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stillness-in-green · 3 years

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MVA In Memoriam (4/5)

The Comprehensive Account of the Butchering of My Villain Academia

(Introduction and Part One, Episode 108: My Villain Academia) (Part Two, Episode 109: Revival Party) (Part Three, Episode 110: Sad Man's Parade)

Part Four, Episode 111: Origin: Shimura Tenko

Chapter 233 – Bright Future

• Twice clearly having arranged a Skeptic puppet to where its arm can be used as a pillow for Toga’s neck. A cute little character detail while also being kind of disturbing? Very on-brand for the League! A not-immediately-plot-crucial visual of a member of the League demonstrating obvious care for another member? The guillotine awaits!

• A little explanation about how clones’ physicality and memories work relative to the last time Twice saw the people the clones are based on. This is a very useful little nod of explanation to something that remained unclear from the dialogue of Mr. Clone-press last chapter. Twice’s quirk is pretty arcane in its ins and outs, frankly, and the clearer those details are, the fewer plot holes you’re leaving for later.

• The scene of Skeptic being right on the verge of confronting Twice. Skeptic has, oh, about five moments where he’s obviously a big tense neurotic who’s unpleasant to be around if things aren’t going his way, and the anime deleted or downplayed all but two of them. As ever, it’s obscenely damaging to the characterization of the MLA cast, who we have little enough time with as it is. Further, it was a particularly weird choice to make with Skeptic, who is as of this writing the only major MLA character who’ll emerge still free and active from the War Arc. Why shaft the characterization of the one of new characters who’s going to be getting the most attention out of any of them in the next arc, with yet more scenes yet to come after?[1]

• A full page’s-worth of Spinner’s rationalizations on targeting Trumpet and ordering the Twice doubles to do the same. This lays out the details on why targeting Trumpet stands to relieve some of the load on Shigaraki. It isn’t because Trumpet’s quirk makes the crowds more dangerous, though that is true. Spinner targets Trumpet because he’s seen enough to know that attacking the MLA’s leaders gets them crazy riled up; he knows that if he makes himself a threat to Trumpet, then all Trumpet’s followers’ attention will shift focus to Spinner, leaving Shigaraki with less to deal with. Spinner also knows that that is ludicrously dangerous to him personally, given his weak quirk, but he actively makes that choice anyway, because that’s how much he’s devoted himself to Shigaraki without (yet) quite articulating the nature and reasons for that devotion. Targeting Trumpet without any of that reasoning made for a perfectly sound tactical decision, but it missed the regard Spinner shows the unnamed mobs of the MLA, and it really missed the probable savage beatdown and even possible death that Spinner consciously chooses to risk for Shigaraki’s sake. Of course, a chunk of what the episode deleted is flashbacks to scenes the anime also cut, so they couldn’t figure into Anime!Spinner’s reasoning. This does not excuse yet more cuts to Spinner’s arc and characterization; it only adds to how badly the anime maimed him. Also, on a less salty but still confused note, deleting all the Twice clones from the beginning of the scene and just having Spinner running along a wall past mobs of people instead of laboriously fighting his way through the street to the van was really dumb. Why did all those MLA people just stand there and let him run by? Where did all the Twice clones that just helped save Spinner from a huge flurry of long-distance attacks disappear to? Come on.

• Trumpet’s thought that using Sevens Loud will draw every bit of strength from their warriors, but that it’s necessary. Setting aside that it looks far less necessary when there hasn’t been a crowd of Twice clones fighting Trumpet’s people this whole time, just Spinner by his lonesome, we still lost quite a bit to this cut. Firstly, a nuance on the trade-off Incite gives—that its stat-boost is temporary, and that it’s borrowing from the future to pay for the present, a stock that is limited and a bill that will come due when the effect wears off. Secondly, it’s another demonstration that the MLA leaders aren’t just thoughtlessly wasting their followers’ lives; they’re very consciously doing cost/benefit analysis on how much danger their people are in versus what stands to be gained by the potential exertion or outright deaths those people will suffer. It’s cold reasoning, yes, but that’s how the Liberation Army operates: not for the personal gain or lackadaisical ease of the people on top—Trumpet would just have been in the tower speaking through city-wide loudspeakers, if that were the case—but for the advancement of the group’s ideals. It also just grants Trumpet some interiority, but of course the anime can’t have that.

• The note in Trumpet’s meta-ability explanation that the more his voice causes the air to vibrate, the stronger Incite’s effect. This is—good god, it is literally the entire design mentality behind Sevens Loud! Sevens Loud purpose isn't to make his voice louder so more people can hear him (which I would think is the most logical assumption an anime-only person would make as to why he puts it on); it’s to make himself louder because being louder enhances the boost. It’s about the quality of the effect, not the quantity of targets. This is why Trumpet has the thought about how using Sevens Loud will drain the strength reserves of his people. There’d be no correlation there if Sevens Loud were only about boosting his range.

• When Spinner got porcupined in the anime, they did a close-up on his face, possibly to avoid the gore of showing the spines piercing through his forearm. That’s fine, but they also emphasized the reaction by having him lose his grip on the huge fuck-off knife he had clutched in his teeth. In the manga, sure, he yells in pain, but he doesn’t lose the knife. Indeed, he gets the guy off him by slashing at him with it—a shot the anime dropped. So Spinner doesn’t even get to keep displays of his pain tolerance, a trait he doubtless improved during those six weeks against Machia. Why does the anime hate Spinner so much, you guys? Why did it go out of its way to make him look lamer, when Dabi and Toga were out there getting anime-original flourishes to make them look cooler?

• Spinner’s thoughts, “When I get inspired to act, I don’t know what the heck I’m doing! I’m just a loser jumping on a bandwagon. Or at least that’s what it looks like.” A humorous bit of self-awareness from Spinner here. The anime got at the self-awareness. The humor, as we’ll see, not so much.

• Spinner’s thoughts, “Look at me. Look at me!! With all that prejudice in your eyes!” Hah hah, laughed BNHA the anime nervously, what prejudice are you talking about, Spinner? No idea what you could possibly be referring to there! This one’s particularly annoying because, while one might think that the anime was just dodging the heteromorphobia angle it eradicated all references to back at the beginning of the arc, the prejudice line isn’t even about heteromorphobia, not really. See, the Japanese line there literally translates to, “With those colored glasses!”—to see with colored glasses being a Japanese idiom for seeing something from a biased viewpoint. So aside from being a wordplay jab at Trumpet’s choice in eyewear, it’s also about Trumpet’s expressed view that Spinner, having been a shut-in with a weak quirk who decided to take his resentment out on the world, can’t possibly amount to anything much. So, what, did the people in charge of making those cuts think Trumpet was right? Why even keep the line where he disparages Spinner if you’re not going to let Spinner call it what it is? He’s not calling out fantasy racism there, anime! He’s calling out the bias against weak quirks that even the good guys in this world sometimes partake in! Possibly it’s because non-villains in the world[2] sometimes use reasoning that leads logically to quirk supremacism that the anime got gunshy with it, or it was more reluctance to give the villains—and the Too-Real Iguchi Shuuichi especially—moral ground for accusations against their society that get too close to real life. Whatever the motivation, it’s a bullshit cut.

• Shigaraki calling RD “Detnerat,” presumably because he neither knows RD’s real name nor cares to dignify him by using his code name. The anime, again, made neither the connection nor Shigaraki’s recognition explicit, so it lost the specificity and pettiness of that little snub.

• A little exchange between Giran and a Twice clone as they flee. It doesn’t give you much you wouldn’t assume just from seeing them flee, but it always feels more immediate and empathetic when the characters talk and you can see their expressions, instead of just a quick shot of them from behind as they run away in complete silence. Heck, running away in complete silence is actively out of character for Twice!

• Because the anime has some kind of aversion/restriction on showing hand-related violence, it radically changed how Shigaraki lost his fingers,[3] resulting in the loss of several important shots. To the best of my parsing, in the manga, when Re-Destro makes that first big jump to avoid Shigaraki’s decay wave, he comes back down specifically aiming for Shigaraki’s outstretched left hand, spread wide and flat on the ground. Shigaraki tries to evade (you can see the blur of his left arm in the panel where RD lands), but either RD does manage to clip the hand or he simply hits the ground with so much force that the sheer explosive burst of rock shreds Shigaraki’s hand and part of his coat sleeve. Being so much larger, RD then simply snags Shigaraki by the wrist before he can get out of range. It’s very fast, a burst of speed and violence, and very different (read: cooler) from Shigaraki flipping end over end in slow motion in a way that seemed to imply visually that he was thrown well out of RD’s grabbing range. As to the shots we lost? I counted three. First, Hana’s hand crumpling amidst all the flying debris. Second, that big dramatic panel of Shigaraki’s maimed hand ribboning blood into the air as the narration box finally drops Re-Destro’s identity and code name. Third, the shot of him catching Shigaraki, almost delicately, between one thumb and forefinger and delivering the, “Was it this hand that committed such evil acts?” line—a clear threat to what of that hand Shigaraki has remaining—as we find out what his meta-ability is. This is all hugely dramatic in the manga, because, of course, readers always assumed Shigaraki needed all five fingers to activate his quirk, and here Re-Destro nigh-effortlessly robs him of fully half his capacity to use it. It’s a shocking turn-around and instantly ups RD’s threat level by allowing him to permanently maim Shigaraki in a way that no one, hero or villain, has done before or since. Robbing Re-Destro of the immediacy of that seemingly devastating blow—inflicted within moments of meeting the real Shigaraki—did immeasurable damage to his credibility as an arc boss. The shot in the manga is also just arresting visually, with RD finally getting to properly loom over Shigaraki. Most of the shots up to this point have been framed such that, while RD is obviously bigger, he and Shigaraki have still been moving and fighting in a pretty level way. This is the first place where the viewer is situated so squarely behind Shigaraki that they can really feel how massive RD is in comparison. It’s certainly a more impressive visual than this mess—thanks, anime; thanks, whatever broadcasting standards forced overworked and uninspired animators to undertake a redraw of RD’s quirk reveal panel when every other member of the MLA brass had theirs carried over directly from the manga.

• A chapter-ending cliffhanger of Slidin’ Go helping direct traffic on the outskirts of Deika and the warning rumble as Gigantomachia approaches. Aside from being a nice little tension boost—Will Gigantomachia roll up just in time to see Re-Destro making a mess of Shigaraki? Who will he target? Will Shigaraki ever be able to win him over if he sees a scene like that?—it’s good foreshadowing for what the news reports will eventually be saying. Remember, the claim is that a bunch of villains lured Deika’s heroes away and then attacked the city while it was defenseless; that’s why we never see any of the MLA’s heroes involved with the fight once it starts. And now, here, we find out where they’ve been the whole time: making sure no outsiders get in who might be able to undermine that narrative.

Framing Shifts

• Once again had an MLA member using their Detnerat item say its name out loud, when it’s clear in the manga that they’re just thinking the names internally. Once again, it was kind of silly.

• When Spinner flashes back to watching Stain on TV and being inspired, the manga uses a shot of Stain’s face, snarling and defiant. The anime used—a shot of Stain from behind, only visible from the shoulders to the knees, hunched so that his lower back and ass were towards the camera. Bones… What exactly were you implying lit Spinner’s fire there? Or did you just not have the time or budget to go pull Stain’s reference sheets for drawing his face?

• A tone issue, but a major one: Spinner should be grinning, face alight with accusatory challenge, as he hurls his accusations of the MLA/Trumpet being the same bandwagon-jumping nobodies that he is. This is the moment in the manga where we see Spinner truly throw his hesitations and his doubts to the wind and embrace Shigaraki’s nihilistic fervor and the beauty, value and profundity of emptiness. So what if I’m empty? So what if he wants emptiness? Who cares about other peoples’ ideals if their ideals leave no room for me? It’s not a heroic triumph, but it’s a triumph all the same, and losing Spinner’s smile made the moment far too bitter.

• Meanwhile, in exactly the opposite problem, Shigaraki by this point is not smiling. In fact, he’s barely on his feet, swaying violently in place with accompanying sound effects. While his words are openly mocking, he seems to wholly lack the energy to back them up with his usual verve. The anime didn’t have him smiling, admittedly, but the whole time the ‘camera’ wasn’t directly on his face, his voice actor was reading the lines with an uneven, chuckling cadence that suggested Shigaraki was seconds away from breaking into howls of laughter. He was also, of course, impossibly clean, at a point at which his manga counterpart is muddy, bloody and tattered from the horrifically extended combat he’s been living for six weeks. It’s stuff like this that made it so impossible to take the Army or even Machia as much of a threat in the anime, when, other than the red cords on his hands being broken, Shigaraki looked absolutely no different than usual.

Additions

• Gave Spinner a tiny bit of new animation when he got mobbed by people hopped up on Incite. It was nice, but if they were going to give him a flourish, I’d rather it have come when he swipes Porcupine Dude off him with a combat knife. Or, you know, just kept the bit of him telling the Twices to attack and his reasoning on why.

• Cut inside briefly to show a ballerina girl dancing through a darkened apartment right before she sliced a neat circle out of the wall. I love it, A+, exactly the kind of expansion on the action of the manga I wanted to see. My only complaint is that her manga self looked more like Pearl from Steven Universe.[4] XD

• A quick new shot of RD when Shigaraki was hounding him about his feelings. His teeth were visibly gritted, the corners of his mouth pulled down. It stands out because there’s only one shot of RD there in the manga, and in it, he’s smiling, close-mouthed and calm. The anime copied said shot, smile and all, then cut away, and when it cut back, Re-Destro had a totally different expression on his face. Baffling. Anime!RD having a dour scowl everywhere manga!RD is smiling in a tight, controlled way was all over the fight scene, and it detracted from the sense of RD’s menace every time.

Chapter 234 – Destruction Sense

• The illustration(s) accompanying Re-Destro’s, “Let’s not judge people by their quirks,” line. The pictures are cute, but the real loss there was the note informing us that they’re excerpts from a children’s book published by Shoowaysha—Curious’s outfit—called Quirks and Us. That’s a very concrete illustration of the kinds of things the MLA is getting up to in the world, and an equally concrete thing an anime-only viewer lost. Of course, that viewer never even found out Curious was in publishing, so it wouldn’t have meant anything on that front, but there is one other thing I think is notable: the way that book implies that the only people explicitly pushing a “don’t judge other people by their quirks” message are the radical Liberationists. See, the rest of the story touches on the virtues of a nonjudgmental attitude here and there, but actually finding people willing to say it out loud is—unprecedented, I think. Deku comes across situations where he could say something like that multiple times and he never, ever does—not to Shouto, nor to Shinsou, nor to Eri, nor to the giant fox lady. And that’s not even touching on Shouji’s mask, or the discrimination Spinner faced, or the CRC “losing support” without being declared illegal. I think the manga itself is against judging people by their quirks, but it’s interesting that it doesn’t make its characters into mouthpieces to say as much. This is because its characters are thoroughly enmeshed in a society that very much does judge people by their quirks, regardless of whether or not it will say that doing so is bad or rude or prejudiced. Re-Destro and the MLA aren’t immune, of course—Re-Destro himself says that quirks are linked to personality—but they adhere to a different set of values than the larger society does. While Hero Society talks about quirks in terms of being heroic and/or useful versus villainous and/or useless, the MLA spectrums instead emphasize how capable a person’s quirk is of helping them exert their will and how ambitious the quirk’s bearer is in that exertion. That is, their ethics are less about morality and utility-to-society than they are about aspiration and utility-to-self.[5] Both worldviews have their pros and cons, but that, I think, is what the children’s book is getting at when it says not to “judge”—don’t assign an arbitrary moral value to a quirk; judge a person by their actions. And isn’t it interesting, that the only explicit verbal statement of that value comes from the leader of a radical cult descended from a famous insurrectionist quoting a children’s book published by a member of selfsame radical cult? The value is not ever stated by a member of the heroic cast, so are we to assume that the heroes don't actually believe it? Do people profess to believe it but everyone knows it’s only for courtesy’s sake, with only the MLA willing to breach that wall of “things we don’t talk about in polite society” to actually talk about it in anything other than platitudes? Obviously, you lose this entire line of discussion when the "don't judge people by their quirks" value is just never mentioned at all.

• The phrase, “In that case,” from RD’s, “You will never measure up to me.” It establishes continuity to what RD was saying before. He’s not taking breaks from talking while Shigaraki has flashbacks; the two are happening concurrently.

• RD’s, “Cracking apart…?” reaction to his Decayed fingertip, and the dripping blood from the injury. I’m not hugely fussed about the former, but I like the latter as indicative of what Re-Destro’s Stress powers actually do. That is to say, he isn’t covering himself in a thick shell of Stress power or something; his Stress powers make him physically larger, infusing his body and swelling his size. That’s why he bleeds when Shigaraki touches his fingertip. Admittedly, the size distinction was more obvious in the anime, where the audience watched RD’s shoulders inflate like balloons last episode, compared to the manga, where you don’t get in-between animation. Still, given that RD still has that wound even when he goes back down to normal size, and is still wearing bandages for his speech a week later,[6] it’d be nice to mark the severity of the wound with a bit of blood. Oddly, the anime did keep the wound for the crater scene, visible red slices opened in the flesh along the length of his finger, very obviously the sort of injury that would have bled upon being first sustained. Maybe RD ran afoul of whatever the studio mandate is on when Decay has a dust effect and when it leaves gore? (More of that later.)

• Shigaraki’s, “Mother!” for the first panel we see of her. It’s obvious enough who she probably is, but odd that we got a whole bunch of narration for Hana, and likewise an acknowledgment of his grandparents, but not even a single word for Nao.

• Very significantly drops the grandfather’s, “Eating yummy things helps make the sadness go away.” Grandpa’s not just randomly handing Tenko his favorite snack in that memory—he’s trying to treat some kind of grief or wrong without actually addressing the wrong, opting to just put a flavorful band-aid on it. That could be fine if it were something outside Grandpa’s control, but we’ve already gotten some early hints from Hana’s phrasing that things are not okay in the household, and thus the grandfather’s attempt to bribe Tenko with sweets is just as ominous a sign of what’s to come as the grandmother’s attempt to guilt him into not crying lest he make her cry too.

• A little shot of Shigaraki stirring in the rubble when RD answers the phone. It’s a nice demonstration of their size difference, especially comparing both of them to Machia, who we just saw tearing through buildings like the kaiju his theme music declares him to be.

Framing Shifts

• When Shigaraki narrates that Hana always took him by the hand when he got weepy, she actually does take his hand in the manga, her fingers wrapped around his, his clasped over hers. It emphasizes that this is what he can’t do anymore, simply hold hands with people, the innocence lost aspect, and it suggests the closeness he once had with his sister. In the anime, she reached out a hand but wound up taking him by the wrist instead, his hand splayed open beneath hers. This suggested, albeit very implicitly, that maybe that innocence was something he never had from the beginning; it also suggested less reciprocity in his relationship with Hana. Even though Tomura said in narration that their hands were joined, what we saw was that Hana just pulled him where she wanted him and he didn’t fight her on it, not that he held her hand in return. Alternatively, the anime could have been drawing a parallel to how her hand would eventually be gripping his wrist in a much different context (a more necrotic one, for starters) later in life, though if that's what they were going for, they could have stood to tweak the dialogue so it actually matched the onscreen action. (Credit to @robotlesbianjavert and @aysall respectively for these two theories!)

• Shigaraki still having his fingers when Re-Destro squeezed his hand made RD look like a real moron. I assume the intention was that he assumed he’d done enough damage—broken bones, torn ligaments, etc—to prevent Shigaraki from being able to move his hand in more than spastic twitches, but like, if all it takes is a hard enough spasmodic clench to dust you, you are playing much riskier games than the MLA is generally portrayed as favoring. (Not that the anime kept many of the scenes that demonstrated all the planning and prep that the MLA did as groundwork for their attack, as I have complained about at length.) In the same sequence, Anime!RD turned and bodily hurled Shigaraki away from him, while Manga!RD threw him a similar distance with nothing more than a flick of a finger. Anime, why you gotta make Re-Destro look so lame all the time?

Additions

• Just one episode prior, the anime managed to turn in an entirely reasonable assemblage of swiping and dodging between Shigaraki and Re-Destro while RD was rambling on about the Mother of Quirks. What the hell was the excuse for this episode’s ridiculous shot of Shigaraki literally running circles—big, broad circles—around RD multiple times in the time it took RD to finish one (1) thought? For heaven’s sake, if you don’t have the budget for flashy, just use slow motion or more flashback animation or something. I know there’s more leeway for long thoughts in manga, where the reader understands that thoughts are moving far faster than action, and that it can be hard to bridge that gap for anime, where motion is motion but voice acting still has to rattle its way to the end of a sentence. I understand that measures have to be taken to account for that. Still, I promise, something that just looks a bit padded is much preferable to something that looks outright dumb.

• I admit to having found huge Stress monster RD pulling out a teeeeeny-tiny cellphone very funny—even more so the distinct cracking sound it made when Skeptic reported in bad news and RD’s fingers tightened infinitesimally—but the manga suggests fairly strongly that RD’s just answering on some kind of earpiece or micro-receiver, the same kind of thing Ujiko hands out and that Skeptic is associated with on multiple occasions. It’d be nice if RD could have kept more of the jokes he actually makes, the ones that stem from his native good humor, rather than the anime making up new ones based entirely in the contrast of Re-Destro and the viewer’s expectations of Re-Destro.

Chapter 235 – Shimura Tenko: Origin

• The man at the door, whom Nao is apologizing to at the beginning of the Tenko flashback and the apparent reason Tenko got busted for playing hero. I don’t love the way deleting this obscured that Tenko, in some fashion, troubled someone to lead to Kotarou dragging him down the hall (the anime also dropped Kotarou’s subsequent line, “Causing trouble?!” that’s supposed to supplement his, “Playing hero again?”), but it’s not like the manga doesn’t imply that the same thing would happen for any hero-based rules infraction, regardless of whether it troubled strangers or not. No, the much, much funnier thing to me is how it just fuckin’ torpedoed the most obvious thing people point to when they posit that All For One gave Tenko Decay, kicking off the entire tragedy: the man at the door with the conspicuously shadowed face and the even more conspicuously AFO-like suit and dress shirt with the top button unfastened. Listen, I hate that theory and what it would do to the narrative of Shigaraki Tomura/Shimura Tenko as Hero Society’s long-overdue reckoning, the villain they can’t put down and the victim they can’t silence, so watching the anime summarily cut out the scene that really kicked the theory into overdrive was very validating! Conversely, I still can't deny that it's a plausible theory, so if it does turn out to be true, that means the anime shot itself in the foot on the most obvious bit of foreshadowing this side of AFO addressing Tenko by name when he finds him in the alley. The schadenfreude of that would also be very funny. Really, unlike every other cut this season, I regard this one as win-win for my personal experience with the anime. Incidentally, I was very prepared to complain about the anime dropping all the changes of clothes the Shimura family goes through over the course of the flashback—I regard the timelapse as one of the major points against the AFO Gave Tenko Decay theory, since it’s never taken a quirk bestowed by AFO multiple days, maybe even multiple weeks, to kick in before—but it turns out I’m a lot less bothered about them not taking the time to change the side characters’ clothes when the anime also deletes the dude at the door who is the only reason I care about clarity re: how much time the flashback covers! But just for the record, while they had more outfits than I was expecting them to, the family did go through fewer changes of clothes in the anime than in the manga.

• The full echo of the line about kids being sneaky and simple in favor of Narrator!Shigaraki just letting out this exhausted, rueful, “Ahhh, kids are…” I actually rather like it. It’s a clear reference back to the earlier line without having to restate the whole thing, and Uchiyama Kouki’s delivery is really excellent.

• Kotaro’s first slap of Tenko, the only one directly portrayed on-panel, and Mon-chan’s barking in response. On the one hand, I think there’s an argument to be made for the scene flowing a bit better like this—why wouldn’t Grandpa try to stop him from going for that second slap; why wouldn’t Nao pass Hana off to Grandma and do something instead of just standing there yelling for the entire scene? It makes a bit more sense if they’re hesitant to intervene because Kotarou has “only” grabbed at Tenko’s collar and they don’t yet know how that it’s going to escalate to naked physical violence in a way that it never has before. On the other hand, that first slap is so visceral and shocking. Nowhere else in the manga is domestic violence portrayed more sharply and directly, in greater detail or more cruelly generous panel space than in this moment. It’s in the difference in size between Kotarou and Tenko, the force behind the hit that’s enough to knock Tenko clear off his feet, the pages upon pages of gut-churning lead-up to this moment and what we know will be following soon after. Also too, it makes the family’s failure to help Tenko much worse that no one else acts when Kotarou pulls back for a second hit. The first one, you could almost excuse because no one saw it coming; the second throws those justifications out the window and spits on them afterward. Two hits are important—not only for what they tell Tenko in the moment about his family's inaction, but because two hits speak in ways one hit doesn't to how wildly uneven the power balance is in the house, that Nao and her parents could witness something like that and not only fail to intercede, but then take who knows how long to work up the courage to confront Kotarou afterwards. I understand very well the fear of showing this in a family TV timeslot—the violence is so much more real than any big fantasy beat-‘em-up could ever be—but it’s the kind of thing that really drives home what Tenko needed to be saved from even back then, a social issue that heroes as they currently exist were in no position to address. Far from demonstrating that heroes aren't at fault for what happened to Tenko, though, what this scene truly does is vividly illustrate the flaws in All Might's social contract, in which his power and smile seem to promise that he can save absolutely everyone, only to leave children like Tenko out in the cold with no explanation as to why. It's brutal because it has to be, and the anime shying away from depicting Kotarou's physical abuse undercut that.

Framing Shifts

• There was a bizarre, nonsensical change to the scene at the beginning of the chapter where RD is figuring out how Shigaraki survived/got back up after taking a Burden attack head-on. The manga’s explanation is that Shigaraki didn’t actually take a full force hit because he was Decaying it even as it was blowing him back. This is somewhat silly, given that even a reduced-strength Burden is still strong enough to put him through multiple buildings. It is, however, less silly than the anime’s take, in which Shigaraki touched Re-Destro rather than the corporealized Stress of Burden. How Re-Destro survived a full-fingered touch from Shigaraki’s completely uninjured right hand[7] went totally unexplained; the problem was then compounded by Re-Destro delivering manga-accurate lines about Burden not being an evadable attack despite “evasion” having nothing to do with Shigaraki’s actions. Anime!Shigaraki didn’t dodge the Burden attack any more than Manga!Shigaraki did; unlike Manga!Shigaraki, however, Anime!Shigaraki also did nothing to reduce the impact of the attack. So not only was how Shigaraki survived the Burden attack not explained, the change to the material also opened up the plot hole of how Re-Destro survived a direct touch attack that Shigaraki in the manga never lands.

• There was also an extremely weird decision made to give Tenko dark, gray-blue eyes, obviously reminiscent of Nana’s, and suggest that they became red at the same time as his hair was changing to white. But in the manga, other than the size, there’s no difference between young Tenko’s eyes and how Shigaraki’s eyes have always been drawn—an unshaded iris with a visible pupil and a relatively thick line delineating the iris from the white of the sclera. Tenko’s eyes never matched those of anyone else in his family, least of all his dark-eyed grandmother. His hair changed color because of a trauma response,[8] but his eyes were always red.

• Relocated Shigaraki’s first, “Little kids…are sneakier than you’d expect. And simpler,” to underscore Hana showing him Nana’s picture in the study, squarely centering the line on her. And like, yes, that line does get its bitter echo later when Hana panics in the face of her father’s fury and throws the blame onto Tenko—but that line isn’t just about her; it’s also about what Tenko wanted to hear from the other adults in his life. It didn’t matter that his father didn’t approve; if he could get at least one adult to say he could be a hero, to take his side, then he could feel vindicated. It’s a child’s sneaky, simple reasoning: if an adult’s words are absolute, you just have to get one (1) adult to agree with you. It’s asking Dad if you can do something you don’t think Mom will agree to, and then going to Mom with Dad’s permission held defensively in-hand. Laying the line over Hana obscures that it’s as much about Tenko’s craving for external validation as it is Hana’s (entirely understandable) deceitful streak.

• After half a season full of internal monologue being voiced aloud even when it made little sense to do so, the anime decided to render clearly talk-bubbled dialogue—Tenko’s chatting at Mon about how he feels like he could take on the world—as internal monologue instead. Who talks to their animals in their heads when they could be talking at them directly like pet owners the world over?

Additions

• Added a few extra stills of Kotarou rebuking Tenko and dragging him around. I don’t think they’re inaccurate to the situation, though I wonder if it really needed to be underlined two more times than the manga did. Maybe they were trying to make up in advance for deleting the first slap?

• Added a few new stills of Nana and child!Kotarou. They hurt my soul and I love them without reservation.

Chapter 236 – Shimura Tenko: Origin, Part 2

• Hana’s second apology. What needs to get across was communicated with her first apology, but I do think the second one adds some naturalism to the dialogue. It feels very normal for a child feeling extremely guilty to apologize multiple times, like the more times they say it, the more true/convincing it will become.

• A bit of Tenko’s internal monologue—thinking Hana’s name, and Mon’s, and that he can’t talk. The anime slipped some attempts at verbalizing “Mon” into the dialogue, and it was painfully obvious just from listening to him gag and choke that he was too horror-struck to get words out, in ways that would be a little harder to convey on the page. Also, he thinks again that he can’t talk just as Hana runs away, so it gets across regardless. No real complaints here.

• Some thoughts about how he’s itchy, which, given what his itch represents (or at least what he thinks it does), they probably should have kept for continuity’s sake.

• Tenko’s last, “Hana-chan!” just as he grabs for her. I can imagine it having just that little bit more desperate impact, especially given Sekine Arisa’s great delivery of the first “Hana-chan!” but his delivery of the first one was great—weeks later, I can still remember it clearly—so it’s not a snip I’m inclined to doomsay about.

• Hana’s verbalization as the Decay hits her. Given that they kept Mon-chan’s last whimper, it’s kind of inconsistent not to keep this. It’s grueling, sure, but no more so than the rest of the horror show shortly to follow.

• An echo of Nao’s defense of Kotarou’s anti-hero stance. Frankly, I think anime already over-indulges in echoing dialogue we’ve heard not ten minutes prior, so I don’t mind losing this—in the manga, the moments would have fallen in different chapters, so it makes more sense to squeeze in the little reminder, but that wasn’t necessary for the anime, in which the original moment and the callback happened barely more than five minutes apart. It was obvious what the mental image was meant to draw attention to, since Tomura was narrating about exactly what his grievance was, and the image was followed by the two equivalent moments with the grandparents. (Admittedly, it hurt that correlation a bit that Grandpa’s line about the ohagi being intended to make the sadness go away got cut, but the sentiment was pretty clear from the man’s expression of nervy, abashed guilt regardless.)

• The line of Decay that splits Nao’s eye, one of the more vividly horrific little grace notes in the chapter. It undercut the grotesquerie just the tiniest bit, but the scene’s grotesque as-is, so I can understand that slight edit for TV standards. The discrepancy between Decay-to-dust and Decay-to-gore, discussed below in Framing Shifts, was much more damaging.

• A shot of Kotarou just after he hits Tenko with the tree pruning shears in which he looks, briefly, incredibly distraught, like he’s just realized what a monster he’s become. The anime didn’t make the slightest of attempts to keep that spasm of horror, grief, and regret, and thus lost that last moment of sympathy for a man deeply traumatized by a heroic character’s actions. It’s my only complaint about Anime!Kotarou, who I was otherwise far more pleased with than I was afraid might be the case, but it’s a complaint I must register nonetheless.

• A bit of inarticulate yelling before Tenko screams, “You... Die!!” It helps get across Tenko’s rage overflowing, to have that wordless garble before he can actually wrap words around it. He was still having trouble talking, too, so it makes sense that his first vocalization would just be a long, incomprehensible screech. That said, with the music there to supplement the mood in a way the manga would lack, I don’t think the anime’s rendition of the scene suffered overmuch from its absence.

Framing Shifts

• The anime, of course, has always gone the dust route for Decay because Decay is a little too gruesome for family hour TV, and anyway, when Tomura gets as fast with Decay as he is in Deika, he really is just insta-dusting people, such that not even blood remains. But he wasn’t that fast or that thorough as a child, hence why it’s all so much gorier—and it needs to be, because it’s hard to imagine Hana freaking out like she does if all she sees is a pile of dust instead of, well, dog gobbets. (Also, if his family had gone the dust route, it would have been very hard to convince the audience that Tomura’s hands are his family hands and not fakes provided to AFO by Ujiko.) This obviously put the anime in a difficult spot, but apparently the decision they settled on was—to not decide? Everyone we saw in the active process of decaying decayed into dust as usual, but then once they were done decaying, once that transition from person to ruin was complete, there were all these heaps of gore everywhere. It was a very strange and distracting inconsistency that hurt the scene much more than any of the nearly invisible cuts, and I hope the blu-rays will change it.

• Added Grandpa catching Grandma as she staggered at the sight of things in the yard. Since his body language in the manga (the only non-Decayed shot of him in the sequence) has him leaned more forward, like he’s still halfway through running towards the kids, I thought this was a nice little touch on why he stopped, for reasons other than just the obvious.

---

Episode 111 was about half of a really strong episode. Most of my complaints about the Shimura Family flashback are very minor, and most of the ones that are less minor are still easy to overlook when the rest of the presentation was so strong. Unfortunately, the non-flashback half of the episode had as many problems as ever, and those aren't over yet.

Come back next time for Part Five, Episode 112: Origin: Shigaraki Tomura. Assuming my complaining about the finalized gutting of Spinner's arc doesn't get too out of hand—which it may; if so, I'll tack on one final part to wrap things up—I'll also be running down a quick overview of the Paranormal Liberation Front scenes in the Endeavor Agency arc and some various odds & ends.

FOOTNOTES

[1] Yes, I know the Skeptic Confronts Twice scene goes nowhere, but maybe, instead of deleting it, they could have patched it up by showing Skeptic turning away from the confrontation when the tower went down? You know, actually made an effort to improve on the material?

[2] Bakugou, of course, but also Inko, Kotarou, and, very prominently, even All Might. Deku circa MVA has an entire arc lying in wait for him about how much he’s internalized All Might’s paternalism re: having the strongest quirk.

[3] Indeed, as of the scene in the crater, he still hadn’t lost them at all! He had his prosthetic by the time of the speech, so I guess we’re meant to assume that Ujiko or some MLA doctor declared them past saving and amputated them. I hope I don’t need to tell you how unbelievably lame it is to have a shounen manga character sustain a permanent injury like that off-panel.

[4] It’s the pointy nose.

[5] That, at least, is the best way I’ve found to reconcile all the related-but-distinct values professed by the various members of the MLA brass, from Re-Destro’s focus on liberation and purpose, what exactly Trumpet chooses to cite when he’s talking about Spinner not “amounting” to anything much, Geten’s open extolling of quirk supremacy, and so on.

[6] In the first big double-page spread. Oddly, no bandaging is visible in the other panel that has a good shot of that hand, possibly because Horikoshi was more focused on drawing RD’s empty pant leg. The anime kept the obvious wound during the crater scene, but not the bandages during the speech.

[7] I assume, anyway, that Re-Destro only survives Shigaraki’s first touch because it’s a weaker Decay, coming as it does from only from two fingers rather than five.

[8] The fabled Marie Antoinette Syndrome. Never been scientifically documented as such (hair can whiten because of extreme stress, but not overnight) but it endures in fiction because it’s pleasingly dramatic. Trauma-based eye-color changes, not so much.

#my villain academia #boku no hero academia #my hero academia #bnha #bnha meta #my writing #stillness has salt

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becaeffinmitchell · 3 years

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Fic: what i have (is who i carry home) (1/1)

Summary: Chloe, as it turns out, loves Valentine's Day.

Of course she does. Beca can't say she's surprised in the least.

aka, five Valentine's Days Beca Mitchell's had.

Note: After ten thousand years, I’m free! Or, you know, after eight years, I’m finally posting my first Bechloe fic. Happy Valentine’s Day, everyone 🥰 Gif credit goes entirely to @evenstars (thank you so much again!)

Words: 4,954

Read below or on AO3!

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i. 2012, Freshman Year, Barden University

There are so many other things Beca would rather be doing.

Like go to the dentist. Actually show up for class. Spend time over dinner with her dad and the step-monster.

Okay, maybe not that last one. Nothing in the world would make her choose that.

But here she is, in that stupid red hoodie, holding that stupid bow and arrow, standing in front of people, refusing to sing that stupid song with Amy.

Later, back at the auditorium where they have Bellas practice, Aubrey's voice is shrill and loud. (As always, Beca thinks.)

"Beca, you really need to be picking up the slack. We need every dollar that we can raise so that we have enough to cover our journey to the semi-finals, and you're dead last in our fundraiser right now."

Amy mutters something under her breath, soft enough for Beca to hear something about — the bus? The Trebles? She doesn't really know. Whatever it is, it's not something she wants to get in the middle of.

"Maybe we can think of something new to do." Beca's tone is dry, and she schools her expression into something neutral on her face, her head tilted slightly, knowing that Aubrey has to know she isn't just talking about the fundraising activity.

It's just — she can feel the potential of these girls, okay? And it's such a shame that they're stuck doing the same three songs, over and over. If she could at least try, show them her arrangements, maybe they'd have a fighting chance.

"I have the pitch pipe, and I say we do this exactly how we have been doing it."

Beca is about to say something snarky, something she knows is going to get under Aubrey's skin, when Chloe's voice rang out beside her.

"It's okay. I'll do it with Beca tomorrow."

She hasn't even noticed Chloe approaching them in the midst of this, so her head whips around so fast at the sound of her voice.

"Don't you have a class during that time, Chloe? That's the whole reason why we couldn't pair you up with Beca." There's something about Aubrey's clipped words that is super careful and controlled, like there's more that she wants to say but isn't.

Chloe shrugs, before turning to Beca with a beaming smile. "It's okay, skipping out on one Russian Lit lecture won't make a difference."

Chloe, as it turns out, loves Valentine's Day.

Of course she does. Beca can't say she's surprised in the least. She thinks she doesn't know anyone who's more enthusiastic about everything and anything.

There's something about Chloe that feels like embers starting at the base of Beca's dead, cold heart, warming it up and turning itself three sizes larger.

It's not a thing she wants to unpack right now; she's not the type to get attached to people, and especially not when she's going to go through with her plan, and leave at the end of the school year. It doesn't matter if her dad helps her or not.

"Do you have any plans for tomorrow?" Chloe's voice, melodic as it comes, breaks the silence as they walk towards the south quad. She looks ready to go through the entire residence hall, her angel wings bouncing behind them.

"It's a day corporations literally invented to convince everyone to buy cards and chocolates and flowers at jacked up prices, so..."

Chloe lets out a happy sigh. "Maybe so. But it's also a day to celebrate love! And love is so awesome. I love love. And I'm not just talking about romantic love, though that is nice. You can also celebrate the love from all relationships in your life. Like your best friends, or your parents, or your siblings."

Beca raises an eyebrow, because Chloe is just so goddamn earnest. She tugs at her hoodie. "Let me guess, you and shower guy have a date?"

"Who, Tom?"

"How many shower guys do you have?" There's a beat. "Actually, don't answer that."

So here she is, still in that stupid red hoodie, still holding that stupid bow and arrow, standing in front of people, and singing a duet with Chloe Beale.

The next morning, Kimmy unceremoniously drops a box at the foot of Beca's bed, a loud thud waking her up.

There's a sleeping mask, a whole clip of flash drives, two huge jars of peanut butter, and cans of Red Bull in the box. There's also a card, and her name is written carefully in the middle of an envelope.

Happy Valentine's Day, Beca!!!! I've said this before, and I'll say it forever: I'm SO glad that I met you. I LOVE that you love music like it's the one thing you can't live without. It's something that really resonates with me, too. You make us better. :) :)

xoxo,

Chloe!

Beca drifts off to sleep that night, the music still playing in her headphones. She's wearing that sleeping mask across her eyes.

------------

ii. 2014, Junior Year, Barden University

The thing with Jesse is, he really loves these grand gestures of romance.

Sometimes Beca thinks that that's his favorite part. It's almost like he's in love with the idea of being in a relationship.

Worse still, in love with the idea of her, like she's this perfectly scripted character who exists for him.

Last year for Valentine's Day, Jesse had shown up at her dorm. Well, outside of her window actually, boombox on his shoulder. She'd tried not to wince, her lips pressed together into something resembling a smile (she hopes) to the strains of In Your Eyes, at the ungodly hour of dawn.

It isn't even that she had just gotten to sleep like, two hours before that. Or the very clear and enunciated "fuck off!" that her neighbor gave them, complete with a dramatic slamming of her window. At least she doesn't have to deal with that now, now that they've all moved into the Bellas house, newly renovated.

It was just a lot, right? And maybe she should have been a better girlfriend to anticipate it this year, or at least match some of that. Rise up to his level, or something. She just has a reservation to a fancy Italian restaurant in Midtown, and she made that way in advance. So maybe she gets points for that?

January rolls into February, and she dreads it. Every day is a countdown to The Fourteenth.

Here's the more pressing thing: Chloe seems sad. Not all the time, but Beca catches it occasionally.

She presumes she knows her best friend pretty well by this point, until she's doing things like failing a single class on purpose so that she doesn't graduate. For the second year in a row.

And Beca gets it, at least on an abstract level. If she starts thinking about what comes after graduation — and that's in a year and some — she gets nervous, too. But in no version of her reality does she get so paralyzed with fear, that she would opt to repeat her senior year like it’s groundhog year.

She wishes she could know why, for certain. She can't help if she doesn't know what's going on in Chloe's head, but for the first time, it's Chloe's turn to clam up and switch the subject.

So Beca doesn't push. She hopes it's enough to keep her afloat as she works through whatever it is. She doesn't really know what that entails, but music? Music she can do.

She pours her energy into putting together a really solid mix for Chloe; it's all the songs that remind Beca of her, and their friendship. She picks songs and arranges them and removes them before she puts them back in, because it has to sound right.

Beca feels like the world's biggest dork for giving it to her the morning of Valentine's Day.

Well, second biggest dork, because she intercepts Chloe leaving the gift boxes in the room, for her and Amy.

"Hey, uh. Happy Valentine's Day," she says, handing her the flash drive — one of the many that Chloe has gotten her over the years, like she's her supplier — and hoping she doesn't look as awkward as she feels. "It's not anything like your, like, super thoughtful gifts." She gestures in that general direction. "But you're my best friend, so... here."

She gets pulled into a hug, and Beca can't be sure, but it sounds like Chloe's 'thank you' is strained and she's about to cry.

Beca hopes it's enough.

"So, Jesse gave you just the one earring?"

Beca's back from the dinner. It was... nice? There was a string quartet and Jesse made them play John Legend's All Of Me, and Beca didn't actually die of embarrassment when he started singing along, so she'll chalk that up as a win.

"Yeah, it's like — symbolism, I guess. From the movie." Beca shrugs, chewing on the popcorn she's made that Chloe is currently stealing. She thinks about lightly smacking her hand away, but ends up shifting the bowl so that it's nearer to Chloe.

Does she regret putting Don't You (Forget About Me) in their setlist? Maybe.

Probably not, all things considered, because it worked well together with the other songs, and they did win the finals that year. But it elevated the movie to mythical and legendary status for Jesse, and if he does that arm raising motion one more time during squabbles he wants to get out of? Beca might lose it even harder.

"Is it symbolism or a metaphor? I could never tell the difference."

"I think it was a metaphor in the movie," Beca starts, a thoughtful expression on her face. "But more of a symbol for like, me and Jesse? Oh my god." She presses her free hand to her eyes. "You're such a nerd. Stop making me think deeper about this than I need or want to."

"I just think it's nice," she hears Chloe say.

Beca hums, tone neutral. "It's something, for sure. Wait." She whips her head to face her best friend. "You didn't go out tonight? Ms. 'I Love Love'?"

Chloe chuckles lowly, quietly. "I have all I need here in this house, anyway."

When Beca goes to the kitchen in the middle of the night for a glass of water, she thinks she hears the soft strains of her mix playing from Chloe's room.

------------

iii. 2017, Brooklyn, NY

It's apparently the warmest February in New York on record, but Beca is still fucking freezing.

The incessant chill envelops the air, and she pulls her coat closer to her. She's bundled under layers, but the radiator in their tiny little apartment is, as most things in it, almost completely busted.

Jesus Christ. It's cold.

Amy is convinced she's cold because she's moping, because she's sad about breaking up with Jesse.

Beca knows she isn't, and it's not just the long distance thing.

They'd given it a fair go, and it sucked that he got busier with classes and she tried to solve all of the music industry's problems as an associate producer, working hours trying to make tracks sound... sonically unrotten.

It's not just the long distance thing, because if Beca was honest with herself, it was probably a sign that when he told her that he was thinking of completing his studies in California, her immediate response was that of neutral indifference.

So, she is totally fine.

Beca hears Chloe singing softly before the door even opens, and she can hear it swing open too, and she knows Chloe is about to shrug her coat off —

"Don't bother, it's also cold in here," Beca says, from under the covers.

Then, her eyes track Chloe as she walks to the radiator —

"I checked, it's working. Supposedly."

"Aww." Chloe strides the distance — not that it's that long — and sits down on their shared bed. "You're so cute when you're grumpy."

"Aren't you freezing?" she chooses to deflect the comment, hugging herself petulantly. "Hey, how was your date with that guy at the clinic?"

Chloe hums noncommittally. "We went for coffee and he double-booked me with another girl."

"Dude. What a dick." Beca feels a flash of — annoyance? Chloe deserves the world. Chloe deserves everything she wants. "I'm sorry."

"I know. It's okay though." Chloe smiles at her. It's that smile that Beca catches that she thinks it's just for her, but she's also a logical person who knows that Chloe has that ability to make people feel like they're the most important person in the world. "I've got all I need right here."

Warmth pools at Beca's stomach, and honestly. It's a nice change from the freezing.

It's 2 AM, and they're cuddling, because of course they are; because Chloe is warm; because Chloe is an embrace personified; because... Chloe.

Beca stirs awake, and she feels Chloe's breath tickle at the base of her neck. She shifts, not uncomfortably. Then, Chloe's hand drifts sleepily, and lands somewhere on Beca's hip.

And then.

There is a sudden, startling clarity in Beca's mind, knocking the figurative breath out of her. Her eyes fly open.

She loves Chloe.

And not in the same way where she loves the rest of her found family in the other Bellas.

Oh no, a voice sounds in her mind.

Oh, this is very bad, she thinks.

She can't believe how still she is right now, feeling the entire weight of Chloe's body in contact against her. Feeling her slow, steady breathing against her back. She's not even cold anymore.

Okay. So she loves her best friend. Cool, cool, very cool. That's totally fine. She can handle this.

Chloe's been such a fixture in her life, at every turn; in every note in between the downbeat and upbeat that is her life. Music is in Beca's veins, her whole life, but music flows right through Chloe. She's tucked warmly in the melody, a motif throughout the entire song.

Holy shit, Beca thinks. She's been in love with Chloe for so long, she doesn't even know when it started.

Okay, so. There's a weird spot on the ceiling, right? And Beca just keeps staring at it, because if she closes her eyes, she will feel Chloe's presence so keenly, pressed next to her.

She can't do anything with this knowledge. She can imagine it now, Chloe giving her a comforting hug but tells her, sorry Beca, I love you but not in that way.

It's five whole years of friendship, of Chloe by her side no matter what, and that is the one thing that she's got that she doesn't want to risk, just because she had this stupid revelation.

God. It's so stupid. It'll pass. Right?

------------

iv. 2018, Los Angeles, CA

What is really fucking weird, even in the grand scheme of things, is journalists asking her if she's doing anything for Valentine's Day.

Which, like. First of all, Beca's not stupid, she knows it's a way to suss out her personal-slash-love life.

She's kept that pretty close to her chest for now.

But also, there's literally nothing to tell. She's not being defensive because there's something to hide away. Beca is knee-deep in work all the time, and she goes home to an apartment that feels too big for just herself. It's a big change from the entirely too cramped apartment in Brooklyn.

Sometimes she finds herself missing that very specific part of her life. Not the struggling and being unhappy doing work with no integrity, obviously. But Chloe is now a message and three hours ahead, instead of being a daily fixture in her apartment, and it leaves Beca feeling off-kilter.

But maybe that distance is a good thing, after... you know. Revelations.

Anyway.

Her work ethic doesn't stop rumors. She's linked to every guy available — and some not — every single time one of them likes her Instagram posts. She's pretty sure she's had at least two full relationships, according to the National Enquirer.

Theo gleefully sends her screenshots. She tells him to fuck off.

Chloe Look out, super star! I'm going to be in LA for a good friend's wedding in February!! If you think we're not going to hang, you're sorely mistaken.

Beca is busy, but she sure as hell isn't going to miss Chloe coming to LA.

Beca You have good friends outside of the Bellas? I am shocked, Beale.

Chloe Don't be jealous 😉

She's not. Not because of that, she catches herself thinking, and frowns at herself. Not because of anything, she decides. It's also exactly how she decides she doesn't have feelings for Chloe anymore, because Chloe is happy with Chicago, and Beca has work, and honestly? Best outcome out of every outcome possible.

Still, Beca offers up her apartment for the long-ish weekend that Chloe would be in town. She's not a monster, and Chloe has like, a mountain of student debt.

It's the least she could do.

(Beca thinks back to that first performance at the Citadel, just under a year ago. Thinks of all the nerves she's never felt before, while she's walking to the microphone. She's always had the girls on stage with her, but not this time. Her family would be seated in the front row, supporting her no matter how far she goes.

She gets to bring them up on stage this time, of course, but it's also a temporary balm and she knows it. But that's fine, she can figure that part out.

It's the after that smarts a little.

After the performance, after the event, after she feels that pit, growing and clawing from her stomach when she sees Chloe lock lips with Chicago.

After she walks away with Theo, trying her level best to carry on a conversation as if she's not affected by what she'd just seen; trying not to think of all the what-ifs.

After, on the plane back home, when she directs a small smile at Chloe's direction. If she's happy then she's happy for her.

It's the least she could do.)

Chloe's flight reaches the airport at 7 in the evening, and Beca's right there at LAX, waiting for her to emerge. She can see a couple of people with the big paparazzi cameras, training their lenses at her, but she doesn't care.

There's a flash of red as she sees Chloe running to her, and thankfully she catches her.

"Oh, I've missed you," Chloe says, so earnest and sincere as always; always, and Beca can hear her own heartbeat. She's almost worried that Chloe can too, like a traitorous Tell-Tale Heart.

"Yeah, well, regular sight for sore eyes, that's me." That's good, right? She hits jocularity right in the bullseye with that, as if she can't feel the top of her ears growing hot.

Chloe just laughs; like another kind of warmth. She draws her in again, hand rubbing up and down Beca's back.

Beca thinks she's stupid, for feeling like she's home.

They get to Beca's place, Chloe appraising the place appreciatively as she wheels her luggage in.

"This is already at least fifty times nicer than our little shoebox in Brooklyn," she observes, and Beca shrugs, a little embarrassed.

"I mean, the label's paying for it, and it's like, it's — it's ridiculous." There's a voice at the back of Beca's head repeating, our little shoebox, and she wants it to shut up.

But it is ridiculous. She has so much space, and two rooms; she sleeps in one and the other one is where she works. She's pretty sure she spends more time in the latter than she does the former.

"Anyway, uh, so here's my sort-of office, it's a bit of a mess right now." She waves her hand around (god, why is she using her hands so much) at the room with her equipment and instruments, before stepping to her bedroom door. "And here's the bedroom, which, like. You should take the bed. My couch pulls out and it's really comfortable?"

"Don't be silly," Chloe tells her, looking back at the king-sized bed. "We've slept in way more crowded spaces. This will be perfect."

Beca swallows, hard. Perfect.

Falling back into a routine with Chloe is scarily easy.

She's been here for less than three hours, and Beca's already back to being attuned to her. They put on some music in the background, she listens to Chloe talk so passionately about school and all the stuff she's learning, and Beca is so proud.

She brushes her teeth and changes into her pajamas after Chloe does, exactly like how they used to, and climbs into her bed.

"Oh, shoot, I almost forgot," Chloe's saying, and Beca cocks her head curiously to see what she's forgotten. Her best friend comes back with a box, and hands it over to her.

"Happy Valentine's Day, Bec. Also, I don't think flash drives are in fashion now," she winks. "So your Google Drive storage has been renewed, for all the audio files you need to back up. Don't worry, I didn't look at anything else."

"Wh — oh. Oh, right, Valentine's Day, gifts and all," Beca says, and looks at the box in her hand. "Wait, is this —"

"Chocolate from your favorite place in New York? Yessss," Chloe says, a laugh coloring her tone. She settles back into bed. "Not that you have a shortage of chocolate places here, but Amy reminded me of the time she ate most of the last box after how you were saving your favorite pieces, so I thought I'd bring some here for you."

Beca's heart clenches.

"Thanks, Chlo." She's pretty proud of how unwavering her voice is. "I miss it."

"It's been tough for me too, not having you in my orbit," Chloe says, bumping their shoulders together.

"Yeah? Must be extra tough, because Chicago's not around either." Then she's scrambling. "Not that I'm like, comparing myself to your boyfriend in any way."

She sees Chloe's mouth twist to the side. Beca's eyebrows knit together.

"Chlo?"

"He's not my boyfriend anymore." Chloe's words are slow, measured. Like she's afraid of setting something off.

Beca pauses, as she takes it all in.

"Oh. I mean — Are you okay?"

"Yeah. It's been..." Beca sees Chloe's furrowed brows as she thinks. "Three months, almost. Just right before Christmas."

Beca thinks back to Christmas; to the group messages, the online gift cards and food deliveries made in each other's names. Nowhere in her memory exists this piece of information, and she's pretty sure she's not been that shitty of a friend to miss this.

It feels a little bit like being hurt, actually.

"Oookay," she says, licking her lips a little, letting the air out of her slowly. "Okay. Well. Good night, Chloe."

Beca can't fall asleep, and she's pretty sure she knows why. It's been an hour of staring at the ceiling, and she tries to will her stupid mind to shut down for the night.

She thinks Chloe must be asleep by now; her body clock must be three hours —

"Bec?"

Beca pauses for so long that she thinks Chloe might actually think she's asleep.

"Yeah."

She feels Chloe shift. "I want you to ask me."

Beca wants to be obtuse and frustrating; wants to pretend she doesn't know what she's talking about. Instead, the confusion and hurt win out.

She pushes herself up on her elbows, then into a sitting position. It doesn't feel like a conversation that they should have lying down. She waits for Chloe to do the same, before finding her voice and words.

"Why didn't you tell me that you and Chicago broke up?" Dimly lit by the street lights outside, Beca sees her shift in place, and she feels Chloe's hand reaching for hers. "I thought — well. You know. That we tell each other things."

Which is slightly rich, coming from her, she knows. But still.

Chloe sighs, just quietly. "Because I have feelings for someone else."

Beca blinks, taking that in. It's a weird feeling because she's simultaneously crushed and hopeful, and maybe it's the hour, or maybe it's Chloe's hand in hers, but as her eyes sweep across Chloe's face, Beca is emboldened.

She leans in, and time feels like it's slowing down as she closes the distance and presses her lips on Chloe's, roughly and then temperately.

Beca's not the most impulsive person. In the moments, though, when she is, they always leave her wondering if she'd done something stupid — like punching creepy middle-aged a cappella guys, like leaving in the middle of a fight, like pulling the girls up on stage during her solo set.

Like kissing Chloe Beale in her bed.

So she pulls back suddenly, as quickly as she had started it, an apology already stumbling out. "Fuck, I'm sorry, I just assumed, I'm so sor—"

Chloe makes a noise; something that sounds like no, her eyes so startlingly blue even in this light, and Beca freezes. She's sure her brain is working out some sort of rambling apology or excuse, maybe pass it off as a joke somehow?

But Chloe pulls her back in, both thumbs lightly touching Beca's cheekbones as she meets their lips again.

This second kiss is deeper, slower, more connected. It takes her breath away, as her hand curls at the back of Chloe's neck. Chloe tastes like mint and sweetness and sincerity, and a little like hopeless optimism on Beca's part.

A soft gasp escapes, and Chloe pulls away this time.

Beca has a tentative smile on her face, as she takes in a breath heavily; the questions written so plainly on her face.

Chloe's eyes shine.

"It's always been you, Beca."

------------

v. 2020, Los Angeles, CA

Having your anniversary on Valentine's Day is good. And bad.

Mostly good, because it means that Beca has that to help keep herself honest and not forget it, because it's impossible to.

Also, she won't forget, but, you know. Just in case.

Bad, especially last year, because it fell right around the Grammys weekend, and apparently when you're nominated and win pretty much... every single category you're in, that's kind of a big fucking deal.

(It started with Best New Artist, and by the time she's on that stage a fourth time, she literally had no other words and nothing but so much gratitude.)

But yeah, so last year's Valentine's Day-slash-anniversary was overwhelming. People contacting her from all corners, wanting to congratulate her and get some sound bites; the internet pouring both support, and scathing critique on her and her music.

Beca wishes she could say she rose above it, that she was as cool as her publicist thinks her to be.

Instead, Chloe had to deal with her, a stressful human ball of anxiety and nerves. Amazing, wonderful, sweet Chloe, just happy to be around her during these exciting and utterly vulnerable times.

This year, though. This year she's older and wiser.

Hopefully.

This year, the day falls on a Friday, but they've decided to celebrate it the next day and through the weekend instead, because Chloe has a seminar she needs to attend for school, and Theo had packed Beca's entire day with a long meeting.

Key word: had.

At 7 AM, as she wakes up groggily and checks her phone, the invite has disappeared from her calendar, presumably rescheduled for some other time. She vaguely notes the message from Theo about entire teams not being available, and Beca's not going to question the reason why, because she's immediately looking up flights to Ithaca and books the first one out.

(I'm not private jet rich, dude. Also, carbon footprint. Text to Amy, because of course.)

Here's her plan:

She'll make a beeline to Chloe's apartment (Beca's been here plenty of times, in the past couple of years; met her friends here in Cornell, hung out with them, appreciated that they're her support circle while she's here), and she'll say something incredibly dorky, and Chloe will kiss her, and then, they will properly celebrate.

God, the things Chloe can do with her mouth; the sounds Beca can get her to make.

Beca doesn’t even bother squirming in the plane seat.

Chloe I have a surprise!!!

Whereeee are you? 🥰🥰🥰

Here's what happens instead:

Beca has to fly back home — noun, the place where she lives; noun, Chloe — because while she was spending six hours flying east, Chloe had done the same in the opposite direction; her seminar being canceled (something about the professor being sick?).

She can't believe it.

Okay, she can maybe believe it.

God, the Bellas are going to have a field day with this.

In the group chat, Chloe's taken a selfie of herself in Beca’s apartment and captioned it: I flew here a day early to surprise Beca, but she flew to Cornell instead to surprise me too 😂

Emily OMAG YOU GUYS that is SO CUTE!!!!!!

Beca reads Emily's text, shaking her head, knowing that this is the younger girl's version of restraint.

Flo One time I thought a guy was going to propose to his girlfriend on the plane, but turned out he was having a heart attack instead.

Jessica&Ashley #justsoulmatethings

Rush hour in LA is so horrible, and it's nearly 8 PM when she finally gets back to her apartment. She jogs all the way from the Lyft to her door.

Beca never jogs.

Her own door flings open, and she sees the smiling face of the woman she loves.

"Flying cross country for me is so romantic."

"You did that too," Beca points out, a small smirk on her face.

"Yeah, but you did it twice." Chloe beams, and kisses her again, and again.

#bechloe #pitch perfect #bechloe fic #beca stupid mitchell #and her working through her feelings #kinda #(also please validate me)#my fic

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itsclydebitches · 3 years

Text

RWBY Recaps: Volume 8 “The Final Word”

Well, we made it to the finale, everyone, and if you're reading this it seems you've survived the watching of it too. Barely. To say that some questionable choices were made across these 20 minutes is... an understatement.

But before we delve into the episode, I want you to cast your mind back to November 7th, 2020. A horrible year that heralded a horrible RWBY volume. There, coming off the shaky writing of Volume 7, I posed a number of questions and concerns that the show needed to tackle, with the promise that we would return to these expectations in four months time. Now, here we are! Let's refresh everyone's memory, yeah?

Taken directly from that recap, what RWBY promised us, through various teasers and Q&As, included:

Emphasis on Ruby’s leadership and how Summer’s death has impacted her

Insight into Ren and Nora’s flaws

May Merigold will supposedly have a larger part

More information about The Long Memory (Ozpin’s cane)

Theme of the volume is that you can respect someone but that doesn’t necessarily mean you agree with them

Very short timeline (supposedly just two days)

Yang in particular is very suspicious and distrustful

And you know what? They did all this. In the spirit of being fair and honest to this show, RWBY succeeded in delivering on everything they promised... it was just our foolishness that expected that these ideas would be delivered well. Ruby's leadership took center stage in the form of her hiding for multiple episodes and then others telling her she's still The Best before the plot dropped a solution into her lap... one she could have used at any point prior to this. Summer's death certainly has an impact, though it's an impact born of a crazy reveal that Summer likely isn't dead, but turned into a horrifying grimm monster. Ren and Nora both delve into their flaws, but heaven forbid either grow from that reflection. Ren learns that if he pushes past his primary flaw of keeping his emotions buried and actually expresses his doubts for once, he'll be yelled at and ignored until he admits how wrong he was. The "real" flaw is being a bad friend, with "bad friend" equaling "Not agreeing with Ruby 100%." Meanwhile, Nora considers that maybe she shouldn't rush in recklessly and hit things with her hammer... which is why she rushes in recklessly, hits something with her hammer, gets grievously injured, and is told that this is just who she truly is. No growth there, not unless we count her sudden desire to figure out who she is without Ren... but that exploration hasn't started yet. Too bad she wasn't the teammate separated at the end of the volume!

Meanwhile, May did indeed have a larger role to play, one I quite liked, it's just that this role — like all the others — inevitably circled back to realizing how wonderful Ruby is. May challenges Ruby to make a decision, but instead of being the catalyst for Ruby's growth, May becomes another forgotten side character who does a sudden about-turn regarding her perspective, leaving the group with the contradictory message that Ruby is actually doing her best, she's just a kid, no need to try any harder... everyone who claimed otherwise up until now was mistaken. May is another Cordovin. She's another Qrow. She's another Maria.

Fun fact: we don't even know if Maria is alive right now. That's how little she means to the show!

Actually, wait... anyone remember this nonsense from Volume 7?

I was too lazy to change the date.

Moving on, Ozpin's cane turned out to be a stakes obliterating bomb that came out of nowhere, makes no sense logistically — how do battles store energy that only hurts grimm? — yet nevertheless seems to have killed Hazel? It's a disaster of unanswered questions. Similar to the disaster of our two day timeline when, I'm fairly sure, we've had an unnatural number of sunrises and sunsets. I'll have to take a look back at the volume as a whole now that it's complete to be sure of that though. As for our themes... did we really explore the idea of respecting someone even if you disagree with them? Because Ironwood wasn't shown any respect. Ren wasn't shown respect. I think the closest we got was Oscar calmly validating Yang's worry about getting buddy-buddy with Emerald, but the whole point there was that Yang was wrong. She wasn't wrong, but that's what the text would have you believe. She is indeed "very suspicious and distrustful," but that's hardly unjustified in these circumstances. I'm still boggling at the fact that it took the group three volumes for forgive Ozpin, even while he was actively working to assist them, yet I-helped-destroy-Beacon-and-tried-to-kill-everyone-you-love Emerald is the group's new BFF after she... ran away with Oscar? She didn't save him, she just went along for the ride. At the very least we might have gotten a scene where Penny was like, "Hey, why are you all laughing with the woman who just tried to kill my dad?"

But oh yeah, the story doesn't remember Pietro exists either. His daughter is DEAD and he hasn't been on screen since Episode Five, let alone there when she passes.

I had my own list going in, including such expectations as "Ozpin bb you got done dirty please acknowledge this" and "Queer baiting, queer baiting… you’re on thin ice at this point, RWBY. Just skate on over to the queer snack bar before you fall straight into the lake." Obviously these needs were not met.

So what, given this mess of expectations, did we end up with?

Our finale — for some reason — breaks the one word title trend with "The Final Word." It's an expression that refers to the final word in an argument or a discussion, the idea of winning by making a last, devastating point. It can also refer to making the final decision on something, which is the best way I'm able to apply the title to this episode (outside of any “final” comparisons). Penny's death is certainly all about choice and making some kind of decision... but on the whole, this title doesn't feel like it fits well. Not like "Worthy" or "Creation" or "Risk." The two latter titles had obvious connections to the episode in question through dialogue and plot, while the former was a deliberate callback to Watts' speech. "The Final Word" feels... less obvious in what it’s trying to say.

That's a minor nitpick though. Let's get into the meat of the episode.

We open on the grimm whale still disappearing, which is weird. I get that it's massively bigger than any other grimm we've seen, but they all turned to dust near instantaneously and it's been, what? At least an hour since Oscar blew it up? Likely longer when we factor in their walk back to the manor, the fight with Ironwood, fixing Penny, and this entire evacuation. It certainly makes for a nice visual, but like so many details in RWBY, it raises unnecessary questions along the way.

The important bit though is that amidst the whale carcass a blob of evil is swirling about. Salem, obviously.

She’s not reforming in time to actually do anything though, don't worry.

Instead, we cut to the Ironwood vs. Winter fight and there's at least some dialogue this time. Ironwood yells that he's sacrificed everything to keep Remnant safe. Winter yells back that he actually sacrificed everyone else. Obviously, Ironwood should be called out for things like, you know, his unprompted murders, but instead they have Winter listing stuff that she was never shown to have a problem with before. The embargo? "Squeezed Mantle until it broke?" She, as Ironwood's second hand, understood and supported both the decision to close the border and the need to collect resources for a plan designed to take out Salem. I hate that no only did she turn without an ounce of hesitation or grief, but now they're having her act as if Ironwood forced these decisions on everyone, rather than everyone supporting him through them. We all remember Volume 7 when Ruby pressured him to finish Amity, right? And in trust RWBY fashion, most of these words are meaningless. Mantle "broke"? What does that mean? The class disparity did not come about through Ironwood: that's been in the works for generations. The lack of resources made things harder, yes, but when they were reclaimed by Robyn nothing improved. Watts is the one who turned off the heat and Salem attacked Atlas, leaving Mantle alone. Now, all the citizens have escaped through magical portals. So how is Mantle "broken" exactly? More importantly, why is Winter upset over this vague, nonsensical dilemma when she could be yelling about Ironwood wanting to bomb Mantle?

Again: this woman watched Ironwood shoot the councilman, shrugged, and continued to believe in him up until she realized his bomb threat was real. That was one of the main reasons why I thought the councilman might be alive, with Ironwood only shooting a warning shot past him. Because this is how you react to a good person unexpectedly killing someone else

whereas this is what we got from Winter and Harriet.

Hell, Weiss has more of a reaction to Yang telling Ruby things aren't super great right now.

So either Ironwood didn't do something that bad, thereby justifying these tame reactions (unlikely, given where his character ended up), or we should believe based on the animation that everyone was super chill with him killing an unarmed civilian. Which is then directly contradicted when they're like, "You're going to shoot Marrow? Bomb a city?? How could you do such horrible things??? 😲" Friends, buddies, fictional pals... you already watched him murder a dude.

The point is, there's a lot for Winter to be upset about, but she's not upset about that. There's a lot that Winter herself believed in, but the writing has forgotten that. This entire arc went off the rails a volume ago.

Also, why is Ironwood fighting with that giant gun? This is his final battle, presumably ever, and he's wielding this awkward, sluggish weapon we saw him randomly pick up two episodes ago? Let him use his regular guns! Give us a fantastic battle like he had with Watts! Instead, RWBY's final showdown consists of him using this no-name weapon as a unwieldy club in some of the most boring choreography we've seen to date. It doesn't help that this fight needs to share time with three others. Instead of an epic showdown, we're given glimpses of the battle before continually cutting away from it.

During that first cut we return to the Team RWBY battle where Penny, doing her best to stay out of Cinder's reach, is whisked away on Weiss' wasp.

Too bad she didn't do that for Yang...

Jaune and Nora watch this horror unfold until Jaune says, "Priority one!" and they split. Except... what is priority one exactly? Helping the civilians? I guess, because they don't enter the fight until the very end of it, when everyone else seems to have made it to Vacuo. And you know what, I like that. For once it feels like the group — or at least the B Team — is acting like huntsmen, putting the needs of the people over their own, personal desires. I'm sure Nora wants to help the group after Yang's (presumed) demise and that Jaune would like nothing more than to get his hands on Cinder, but they put those grievances aside to do the work they signed up for. Good job!

My only real gripe is that we don't really see this struggling in the animation, I'm just assuming it's there. In particular, there's a moment when Jaune sends Nora through the portal for reinforcements — not knowing they can't return — and they seem a little too jovial when, by this point, three friends have died.

There's letting your cast be supportive, and then there's having them ignore that three teammates have perished in an abyss. It really doesn't help to sell the idea that Yang, Ruby, and Blake are in any danger here.

But I'm getting ahead of myself.

Penny tells Weiss that since Cinder is really just after the Maiden powers, she can buy the rest of the group time to escape. Weiss, obviously, isn't fond of this idea... and then the both of them are blasted off the wasp by Cinder's fire. Which they deserve, frankly. They're just having this casual conversation about sacrifice while in the middle of a battle. Did they somehow forget that Cinder can fly too?

Note that multiple attacks from Cinder, another blast, and a hard landing on the pathway gives their auras a knock, but doesn't break them. The primary defense for Yang's aura shattering in a single, simple hit was that everyone is exhausted and running on little to no power... yet here the rest of the cast is, tanking multiple hits as we've come to expect. There is no explanation for Yang's defeat except that the writers chose to ignore the rules of their world for a dramatic death scene... even though that drama was erased a week later as half our team falls into the void too.

We'll get to that though. For now, Cinder corrects Penny's belief with "I want it all" and proceeds to try to finish them off, only for Blake to arrive, having made her choice from last episode about who to help. It's a legitimately nice attack, but I happened to pause at the bEST MOMENT

Anyway.

We leave that fight to return to Qrow and Harriet who have, off screen, started an entirely different battle. What I mean is, last we saw Qrow had broken through the windshield of the airship, roughly pinned Harriet, and was taunting her about getting the fight she wanted. Now, suddenly, he's going “You’re making a mistake, Harriet, what happened to Clover—” as if he's been trying to talk her down this whole time. It's jarring, especially when we consider that Qrow had a volume long "kill Ironwood" arc that was dropped because... Robyn reminded him that murder is bad? RWBY feels like a storytelling pinball machine. Characters bounce from one personality to the next, one perspective and another, round and round until you don't know where they'll end up.

Harriet screams for Qrow to just shut up already and honestly? Same. I love Qrow, he's one of my favorites, but I can't deny that he's been done dirty like so many others since Volume 6. I love who Qrow was, not the mess RWBY has created the last few years.

Time to delve back into fic after recapping!

Sadly though, this strange dialogue wasn't the only "wtf" moment. Harriet is still trying to drop the bomb — which is its own mess of confusing motivations — when Vine and Elm show up on Harriet's ship. Elm begs Harriet not to do this "because you’re our friend!”

Am I glad that they finally acknowledged that the Ace Ops have always been friends? Sure, but why did we spend two volumes claiming otherwise? They were friends, a fantastic team, then Harriet announces that's a lie and we get a bunch of "Team RWBY is superior because they're actually friends" messages. Except this entire time we're still watching the Ace Ops be kind and playful with one another. But they're not friends, the story says. Not friends as they fight these battles. Not friends as they grieve for Clover. Definitely not friends as they react in horror at Ironwood nearly shooting Marrow. No, there's nothing there... until Elm claims there is! Then Harriet reacts in shock. I have friends?

Except Elm was labeled the one "just following orders" by Yang. Elm is the one who shook off Vine after the whale exploded. This isn't the story of one character, Harriet, thinking she was alone and then realizing that people do care for her, this is a story that, seemingly at random, had this group being BFFs or acting like they hated each other — and at each point the visuals are contradicted by the story's message. When they act like friends, we're told they're not friends. When they don't act like friends, we're told they really have been this whole time. I mean, do any of them even care that Marrow teamed up with Qrow and Robyn to take them out five minutes ago? All three were going along with Ironwood's scheme until they were physically stopped, but now Elm is convinced this is a bad decision she needs to talk Harriet down from with the power of friendship?

None of these characters are characters, they're just slapped together reactions based on whatever the plot needs. Who is Elm? I've got no clue. Her personality changes every episode.

Also, love that Qrow moves to stop the bomb from dropping and Harriet screams at him to "Get out of the way!" rather than just... attacking him? She even throws her hands out like she's having a temper tantrum. This feels like schoolyard bickering, not a life or death struggle.

Even though, you know, the audience is aware that the people of Mantle have already been evacuated and Qrow's group is aware that Atlas is falling on top of Mantle as they speak, so... why does the bomb matter? It's going to, what? Destroy the city thirty seconds before Atlas does? Oh no, the horror.

Things then, if you can believe it, get even worse. The bomb is still about to drop, so instead of doing anything to stop it — I mean seriously, we know it takes four people to shoulder the bomb's weight, but you're telling me Qrow and a reformed Harriet can't snag it in a pinch? — Qrow sits there, looks at Clover's pin... and the bomb careens towards the side of the airship instead, stopping.

Because I guess Qrow has good luck now? Or always did and somehow never noticed it? Or his semblance evolved?? Again, we don't know, but it's a bad moment any way you slice it, imo. Qrow has always been defined as the guy with a bad luck semblance and, much like Penny's android struggles, the allure was in watching him overcome those challenges, not having the show erase the challenge entirely. Especially when we don't even understand how it was erased. Qrow just... stops drinking, stops caring for Ironwood, stops wanting to kill Ironwood, stops causing bad luck, I guess. RWBY takes major character traits and flips them off like a light switch, leaving the audience with no emotional tether. We didn't watch Qrow overcome his drinking, or realize he can't bear to kill Ironwood, or discover a way to live life with the horrible hand he was dealt, he just blinks one day and those things are gone. Why? No one is sure. Not even the writers, I'd wager, because otherwise they would have written explanations into the text.

Many in the fandom insist that any basic information provided by the story amounts to "hand holding" when in fact there is a massive difference between the sort of unnecessary exposition that bogs down a tale, and having facts enough for the audience in its entirety to be on the same page about what is actually happening. For example, recently someone argued strongly that the "Penny is human" take is incorrect because Penny isn't human, she has an inhuman body made entirely of aura... yet where in the world does this exist in the story? Ambrosius may have been unsure about what Penny would be prior to removing her robotic parts, but that ambiguity is gone once her body forms, the equivalent of worrying about that gun only for a flag with 'BANG' to appear instead of a bullet. Worrying about something doesn't mean that something actually occurred. Penny appears human, expresses human sentiments, and then, this episode, dies as a human. If it walks like a duck and talks like a duck and succumbs to the mortal peril that all ducks face... it's probably a duck. As I said in a recent ask, I implore the fandom to stop writing RWBY's scripts for them. Or rather, do so in some amazing fanfics. Don't do it on critical posts as a means of insisting that your revision is canon.

So Qrow has good luck now, maybe, but this character change doesn't amount to anything because Watts remotely starts the bomb's countdown.

At least he’s entertaining and competent. We had that for a time.

Back to the main battle, Neo is kicking Ruby's ass. Why? Because there's no consistency in power levels in this show. The ancient woman who hasn't fought in decades dances circles around Neo, highlighting how weak she supposedly is, yet now Neo dances circles around our main character. None of us should expect fights to follow the logic of the world, only what drama the plot wants to stir up. Ruby is eventually knocked down from a hard hit — yet her aura's intact! — and is saved at the last second by Weiss tossing Neo into one of the portals.

Far more of a problem than the power leveling is that Ruby gives no indication here that Neo just murdered her sister. Again, that's what the characters are meant to believe, yet Ruby is as stoic as she would be fighting a bunch of White Fang grunts. If you showed this scene to a RWBY fan on its own and asked, "What do you think happened prior to this?" the answer would be, "Uh... nothing? Ruby is just fighting Neo like she did on the airship in Volume 3." Nothing about this scene — from dialogue to animation — sells the idea that Ruby just lost the person most important to her in the world.

When we do finally mention Yang, it's Weiss who goes, “Come on, we have to do this for Yang” and the delivery is... meh. Honestly, I normally don't pay much attention to the voice acting, but I had a problem with most of Weiss' lines this episode. The "Leave her alone!" during this fight and later a "Get back!" as she attacks Cinder both fell really flat for me. Given the devastation and charged emotion that's supposed to be here, we can't give her anything better than generic cries that, again, she’d throw at any grunt? In that later scene the animation absolutely helps sell Weiss' distress, but the dialogue is common and the delivery has no emotional punch, leaving it feeling like Yang is just hanging out in Vacuo and they promised they'd beat the baddies before catching up with her. No one but Blake is acting like Yang died.

In fact, we see more emotion from Ruby when Weiss shoves her back, taking the brunt of Cinder's blast.

Weiss' aura breaks, not that that's a danger or anything. Everyone falls before they're injured, Winter gets the Maiden powers, Ren barely has to fight. Losing aura in this show used to be a moment of peril, where just last volume Winter was bruised, bleeding, and now needs an assistive device because she had to continue a battle with no aura. Now it's a joke. Aura breaks left and right across the volume with no repercussions attached to that.

We see a bit of the Blake and Penny vs. Cinder fight where Cinder blasts Blake off the edge. Penny rushes after her because at least one character remembered that they can fly.

Ruby, meanwhile, remembers that she can fly when it benefits her. After getting hit down onto a lower level and watching Crescent Rose plummet, she taunts Neo into an attack with a move that's actually quite good. I like the confidence with which Ruby riles her up and I like the strategy of darting behind Neo to knock her off the path instead. “Whatever you wanted, I hope it was worth it."

The only thing I don't like is that this speed and ingenuity had to disappear to justify Yang falling.

Cinder breaks Ruby's aura from behind though, sending her over too and grabbing onto Neo's leg. In an obvious moment born of the trope, it looks as if Cinder is reaching to help Neo, only for her to snag the Relic instead. “You should have never threatened me," she tells Neo and to Ruby: "you should have never been born.”

Love that they erased all that cool growth from last episode! And by "love" I mean "hate." As I said last recap, I'm not going to pretend that Cinder's character isn't riddled with problems, but realizing she was stronger by teaming up with Neo and Watts was one of the best things they've ever done for her. It made Cinder dangerous again and showed Watts' speech having a clear impact. It also made her more entertaining, creating a new dynamic among the three villains. Now though, Cinder is just... Cinder. The same boring, stupid Cinder we've had since Volume 4. She betrays Neo and then later betrays Watts.

So Cinder kicks Neo and Ruby both over the edge because why would we want to make her interesting? Neo falls, but Ruby has friends there to catch her! Unlike Yang. Jk. Weiss’ aura is gone and Blake actually tried both times, so major kudos for her. Using momentum supplied by Penny, she snags Ruby and hooks her weapon into one of the pathways... only for Cinder to cut the ribbon. Both plummet and once again Penny has a more believable reaction to all this, just like she did last week

Speaking of reactions, does anyone else find it weird that Cinder finally succeeded in killing Ruby and... doesn’t seem to care?

No? Just me?

At least we get that good animation with Weiss I was talking about before, even if the dialogue is lacking. I love that she snagged Blake's weapon and uses it to try and take out Cinder, shaking the whole time. Those are some great details.

Back to the bomb, Qrow is trying to escape, but Harriet says there isn't enough time to get out of the blast range. "I've killed us all." Vine has the solution though, using his semblance to wrap up the airship, thus containing the blast when it goes off. His final words are to reassure Elm that he can give his life, "if it means saving all of my friends." Just in case you missed the part about the Ace Ops being super close this whole time. Even though they also weren’t. Trying to eat your cake too, RWBY?

Frankly, I didn't feel much of anything during this scene, not when Vine made the sacrifice, nor when Elm and Harriet look on sadly while Robyn pilots them away (that's her contribution this episode).

All I can say is, good on RWBY for not killing one of the three dark skinned characters, or just murdering the Ace Ops as a whole. What the story is going to do with them though, who knows.

Jaune and Nora have that ‘You can do it!’ moment after three of their friends have presumably been killed. I swear, about 80% of Jaune's scenes do not work tonally and oh boy, things only get worse from here.

First though, I like his entrance. He slams into the fight against Cinder and lines up with Penny and Weiss, who is still dual-wielding her and Blake's weapons. That's an epic shot.

It looks as if they stand a decent chance against Cinder — Weiss' lost aura notwithstanding — except then Cinder's arm starts going crazy and she gleefully announces that Salem has returned.

Working on a time limit now, Cinder unleashes a volley of attacks that Penny steps in to protect the other two from. It's here that Cinder grabs hold with her grimm arm.

It's here that Penny dies. Again.

For the third time.

Friends, I am tired. This moment honestly deserves the most epic of rants, but that, in turn, requires energy. Energy? In this economy? Ha! That's hilarious. Taking this seriously though, the problem here can — as usual — be boiled down to a single question: What was the point?

Penny died in a horrible attack that shook the cast and audience both to their core.

That emotional impact was erased through her resurrection.

The resurrection did not create a new emotional impact for our heroes to grapple with.

Penny is given the Maiden powers, solidifying the fact that she's always been a "real girl."

That lesson was erased when the story decided to make her human for unexplained reasons (because no, she never needed to be human to survive the virus).

Penny then dies, passing the power to Winter... who was set to get the power in the first place.

We have, once again, come full circle. You can take Penny out of the story and nothing changes. Does Ruby lose any lessons or emotional growth? No. Does anyone survive who would have otherwise died? No. Does her getting the powers lead to someone unexpected snagging them upon her death? No. Penny's existence was filler. She was put in the story to take up time and, that done, was removed from the story once again. It's a choice that wouldn't be half as horrible if that filler hadn't done so much damage along the way.

First is the obvious: that Penny didn't deserve this. As a character, she didn't deserve to be brought back just to be killed off again, seemingly without narrative purpose, serving only to draw in viewers who RT knew loved the character. Second, keeping her in the story led to her entire arc unraveling. Initially, Penny died as an android in the world's eyes, but those who actually knew her — Ruby and Pietro — mourned the girl she really was. Now we have this horrible message that being a machine isn't real enough, so she has to die as a human being. It's a disservice to her character and, as an allegory for many minorities, downright insulting to the audience. Third, this offensive 'better to die as a human than live as a robot' message is wrapped up in the claim that Penny finally gets to choose something — “Let me choose this one thing. Trust me” — but she already did that when she chose to take the Maiden powers. We already had the better written version of this last volume!

And the fourth issue...well.

Fourth and fifth are the real kickers. Fourth is that Penny's death was an assisted suicide. She explicitly asks Jaune to kill her so she can ensure she's thinking of the right person when she passes (never mind that her thoughts would probably be on Jaune while this is happening) and that's... pretty horrible. Look, I'm no purist. I like a great deal of dark, gritty stories whose plot exists to make us uncomfortable. That's a valuable emotion that fiction can generate. The problem is not that RWBY is tackling a sensitive topic, but that they aren’t tackling it well. Yes, they put in a content warning and (from what I've heard) a suicide helpline as well, but providing the already necessary resources is not the same thing as writing that kind of scene with respect and care. All of the above tells us that, no matter what RT may have intended, that respect and care weren't communicated to the audience. Like Yang, they didn't even bother to keep Penny's death within the rules of their world. Jaune is right there ready to heal her and Penny says no, there's supposedly not time.

Um... since when?

Jaune's aura boost is instantaneous. The second he amplifies aura is the same second the healing starts and their talk could have been spent saving Penny. There was certainly time to save Weiss in Volume 5. To have a character go, 'Nah, it's too late' when the solution is right there is the ultimate cop-out. Suddenly announcing that the solution will no longer work For Reasons is not a legitimate limitation and it's made doubly insulting that RT didn't simply use the limitations already available to them. Jaune has been running low on aura since the whale. He then expended a great deal of aura boosting Penny to keep the virus in check. Every other ally has had their aura broken in this fight so, there. That's your solution. Have Jaune take a few hard hits from Cinder, his aura breaks, and then when Penny is mortally wounded he no longer has a semblance to heal her. It's that easy! Yet instead they had Penny reject help so that she could ask to die. That's what's offensive here.

Finally, reason number five... why is this moment given to Jaune? That's another easy solution: Jaune has gone through the portal and can't get back to heal Penny. There. Done. But logistics aside, this scene should have gone to any other character. Who is Jaune to Penny? Or Penny to Jaune? No one! They don't have a relationship. I get that the writers didn't want any of the girls at her side because then it would be hard to justify Penny not passing the power to them (which I get: making one team member a Maiden changes the show drastically), but you know who should be there instead of Jaune?

Pietro.

Pietro, who built Penny as a weapon and who was never given the chance to apologize for that. Pietro, who told Ruby he could only rebuild her once more, setting up an expectation that he'd sacrifice himself for his daughter (despite the complicated racial issues that would bring up). Pietro, who watched Penny plummet and has no idea what happened to her, let alone that she's been made into a human girl. Pietro should have been at her side, saying goodbye to his child and helping her complete her last wish.

And it would be so very easy to pull off. All it takes is a single line where Penny remembers that her father exists, asking Ruby to ensure a portal opens up in Amity. There's a quick reunion along the pathways before Cinder attacks. We hear a cry of despair as Penny falls and she looks, seeing her father racing towards her, though she thought he'd already made it out. There, you’re done. We open ourselves up to a lot of attacks whenever we say, "Why didn't RWBY just do ____?" because those who vehemently defend the writing like to go, "Oh, you think you could write RWBY better?" and no, I don't. I struggle with long-form storytelling and massive casts. I don't think I could do justice to the sort of show RWBY wants to be, but I do think I'm a decent enough writer to spot when there are major problems like this. The question of "Why doesn't Penny remember that her beloved dad exists?" and "Why, out of that massive cast, is Jaune the one to do this deed?" are both things that a newbie writer can spot, and a sometimes okay writer can figure out how to fix them both simultaneously. A good writer will start thinking about themes — what might it mean for Pietro to kill the creation he made? — and a great writer will find a way to pull that off without having that insulting, discomforting feeling pop up. At this point, our RWBY crew feels less like new writers making mistakes (because they're not new, not at all), but rather just writers who haven't bothered to learn from their mistakes after eight years. That's a lot harder to watch.

Because putting Jaune here doesn't just mess with RWBY's internal rules (not using his semblance) and it's not just useless in terms of Penny's development (she doesn't know him outside of "dude who boosted my aura for an hour"), but it also falls back into a pattern I thought RWBY had finally broken from: making Jaune the story's emotional center. This is not the JAUNE show. It's the RWBY show. Yet here, once again, we have Jaune in the spotlight. Why, after a whole volume of Ruby avoiding making decisions, does Jaune finally make the hard call? Why, after a scene where Penny asked Ruby to kill her, does Jaune do that deed? Why, after a divisive arc where all the grief for Pyrrha went to Jaune, is Jaune now set to shoulder the grief of Penny? At least Jaune had a relationship with Pyrrha, even if Nora and Ren did too. Yet with Penny he seems to be there solely because the writers can't bear to keep him out of that center spot for long. All of Team JNOR make it through to Vacuo... except Jaune. Jaune falls into the abyss too because, if the show goes this route, we apparently can’t have a volume just about Team RWBY, the main characters. The main characters are separated from the rest of the team and it's Jaune, not Oscar and Ozpin with a connection to the lore, not Nora or Ren whose development now hinges on them learning who they are without the other, it's Jaune who follows the title characters into a new dimension.

The issue is not whether Jaune deserves to grieve over the truly traumatic thing he just did now that he’s done it. He obviously does. The issue is the writers setting up a scenario where Jaune is situated to do that emotional work in the first place.

I like Jaune as a character. I don't like how the writing uses him as a character. RWBY is built on the idea that these four girls are the heroes of this tale, not the expected blond, blue-eyed, sword wielding guy we’ve seen in so many other stories. So why does that guy get the most important scene of the finale? Yes, Jaune had much less screen time this volume than he did in the past, that’s a good thing given the number of important characters RWBY has to balance, but that hasn't erased the problem of him being given significant moments that should be going to title characters. Does Ruby’s team rescue Oscar and take on Salem? No, Jaune's team does. Does Ruby's team save Penny? No, Jaune's semblance keeps her grounded and then holds the virus off. Not everything is a problem — we've also got good choices like having Ruby defeat the Hound and Ruby's team take on Cinder for the majority of the fight — but that doesn't erase that Penny’s death wasn’t something Jaune should have been a part of. Not unless he was going to heal her. Doing better than they have in the past doesn't mean that RT isn't still slipping when it comes to giving him undeserved focus.

They took one of the most controversial characters, controversial because of how much emotional focus he's gotten in the past, and had him help a fan favorite commit suicide while he cried about it, showing more emotion for a near stranger than our title character showed for her sister. This is a character who, up until two or three episodes ago, had no connection to the victim and still has no reason to thematically be the one committing this act. That is why the fandom goes, “The crew loves Jaune and does everything they can to put him in the center of the action.” Ruby, as main character and Penny’s first friend, is the obvious choice here. Pietro, as Penny's father, would be a good choice too. Hell, Nora is a better option given their moment in the Schnee manor this volume. Or Winter given their moments in Volume 7! Have her escape Ironwood, find Penny, receive the powers, and then finish him off. Literally anyone would be better than Jaune, not because Jaune is a bad character, but because Jaune has no emotional stakes here and putting him in a position where he could heal Penny but doesn’t is massively stupid. No one should be surprised that a lot of the fandom is upset about this. It was one hell of a reach to give him this moment and, since Jaune's problem has always been getting too much screen time and emotional nuance compared to our main cast, it's no wonder this act brought up a lot of bad memories. RT fell back into an old pattern after two volumes of improvement and they did so at the worst possible time.

The tl;dr is that Penny's third death is a writing travesty, just like her second. I shouldn't be surprised, given that this is the same volume that tortured a kid and the only thing they did with it was have him blindly trust his torturer... yet I find myself surprised nonetheless. Because Penny had such potential as an android Maiden and, as much as I personally hated it, potential as a former android learning to be human too. But why explore any of that when you can kill her off instead? Again.

As a final, far smaller note about this scene, we have the continuing problem of what purpose Cinder's arm is serving. If everyone recalls, its threat comes primarily from the fact that she can "siphon off" power from other Maidens.

She did it to Penny during the Amity battle and now she does it again, a great deal of green energy absorbed into Cinder. So what's left to give to Winter? Why doesn't Cinder become noticeably stronger with each successful theft? Like so much else in RWBY, we're told it exists without actually seeing the impact of that. Winter isn't a weaker Maiden for having lost power and Cinder isn't a stronger Maiden for having snagged it. It's just.. there, hanging out and looking vaguely menacing, I guess.

Outside of this unnatural not-transfer, we get to see how the power normally passes as Penny meets with Winter in some in-between place. It's a soft, heartfelt scene... with the exception that Winter says, “You were always the real Maiden at heart. I was just the machine. Just following orders."

I don't know how any viewer can doubt that RT now believes machinery = evil. Penny's machine body is magicked away so she can be a real-real girl. Yang announces that the arm she worked hard to make a part of herself is just "extra." The man with half a metal body is made this volume's villain and losing his second arm is, by the authors' own admission, a symbol of his lost humanity. Mercury with two metal legs remains a bad guy while Emerald and Hazel are hastily redeemed. Tyrian with his cybernetic tail is the most devoted crazy of the bunch. Maria, blind and in need of assistive lenses, is so forgotten by the story she was left in the tundra nine episode ago and won't be mentioned again until next volume (if then). Pietro, the guy in the wheelchair, is forgotten too, despite it being his daughter who dies on screen.

Now Winter, also bearing an assistive device, says that she's the real "machine" here and tells Penny, now human, that she was always the "real Maiden." I don't know what happened to make RT do a 180 lately, but the disability rep is no longer what it was.

Penny reassures Winter that she'll always be a part of her and then passes on, for good this time.

The rest of the episode feels lackluster, if I'm being honest. Images of Cinder beating Weiss are intercut with Ironwood beating Winter, getting her to a point where her aura breaks.

But then the powers appear and, as we'd expect, she easily turns the tide.

Gorgeous animation there.

But RT once again rewrites earlier scenes by having Ironwood claim that the "destiny" he chose for Winter has finally arrived — isn't that Cinder's MO? — and Winter shoots back that he chose nothing, this was a "gift." Except, it was never about destiny or orders? This was why Weiss' anger in Volume 7 was ridiculous. She acted like Ironwood forced Winter to accept the powers and Winter told her point blank she chose this. Ironwood didn't decide anything, he offered and Winter chose... kind of like how Penny is choosing now. I hate how nearly all of Ironwood's character has been ignored or, during times like this, outright lied about to make him seem super duper evil. He tried to bomb a city! You don't need to make him seem evil anymore, that job is done! Like their sudden change regarding disability, RT now seems to be allergic to nuance. Heaven forbid Ironwood be allowed to have valid points like he did in Volume 3. No, if you've got an antagonist every single thing they've ever said must be twisted into a display of their evilness.

Unless you're Hazel, who Oscar trusts for #reasons. Unless you're Emerald, who the group immediately embraces. Unless you're Cinder, who gets to cry on a rooftop and secures the trust of her allies long enough to betray them again.

But Ironwood? Nah, screw that guy.

Salt aside, the fight is pretty boring. Winter literally just throws up a wall of ice and Ironwood's blast rebounds, taking him out.

Winter flies through the portal and we return to Jaune. His sword is broken by Cinder, so weapons should be quite the problem in Volume 9.

There's a bit of sword vs. sword Maiden battling — this episode really pulled heavily from both Volume 3 and 5's finales — before Cinder gets smart again and attacks Weiss, currently trying to escape with Jaune. Weiss goes right off the edge and Winter isn't able to reach her in time. That's the entirety of Team RWBY, lost to the magical void.

Kudos to Winter's VA and the writing here though. This feels like an appropriate reaction to losing a sister. Screaming, sobbing, falling to her knees and beating the floor... Ruby, take notes.

A roar sounds through all the portals though, the sort of roar a pissed off witch might give. Jaune convinces Winter they need to leave Cinder behind, but before they can escape Cinder... makes a new wish?

Look, it works on all the major fronts. Cinder has the staff, check. We've basically established that Ambrosius can make an unlimited number of things per era, check. We know the previous thing disappears when a new wish is made, check. My only question is the timing. In all honesty, I'll have to re-watch the scene to be sure, but at the time it felt like the portals began disappearing almost the second Cinder left. Did she really have time to summon Ambrosius, deal with his explanatory nonsense, and get him to make a new wish without any fiddly concerns? Sure, fire is just fire, but it still felt like way too much happening too fast off screen.

Either way, the portals are gone and Winter makes it through in time, but Jaune does not. He falls through the void along with Team RWBY. And Neo.

Neo is the only addition I'm looking forward to here.

We get a few shots of our other characters as Winter arrives, saving the day by taking her grief out on the grimm. So glad something came of Ren breaking his aura again! Maybe they'll be more fighting at the beginning of Volume 9? If we see any of this group outside of 9's finale. My worst fear right now is that we'll spend an entire season away from the main action — remember how I said it would be stupid for Team RWBY to go on a side adventure while Salem is attacking the world? — and when they return there will have been some major time skip. Salem has destroyed most of Remnant, only pockets of survivors remain, it's all dark and dystopian... and oh look, every bit of character development happened off screen. How did Nora discover who she is without Ren? She did it while Team RWBY was gone. That merge we've been teasing for five years? That happened while you were gone too and, btw, Ozpin has ceased to exist. So sad, right? Not that anyone will actually mourn. Just take comfort in the fact that his last line was an "Oh no" about Ambrosius and his last major scene was apologizing for how the group treated him. Emerald's redemption? Off screen. Winter's grief? Off screen. Any and every one of these challenging beats to tackle can be waved away with, "We went through that arc while you were lost in the magical realm. Just get to know our new, improved selves now!"

Please, oh writing gods, don't let that happen.

Though I do worry because my last prediction came true.

But we all knew we’d end up here. My current theory? The portal should still be open at the vault. Winter will fight Ironwood, escape through it, and it will close right before he escapes too. He’ll fall with Atlas and everyone will act as if it’s some beautiful, poetic justice for him to perish with the city.

Ironwood didn't make a break for the portal — too busy being unconscious — but we got everything else. Winter left him, he falls with Atlas, and this is some poetic justice, I guess. Really, it's just an undignified death. I'd hoped for a sympathetic kill, something that showed the characters still cared about him even if they knew Ironwood had to be stopped. Baring that, I'd hoped for an epic battle that took him out with style. Instead, no one even bothers to kill him. Ironwood is now beneath the entire cast, not even worth finishing off. Winter casually tosses his blast back at him and leaves. Cinder throws out a "that's checkmate" and leaves. I don't think Salem even looks at him. Ironwood (presumably) dies with no one and nothing, just a casualty of the city Team RWBY made fall. And I say "presumably" because the audience isn't even given the satisfaction of being sure he's passed on. Like Hazel, Ironwood's death is this weird, ambiguous moment that, based on the other character reactions, isn’t meant to be ambiguous. Is he dead? Most likely. Is it possible, based on what we've seen, that he'll pop up two volumes later like

Yes and, memes aside, that sucks. I don't want to be wondering for the next couple years if Ironwood survived and if they'll bring him back just to drag his character through the mud again. Move on.

But no, we don't even get that.

I've spoken at great deal about Ironwood both in these recaps and on my blog more generally. Last week, I said I'd covered it all and there was no need to rehash it all again. I stand by that, so let me just conclude this travesty with a final note: if your bad guy's final moment is using the last of his strength to point a gun at the actual villain of this story, and you don't realize the problem of how this image contrasts everything else the story has insisted about his character? … I just don't know what to do with that.

Oh, actually, final-final note: Ironwood’s semblance is officially a Schrodinger's semblance. It is both canonical and noncanonical simultaneously. Wooo.

Cinder tells Salem she used her wish to "add more flames to the first of Atlas" and we cut to Watts, trapped in a roaring fire, unsuccessfully trying to break his way out. Wow, I hate that too! Next to Tyrian, Watts was our last remaining, entertaining villain. He carried a lot of the last two volumes and, I had hoped, was going to add some bright spots to the coming volumes as well. Apparently not.

Just another waste.

In addition to this casual, second murder of her ally, Cinder successfully convinces Salem that Neo killed Ruby and Ruby used the Lamp's last question, but she's back in her good graces since she snagged the Relics anyway. “You’ve done well, Cinder. Our work here is done" and they leave, blasting off like a less cool Team Rocket as Atlas plummets into Mantle.

Let's spend a second to tally things up then, shall we? What happens if Ruby, instead of throwing a moral fit, says, "You're right and we never should have lied to you, or betrayed you. But we want to help now. You get the Relics and the Maiden to safety in Atlas, if you can, we'll defend the people of Mantle"?

Well, they can still tell the world about Salem and call for help, much more easily now since Ironwood would likely just give them the code rather than them needing to spend an episode stealing it.

The Staff at least may not have ended up in Salem's hands and the group could have actually focused on getting the Lamp back (also solved if they'd been smart and just put it in the vault to begin with).

Mantle would still have been safe because Salem was never interested in Mantle to begin with.

Atlas wouldn't have fallen.

Ironwood wouldn't have died.

Penny wouldn't have died.

Even Vine wouldn't have died!

Our heroes unambiguously made the situation worse. Rather than banding together with their allies to fight the real enemy, Salem, they pushed until they made enemies of Ironwood and the Ace Ops both. Then they asked for help — which a pinch of logic said would never arrive — and twiddled their thumbs waiting for it. When it was clear none would come they...did nothing. They sat around, upset that the people were in danger, but not willing to do anything about it. It's only when one of their own, Penny, is threatened that they kick into high gear, hitting on a solution that they could have posed to Ironwood from the very start if no one liked the fly away plan. Yet instead of taking a few minutes to brainstorm other ideas — doing anything other than denouncing Ironwood to the rest of the group and attacking the Ace Ops — they spent two days sitting around, fixing minor messes they’d helped to create, then rushed through the portal plan, messing up the wish and stranding an entire kingdom in a sandstorm, with only Winter now to protect them from grimm.

Fantastically done, team.

The villains won, yes, but not because the villains were smart and compelling. Watts' hack on Penny and the heat petered out to nothing and Salem... well, she sat around for the whole volume, expending energy only to torture Oscar and try to (unsuccessfully) stop some escapees. Neo and, miraculously, Cinder did the most damage, but only in the final hour, with this "damage" being that our characters fall into a void that we now know looks remarkably like a paradise! Everything bad that happened was a result of our heroes being stupid and stubborn. That's a compelling story to tell... but RT isn't trying to tell it. Our heroes caused so much damage, yet that damage goes unacknowledged — or worse, ignored into silence like with Ren — and everything else is waved away with the magic wand the series claims isn't there. The cold doesn't kill anyone. Oscar has no problems walking off the torture. Nora hops back out of bed. Ruby one-shots the Hound. The civilians lost to the void must have survived too. The entire kingdom successfully makes it to Vacuo... unless you count the massive army we never saw making use of the portals, but who cares about them, right?

The villains won, there was indeed something resembling consequences, but none of it was emotionally satisfying. Not even when the series tries so hard to insist that emotion is there.

Qrow watches Atlas fall, mouthing Ruby and Yang's names, but it's too little, too late. Where was this care for his nieces when he was obsessed with killing Ironwood? When did they care about him? Was it when Ruby shrugged at his arrest, when neither cared that he was missing, or when they were designing an escape plan that didn't include putting a portal where Qrow could reach? RWBY markets itself around the found family-ness of its cast, but they're done a poor job in recent volumes (not others) of convincing me that most of these characters care for one another. We went from Ruby denouncing all adults, to Ruby pulling an Ozpin with Ironwood, to Ruby watching blandly as her sister falls to her presumed death. This is my hero? This is the simple soul we're supposed to rally behind? Ruby doesn't feel like a character who cares about other people anymore and, given that she leads the charge, neither do most of her friends. Or, when that emotion appears, it's jarring and undeserved. Jaune cries over Penny's death? That's tonally and characteristically backwards.

This volume was the culmination of so many mistakes over the past two years. No, Covid couldn't have made things any easier for the crew — the fact that they got a volume out at all is amazing — but the pandemic isn't to blame for the problems in the story. These seeds have existed since Volume 5, with some (like Jaune) going back even farther. I don't think we're ever going to get that flawed, but emotionally fulfilling RWBY back. The show has dug too deep and unless it somehow manages to create a clean slate — those time travel ideas get more and more alluring! — there's nothing they can do but keep on digging. At this point, I can only hope that the series does wrap up within the next two volumes, rather than dragging RWBY to a Supernatural-esque length.

Our final shot of the episode proper feels fitting for what this volume has been. Atlas and Mantle flood rather than exploding, something that makes a certain amount of sense, sure, but definitely wasn't what I was expecting. And after all these shocking images — Penny dying, the grimm attacking, our main characters disappearing in a puff of gold dust — we end it all with bits of random debris. It's strange and underwhelming. Out of everything you could have done with the options you had, you choose to do this?

Of course, RWBY always has an after-credits scene (RIP Raven's, still amounting to nothing). Here, the sounds of water return to show us a beach. Crescent Rose imbedded in the sand, mirroring its classic pose in the snow.

There's a tree. It's a very different kind of tree from what we saw in Volume 6, but the height and shape is nevertheless reminiscent of Light's domain.

A tree of life, anyone? After all, the group has fallen into a dimension created by a Relic, the gift of Light himself. It certainly seems as if RWBY is heading towards another encounter with the Gods, though what that will look like and how narratively satisfying it will be remains to be seen.

As for our bingo board, RWBY certainly pulled its weight! Only three squares got gold stars: Watts and Jacques didn't manage another team up because both are dead, Oscar didn't apologize for getting shot because he was too busy being tortured, and Qrow didn't drink likely because he didn't have access to any alcohol across the whole volume. Can't say that's a stellar result. The final image is something to behold though lol.

What a mess.

And on that less than exciting note... we’re done. This has been the volume of desertion, with a large number of fans telling me that they will no longer watch RWBY, but baring something entirely unexpected in my future, I'll be back next volume, for whatever that's worth. It never ceases to amaze me that even one person would give these nonsense recaps the time of day, so in all seriousness: thank you for reading. You rock.

Now go forth and fill the hiatus with great RWBY content!

✌️

#suicide tw #rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby the final word

119 notes · View notes

literaticat · 3 years

Note

When an author's series becomes popular, then it starts being written by ghost writers, does the author still earn the regular percentage of royalties for the ghost written book minus a one-off payment for the ghost writer? Or are the royalties split between the author and ghost writer? Or does the author get a one-off payment for those books?

Haha well, I have repped popular series, but I can't say that I have ever been in this position, all mine are definitely written by the author... and actually I believe that all the series we rep as an agency are entirely written by the author.

So, just for what it's worth, I don't think this is really a thing unless a series is INCREDIBLY lengthy, or it is a packaged series or an IP project, where it is conceived like this from the jump.

I also suspect that there are as many different ways that the financial situation might be arranged as there are ways the writing situation might be arranged. There are just lots of different models. For ex:

Nancy Drew / Hardy Boys were written by the Stratemeyer Syndicate - basically the first "book packager" (as far as I know!), robust in the early 20th century. So, "Carolyn Keene" is a name owned by the syndicate, and they have a large group of freelance writers cranking out these books, editing them, quality-controlling them, whatever - and then they basically sell/license them to Dutton or whatever publisher puts them out. Those writers probably got paid either a flat fee per book, or a page rate, something like that. They certainly got no royalties, nor were they ever credited in any way.

Sweet Valley High - Francine Pascal is a real writer who really wrote YA books. This series was conceived by her - she created the characters and the "bible" for it, she wrote the stories / outlines / whatever - and then she gave that info to ghostwriters - because they were publishing a book a month! So she's the point person, and she's credited on the cover, and I assume royalties go to her. Obviously I wasn't there so I don't know the details of how they were paid, but I presume that those writers, again, were paid some kind of flat fee per book. Nowadays in the Kindle editions of these old books, there's an author's note from Francine basically describing the process, and a writer's name on the inside with "Created by" credit for Francine. Though of course ... she's still on the cover.

Babysitters Club - this was an idea conceived by editor Jean Feiwel at Scholastic, who got Ann M Martin (obviously a real, legit, amazing author) on board to write. She did the first 35 books or something - but at a certain point it's gotta be too much, as there were like hundreds of these books including all the spinoff series! However by that point, the series is well-established, the characters and the formula are rock solid, so it wouldn't be hard to get other authors in there to ghost so they could crank out the HUNDREDS of books that were ultimately in the series.

Interestingly, sometimes if a book is conceived of by a publisher (an IP Project) -- they keep the copyright and many/all of the rights - they still might pay a normal advance and royalties, but ultimately they "own" the book. But in this case, Martin does have the copyright, at least for the books she wrote - but I don't know what the rights situation was, or if she still got her beak wet on the books that she didn't write anymore, or what.

Warriors - "Erin Hunter" is a collective pseudonym for multiple authors who work through a packager, in this case Working Partners (something like the ol' Stratemeyer Syndicate but with more care for the creators involved). Modern packagers usually work something like this: The packager thinks of the basic idea / spine of the story. They collaborate with great authors - the authors create some material for a fee of some kind, it gets edited, polished, etc - and they sell the whole package to the publisher. The copyright is held by the packager, so they "own" it -- the authors can't just go off and write more books about these characters or anything. But, the packager does split or share profits with the writer(s), they may get a larger fee or a chunk of the advance if/when the book/series is sold, and a portion of royalties and sub rights sales etc. How much they share depends on the company.

James Patterson -- your boy publishes like 3-5 books a month or something bonkers -- he has a content farm, out of which come MANY books, and at this point he mostly does "co-authoring" -- Now what that means in practice, is probably that he whips together an outline or a basic concept, and the "co-author" does the work. However the nice thing about this is that he does generally credit the co-authors, and that's gotta be a nice boost for them to be able to say, "My first book was a NYT bestseller!" or whatever. Like - yes, it's a James Patterson book - but they ARE listed on the cover. I have no idea how they are paid, but James Patterson is a quadrillionaire and he seems like a nice guy based on his philanthropy, so I'm guessing he's somewhat generous with a fee... but also keeps a tight rein on all rights and royalties.

I'm sure there are lots of other ways it can work!

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feralnumberfive · 2 years

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Hopefully a TUA Christmas Miracle

I know I said that I didn't want to get people's hopes up, but at this point we need hope because this has been a long wait for anything new relating to S3 and we’re in a TUA Drought (kudos to whoever came up with this tag/term, it’s perfect) and quite frankly going crazy. We can all agree that we've got no new info for S3 since the filming wrap besides being told it's coming out in 2022, which was pretty obvious. It’s been almost 4 months since S3 wrapped filming and we’ve got nothing. Let’s look at some numbers I put together in the past and where we currently are in December

(Reminder that these are all estimations and predictions and that nothing has been confirmed! Bear with me this got long, but I promise you it’s worth it!)

It’s a little difficult to get the full estimation for S3 since S1 instantly began promoting with character images and posters, so my estimations are mostly based off of S2. There’s certainly a lot of similar numbers and time periods without drastic changes between S1 & S2, and they seem to follow similar patterns length wise for certain “checkpoints.” I know a few of my numbers are off cause I just rounded up the months too. It doesn’t help either that the Instagram account removed everything from the past so now I can’t triple check everything.....

Of course though with S3 filming during Covid and other post production work also happening during Covid, S3 could possibly take longer. On top of that possibility, we also have to consider that maybe, just maybe, things might take a little longer because of S3 being “bigger” and presumably a lot more effects due to the larger cast and more super powers. I don’t know though if those two will change S3′s timeline, I’m purely thinking of possibilities and don’t know the current conditions of tv filming or how long it would take to edit that stuff.

On the other hand though.....

Someone pointed out to me that both S1 & S2 came out the month after their filming start month, so January = February for S1 and June = July for S2. S3 might possibly also follow this pattern too, especially if we consider this event above, hosted by people who worked on TUA S3, is happening March 16th-20th. S3 began filming in February, so if the pattern continues then March would have the release date. It really wouldn’t make sense for the producers and effects team to talk about S3 if it hadn’t been released yet, especially with them saying “Let’s unpack season 3 together!” Doesn’t that sound like a key word for S3 to have been released in early March if they are going to “unpack” it?

We learned today too that Weta Digital is either done or almost done with their part for S3. Weta created Pogo and Aj as far as I know of, so I don’t know if they helped create/edit anything else for the show. This doesn’t exactly mean that TUA is done with editing, but at least we now know that one chunk of post production work is done or almost done for S3. Justin, David, and Jordan have each talked about how they have been shown an episode of S3, but I don’t know if that means the cinematography has been put together for an episode, the effects are partially done for an episode, or if the episode is actually finished with all of the effects in it. I truly have no idea, but Jordan did show us a blue galaxy like thing so it seems like effects and computer editing is being put into episodes now. Again though, we don’t know where they are in S3 in terms of post production work but things are heating up!

So, what I personally believe (and conversations with @golden-wreath) is that we should hopefully be getting something very soon. Like Christmas soon. Or New Years Day soon if not Christmas. Why Christmas? It’s a holiday filled with gifts, something from S3 could easily be advertised as a gift from TUA/TSA. After all, Ben made it very clear in the birthday video that we should be thankful for the Sparrows, and that they are the gift. As for New Years Day? That could be advertised as something like “New year, new Academy/Family.” Or if they play along as a “New year, new Academy” then I could also see them releasing something for each Sparrow on January 1st-7th.

(And if we don’t get anything on Christmas or New Years Day or even in December then everyone is welcome to come and boo me and throw rocks at me because I am feeling confident in everything I’ve said and if none of what I just said were to happen then I’d feel pretty stupid and embarrassed 😔🥴)

As for what we might get, who knows. The release date? A promo picture/poster? S2 got the release date announced 6 months after wrapping and got the first promo image 3 months after wrapping. However with where we currently are and where S3 is hopefully released in March, it’s hard to tell because if we look at it then we should have gotten something by now and it doesn’t leave a lot of room to start putting out other promo images instead of releasing them all very close to each other. That’s something I feel conflicted about if S3 is coming out in March, we probably should have gotten something by now. Who knows though, maybe the advertising strategy is different this season? It would be helpful if I could have all the images back on the UA Instagram account to check more things out

The gap between the filming wrap in August and the hopeful March release month just feels right for something to happen where we are in December. It’s all a big what if though with when S3 will be released, if we knew that then it’d be easier to estimate everything else. It’s been about 4 months since wrapping and while I don't want to give false hope, the numbers just make sense. It feels like we’re supposed to be getting something soon, doesn’t it?

#look at me actually adding a title like this is a newspaper article lol #I personally don't believe that the marketing team (or whoever is in charge of promoting) for TUA has done a good job #but that's probably not exactly their fault because of the higher ups and certain rules #damn this got super long sorry about that but I am just happy about this and feel pretty confident on mine and Steph's thoughts #tua #the umbrella academy #umbrella academy #tua s3 #tua season 3 #tua s3 prediction

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ciaran-archive · 3 years

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Serious question. How do you write long stories? Is there a technique or advice for that? No matter what story I have in mind, I can't seem to tell it in anything longer than 1 to 2k. Writing 5k is tiring already, where do people seriously get that stamina to even do 50 or 100 or 200k? It's mind-blowingly amazing.

there is nothing less worthy or amazing about writing shorter fic - i know writers who struggle with it, and i’ve come to inhabit that position somewhat myself, though i’m determined to stay in practice. it’s a different skillset, that’s all. your fics aren’t worse for being shorter.

that said i will not deny that longer fics generate far more engagement from fandoms simply by virtue of updating more often → being on top of the ao3 tag when people first open it → getting more clicks and being considered less ‘frivolous’ (which is bullshit, but what can you do)

if you’re dead sure you want to write longer fic, i would first recommend reading this post about writing drabbles, which i promise is relevant to the point i’m about to make.

Because drabbles are about one moment. You don't need to know exactly what happened before this moment of dialogue, or what happens next, or what's happening around it. You don't have to do any of the planning you might do for a longer fic, but you also don't have the space to let the scene lead in and develop naturally. You've got 100 words.

a lot of writing a longer story is about establishing the scope of your story, deciding what beats you want to hit. there are a lot of ways to go about this; [some people like to outline. i don’t outline, ever, so if you want help for outlining you should look at the other sources on the internet. there are quite a few.] i’m going to talk about the way i’ve learnt to do it.

so when i’m writing a short fic, the thing i’m considering is one or two ideas, and one or two moments (short in this case being under 5k). this also depends on the style i’m going for - fics with sparser styles can fit more scenes, if i’m going for my usual style, each scene takes about 700-2000 words at least and therefore takes up more space. a lot of how i eased into writing longer fics was focusing on stylistic changes - you can push up the word count of a fic by going moment by moment. note the difference between:

They’d been standing next to each other as they spoke; now Felix turned to him in the rain, startled by the admission of weakness. He reached out clumsily, bumping his hand against Ryan’s until he took the hint and grabbed on.

and

The rain made it near-impossible to hear Ryan speaking, but the harshness in his voice would’ve been audible through a hurricane. “So you ran away,” he said, like he hadn’t expected this.

“Course I did,” Felix snapped. “What was I supposed to do? Stick it out and let her kill me?” I almost did, he added under his breath.

Ryan’s sensitive werewolf ears, of course, caught that. “I’m glad you did,” he amended, as though it pained him to admit it. “I would’ve - I did the same. It’s all you can do, sometimes.”

Felix turned to him, blinking through the curtains of water. Ryan was slouching in the downpour, eyes narrowed elsewhere. Mostly he was startled by the admission of weakness - rare in a person who prided himself so thoroughly on being reliable and independent. He reached out, struck by the urge to offer whatever clumsy comfort he was capable of; his hand bumped against Ryan’s, and he held it there until Ryan caught up and wove their fingers together.

His hands were wet and cold, and he gripped so hard Felix’s very human bones ached, but he wouldn’t have pulled away now. Not when he’d been the one to offer.

it’s not even that one is necessarily better than the other - they both work, and they’re working in different ways. they’re set in the same scene, conveying the same beat - reaching out to comfort someone in the wake of vulnerability. it’s just that one is longer, and therefore gives you more room to - set the scene (rain, being unable to hear each other) - use dialogue to show what is being told in the first example - convey extra information about the characters (actually, if this was a scene i was writing in a fic or novel, the stuff about ryan being a werewolf would already be known to the reader, so i would use that space to convey something else about ryan in that moment) - elaborate on felix’s internal state: the transition from defensive to curious/surprised to gentle - linger for a sentence or two on the moment of connection

this is about unraveling a scene and making it bigger than it was, breaking it apart into tinier beats and describing each one in the narrative. what happens when you do that and your fic doesn’t get much bigger still?

back to scope! we understand, as people who read and write and live, that the part of a story that you choose to depict in a narrative is not the entire story: events happen off-screen. some of them happened before the story started, and they will continue to happen after the story ends. the narrative is only showing you an arc, a particular series of events.

when you’re writing fic, you have in fact tremendous amounts of flexibility when it comes to the scope of a story. you can write something that is about a single moment in canon, and trust that your audience is following along because they have the context already. so you don’t need to waste time on setting it up, which often means - if you’re given to a certain kind of fic writing (canon compliant / small divergences / missing scenes / character studies) your fics will end up not being very long because you’re not reiterating what you don’t need to reiterate. your idea is small because it inhabits a small space, is squished between canon events, and so doesn’t ever get bigger. if this is what is happening, it’s good, and you should try to preserve this going forward.

people who are writing longer fic are, simply, working with bigger ideas*. they’re not just going “what if he said what he wanted in this scene instead of going home?” and writing the bit where they kiss immediately after - they’re also going “what if this changed everything in the future? what happens if they tackle all their problems together from now on? what new problems arise from this?”

*hopefully they are working with bigger ideas. i have seen longfics that are just incredibly fucking tedious because the author swallowed a thesaurus and had a tenuous grasp on plotting to begin with.

that’s for a canon divergent fic, presumably. you might also be writing a post-canon fic, with its own set of pre-fic events and a new set of problems to deal with. currently, for example, i’m writing a fic where akira and goro were dating after canon, broke up, and stayed together in a deeply dysfunctional way after that - and the consequences for them now that they’re forced to deal with the mess they’ve made of their lives, together and apart. so now they have to deal with: the catalyst for dealing with their old problems, which is a problem in itself, and their old problems, which have been festering for a really long time.

which forms the core of the scope i’m talking about. i have to go through a bunch of scenes to set this fic up - i need to show their old problems and their new problems, i need to explain why the old ones haven’t been dealt with already, i need to set up the potential for dealing with them and the necessity of doing so, i need to give them places to start, and also i want to allow them to fail so they can choose to start again. i know these things because i have some idea of the kind of story i want to tell. if i didn’t know this, my story would not go anywhere by itself, and i would have to start outlining scene by scene the way people who actually outline do it, and i hate doing that because then i never write.

if you can outline and it doesn’t make you want to chew wood, then i highly recommend picking up the habit. it’s very useful, and the methodical approach is a fantastic failsafe for the moments when you (me) get stuck on your fic (breakup au) and have to stop writing for several weeks in order to figure out a single fucking plot point that will let you move forward and

anyway.

so yeah! to sum up;

find a larger scope for your story

get in the habit of picking apart beats into discrete moments and guiding the narrative through them

learn to outline if you can

last thing - which is perhaps the most vital and least reliable - stamina.

you WILL lose interest in half the longer fics you write. it WILL suck. if you think you know pain because you have 700 words of a fic and can’t get through the last 400, i promise you it is like that but much worse because you have 7000 words now, or 17000 words, and you are stuck with no way forward. it will suck so BAD.

don’t beat yourself up over it. once you’re in the habit of writing something long, you will retain that habit, and be able to apply it elsewhere. the words aren’t wasted, they’re practice, and they’re worth what they’ve taught you.

but! all the scope and internal scene-building and outlines won’t help you if you do not (and this is not as bad as everyone makes it sound) actually write. you HAVE to learn to actually write. you have to figure out what you like about writing and make a longfic outline [/ scene beats notes chart / themes mind map / tumblr tag of inspiring quotes and photography] that consists entirely of stuff you love and then you have to sit down and write your fic. it is not terribly scary. it’s okay to fail, but you also have no way around this.

i hope this helped, and good luck!

#writelogging #ok 2 rb #anon #asks

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wiypt-writes · 3 years

Text

Stark Spangled Banner

Ch19. Cut Off One Head…

Summary: The Avengers have been tracking Hydra for a number of months now, systematically making their way through each base that their intel provides them…but a routine business trip turns out to be something far more sinister than Katie and Tony were planning for…

Warnings: Violence, kidnapping, bad language, angst… 18+

Pairing: Steve Rogers x OFC Katie Stark

A/N: The next few chapters take a bit of DARK turn…warnings will be detailed. @angrybirdcr provided a special banner for these next three chapters, and another wonderful edit...

Disclaimer: This is a pure work of fiction and classified as 18+. Please respect this and do not read if you are underage. I do not own any characters in this series bar Katie Stark and the other OCs. By reading beyond this point you understand and accept the terms of this disclaimer.

Chapter 18

Stark Spangled Banner Masterlist // Main Masterlist

September 2014

“I’m not saying that I’m not open to the idea, I just don’t understand why you think we need to buy the firm.” Katie said for what felt like the thousandth time that morning. Tony glared at her and simply shook his head as he sat waiting in the reception area of the office block in Minnesota. “I’m not even gonna ask what you were doing that kept you up so late you clearly didn’t get enough sleep last night you cranky brat.” Katie rolled her eyes but she felt a small smirk pulling at her lips as she remembered very well the events of last night as Steve had quite frankly lost his shit at the fact she was wearing the new baby blue lace matching underwear set he had bought her just because he wanted to, but she caught herself. “Sleep or lack of, has nothing to do with it. I’m serious, Tony. We don’t need it”. “Investing” he said holding his finger up “building the brand. That’s what business is all about.” She groaned “Thanks for the lesson on running a business, you know, in case I didn’t know how to, but that is NOT the vision I have for SIP.” “Look, you said yourself when this proposal landed on your desk you were curious.” “I am!” She protested, and she was. From the research they had done, the company that had approached them, Hall General Publishers LTD, held the same ideas as SIP, except they focused on Biographies that were published in series magazines. They had reached out to SIP for a potential collaboration on a fiction series that they had been approached to run and felt it was out of their field, but they were keen to see if they could join forces. It had instantly caught Katie’s attention and imagination but as usual Tony had gone off on one and suggested they buy the smaller company out. “I’m curious about their proposal, and the potential to do business, collaborate yes, but not take over!” “Look, it’s a day out of the office, chance to forget about Tin Man and Hydra” Tony shrugged and Katie gave a groan of frustration again. “And their profits are pretty impressive. We can use them, keep their brand…” “Whatever.” She glanced around at the foyer. It was clinical, white, all clean lines. Nothing like the entrance to Stark, sorry Avengers Tower as it was now called .Mind you, that was to be expected from a ‘rent an office’. Eddie Hall, the MD of HGP had requested the meeting take place away from either of their offices to avoid anyone catching news of the potential collaboration and had arranged to hire a room at block some 10 miles outside of Saint Paul. Tony had shrugged when Katie questioned it, saying it wasn’t unusual for people to hire external meeting venues in order to keep things under the radar. “Miss Stark, Mr Stark, I’m so sorry,” the dark haired man hurrying across the foyer said. He was about 6 foot tall, slim, and was wearing a sharp black suit. Both Katie and Tony stood up, Tony extending a hand.

“Mr Hall I presume?”

“Yes.” The man said, shaking both their hands, his manner flustered. “Sorry to keep you waiting, I had to ensure the room was ready.”

“It’s only a few minutes.” Katie said smiled at him, “No apologies necessary.”

They followed him into the elevator and he selected the top floor and turned to the siblings

“Thank you for coming out here. I know the cloak and dagger thing is probably a bit much but I don’t want people getting wind of it. There’s a few changes coming at the company and I don’t want any of them making any assumptions…” “Understandable.” Tony sniffed, looking around the elevator.

They emerged onto the top floor, and he led them left down the corridor. Katie looked around, the whole place smelt of paint and there was decorating equipment dotted around. She frowned. “It’s a new office facility.” Hall explained, looking at her. “Owned by a friend of mine and they’re still kitting it all out. But he said this was the best room to use. It’s mocked up like a board room you see…” Katie nodded and shared a look with Tony, she was starting to feel ever so slightly uneasy. Tony just shook his head and patted his pocket where his trusty Iron gauntlet cuff sat. Neither of them had come with their suits, this was supposed to be a straight forward business meeting after all. But she took a deep breath, she was probably just being over sensitive after everything that had happened recently…

Hall stopped outside a door to the left and opened the room, revealing nothing but darkness. “Oh, sorry,” Hall let out a sigh of frustration, sweeping into the room. “Yes. Let me just… find the lights.” Tony looked at Katie, arching an eyebrow.

No window? He mouthed at her, his hand slipping into his pocket as they stepped into the room, Katie not quite sure they should be to be honest. “Yes. Here we go,” the man said brightly, flipping on the light and flooding the small room with light as the door slammed shut behind them.

That’s why it didn’t have a window. It was a fucking storage room. And it contained three men in dark suits standing before them, each with a rifle trained on their chests. Katie instantly stopped, drawing a deep breath of shock. Besides her she saw Tony in the corner of her eye quickly move to pull the cuff from the depth of his pocket, but he suddenly stumbled forward and fell immediately, the cuff flying out of his hand as the man they knew as Mr Hall stepped round them both and leaned against the wall to their right.

Katie spun round to see another man to the left and her eyes widened as she instantly recognised him.

“Grant?” She frowned, looking up at the face of her ex "What… what’s going on? "You know, I thought when you dumped all those files on the internet you might have actually read them.” He smirked, stepping forward and glancing down at Tony who had sat up and was watching him, his face contorted with hatred and rage. Katie swallowed as she took in his words before she shook her head as her eyes grew wide in sudden understanding.

“Heil HYDRA.” Ward’s smile spread further across his face.

The agents around the room started to close in. One of them, a larger built man who reminded her a little of Rumlow spoke in a deep voice.

“This is the one you say we need?” Ward nodded and at that point Tony slowly got to his feet, backing up, placing himself between his sister and the man who is advancing on her, the two of them backing towards the door.

“Need me for what?” Katie said, her voice soft as her back hit the wooden surface.

“Answers.” The large man said, looking bored at Tony’s display of protectiveness.

“About what?” She said, a bit louder this time.

“Well, you see Kay…” Ward smirked and Katie turned to her left to look at him as Tony emitted a low growl in his throat at the use of his old pet name for her, Ward chuckled before he started again “We’ve had a bit of a problem since you and your boyfriend, sorry fiancée, congratulations on that by the way.” He smiled, and she glared at him in response “Yes, ever since you took down SHIELD, we’ve been a little bit on the back foot, constantly watching our backs, trying to figure out where SHIELD or the Avengers are going to pop up next. So we figured, we needed a bit of inside intel.” The larger officer yanked Katie’s arm and pulled her out from between the door and Tony, flinging her into the middle of the room where another one of the agents grabbed her. Another one stepped quickly in front of her brother, blocking his path to her.

“Ok, stop…” Tony held his hands up, turning back to Ward and the other man. “If you want someone, take me. I’m more involved in the Avengers anyway…“

His voice was level but Katie could hear a level of desperation.

“Yeah, much as I’d love to take you in for a kicking Tony, the problem is she’s the only one of you who knows he’s alive and what he’s likely to be doing so…” “Knows who is alive?” Tony frowned as Katie swallowed thickly. Coulson, that’s the only person they could be talking about. But before she could say anything one of the agents butt Tony hard in the back of the head with the handle of his gun and he fell to the floor.

Katie yelled out and started towards him, but the Agent holding her tightened his grip on her arm to the point of it being painful.

“Now you’re gonna come with us, out of this building, quietly, no fuss and no escape attempts” The big man spoke to her “Otherwise Ward here is gonna put a bullet in your dearest bro’s head.” “And how do I know you’re not gonna do that anyway?” Katie whispered through her tears.

“Because it’s more trouble than its worth.” Ward shrugged. “And frankly, the thought of him alive, worrying about you is far more satisfying.” Katie glanced down at her brother, who was starting to push himself up, until Ward kicked him hard in the ribs and he collapsed, groaning, as Ward hit him on the back of the head again, knocking him out.

“Alright, alright!” She protested, her voice cracking. “I’ll come. Just leave him alone.” She was shoved harshly forward, her heeled feet slipping slightly as the door was pulled open. She stopped suddenly, turning to Ward. “You better watch your back .When Steve and the rest of the team finds out about this you’re a dead man.” Ward chuckled. “Quaking in my boots, Sugar.” She was shoved forward again, and managed one glance over her shoulder at Tony who was sprawled on the floor before she was shoved out of the room.

***** Tony groaned, as he pushed himself up slowly, the room spinning.

“Kiddo?” he croaked, as he looked around. He was alone, no sign of anyone. He scrambled across the floor, and tried the door which was locked, before he slumped heavily against it, his trembling hands started to feel his suit pockets. His phone was gone, of course, as was his cuff and Katie’s laptop. He lay his head back against the door as he started to piece together what had happened. It was an ambush, Ward…HYDRA…

Hydra had his sister. For information. About someone no one knew was alive? Were they referring to Fury? He ran his hand over his face again, and was just about to think about screaming in the vain hope they heard him on reception, but he stopped, suddenly. They hadn’t taken his watch.

Thick HYDRA bastards.

With shaky fingers he pressed the button at the side and the face lit up orange.

"Yes, sir?“ JARVIS spoke and Tony almost gave a sob of relief before he spoke a simple instruction, all he can think to blurt out before he gives into the throbbing in his head once more.

“Alert Captain Rogers. Send help.”

***** Steve was in the now finished training room with Thor. The pair of them were currently debating if the large room would stand up to them trying out a new move- Thor hitting Steve’s shield with his hammer to create the same wave it had done in the forest that time. It was useful, and Steve was thinking about perfecting it, seeing if it could be directed in anyway.

“What metal is it made from anyway?” Steve nodded to Mjolnir as Thor was throwing it up and down.

“It was forged from the heart of a dying star- Nidevalir…” Thor said, as Steve picked up his shield.

“It’s made from a star?”

“No, metal, which was forged by a star.” Thor corrected.

Steve was about to comment that he still hadn’t answered the question when a red light started flashing in the corner of the room, along with a low siren, and Jarvis’ voice cut across them.

“Captain Rogers, Mr Stark has just sent a distress signal.”

Steve instantly looked at Thor, swallowing slightly. “A distress…they were on a business trip. “I’ve no other details other than to alert you and send help.” There was a loud clap of thunder and Steve turned to see Thor was now clad in his armour and the God nodded at him as the two of them sprinted from the room. Steve’s mouth was dry and his mind was running overtime about what trouble they could possibly be in, but as they headed down the corridor to the armoury he found his voice.

“JARVIS, tell everyone to suit up and meet at the jet, now.” “Of course Captain. I’ve patched the location through to the jet.”

“I’m sure they will be fine.” Thor offered as some attempt at re-assurance. But as Steve shrugged on the top half of his uniform and grabbed his utility belt, he didn’t feel very re-assured.

Maria Hill met them in the hangar “I heard the signal, is everything ok?” “Tony and Katie…” Steve informed her. “They were at a business meeting but Tony just sent out a distress signal.” Maria looked at him and then nodded “I’ll start doing some digging into who they were meeting.”

He nodded, and strode up the ramp to the jet. They’d been in the air about 30 minutes when Maria patched through to them

“I don’t know who they were meeting but it isn’t Eddie Hill” she sighed “He was reported missing three days ago by his wife.”

“So whoever took them got to him first.” Nat looked at Steve. “Took him out, replaced him with an imposter”

“And it’s probably safe to assume he’s dead.” Steve said, flatly. “Hill, start doing some digging. Into Hall…anything that might help.”

“On it Cap.”

It took them approximately another ten minutes to get to the location JARVIS had programmed for them. And it felt like ten years. Ever since receiving the distress call the entire team had been on tenterhooks, Steve especially, remaining stoic and unyielding, although he felt anything but, knowing his girl could be in trouble.

The receptionists face was a picture when the Avengers, led by a focussed, stern looking Captain America stormed into the building and demanded to know what room the Starks were in. Tony heard them shouting on the corridor, Thor kicking over paint cans as he went, and he yelled, banging on the door.

“Stand back…” Steve’s voice was loud before he aimed a huge kick at the door, breaking it easily along with the frame which splintered out of the wall.

“Where’s Katie?” Steve asked, swallowing and looking round, almost as if he expected her to be hiding somewhere.

“They took her.” Tony said, pacing in front of him “I tried to stop them but…”

“Who?” Steve looked at him and Tony sighed, his eyes brimming “Tony, who took her?” Steve’s voice was desperate.

“HYDRA.” he bit out, and Steve felt his mouth drop open before he took a deep breath and ran his hand over his face. “I don’t understand…“ Thor began, but Tony cut him off. “And you think I do?” he shouted at the God, his entire body trembling as he stopped pacing in front of him “I… we…” He stopped, unable to speak, his breaths coming in short, rapid bursts. Steve was too preoccupied to notice. He was simply staring down at the floor, his posture slumped as he removed his helmet which felt like it was suffocating him, his head kept replaying what Tony had told him.

HYDRA had her. They had her.

Banner grabbed Tony by the shoulders and gave him a single shake before he looked at him “Tony, focus on me, ok, keep breathing…”

Tony slumped to the floor and Banner knelt down with him. “How did this happen?” Steve’s voice was thick as he turned to look at him. Tony swallowed and Bruce squeezed his shoulder “It was a trap. The man, Hall. We came to meet him only Ward and…” “Ward?” Clint’s head snapped round at the sound of that name, frowning “Ward is Hydra?”

Tony nodded and Steve let out a lowly growl of frustration.

“They wanted her, said they needed inside intel. I told them to take me, I said, take me instead, but they wouldn’t, Ward said that she’s the only one who knows…knows that someone is alive and what he’s likely to be doing…”

At that Steve’s mind started whirring. Ward- she’d worked that last case with him and Coulson. She was the only Avenger that knew Coulson was alive, bar him, and no one knew she’d told him. Other than Fury that is.

“Who’s alive, who were they talking about?” Natasha frowned.

“I don’t know!” Tony bellowed.

“Maybe they meant Fury?” Banner suggested, looking up.

Steve’s voice was quiet as he looked up. “They mean Coulson.”

“What?” Tony wheeled round to face him “Coulson? He’s…he was killed, they buried him! We were at the funeral!” Steve shook his head before looking up at the ceiling, taking a deep breath “He’s alive. The last case Katie worked at SHIELD, the Asgardian staff case…” “The what?” Thor frowned, but Steve ignored him as he continued.

“It was Coulson’s team she worked with. Ward was part of it.” “And you didn’t think to tell us?” Clint frowned at Steve

“What good would it have done Barton?” Steve snapped, before once more his hands ran over his face. The room fell silent until Nat spoke again.

“Ok, so even if he is alive, that doesn’t explain why they think she knows something.” she pressed “What do they think she knows that’s so important they’d risk taking her?” Steve grit his teeth “I’ve no idea. But I bet Fury does.”

“I’ll get Hill to find him.” Natasha says, pulling out her phone and leaving the room.

“I need to get to back to New York to access everything.” Tony said, suddenly “Start searching our intel, anything…” “What about the media?” Bruce suddenly said. “Should we release her photo?” Tony looked up but before he could speak Steve answered.

"No. If we do that…” He shook his head. “The press’ll start digging and it could flush them further underground.” “Cap” Clint protested gently. “If we can get her picture out there, have more people on the lookout…”

Steve shook his head, a miserable yet stubborn pout pulling at his bottom lip. “No.” “We are in the dark here!” Barton snapped.

Steve turned on him, puffing out his chest. “There’s no way they did this and didn’t leave any sort of trail.”

“A trail? Jesus Cap, these bastards grew within SHIELD for over seventy fucking years and no one noticed!” Clint snapped

“I KNOW!” Steve roared.

Thor, who had been watching the exchange quietly up until that point stepped forward, placing his large hand on the Captain’s shoulder.

“I know it is hard, but you need to remain calm Captain.” he said. Steve looked up at him, giving him a nod, taking a deep breath. Thor turned to Barton “I agree that we should have everyone we can hunting for little Stark, but maybe not straight away. We should regroup, get as much information as we can.” Clint nodded. “I’ll go see if they have CCTV. Maybe we can identify who else was with Ward.” Steve nodded at him as he turned and left the room.

“I’m going to see if I can find anything outside.” Thor said “tracks, a trail…” he released his hold on the Captain leaving him in the room with just Bruce and Tony.

Bruce had both his hands on Tony’s shoulders as the man sank to the floor, burying his face in his hands. “I tried to stop them…” Tony sobbed, his head rocking back and forth “I tried, I really did.”

Steve said nothing. He couldn’t. Instead he stood impossibly still despite the ground feeling ready to crumble beneath him.

*****

Thor’s search drew a blank. So after quizzing the staff who were distraught when they realised what had happened, they took the CCTV footage and headed back to base. The jet was silent, everyone lost in their own thoughts.

Steve was trying to make connections. What was Coulson doing, and why did HYDRA, mistakenly, think Katie knew about it? Why had no one told them Ward was Hydra? There was no logic in any of this, other than the fact they were desperate, broken and desperate to take the one person they knew for sure had a link to the assumed dead agent. And as that thought echoed in his head, he realised Barton was right. If he had told the rest of the Avengers about Coulson, then maybe they would have taken anyone else. The fact that he found himself wishing it was one of the others instead of her made him feel slightly ashamed but he couldn’t help it. Suddenly, the jet became hot and he felt the bile rising in his throat. He spun up out of his chair and just made it to the small bathroom at the back of the jet before he threw up.

They arrived back at base just after 2 in the afternoon, and immediately went into overdrive, running facial recognition on the CCTV, Tony instructing Jarvis to sift through the files for any mention of Ward in the vain hope it would give them a clue as to where they might have taken her.

Steve was numb, for once he was failing to direct his team, so Clint took it upon himself to organise everyone, which he was grateful for. Suddenly he felt his phone ring, and he pulled it out of his pocket as fast as he could, a low grown of frustration coming from his throat when he saw it was Sam.

“Sam, I need to keep the line clear.” He answered, sharply.

“Woah, Cap…what’s going down?”

“Katie…” Steve stumbled over his words “She’s…she’s been taken, by HYDRA.” There was a pause and then the man spoke again, four words, before he hung up.

“I’m on my way.”

Steve slid his phone back into his pocket and took a deep breath. He needed to focus. He was no good to Katie like this. He glanced over at his team, locked eyes with Thor who gave him a nod, and he strode across to see if there was anything he could help with.

It was an hour or so before they made any decent progress.

"We got a positive ID on one of the Agents.” Hill said as she strode into the common room, handing Steve a file. He took it and glanced down, moving the surveillance photos they had extracted from the CCTV footage to one side, reading the information in it as Bruce continued. “Eric Jones. Ex SHIELD enforcer, clearly still active in Hydra. He worked out of one of the Canadian bases SHIELD had in Toronto, it fell when SHIELD did. We’re still running facial for the others, but I’ve told JARVIS to focus on the guy that Tony said was posing as Hall.” Steve nodded.

“We have a home address for Jones.” Hill added “But we’ve no idea if he’s been there recently or…” “We’ll check it out.” Nat stood up, patting Clint on his chest with the back of her hand. He nodded and stood up just as Steve spoke again.

“How did Ward know?” he looked up and turned to Tony “how did any of them know that you were gonna be there?”

Tony didn’t look away from the window as he replied "I don’t know. The company is real, we did all our research. They’re based in Saint Paul, not far from where we were.”

“So either Ward got wind of it and took it as an opportunity or Hall was in on it from the start.”

“If he was in on it then why kill him?” Thor asked gravely.

“Maybe they were worried he was going to blab.” Clint shrugged.

“When we’ve been to Jones’ we’ll head over there, see if we can dig anything up.” Clint looked at Steve who gave him a nod before JARVIS cut across them.

“Mr Stark. Director Fury and Agent Coulson are here.” “Send them up J.” Tony said, standing up.

Steve took a deep breath and looked at Clint and Natasha “You two wait and see what he has to say before you go. It might help.”

*****

The news Fury and Coulson gave was received as well as could be anticipated. Thor let out a loud growl, turning over his chair in anger whilst the rest of the group started to angrily chatter amongst themselves, all except Steve. He simply looked at Fury, then got up from his chair, the anger radiating from every inch of his body as he strode towards him, jaw clenching.

“Rogers…” he began but shut up immediately as the Captain’s fist connected with the former Director’s nose with a satisfying crack which rang around the now silent room. Fury stumbled backwards, falling to the floor, and he wiped at his face, eyeing the trickle of blood from his shattered nose as waved away Hill away who had stepped forwards to help him.

“Come on…” Thor patted Steve’s chest, “this isn’t helping anyone.”

“You knew?” Steve glared down at the director. “You knew they had the damned thing and didn’t think to tell any of us that you were tracking it?”

“It would have blown Coulson’s cover.” Fury staggered to his feet, wiping his nose. “What he is doing has to go under the radar…” “And because of that they took her.” Steve spat “Because Ward knows she knows he…”he pointed to Coulson “is alive, and because we worked with you to take them down, they think she knows something!”

“Let’s just break this down…” Tony sighed, rubbing his face “How did they get it? I thought the Sceptre was on Asgard?” Tony frowned, looking at Thor. “You took it with Loki.”

“No, I took the tesseract.” Thor said. “The sceptre was taken by err…not SHIELD, well a part of SHIELD but…”

“Why did you not tell us about this?” Clint snapped, his usual placid mannerisms now spiked with anger as he turned to Maria. “Why has it taken us raiding fuck knows how many bases, and Nova getting taken for us to find out?”

“Barton, The rubble of the Triskelion took ages to sort out, the other SHIELD strongholds had been obliterated or infiltrated at the same time” she explained “Hundreds if not thousands of things have gone missing. Files, hard drives, laptops, alien artefacts, security badges, flash drives… the list keeps growing. We didn’t know it was missing until recently!” “Recently? How recent?” “Last week.” She looked down and Steve gave a snort as Clint growled.

“You should have destroyed it.” Steve looked at Fury, “Just like everything else you had in that god-damned lab.”

“We couldn’t” Coulson looked at him, and then Steve gave a sarcastic laugh as he understood perfectly what the man was saying.

“Of course not, because you never had it in the first place did you?” “What, I thought…” Tony began but Natasha cut him off.

“Sitwell and STRIKE collected the sceptre. They were HYDRA, they’ve had it right from the start.“

The room fell silent bar silent and a large clap of thunder started outside, making them jump.

“Sorry.” Thor grumbled.

“Fuck this shit.” Clint suddenly spat out, “Nat come on, we got somewhere to be.” he turned to Steve “If we find anything we’ll let you know.” Steve nodded as the arched clapped him on the shoulder and he left.

Nat turned to him, as if she was going to say something, but she didn’t. She swallowed and gave him a nod, before hurrying after her friend. Steve looked down at the floor, which was once more spinning under his feet. Hydra would be trying to get information out of Katie that she simply didn’t have. And the thought of what they would be doing… one more he felt the bile rise in his stomach and he turned, rushing from the room and made it down the corridor to the rest rooms. He pushed open the door of a cubicle, and threw the contents of his stomach up before slumping to the floor, his knees tucked to his chest, and he let out a loud cry of frustration, anger, his chest constricting around him as the tears began to fall.

*****

Natasha and Clint’s re-con turned up something interesting.

“Nothing at Jones’ place, it looks like it hasn’t been lived in for months, however, when we spoke to the Deputy CEO who’s running the gaff in Hall’s absence, he recognised the guy posing as Hall.” Clint looked at him “Peter Jackson their head of IT. Ran his face through the system and turns out he’s also known as Gary Jepson, ex SHIELD technician.”

Steve ran his hand over his face, scratching the stubble on his chin as he glanced down at the photo. He hadn’t shaved since God knows when.

“So there’s our connection.” He breathed out and Natasha nodded

“Apparently he got the job a few months ago. Timeline tallies with when HYDRA fell. Apparently he and Mr Hall had a mutual love of American Football, they hit it off, used to go for beers at lunch occasionally”

Tony’s head hurt “I still don’t understand where Ward fits into this?”

“They both worked out of the Fridge.” Natasha said, “At the same time. They must know each other that way.”

“From what Coulson told us, Ward has been rallying round people he knew.” Clint spoke “And, this is all supposition, but if you ask me Jepson probably tried to go legit, melted into the background post SHIELD falling but when he gets a call from his old friend, who tells him they’re not as dead as they could he reaches out. And then when he hears about the potential deal with SIP…”

And then it clicked in Steve’s mind. .

“I don’t think he did hear about it.” He swallowed. “You just said he was their head of IT….” “He could have easily sent those emails from Hall’s account.” Tony gave a groan. “It was all a set up from the start.”

*****

It was the week before Christmas. He’d been home from university for 2 weeks and his Dad was already pissing him off. Tonight, both parents were out and Tony was babysitting. He should be out himself, he knew that, Rhodey had invited him to a party, but when Katie had turned those green eyes on him and told him she didn’t want the babysitter she wanted him to stay and ‘hang’ with her (yes, he was especially proud he’d taught his 5 year old sister the word hang) just like he used to before he went away, he’d melted and told his parents to cancel the sitter.

They’d played a board game- Snakes and Ladders. She won the tie breaker (even though he could have beaten her). They’d then watched The Snowman (well, it was nearly Christmas), Tony doing his best Choir boy impression to make her giggle, they’d had hot chocolate and marshmallows with a candy cane stuck out of the top (yes, he knew she wasn’t allowed it after 6pm but like he gave a shit) he’d then done the whole bedtime routine of supervising whilst she brushed her teeth, but she shoved him out of the room when she needed to pee. Then he’d read her a story, tucked her in well over an hour and a half after she was supposed to be in bed, and was now relaxing with a stolen glass of his dad’s scotch (cheers Dad) in front of Die Hard. He was about halfway through the film when he heard a small sniff in the hall and she padded into the living room clutching her Winnie the Pooh teddy.

“What are you doing out of bed?” Tony looked at his sister “I already let you stay up way later than Mom said you could!”

“Bad dream” she sobbed. With a little sigh, he opened his arms and she clambered onto his lap. “There’s a monster under my bed.”

“Nah, I killed it last week, remember?”

“It’s a new one.” She shook her head, looking at him.

“That so…right…” He stood up.“This calls for the Monster Killer…”

AKA the Vacuum.

Grabbing it, he marched up the stairs and plugged it in. Once it was on he dived under the bed “Get here you son of a…arrrgh…” He made a big deal of thumping the floor and yelling. Eventually he stilled and emerged, turning it off.

“Got it!”

Katie smiled and her hands went up in the air in celebration “My hero, Tones!” before she wrapped her small arms around his neck and he hugged her back.

“I’ll always protect you, Kiddo, what are big brothers for?” "Tony?” His entire body jumped as he looked up and realised it was Pepper. He shifted slightly and let out a small breath. ”Yeah?”

"It’s late.” She told him simply, but no unkindly. "Come back to bed.”

He shook his head and looked back down at the laptop on his knee.

“You have to get some sleep.” she sighed, crossing the room before she dropped onto the dark leather sofa besides him “I know it’s hard right now, but – “ "Hard?” he interrupted with a scoff, “Hard? Great description.”

Pepper ignored his jibe and sighed “You haven’t slept in days. We can’t take a step back to where we were after New York. You need to sleep.“

“I need to keep up with SIP.” he said, shaking his head. “She’s got so many potential authors and projects going…I mean, I can’t let her company crash…what do I tell them all anyway? What do I tell her work force?” “I had an email sent out from HR yesterday.” Pepper said

“Saying what?” Tony rounded on her.

“That she was on extended leave for the foreseeable.” Pepper said “In the meantime, they’re all reporting into Jenny Jones.” “Who the fuck is Jenny Jones?” Tony looked at her. Pepper took a deep breath.

“She’s the General Manager.” Pepper said “Katie hired her last week.”

He looked at Pepper before the tears sprung into his eyes “the foreseeable…” “I’m sorry.” Pepper says, “I didn’t know what to say.”

"The foreseeable, until they realise she doesn’t know anything…and they kill her too.” “You don’t know that,” Pepper said, and her voice for the first time trembled.

Tony looked at her for a moment, before he broke.

*****

The days bled into weeks. And nothing. They had identified every goddamned HYDRA agent on that CCTV footage now, but they had still found nothing. When Sam had arrived they’d gone back and re-raided every fucking Hydra base they could think of. Nothing. They were stabbing in the dark, and with every day that passed they knew the chances of them finding Katie were getting thinner and thinner.

Steve had a headache. A bad one. One that felt like it was going to split his head in two. He pressed the heel of his palm to the space between his eyes in a desperate attempt to quell the pain.

“Shit, steady on Cap…”

Steve looked up and stopped before he walked straight into Tony.

“You okay?” Tony asked.

“No.” Steve bit back, before he sighed “Sorry, headache…” He looked at his fiancé’s brother, the worry evident in Tony’s face as well. In fact, it seemed the pair of them now sported that expression constantly, and had done since Katie had gone missing just over 3 weeks ago.

“I thought you were going to get some sleep” Tony said as his eyes scanned down Steve’s body, taking in the fact he was in the same jeans and T-shirt he had been at their meeting last night. Another useless meeting.

He lets out a long breath. “Couldn’t.”

“Me neither.” Tony shook his head, shrugging “Kinda hard… “

“I know.” Steve nodded, looking at Tony.

"I just…I just keep thinking,” Tony swallowed. “I keep thinking about… how I could’ve avoided this. How I should have spotted it was a trap, how I couldn’t stop them taking her…” “This isn’t your fault Tony.” Steve shook his head, thankful that he could now say this honestly. At first he had been angry, angry that the man hadn’t been quicker or able to protect his sister, but that anger had fast dissipated. Without the Iron Man suit, Tony wasn’t a trained fighter. He was physically fit, yes, but not everyone had super serum coursing through their veins. The man was as broken as he was at her being gone, his sister, daughter even, gone, without a trace.

"I miss her,” Tony said, his soft words still cut harshly into the surrounding quiet. “I just… miss her.”

Steve dropped his gaze. He missed her, God did he miss her. They’d only been engaged, for what? Coming up three months when she was taken and were still in that excited phase of it. They hadn’t gotten down to any planning of any sorts, but that hadn’t stopped their late night, post love making discussions about it. Katie gently teasing him and stating all the things she was going to get, like doves, and fire eaters…utter bullshit of course, because she had no desire for any of that showy crap.

He missed her so much it hurt. Her laugh, her smile, the way she looked at him, her bantering with everyone in the common room, the way he would walk into a room where she was speaking with Natasha and the pair of them looked at him and broke into giggles making him paranoid, the way she kissed him, the way she felt, her hands running through his hair.

Tony cleared his throat harshly and Steve looked at him. “Me too Tony, me too.”

**** Chapter 20

**Original Posting**

#stark spangled banner #steve rogers #Katie Stark #steve rogers x ofc #steve rogers x original female character #steve rogers fanfiction #mcu #mcu fanfic #captain america #chris evans #chris evans characters

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animatedminds · 3 years

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Star Wars: Visions - Episode 9: Akakiri

And here we make it to the end of the set: the last episode of Star Wars: Visions. It’s been a wonderful ride, and a fine addition to the recent influx of great Star Wars content: really making me itch for more. But all things must be released in The Force in time - which is to say, all things must come to an end, so we reach that finale together, with...

Episode 9: Akakiri Developed By: Science SARU Directed By: Eunyoung Choi This film makes for a fine bookend with The Duel. Like the Duel, the plot of this one is somber and straightforward. And like The Duel, the like entire story is a slow build up to a striking conclusion... this time, due to a terrible twist.

The plot of this one regards a Jedi in an indeterminate time period - perhaps best presumed as during the Sith Wars - returning to his home planet in order to aid the princess of his land, who seeks to reclaim her throne after her aunt joined the Sith and murdered her way into power. The short is mostly a small scale, tightly focused set of traveling scenes as they approach the castle: just the two of them, along with two more comedic but loyal traveling companions. The two muse over their lots in life, reaffirm their resolve, and deal with their feelings for one another, all before the final battle... in which things do not go quite as one might expect.

This, like The Twins, comes across as an abstraction of a story we all know, but unlike The Twins rather than a referential cavalcade this film proceeds like a retelling: a unexpected story that descends tragically into something familiar. I won’t go into all the details of what that story is, but let us just say that it seems no accident that over the course of the story the princess slowly comes to physically resemble the traits of a certain Padme Amidala, and the Jedi a certain Anakin Skywalker.

Like The Duel, this short is another where the straightforward nature of the plot means there isn’t much to say about - at least if is not going too deeply into the spoilers. Visually, this one is stylized towards action: simpler character designs which move with an increased fluidity. Another one that puts a lot of design into its settings and backgrounds: the locations go from rural to increasingly urbanized over the course of the short, with the final locales being rigid, cold and imposing. Thematically, this transition works well for the destinies the characters increasingly wrangle with, a visual progression of peace falling to oppression.

For this review’s obligatory digression, we both start and finish with an awesome fight with a female Sith, something that’s woefully underdone in Star Wars proper. The fight itself was very surprising: there’s a significant size advantage, and I’m always used to bigger opponents in anime being portrayed as less competent than smaller. Size is typically an indicator of brutishness rather than strength in Eastern storytelling, but the short plays with this: our antagonist is not only larger in strength in stature, but larger in control - smarter, and more cunning than the heroes are wholly prepared for. And so it all leads up to the darkest hour: the moment where heroes are made or broken by their decisions. And the decision made may surprise you - or may not, depending on your genre savvy. Though it had the slight misfortune to follow the short I believe to be the best of the bunch - or at least close to the best of the bunch - it is a very good short to end the set on, a similar feel and experience to start and to finish. And so we conclude with the final look at canon potential. None of these shorts have been canon. We all know this, but we all love them regardless. However, in a series like Star Wars, becoming incorporated - or even simply followed up on - is a matter of support: if some of these shorts get enough pull behind them from the audience, you can bet that the studio will at least consider doing more with those particular characters. But it also depends on whether the short fits into the setting - or what the studio wants to do with the setting - as well.

And does this Akakiri fit? I’d give it Good Chances. Not great chances, but decent ones. As I mentioned before in an earlier one of these, Lucasfilm seems fairly hesitant to canonically depict the earliest days of the Republic and the Sith Wars: which is my presumption for why they have been evasive and frankly less than positive about whether upcoming KOTOR remake will be canon. This short taking place in a time where the Sith are a large enough organization that individual defecting to them is a real possibility, there are few other eras where it can fit. But also, the nature of this short as a more overt - if only partial - retelling of a familiar story does give it a bit less of an identity of its own. However, despite that, the characters, the setting and the concept still work very well within the framework of Star Wars: and if they did choose to do so, it wouldn’t take much work at all to give this concept its very own significant niche. And that, in the end, is that. Nine episodes, nine different anime from a slew of different studios. All with their own unique takes on a franchise that’s loved around the world. Would I like to see more of this? You bet: more of certain specific ideas we’ve seen here, and perhaps another season of this with nine more shorts and another entirely new slew of developers

This has been Star Wars: Visions, with an Animated Mind for an Animated Time. May the force be with you: it’s a good time to be a Star Wars fan, so embrace it. Don’t let the hate get you down, and look forward to more Visions like this.

#Star Wars: Visions #Akakiri #Science SARU #Eunyoung Choi #Tsubaki #Misa #Senshu #Kamahachi #Masago #non canon #good episode #good chances #anime #sci fi anime #star wars anime #disney+#visions was a phenomenal series #here's to a second set someday #Animated Minds for Animated Times

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forevercloudnine · 3 years

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batman forever riddlebat ship meme

(This one was inevitable. God, do I love this movie. @heroes-etc gave me questions from this ship meme.)

2. Who is the most insecure and what makes them feel better?

The obvious answer here is Edward because he is... clearly and pathologically insecure in his identity and requiring outside approval. You could argue he gets over this once he adopts his flamboyant supervillain identity, but as soon as he steps out of it to be Edward Nygma again he’s as self-conscious as ever. On some level his Bruce cosplay at the Nygmatech party is probably supposed to be a dig at his former idol, but it’s pretty transparent that he’s paranoid about not measuring up, especially once Bruce actually walks in.

As for what makes him feel better, two obvious high points of his self-esteem right off the bat (lol) are when Bruce is giving him positive attention in his intro scene, and directly afterwards when he’s murdering his boss for ragging on him.

Of course, neither external validation or murder is, like, a permanent solution to insecurity. Obviously. If they ever got together Bruce would probably make him go to therapy, which would be incredibly hypocritical because, as Dr. Meridian points out in this movie, that’s not exactly something Bruce is doing. Although in Bruce’s defense, if you count the novelizations as canon for this continuity, the psychiatrist Alfred hired for him as a child basically wrote him off as a lost cause that was going to inevitably self-destruct at some point in adulthood. So I can see why he’d think therapy isn’t for him.

"Young Bruce may seem quite the stalwart, but there’s still a child beneath that veneer of calm acceptance [...] The day will come when that veneer crumbles, and the boy reacts to the memory of his ordeal. Such matters may be postponed, but not indefinitely. And the longer this one is delayed, the greater the damage will be to his psyche.”

“Still,” Alfred pressed. “How do you think this will all come out? Off the record, if you prefer.”

Another pause. “I am not terribly optimistic,” the stout man admitted. “But I assure you, I will do my best.”

Alternatively, Bruce just lets Edward borrow his clothes and calls it a day. It’s less time consuming than therapy and both the movie and novelization demonstrate how into that Edward is.

He was murmuring to himself, “We’ll probably be dining at Wayne Manor together.” He envisioned Bruce sitting across from him, and began to launch into a narrative [...] “Yes. Yes. A Party in my honor? I should have rented a tuxedo. What?” he couldn’t believe it, “One of yours, Bruce?” He gave it a moment’s thought and then shrugged. “Why not? We are the same size.”

3. Who is the most romantic?

Uh, not Bruce! Batman Forever is the most thoughtfully romantic he gets in the entire series, and even here his only two dates ideas are “whatever Gotham social event my secretary tells me I need a date for” and “coming on to my date in my alternate identity to see if she loves me enough not to cheat on me with Batman.” Also, he vacillates between staunchly refusing to do any flirting at all and dishing out the least romantic pick-up lines possible.

You say “bad writing,” I say “totally in character for a hot rich guy who knows that this is as hard as he has to try to get into someone’s pants.” Bruce might love his partner with the intensity of a thousand dying suns, but he’s still sending Alfred to buy all their Valentine’s Day presents. His idea of a romantic evening for two is finally trusting someone enough to tell them his secret identity. If he’s done that already, or they already figured it out, then his playbook is over. That’s clearly the only romantic fantasy he’s ever allowed himself.

(I was going to say he does this once every movie, but he actually never does this in Batman & Robin specifically because he doesn’t actually care about Julie Madison. She proposes to him and he gets her name wrong while shooting her down. Add that to the “Bruce Wayne isn’t romantic” box.)

The ridiculous amount of magazine cut-outs populating Edward’s apartment indicates that he probably has a very vibrant and extensive set of fantasies involving Bruce, which is hinted at a couple times in the novelization.

Edward would certainly know him when he saw him. He’d spent enough time anticipating the moment, after all [...] Finally he was going to be meeting Bruce Wayne face-to-face, and he had every moment of the encounter scripted [...] He’d rehearsed it to perfection in his mind for weeks upon months.

In the grand scheme of things... in the fabulous, sweeping, intertwining destinies of Bruce Wayne and Edward Nygma, such a slip would not even rate a footnote.

He becomes suddenly and painfully aware that if Bruce Wayne walked away without Edward Nygma by his side, then that would be it. It would be finished. All these weeks, months... indeed, a lifetime of planning... and it was crumbling under him just like that.

Of course, that doesn’t necessarily mean his fantasies are all romantic in the traditional sense of the word. This is a man who was charmed by Harvey holding a charity circus hostage with some kind of graffitied missile warhead. Tonally, there’s not even that much of a difference between his crush collages and his riddle death threats.

What’s weirder, using a magazine cutout of someone you hate to make a pop-up card of their face, or using a magazine cutout of someone you love to replace the anatomically correct heart in the cardiovascular system diagram you keep in your apartment/arcade/makeshift laboratory? Probably the former, since it was made with the express purpose of Bruce actually seeing it. Although presumably Edward was planning on taking Bruce to his apartment at some point? And in the novelization, he actually drags Bruce into his cubicle to look at his Wayne Shrine.

He grabbed Bruce’s arms and shouted “No, don’t leave me! I need you!” [...] Bruce was thunderstruck as he was pulled partway into Edward’s office... and then he caught sight of the shrine.

Edwards’s head bobbed eagerly. Now, finally, Bruce would understand the depth of Nygma’s devotion to his idol. He would see how important he was to Nygma.

Notably, the only thing that upsets Bruce about the fact that one of his employees has a serial killer wall dedicated to him at their work station (@heroes-etc: realistically.... IS this the first time this has happened? i doubt it.) is the fact that the shrine includes a picture of him taken directly after his parents’ death, which is obviously a huge trigger for Bruce’s PTSD.

Wayne’s gaze zeroed in on the picture of himself as a young man.

The eyes of Wayne the elder locked with Wayne the younger, and when he slowly turned his scrutiny back to Edward Nygma, Edward could feel the temperature in the cubicle drop to subzero.

Later, once Bruce isn’t being actively reminded of the most traumatizing day of his life, he reflects that he could probably relate to Edward’s specific brand of crazy, and hopes that it’s not too late to try again (it is).

He paused momentarily at Edward Nygma’s cubicle, thinking about the intensity he’d seen in the man’s eyes the other day. Nygma’s ideas might have been a bit odd, but that sort of passion—if properly channeled—could accomplish miracles. That was something Bruce Wayne certainly knew better than anyone else. Perhaps after this fiasco was the time to take Nygma aside under less-pressured circumstances. Start again...

With any other character, I would call bull on their being this unphased by someone being obsessed enough with them to build a stalker shrine, but, like. It’s Batman. He probably has a stalker shrine to Michelle Pfeiffer Catwoman in his cave somewhere. When they start dating, Edward mails the weirdest magazine cutout valentines to his office on the regular, and every time Bruce has to assure his staff that it’s not a ransom letter and it’s just “his boyfriend being romantic.”

9. What is the most embarrassing thing they have done in front of each other?

I mean, by most people’s standards, any one of the things that Edward does in front of Bruce could easily be the most embarrassing thing to happen to them in their lifetime. But for the most part, Edward seems blissfully free of that kind of self-consciousness. He accidentally introduces himself to Bruce as “[extended moaning sound] Bruce Wayne” and shakes it off without even registering his mistake. Even when he feels like Bruce has rejected him and his project, his emotional state is more shocked, saddened, and angry than it is ashamed. He does apologize to Bruce, during the scene where they first meet, for holding on to his hand too long during their handshake. And by “handshake” I mean that Bruce extends his hand to be shaken, and Edward just grabs on and holds it without any motion whatsoever for the entire first half of their conversation. Which might be the only time he ever apologizes in the entire movie. So I’ll say that was his moment of embarrassment.

Bruce only really embarrasses himself in front of Alfred, but Edward does manage to trick Bruce into getting scanned by his mind reading device at the Nygmatech party. Being tricked in general would be pretty awkward for Bruce, since this movie goes out of its way to show the audience how SMART and CLEVER and KNOWLEDGEABLE ABOUT BRAINWAVES Bruce is at every opportunity. But being tricked into getting your mind read is about a million times more embarrassing than just running into a wall like some kind of Looney Tune. Obviously having access to Bruce’s mind allows Edward to figure out that his former boss/current obsessee is Batman, but also it’s just got to be super weird in there. Bruce is a bizarre man.

12. What first changes when it starts getting serious?

Whether he’s idolizing Bruce or plotting his destruction, Edward is still seeing the subject of his lifelong obsession as a larger than life exaggeration of the real man. Some of that pedestal would probably survive into the beginning of a romantic relationship, but by the time they got serious Edward would have had to recognize that Bruce has both positive and negative traits. He would also have had to grapple with the fact that the man he once assumed would make everything in his life better is a lot of work to be around, especially in this movie’s continuity where the trauma of his family’s death and his guilt over allowing enemies like Joker to die are genuinely affecting Bruce’s day-to-day functionality.

(A lot of things, Chase.)

Edward’s introduction scene demonstrates that he doesn’t see Bruce as having these kinds of problems. His Escapism Wish Fulfillment Device TM is clearly a very personal project for him, since he, you know. Is kind of already living in a Bruce-centric fantasy world.

When he’s pitching it to Bruce, however, he states that he doesn’t think someone like Bruce would ever need to escape reality (which could just be ingratiating flattery, but he barely seems aware of what he’s saying at the time because he’s too busy staring with his mouth open at Bruce putting on glasses).

(Side note: an interjection from @heroes-etc

Anyway, moving on.)

Obviously we know he’s wrong, since Bruce escapes his reality every night by dressing up like a bat and scaring people. Normally that’s just subtext (or me being cynical and creating subtext), but Batman Forever introduced a hot psychiatrist who is constantly poking at Batman for being a power fantasy created by a traumatized mind to cope with intense feelings of helplessness in childhood.

The novelization makes it clear that it’s not the illusion of perfection that Edward is attracted to, however. The picture of Bruce in Crime Alley is what kickstarts Edward’s obsession, not because Bruce seemed flawless but because he seemed to be going through similar pain as Edward (whatever Edward’s pain even IS in this continuity). So I think recognizing Bruce’s issues would be less of a dealbreaker and more of a point of connection, were they to get serious.

He saw, there in Bruce Wayne’s face, an intensity that mirrored his own. An anger, a frustration at the hand that fate had dealt him. There were no tears on Bruce’s face. Instead there was a smoldering intelligence that Edward intuitively sensed was on par with his own.

There was something in Bruce’s eyes, something in that gaze. There was Bruce, in a moment of raw emotion, his parents just having been cruelly taken from him. And there was no self-pity. Just cold, hard anger.

[...] Ed still had the newspaper with him when he was walking home from school. Not that he needed it to read; the contents were safely locked away in his skull, thanks to his photographic memory. But he wanted to clip out the articles and pictures about Bruce Wayne. He found the young man fascinating, as if he had discovered a soulmate of sorts.

For Bruce, on the other hand, getting serious presumably just means attempting to include Edward more and more in the found family he builds in the latter half of the 90’s Batman movies. Alfred approving a love interest is not quite as tantamount in this continuity as it is sometimes (Micheal Gough Alfred is pretty laid back), but Bruce is still spending all of his non-Batman, non-socialite time with his butler. So if Edward wants to hang out with Bruce, he has to either get on Alfred’s good side or prepare for a lot of “romantic quality time” where his boyfriend’s dad is glaring at him from the background.

Dick is less important to get on the good side of, since he and Bruce argue all the time in these movies (apparently one of the proposed scripts for Batman & Robin was Bruce kicking Dick out of the house and making him go to college, where Dick would cope with his dad-related anger by bullying his psychology professor Dr. Crane into becoming a supervillain. I personally feel like I deserved to see that Scarecrow origin). So if Dick doesn’t like Bruce’s new boyfriend, it’s just one more thing for them to be catty to each other about.

Alfred’s niece Barbara Wilson on the other hand (who is adorable as a fusion of Barbara Gordon and Julia Pennyworth, do not @ me) would be absolutely vital for Edward to win over, because her opinion could easily either make or break his standing with her uncle. Also Bruce decided to adopt her within five minutes of meeting her, so he’s obviously fond.

19. Where do they go on their first date?

Edward’s fantasy sequence in the novelization makes it obvious enough that he would really, really like to have dinner at Wayne Manor. Hanging out at someone’s house isn’t really a traditional first date, especially if one of you is a billionaire who could have taken you literally anywhere, but clearly none of that matters to Bruce, because that’s exactly the first date he invites Vicki Vale on in Batman (1989).

It’s pretty painfully awkward (“You want to know the truth? I don’t think I’ve ever been in this room before”) until Bruce gives up on the formality and takes her down to eat the rest of their courses with Alfred in the kitchen.

I feel like his first date with Edward could probably go the same way, with a few major differences. One, Edward would have been super enthused about eating in the fancy dining hall, and Bruce would have only suggested finishing their meal in the kitchen because Edward clearly wanted to see As Much Of The Manor As Possible. Two, when Alfred offers to stop embarrassing Bruce and leave them alone for the end of their date, Edward would have insisted he stay and break out the baby albums. You cannot convince me that Alfred is not a scrapbooker. Actually, does what Edward’s doing count as scrapbooking? Maybe they could compare notes.

#riddlebat #batman forever #edward nygma #riddler #bruce wayne #batman #ship meme #i do not actually recommend reading the novelization because it did chase so dirty i still seethe about it sometimes #but it did make edward pretty fucking gay #now the batman & robin novelization i recommend wholeheartedly #because for some reason bruce has a huge crush on mr. freeze #like literally bruce stalked him for a while in his 20's #and his internal narration is constantly monologueing about how handsome victor is #truly george clooney batman is canon gay

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