North and the South. There’s also another poster with the same line, made to represent House Stark/the North:

There’s also a Joffrey/House Lannister poster (I apologize in advance to all House Stark stans):

With this one. I’m so sorry, I apologize again, the audience gets the true nature of Joffrey, and also the behaviour of House Lannister overall, once Joffrey ascends as King. I’ll talk about the one for House Targaryen when I get to D@ny.

But let’s jump forward to season 6 (I make this jump because for season 3 and 4 it’s the same poster for all characters, nothing really distinctive about them):

Season 6 promos had the motif of the Hall of Faces, from the House of Black and White. At first sight, this promo poster doesn’t seem like much. I mean, it doesn’t have any quote on it that relates to the character so, what’s so special about it?

Well, in the GOT wiki, in the photo gallery for season 6, are all the teaser posters for the seasons, with a quote relating to the character’s journey up until this point. Jon’s quote is: "The long night is coming...and the dead come with it." Again, this quote keeps him tied to the Night’s Watch and their fight against the Night King. He’s still the knight on a noble crusade, only this time, he’s not part of the Night’s Watch, but he still has their fight against the Others as his top priority. He is the shield that guards the realms of men (a line he says to Beric in S7 during the wight hunt, mind you).

A side note: something I observed is the connection Jon’s quote has with the other Starks (sans Arya, since she’s training to become No One). It’s the first time a promotional teaser poster links him to the Starks. By making this connection, it’s clear that, when at first, his fealty was with the Night’s Watch, now it is with his House. What is the connection? The sense of loss and being at a low point. We all know it’s been that way for the Starks since season 1. The quotes from House Stark are the following:

"I've won every battle, but I'm losing this war." - Robb Stark

"If I'm going to die, let it happen while there's still some of me left." - Sansa Stark

"Anyone can be killed." - Arya Stark

"Show them how it feels to lose what they love." - Catelyn Stark

Season 7 was the same as seasons 3 and 4: same quote (a House Stark-related quote) for all the characters, with the tiny hint of the Night King. Nothing particularly special, but we could point out the use of a quote heavily related to House Stark “Winter is here” (a line said by Sansa to Jon in the season 6 finale, mind you) and the hint of the Night King in the eye of the characters, alluding to the fabled “Ice”, the Night King and his army of the dead. So I wouldn’t be so surprised if the promotional posters for season 8 contrast the ones from last season, alluding to the fabled “Fire”.

So, now let’s go with D@ny

D@enerys Targaryen-Season 1:

The first promo we get for D@ny establishes her as someone in completely different world from Westeros, a woman out of place, and she’s holding one of her dragon eggs. To add to it we have the quote “I do not have a gentle heart” (one said by her to Jorah). So this promo poster sets her as a, in lack of a better way to explain myself, a strong woman (ugh). We bear witness to the hardships D@ny has to face in season 1, but she faces them all and at the end comes up on top, with the birth of her dragons.

Now, let’s see season 2 D@ny:

The quote she is given for the season 2 poster is a way to introduce, little by little, the mentality of House Targaryen. So far, in season 1, we’ve learnt about the Targaryens like history, through the eyes and minds of other characters (Aegon the Conqueror, Mad King Aerys and Rhaegar during Robert’s Rebellion are the most notable), but we got to see glimmers of the Targaryens with Vyseris’ behavior and later D@enerys’. The birth of her dragons is a catalyst for her: she’s still Khaleesi, but we get to see more and more of the “dragon” in her.

youtube

It is in this season, we start to see D@enerys embrace her Targaryen roots.

Her promo poster is also very similar to Robb’s: its quote is also used to represent her House in the House Targaryen teaser poster

It heavily features fire: the small pyre, the dragon egg cracking, and the Targaryen sigil, the three-headed dragon. It represents the birth of the dragons, that we see at the season 1 finale, but it also represents the return of House Targaryen with D@ny and her three baby dragons. Let’s not forget the full quote “I will take what is mine with fire and blood”. From now on, D@ny is in a quest of power to get what she thinks was taken from her: the Iron Throne.

As I explained earlier, season 3 and 4 didn’t have posters that stood out individually, character wise.

So with that said, let’s jump to season 6:

As I explained with the Jon poster, at first glance, it would seem that the season 6 promo posters would be no different to those of previous seasons, that is until I looked up the pics in the GOT wiki and saw each one had a quote. D@ny’s quote was the following: "I will do what queens do. I will rule." By this point, she has her armies and is Queen of Meereen, she’s in a good place. But season 5 threw at her new hardships that tested her as a ruler and by the end of the season she ended fleeing the city atop Drogon. So, in season 6, we see D@ny readjust herself amongst the Dothraki in Vaes Dothrak, but later, when she murders all the Khals and the Dothraki see her as the “Unburnt”, she becomes their leader, gaining another army for her quest for the Throne. She deals with situation in Meereen quite swiftly (with the intervention of Tyrion, but it didn’t prevent her of going all Dracarys) and she gained new allies in Dorne and the Reach. So she ends the season with a long-awaited moment: sailing for Westeros.

Her quote is about power. Her goal, from the start, was to get back to Westeros and reclaim the Throne. She wants to rule, she seek that power. But, just as Jon’s quote connected him to the Starks’, does D@ny’s quote connect her to anybody else? If we concentrate on power, then yes, her quote connects to others:

"When you play the game of thrones, you win or you die. There is no middle ground." - Cersei Lannister

"Everyone is mine to torment." - Joffrey Baratheon

We have Cersei, who seeks to maintain power since the very beginning, and we also have Joffrey, who, as King, did what he pleased with his subjects (the little shit). But there’s another quote, but it doesn’t connect, rather it serves as contrast:

"I was never meant to rule." - Robert Baratheon

Here we have a Lord that went to war and won, thus making him the King and establishing a new dynasty. Everyone knew Robert was a great warrior, proven time and time again on the battlefield, but when the time came for him to lay down his warhammer and rule, he proved he wasn’t the man for the job. He was a warrior, not a ruler. And I think it’s the same with D@ny, she’s a great warrior, she has proven herself as a conqueror, but we’ve seen she’s not fit to rule. As Daario points out in season 6:

The difference between Robert and D@ny is that Robert was well aware of his inability to rule, whereas D@ny is uncapable to see her own faults as a ruler. Also, I find this parallel/contrast between Robert and D@ny super ironic.

D@ny is great in a battlefield, but she fails when she has to bring people together. She’s great when she has to set ships and armies ablaze (which is very cruel, because you know, death by fire sucks), but she fails when diplomacy is involved. Her tenure in Meereen is a big testament to that.

Sansa puts it better:

“Now, I’m sure cutting off heads is very satisfying, but that’s not the way you get people to work together”

In conclusion:

We get introduced to Jon as a guardian, as a protector. That image of him never goes, even after he leaves the Watch. His role in the story, overall, is the one of a defender, of a honorable knight that fights for a noble cause. From the start, he is the watcher in the Wall, the sword in the darkness, the shield that guards the realms of men. That’s his main goal: to protect people from the threat of the Night King. And throughout the seasons, we’ve seen him become not only a leader, but a strategist, someone that values information as much as he values an army.

On the other hand, we get introduced to D@ny as a woman out of place, but that quickly acquires power, and that’s her goal. Neither of these things really go away in her story, too: she is a woman out of place because she longs for home, and tries to find it anywhere she can. She acquires power very quickly and becomes a formidable force all on her own, but as her power rises, the more she embraces her Targaryen heritage. Her role in the story, overall, is one of a conqueror, just like her ancestor, a warrior. While there are some savior tropes (white savior tropes) in her storyline and she tries to do good for the ones that can’t defend themselves, her story is mainly driven by power. Her main goal never stops being the Iron Throne.

And also, they’re the last two Targaryen: one, a defender, the other, a conqueror. Their stories go in opposite directions. That’s the reason why in the last season, Jon and D@ny are going to clash. And it’s been spelled out for us from the start.

#how to tag #got #jon snow #anti targ restoration #anti jonerys #anti daenerys #got meta #game of thrones #game of thrones meta #jon snow meta #promo analysis #i don't think this is necessarily anti d #it's more of pointing out the obvious #but just in case #my meta #my stuff #i wanted to pass this to drafts but tumblr was being a bitch #i wanted to add a couple of things #so there you go

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forgxtmxnot · 5 years

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@littlesilverplatinum has sent: -Bc I'm a slut for this theme: Write meta regarding religion/religous beliefs - all muses-

send me a topic to write a meta about my muse on [Always accepting, specify muse]

// Guess I’ll have to answer to this across all of my other blogs as well JHBSDJHBSD

// Agatha was born in a traditional family for her time- meaning religion was a big thing during her childhood, however she never truly developped any resemblance of faith. She was the odd one out of her siblings (she used to have other 5), instead of dedicating her time to the church/her faith- she actually dedicated it on her studies

Interestingly- it may have been this lack of faith in her life, that allowed her to study ghost types in a critical- analytical manner.

I like to imagine that a reason, for ghost types not being as well- researched as the other ones could have something to do with their existance likely clashing with religious beliefs. Making them into some kind of taboo in most regions, so there is a certain resistance to seeking them out as research subjects.

TLDNTR: Agatha’s contact with religion is pretty limited to her childhood- her time living in her parents’ household, once she left it- she abandoned it completely. Even to this day, she has never opted out of this decision.

Read more bc of the length.

// Much like Agatha, he too was raised by religious parents. That as expected- didn’t take Blaine’s carreer interest too well, in his case- there was a huge intereference from his parents in an attempt to hold him back from it.

From trying to talk him out of it, to dragging him into religious cults- to try and convert him. Despite all of their attempts, Blaine succeeded in getting into college- and away from their grasp. Needless to say how becoming a scientist- was pretty much the death of his bond with his parents. There were attempts to try and amend things later on, but- they all flew past Blaine- who was way too keen on his studies/researches/trainning.

“As a scientist, I am not trying to find- nor explain God. I’m here to deny his existance.”

It’s safe to say how after his experience with his parents, he has become spiteful- of just about anyone who holds a religious belief (regardless of what it could be). In his eyes, they look ignorants- making fools of themselves- sheep in a herd. He looks down upon them all. Interestingly, the only ones who seem to be the exception to this are Pryce and mr.Fuji.

ALSO when the case of the Mewtwo project, was brought into the public’s knowledge- the religious crowd in Kanto were amongst the first ones to condemn the experiment solely off their beliefs.

Pryce alongside his wife and children hold religious beliefs, they have faith. They were introduced since very early on their lives- and did the same thing to their kids.

Contrary to what people expect- his faith NEVER got in the way of his studies when he was going through the process of applying to the professor position. If anything, he cherished the fact he could comprehend/study their God’s creations.

Pryce’s faith serves AS A MAJOR inspiration for his artistic work, a few of his ice sculptures carry a heavy religious subject/them to them or depict a scene from their myths/religion’s story.

Don’t assume that his passion for his faith, makes him into some kind of radical religious man- he is incredibly level-headed. And isn’t shy to show how his faith, has influenced him in certain aspects.

Team magma was some kind of cult- Tabitha’s faith was entirely poured onto Maxie, he acted and behaved just like a fanatic. Seeing their Leader fail miserably, was his wake up call.

Tabitha before joining the organization, he had a pretty empty head- his parents didn’t even bother to introduce him to a religion.

He was very easily PERSUADED BY TEAM MAGMA’S PROMISES.

Even after this whole fiasco- Tabitha has never joined any cult/religion. He really doesn’t wish to return, to what he used to be.

// Being part of a kalosian family, but born into Hoenn- a far away land from his parents’ homeland meant that there weren’t much- if any at all places where they could follow their faith.

Juan is the middle sibling- meaning that he and his younger sister, had literal no contact with religion. The same can’t be said for the older brother- who had some of it, very early on his life.

To an extent this was benefential for Juan- he never struggled with coming into terms with his own sexuality, and he could have a neutral look into art and performances when he was studying it.

Truly the only time in his life he had the most contact with it, was during his time in Kalos- when he was in college. Since then, his contact with it, has been kept to a minimun.

Palmer isn’t all that different from Pryce- as in he was introduced since very early on his life, he and his wife follow their religion- as much as they can. But he opted, to keep his son out of it- keeping his contact with it minimun.

He decided to leave it up for his son- if he is interested in it, then they will give him their teachings. But so far, it is pretty evident how Barry isn’t showing any interest to it anytime soon.

Currently he isn’t as religious as he used to be, which isn’t a good thing in his eyes- he really wished he had the time to dedicate some time to his faith.

Religion for Riley, is an interesting case. In both households he was raised in- arceusism has ALWAYS been present- especially in his mother’s. Who would “use” it, as some kind of shield from what Riley was.

She really was affected, after his father left her before their child was even born. She saw Riley, as some form of God’s punishment for her sins. After he was taken away from her, she went on to try and become a nun at a church- in an attempt to redeem herself.

At his adoptive family- things were a whole lot tamer, they weren’t as driven by their faith as his mother was. For the most part he ignored religion, for the exception of the subject of rebirth- something that compliments his belief of being related to Sir. Aaron.

The belief of being the legendary knight’s rebirth, is definetely fed by all the stories within the arceusism. He uses them in some distorted way, to support his idea.

His interpretation is the only correct one, he won’t even give a care about others. Try to deny it, and you’re bound to find yourself trapped in a nonsensical argument- clearly nothing more than just RIley’s projections of what he deems to be right/the truth.

Brendan has never followed any religion- but travelling the world, has given him the chance to get a taste of what is out there! He is most definetely intrigued by it, and finds them to be fascinating.

His mother wanted him to be introduced to it, when they still were living in Johto- however her plans didn’t come into fruition due to them moving into Hoenn sometime later. It frustrated her, but at the same time, never mopped about it.

If anything, now that her son is exploring the world- she can’t help but be thrilled by his fascination to the religions found throughout the regions.

When Rowan set out to go through his evolutions research, he NEVER had any goal to go against the arceusism’s views of the world and creation. Because for the longest time, he used to be a believer/follower of it- however it was his interaction with people that drove him out of his faith.

But look and behold- he managed to put out something, that basically goes against the principle of the World’s creation. Because of it, he was shunned out of the cult- and to this day there is a huge resistance to accepting his thesis/work.

A newly wed couple, is gifted a pokemon egg- as a sign of their union by the church. This is how Rowan came to obtain a Togepi, who later evolved into his Togekiss- which was gifted to them by his parents.

Thankfully- not having his religious belief around, it meant less one thing he had to be concerned/stressed about when he came to have his affair with Richard.

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whitewolfofwinterfell · 5 years

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My favourite Charmed episodes - season 4

This is the fourth part of my Favourite Charmed Episodes meta series all posts in the series will be tagged as #favecharmedeps.

Season 4 is a brilliant season, there’s no denying that. Over the years whenever I’ve seen fans discussing their favourite seasons, season 4 is usually always near the top and for a good reason. This season is when we’re introduced to Paige, whose transition onto the show is done brilliantly, the sister dynamics are beautiful and each of the sisters has their own unique arc. Overall, it’s just a great season that is strong throughout and although I think season 3 was a great season, I feel like this season is when Charmed truly hit it’s peak. I’ve picked 8 episodes from season 4 (which is the most episodes from any of the seasons) and they are - Charmed Again, Hell Hath No Fury, A Knight to Remember, Brain Drain, A Paige from the Past, Lost and Bound, Charmed and Dangerous and Long Live the Queen.

Just a heads up before you start reading, this post is pretty long (I just couldn’t help myself, season 4 is my favourite season).

Charmed Again Part 1 & 2 (4x01+2)

I’m including Charmed Again parts 1 and 2 as one episode (and I’ll refer to it as one episode from now on just to make it simpler), even though they’re technically two because they’re the same story split across two episodes. As the years have gone by I’ve come to love Charmed Again more and more. Despite how sad it is because it’s the first time we face the aftermath of Prue’s death, it’s a fantastic episode which manages to successfully explore the sisters grief and gives fans some closure about Prue’s death, introduce Paige as the new sister and stay true to Charmed whilst also establishing a new dynamic without Prue and with Paige in her place. It’s no easy task to kill off a main character in the middle of a series and Prue was a very big character and very important to the show. Her death could’ve easily destroyed the show, but the writers handled it amazingly. I’m one of the biggest Prue fans in the world, and even I can’t deny that they did her death justice and introduced Paige in a very authentic way despite how rushed it was and the way in which Prue (Shannen) left the show.

I love the opening scene of the episode and the way in which it makes us doubt whether Prue is really dead, only to bring the hard-hitting reality back home. I love the contrast between the sisters grief with Piper outwardly expressing her devastation and Phoebe retreating into herself and trying to keep busy and hold everything together. It immediately demonstrates that the sister dynamic has been completely turned upside down, since Phoebe in seasons 1-3 is known for being the youngest sister and the least responsible, but now it falls to her to take charge. These differences in how they handle Prue’s death is also shown in how Piper completely shuts down and refuses to continue being a Charmed One and saving innocents, whilst in comparison, Phoebe throws herself into trying to save Paige and believes that whether Prue is alive or not her premonitions still have meaning and she needs to act on them. The follow-up from this is the different ways in which the sisters react to finding out that Paige is their sister. When Patty tells Piper and Phoebe about Paige, Phoebe’s instant reaction is shock but also joy to an extent, whereas Piper’s is just shock and anger. She says that she’ll save Paige because she’s an innocent, but she has no interest in developing a relationship with her or reconstituting the Power of Three. Personally, I think Piper’s closed-off attitude to Paige in contrast to Phoebe’s open attitude perfectly shows the ways in which they dealt with Prue’s death in different ways. For Piper, accepting another sister feels like a betrayal to Prue. I also think that at this point, deep down inside she resents Paige because Prue’s loss is so fresh and in Piper’s eyes, nobody could ever compare to Prue. I think she probably hates herself for thinking it but some part of her probably wished that Prue was still there in Paige’s place and that was very difficult for her to deal with. But for Phoebe, she sees Paige as the only positive to come out of Prue’s death. She grieves Prue, of course she does, but she chooses to see Prue’s death as having meaning because it has brought them to Paige. Phoebe is faster to accept Prue’s death and that acceptance enables her to open up to Paige and see it as an opportunity to bond with another sister.

I love that the writers chose to write it this way, because I think these two different reactions from the sisters represented how most of us felt as fans and viewers. Some of us were Piper - in denial and distraught to have lost Prue; some of us were Phoebe - accepting that Prue was gone and open to the new start that Paige would bring. And whatever side we were on, it was important to that we saw those two reactions from Piper and Phoebe, because that allowed us to come to the acceptance stage through them.

Putting aside the sisters grief over Prue, this episode is one of the most intriguing and mysterious episodes of Charmed because Prue has just died and now anything can happen. In regards to the plot, it is super interesting to see The Source attempt to corrupt Paige, because there is that feeling of I don’t know what’s going to happen. As a brand new character there are no guarantees that Paige is safe from dying or that the sisters are capable of saving her without the Power of Three. Even when the Power of Three is reformed, there’s uncertainty about whether it will be as powerful as the original trio. Overall, this episode has very high stakes and no matter how many times I watch it, I find myself being sucked into it.

The introduction of Paige is seamless and she is immediately established as a unique character different from the other sisters. She’s sympathetic and it’s easy to connect to her from the off. Although I can’t quite put my finger on how, the writers and Rose manage to portray Paige as having Halliwell characteristics that make her feel like one of the family very quickly. But she still has that element of individuality that makes her very different from the other sisters. We learn enough about Paige - that she doesn’t drink, she’s scared of being hurt, she’s a social worker, her parents are dead etc. - to like her but not too much so that there’s an element of mystery about her that leaves us with the oppourtunity to continue getting to know her throughout the season. Although we are emotionally aligned with Piper and Phoebe since we’ve been with them for three years and are dealing with Prue’s loss, Paige’s dilemma evokes a similar amount of empathy. Her world is turned upside down and the only person she has to turn to is Shane, who is possessed by The Source. Paige’s inexperience and lack of knowledge regarding the magical world makes her an easy target and her denial of what’s happening to her is very understandable. In this episode we see Paige go on an emotional journey and the end is such a fantastic pay-off - the sisters bring her to the manor and she meets Patty for the first time. To date, I still consider that one of the most beautiful scenes of the series. It’s the perfect end to the episode and solidifies the fact that although there’s still a lot of development to be had, Paige is absolutely a Halliwell and she belongs with Piper and Phoebe at the manor.

Overall, this episode is the perfect follow-up to All Hell Breaks Loose. When I was younger I had a lot of problems with the way the episode skipped right over the immediate aftermath of Prue’s death and felt we were robbed of seeing that process, but now I see that actually the episode handles it exactly right. Prue is gone and Paige is here and this episode shows that without being too forceful or making it so that Paige is Prue’s replacement, even though in reality that’s exactly what she is and we all know it.

Hell Hath No Fury (4x03)

This episode is one of my all time favourites across the entire series. Why? Because it has everything - Cole, Piper and Phoebe working together to fight demons, Paige experimenting with being a witch for the first time with rather humorous consequences and then being forced to step up and face the reality of being a witch as events take a dark turn, we see Phoebe dealing with being the middle sister and having to mediate between Piper and Paige just like Piper used to do for her and Prue, and of course we see Piper’s grief over losing Prue. It’s the perfect continuation from Charmed Again in addressing the grief over Prue’s death and establishing Paige in both the magical world and the Halliwell family.

Holly’s acting in this episode is phenomenal and that’s something I have to mention when discussing this episode. Her breakdown in the mausoleum is far and above one of the most raw and emotional scenes of the entire series. It’s so powerful and it doesn’t matter how many times I see it, it still really upsets me. In fact, I find that scene the most upsetting one out of all the ones there are about Prue’s death including the scene where she actually dies, because I think that’s the moment where it really sinks in that Prue is gone and she’s not coming back. Although Charmed Again reaffirms the fact that Prue is gone, by the end of the episode Piper was still in denial and in this episode Piper has shifted from denial to anger. It’s the natural process we’re all familiar with - denial, anger, bargaining, depression and acceptance.

What is so beautiful about Piper’s outburst towards the end of the episode is that Paige is the one that is with her. The two struggle to bond as sisters because of Piper’s grief over losing Prue, but in this scene in the mausoleum they are able to connect as two people who have lost their family. Paige knows exactly how Piper is feeling and she’s able to articulate that for her in a way that no one else can because she’s experienced that kind of loss. It’s actually a very underrated sister moment between Piper and Paige, because it’s the first time they really connect, even if it is only for a brief moment. It’s overlooked as a sister moment because the focus is on Piper’s emotional reaction but there’s a bond that’s forged in this moment between the two sisters. The writers were very clever to specifically choose Paige to share that moment with Piper, because it wouldn’t have worked in the same way if it had been Phoebe. And them sharing that moment is what allows Piper at the end of the episode to finally open herself up to Paige for the first time. The scene at the end of the episode where Piper brings Paige muffins and calls her her sister is one of the sweetest moments ever, because it’s such a simple gesture but it demonstrates that Piper has reached the acceptance stage and is ready to welcome Paige into her life and her heart.

Speaking of Paige, I love her development in this episode. In Charmed Again she reacted very negatively to being a witch and wanted to run from it, yet in this episode we see her start to embrace it. Like any other young woman in her position would, she starts to wonder what perks being a witch could bring and although her stealing the Book and casting a series of spells is technically wrong and against the rules, I can’t help but love her for it because it’s so human. Who wouldn’t do that in the same situation? I’d definitely want to have some fun! That happening also demonstrates though that the sisters aren’t there for Paige in the way they should be. It’s understandable given how fresh Prue’s death is, but Paige really needs Piper and Phoebe’s guidance and support and as Phoebe rightfully points out, the fact that they don’t give her that time leads her to steal the Book not knowing that it is wrong. So not only is it a valuable lesson for Paige on personal gain, it’s a valuable lesson for Piper and Phoebe, who take a much more hands-on approach with Paige from this episode onwards. As the episode progresses, Paige has to deal with Piper’s transformation into a Fury, despite being completely new to the magical world. But like Phoebe tells Piper at the end of the episode, she doesn’t freak out, she handles it and she actually takes initiative and figures out that the Call For a Lost Witch Spell will work if they substitute the word sister for witch. And on reflection, Paige is actually the one that saves the day in this episode. Her actions are what save Piper. Her idea to change the spell and use Cole as bait is what draws Piper back to them and Paige’s intuition about Piper’s feelings allow her to get Piper to fully open up about how she’s feeling and that’s what turns her back into herself. It’s very subtle but this episode shows that whilst the death of a sister broke Piper, the discovery of another healed her. And that’s why in Sam I Am in season 5 Piper talks about how Paige brought the family back together and how she’s the reason she is still standing there. It’s true and the legacy of that sister relationship begins here.

What I love most about this episode is how authentic it is in exploring the aftermath of Prue’s death. It shows that grief is an ongoing process, it doesn’t just magically get better overnight and it manifests itself in a variety of ways. Piper handles it very differently from Phoebe, but they both struggle in their own ways. But the important thing that this episode establishes is that the new trio has the potential to work, both as a sisterhood and The Power of Three. Paige manages to overcome her fears of demons to fight back and she takes initiative to find Piper, all demonstrating her potential as a witch. She also manages to access the deepest part of Piper’s grief and enable her to face it so that she can finally open herself up to Paige for the first time. It’s just such a beautiful episode with a great payoff and really lays the foundation for what the new trio can be and what they eventually become.

A Knight to Remember (4x06)

The reason I love this episode can be pretty much summed up in one word: Paige. Up until this point Paige was likeable to me, but this is the episode that really showed me that Paige was an individual with her own personality and uniqueness and that I could love her every bit as much as I loved Prue.

Generally speaking, I am a sucker for any fairytale-esque episodes, so that’s likely part of the reason I like this episode so much, but mostly it’s because of Paige. It’s so good to see her relationship with Glenn and her past self in the form of the Enchantress because it gives us a deeper insight into Paige’s life before she met the sisters and also her depths as a character. In the past Phoebe always chastised herself for having a past self that was ‘evil’ (in Pardon My Past) so by creating the same for Paige, there was a common-ground for both the sisters which acted as a bond for their relationship. All of the sister relationships are unique, but Phoebe and Paige’s relationship is unique because of the way in which they can relate to each other for being more rebellious and ‘dark’ in nature, and although we see elements of that before this episode, the seeds of that are fully sown in this episode.

Moving on from that for a moment, I love the scene at the beginning of the episode with Piper going into Prue’s room and putting on her leather jacket. It’s important to see that the grief process is ongoing and that Piper has moved past the raw emotion to be able to remember Prue in a more peaceful way. I always felt that Piper putting on Prue’s leather jacket was very symbolic of her taking her rightful place as the eldest sister and accepting that responsibility, since she’d been quite resistant and slightly resentful of it up until this point.

Back to Paige, it’s interesting to see that inner battle she’s still having about what being a witch means for her. On the one hand, we’ve seen her embrace being a witch to some extent in previous episodes, but in this episode we see her still being reluctant to give up her ‘normal’ life to fully commit to being a witch. She strongly resists moving into the manor, insisting that she wants to keep a life separate from magic along with her privacy, but really her reasons are deeper than that and much more emotional. Paige is afraid to live with the sisters because it’s a huge step, not just for her but for all of them (something that Piper and Phoebe fail to consider until later on in the episode) and she doesn’t feel ready. She’s worried that the sisters are still grieving Prue and will compare her to Prue, placing her in Prue’s shadow and resulting in her feeling like an outsider. This is huge for Paige since she actually doesn’t have a family (except Uncle Dave, who is only mentioned once and never again, which still kinda annoys me, but that’s a separate issue haha) and finding the sisters means a lot to her. Although Piper and Phoebe embrace Paige eventually, finding her doesn’t mean the same to them at this point as it does for Paige. Piper and Phoebe didn’t need or want family, they had each other and Prue, but Paige was practically all alone in the world. When the sisters ask her to move in, she doesn’t want to potentially ruin that chance at having a family because it means so much to her, so she tries to run from it instead. What this episode does is allow Paige to come to terms with moving in with the sisters in her own way. Her determination to deal with the Enchantress alone has consequences and Piper and Phoebe get pulled into a portal, and it’s at that point that she realises she needs to start working with her sisters, not against them. Again, this is the beginning of an ongoing issue for Paige whereby she has to constantly try to negotiate with her sisters, give up her independence and adjust to being part of a team and a family.

Putting the deeper emotional and symbolic meanings aside, this episode has some light-hearted humour with the Prince arriving in San Francisco and being head over heels for Paige. Also seeing Leo take on the guards in the past was a legendary moment.

Overall, I like this episode because it solidifies Paige as an interesting, unique character with her own personality and past. And of course, I love to see the three sisters in the manor where they belong.

Brain Drain (4x07)

Years ago, this episode definitely wouldn’t have made it onto my list. I always found it very creepy because of some personal issues and deep-rooted fears I have regarding some of the themes featured in the episodes. However, as I’ve gotten older I’ve really come to enjoy and appreciate this episode for everything it represents and its importance for Piper as a character.

Piper goes through a huge change in this season because of Prue’s death. I always think it’s a little unfair that Piper gets all the attention when it comes to Prue’s death and Phoebe is kind of forgotten, but objectively, no one can deny that Piper is more profoundly affected by it. It really comes down to the fundamental differences in Piper and Phoebe as people but also their relationships with Prue, but I digress. The point is that Piper undergoes a huge change and in the episodes leading up to this one we’ve seen her dealing with the loss of Prue. However, by this episode there’s almost an assumption that Piper is totally fine (because outwardly that’s how it appears) and that she has fully embraced Paige, but what this episode does that no other does (not even Hell Hath No Fury) is address Piper’s emotions and underlying grief head-on and give it complete closure.

In previous seasons we’ve seen the sisters be targeted by demons and warlocks who seek to worm their way into their lives and strike when they’re most vulnerable. Generally, Phoebe has been the target because she’s perceived as the easiest to infiltrate because her inherent optimism and caring spirit compels her to see the good in people and trust them. In this episode, Piper is chosen because her emotional fragility makes her susceptible to the Source’s master plan (which, in my opinion, is a very effective plan and I actually think the Source’s intelligence in this instance is very overlooked). Piper is a very unhappy person at this point - Prue is dead, she wants a baby but feels she can’t because of the danger the baby would be in, she craves a normal life but feels she can’t have one - and seeing her friend Wendy reaffirms all of the negative emotions she feels and that desire to be ‘normal’. By attacking Piper’s mind in the way he does, the Source is able to dig into the deepest part of Piper’s fears and desires and it’s very revealing. The entire basis of getting Piper to reveal the power relinquishing spell is to tell her that Prue is still alive. Over and over Alistair (the Source) tells her that if she allows him to help her she’ll be able to leave the institution and be with Prue again. That’s how powerful Piper’s grief still is at this point - so powerful that the thought that she could see Prue again is enough to tempt her to give in. In addition to this, we see the Source play on Piper’s desire for a life without magic by bringing in her friend Wendy and her baby. But what’s taken forgranted, is that this desire for a normal life is linked to Prue. Although Piper expresses in season 1 that she just wants to be normal again and we see her say something similar on a few other occasions, this season is where we truly see that desire rear it’s ugly head and it’s directly connected to Prue’s death. Piper no longer sees the value of magic, can no longer make sense of its purpose and believes that ultimately all it does is put her loves ones in mortal danger. She wants a normal life because she can’t face anymore loss and she doesn’t want to have to live in a world or possess powers that she feels are responsible for getting her sister killed. The scariest thing about all of this is how close Piper comes to giving it all up. By preying on these emotions and thoughts she has the Source manages to break her spirit in the harshest way and the turmoil Piper endures in this episode is really overlooked, in my opinion.

What makes this so significant is that when the sisters and Leo appear to her and the spell is broken, Piper is finally able to appreciate her life and her sisters in a way she’s been unable to since Prue’s death. She realises that she’s not alone - Phoebe understands how she feels about losing Prue and both Phoebe and Paige understand what it’s like to want a normal life - and she also realises that she can still have some semblance of normal life whilst being a witch. It’s a huge turning point for Piper and a reality check for her to appreciate what she has and find a way to get the balance in her life between magic and ordinary life. As a side note, this is why My Three Witches (and season 6 onwards generally) really bugs me because it’s so inconsistent with Piper’s character development. In this episode she faces up to what a life without magic could look like and realises that her notion of having a ‘normal’ life isn’t everything she imagines it could be and that she’s actually very lucky to have the life she has (a theme that’s continued in Lost and Bound, which I’ll discuss more in-depth below). So to then revert her back to the whole “I want a normal life” mantra is so frustrating.

A Paige from the Past (4x10)

Once again, the reasons I love this episode are probably a little obvious: it’s Paige centric. This is one of the most important Paige centric episodes across the entire series because it’s the only one that actually gives us real insight into Paige’s life before she met the sisters and more importantly, her parents. It still frustrates me so much that we only get to meet Paige’s parents once and that they’re barely mentioned again.

However, this episode beautifully explores Paige’s underlying guilt over her parents death and how it’s shaped her life. We learn that Paige was a rebellious teen that defied her parents and that her actions indirectly led to their death. That one event in Paige’s life is what led her to change and from the day of her parents death she devoted herself to striving to be better and do better to honour their memory. It’s a great insight into Paige’s psyche, and just as A Knight to Remember establishes a connection between Paige and Phoebe through their similarities, this episode provides a common connection between Prue and Paige through their trauma over their parents deaths. Prue was hugely affected by Patty’s death and that ultimately shaped the person she became, just as Paige’s parents’ deaths shaped who she became. Just like Prue who actually saw Patty when she was dead, Paige witnessed her parents die and that profoundly affected her.

This episode reinforces an important and valuable lesson that the sisters already discovered way back in season 1 in That 70s Episode, and that lesson is that you can’t change the past no matter how much you may want to. Destiny is a huge theme throughout the show and some events are fixed because they’re meant to be. We’re told that Prue is meant to die because that leads Piper and Phoebe to Paige. Similarly, Paige’s parents are meant to die because that shapes who she becomes and is part of a sequence of events that leads her to Piper and Phoebe. In addition, the purpose of Paige going back in time is to understand and realise that she wasn’t responsible for her parents deaths. It was a tragic accident that was out of her control and she was saved by magic because she was supposed to. Without going back in time Paige may have carried the burden of guilt for the rest of her life and that would’ve prevented her from being able to fully move forward and grow as a person. And the fact that Paige not only gets to interact with her parents in the past, see their death from an outside perspective and understand it wasn’t her fault, she also gets to communicate with them in the present. The one thing she wanted was for her parents to see the person she became and be proud of her, and she gets that chance. That is a pivotal moment for Paige in allowing her to truly move forward and continue to blossom of a person. A price really can’t be placed on Paige being able to see her parents and know they’ve seen all that she’s done since they’ve died and that they’re proud of her. It’s a beautiful moment to witness, and one of my favourite moments for Paige because of the meaning it holds for her.

The side-plot of the episode with Phoebe and Cole being possessed by ghosts is a somewhat comedic off-set to Paige’s plot. But it also allows Phoebe and Cole to vicariously live through Frankie and Lulu and deal with their difference of opinion on marriage. It’s also good to see Piper try and effectively manage the situation without Leo to lean on, as it’s all part of solidifying her new role as the eldest sister. I also like seeing the close bond that’s developed between Leo and Paige in this episode. Leo has a unique bond with all of the sisters’ and it’s good to see how supportive Leo is of Paige as both a Whitelighter and brother-in-law.

Lost and Bound (4x12)

In this series there’ll be quite a lot of episodes that most people would also list as being one of their favourites, but this episode isn’t one of them. Generally, I don’t think this is an episode that stands out in people’s minds because it’s not particularly memorable but I really like it for a few reasons.

First of all, I should say that I, like most fans, find Tyler very irritating. The character himself is good and works in the episode well, but the choice of actor was awful and I wish they had picked someone more appropriate and experienced for the role. But this doesn’t deter me from listing this as one of my favourite episodes because of the character development. I know I keep blathering on about character development, but for me personally, an ‘average’ episode plot-wise can still make it into my favourites if it has good characterisation and that’s a pattern you’ll notice with most/all of the episodes I choose.

This episode is the perfect follow-up from Brain Drain and great for Piper. As I mentioned above, Brain Drain delved into Piper’s desires to be ‘normal’ more so than any other episode up until this point and this episode shows us how Piper has moved forward and grown from that. We see her in this episode acknowledging the importance of magic and how special it is for probably the first time. She feels so strongly that magic is a part of her as an individual and her family heritage that she gets into a dispute with Leo about the possibility of binding their future child’s powers. Tyler acts as the perfect conduit for Piper’s issues in this episode, because not only does he give her the chance to establish a bond with a child that connects to her motherly instincts, it also gives her clarity on the issue of being a magicical child. She helps Tyler try and control his powers and see that it can be channelled for the right purposes which further reinforces her belief that magic is valuable and something to be cherished. But Tyler’s decision to bind his powers at the end of the episode also reminds her that she also once (not so long ago) wished to be non-magical and that having powers means something different for everyone, but particularly for a child. As a child Tyler doesn’t have any desire to be different or special, he just wants to be like every other child his age and to fit in. There are so many negative repercussions to having powers as a child that I really can’t blame him for making the decision to bind his powers. The scene with Piper and Leo at the end where Piper talks about how Grams binding their powers gave her and her sisters the greatest gift of all - the gift of innocence - helps her to finally see Leo’s perspective on binding their child’s powers and to respect the decision that Grams made when the sisters were young. It’s really a beautiful episode in addressing Piper’s issues with being a witch and bringing this character arc to a wholesome conclusion. Now she doesn’t want to have an ordinary life or to give up her powers, she understands that they’re special. She also knows that there are negatives and dangers that come from having those powers, but that ultimately, she would never give them up because they’re fundamentally a part of who she is and she is able to do much more good with them than she could without them.

In addition to Piper’s character development in this episode, Phoebe also has a great arc. Throughout season 4 we see Phoebe have a bit of an identity crisis following on from Prue’s death and her transition from the youngest to the middle sister. We also see her struggle with Cole’s marriage proposal because she doesn’t feel ready and is generally afraid of marriage and what it represents. In this episode, we see the perfect play-out for this underlying fear Phoebe has. Although the way it’s done is somewhat comical, Grams’ cursed ring allows Phoebe to quite literally live her greatest fears of marriage. She becomes a domesticated housewife whose sole purpose of existing is to please and look after her husband at the detriment and sacrifice of her own identity. By being able to experience this Phoebe comes to the realisation that her notions of marriage are just that - notions. It’s not the reality and marriage’s are unique depending upon the couple. In the final scene with Cole the couple discuss this and agree that they aren’t those kinds of people and their marriage will not become what they perceive to be ‘typical’ because they themselves aren’t ‘typical’ as a witch and an ex-demon-turned-human. Along the way we get to see some funny scenes - the scene in the bathroom is a particular favourite of mine and Leo’s face when Phoebe asks him the ‘very important question’ of whether Tyler is staying for lunch. Not forgetting her little song; “I’m making soup for Cole, he’ll eat it in a bowl, I guess that’s my new role, just making soup for Cole” haha.

Although Paige isn’t as central in this episode, we even get to see her growth as she writes her first ever vanquishing spell by herself, demonstrating her abilities as a witch and the potential she has, which we get to see plenty of in season 5.

Even Cole’s characterisation is good in this episode as we witness him struggle to make the transition from demon to human and get his first job. It’s interesting to see that inner struggle he has between his instinct to do good and his instinct to do good things in not-so-good ways. For example, he desperately wants to get justice for the awful actions of the slumlord, but ultimately his solution to that is to use violence. Personally, I love this version of Cole because it demonstrates that he’s a very morally grey character and unlike the other main characters - the sisters and Leo - he really can’t be boxed in as being wholly good or wholly bad. It’s a very realistic take on his struggle to find his identity as a human who has been a half demon for over a century, and it’s a shame that his character arc didn’t continue down this road.

On a final note, I really enjoy this episode because everything just feels together. Piper and Leo are happy and planning to have a baby; Cole and Phoebe are happy and growing both individually and as a couple; Paige has found her feet within the family and the trio and the family feels united and strong. I actually think that the first half of season 4 up until this point is when the family is at it’s strongest and I loved seeing the togetherness of Piper, Phoebe, Paige, Leo and Cole.

Charmed and Dangerous (4x13)

Many of the episodes in this series are episodes that I’ve come to love and appreciate more and more as I’ve gotten older, but Charmed and Dangerous has always been one of my all time favourites. It’d be impossible for me to ever choose my number one favourite episode, but this one would definitely be near the top because for me, this is Charmed at its absolute best.

For me, The Source is the Big Bad of the entire series and as much as the writers attempted to conjure up bigger and more powerful evil nothing topped The Source. This episode is a build up of almost an entire season of mentions of The Source, of him sending demons and warlocks after the sisters and it’s a glorious pay off. From start to finish it’s a thrilling ride that feels unpredictable. Even now when I watch it, I know what happens and how it ends, but it still feels like the sisters really may lose this battle and that anything can happen. The Source is cunning and has spent a very long time gathering information on the sisters to discover their biggest weaknesses and using the Hollow to steal their powers is a very effective method of attempting to defeat them. The sisters genuinely believe that there’s a high chance The Source will kill them which we see through Piper planning a will and Paige using magic to help Carolyn get her son back. The stakes are high in this episode and the tension is palpable. The reveal of The Source’s face for the first time is a great moment and the general action in this episode is gripping. It’s interesting to see the sisters trying to win the fight without their active powers and it’s pretty refreshing to see them use their other wiccan abilities, since as the seasons progress they become more and more dependent upon their powers.

Strangely, I don’t have much more to say about this, because it’s not so much about characterisation in this episode as it is about plot and action. It’s a satisfying and gripping battle between the sisters and The Source - which is essentially the greatest force of good versus the greatest force of evil - and come on, what’s not to love about that?! Plus the ending with Cole becoming The Source is a great cliffhanger to the episode.

Long Live the Queen (4x20)

How could I not include this episode? Regardless of whether you love or hate Cole and his relationship with Phoebe, this episode is amazing. We see the sisters take a walk on the dark side multiple times in seasons 1-3 but never like this. Previously the sisters have been turned evil either by transformations e.g. Piper becoming a wendigo, Phoebe a banshee, Paige a vampire or by possession, but this time Phoebe is corrupted by love and her pregnancy and chooses to become Queen of the Underworld. Because of that, in this episode, much like Charmed and Dangerous, there’s a sense that anything can happen.

From the opening scenes of the episode the tone is set with Phoebe killing some of Cole’s subjects out of annoyance and simply because she can. It’s a very clear statement that Phoebe has completely gone over to the dark side. This is a particularly interesting transformation for Phoebe since canonically she is the sister that is portrayed as having more of an inclination to the dark side. Part of me wonders if from the very beginning Phoebe falling in love was part of that underlying pull she had to darkness. She didn’t know Cole was a demon, but she also knew that he was mysterious and I also think that deep down she did know he was a demon before the reveal in Sleuthing with the Enemy, but that’s kind of a separate issue. What this episode does very well, as it has done in previous episodes, is show the inner battle between good and evil that exists within most of us. Phoebe struggles to find the balance between her new place in the demon world as Queen of the Underworld and her conscience and love for her family which compels her to want to continue saving innocents. But more than showing us Phoebe’s inner turmoil with the light and dark that coexists inside her, this episode perfectly explores the heart-wrenching pain of having to choose between the love of a partner and the love of family. And what I respect about how this episode handled that issue is that it showed how difficult of a choice that was. Phoebe didn’t know who to choose or what to do until the last second when she was forced to choose between the lives of her sisters and Leo or Cole. I could never ever judge Phoebe for how reluctant and unsure she is in making that choice because I can’t imagine having to choose between the person I love and my family. In the end Phoebe’s choice doesn’t just come down to family, it also comes down to good and evil. Phoebe is completely in love with Cole but she knows deep down in her heart that he’s evil - he’s The Source after all - and there is no future for them as a couple or a family (with the sisters and Leo) if they’re evil. As Cole rightfully said in Bride and Gloom, there is no such thing as evil love. Watching Phoebe go through this emotional struggle is heart-breaking to watch, but also compelling. It’s the first time we really see a sister come up against this kind of emotional and moral dilemma which is so huge that the word ‘dilemma’ seems too light a word to use.

Obviously Phoebe is the central focus of this episode, but it’s also very interesting in regards to Piper and Paige and the dynamics between the sisters. Piper’s pessimism stands in contrast to Paige’s determination, and for a lot of fans Piper’s reaction can actually come as a bit of a shock. Personally, before watching the episode if someone had asked me how Piper would react in this situation I would’ve said that she would do whatever it took to get Phoebe back and wouldn’t stop until she did. However, knowing how she does react and having had plenty of years to reflect on it, I completely understand her reaction and it’s perfectly fitting for her to react that way under the circumstances. Prue’s death was the biggest trauma in Piper’s life and although outwardly by this point she seems completely fine, this episode is just another reminder that that pain is still with her. Just as we see Phoebe struggle with the transition from youngest to middle sister, Piper struggles with the transition from middle to eldest sister, and in a way, the transition Piper has to undergo is more difficult. Piper is practically the opposite to Prue; she’s not a natural leader, she’s not very pragmatic, she’s not commanding and when it comes to the sisterhood (particularly as witches) in seasons 1-3 she takes a much more passive position within the trio. So for her to lose Prue, who was her strength and her security, and then to actually have to become her was incredibly difficult for her to deal with. The scene where she’s drunk in P3 demonstrates how she feels she’s failed in her role as the eldest sister and although she doesn’t explicitly say it, the subtext almost says, “This would’ve never happened if Prue was still here”. She feels that she’s failed Phoebe by not being the best big sister she could be and it reflects that insecurity she has that she’s not capable of being the responsible big sister and that she’s not fit to fulfil the role Prue once did so well. So her pessimism towards Phoebe may come across at first as resentment for choosing Cole over her family (I don’t doubt some part of it is), but in reality, it’s her own self-loathing coming out side-wards. She hates herself for allowing Phoebe to go to the place she does but instead of admitting that, she projects that onto Phoebe and it comes out as anger. And there’s also the fact that she is most likely devastated because she feels that she’s lost yet another sister. Unfortunately, there’s not really a solid resolution in this episode for Piper’s feelings. Phoebe choosing to vanquish Cole to save her, Paige and Leo ends Phoebe’s reign as Queen, but it doesn’t solve this underlying insecurity and uncertainty Piper has about being the eldest sister. Nonetheless, it’s interesting to see how Phoebe’s stint as the Queen impacts Piper.

As for Paige, this episode just reaffirms how much I love her. This is a young woman who was thrust into a world of magic completely out of the blue and had to learn the craft and attempt to fit in with the sisters and develop a relationship with them organically, without treading on Prue’s toes and giving them the space to grieve her and then this awful thing happens with Phoebe becoming the Queen of the Underworld all she cares about is helping Phoebe and Piper. She never once shows any fear, she fights to remain positive and chooses to believe that Phoebe still has enough goodness inside her and love for her family that she can be saved. In the face of Piper’s emotional downward spiral, she stays strong, saves the innocent (by herself, might I add), picks Piper back up and encourages her to fight for Phoebe with her. Paige is truly a hero in this episode and her strength and determination is overlooked because the focus is primarily on Phoebe. But this episode is just more proof of how awesome Paige is and how much the sisters need her.

Returning to Phoebe and Cole who are obviously at the centre of this episode, nothing really compares to those final scenes where Phoebe says the vanquishing spell and kills Cole. It’s shocking, it’s heartbreaking, it’s a relief; it’s just so damn emotional. Nothing shows the strength of Phoebe’s character than that moment, and weirdly, in my opinion, no other moment shows the strength of the love Phoebe and Cole have than in that moment and this episode as a whole. These are two people that are not themselves (Cole is possessed by The Source and Phoebe is under the influence of The Source’s spawn) and yet their love is powerful enough to overcome all of the evil that is taking them over from the inside to be together. In reality, Cole should’ve killed Phoebe a long time ago when he was first possessed by The Source, but his love for her is so strong that he can’t. And Phoebe, despite knowing from the second she makes the choice to be with Cole that it’s wrong, makes her decision out of love. It may be wrong, it may be unhealthy, but once again, I don’t judge Phoebe and I think that some fans judge her decisions and actions too harshly in this situation. This is also where I have a slight problem with Piper’s reaction, because her belief is that Phoebe is delusional for choosing Cole because she should’ve chosen her family point blank, end of story. But it’s not that black and white and I’ve always thought that if Piper had been in the same situation, she would’ve done exactly what Phoebe did. Piper prioritises Leo above her sisters so many times because he is her husband and the man she loves, and because of how much she loves Leo I always felt that she should’ve been slightly more understanding. Phoebe didn’t choose The Source, she chose Cole.

Back to the point, this episode is one of the most emotional and memorable in the series. It explores some very heavy issues regarding good vs evil, love vs family, duty vs loyalty and choice vs conscience. And the very last scene with the sisters comforting Phoebe is by far one of the simplest yet touching scenes and sister moments across the series. It encapsulates every bit of emotion from the episode in just a 2-3 minute scene without even a word of dialogue and I love it.

And that brings me to the end of my favourite season 4 episodes. I know this was quite a lot longer than seasons 1-3, but that’s because season 4 is my favourite season so I have lots more to say about it. Like any long-term Charmed fan, my favourite season has changed over the years, but season 4 has always been near the top because it’s the best season in terms of character development and arcs. All three of the sisters have fantastic, coherent character arcs and the transition from the original trio to the new trio is organic, and despite the heartbreak of Prue’s death, it’s actually refreshing and enjoyable to watch. It’s a rare thing that I’m able to watch a show after the death of my favourite character and still find enjoyment, and embrace the change of tone and pace, but with Charmed, I really do. Admittedly, the Cole/Phoebe plot gets a little too much focus towards the end of the season which is slightly detrimental to the season overall, but it doesn’t take away from the brilliance of the season in overall. Beyond the character development this season far and above has some of the most memorable scenes and episodes of the season - the whole of Charmed Again and Hell Hath No Fury, Cole’s vanquish, the face-off with the Source and Phoebe becoming the Queen of the Underworld - whether you like it or hate it, few people can deny that those are the scenes that stick with us most for how powerful and emotional they are.

As always, thank you for reading! I hope you enjoyed hearing my thoughts and feel free to share yours with me. The next post will be my favourite season 5 episodes which is currently my second favourite season so once again you can expect lots of analysis.

#charmed #mine #my meta #charmed meta #favecharmedeps #text post #this will likely be the longest post #s5 will be long-ish #and then after that seasons 6-8 will be VERY short because i don't really have any fave eps from the later seasons

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fortunatelylori · 6 years

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Rage-kitten Jon time

*this meta includes graphic depictions of violence. Redear discretion is advised

A while back, during a conversation with @kitten1618x, she asked me to talk about the rage-kitten Jon scenes. I’ve been pretty busy the past few weeks so I didn’t manage to get to it earlier but … a tumblr always pays her debts.

Here is the original message:

I would love to hear your take on the rage-kitten jon scenes: especially the one in the crypts, as it really did nothing to further the narrative if Jon is just a “protective big bro” (the audience already knows this) and the beach scene with Theon.

I’ve already discussed the Theon scene in my “Why the romance between Jon/D*ny doesn’t work” series so this time around we will be talking about the crypt scene between Jon and Littlefinger.

However, in addition to that, we will also be taking a trip down memory lane to that most satisfying and heartwarming of moments in season 6 when Jon beat the living crap out of Ramsay Beelzebub Bolton.

That is because these two scenes are inextricably linked in my mind and together set up and support the romantic undertone that permeates all of the Jon/Sansa scenes.

Bear with me … I have receipts.

After the season finale, when I re-watched both season 6 and 7, I came back to these two scenes time and time again. The way Jon walks over to Ramsay, stone faced, murderous anger bubbling beneath the surface, the way his face twitches when LF says he loves Sansa as he loved Catelyn ... I was struck every time by just how certain I was that I had seen this before somewhere and how romantic motivation popped into my head every single time I watched them.

And then, one fine day, it finally dawned on me. I HAD seen this before, hundreds of times. Twice a year, in fact, from the time I was about 12.

Ladies and gentlemen, I give to you the one … the only … possibly my favorite film of all times …

Now, if you have not seen Goodfellas, what the hell have you been doing with your life? I mean it! Got watch it right now!

For those of you who have seen it … it’s brilliant, right? Now that I’ve mentioned it, don’t you want to go back and watch it again? I know I do. I just looooove watching Joe Pesci violently murder people. What can I say? I’m a romantic, like that …

That being said, I see you all scratching your heads thinking what the hell Goodfellas has to do with rage-kitten Jon. So please indulge me in an experiment and look at the scene where Henry finds out that his girlfriend, Karen, was sexually assaulted by one of her neighbors:

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I think you can see the basic gist of what I am talking about but let’s analyze the similarities more in detail. I’ll probably only ever going to get one chance to talk about Goodfellas and Game of thrones in the same meta. You can bet your last dollar I’m going to milk it for what it’s worth!

The “Jon makes all of our dreams come true” scene:

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The first beat that is eerily similar is the slow walk both Henry and Jon do towards their opponent. Even their expression is about the same which is … they have no expression. Their entire focus is on what’s in front of them:

The stone face in cinema is always a telltale of someone going in for the kill. Both Bruce and Ramsay are goners. They just don’t know it yet.

Then there’s the actual fight … I mean, it’s not really a fight … it’s quite frankly a down and dirty whooping that both Jon and Henry dish out, complete with the both of them throwing their opponent to the ground:

This has nothing to do with the meta, but every time I watch this beat I laugh thinking of people saying how shockingly revolutionary violence in GOT is. Scorsese was doing long before them and, quite frankly, doing it better. There’s not one cut in that whole beat. You’re essentially a prisoner of the camera.

The other thing these two scenes have in common is a bit more subtle and requires a larger view of both these characters. Because leaving aside the different time periods, dragons and wardrobes, what both these scenes show us is the violence that these men are capable of.

In Goodfellas, up until this point, the audience has seen Henry as the hero, the good guy. We’ve been lulled into liking him because of his charm, good looks and intelligence and also because he’s always surrounded by psychopaths that kill and hurt people on a whim while he’s stuck being the voice of reason.

So just when we’ve become comfortable with this interpretation of the character, Scorsese gives us 10 veeery loooong and veeery painful seconds of Henry’s unhinged brutality. We can’t hide away from the truth anymore: he’s a thug just like the rest of his “associates”.

The GOT scene is less elegant in its message and perhaps a bit less effective but it essentially tells us the same thing. Jon has been dabbling with violence ever since he left home but we have never seen him be so brutal or so out of control with anyone. Now we know that if you push him hard enough, you’ll find the monster hidden beneath. The fact that it’s Sansa that sparks this revelation, just as Karen does for Henry, is just icing on the cake, really.

The other intriguing thing is that both these scenes end with a relationship set-up between Henry and Karen, as well as Jon and Sansa.

In Goodfellas, this is a patently negative and foreboding event. Henry and Karen have been established as the young, attractive and in love couple, strolling around town and going to the Copacabana for drinks, wearing the latest fashions. But in this scene Henry hands her the gun he’s just used to bash a man’s face in and asks her to hide it. When she accepts, she becomes his accomplice. And that dynamic pays off throughout the rest of the film, as we see Karen smuggle illegal drugs for Henry in prison, accompany him to meet Colombian cartels and flush drugs down toilets as the police descends on their house.

In GOT, the implications of this scene are far more positive. Because Jon does the exact opposite to what Henry does. Far from making Sansa an accomplice to his violent tendencies, he stops himself when she shows up because he doesn’t want her to see him as a monster.

As other Jonsa fans have already mentioned, the creators here employ the “calm to his storm” trope and that’s a very potent storytelling device. Because love is a powerful emotion that can make us behave in extreme ways, both good and bad. But at its best, love compels us to be better, not worse. And that’s what Sansa does for Jon in this scene. She reminds him of his inherent humanity. And that’s pretty damn beautiful.

However, I don’t think we’ve really gotten a proper pay off of this trope and the dynamic that it establishes between these two characters. I suppose you could argue that the battlement scene does that by having Sansa apologize for keeping Jon in the dark about the Knights of the Vale and they end up resolving their trust issues.

Except that season 7 shows us a Jon and Sansa that are still struggling with their relationship, the two of them still sending each other mixed signals and we never get a proper explanation as to what makes them clash as they do.

Add to that the Theon scene where once again the “calm to his storm” trope is brought to the fore and this whole confusing dynamic between them feels like a dangling plot thread that needs to be addressed in season 8.

The “Non-platonic thoughts about Sansa are not allowed in Jon’s presence” scene:

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The obvious thing that this scene and the Goodfellas scene have in common is the dialogue. So let’s talk about that. You all know how attached I am to my dialogue:

Henry: I swear on my fucking mother, if you touch her again, you’re dead!

Jon: Touch my sister and I’ll kill you myself.

Now, Henry is a little more verbose and he does take his own mother’s name in vain but you know … he’s half Irish and half Italian. It sort of comes with the territory. But the message is clear: Touch Karen/Sansa and Henry/Jon will kill you.

This phrase of: touch … and I’ll kill you is used a great deal in dialogue for both visual and written storytelling but the important common thread here is the sexual context in which they are both used.

Bruce, Karen’s neighbor, is beaten up by Henry because he tried to rape Karen. So “touch” in that context is unquestioningly sexual in nature.

The Jon/LF is even more loaded because Littlefinger hasn’t actually done anything as terrible to Sansa. Sure, his longing stares, double-entendres and creepy kisses are more than a little problematic, but they’re not in the same league as what Bruce did to Karen. And yet, just the thought that Littlefinger might approach Sansa in that way and that he might touch her in a sexual manner, drives Jon mad.

Also, as others have mentioned, Littlefinger prods and twists Jon for quite some time until he snaps. He talks about his father’s bones, his love for his father’s wife and even brings up Catelyn’s dislike for him, something that probably bothers Jon even more than being called a bastard. And yet, even though it’s clear that Jon doesn’t like LF, he still manages to keep his emotions in check.

The moment he starts losing it this:

Littlefinger: If it weren’t for me, you would have been slaughtered on that battlefield.

Now, people simply take it for granted that Jon dislikes Littlefinger because of what LF has done to his family. But Jon doesn’t know most of what LF has done. He actually doesn’t know much of anything about him. Except this:

Jon: You told me he sold you to the Boltons.

Sansa: He did.

Jon: Do you trust him?

Sansa: Only a fool would trust Littlefinger.

So his sole reason for disliking this man is because of what he did to Sansa. I would suggest that LF bringing up the Battle of the Bastards is yet another reminder for Jon that she had to bring this man there in order to save him.

But then LF, in his desire to find what moves his enemy, ups the ante and boy, does he find out what moves Jon Snow:

And this where that feeling of familiarity strikes me again. I don’t know if Kit Harrington went to the Liotta school of seething rage, but these two facial expressions look very similar to me:

Kit should totally take, at least, the expression class at the Liotta school by the way. No one does crazy, out of my mind psychopathy quite like good ol’ Ray.

The last thing we need to address is the reason why this scene is even included. Unlike the mirror scene in season 1 where Ned chocked LF, where the resolution was LF’s betrayal, there is no direct pay-off to this scene and there never will be. LF is dead and his downfall has nothing to do with Jon.

As @kitten1618x pointed out in her message, it can’t be to show us that Jon is protective of Sansa. That was already established in season 6. We’ve seen him beat Ramsay to a pulp and we’ve also been given this gem:

Jon: I will never let him touch you again. I’ll protect you. I promise!

We’re also going to be given a fresh dose of that in his scene with Tyrion.

There’s just so much of the “Jon is an overprotective older brother who protects his totally platonic but in need of protection sister” shtick we can watch before we start questioning exactly why Jon is so invested in who “touches” Sansa.

I would argue that, considering basic scriptwriting structure as well as the pattern that is established between Jon and the men in Sansa’s life, the pay-off to the Jon/LF scene will come in season 8 and it will have nothing to do with LF and everything to do with the Jon/Sansa dynamic.

PS: I call dibs on red for the wedding. It’s my favorite color, you guys! You have to give me that!

* none of the GOT gifs belong to me.

#my got meta #jonsa #jon x sansa meta #jon snow #sansa stark #goodfellas #littlefinger #jonsa meta

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eddycurrents · 5 years

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For the week of 11 March 2019

Quick Bits:

Age of Conan: Bêlit #1 expands Marvel’s Conan franchise further with the beginning of this limited series featuring the early days of the notorious pirate Queen of the Black Coast. Tini Howard, Kate Niemczyk, Jason Keith, and Travis Lanham deliver a compelling story setting up the tragedy of Bêlit’s early life and her one-track mind for adventure on the high seas.

| Published by Marvel

Amazing Spider-Man #17, after two preludes (one branded, one not) and a simmering sub-plot of Taskmaster and Black Ant kidnapping the villains running for months, finally gives us part one of “Hunted” from Nick Spencer, Humberto Ramos, Victor Olazaba, Edgar Delgado, and Joe Caramagna. And it’s essentially more set-up. Don’t get me wrong, it’s still great, building anticipation for the hunt to really start in earnest, but it’s a slow build.

| Published by Marvel

Animosity #19 starts trying to pick up the pieces after the fall of the Walled City. There’s some very interesting questions raised regarding survival and existence from Marguerite Bennett in this one, as both the animals and humans try to figure out a way to bridge the divide.

| Published by AfterShock

Asgardians of the Galaxy #7 concludes this arc with Sera and the Ravagers, as they team up to help refugees and Ego, the Living Planet. I still think it’s weird to see essentially the movie version of Yondu in present day 616 continuity, but Cullen Bunn keeps this fun. I suspect that Sera/Angela fans will still be disappointed, though.

| Published by Marvel

Assassin Nation #1 is the exciting debut of this action thriller, somewhat in the vein of Skybound’s other title Die!Die!Die! mixing elements of extreme violence, action, and a bit of humour, from Kyle Starks, Erica Henderson, and Deron Bennett. It’s a damn good set up, immersing us into a world of assassins jockeying for a number one spot, screwing one another over and turning on them for the highest bidder, with two interesting hooks of “Chekhov’s Gun” trying to figure out who’s trying to kill him and Bishop searching for who killed his husband. Phenomenal art from Henderson, with some very inventive death sequences.

| Published by Image / Skybound

Avengers: No Road Home #5 takes it up another notch as the Avengers continue to battle against Nyx and her children, this time narrated by Scarlet Witch. The fight on Nightmare’s front gets particularly interesting as we see how scary Hulk has really become, along with a humorous fight between Hawkeyes. Sean Izaakse and Marcio Menyz really turn in some incredible artwork here. And the final scene is pretty savage.

| Published by Marvel

The Batman Who Laughs: The Grim Knight #1 isn’t something I was going to pick up, but I saw some gushing about it from people I trust and decided on a last minute purchase. Like the rest of the Batman Who Laughs mini-series, this is dark, giving us a “Batman” who picked up the gun that was used to murder his parents, and, though technically proficient, isn’t really for me. What I do really appreciate, though, is the artwork from Eduardo Risso and Dave Stewart. It is gorgeous, with Risso continuing to explore some of the softer, painted style that he’s used in Moonshine and Hit-Girl. It really is worth the price of admission.

| Published by DC Comics

Buffy the Vampire Slayer #3 continues to be one of my favourite comics each month. Jordie Bellaire, Dan Mora, Raúl Angulo, and Ed Dukeshire are presenting a story here that so perfectly captures the spirit and fun of the television series, while also just being a great original tale. It’s fun to see the old faces in new situations, but it’s also an enjoyable story in its own right, introducing us to the characters and tossing them into the chaos.

| Published by BOOM! Studios

By Night #9 gives us Jane’s mom’s history with Charlesco and more or less the origin of the portal and the experiment. It’s particularly interesting as John Allison, Christine Larsen, Sarah Stern, and Jim Campbell tell the story in the visual style of an early ‘90s comic. There’s even a nice little nod to the Marvel Bullpen in there.

| Published by Boom Entertainment / BOOM! Box

Calamity Kate #1 introduces us to Kate, Vera, Jade and a world of monster hunting in this debut from Magdalene Visaggio, Corin Howell, Valentina Pinto, and Zakk Saam. Between this, The Girl in the Bay, and the forthcoming Dark Red, I’m loving the higher profile that Howell is carving for herself. She’s a great artist with excellent versatility.

| Published by Dark Horse

Catwoman #9 is a fill-in issue from Ram V, John Timms, and Josh Reed that’s one part revenge tale and one part heist, resulting overall in one hell of a good single issue. There’s a nice sense of rhythm and pacing to the story that fits with the theme of the heist, with some great artwork.

| Published by DC Comics

Cover #6 brings what has been one of the most unique, ambitious, and inventive uses of the comics medium I’ve seen in a long time to a close, with a bit of conversation and some gorgeous art from Brian Michael Bendis, David Mack, Zu Orzu, and Carlos M. Mangual. It get even more meta this issue, along with the usual multi-layered storytelling that delves into the comics world.

| Published by DC Comics / Jinxworld

Cyber Force #9 more or less completes the gathering of the team, presenting a bit of a quiet moment to collect themselves before setting up a confrontation with Cyberdata. There’s some interesting soul-searching between Dominique and Ripclaw on whether or not with the change they’re still them. And, as usual, the art from Atilio Rojo is pretty much worth the price of admission on its own.

| Published by Image / Top Cow

The Empty Man #5 has some gorgeous artwork by Jesús Hervás and Niko Guardia, especially among the repeating cycles of the opening and closing scenes.

| Published by BOOM! Studios

The Flash #66 brings back the single issue Rogue profile format for an origin story of the original Trickster, James Jesse, from Joshua Williamson, Scott Kolins, Luis Guerrero, and Steve Wands. Great art from Kolins and Guerrero.

| Published by DC Comics

The Freeze #4 concludes the first arc, with a very satisfying reveal of the serial killer and confirmation on a few other ongoing plot threads that nicely serve as a hook for future arcs. I’m really enjoying this one. Dan Wickline, Phillip Sevy, and Troy Peteri are telling a very compelling story here about essentially rebuilding society from a very different form of cataclysm, with some wonderful character-building and enough intrigue to keep you on your toes.

| Published by Image / Top Cow

Grimm Tales of Terror #13 is one of the better recent issues, with Joe Brusha, Umberto Giampà, Fran Gamboa, JC Ruiz, and Fabio Amelia diving into the story of a true crime writer investigating a serial killer in Detroit utilizing the signatures of other famous serial killers. There are a few really nice twists throughout the tale.

| Published by Zenescope

Gunning for Hits #3 throws a few wrinkles into Martin’s plans for Stunted Growth and Brian Slade as Slade’s bodyguard, “Mr. Gladstone”, causes problems while trying to extort Martin. This continues to be a dense, but satisfying, read every month. It feels like Jeff Rougvie, Moritat, and Casey Silver are just packing in as much content as they possibly can.

| Published by Image

Hawkman #10 features a larger than life confrontation between Hawkman and Idamm. Bryan Hitch, Andrew Currie, and Jeremiah Skipper deliver nicely on that widescreen epic feel of the assault on London.

| Published by DC Comics

Hit-Girl Season 2 #2 gets up close and personal with the uglier side of Hollywood as Kevin Smith, Pernille Ørum, Sunny Gho, and Clem Robins continue their arc featuring the adaptation of Hit-Girl’s side of the story from Kick-Ass by the film industry. Things get a little complicated.

| Published by Image

House Amok #5 concludes what has been an excellent, mind-bending series exploring truth and delusion and the power of family, from Christopher Sebela, Shawn McManus, Lee Loughridge, and Neil Uyetake. This finale doesn’t give any easy answers and actually raises a few more questions, all with some gorgeous artwork from McManus and Loughridge.

| Published by IDW / Black Crown

James Bond: Origin #7 begins “Russian Ruse” with Ibrahim Moustafa and Roman Stevens taking over art duties, joining Jeff Parker and Simon Bowland in this tale of essentially piracy in the Barents Sea. Nice set up of the Russians’ duplicity here and an inept Commander not listening to Bond’s observations.

| Published by Dynamite

Justice League Dark #9 unleashes the Lords of Order against pretty much everyone, causing death and destruction as they try to “cleanse” reality of the chaos they think infests it. Between them and the Otherkind, things aren’t looking particularly cheery for existence. Incredible artwork from Alvaro Martínez Bueno, Miguel Mendonça, Raul Fernandez, and Brad Anderson.

| Published by DC Comics

Little Bird #1 is an experience. Darcy Van Poelgeest, Ian Bertram, Matt Hollingsworth, and Aditya Bidikar launch a dystopian future where a theocratic America seems to rule with an iron fist and a pocket resistance holds out in the Canadian Rockies. There’s a bit of a feel of Akira here, and Grendel: God and the Devil, maybe even a little Martha Washington, but still with its own unique elements and some seriously awesome art from Bertram and Hollingsworth.

| Published by Image

Livewire #4 concludes the first arc with a nice bit of soul-searching as Amanda comes to terms with what she did during Harbinger Wars 2. Between this, Age of X-Man: Prisoner X, and this week’s Shuri, Vita Ayala is definitely on fire right now. They’re doing some great character-driven work and it shines in this finale. Also, Raúl Allén and Patricia Martín can do no wrong. The layouts on this book are stunning.

| Published by Valiant

The Magnificent Ms. Marvel #1 is the beginning of a new era for Kamala Khan from Saladin Ahmed, Minkyu Jung, Juan Vlasco, Ian Herring, and Joe Caramagna. Using a kind of fable narration, setting up something new for the future while dealing with a continuation from Kamala’s current status in the presents, is a nice approach from Ahmed. It also marks a good jumping-on point for new readers as it recaps more or less what you need to know about Ms. Marvel’s history. Beautiful art from Jung, Vlasco, and Herring.

| Published by Marvel

Murder Falcon #6 is an epic, face-melting issue. Daniel Warren Johnson and Mike Spicer give us a bit of a tearjerker as Anne comes to terms with her situation with Jake and finally finds her voice. It’s really incredible. Also, giant monsters and metal.

| Published by Image / Skybound

Oblivion Song #13 jumps ahead three years for a new status quo, a few shuffled faces, and new situations for many of the cast of characters, providing an excellent jumping on point for new readers. There are some interesting bits about harnessing the flora and fauna of Oblivion for medical advances and the growing mystery about what the Faceless Men are doing. Gorgeous art as always from Lorenzo De Felici and Annalisa Leoni. De Felici really does some amazing reaction shots.

| Published by Image / Skybound

Old Man Quill #3 advances the Guardians’ story a bit further as they celebrate what little hope they’ve brought to the Wastelands, while hell in various forms circulates around them. It certainly pretty bleak, even in the good times.

| Published by Marvel

Outer Darkness #5 drops hell on the crew’s head as they crash on a relatively inhospitable ice planet with an ancient evil prowling and the crew at “Each Other’s Throats”. Also, naked cat girls. John Layman, Afu Chan, and Pat Brosseau are doing an incredible job with this mix of sci-fi and horror and the stakes seem to have been raised this issue.

| Published by Image / Skybound

Shuri #6 begins a two-part guest arc from Vita Ayala, Paul Davidson, Tríona Farrell, and Joe Sabino as Shuri travels to New York in search for the Lubber. Great art from Davidson and Farrell and Ayala has a wonderful feel for Miles and Shuri’s voices.

| Published by Marvel

Spider-Gwen: Ghost Spider #6 continues to suss out a new role for Gwen now that her identity is public and she’s returned to her own Earth. The character building that Seanan McGuire is doing here is pretty spectacular, especially given how strong the interpersonal relationships in the series were to begin with under Jason Latour and Robbi Rodriguez. Also, the art from Takeshi Miyazawa and Ian Herring is perfect.

| Published by Marvel

Star Wars: Age of Republic - General Grievous #1 is the last of these Age of Republic one-shots from Jody Houser, with Age of Rebellion coming next from Greg Pak and a rotating team of Chris Sprouse, Marc Laming, and others. This one focuses on Grievous and is a nice look into what he traded of himself in order to become the even worse monster that we see in the prequel trilogy and Clone Wars.

| Published by Marvel

The Stone King #4 concludes what has been a wonderful light fantasy adventure Comixology original series from Kel McDonald and Tyler Crook. There’s an interesting throughline in the story of responsibility for family versus responsibility for the greater society that comes to a head here, along with misunderstandings continuing to cause conflict. It’s not exactly a happy ending, but there is a set up for something more down the road that I’d love to see. Beautiful artwork from Crook.

| Published by Kel McDonald

Supergirl #28 concludes her jaunt with the Omega Men and the Supergirl clones, opening up more questions about The Circle and the destruction of Krypton. I’ve enjoyed the circuitous route Marc Andreyko has been taking us on to advance Supergirl’s mission, tossing bits of side adventure in growing out of her search, but it feels like we’re going to get down to brass tacks soon. Great art again this issue from Eduardo Pansica, Julio Ferreira, FCO Plascencia, and Chris Sotomayor. Pansica does some great horror and creature work and it shines through in the Kryptonian monstrosities.

| Published by DC Comics

Superman #9 tells of Jonathan’s ordeal trapped on Earth 3, tortured at the hands of Ultraman. Great art from Brandon Peterson and Alex Sinclair during the Earth 3 sequences. It’s also interesting to see that dream still haunting Superman.

| Published by DC Comics

Teenage Mutant Ninja Turtles: Shredder in Hell #2 continues to be revelatory. Mateus Santolouco, Marcelo Costa, and Shawn Lee are doing some incredible work as Shredder continues to be plagued by nightmares, demons, and the undead as he tries to figure out his way through hell and his status as a vessel for the dragon god’s spirit. Over the years, Santolouco has grown exponentially as a storyteller and this is just a masterpiece.

| Published by IDW

Titans #35 continues the team’s nightmare excursion to Unearth, fighting a possessed enraged Beast Boy, Raven’s angry aggressive side, and Mother Blood as we head into the series conclusion next issue. This is a very entertaining story from Dan Abnett, Bruno Redondo, Christian Duce, Marcelo Maiolo, and Dave Sharpe, really putting the team behind the 8-ball wondering how they’re going to get out of this mess. If they get out this mess.

| Published by DC Comics

Tony Stark: Iron Man #9 continues the “Stark Realities” arc, nicely advances Controller’s assault on Stark Industries, the eScape users causing havoc, the mole within Stark, and the corruption causing Tony’s current simulation, from Dan Slott, Jim Zub, Valerio Schiti, Paolo Rivera, Edgar Delgado, and Joe Caramagna. Some really interesting possible revelations about Tony during this issue.

| Published by Marvel

Transformers #1 begins a new continuity, a new universe, a new era for the Transformers, from Brian Ruckley, Angel Hernandez, Cachét Whitman, Joana Lafuente, and Tom B. Long, as we start off some time in the past of Cybertron, before Autobots or Deceptions, as Bumblebee watches over a newly-forged Cybertronian as he makes his first decisions. We also get bits of an uprising of “Ascenticons”, though their ideals and motivations aren’t really explained, just showing a disagreement between longtime friends Megatron and Orion Pax (not Optimus Prime yet). It’s not bad, with some nice bits of humour, and there is an interesting mystery for a cliffhanger, but it is slow. The art is nice, but like the story there’s nothing flashy about this right now. I’ll certainly give it a few more issues, but there’s really nothing “bold” about this new era. Don’t expect something radical out of the first issue, this one plays it pretty safe.

| Published by IDW

Winter Soldier #4 delves into RJ’s father, Richie, attempting to get back into his life. It’s heartfelt and bittersweet, with Kyle Higgins, Rod Reis, and Clayton Cowles delivering a gripping tale with one hell of a set up for the final issue. Reis’ art remains absolutely incredible.

| Published by Marvel

Wonder Twins #2 is more fun from Mark Russell, Stephen Byrne, and Dave Sharpe. There’s some nice commentary on the state of corporate run prisons in the United States in amongst a humorous send-up of z-list villains in the Legion of Doom’s farm team, the League of Annoyance. Great art from Byrne.

| Published by DC Comics / Wonder Comics

Other Highlights: Accell #19, Auntie Agatha’s Wayward Home for Rabbits #5, Blackbird #6, Dark Ark #15, GI Joe: A Real American Hero - Silent Option #4, Go Go Power Rangers #18, The Goon #1, Head Lopper #11, House of Whispers #7, LaGuardia #4, The Life and Death of Toyo Harada #1, The Long Con #7, Marvel Action: Spider-Man #2, Marvels Annotated #2, The Maxx 100 Page Giant, Prodigy #4, The Punisher #9, Radio Delley, Rick & Morty Presents Jerry #1, Riverdale: Season 3 #1, Runaways #19, Spider-Man/Deadpool #47, Star Trek: Discovery - Captain Saru, Star Wars: Han Solo - Imperial Cadet #5, The Unbeatable Squirrel Girl #42, Wonder Woman #66

Recommended Collections: Astonisher - Volume 3: Black Hat, Batman vs. Deathstroke, By Night - Volume 1, Defenders: The Best Defense, Infinite Dark - Volume 1, Mata Hari, Moonstruck - Volume 2, Rick and Morty vs. Dungeons & Dragons, Shadowman - Volume 3: Rag & Bone, She Could Fly, Sleepless - Volume 2, Star Wars Adventures - Volume 5: Mechanical Mayhem, Strangers in Paradise XXV - Volume 2: Hide and Seek, Trout - Volume 1: Bits & Bobs, Vampironica - Volume 1, The War of the Realms Prelude

d. emerson eddy knows a muffin man.

#This Week in Comics

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