#but we can have a little narrative framing fun

[good-chimes]

Proposing:

Grand Unified Scarian Theory

a single, overarching Scarian romance arc across the whole Hermitcraft and Life series as well as a primer for anyone curious about the early seasons.

We start with NEIGHBOR MEET CUTE in early Season 6:

Season 6 begins in a peaceful pirate bay. SCAR, an established hermit just beginning his third season, is happily making pirate caves. Into this tranquil scene comes GRIAN.

Grian, fresh-faced and new to Hermitcraft, picks a sea-themed base location right next to Scar’s pirate caves. He gets himself set up and starts his base. Even someone like Grian can get newcomer nerves, and he spends the first few weeks desperately trying to act like a normal person instead of the horrible gremlin he really is.

(Some hermits are taken in by this. Doc and Xisuma give him pity diamonds, something that—after getting to know Grian—they noticeably never do again.)

The only person exempt from Grian’s just-a-little-birthday-boy act is Mumbo, whom Grian already knows, clearly has a puppy-crush on, and pursues relentlessly.

Grian and Scar don’t interact much at first. Grian sees Scar for the first time while passing by his base. Scar instantly falls in one of his own caves and dies.

Grian panics.

Grian: I DIDN’T DO IT!

Scar, intrigued by his new neighbor, makes some overtures of interest:

1. Scar leaves a fully enchanted trident at Grian’s base as a welcome present. This is a generous gift for the cute neighbor you have a crush on and frankly the most normal thing either of them do in the entire years-long relationship.

Grian goes ‘huh!’ at the trident, never finds out who sent it, and immediately forgets the whole thing.

2. Scar entertains Grian’s traveling-salesman pitch and buys his overpriced armor boxes.

Multiple jokes about the size of Scar’s wallet. Grian clearly pleased by the transaction.

3. Scar makes Grian a complementary in-joke build (Spongebob’s house by Squidward’s house).

This delights Grian immeasurably for five minutes until he turns back to his prank war with Mumbo.

(Poor Mumbo. Clearly immensely fond of Grian but not sure he wants to be in a relationship with a lit stick of dynamite. This is very understandable.)

By this point Scar obviously kind of clocks that Grian is insane about Mumbo. This isn’t much of a leap. The entire SERVER is aware that Grian is horribly in love with Mumbo.

Ah. That’s okay. Scar backs off a bit. He recognizes when he’s not really in with a chance.

Maybe this thing he has with Grian is just going to be a friendship, and that’s okay! Having a crush is fun even if you’re not going to do anything about it. Scar is going to build some shops about it and be normal.

Both of them are going to be very normal.

FLIRTING (First Stages) – mid-Season 6

Both of them immediately forget to be normal.

Grian has started a detective agency and has no mysteries to solve. Scar instantly invents a cookie-based mystery supervillain called the Jangler and leaves Grian a series of tantalizing cookie-based puzzles for enrichment in his enclosure.

Grian has invented a game where you kill people with rockets. Scar volunteers to get murdered. Both of them are delighted.

Scar and Cub’s business empire is incidentally crushing Grian’s startup venture. There is no reason for this to be so flirtatiously charged.

At this point all the hermits move to a new village because of the Minecraft update. Grian starts a who-can-build-the-tallest-house war with Mumbo and Iskall. Scar notices and starts doing the same from the other side of the village.

It quickly gets so wild that Mumbo taps out (Mumbo does not do well with intensity, would rather just not, thankyouverymuch), and it's only Grian, Iskall and Scar.

Scar builds a wild giant plant eating his rocketship, and then a castle in the sky, and an enormous version of himself firing a canon at Grian's house. This is the first time you can really see Grian trying to hold in shrieks when he flies back in to see what Scar has done while he's gone.

Grian’s interest has been caught. He’s gone from barely seeing Scar to checking on him regularly. What’s our good friend Scar up to? What’s Scar done? What is Scar going to do next?

FLIRTING (How To Catch Your Crush’s Interest By Building A Secret Government Facility) – late Season 6

What Scar does next is put on a snazzy military uniform, team up with Doc to steal the time machine Grian invented last week, then, in the most effort someone has EVER gone to to get Grian's attention, spend weeks on end building a fully-functional 'Area 77' military base and containment facility to stop him getting it back.

Turns out this works beyond Scar’s wildest dreams.

Grian INSTANTLY obsessed with breaking into Scar’s base and retrieving his time machine.

Grian persuades Ren into forming a hippie camp with him next to the base and spends weeks entirely fixated on Scar. Meanwhile Scar, who is starting to really understand how to get and keep Grian's attention, builds more and fancier infrastructure to keep Grian out. This is also where Grian really starts looking at Scar's art—the insane cliffs Scar has build around his new hangers—and awkwardly not quite managing words, because it would be very embarrassing to just outright say the word beautiful, and Grian’s a very normal and non-embarrassing person.

In the climax of the season, Grian-the-hippie breaks into General Scar’s base.

Nobody can say that Scar making himself a top brass general and Grian making himself an anti-establishment flower power hippie does not end up with plausibly-deniable not-making-out Grian-provoking-Scar-into-holding-him-against-a-wall.

but.

BUT.

This is Hermitcraft. It’s temporary. Scar and Grian both know it was a bit. A bit they both got super into, sure! But a bit. Not weird at all.

(“Sure, mate, not weird at all,” Mumbo says, after all of this is over. “Then why are you making it SOUND weird Mumbo you’re the WORST”)*

(“Sooo....” Cub says, and Scar says, “I know. I know!”)*

*not canon but you can't tell me it didn't happen off screen

FLIRTING (But What About…) – early Season 7

Okay, so that was weird, but Grian is definitely still in love with Mumbo. The Mumbo pursuit is going great and Mumbo definitely doesn’t look nervous whenever Grian turns up with a new idea. Grian is going to get Mumbo to fall in love with him and they will marry in the spring and have a dozen beautiful children redstone contraptions.

Grian attempts to make it more official with Mumbo. Surely they have been flirting long enough, they are ready for the next stage! This is in no way a reaction to Scar becoming a weird wizard in a way very unsettling to Grian and building the kind of wild organic tangled forest build that Grian is fascinated by but can't even begin to comprehend.

Everything is very under control in Grian's life. He's now official boyfriends with Mumbo. They live together and have a messaging system and everything.

Mumbo announces he’s moving out.

It’s-not-you-it’s-me

You’re… you’re moving out? Grian says, in the smallest possible voice.

We’ll still have the messaging system, Mumbo says, unconvincingly.

FINE, Grian says, I’m moving out TOO.

Mumbo moves out.

Grian deals with this in the healthiest possible way. He invents a mayorship and attempts to give it to Mumbo.

Grian is Mumbo’s self-appointed campaign manager so Mumbo has to be round him ALL THE TIME, it’s for the CAMPAIGN, Mumbo.

Mumbo, a man who doesn’t deal well with pressure or responsibility, is maybe not the ideal choice for mayor, something that has escaped Grian entirely.

Mumbo builds a robot and attempts to palm off all responsibility for decision-making onto it. Grian immediately calls it their son.

Grian puts his moustache all over the server.

NO other hermits support them for mayor (except Scar, from a lost bet, who Grian has continued to have intensely weird flirtations with while all this is happening)

Things reach a fever pitch. Election day arrives. Mumbo doesn’t want this actually but try telling Grian that. The entire MumboGrian edifice that Grian has obsessively and wildly build has reached an unsustainable pitch and finally comes tumbling down around them.

Mumbo votes Scar for mayor.

Grian votes Scar for mayor.

Mumbo disappears for several weeks to do some nice soothing redstone and calm down.

FLIRTING (Civil War) – late Season 7

Everything has calmed down now. Scar is mayor. Mumbo is...somewhere. Grian is going to work on his base normally.

Grian has a new project. He wants to build in the new nether biomes. He builds a huge and echoing and obsessively inverse version of his huge and echoing and obsessively symmetrical mansion base. It's very impressive. It's totally hollow. There's... no one else here.

Grian decides that okay, he is going to bring PEOPLE here.

He invites Mumbo, because he hasn't seen him in weeks. He invites Bdubs, because Grian above all loves genius. And he invites Scar. Because of course. Everything major Grian does now, Scar is an of course.

Bdubs shows up! Generously builds Grian's entire mansion interior. Mumbo shows up. Builds a tiny upside down disco shack.

Scar does not show up.

Scar is being mayor! Scar is a very busy and important man! Scar has spent the last few weeks obsessively replacing every single goddamn mycelium block in the shopping district with beautifully tailored grass and making trees whose flowers are diamonds. He's also got his own megabase going on. For once Scar has so much to do it's even enough for Scar's ambitions, which have never been small.

He does not come when Grian calls.

Grian is Not Happy.

This is the point where Grian starts a steadily more unhinged campaign of leaving Scar invitations. He makes little tailor's dummies of himself and delivers them to Scar's house. He sets up a tea party of three grians in a secret space under Scar's mayoral throne. He hangs himself in effigy on the tip of Scar's megadrill build. Normal behavior.

And then when Scar still doesn't notice, he puts a tiny bit of mycelium back on one of the streets of the shopping district.

This starts… THE MYCELIUM WARS

Scar attempts to contain the growing mycelium patch with warning tape.

Grian spreads more mushroom spores.

Scar brings in his allies to help contain the growing mushroom patches.

Grian digs out an underground rebel HQ, recruits several rebels, and declares himself Motherspore.

Mayor Scar stares into a camera and uses his most velvety baritone to proclaim he will hunt down Grian and the mycelium resistance and bring them to justice.

Grian sets loose mushroom-spreading sheep.

Mayor Scar obsessively searches for his base.

Grian and Impulse build several decoy bases and trap them.

Mayor Scar employs Mumbo to strip-mine every block of the shopping district with redstone tunnel-borers.

Eventually Deputy Mayor Bdubs, having his own thing with rebel Etho, tricks all of the resistance into ender-pearling into jail.

Scar gets to threaten to pour lava on an imprisoned Grian for ten minutes straight and they’re both enjoying this so much.

Grian: Scar! SCAR! Scar Scar Scar no Scar no Scar no listen Scar

Scar: Yes?

Grian: …Let’s take this somewhere else.

They ‘take this’ to Scar’s beautifully-appointed mayoral office. Grian sits on the arm of his chair (I don’t know what to tell you, this is on-screen canon).

Grian: So I know how to end the war.

Grian: We have to play minigames and make personal bets.

Grian: And Scar, Scar, if you lose…

Scar: Yes?

Grian: … you have to help build my base.

Entire room: [stunned silence]

Etho: Is this what it was about the whole time, Grian?

So! That happened. And the thing is, they could both mentally pass off the area 77 general/hippie stuff as Just A Fun Bit That Got Very Intense.

They can't do this with the mayor/motherspore stuff. They are basically making out on Scar’s chair. The resistance have noticed. The mayoral staff have noticed. EVERYONE has noticed.

Scar is into it. Scar is going along with it. Scar knows he’d had a crush for a long time, and he isn't scared of swimming with a huge wave, never mind where it's going to break. Scar has always embraced the rush. With Grian, you never know what’s going to happen next.

Grian has always loved being around Scar because there’s so much going on that you don’t have to think. Grian doesn’t have to think until everything’s calmed down. It's not until now that he stops and realizes… could this be… something.

(Maybe it already is.)

And then, by whatever eldritch mechanic you personally favor:

3rd life begins.

HEAD-OVER-HEELS – Third Life

In the tiny claustrophobic stripped-bare world of Third Life, Grian makes a choice. Grian thinks, for once very, very clearly: what if it wasn't a bit? What if it was real. What if Grian took every explosive piece of who he was and handed it over to someone he's—okay, he'll admit it—someone he's been obsessed with for a long time. What if that heady sparkle he's been seeing in the corner of his vision is true. What happens if you grab it with both hands?

Scar—surprised, bemused, amazed but wrong-footed—almost doesn't know what to DO with this.

Scar is so used to Grian layering all his obsession behind a thick layer of irony and drama and second-guessing and schemes. ‘Sure we can make out but only if I'm trailing mushroom spores and you're wearing that sash.’ ‘I'm only here because Mumbo's not around.’ ‘It’s not a thing.’ ‘It's not real.’

But it is real.

And, for once, Scar hears a tiny alarm go off in his brain. Scar knows Grian better than anyone else does, by now, and even he doesn't know where this ends. Grian is a force of nature and Scar has never been his unfiltered target. But Grian's throwing himself into this, throwing himself at Scar. And Scar always says 'yes.' 'Yes, and.' 'Yes, let's'. Scar never wants less of Grian. Scar has always taken what he can get.

But with that warning bell, Scar does try to keep that slight layer of dramatic distance, even in this new world where you can die and not come back, even if they don't know if they'll get out of this alive. Scar doesn't fully buy into Grian's second-in-command-devotion, he forces a space for Grian to still be the Grian he knows, some kind of safety vent (‘here's a bee on a lead’). And it could be a lot of reasons, but part of it is…Grian's head-over-heels, for once, and Scar has the unfamiliar feeling of needing to be the one to look where they're going.

Because where they're going is: the last two, all their friends dead, not knowing if there's any way to survive but knowing their friends haven't come back, and at that point Scar takes off the very last of his brakes and the very last of his reservations and says:

For everything you've done for me you can kill me.

(I want this. I want it to be you.)

This breaks Grian absolutely and completely.

And not broken in the fun way! Grian is too far in. Grian let go of Mumbo, who was safe because Mumbo never let it get too far, and he took a risk on Scar, and now Grian is discovering that he didn’t even know what risk meant. Grian is in emotional pain he never suspected existed. Grian has let himself put all his gambling chips on someone who wasn't SAFE and he has lost.

Grian has LOST SCAR and he has LOST HIMSELF and he has FOUND OUT HE CAN BE HURT and he is never going to be the fucking same again.

Scar is in the pond with Grian’s sword at his unresisting neck. And Scar is going to die, and Scar (damn him damn him) has turned it into: he's going to die for Grian. Now Grian is hurting, he's complicit, it turns out grief is an inevitable part of love and beauty, this is all it's taken for Grian's worldview to fall apart in pieces he can't pick up, and Grian has no defenses against pain so there's obviously no way to cope except to beat Scar to death in a cactus ring and jump off a cliff.

AFTERMATH – Season 8

They wake up in Hermitcraft.

They wake up in Hermitcraft! Scar is delighted to find out they just reincarnate, after all that!

Sure, they've all got some lingering trauma but Scar has never let that stop him from doing anything. Scar thought that whole thing went well! He just about dares to think...romantic...? Maybe...?

Grian is Normal to him.

Grian is so fucking normal. it's like. s6 normal.

Scar is. kind of. confused.

Grian is NOT acting like someone he had a romantic death match with.

(Grian is falling apart, but if there's one thing Grian has proved in his building it’s that he’s SO. fucking. good. at facades.)

(Don't go round the back.)

Neither of them are ready for the death game to repeat.

DIVORCE (Traumatic) – Last Life, Season 8

Second death game. Grian deals with his trauma super well by isolating Scar, stealing all his friends, tricking a life out of him, dropping his horse in lava, forcing him into an extortion death loop, then abandoning him and—just as a bonus—murdering Mumbo as well.

This time it’s Scar who comes back falling apart.

A theory that seems plausible: Scar’s old friend Cub picks him up, puts him back together, gets him on his feet. What we do know is that Cub moves in next to Boatem, where Scar is still living with Grian, and incidentally builds an enormous dripstone megabiome that is coincidentally very hostile and might murder you upon landing if you're someone who flies a lot, or happens to be a bird.

There’s a hole with an endless dark void between Scar and Grian’s Boatem bases. They built it together. It’s around this time they both keep repeatedly falling in it.

DIVORCE (But When It Was Good It Was So Good) – Season 8, Double Life

Then the moon gets big. Gets close. Gravity breaks down and that should be the end, should be a way out of this terrible spiral they're in, surely they're better without each other—

Grian turns up at Scar's base and says: Scar. Build us an escape pod.

—and Scar does.

They go out together. Both of them can feel the pull back into each other’s orbit but they’ll die if they acknowledge it. At the end of it all, the void, the protective suits, the unbearable gravity of falling into space together, of holding each other until another uncertain end. They're nowhere but they're in it together.

Is this a good time for another death game? Of course. How much worse can it get.

Double Life, and this time Scar keeps his distance. My soulmate is this allay! My soulmate is my cat! I don’t need a soulmate. Oh—it’s Grian? This whole time? Hahaha. How funny.

Grian: Soo… do you want to base together?

Scar: Do we have to?

Grian: It…might be nice…?

Scar is wary.

He has been burned.

But the pull is still there. The pull is always there. You can’t forget Grian, but you can blunt the edge of him on your skin. Scar is here to take care of these cat-pandas. Grian can do what he likes.

Cheated of Scar’s full attention, Grian tries to tempt BigB into a pale imitation of the Scarian folie à deux (BigB is a genuinely nice man who does not deserve this).

The rest of the server turn red, one by one. Grian and Scar are the last greens. BigB is audibly nervous when Grian proposes a red-green alliance, even though BigB is the red, he has the power. But Grian can’t escape the rest of the server, and the red hunt begins.

Grian and Scar, hunted—trapped at the top of flaming towers, jumping from heights, chased down like foxes at bay, crammed into boltholes with their hands over each other’s mouths, Grian shrieks and laughs and falls back on Scar and Scar catches him and they’re both as alive and elated as they’ve ever been. Scar dies once to Ren and BigB’s zombies and Grian murders both BigB and Ren in revenge (BigB was right to be nervous). Grian has another unhinged murder plan underway when he dies for the last time.

This whole time, Grian was hit in the face by remembering that when it's good, it's so good.

Scar isn’t surprised. Scar has known that forever.

Back in Hermitcraft, its not magically fixed. They’re not innocent any more. But every time Grian looks at Scar he remembers: when it’s good, it’s so good.

And Scar never forgot.

DIVORCE (We’re In Love And We’re Not Done Yet) – Season 9, Limited Life

By now we're into Season 9. They’re still alive. They always live, they always start again, and the other one is just there. Being, infuriatingly and magnetically, them.

Grian is thoroughly annoyed by Scar’s new allegiance to King Ren, but he keeps coming back to Scarland anyway. Scar, I made you an obstacle course. Scar, stand here and get squashed by this anvil. Scar if you don’t do something I’m going to start a resistance.

Grian pretends King Ren doesn’t exist and he has more important things to do, and pretends this so hard that he incidentally invents a mad science robot pulls them all through into the Empires dimension.

Scar, assuming Grian is doing his own thing, shacks up with Jimmy.

It takes Grian three weeks to notice and be shriekingly outraged.

Scar we’re doing a project. Scar you can’t spend all your time with Jimmy! Join my cult. Get in my shrinking machine. I made you an enchanted netherite bow. I need your allegiance. (Another real quote).

Scar teases Grian for weeks then instantly abandons Jimmy when the choice comes down to him or Grian.

Fourth death game—they’re used to this, now. Nothing too intense. Nothing too weird. Grian can’t help murdering Scar.

At this point, Scar is starting to read it as: I love you.

And that’s how we get to the current Scarian dynamic we know and love of you're the worst and I'm the worst and we've divorced a few time but we still like each other so fucking much.

It's been years. They've killed each other every possible way. These two characters are in love and they're not done yet.

#scarian #grian #goodtimeswithscar #hermitshipping #yes canon IS a grand romantic arc #to be super clear: i don't think any of this was cc intention #but we can have a little narrative framing fun #as a treat #i think nearly all of this is true to canon except some timing vagueness and the dialogue in parentheses #thank you to the hivemind for theory help #long post #glossywrites

[blujayonthewing]

the tricky thing about pirates is that when you get down to it it’s really hard to get around the fact that they are, like, actual bad guys

#if you take the 'violently attacking other ships for their cargo and raiding port towns' out of pirates you literally no longer have pirates #Golden Age Pirates are very romanticized and beloved (I am not excluding myself!) #but if you're gonna try to frame them as good guys you're almost explicitly backed into the corner of #'they're fighting other pirates but those pirates are mean' or 'they're fighting the navy' #or you just kinda don't examine them too closely at all which happens a lot with pirates that aren't at the center of the story lol #like! even in most of the most famous pirate fiction the pirates ARE the bad guys! #WHICH LIKE... isn't even necessarily a bad thing or a hurdle per se in traditional narrative settings #I was just thinking about this re: gnome pirates oneshot/ possibly miniseries gfdhjkdgfhd #like... it's not an Evil Campaign I think we're all sort of playing it in the same you know romanticized pirate spirit #but that does make it a little awkward thinking about possible future ventures lmao #'you outran some pirate bounty hunters and explored a ghost ship!' oh cool! what else do pirates do :) #it's not really like thieves where you can do like... 'oh a sexy museum heist that feels impersonal' or 'I only steal from rich bastards' #with pirates it really feels like. they're gonna be attacking and sinking ships to steal all their shit. like that's the whole thing lmao #don't get me wrong Indigo is chaotic neutral I know perfectly well how they got here and where their morals lie #it's just sort of a... you know... how many Fun Wacky Gnomish Adventures :) can we actually do while avoiding doing actual piracy lol #like I'm not against a 'this one shot is about raiding a merchant ship' it just feels like something people usually avoid w pirate protags #we're bad guys! we're textually bad guys! it's weird to reconcile with the fact that 'being evil' isn't afaik the usual appeal of pirates

[misshugs]

The Cameragirl || snc

You've been Sam and Colby's cameragirl for some time now. Usually, nothing too crazy happened to you in most investigations, but this time...

warnings: paranormal activity, reader getting attacked, near death experience, strangling(?), cursing, angst?

a/n: took a bit of inspo after watching the boys' video of the asylum, but nothing exactly like it. just the fact that the place is an asylum

[part 1] [part 2] [part 3]

word count: 3.6k

[u n e d i t e d]

✮ ⋆ ˚｡𖦹 ⋆｡°✩

As they were making their iconic intro and explaining what this new place was about, you made sure to have a sturdy pulse whilst filming them.

"Today, it's just me, Sam and our lovely cameragirl, Y/n." Colby said, letting you shift the camera towards your face and smile at it.

"Hello there." You said, making sure your face was extremely close to the camera, merely because it has become your way of introducing yourself.

"And since it's only us today like the good old days, we decided to make something fun. ALL of us." Sam explained to the camera and smirked, looking directly at you.

You batted your eyes, looking at them while they kept on smiling menancingly at you. "This wasn't a part of the contract." You said, gaining a laugh from both of them.

You zoomed onto his face and began talking with this soft, almost narrative voice. A voice you very well knew they enjoyed. "What is this oh so fun idea you seem to be hyping about, mr. Golbach?"

"Why thank you for asking." Sam nodded slightly, moving his attention towards the camera. "The three of us are gonna do a little challenge tonight." He clapped his hands together as you began unzooming the camera, putting Colby back on frame.

"That's right, we're going to walk alone, lights out throughout some of the most haunted corridors from this place." Colby continued. "The owners of this place told us it gets freaky when people are alone, so we thought this might get us some good activity."

"We have some cameras with nightvision but we're not gonna see shit." Sam added, "After a while, we all should find our way back to the main lobby."

"So stay until the end to see how that's gonna turn out." Colby says, getting close to the camera before covering it with his hand, making you stop the recording for the cut.

"That was pretty good." You said, looking at the video slightly.

"You're still good with the challenge, right?" Sam asked, looking at you. You scoffed.

"Please. I wouldn't have come if I wasn't sure about it. Remember you told me about it before the video?"

"I know, I know. Just making sure, you know how I am." He laughs. "Wouldn't want you to do something you're not comfortable with."

"You're saying that like we haven't known eachother for how long?"

He chuckles. "You're right. I'm sorry."

"Alright, so since we're all settled, should we start right away?" Colby chimed in, looking at both of you.

"Not yet. This place has some good cinematic potential, lemme cook first." You said, looking around with your flashlight.

"Aight, we'll let you do your thing, I'll go ahead and look for the equipment." Colby said.

"Oh, shoot. I forgot to ask the owners about something." Sam said, taking out his phone.

"Go out with Colby, I'll be here waiting." You said, fixing back your camera to start recording.

"Alone?" They both asked, looking at eachother and then at you.

"I do my best work alone, gentlemen. You know that." You begin walking towards the shadiest corridor you've seen in your life, without even looking back.

"Oh wow. Fearless. She's trying to do the challenge before us." Colby laughed.

"Alright, I'll be super quick. If anything happens, just yell. As loud as you can." Sam said, smiling.

"Copy that." You laughed.

In the blink of an eye, you were left alone. You were used to these type of things, so it didn't bother you much. You've somehow become numb to all of this paranormal adventuring.

And that was one of the main reasons why you liked to take control of the camera, since you were able to keep your cool in stressful situations, making it easier for the viewers later on.

Plus, you didn't know how to act on camera and they were the professionals... allegedly.

Whenever something odd happened, you made sure to try and record as much as you could, in the best angles possible. You liked to joke around and call yourself a professional in your craft, although sometimes it wasn't even a joke.

You were passionate about it. The videos and the ghosts, it was only natural to try and do more, risk yourself to do something more interesting and outgoing.

That's a piece of yourself they loved about you. You were simply a perfect match in their combo.

As you began to do your cinematic, you began to have shivers. A sudden draft of air passing through you, as if a window suddenly opened.

Looking around, there was no possible way of that happening. You were in the middle of the corridor, absolutely no chance of an air draft simply passing through so randomly.

You thought it might've been a bit odd, but nothing you haven't felt before anyways. While you kept on making some videos, an eerie feeling of someone watching crossed over your spine.

The sensation of a presence slowly getting closer to you behind your back.

Almost feeling the heat of another person behind you, towering over you.

Hurriedly looking back, you were met with Sam's hand almost touching your shoulder. He stopped midway, knowing he got caught trying to scare you. "You bitch." You spit out, making him laugh.

"Damn it!" He said mid laugher. "I was so quiet this time, how do you always seem to know?"

"I can feel you lurking closer, you stalker." You looked away from his gaze, trying to ignore the thoughts of his pretty face. You began walking back to where he came from, meeting Colby in the process.

"I'm not a stalker, if anything, I'm protecting."

"Quietly from the shadows, sounds like a stalker to me, but you do you." You smiled softly, looking at the confused Colby.

"I left for a second, what did I miss?"

"Stalker behavior, nothing else." You said, putting your camera up again and ready to record.

Colby shook his head from side to side, already being on your side of the story without even asking further questions. "I can't believe you brother."

"Wha- it wasn't-..." Sam sighed, defeated. He knew you were joking, so he wasn't going to win anyways.

You laughed and pointed the camera at them. "Ready when you are." They nodded and you began to record.

"So as you can see, in our hands we have some devices that we'll scatter throughout this first room. If you've been here before, you'll probably be familiar, but if you haven't, these are basically some motion censor devices that will let us know if something walks infront of it." Colby explained, turning one of the devices on and showing to the camera how it worked.

As they organized everything, the REM-POD immediately began beeping. "Oh, shit. That's the rem pod." Sam said, stopping on its tracks. "That was the temperature dropping."

You made sure the camera caught that as you got closer to it. "Oh fuck. I was feeling a bit cold since we got here." Colby added. "Alright. I think we're ready."

"Okay. If there's any spirit around that would like to communicate with us, we would like for you to use any of these devices we've put up for you." Sam started, as you made sure to get far enough from everything for the shot.

"You can touch these lights on the floor, or maybe this device I have on my hand." Colby continued, pointing towards the EMF reader. "We mean no harm, we'd just like to talk to someone."

A couple of seconds passed, looking around, waiting for something to happen.

"Maybe they don't want..." Sam began, before getting interrupted by the REM-POD beeping, making you hurriedly move your camera angle. "Oop. Nevermind. Thank you very much. Can you do that again if you're here with us? To let us know it wasn't something else?"

Silence filled the room for a while, before the device started to beep once again.

Excited, they began asking questions to this entity, expecting for it to be somewhat intelligent enough to give answers back.

Luckily, it was. It seemed to be someone that died inside the asylum, a woman. Curious about the story of this woman, they kept on asking questions. Some of them being answered, others being completely ignored.

Asides from the constant beep from their device, you heard a knock coming from one of the corridors. Quickly looking around, they stopped talking. "What?" Colby asked.

"Heard something." You whispered. The room went silent, followed by what sounded like footsteps getting closer. You turn the camera back at them and their faces were shocked.

"Holy fuck." Sam whispered.

"That was like... thumps. We're the only ones here, right?" Colby asked him.

"Yeah, we're supposed to be." Sam says, walking towards the place they heard the sound, quietly. You followed close behind. "Hello?"

Nothing. They kept on looking around, searching and at the same time waiting for something else to happen. "There's no one here." Colby says. "But that was clear as day."

"Super clear, the camera must've have heard that, for sure." Sam said, looking at you as you nodded. "That was crazy."

"Yeah, let's try something else but closer to this area, maybe it's more active." Colby said, and all of you nodded.

A couple of minutes later, and you were all set up. This time around, they turned on a spirit box to try and communicate better.

The idea was to first use it as normal, then for Colby to do the Estes Method.

And so, the spirits began to talk.

"What's this." It spat out. Colby and Sam looked at eachother, smiling.

"Hello, this is a spirit box, you can use it to communicate with us. Would you mind telling us who you are?" Sam said, looking around.

"Hello?"

"Hi, hello." Colby responded. "Who are we talking to."

"I'm scared."

"Scared? Scared of what?" Colby asked, furrowing his eyebrows whilst looking at the camera.

"Behind you."

They quickly looked behind them. "Oh, fuck. I hate that." Colby said, as you smiled at their gestures.

It quickly faded away when you felt the familiar presence of someone behind you.

Heart racing, you looked around for a second, but there was nothing there. It didn't mean the feeling went away, though.

"Monster. Care..." It seemed the audio cut before finishing the whole word.

"Monster... care?" Sam asked, confused.

"Or maybe it meant careful? Like, careful of the monster?" Colby questioned.

"It would make sense. What monster are you talking about? Is it harming you? Are you scared of this monster... or... person?"

It took a while before responding. Last thing it said, before a screech filled the radio was... "Run."

Quickly, they turned it off. They looked at eachother. "That was terrifying." Colby said. Sam nodded and sighed.

"Let's try and look around for some other place. This doesn't feel safe." Sam said and everyone agreed.

For the past hour of recording, moving around and joking here and there, you felt a bit uncomfortable. Usually, you weren't the type to get scared over the paranormal, but this place felt more eerie than usual.

You heartbeat has been increasing slowly, as well as a slight pain in your chest that quickly faded. You felt watched.

There was a point where you even felt slightly touched, quickly warning the boys about it.

Due to this, they almost discarted the idea completely, thinking you might be getting targeted, scared that it might do something to you. It took you a couple of minutes of convincing them to keep on recording before the conversation was dismissed.

You tried to brush it all off, as 'something you've felt before', but deep down you were really anxious about it. Perhaps it made you feel better to think about it being just the nerves.

But you weren't the type of person to feel these nerves for no reason.

"Hey, you good?" Colby touched your shoulder and whispered to you, noticing you seemed a bit weird. "You seem out of it today."

"Yeah, I'm good. I was just zoning out."

"Yeah, I noticed." He chuckled, looking into your eyes. "You sure you're okay though?" He raised an eyebrow, seemingly concerned. "You don't look well."

"What? Do I look like a ghost to you?" You asked, smiling, which quickly made him show that gorgeous smile you loved.

"More like you've seen one." You shook your head.

"I'm fine. I've just seen some shadows running in the corners of my eye, but nothing too big to point out."

He batted his eyes. "You've what?"

"Calm down, you know I see those things all the time. It's nothing new." Half of it was true. The other half, well... there was a chance you might've seen a whole figure standing close to a doorframe, but you felt your imagination was tricking you too much tonight, so you didn't say anything.

You weren't a psychic or a medium or something close to it anyways. If anything, you'd probably consider it more like a hallucination due to the constant lack of sleep you've been having lately.

"I know, I know, but still. You could tell us about it, you know? Maybe we all see the same thing you do and since you don't point it out, we don't notice."

You rolled your eyes playfully. You were about to say something, but a breeze passed through your ear, a soft whisper saying "Come play."

You jumped, covering your ear and walking closer to Colby. "Shit." You whispered.

Confused, he held your shoulders. "What? What? You heard something?" His worry was enough for Sam to stop setting the cameras up and walk closer.

"What happened?" He asked. You looked around where you were standing.

"Did you guys not hear that?" You asked, the shook their heads. "I heard something like... right next to me." When you said that, Sam began recording once again.

"Alright, so... apparently Y/n just heard something right next to her." He began explaining to the camera, pointing it at you.

"It was like a whisper, it.. uh... it just said 'come play', like, the creepiest shit you can say. I even felt the air on my ear, that shit made me jump." You tried laughing about it to not let the mood down, but it wasn't working much.

"Although I really want to, maybe we shouldn't do the challenge." Colby said, looking at Sam straight in the eyes, genuinely worried.

"Guys. Come on. Don't back down when we're this close." You said. "We're basically done for tonight, this is the last thing we're doing and we're out, right?"

"...yeah." Sam whispered. "Let's..." He sighed. "Let's do it. Just like she said, we walk through the corridor and come back straight away."

Althought skeptical, Colby nodded. "Fine. Let's hurry up then. The quicker we begin, the quicker we're leaving this place."

And so, everyone held their cameras and said their goodbyes. The three of you went through your respective corridors and began walking, alone, with no light.

"Alright guys. I'm not good at, like, talking to the camera but I'll try." You sighed, pointing the camera at your face while slowly walking the dark corridor.

"Honestly? I'm usually not as creeped out when we come to places like this, but this one is like... up there. It's giving me the chills, making me paranoid, I feel like I'm... seeing thing. Or maybe I'm just sleep deprived. That's... that's also an option now that I think about it."

Looking around with the camera, although it's absolutely useless, you started feeling out of breath. Almost as if the air didn't reach your lungs anymore. "It feels... hard to breathe." You took a deep inhale and shakily exhaled.

You gulped, your throat suddenly feeling dry as the lack of oxygen was evident.

"I'm just gonna walk... faster. I wanna get this over with..." And so, you did. But the further away you got, the worse it all felt. You felt your vision starting to get blurry although you could barely see anything.

You paused as your vision began to get used to the darkness.

At the end of the corridor, what you could shape out like a human figure was standing there. Seemingly the same one you barely saw before.

This time, it didn't seem to go away.

You were also alone.

Unable to breathe.

You don't know when it started, but you were unable to breathe properly. You choked, trying to regain yourself from the feeling.

Your neck feeling tight, your stomach hurting at the sudden feeling.

Putting your hands on your neck, you coulnd't feel anything that would make you feel this way. You started to get worried.

You felt as if you were being choked. You tried to scream, but all that you could spat out from your lips was a soft, quiet, 'help'.

Trying to turn around and walk back, you saw the figure again and got scared, falling towards the floor. You coughed for air, sucking back as much as you could but being unable to.

Leaving the camera behind, you tried to crawl back to where you came from, but the lack of circulation on your body failed you as you coulnd't handle it anymore.

Your body falling on the floor, the camera seemingly recording your movements come to a halt.

Your eyes closing, leaving you unconscious.

It didn't take long before Sam and Colby got back to the lobby. Waiting for you, something seemed off.

They knew the corridor wasn't as long as theirs. You should've been the first one out by that logic. They've been waiting long enough and they were starting to get worried.

Even though the concept of the challenge was to be alone in the darkness, the idea of you being in trouble was too much to bare.

Heck, even if you were pranking them, the anxiety of you not coming back on time was driving them insane, they were ready for a scare if it had to come to that.

But the scare they were expecting wasn't the one they got.

Minutes of walking and calling out your name came to a stop when they saw you on the floor.

Hurriedly, they ran towards you and fell to the floor, yelling out your name. "This isn't funny, Y/n!" Sam yelled, moving your body, only to notice how cold you felt. His heart sank.

"Y/n, come on!" Colby said, putting himself on the other side, looking at Sam. The color from his face was gone when he felt her body. Colby, worried, touched your body and understood why he looked that way. "Oh, fuck. Fuck!"

Throwing the camera to the side, Colby quickly checked your pulse. "Sam. Call 911. This is serious." You still had a pulse, but you weren't breathing. First thing that came to his mind was CPR.

While Sam began to call, Colby was trying as hard as he could to help out. He began doing mouth to mouth, trying to bring some oxygen back to your lungs.

Tears streaming down both of their faces. Colby started making compressions to your chest, while Sam was talking to the 911 dispatcher and using the flashlight to illuminate Colby.

Luckily, they weren't too late. You began to cough and moved to the side to spit out some saliva. You breathed heavily and both of the guys sighed in relief.

As you tried to catch your breath, they softly held you up in place while your color came back to you. You blinked a couple of times, adjusting your view to your surroundings.

When you looked at them, they hugged you tight. "Fuck..." Sam whispered. "Let's get the fuck out of here right now." He held you softly and helped you out, as Colby grabbed all of the cameras.

It was hard for you to walk. It felt as if a ton of weight was keeping you from even standing up. It felt as if your limbs went numb, the lack of oxygen probably acting up.

Sam noticed, and didn't hesitate on holding you up and putting you on his back so that you could rest. They began walking as fast as they could, reassuring you that you will be fine.

You were focused on getting your breath back while listening to them scream at the spirits.

"You are not allowed to follow us home." Listening to Colby talk like this, while taking all of the equipment made you feel light. You started moving your arms and made sure to hold onto Sam, closing your eyes.

"You'll be okay. We're leaving." Sam reassured you, waiting for Colby to grab everything and get out of there in a rush.

After the police arrived and handed you an oxygen mask, you started feeling much better. You had some marks on your neck, like some hands were just squishing the air out of you.

Your body... at first, you could even see your veins pop out of your legs because of your lack of color. The poor circulation that ran through your body for a couple of minutes really drove your body to its limit somehow.

It took you a while to be able to stand on your two feet again, but before the police left you could walk on your own just fine. Sam and Colby however still managed to help you out.

"Let's head back home." Sam whispered to you. You nodded slightly and tried to walk on your own, only to be held up by Colby.

"Don't force yourself right now. You need some rest." He said, taking you back to the car. Your face having a rush of blood because of the gesture.

"I... I can walk."

"Let us do this. Please. It's too much already that you fainted right when we weren't with you." Sam said, looking at you, your heart racing at the look of his blue eyes upon you. You gulped.

"...f..fine." You said, resting your head on Colby's chest, making him smile.

✮ ⋆ ˚｡𖦹 ⋆｡°✩

part two is up!! the link is in the beginning! <3

thanks for reading all the way! likes, comments and requests are much appreciated.

-nikkõ

#colby brock #sam golbach #colby x reader #colby brock imagine #colby brock one shot #colby brock fanfic #colby brock x reader #colby brock x you #imagine #fanfic #fic #one shot #sam and colby #sam and colby one shot #sam and colby fanfic #sam golbach x reader #sam golbach x you #sam golbach one shot #sam golbach fanfic #sam golbach imagine #angst #sam and colby fluff #sam and colby imagine #paranormal activity

[prying-pandora666]

From Zutara to Sokkla - Narrative Framing and Hypocrisy

Something that boggles me about the fandom is the complete double standard between Zuko and Sokka vs Katara and Azula.

A pretty noticeable example is how we frame the infamous “I’ll save you from the pirates” scene versus the Day of Black Sun.

The infamous pirates scene is often lauded (or condemned) as the birth of Zutara. Fans allege the tension between Zuko and Katara is palpable, and that their attraction is clear.

But let’s consider:

Katara isn’t a realized bender yet. She can’t defend herself. She’s surrounded by hardened adult criminals with weapons who have it out for her, and two firebenders (like the man who killed her mother!) who have been pursuing her doggedly, one of whom has shown he is quick to use violence even against civilians and the elderly.

Zuko dangles Katara’s necklace in front of her, the only item she has left of her mother, and threatens to take it away forever if she doesn’t sell out her friends.

If you want to read romance in this harrowing scene, feel free. It’s fiction and I’m not the morality police. Have fun!

What bothers me is the hypocrisy in how people frame this scene by comparison:

Consider this: Azula can’t bend. She’s unarmed. She’s pinned to the wall and has no means of escape. Her enemy is armed, is the architect of this invasion, has an army outside ready to follow him, and is currently flanked by an unstoppable earthbender and the friggin Avatar!

Azula is using herself as bait to protect her father (and ostensibly Zuko) knowing her life would be in terrible danger for minimum of 8 minutes. During which the enemy can do anything to her. The Fire Nation has done a lot of harm and there are surely many soldiers out there who would love to take their revenge on the Fire Nation’s pretty little princess who conquered the “impenetrable” capital of the Earth Kingdom.

The show goes out of its way to inform us that Azula is an expert at hiding her emotions. She can even fool Toph’s lie detector. Why?

Many people misinterpret this as a sign that Azula is an emotionless sociopath or whatever ableist pop-sci ideas they have about ASPD.

In reality, it’s the opposite. Azula being an expert at hiding her feelings is made clear so that we understand why she doesn’t look terrified, or vulnerable, or sad, or hurt until the finale when she finally cracks and her facade slips.

All she has at her disposal to protect herself is her wits (she had a knife and some Dai Li, but she has neither by this point). She smartly uses what she knows about Sokka to exploit his weakness and buy herself time. She’s so good at getting under his skin (which takes a sophisticated level of weaponized empathy) that even after he figures out what she’s doing, Sokka still can’t help himself.

This is all she can do to protect herself and her father. We as the audience know that Sokka and Toph aren’t going to kill or maim her, but Azula doesn’t!

So why in the world was this scene received as traumatic for Sokka?

Fans will claim that Azula’s mind games in this scene left Sokka with lasting trauma. That this is emotional abuse.

But who is the one pinned to the wall with no way to defend herself? Who is the one with weapons to threaten her with, and powerful allies who have it out for her?

If Sokka experienced any lasting trauma from this altercation, he sure never showed it! Sokka never seems to think much about Azula at all outside of wanting a rematch when it’s presented at the Boiling Rock. And even that is due to his feelings of inadequacy after the invasion. He even makes fun of Suki for being captured by Azula! Doubt he would do that if she had genuinely been tortured or if Sokka had been so traumatized by this scene.

Suki: Are you trying to get on my bad side?

Meanwhile, Katara does seem to have lasting trauma over her repeated altercations with Zuko. She talks about how he chased them all around the world threatening them. She refuses to trust him after he betrays her and fears he will get Aang killed. Zuko did hire an assassin.

In what universe can we read Zuko and the pirates threatening a helpless Katara as “romantic” but the scene with Sokka and Toph threatening a helpless Azula as “traumatic for Sokka”?

Only a universe where we have already subconsciously decided we are on Zuko and Sokka’s side.

These scenes can only be read that way if we have already decided Zuko isn’t that bad regardless of how Katara feels about what he does to her, and that Azula is pure evil regardless of what anyone does to her.

It’s a world where both Azula and Katara’s feelings are ignored.

If you want to read the pirate scene as romantic? Have fun. Enjoy your fics. It’s all good.

But let’s not pretend Zuko is some pure woobie in this scene that just needs some Katara loving, while Azula is some fearless psychopathic monster that enjoys putting herself in danger as long as she gets to “abuse” Sokka.

There’s a reason these two scenes exist this way. Katara and Zuko are parallels just as Azula and Sokka are. Katara and Azula are foils just like Sokka and Zuko are.

Fandom can and should do better by Katara and Azula. They deserve just as much consideration and empathy for their suffering and unmet needs as their brothers do. Even if Azula was a villain - so was Zuko for most of the show!

And as a pretty consequence, I can say this: Zutara and Sokkla are equally viable.

Goodnight, shippers.

#atla #avatar the last airbender #avatar #Zutara #Sokkla #zuko #katara #sokka #azula

[sunshine-jesse]

Ashley Graves Did Something Wrong

TCOAL plays a lot of fun games with the ways it makes you perceive events. From the title screen itself, to various pieces of official art, it primes you to accept certain narratives surrounding the game. Namely, the one that Ashley is very not good. She is, in fact, very bad! And it's pretty easy to see why- many of her actions fit neatly into the mold of an abuser. She's controlling, she tries to deflect blame, gaslights Andrew into making him take the blame for things she pushed him to do to begin with, and harasses other women to ruin his relationships with them.

It's all so easy, and makes so much sense. Case closed.

Right? Well, no. But actually yes! But actually, it's not that simple.

Y'see, as I said, the game establishes this framing from the get-go. It introduces us to our, uh, heroes and tells us in no uncertain terms that Ashley is bad and Andrew is a non-entity. It sets this framing intentionally so that many players will engage in a little quirk of human psychology called…

Confirmation bias!

I'm sure we all know what that is, right? Well, for those who don't, it's when we start with a bias towards something- or an idea of how things SHOULD be- and view every piece of evidence as confirmation that said bias is correct. The game, very blatantly, does this with Ashley's actions by priming us to see them as part of an abuse dynamic, with her as the primary abuser. And, indeed, it's not too hard to dig into Andrew's behavior and figure out that he, too, is fucked up and awful and come to the conclusion that their relationship was mutually fucked up and abusive. I did that in my last two essays, so I won't cover that ground again here. With this, it's easy to think that they bring out the worst in each other and that any relationship they have would be toxic, fucked up, dark, and every other word or phrase that describes the same idea, whether it makes them happy or not.

… But what if I told you that this, too, was an intentional misdirection?

So. Let us, for a moment, completely remove the framing that their relationship is toxic. Let us remove the framing that their relationship is abnormal or aberrant. Let's even remove the framing that either one of them is responsible for the harm of the other. I'm not arguing that any of this is not the case. Please, for the love of god, do not think that I am, if only so you can take the rest of what I have to say seriously. What I'm doing is trying to examine the two of them free of as many preconceptions as I can, using nothing but textual evidence and inference to figure out why Andrew and Ashley treat each other the way they do.

I will later examine why they MIStreat each other too, but first comes the reasons they treat each other well.

I'm going to start with Andrew, because, despite being the more complex of the two, it's actually pretty easy to figure out why he treats Ashley the way he does based on what he says. Let's go all the way back to the earliest known incident between the two in the story, where the two of them were at their most, uh, "pure," for lack of a better word: The cupcake scene.

Leyley was supposedly a problem child. She was neglected by her parents, disliked by her friends, and had nobody else but Andrew to rely on. She got nothing- absolutely nothing- from anyone else. And so, Andrew decided to celebrate her birthday, by buying her the cupcakes she wanted, by giving her what she lacked from others. By providing for her, and taking care of her. All he wanted was to make her happy, more than anything else. And, as Nina learned the hard way, at the expense of everyone else.

He doesn't lack empathy, per se. Andy just loves Leyley more than he loves anyone else by such a wide margin that his desire to provide for her overrides his fear of consequences… until those consequences threaten to separate the two of them.

That is a very Gender Roles thing to do. More on that later.

So. Ashley. Everyone's favorite disaster. Why does she treat Andrew the way she does? What does she provide for him? Well, isn't it obvious? She, too, wants to provide for him. Remember, she wanted the lemon cupcake because she thought it's what HE wanted. She also does most of the chores around the house. She prepares food, cleans the house, and does their laundry. She also provides for his non-sexual physical needs by offering him comfort whenever he needs it. It makes her feel useful. Wanted. Needed.

Ah, another very Gender Roles thing to do. See where I'm going with this?

The two neatly fit into a standard husband/wife relationship in a lot of ways. It's THE platonic ideal of such a relationship, actually! They make each other happy and provide WHAT THEY THINK the other really wants. It's really cute and perfect! As long as you ignore all the bad.

ignore all the bad …ignore all the bad… But we obviously shouldn't ignore all the bad. That would be ridiculous.

What I want to do is, instead, examine where the bad comes from, and why it's there. With the abuser/abused dynamic in mind, it's pretty easy to come to the conclusion that a mutual desire for control and power over the other is the sole determining factor. It's arguably the Central Theme of the game, and maybe a big part of what Nemlei is trying to convey. But, like, why should it end there? Why should that be where the analysis ends? There's a reason for everything.

They don't want to control each other for its own sake. They don't want to control each other solely to cover their own insecurities.

So why?

Ashley, first. She's obviously an insecure little monster, having never received the validation that she needs to really come into her own as a person. She keeps seeking it. Keeps trying to provide for Andrew. Keeps trying to make herself useful. Now, let's look at her calls towards Julia:

"DO YOU THINK YOU'RE BETTER THAN ME!? Just because you can fuck him and I can't?"

Ah, wait, hold on a minute.

"You think that's love?! Are you fucking delusional?? Cumdumpsters like you are just that."

Where does that wording come from?

"He will never love you. Not like he loves me. I am the only one. I am everything."

She doesn't need validation just for the sake of her insecurities. She needs it because she needs Andrew to be happy, and in her mind, she's the only one who can provide it. She knows him better than anyone else. She can see how happy she seems to make him, and that nobody else can do what she does. She knows, beyond a shadow of a doubt, that she makes Andrew more comfortable than anyone. She knows how important physical affection is to him. She can feel it. She doesn't lack empathy towards his plight or feelings; she has more of it than anyone, actually!

But Andrew, crucially, never seems to provide her any validation for this, even though she knows better. That's why she's so insecure.

"But wait," you might say, "didn't he, literally, fucking kill for her?"

Yes. But he always tries to place the blame on Ashley or use her as a scapegoat, when he was the one who pulled the trigger. He never accepts even the smallest amount of responsibility. And if a man can't even take responsibility for the violence he inflicts on others, what does that say about him? What does it say about how much he actually cares? oh. more gender roles. huh.

In Ashley's mind, that validation isn't validation because he didn't do it to prove he cared about her. He did it to shut her up. And… he never says anything to the contrary. He refuses to. All his validation is depressingly, overbearingly conditional.

His words always come with a caveat. They're always said in spite of something. They lack warmth. They lack kindness. They lack affection. She is never, ever given a key to lock the door to her insecurities…

…even though Andrew obviously has that key. He just refuses to give it to her.

But why?

Society! :D

There is something so fundamentally, obviously wrong with the way Andrew feels towards Ashley. She is a tar soul. A pariah. So horrid that her parents don't want her, so obviously bad that even demons don't want her. And yet Andrew, in spite of everything, still wants her. He wants to take care of her, when society tells him not to bother. He wants to protect her from other men, and even from herself. It manifests as jealousy because…

He, too, thinks the only one qualified to provide for Ashley is himself, because he was the only one who ever had. Violence comes so naturally to him that he takes it for granted. He kills for her, threatens to physically assault her when he thinks she's putting herself in danger.

It's so second nature to him that he thinks it should obviously be enough. But it isn't. His violence is so second nature as to be passive. It's non-committal. And what Ashley wants is committment.

But because of how society views Ashley, and how the world would view a romantic relationship between them, he can't truly commit to her. He can't give her the validation she really needs, because everything and everyone has told him that it's wrong. That she's wrong. And all his parents ever taught him is to be afraid of how others will react to that wrongness.

hey look, a man fearing the commitment a woman wants from him! more gender stereotypes!! I wonder what this game is trying to say!!!

Maybe I'm crazy or something. Maybe I'm just looking into it too deep. But I don't really care. I don't care if this is the intended reading, and neither should you. The fact of the matter is that most of the things that define them as toxic are not their fault. Most of the reasons they mistreat each other come from without, rather than within. The only reason they can't love each other is because the world tells them not to. Because it expects them to fill certain roles, to be certain people.

But Ashley can only ever be herself.

Maybe someone who's an actual expert on this subject matter could weigh in and give a true feminist reading. But me? I'm just here to point out patterns. I'm just here to point out facts. And one of those facts is that, to the world around her, Ashley did something wrong: She was born.

The Steam reviews of this game are fucking funny, but a lot of them say one thing that couldn't be further from the truth:

"I can fix her!"

No, you can't. She's only 'broken' in the context of her environment.

But in the words of another analyst:

It's madness to expect tar to behave like water.

So cut them some slack! They might finally succeed in a world that wanted nothing more than for them to fail. It's not our right to take that away from them.

#the coffin of andy and leyley #andrew graves #ashley graves #gaming #gravecest #tcoaal #tcoal #im going all in #and none of you can stop me

[nemastraea]

Doormat extraordinaire: Andrew Graves is down horrendous for his own sister | Part 1

Or as I like to call it, actual literal word vomit attempting a proper character analysis!

Here's a link to the AO3 version for archive purposes: The doormat extraordinaire has a bit of a romantic streak,

Content warning: This will heavily feature spoilers from Episodes 1 & 2 of The Coffin of Andy and Leyley. Trigger warning: Abuse, cannibalism, child neglect, codependency, harassment, incest, murder, self-harm, and suicide. Disclaimer: I will occasionally reference an extremely normal essay from Sufficient Velocity commenter Leyleyfication (here). It would be a lot easier to read this essay first as Leyleyfication does a pretty good job establishing the following: - Ashley is dependent on Andrew to assure and validate her of her own insecurities, and - The game heavily implies that Andrew wants to fuck his own sister.

Anyway: The Coffin of Andy and Leyley! A game in early access where a pair of siblings are stuck through a seemingly never-ending quarantine together, desperate not to starve to death. When their cultist neighbor dies in a ritual gone wrong, they rationally resort to cannibalism. Fun!

I am definitely going to assume that you read Leyleyfication's extremely normal essay (I am on my knees, begging you to read that). Which is why this essay immediately starts with, "yeah, Andrew definitely wants to fuck his sister" as its baseline.

What I will be adding to that funny little cauldron of fucked up sibling dynamics in a horror visual novel are the following: Andrew's fixation and sexual attraction manifests as his desire to control, dominate, and possess Ashley. And it is framed as a fatalist attraction and the totality of his existence (for worse or even worse).

Because of Tumblr's limit for 30 images per post, though, I'm going to have to split this extremely normal and reasonably lengthy essay into... multiple posts! Yeah! I have no idea how long this will fucking go!

So first things first: how can we tell that Andrew is even attracted to Ashley in the first place?

Nemlei (Devlog 05). Note the hickeys above and below Ashley's choker and her left inner thigh, and Andrew's left hand creeping into her right thigh.

As Leyleyfication points out, the game primes us to believe that Andrew is a pushover and Ashley is his abuser. This occurs in the Steam page as it explicitly says Ashley is "in fact, very bad" and Andrew is a "doormat extraordinaire." Moreover, it's very easy to tell that Ashley is, on some degree, obsessed with Andrew:

She's happy to hear that Julia broke up with Andrew over the phone;

She repeatedly accuses him of finding the Lady from Room 302 attractive and he 'tried anything with her;' and

Her flashback to wanting to punish her friend Nina ("the Bitch in the Box") for crushing on Andrew.

Episode 1, dream and memory. Leyley previously said that Nina should know better than to 'steal from another woman,' referring to herself. The implication that Andy is hers is toyed with after this moment, when she says she'd put Andy back in the box.

The game does prime us to think that Ashley is Andrew's abuser. It also suggests that Ashley projects an unrequited and incestuous love onto Andrew. Before we consider Episode 2's narrative, Episode 1 gives the initial impression that if Andrew comes to reciprocate her feelings, it's more of a reaction and subsuming to her will. That it may not be something he wants for himself and independent of Ashley's manipulation.

But again, I do believe Andrew wants to fuck Ashley. And always has been. He just frequently vacillate between 'subtle' and 'really fucking obvious' tells that completely take advantage of the game's third person limited POV.

Keep in mind that both Andrew and Ashley are extremely unreliable narrators. We aren't going to get information they personally do not care about and that is on top of our own choices as the player.

(A digressive example: you will not learn that the founder and CEO of Toxisoda's company was a former surgeon unless you interact with the television in Andrew's Episode 2 dream and memory of their blood oath. Otherwise, it neatly ties into the surgeon that Mrs. Graves conveniently says she was directed to regarding the siblings' quarantine in the main story.)

When it's really fucking obvious

When you play as Andrew in Episode 2, his post-dinner argument with Ashley carefully frames them both. They are cramped in the foreground and Andrew's left arm is conveniently blocked by Ashley and the kitchen knife, as seen here.

Episode 2, common route. Prior to this, you can interact with Mrs. Graves for her to pointedly comment on the siblings being inseparable.

At this point in the game, their physical closeness is something we're used to by now. After all, we've already seen Ashley on his lap at least twice; Andrew slept in her bed in Episode 1; and Ashley confirmed they've shared the same motel bed multiple times in the one-week interim between Episodes 1 & 2.

But the game abruptly shifts to Mrs. Graves' POV when she enters the scene and not only do we see the two as physically close, but we notice a few more details.

Episode 2, common route. The first picture transitions from Andrew's POV to Mrs. Graves as it introduces us to her entering the scene.

The contrast of how spacious the kitchen is from Mrs. Graves' POV to Andrew's cramped POV is obvious. More importantly, Andrew's fingers loop through Ashley's belt loops when the two are huddled together. When Mrs. Graves clears her throat, the two don't really separate.

Ashley pivots on her left foot so that her body is turned to their mother, not Andrew, but she doesn't step away from him. Andrew, meanwhile, recoils from Ashley and withdraws his hand. But he isn't turning his body to face their mother like Ashley does here. His attention, at least in this moment, is still towards Ashley (and, yanno, the sink).

Episode 2, common route. Two things to consider in the second picture: Andrew hides Ashley's bite mark on his cheek with his left sleeve and he conveniently moves the pillow from behind him to his front.

The 'tell' isn't so much as the two are unusually physically close. Again, we're used to that by now. But it's how the two siblings react whenever Mrs. Graves comes into the picture. Ashley doesn't really give a fuck about whether or not people assume the worst of her or even her intentions regarding Andrew. To Ashley, their proximity is normal and anyone who sees that as a problem is not worth an explanation or reason.

But Andrew is at least subconsciously aware it's 'not normal.' As far as these moments are concerned, Andrew instinctively tries to do damage control by either putting space between them or keeping his hands occupied so they aren't visibly touching Ashley. Still, he either does not mind or actively appreciates his physical closeness with Ashley.

When it's really fucking obvious (but only in hindsight)

In Episode 1, Ashley passes out after trying to clean up after the apartment. Regardless of her passing out in the living room, the bathroom, or their parents' room, she will wake up on the couch with her head pillowed by Andrew's lap.

Episode 1, Ashley's POV. Andrew's hands often hover over Ashley's head, but more than that—

I personally didn't notice this until I replayed Episode 1, when I basically have the hindsight of Andrew's fixation with hair. But yes, his fingers idly twirl through the ends of Ashley's hair as they watch TV. It's implied that Andrew can and will do this when Ashley pillows his lap, awake or asleep. He does not recoil from it when Ashley does wake up and later on, in Episode 2, even continues to brush it from her face.

Episode 2, common route. Ashley fell asleep at the passenger seat, so Andrew had to have transferred her to the back seat to pillow her head again. Though, technically, she's more cramped at the back seat than if he'd just reclined the passenger seat.

So far, we've seen that Andrew has a natural tendency to not only be physically close to Ashley, but to hover over her personal space and be in constant and direct contact with her. Whether it's by having her head on his lap, twirling her hair through his fingers, or even constantly grabbing her by the head in various states of comfort, playfulness, or outright threat (but let's put a pin on that for now).

The weight behind this candid contact shifts when Episode 2 draws a pretty explicit parallel between Julia and Ashley. Assuming that you interacted with Julia's landline and heard Ashley's voicemails, you know (and Andrew knows) that Ashley draws that connection herself:

DO YOU THINK YOU'RE BETTER THAN ME!? Just because you can fuck him and I can't? You think that's love?! Are you fucking delusional?? Cumdumpsters like you are just that. He will never love you. Not like he loves me. I am the only one. I am everything. I am the secrets you'll never hear. When he lies in bed at night, and when he needs someone to hold on to... It's not you he seeks out. It is me.

Episode 2, common route. Andrew's dream and vision implies that Andrew's heard these voicemails before.

That connection extends to the hair contact as well, as Andrew goes in to hug Julia, cards his hand through her hair and requests she tie her hair up.

Episode 2, common route. Andrew's dream and memory of Julia when they're older. From the use of Andrew's present-age portrait, suggests is closer to the timeline of the game's events than his and Ashley's memories as Andy and Leyley.

From this moment, we can have one of two assumptions: either Andrew wants Julia's (black) hair put up like Ashley's, or Ashley caught onto Andrew's hair kink and puts her hair up to imitate it.

Regardless, we infer the following:

Andrew teases affection through touching and even pulling on one's hair.

His fixation on ponytails and pulling on them does not exclude his own sister. It still stands and without reservation, perhaps more explicitly since he can do it so candidly, as we saw before.

The last of that Julia-Ashley parallel is self-contained within Episode 2. But only if you end up in the Burial route regardless of Ashley's platonic or incestuous vision.

Episode 2, common route (first picture) and Burial route (second picture). It's worth pointing out that Andrew is actually disinterested and moody during his conversation with Julia, and only perks up when he mentions Ashley or feigns care for Julia (since he extends his care of Ashley to her as well).

The game ends up drawing parallels on how Andrew treats Ashley, for better or for worse, with his ex (which is definitely worse, poor Julia). In doing so, the game blurs the lines between romantic affection for Julia and 'platonic and familial' affection for Ashley.

Y'all, this isn't even getting into how Andrew respectfully gives his parents space and only crowds them when he threatens them with his cleaver. In his mind, Ashley and Julia are in that same space of physical and romantic displays of affection; something he reserves only for them (only without reservation for Ashley) that does not extend to anyone else. His ex-girlfriend, and his sister. Shit's wild.

When it's obvious BUT it's violent!

That isn't to say that his hair fixation (hair kink?) is completely innocuous, though, as it rears its ugly head (pun unintended) in Decay. Which is what that previous pin was for! Yay!

You end up in the Decay route if Ashley doesn't trust Andrew with keeping an eye on their parents. Here, Ashley sleeps on their parents' bed by herself and has an alarming vision: an unknown party chases after her through the in-between and when they catch up to her, it's Andrew. Ashley has nowhere to run and Andrew eventually grabs her and threatens to kill her.

Whether or not Ashley can defend herself depends on Andrew expending all of her gun's ammo when he deals with the hitman, or not. But that outcome divergence will matter much, much later (so that's another pin for us to come back to).

The sequence of events actually mirrors the way the siblings ambush the Lady from Room 302 back in Episode 1. There, Andrew closes in on her and grabs the Lady by her wrist and uses his front to pin and restrain her. With his cleaver to her throat, the Lady is completely at his mercy.

Episode 1 & 2, common route (first picture) and Decay route (second, third, and fourth pictures). Note that Andrew restrains the Lady from Room 302 by the wrist while with Ashley, by her hair.

Andrew asserts control of the person and the situation through violence. Whether it's by killing them (the wardens) or by threatening physical violence (the Lady from Room 302 and Ashley). It's always on the table for him. As Leyleyfication puts it, "He's so calculated in how he approaches his use of violence [here]."

That violence includes Ashley. It's always on the table where Ashley's concerned. The game even juxtaposes when Andrew threatens violence and physical assault 'playfully' versus when he's seriously out for blood:

When you interact with the wall of call girls' numbers and Ashley jokes about leaving her number on the wall, Andrew 'jokingly' threatens to backhand her for even thinking about it.

When you interact with their parents' latched window for a second time, Andrew 'teases' slapping Ashley if she doesn't find a way to open it. (Ashley jokingly asks if it's on her ass or at her face, and assumes it must be the face when Andrew says she'll have to find out.)

The two other times that Andrew exerts violence against Ashley are both in Episode 1 & 2. We can remember when that happens in Episode 1, when Andrew's had it with Ashley's fits and threatens to kill her:

Episode 1, common route. Y'all, Andrew was choking her hard enough for his grip to bruise.

It happens again in Decay when he confronts Ashley about repeatedly calling him Andy and therefore, breaking the promise he coerced her into from Episode 1.

Episode 2, Decay route. Another thing to keep in mind is that Andrew's outburst is preceded by Ashley prodding him about his current state and insisting that Andrew was fine with 'Andy' during their home invasion.

In Episode 1, Andrew resorts to harming Ashley because he's fucking had it with her accusing him repeatedly of trying anything with the Lady from 302 and, in her eyes, his 'infidelity.' Where she accuses Andrew of not loving her enough that if his eye catches another girl, he'd leave her behind or flip on her. In Episode 2, she's poking and prodding on his boundaries on 'Andy' and whether or not, once again, he's with her on their now-committed life of joint crime.

If I can give another example, it happens in Andrew's common route memory of Nina's death and his blood oath with Leyley.

Episode 2, common route. Prior to this, Andy expresses immense exasperation at Leyley's tantrums over him 'thinking about that bitch again.' When he goes to grab the kitchen knife, cleans it, and returns to Leyley on his bed—he's briefly considering killing her.

Andrew threatens Ashley violently whenever he intends to confront her on her perceived brattiness, for lack of a better word. And keep Leyleyfication's essay segment on Ashley's insecurities and need for Andrew's validation in mind here—when Ashley does this, she wants and even needs Andrew to comfort her. But her aggression treads Andrew's patience and really, his tolerance of her behavior.

When Ashley's anger, clinging behavior, insecurities, and possessiveness of Andrew slips his control and tolerance, he resorts to violence to coerce or even dominate her.

I think (or hope, if it's clear enough) it reinforces what Leyleyfication points out:

The truth of the matter is, Ashley can only make Andrew do anything because he lets her. I don't mean in the sense that I'm saying abuse victims let their abusers emotionally abuse them, I mean in the sense that he is clearly considering his options on the table and choosing to discard those that could stop her, or bring an end to any of this.

It also reflects on another aspect of why Andrew resorts to violence: in all three situations, Andrew remarks on Ashley's behavior and her sake. If she acts up again once they're out of the apartment, it'll cause trouble for him while they're evading authorities. If she's going to call him Andy from hereon out, what's the point of running away with her. If she expects him to leverage keeping 'her secret,' he won't because it's for her sake.

Andrew rationalizes his attempt to control of Ashley's behavior as being for her sake. But really, isn't it him confining her behavior to something he can tolerate and personally handle?

I'd also like to point out that Andrew admits that he noticed Ashley push for calling him 'Andy' during the home invasion, and he did not argue with her on it while they held their parents hostage and readied to sacrifice them. We can infer that when Andrew calculates his use of violence, that can also factor when, where, and how he exerts it.

--

Well, that's where I can reasonably end this half of my word vomit! Now, onwards, to part 2!

#lia's conspiracy board #The Coffin of Andy and Leyley #TCOAAL: Andrew Graves #TCOAAL: Ashley Graves #ship: coffincest #character analysis

[darkficsyouneveraskedfor]

professor steve or boss steve?

👀

I don't know what this is but I chose professor Steve

One is the Loneliest Number

“I’m sorry I’m late,” you bluster in through the door, “I got caught–”

You stop short. The room is empty. You check your watch, the small golden piece your mother got you before you left for college, and peer around once more. There is only one other body in the immense room. Your professor, Dr. Rogers.

“Oh, hi, I…” you sputter, “it’s not the wrong day, is it?”

The question strikes you as stupid the moment it hangs before you. No, he wouldn’t be here if it was the wrong day.

“Did I get the wrong time?”

He sits up, setting down the book on the desk before him. He looks unimpressed as he leaves on the hardcover of his copy of Wuthering Heights. Your own is a curling paper back with wrinkles along the spine. You bite your lip and teeter on your toes, turning your toes together.

He watches you, sliding the book loudly across the wood, “you are the only one. Seems like this wasn’t such a good idea.”

You frown and look above his head, at the face of the clock ticking on the wall. It’s almost twenty minutes past the hour. You feel worse for him now than you did running in late.

“I’m sorry, professor, I…” you look around awkwardly, “I was so excited but maybe someone else will show up. I don’t mind waiting.”

He seems less than heartened by your words. He sighs and looks down at the book, running his fingers across the embossed cover. You go to the middle row and lift your bag onto the desk, fishing around for your copy.

“Maybe we can get started without them,” you volunteer, searching for anything to kill the unease, “I really enjoyed the book, Prof–”

“Don’t bother. Go back and have fun with your friends,” he waves you off as he turns back up the aisle, “I won’t keep you. Obviously, you coeds have a lot more going on than some ancient tome.”

“Oh, uh,” you blink at his back, his broad shoulders stretching the tweed of his blazer. He talks as if he’s terribly old but he hardly shows it. There’s a few strands of silver in his hair but you can hardly tell as they blend into the golden highlights, “so, what do you think? Did Bronte mean to reprimand her protagonists or romanticise them? I thought the narrative was kinda condemning, don’t you think?”

He stops and pushes his head back. A long breath as he turns on his heel.

“Really? Most would say it’s overly praising, that it glorfiies Catherine and Heathcliff’s love,” he intones, “at least, most girls your age say so.”

“Well, I uh… found it almost annoying that Heathcliff refuses to change,” you explain as you sit down, “truly, but with Hareton, Catherine can grow…”

“Hmm,” he hums and walks along the next row, turning a chair around to sit, “tell me more.”

You rub your dry lips together before you find another thought. You don’t want to admit that you were scrolling on Reddit and a lot of your ideas were borrowed from the arguments there. Still, you came all the way here and you just couldn’t bring yourself to leave him. 

You go on about the mirroring of Heathcliffe and Catherine, how their similarities are almost detrimental, as if they are part of each other rather than lovers. He nods thoughtfully as you speak.

“I don’t know, I think I need to do a second read,” you shrug as you eyes meet his. The intent blue irises nearly make you wither.

“I think you got it,” he allows his mouth to curve just a little, “thank you for humouring me.”

“No, professor, I–”

“I’m not stupid, the letters beside my name would at least suggest that,” he leans back in the chair and frames his book with his thumbs and index fingers. 

You admire the cover, leather inlaid with the image of the literary amours, “yours is much prettier than mine.” You close the curling cover and try to hold it smooth, the blocked font offering little more than simplicity. “I got it from the second-hand pile at the student shop.”

“It has character,” he says as he reaches over, his thumb brushing yours as he slides it from beneath your grasp. He flips through the pages, the soft breeze of the flutter causing a short blond strand to droop down his forehead, “a special sort of beauty.”

He peeks up at you. You don’t know what to say. What he’s waiting for. You smile as his gaze follows your nervous fingers as they tap against your throat. You still the anxious gesture and look at the clock.

“Like you,” he breathes. 

Your eyes drop back to him and you shake your head, “pardon?”

“Hm,” he tilts his head, “I didn’t…” he cranes to look at the clock, “well, I won’t keep you any longer. I guess you should–”

“Have you been to Marge’s? The new cafe down by the arena?” You blurt out. Your habit of rambling when you're addled never fails to corner you, “I was going to go there after and have some tea. Maybe…” you touch your cheek, suddenly embarrassed. “Oh, shoot, I guess that’s too forward. I’m sorry, I’m not… I’ll go.”

You reach for the book but he keeps it in his grasp. Your eyes meet his as he watches you, “I like tea,” he offers, “if you don’t mind the company.”

#steve rogers #ask drabble #drabble #professor!steve #steve rogers x reader #dark? #mcu #marvel #captain america #avengers

[joezy27]

"How To Write HAWKEYE" by Matt Fraction

My process for Hawkeye isn’t like anything else I’ve ever used for writing, and it’s sort of involved. For a lot of reasons—none of which have to do with the how of anything, let alone the how of writing comics—my approach with this book, I decided early on, would be completely different than anything I’d ever done before. I’ll get into some of the why and how here, but, from that decision, everything about writing Hawkeye kept getting weirder.

About a year before I started on Hawkeye, I started to experiment with writing in a method called Marvel Style or Plot Style. It’s called Marvel Style because Stan Lee came up with it when he was the only writer at Marvel and had to produce eight books a month. Stan started to write in a way that leaned very heavily on his artists rather than requiring him to produce the screenplaylike scripts most of us think of as full scripts or just, y’know, scripts.

Art by David Aja

Here’s an example of a full script I gave to my dad:

PAGE ONE 1.1 A SWEATY GUY gets out of a car. GUY We’re here. 1.2 The guy walks to a house, nervous, peering over his shoulder as he goes. GUY Ha ha. 1.3 He walks up to the front porch almost on tiptoes. GUY ha. 1.4 CLOSE: Still nervous, still on edge, he adjusts his tie. Blood under his fingernails. Uh-oh. NO DIALOGUE 1.5 FROM BEHIND: As he pokes his finger into the doorbell, we see, with his other hand, he’s got a gun held behind his back. SFX Ding dong

Note: SFX means Sound Effects

And so on. Now that took me as long to type as it took you to read, but you get the gist: dramatic beats and certain visual moments are isolated and chosen because they transmit the narrative and dramatic story flow to an artist who chooses his shots (or might take my suggestions if there are any) accordingly and crafts a sequence of images, keeping in mind moment, frame, image, flow. Isolated dialogue runs below to allow the artist to understand how much space to allot for words, and that’s it. McCloud-101 stuff, right?

But Marvel Style for David [Aja, the artist on Hawkeye] looks something more like this:

PAGE ONE Okay, David, on this page, a little car pulls up to a little suburban house and NERVOUS MAN gets out half-laughing to himself. He skulks to the front door, maybe adjusts his tie. He’ll have, like, blood under his fingernails. He looks over his shoulder, knocks. Then the last image on the page needs to be: we see he’s got a GUN BEHIND HIS BACK. “We’re here,” he’ll say, at some point, to no one in particular. And maybe giggle on his way to the door. NERVOUS KILLER CREEP here to WREAK HAVOC, David. Okay.

And I’ll move on to page two. My scripts are super informal. Nobody, but your artist and letterer are gonna read it, so why not make it fun for them to read?

I chose to write Hawkeye for David like this for several reasons. First, my favorite pages from our time on Iron Fist, which was written Full Script-style, always came when he’d politely and respectfully diverge from what was scripted for him, make something magical, then find his way back to where he was expected to be. So I’d start writing more and more vaguely for him, to give him more and more freedom, and he always crushed it. By “crushed it,” I mean he made a great page that made me look smarter than I am. Second, and I mean no disrespect to any of David’s other collaborators, many of whom I’m a fan, but I never liked David’s work more than I did on Iron Fist. And they were all doing full script for him. So, y’know—maybe a lightbulb went off. Third, writing Marvel Style scares the living crap out of me. It is the antithesis of what we teach ourselves as writers. It requires trust and sharing and believing in your partner—and he’s a partner, not an artist here, just check the credits page—and trusting in the collaboration above all else. And it’s easy to see how slippery a slope Marvel Style can be to get to “PAGES SEVEN THROUGH NINE: They fight.”

Art by David Aja

I started experimenting with Marvel Style because it scared me, and when I get scared, I get exhilarated. These things, this job, it’s the best, but it can grind you down. It crushes your wrists and warps your spine and dries your eyes and smooths down your teeth and grows your gut. Excitement and danger, though meager compared to what, say, a firefighter might encounter, is important in your work.

Also, I thought it could save me time. I thought I could do half my work on layaway, basically; that I could crank out a plot in three or four days and script a few weeks later, in one or two days. I mean, it worked for Stan, right? And he and his partners—partners—only created the dang Marvel Universe. Lastly, it’s [Marvel Comics’s former editor-in-chief and current chief creative officer] Joe Quesada’s fault.

Let me digress here for a second: Joe da Q is a great guy. Great artist, great boss, great dad, great guy. And I love talking to him about the art of the art, because he’s been around and has some stories and a head full of great thoughts about it all and … and you do it for about a minute and a half and you realize exactly how Joe earned everything he earned and you couldn’t be happier. Anyway, one night Joe is winding Mr. Brian Michael Bendis up at BarCon. BarCon is the “con” that happens in the bar of the guest hotel of whatever con you’re at, literally, every single night, of every single convention, ever. Anyway, so Joe is claiming much of Marvel’s now-decades-long dominance over comics came from the inescapable visual firepower of our founding fathers, that Marvel’s visual style is as much a key to its successes as the radioactive spider. And if you doubt it, just look at how the key moments in the company’s history were written: Marvel Style. Brian howled in outrage, “That’s not writing, that’s cheap, that’s lazy. When you cede control of choice of moment to someone else, you’re just mad-libbing …” It went on and on. Joe poking, Brian exploding, and Joe giggling with glee.

Joe Quesada loves his family, the Mets, the Beatles, Marvel, and winding Bendis up, in that order.

I realized though, as I listened to them play-fight, that it was making me nervous. Just to think about Marvel Style. Just to pretend I’d even try it, even on a short story made me, sweartagod, nervous. So many of my favorite comics were done by singular cartoonists—Eisner, Hernandez, Brown, Clowes, Chaykin. And the more I thought about it, how could I ever hope to write the thing those guys did for themselves? You can’t. A writer could never coax American Flagg! out of Chaykin—unless they gave him a Marvel Style script and treated him like a partner as invested in the storytelling as the writer.

So I knew I had to try it.

This comic has been written in a giant scramble. All out of order. Not by design but … but because Team Hawkeye does nothing the easy way.

I know a big part of Brian’s lessons here is that the only way you need to find is your way. That your way is the right way and anything else is an obstacle but … but please, god, don’t do it like this. This is how I know how to do Hawkeye.

My initial pitch for Hawkeye ended up being published as issues 4 and 5. It’s our first two-part storyline and is very different than the issues on either side; international travel, glamorous and exotic casinos, international cabals of evil. Clint-as-Bond, where he’s in a tux more than a supersuit. Marvel said okay—remember, we just needed like nine of these—but I pulled out because it wasn’t right. When I sat down to write it, it wasn’t right, and I had to leave. I had a story, not a book, and so I stopped.

Then one night I thought about Jim Rockford and The Avengers—the UK ones I mean—for whatever reason, and found my book.

So I had to repitch. I got it, luckily, but everyone thought I was nuts. Anyway.

I was going to write Marvel Style for David. It was going to be all done-in-one, or sometimes two, issue stories. It was going to be about what Hawkeye did when he wasn’t being an Avenger because, when I got the book, Clint Barton was everywhere and I didn’t want to step on toes. Give me him on his day off, I figured. It was going to be street-level, real-world kind of stories, in, of course, the Mighty Marvel Manner. I would try to counteract the banal everyday stuff with a complicated structure that would reward close-reads. So yeah, there might be an issue that’s about Clint trying to buy tape, but it’s going to start with a car chase, cut back two days, then cut forward again, and on and on. And he would have a kind of mentee/partner in a young girl named Kate. It’s a double act.

So then I wrote the first issue. And I sent it in, and my editor said what I felt and suspected: “This is a second issue.” And he was right. It was as much about Kate as Clint, and it’s Clint’s book, so back to the drawing board.

Then I wrote what became issue 1. So, psychically, the order of Hawkeye to me goes 4, 5, 2, 1. Physically, in terms of what was actually typed and invoiced, Hawkeye was 2, 1, then 4 and 5—because those were for a guest artist—then 3, then 6. It can wreck your head if you have more than just that to do, let me tell you.

Art by David Aja

HAWKEYE ISSUE 6

Issue 6 was a breakthrough for a lot of reasons. First off, though, at this point, there were five other issues and they were all written out of order and it was hard for me to keep track of what was happening when and where.

I knew 6 was our December issue, and I always wanted to write a story with Christmas as a backdrop, so I locked in to making it a holiday issue. And I wanted to do a story about Clint wanting to hook up his DVR, but things kept getting in his way. Somehow those two strands tied together in my head.

I wasn’t kidding earlier when I said this job kills your hands and your wrists. Add to that I’m an art school dropout who misses his sketchbooks and I’ve, from the start, always started my comics writing in cheap little notebooks. Partly to get away from typing, partly because I love the feeling of graphite dragging across the page, partly because I’ve thought out and problem-solved in sketchbooks my whole life.

I wish I knew how I made the following intuitive leap, but I think that’s just it—like so much about my writing, Hawkeye especially, is all intuitive. I took pieces of paper and folded them in half. Across the top, I wrote the issue number and title. Down the left, I numbered 1 through 20 to represent each of the twenty pages of the first five issues, and then I wrote in a short sentence or phrase about what happened on each of those pages. I needed to, at a glance, be able to see how I was pacing things. And if I want to check, oh, how many pages that fight scene was on page 3, I could just consult my mockups and move on. I could just carry them around in the back of the notebook, lay ’em all out in front of me, and see six months at once. Perfect.

For whatever reason, I have continued to write like this for Hawkeye. I’ll lay out the last few issues and the next few issues, even if all I have is the cover idea and title (if I’ve got the title I have a vague sense of what the story will be), and look at how they all flow in and out of one another. Here’s the mockup for issue 6.

I randomly gave myself six days to tell this story in. (There’s a DJ Shadow track called “Six Days” that director Wong Kar Wai shot a video for, and I like the song and the video and I like the sound of “six days” as an increment of time. It comes up in my work a lot I’ve noticed.) Now, at some point in the writing, I realized everybody in the real world has to endure the holidays together, so I thought, “Great, we’ll find out what day our book comes out and make that the day the book starts on, and then bip and bop around the real days of the month.” But at that point, it had started on a Thursday or whatever, so I had to rework it all, and I kept getting confused.

As I pecked through the list, things got complicated. Look in those margins and you can see me losing the real time aspect of it, the actual days and how they all fit. So I had to get linear for my own sanity, if nothing else.

Here’s me boiling down the six days just so I could keep track—but once you tie a comic down like that with a nonlinear chronology, suddenly this all gets important. Well, was the fight at night? Okay, so then the next morning he has to be here, and beat up. But if … well, wait, he needs to be there, too. So maybe the fight was really the night previous, like, at 12:01 a.m., and it’s really been closer to forty-eight hours since, and…

Anyway, it was weirdly algebraic. You’ll see, in the script, how I added time even to help David and Matt Hollingsworth, our genius colorist, in their staging.

With my little half-sheet done, it was time for me to write my take on Marvel Style for David.

My Marvel Style scripts are really, if I’m being honest, about 15 percent less full than a typical full script. There’s dialogue sometimes. And if there’s, say, six little paragraphs on a page, you can tell how many panels a page I’m thinking about. But it’s as Marvel Style as I get. It works for us, though. For example, using the page as a kind of Advent calendar—to use an Advent calendar as a design device, came entirely from David. As I said—I trust in him to be as invested in storytelling as I am, and he produces things I’d never think of, let alone know how to explain in a script for someone to draw.

Notes for Haweye #6

ART PROCESS From my script, David produces thumbnails—and they are the most laborious thumbnails you can imagine. All of David’s heavy lifting is done here. These things are tiny little bursts of science. Not that his mark making isn’t important, but his thinking is paramount to all of it and you can see it all in the layouts. It’s his half-sheet, if you will. Hardest work goes there.

Art by David Aja

So I take the layouts and do a dialogue pass the best I can. Scenes can grow or change or transmute from what I’d written, or I can give notes and add things or take away. It’s great—as long as I can tell what’s happening, I mean. Which isn’t always.

So then David enlarges the pages with his own dummy lettering pass. By “dummy lettering pass,” I mean he actually letters the book roughly, but completely, so I can see where things need trimming and he can see how the words work in the frame. He sends this back and I tighten up my script accordingly.

Once David’s art gets the editorial okay from editor Steve Wacker, it goes back to David and colorist Matt Hollingsworth who have been, in the background, talking about the color schema for the issue. In a book where time shifts so hard and weird, color is one of the primary keys to helping orient the reader. Our readers are smart; they always get it. A big part of the why is Matt, doing subtle, almost invisible little things to keep you going with us. I could talk about this more at length, but it’s not my place to; let me just say, there is tremendous storytelling happening with our book’s colors.

Art by David Aja

Then I adjust the lettering until poor Chris Eliopoulos (letterer on Hawkeye) wants to murder me and the book has to be sent to press. Wait two weeks and, voilà!

We must be doing something right.

Hawkeye script by Matt Fraction, art by David Aja

Hawkeye script by Matt Fraction, art by David Aja

HAWKEYE - The Fraction & Aja Creative Process

Words for Pictures - The Art and Business of Writing Comics and Graphic Novels (2014)

#Hawkeye #Clint Barton #Kate Bishop #Matt Fraction #David Aja #Matt Hollingsworth #Chris Eliopoulos #Marvel Comics #Words for Pictures

[sgiandubh]

It's all fake, anyway

Oh, my. The last two or three video snippets in Marina del Rey. The revolt. The pearl-clutching. The hate.

Again, you know nothing, Jon Snow. It's all about the medium being the message, again: carefully calibrated snippets of information, destined to a captive, deeply divided and (how can I put that without sounding offending, I wonder) unexperimented (yes, that's decent enough) audience.

During the last 24 hours, we've got the Marina del Rey gin promo & MPC teambuilding (hardly an orgy, btw) and C's MUA (or is it hairdresser? irrelevant) hinting on Instagram about a photoshoot at a gin distillery in a #beautifullocation, somewhere on Earth, presumably in Scotland - given her last IG follow. No further details, of course. Very probably a (late-) latergram, too, when she finally got the green light to publish it. Implying nothing, but leaving a boulevard bandwidth for people to infer whatever suits their own narrative. Expect FMN news soon? I highly doubt that and stand corrected: the last photoshoot (with McSideburns, in London) was on May 3rd, when she needed to somehow show the world the Two of Them were continents apart. Identical modus operandi. And always, always via tertiary players.

As for the Marina del Rey teambuilding, if you think that is 'S living his life' you are: a) living in a remote mountain/island area or under a rock; b) an impenitent Mordorian with an agenda to boot or c) incredibly incompetent with the way of the world (or at least, that world). Allow me to translate?

It is alcohol promo, duckies, disguised as teambuilding. The intended message is aimed at a younger, non-OL related audience (as I already warned you) and it roughly goes like this:

'we are a fun loving, no nonsense, start-up business in the spirits industry. Because we don't have a huge advertising budget, we're testing the waters with a cheap, reality-TV snippet to better evaluate the number of social media clicks and new followers and help gauge & calibrate the next step'.

Was it poorly executed? Yeah, you could say that, but then what to do, in a very restrictive, highly regulated tobacco & spirits advertising market, hum? Is it my cup of tea? I don't drink, therefore this type of message touches one ball without really moving the other.

Yes. Start-up business: if we take into account the COVID logistic delay, I believe we're still in that three-years frame. And this detail is essential in order to put context around a very forgettable snippet. Selling a brand-new, more democratic product. Selling it clumsily, in an effort to build relevance, because even bad advertising is, ultimately, good advertising. But make no mistake: it's nothing more than that and it is all they can do, in the current context.

This brings to mind another aspect of the charade, namely the fact that after the Remarkable Week-end (and with the exception of some carefully scripted 'slips'), released and available information progressively became (at least) two-tiered.

First tier: information carefully calibrated for immediate release and general consumption, primarily but not exclusively by the fandom. This includes: spirits shilling, innuendos galore, look-here-not-there latergrams. It also entails less direct interaction with the fans on socials and delegating the media management to secondary players (often called to the rescue, too).

Second tier: public information with a limited availability (you have to take the plunge and pay), for sleuths able and willing to go the extra mile. They paint a very different landscape. And draw two copycat timelines of people who are investing, buying and selling property and overall branching out of their primary source of income with a plan.

I am not a photo sleuth. But with a little bit of time on my hands, I am a decent paperwork analyst. Accounting is not my forte, but legal and business is. I saw what I needed to see and it holds.

So before you start screeching (bad idea, right?), remember this (credit given to @dillon7fan, thanks):

Not really: it is doctored make believe. Bless your heart, honest guy.

Next stop, Tehran. Yes, you read that correctly.

This evening or tomorrow, at the latest. Because context is everything and this fandom severely fails at this.

#fandom #BoozeWars

[antianakin]

I used to love Ahsoka as a character and I thought she was a really interesting foil/parallel to Anakin but at some point I started to disconnect with her character and be all ‘huh that doesn’t seem right’ and for ages I couldn’t figure out why/what it was specifically that was bothering me that wasn’t just *gestures at post-Wrong Jedi!Ahsoka as a whole*

From airing of tcw s7 onwards and also a little before that in some (but admittedly not all) parts of rebels she just doesn’t act like a Jedi.

Like we’re clearly supposed to think that she does and she uses the Force to do things and she uses lightsabre combat and sometimes she even listens to what the Force is telling her(!) but she doesn’t act the way a Jedi would or should most of the time. She doesn’t use or express their teachings or philosophies or act in any way according to them even when she says she does* or the narrative implicitly claims that’s what she’s doing

(*when she’s around Kanan this gets a bit less notable bc she does act more Jedi-like around him and I can’t figure out whether that’s deliberate or accidental or what it’s supposed to say or mean about them both if it’s intentional)

Before that she was fun and also flawed and I think if they’d kept those roots while either showing how she’d manage to overcome/learn from those flaws or that she hadn’t managed to move past them at all but was still trying her best then she would have stayed interesting! But instead her character gets flattened and her flaws get narratively erased (while still being very much there just not acknowledged in any way and/or presented as though they’re not flaws at all) in favour as propping her up as The Best Jedi TM and making her feel like a caricature of an ideal rather than a real character.

Like I am mid-Ahsoka show right now and she doesn’t even feel like the same character! Everything that made her interesting is just gone and the narrative constantly implies that she’s right even when she very clearly is not???

Writers challenge! Accept that characters have flaws and should have flaws to make them interesting and help drive the plot rather than making them perfect bc they’re your favourite!

Yeah, I don't even mind Ahsoka growing OUT of her earlier flaws (which are primarily the same ones that Anakin was given, like impatience and overconfidence/arrogance) and into different ones that reflect her new experiences and maturity. But it also would've been great to see how those flaws she started with, the impatience/impulsivity and the overconfidence/arrogance sort-of grew WITH her.

Like the way the Wrong Jedi arc shows her refusing to trust the Council LONG before she has any reason to do so and going off on her own to try to prove her own innocence which just makes her look more guilty and pushes the Council into more of a corner while also trusting ONLY the person who ended up framing her in the first place. The way that her more childish impatience and overconfidence has sort-of grown into the more dangerous impulsiveness and arrogance in the Wrong Jedi would've been so so interesting to look at if anyone writing it had been willing to acknowledge that she was in the wrong.

And you could keep going with that in later arcs and have her still be sort-of mistrustful of authority (especially Jedi authority), inclined to believe in her own superiority of opinion, and impulsive in her judgments. That's generally what we see in season 7, especially regarding her behavior towards characters like Mace and Obi-Wan. She believes she's right ALL THE TIME and this would be FINE if the narrative actually supported the idea that she WASN'T. Ahsoka can think she's right, but the audience should understand that she isn't. That's how her flaws got portrayed in earlier seasons of TCW and why I tend to prefer them to later ones. And this would've been a great place to follow up on her comment about not trusting HERSELF. Maybe Ahsoka has sort-of wandered away from mindfulness since she left the Order and so instead of continuing to look at the mistakes she made that caused the Order to mistrust her, she just starts blaming the Jedi for everything. And when she starts making accusations at Obi-Wan, have him point out that not only is she not being fair, but she's not being HONEST, with herself or anyone else. Because truly, it's not the Jedi she doesn't trust. It's not the Council playing politics that she's afraid of. It's her own flawed judgment leading her to her own destruction.

And there's SO MUCH you could do with that moving forward into Rebels, to showcase Ahsoka's continuing struggle with trusting her own judgment and how she's grown since Order 66 and into her place as a rebel where she HAS to trust herself more, but she still doesn't entirely trust herself to be a JEDI. Perhaps her uncertainty over Anakin's fate has a part to play in that. Instead, they just made her a spy despite the fact that a LACK OF SUBTLETY was one of her major personality traits in TCW and never once was she shown doing any kind of real spy work and we don't really see her doing any in Rebels either aside from a few conversations with Hera. We have no idea how she ended up growing into that role or WHY she took on that particular role rather than something that would've fit her existing skillset better. Ahsoka's position within the Rebellion is one of the places I think they really faltered with her because it could've been utilized to genuinely help her character move forward and develop her more as a Jedi survivor. Instead, she's just kinda... there and her entire narrative tends to revolve around Anakin, a problem that persists and actually got worse with the Ahsoka show.

I don't truly mind that Ahsoka is perhaps not acting much like a Jedi, at least not all the time, because that could be a really easy way to give her a journey BACK to being more like a Jedi. Much like the Kenobi show had Obi-Wan acting very out of character and unlike a Jedi in order to have him go on a journey to reclaim that identity and become the wise Master we all know and remember, they could've done something similar with Ahsoka. Let the narrative embrace that she's not acting like a Jedi as an intentional choice so that she can move forward from there and BECOME a Jedi again. This is also an arc that Kanan himself is sort-of going on, so it would've been pretty easy to parallel them a little in Rebels if they'd been willing to represent Ahsoka as anything other than a literal angel come to earth.

The problem with the Ahsoka show is that it DOES give her flaws, but the flaws it chooses to give her are the opposite of what they should be. (This paragraph might get a bit spoilery, so if you're trying to avoid spoilers until you finish the whole show, just skip this paragraph.) Instead of showing Ahsoka as impatient/impulsive and somewhat arrogant, they show Ahsoka being too UNFEELING. Ahsoka's primary flaw in the Ahsoka show is that she's too detached because her feelings regarding Anakin's fall have apparently caused her to pull away from connecting to anybody on a deeper level or something. And they choose to show this by having her literally recite Jedi philosophy of non-attachment and have Sabine push back against it. So now it's not just that Ahsoka is too unfeeling but that she's too much like the Prequels Jedi, the BAD Jedi who FAILED. And only once she lets go of those Jedi philosophies holding her back (and instead explicitly chooses to emulate ANAKIN, the dude who let himself be consumed by selfishness and greed and betrayed everybody and threw an entire galaxy into tyranny) is she able to move forward in her relationships. Instead of recognizing that Sabine is impulsive and arrogant and letting that shine a light on Ahsoka's own flaws so that they can BOTH work on them more, it just chooses to justify Sabine's impulsivity and arrogance instead and Ahsoka needs to accept Sabine as she is and support her completely no matter what horrifically selfish bullshit she does. Moral of the story, never hold your loved ones accountable for anything they do wrong!

Long story short, I think Ahsoka was 100% at her best in her bratty teenager phase in early TCW when the narrative actually was willing to admit she HAD flaws that she had to work through and her character has been completely flattened ever since they decided to pretend she no longer has any flaws and is just always right about everything (except for when she's acting TOO MUCH like the wrong kind of Jedi).

#star wars #the clone wars #tcw #star wars rebels #rebels #ahsoka critical #ahsoka tano critical #anti ahsoka show #ahsoka show negativity

[thedaythatwas]

TW: Hegel.

So, what’s up with Shuake and dialectics? Click below to watch this user (who is not a philosopher) give this (frankly too invested) analysis a shot!

Something I’ve been thinking about a lot lately is the fact that most– but not all– of Joker’s confidant routes involve some sort of transaction. Joker does something for someone, Joker gets a favor in return. Joker’s identity revolves around what he can do for others. He’s got a different mask (haha game mechanic is narrative device etc.) for everyone in his life. 

Getting a little bit in my head about this led me to a (not-all-that-novel) realization: Akechi’s confidant route is largely non-transactional. Sure, he says that he wants to meet with you to talk about the Phantom Thieves, but that more or less directly translates to just wanting to hang out with you. The “favor” that you're doing for Akechi, if we follow the logic of some of the other confidant routes, is spending time with him. (Which is of course also about getting close to Joker for metaverse recon purposes… But I’d argue that amounts to more or less the same thing in the long run anyway). Really, that’s what your relationship with him is, up until you realize the heart he needs you to change is actually one of the big-bads of the game. And at that point… Well… 

Where am I going with this? I’ve also been thinking a lot about Hegel (I’ve seen some really fun posting about Akechi and Hegel on here this past week– thank you philosophy P5R tumblr!). Akechi’s paraphrasing of Hegel goes a little something like “advancement cannot occur without both thesis and antithesis.” Hilariously, this is how he frames his desire to talk to you more, his flirting is just like me forreal I understand him etc. etc. BUT! The interesting thing here is that the game is cueing you to view your relationship with Akechi through the lens of Hegel’s dialectics.

More on that to follow, but first, I want to plug the Stanford Encyclopedia of Philosophy’s page on Hegel’s Dialectics here– If you haven’t used it before, SEP is a reliable, peer-reviewed source. It’s great. I use it like. All the time. It’s good for getting the gist of big ideas when you don’t have time to read full texts. (Also if I get any of this wrong please know that philosophy is not my field and I’m totally open to constructive criticism.)

Hegel’s dialectical process revolves around three key moments: the moment of understanding, the dialectical moment, and the speculative moment. These moments can also be referred to as thesis, antithesis, and synthesis. The moment of understanding, thesis, is the point at which an idea is seemingly stable. In the dialectical moment, antithesis, this idea “sublates” itself– the idea is challenged and destabilized because an inherent contradiction in the idea has been made apparent–importantly, part of the idea is preserved. The speculative moment, synthesis, negates the contradiction. A new idea takes form, containing elements of the original idea that was sublated (Marx’s theory of history, anyone?) 

This process continues on and on. Ideas naturally reveal their contradictions, are destabilized, and resolve their contradictions through the creation of a new idea, which is challenged again. This is because the dialectical moment does not come from outside an idea. Antithesis is not an external push against thesis, but rather, the moment when thesis is forced into instability because of its own tightly-bound restriction. 

So back to what I was saying. The game kicks off your relationship with Akechi with a nod to, uh, all of that. Could this be a throwaway comment? Of course! But it’s much more fun to work under the assumption that it isn’t. So bear with me. Akechi is framing himself and Joker as thesis and antithesis. What does that mean? Why do I think it has something to do with Akechi and Joker’s relationship being non-transactional?

Previously, I’ve thought that in the context of their relationship, Akechi represented thesis, and Joker antithesis. This isn’t exactly true (at least per the criteria above) but I do think I was on the right track. 

At the beginning of his story, we can think of Akechi’s worldview as thesis. The world is a stage, and he is a performer. His entire life is dedicated to destroying Shido. It’s a key narrative element of P5 that Akechi doesn’t have confidant relationships (as contrasted by Joker, who has many confidants and becomes stronger through building up those bonds). He views himself as deceiving literally everyone in his life for his goals– his “fans,” his father, the Phantom Thieves. He doesn’t trust, because to him, trust is failure. 

Still, he’s starving for approval, and not just from Shido. You can see the inherent conflict between his desires and beliefs in just about every interaction he has with Joker, particularly those where Akechi overshares about his past. He desperately wants someone to hear him. I don’t think his (primary) aim in that was to strategically win Joker’s trust by showing vulnerability– if that was all he was going for, I doubt Akechi would have been so honest. He omitted information, sure, but he gave Joker the honest-to-god broad strokes of his childhood.  

When Joker comes into his life, Akechi comes to realize that his stable worldview might be wrong. Watching Joker and the rest of the Phantom Thieves reveals the cracks in his own internal logic. Joker has friendships and he is stronger because of them. When Akechi sacrifices himself for the Phantom Thieves on Shido’s ship, we see his moment of synthesis. If Akechi really still internalized all of what he said in his “Teammates? Friends? To hell with that!” monologue, he wouldn’t trust Joker to change Shido’s heart in his stead. To be clear– he probably would have reached this point with or without Joker’s intervention. Joker just happens to push Akechi towards self-sublation a little bit faster.

In Royal, we see a new iteration of Akechi. He doesn’t really regret his actions, and he is still very distinctly Akechi, but we can see that his original perception of the world has made a shift. He is willing to team up with Joker. While he may not place a great deal of faith in all of the PTs, he certainly has real trust in the protagonist. He’s learned that he can be recognized (dare I say loved?) without being perfect, and accordingly, his driving desire for approval has been displaced by his desire to never be so completely under anyone else’s control again.

But ok— that’s kind of an old take. Perhaps a hotter one: I’d also like to propose that Akechi does the same for Joker. 

As mentioned above, Joker’s identity for most of the game is defined by what he can do for the people around him. While a large part of this has to do with the fact that he is a playable character, this is a game, and a game needs to have things for you to do– it wouldn’t be very fun otherwise– it also seems pretty clear that this is part of his characterization. Joker is selfless to a fault. Like Akechi, he is a wildcard who can take on multiple personas. Unlike Akechi, instead of having a handful of personas directly linked to the core of his character development, Joker has as many personas as you want him to. He literally has a mask for every situation. You can equip a persona of the correct arcana to level up your relationships faster– a game mechanic, but also, an interesting meta statement about how Joker bonds with his confidants.

In Royal, however, Joker has the option to do something for himself. His greatest wish isn’t for someone else's happiness– it’s to have Akechi back, for selfish reasons, I would argue. Joker can sacrifice reality to keep him in his life, and depending on the actions you choose to take, sometimes, he does.

Loving Akechi teaches Joker to be selfish. This is especially poignant when you think of how adamantly opposed Akechi is to staying in Maruki's reality. Giving up the true reality to keep Akechi is a wholly selfish act on Joker's part, nothing altruistic about it. And if he doesn't make that choice? Well, don't forget about how Joker spent his wish.

He would have learned how to do this without Akechi– one tends to realize that neverending self-sacrifice is unsustainable sooner rather than later. Again, Akechi just pushes Joker towards effecting that self-sublation a little faster.

By spending time with Joker, Akechi learns that there are people he can truly trust. By spending time with Akechi, Joker learns how to put himself first. Their confidant relationship from this perspective is not only transactional, it’s actually one of the most transactional relationships in the game. Joker actively impacts how Akechi sees himself and the world around him, and vice versa. Their relationship is profoundly transformative for the both of them. To paraphrase Akechi, advancement cannot occur without both thesis and antithesis.

But also, we can forget dialectics for a second. Even without a fun analytical lens, Akechi’s confidant route centers two misunderstood people who find understanding in each other. That’s enough for me!

#persona 5 royal #p5r spoilers #shuake #goro akechi #akiren #time allocation decisions were made today

[david-talks-sw]

At what point do you ask yourself if the Prequels did this to itself.

Sure having Gen X creatives probably doesn’t help. But I still see a lot of younger folks and prequel kids have a “the Jedi we’re wrong” narrative. We can argue whether or not it’s because of those Gen X creators sure.

But a film or film needs to speak for itself and convey the ideas of the creative and not have people research what he or she says. It can be fun sure but at some point the film needs to do the work.

Course if you think the film does the work that also is a debate worth having. But the fact that we still have this debate at all must say something and I don’t it’s simple as “older fans don’t get it” maybe that’s part of it but I still think there is something about the prequel’s execution to be desired.

Guessing you're the same anon from this post.

It's not as simple as "older fans don't get it", but that is the starting point of the issue, because the older fans are the ones who generated the content that the Prequel kids would go on consuming.

And you can see a trend in all Star Wars merchandise. Around 1999 to 2005? The marketing, the books, the comics, all tend to frame the Jedi in a positive light, but more importantly focus on the intended narrative, that Anakin brought this down on himself.

And the haters, well, they're arguing that the Jedi are a bunch of idiots and incompetents, that Anakin is whiny and changes his mind and joins the Dark Side to kill the Jedi on a whim.

These are very uncharitable reads but at least they track with the intended narrative.

The Jedi are always playing catch-up, calling them "incompetent" is tough but fair.

Anakin is whiny, arrogant and petulant but he's a teenager. That's how they are. That's the point: he's a teenager and he's trying to get married and settle down and have a family, etc, "because i love her and she loves me" when even the woman he's in love with tells him "that's not how things work, buddy, there's other factors, this will spell out destruction for everyone". Eventually she gives in, but that doesn't make it any less destructive.

Anakin does turn to the Dark Side immediately. That's how scared he is. That's how traumatized he is. He hasn't slept in days and he's not thinking straight, he's scared shitless and he's panicking and here's this space sorcerer who says he can stop people from fucking dying?? Of course he'll join.

But the other thing is... those are criticisms coming from an adult perspective. AKA not the intended viewer. Cuz I sure wasn't thinking any of that when I was a kid. I was deep in the story and going along with it. I have a friend whose kid watched the films first, same deal, he's not asking that.

These are movies meant for kids. Is the plot slightly more complex than your average fairy tale? It is. But it remains a fairy tale in, especially considering its target demographic.

And this fairy tale was made by an experimental indie filmmaker from the Baby Boomer generation with a background in anthropology (hence why there's so many mythological callbacks in the films), cinema vérité documentary filmmaking (explaining the cinematography of the Prequels) and editing.

It reflects who he is and what his values are. He's ahead of the curb in his way of thinking, but some of his values reflect the generation he was a part of.

Finally, the films reflect a particular style he's emulating, the 30s matinee serial. Everyone speaks a certain way, sometimes it's bland, sometimes it's straight up corny, but it's all on purpose.

These films kept being scrutinized by people who saw them as "blockbuster scifi films" and reviewed/analyzed them as such.

They're not. They're indie movies with a big budget. They're fairy tales in space.

They're this weird little niche thing that this funny weirdo from Modesto with a fascination for pyschological motifs in mythology came up with. Remember: the first Star Wars movie was released with an expectation from everyone, including Lucas himself, that it'd be panned and despised.

As they years go on, a lot of the adults who hated the Prequels try to do the decent thing and find a way to like them... but the story seems so stupid to them, as it is.

But then they either think or come across an interpretation, a prism through which to see the Prequels... that - holy shit - actually makes them better, and have more depth. The theory is... 

What if Jar Jar is secretly a Sith Lord?

What if the Prequel Jedi are meant to come across as dispassionate? I mean, isn’t that what being a Jedi is, apparently? You purge yourself of attachments aka emotions, and act only logically. 

Wow, that… that actually makes the Prequels sound better. Like, think of the implications: 

The Jedi are too systemic, they’re more prone to violence than they’re supposed to be, they’re meddling with politics, and if you read the EU, they’re essentially kidnapping babies, brainwashing them, indoctrinating them, and if they don’t pass the tests then they become farmers or get kicked out. They’re high and mighty assholes who preach peace but also frequently get into fights. Also, to become a Jedi, you need to have a high enough midi-chlorian count which shows how overly-organized they’ve become, rather than allowing themselves to ‘feel’. 

Qui-Gon is not just a maverick: he’s ahead of the curb. I mean, he’s the first guy to become a Force Ghost, he’s gotta be doing something right that the others aren’t, right? Also, he’s got a love interest, he gets angry when she gets killed. Y’know, a human reaction? Like the one Anakin has and tells himself he needs to repress, like a Jedi apparently would? 

And you know what? Maybe that’s the problem that makes Anakin go to the Dark Side: these guys took a 9-year-old slave and forced him to repress his emotions until he finally cracked. He just wouldn’t fit in the mold, they kept pushing, until he finally broke. Sure, Palpatine leverages Padmé’s life, but Anakin would never have been in that situation if the Jedi had been compassionate enough to notice he was in pain and distress. Yoda literally tells him to “rejoice” at the thought of someone dying. What kind of idiotic advice is that? It’s clear, the Jedi are no better than the Sith, they’re just two sides of a different coin. One feels too much, the other doesn’t feel at all. 

Holy shit… this is all making so much sense…! The Prequels might actually be secretly good! Or if not good, at least more coherent, now! 

And oh! Oh! That’s what makes Luke special! Cuz yes, Luke is special again, thanks to this interpretation! 

He finds a middle ground between the unfeeling Jedi and the Sith, who have become slaves to their emotions. He uses the Dark Side to beat Vader, but uses it like a tool, keeps himself in control (like some sort of Jedi in the middle... like… a gray… Jedi). Like, sure, Anakin can be the Chosen One, whatever, but Luke? Luke has found the balance, he succeeded where Obi-Wan, Yoda (who wanted Vader dead instead of believing he could be redeemed) and the other Prequel Jedi failed. And the EU books that follow Return of the Jedi seem to confirm this, as you can get married within the New Jedi Order, and Luke can use Force Lightning and he can take on an army of Yuhzan Vong by himself!

Wow. You know what? For all their faults, the Prequels make sense. Maybe Lucas is a genius after all.

Some of the people are in a position where they can create new Star Wars content. So they set out to fix something that, in their view, was broken... but that from Lucas' POV, wasn't. Some of them think they're setting out to clarify a narrative (but are actually focusing on an aspect that wasn't meant to be scrutinized and challenged that deeply in the intended narrative).

And they crank out this content, because Lucas didn't particularly give a fuck about the EU. When they have the chance, they push the new narrative, and nobody stops it because, hey, at least they're engaging with the material, and the original narrative was stupid anyway.

What happens? The Prequel kids grow up with this content being pushed on them more and more.

And they're immersed, right? So when a new book makes Obi-Wan come across as an asshole, they don't think "Obi-Wan would never say that" they go "oh shit, turns out Obi-Wan's an asshole!"

So now THAT generation, that's just going by the canon that was put out post-movies, is slowly but surely growing up with the same interpretation (me included).

There's also a more psychology-aware culture, and more and more Anakin comes across as someone who's being mentally abused by the Jedi. He's got some sort of mental disorder, he's socially anxious. He's not whiny, he's crying out for help. Those values of the Jedi (that Lucas shares)? They're actually weird and archaic!

So that whole aspect gets thrown into the mix.

Fast-forward to today, and the newest generation of fans grows up with "the Prequels show the Fall of the Jedi" as common knowledge, and the High Republic, New Jedi Order and Dawn of the Jedi is where it's at. Those Prequel Jedi are real dogmatic, tight-assed fuck-ups, wow, amirite?

TLDR:

No, I don't think the Prequel Trilogy did it to itself. I think it accomplished exactly what it wanted to for the people it was meant to do it for (kids).

It's just that a bunch of people came right after it and retconned the fuck out of it, then proceeded to say "yeah, it was always this way, even the original author said so" when he didn't.

My stance, as usual, is best summarized by this metaphor:

#QnA #long post #jedi order #george lucas #star wars

[biggiedraws]

thinking about. yoohankim body swap......

mild novel spoilers ahead but no big story moments or anything just. brief mentions of skills they get later and such

okay so weve got 2 options here, right (well technically theres 6 ways to arrange 3 objects but. if we assume each of them swaps into someone else. theres 2). first one. kdj -> yjh, yjh -> hsy, hsy -> kdj. right off the bat - extremely funny. kdj in yjhs body having the time of his life (i am the protagonist!!), but also adjusts fairly quickly bc like. hes done this before. hsy in kdjs body is a menace. immediately rummaging through his pockets. everyone is unsettled by unreadable normalguy kdj making hsys evil little gremlin expressions. and yjh in hsys body is like. immediately getting bullied because his menacing aura does not work at all in hsys 5 foot frame. kdj-as-yjh is picking him up by the scruff of the neck and all he can do is glare murderously

second arrangement. kdj -> hsy, hsy -> yjh, yjh -> kdj. i think i like this one less but lets see. yjh as kdj is pretty good, i think yjh would be disgruntled no matter who he swaps bodies with but since the 2 of them are on such even footing in the narrative, i think actually spending time in kdjs weak pathetic body would make him lose some respect for him lmfao. like "what have you been doing all this time that your body is in such poor shape. pathetic." hsy as yjh is extremely salty about how op he is. muttering about cliches under her breath. definitely uses her new power to relentlessly bully kdj (omg wait that means hsys body is getting harassed by yjhs body in both scenarios..... what can i say. shes the perfect size to be bothered. the only reason she isnt bothered more in canon is because of her sharp teeth - i stand by this). kdj as hsy is. unremarkable i think. loudly complains about how much shorter he is now just to piss her off. finds an unholy amount of candy in her pockets and publicly shames her about it until she points yjhs sword at him and he shuts up real quick.

honestly i think both of these scenarios have great potential for physical comedy though. they all have such different mannerisms and such different appearances that reshuffling them is always gonna be striking. i need to draw it.....

okay lets talk logistics. do they keep all their skills or do the skills stay with the body? they probably keep them, although it might be more interesting to have like. physical skills like swordfighting and whatnot stay with the body. so if they get stuck like that for a while and end up fighting in each others bodies they kinda have to adapt to the bodies skills and fighting style. could be fun! hmmm that kinda leaves whoevers in kdjs body in the lurch though, since all his skills are mental..... and then kdj has a massive advantage, because surely the bookmark skill gets a boost if hes literally in the body of the person hes copying. so perhaps they keep all their skills - hsys avatar skill in yjhs protagonist body would be pretty op. and yjh has so many skills that he could make anything work - he might end up ripping kdjs body to shreds though lmfao. also im not sure if we get much of kdj using hsy as a bookmark in the novel? i actually dont remember an instance of it, although i can see him wanting to steal predictive plagiarism so it may have happened and i just forgot. but anyway kdj as hsy using bookmark + avatar, and then hsy as yjh also using avatar is an INSANE combo. two man army. and then theres kdjs body there like *struggling to hold up a sword* "i am yoo joonghyuk......" *passes out* LMAO sorry kdj i know youre not that pathetic its just so funny to imagine the protagonists sheer power literally destroying your fragile salaryman body from the inside out.

omg also. if the swap lasts more than a few minutes theyre DEFINITELY getting their weapons and coats back from their bodies. black coat hsy...... wait omg. okay i know kdjs coat is like a high grade magic item that changes size with him. not sure if yjhs is the same but allow me for a moment - yjh-as-hsy trying to look menacing (already failing) but his coat is way too big. its dragging on the floor. the sleeves cover his hands. 😭😭😭😭 its so ridiculous...... other notable combos - white coat hsy (head in hands). hsy-as-yjh gets yjhs coat stolen from her which means the protagonist physique is on full display - she makes a comment about how WoS should have made more use of this kind of fanservice and now she and kdj are arguing. black coat kdj..... i am yoo joonghyuk......

okay i think thats all i got for now. i hope its in character because i really havent read orv in a while..... anyway i think this has a lot of potential so i wanna try drawing it - maybe ill have more thoughts on specific character interactions once i can like,, put personalities to faces lmao

#to be clear im picturing this as a random scenario (as in. scenario in the orv sense) somewhere in the middle of the novel #god i love the orv worldbuilding its so good for fanfiction #literally built-in mechanics for 'hey the fans want to see the characters in this kind of situation' #anyway yeah. im sure theres bodyswap fanfic out there but i wanted to sort out my first thoughts about it before i open ao3 lmfao #orv #omniscient reader's viewpoint #yoohankim #body swap #brb drawing it

[prying-pandora666]

“The Search” Rewrites, Book 4: Air, Leaks, and A Call for Help from the Fandom

I’ve talked a little about the Book 4: Air restoration project @book4air. If you haven’t seen it yet, check it out! Three full episodes are already out and episode 4 is going to cover Zuko’s early days right after his banishment, exploring his relationship with Iroh and the world as Zuko understands it as a lost boy rapidly coming into manhood.

Wait until you hear the VA’s performance with music and everything! It’ll break your heart.

But I want to talk a little bit about what comes after these next few episodes: our adaptation of “The Search”.

If you’ve seen our adaptation of “The Promise”, you’ll know it was quite faithful. This won’t be the case for “The Search”. For the purposes of the overarching story we are telling, this story is getting overhauled. (Please still support the original release if you’d like to see the canon version).

The biggest change that’s been announced is the addition of Toph. The team felt that a story about family, identity, and faces could benefit from including Toph’s perspective as she comes from a unique but toxic family situation, has a strong conflict between the performance expected of her versus who she really is, and is completely blind and so faces don’t even register for her.

Here is the sample scene we released:

But I want to talk a little bit about what we are changing about Zuko and Azula’s roles in the story. While the set up is virtually unchanged, there is one small alteration that makes a big difference.

(Sorry for the poor quality, this is technically unreleased content and I’m being kinda risky leaking it.)

Ursa’s letters are now a diary. This means that rather than get random flashbacks, the narrative framing now becomes Zuko and Azula reading these entries together. As a result, they get to discuss their discoveries about their family, and even share each other’s perspectives.

What that means is that when things like Zuko dangling Azula over the cliff happen, now we actually are forced to address it. The characters have to talk about how they treat each other and the reasons why. They have to confront the toxic family dynamic they’ve been forced and groomed into since childhood. Zuko has to realize his mentally ill little sister isn’t the monster here and in fact he’s the one with all the power now, and Azula has to realize that Zuko can be trusted if she can let go of her fear long enough to talk to him about her vulnerabilities.

We also address issues like this:

Many people criticize this for being OOC, but I think there’s a way this could easily not be. Sokka has been known to be juvenile and reactionary as a first response, the difference is that he always eventually apologizes and learns from his mistakes. Without even needing to be asked.

Threatening a mentally ill person who has just been removed from an asylum—even as a joke—is not okay. It would be questionable even if they’d been friends before this, but considering their prior relationship it really does seem like an boneheaded lack of awareness or compassion for how triggering this could be.

So rather than remove this interaction, we addressed it. And I am really taking a risk posting this here, but here is a brand new script page:

Sokka isn’t just comic relief. Sokka is smart, Sokka is compassionate, Sokka is brave, and Sokka knows when it’s time to apologize and reach out versus when it’s time to fight.

Safe to say, there are several things that stay the same and we tried to keep faithful to the spirit of the story, but there’s a lot we wanted to do for the Gaang and for the Fire Sibs, and I hope you’ll join us on this adventure, whether you’re a diehard fan of the comics and just looking for a fun AU, or you hate the comics and would like a rewrite, or even if you’ve never read them and would just love to return to the world of ATLA.

The only trouble is, we can’t do it alone. The project is very expensive and time consuming to produce. Our team pays for everything out of pocket and some of us don’t even have reliable housing, so it’s been a hard time.

If you can help in any way, even only by spreading the word so YouTube will stop burying us in the algorithm, that would be huge!

If you can afford to help, we have a Patreon where you can get all sorts of early goodies.

Reblogs and comments greatly appreciated! As the head writer and voice of Azula, this project is very near and dear to me. Avatar was my first pro-writing gig when I was just a homeless 19 year old, and it’s here for me again as I struggle to rebuild my life and health that COVID destroyed.

I love this series and the community that has helped me through the hardest times in my life. I can’t wait to make something beautiful with you all!

#avatar #atla #avatar the last airbender #The seach #Azula #Zuko #Sokka #book 4 air restoration project #Youtube

[chansaw]

on red and blue symbolism in heathers: an essay

i read one of those buzzfeed listicles the other day that was like “crazy fun facts and secrets about your favorite 80s movies!” and one of the first fun facts was “did you know that in heathers, every character is associated with a color?” that’s not a fun fact. it’s not even a secret. heathers is a lot of things but one thing it’s not is subtle. heathers practically beats the viewer over the head with color symbolism but in this essay, i would particularly like to draw attention to the colors red and blue and their significance in heathers’ narrative.

a short preface: when possible, i cite stills sourced from the movie itself. some images, however, are served better by the gif format, so whenever i post a gif i will also cite the tumblr user who made it. if your gifs are used in this post and you would like me to remove them, please let me know.

okay, with that out of the way, let's start at the beginning (naturally). below is the title card. right away, the cinematographers inundate the viewer with red, informing the viewer that red (and whoever wears it) will be significant to the narrative.

red represents the social order and the natural hierarchy of predators and prey at westerburg. red is omnipresent throughout the production design of the school's campus.

by assuming the color of the school itself, heather chandler assumes control of the school. and when she drags veronica along to the remington party to help boost their reputation, the whole dorm is bathed in red light.

when we first meet veronica, she's wearing gray and black, with only occasional pops of blue (the brooch in the outfit above, her croquet mallet, etc) but as veronica's discomfort and unease begins to grow, something interesting begins to happen!

blue light slowly begins to creep into the frame, and once veronica has finally had enough of brad's bullshit, it becomes even more prominent. just as red represents control of the social hierarchy, blue symbolizes discontent and rejection of the social order.

(gif by @/fireairshadow)

meanwhile, heather chandler isn't having a great time at the party either. this scene is the only time in the film we see heather chandler completely alone, in a moment of vulnerability and self loathing, and she's surrounded by the color blue.

(gif by @/tibby ily tibby)

and then all hell breaks loose. i honestly dont think one image or gif alone can do this scene justice so im linking to tibby's (beautifully colored) gifset of the scene.

note how as veronica declares war ("lick it up, baby!"), red and blue lights flicker across her face. and as heather promises to ruin veronica in turn, the red light casts heather's face in shadow and overpowers the blue.

of course, heather never gets the chance to make good on this promise because veronica and jd kill her. and that may have been a mistake, but the color of their poison is quite deliberate.

(gif by @/nowadayz)

and right before she dies, she takes off her red scrunchie - conceding her control.

of course, heather's death doesn't mean her exit from the narrative. red lingers throughout the rest of the film. but guess what color veronica wears to the funeral?

tumblr is a little bitch and i dont have the time or energy to expound upon the rest of my argument at the moment. it's probably been examined and analyzed in greater detail by people smarter and far more eloquent than me. but i'll conclude with veronica's reclamation of the red scrunchie at the end of the film. you could choose to interpret this as veronica conceding to the hierarchy even after all she's been through, but i choose to interpret it as a bitter compromise.

(gif by @/nowadayz)

and so it ends the way it begins.

anyways all this to say vote for chansaw in the @redandbluebracket tomorrow or i'll kill you.

ETA: a note to anyone who came to my blog from this post - hi! you don’t have to like chansaw romantically/as a ship. im not expecting to proselytize and convert people en masse (although if you HAVE been converted, welcome). even without the shipping element, i believe that veronica and hc’s dynamic as character foils is the backbone of the narrative, which is why i genuinely think they deserve to win the red and blue bracket. vote here. my name is heather chansaw and i approve this message.

#i have a fucking migraine

[gentlemean]

I know the fandom loves throwing ideas around for a hypothetical adaptation, so why not chime in.

I think most of us agree that an animated series would be better than the dreaded life-action adaptation. Regardless of format, any adaptation would have to somehow preserve the peculiarities, the absolute whiplash, and way the narration shapes the narrative. In my opinion, an animated series could do this quite well.

We start off with Gideon the Ninth. It's shown in heavily stylized 3d animation (think, at least Arcane-style), with strong contrasts in the colors. The Ninth house is dark and desaturated, the lights in the eyes of animated skeletons and Gideon's hair positively burn among the dreary surroundings. Then, getting to the First, the world is vibrant and bright, lots of elaborate light refractions in the broken windows of Canaan house.

Characters are accompanied not only by small, individual musical themes, but also by visual clues. Each house might have distinct little particles and effects that appear in scenes in which the respective characters act. They might synergize in scenes where characters cooperate or contrast in scenes in which they fight. (example: the Niners are always accompanied by shadows, ink-blots staining the scenery around them. The Third are too graceful to be real, all of their animations use exaggerated smear-frames in overly grandiose flourishes. When Naberius fights Gideon, his strikes stir the shadows around Gideon, cleaving bright rifts into the inkstained dark.)

The story is told as we know it, without reordering or large ommissions. One thing we see not nearly often enough in modern television is actual narration in the background. We don't need it for all of the visuals and happenings, but so much of gtn profits from Gideon's thoughts and feelings.

A few scenes look differently though. When Gideon allows Harrow to take over her vision, the animation style changes. It gets a bit more abstract, the surroundings are textured like oil paintings, and Gideon herself has trails of smoke and ink following her movements. This is how they see the world together, and it is reflected again at the very end of the first book, when Harrow ascends. Except this time there's no borrowing, it's something deeper. The world is painted, more abstractly this time, and the characters appear almost like paper cuts.

And then the fun begins. We leave gtn and start htn. There is no more Gideon in our narrative, and yet there is her narration. As in the first series we retain parts of the narration, and it is her voice - mostly. Now, this is a source of great confusion in the book, right? The series would have to make it explicit that it is her voice, but it can have fun with it nevertheless. Some words are garbled, overlapping, distorted. Sometimes, Harrow's voice seamlessly takes over the narration, drifting in and continuing, while still using Gideon's pronunciation and vocal flow.

The visuals, on the other hand - now, that's an entirely different thing. At this point we know what the world looks like when Gideon sees it and what it looks like when they see it together. htn gives us two exciting new variations: 'Harrow with very little Gideon' for the Mithraeum story, and 'Harrow entirely without Gideon' for the river bubble. In the main, physical-world story we retain broad strokes of thick oil paint for the world around Harrow. The characters are too clean on a messy background, with some of the paint steadily bleeding into their shapes. The paint seems almost like it is an active participant in the narrative, crawling across inconvenient truths to blot them out, staining everyone but keeping it's distant from John, who therefore remains clearer than clear, shiny and bright, squeaky clean and lemon scented. But then there's the river bubble, and we get full Harrow, with a teeny bit of Wake. The scenery around the characters is vague and misty, swathes of color arrange into a distorted background like ink being poured into water. The entire scenery bleeds color and light into the surroundings of dark, barely saturated characters. It breaks at the seams when the uncomfortably realistic fleshy pipes wind through the walls, something too concrete for a tearstained world.

Towards the final act, we see a few changes: Abigail summons Nonius, and the shape language changes. Everything's still illustrated the way it was before, but the stark, desaturated characters in his proximity stop being mere dark blots in this scenery, and instead become almost comic-like. Their strikes and attacks are supported by respective action lines, their poses and moves adapt to the newly imposed genre conventions. Meanwhile, on the Mithraeum, Gideon is keeping the fires burning. We're almost back to the way we used to see the world in the beginning, Gideon's stark contrast and smooth environments. But there's the ink bleeding into the scenery from dark corners and bright red puddles, there's enough of Harrow here to stain the world.

And, well. We get to Nona. And Nona's world fundamentally isn't like the one the other's see. Nona's world is mismatched and chaotic and charmingly odd. Most of it is claymation, interspersed with some other materials. Cam's swords are real metal, the dust of New Rho fills the air, and most of the food is probably actual food that looks as dreadfully out of place in this world as it feels in Nona's mouth. There remains a touch of Harrow, expressive movements are exaggerated with her flowing ink, action lines like calligraphy. Of course, there are also the John chapters. Here, we get to have proper fun with the visuals. Let's recap: it's Harrow getting to experience a memory of Alecto, narrated by John. We already know Harrow's flowing colors that stain the backgrounds, and we get mixed medium animation with it: articulated plastic dolls, of course, with some natural materials (moss, wood, some metal scraps) as set dressing.

I'm still not entirely settled on the Nona Epilogue. As long as Alecto isn't out I'm not sure whether I want to keep in line with something from the next book, or whether it's its own thing. Until we know more: illuminated manuscript.

---

Well, that was more than I originally intended to write, but I've had those thoughts in my head basically since I've started the books, and they needed an outlet. There's plenty more ideas where those came from, please please talk to me. 'The Unwanted Guest' as an actual play, anyone? (When Cam makes contact with Babs, and the fight initiates, the camera zooms out from the now frozen claymation, revealing it's situated on a table in the front row of a theatre hall BTW)

#the locked tomb #tlt #Gideon the Ninth spoilers #Harrow the Ninth spoilers #Nona the Ninth spoilers #I could keep talking for hours. Anyone want a full concept for the soundtrack? #just tell me