#tl;dr yes i still want to write part 2 - no it won’t be happening any time soon

[ahgaseda]

Can I say something real quick? I have discussed the subject of Got7 renewing with JYPE and it is no secret I despise JYP the man, but also the company. I don’t want to speculate, but I wanna bring up some facts that I’ve seen a lot of discourse about mostly on twitter.

Full disclaimer I am not trying to start anything with this. I just wanna put some of yall at ease because I see baby birds getting worked up over some of these issues. I love my ahgafam always.

Yes, Got7′s contracts expire next year. There is a strong chance that they already conducted negotiations this year (all of the members’ parents were spotted in Korea and at JYPE in January) and the final decisions will not be revealed until the actual expiration month. This is due to how the announcement will heavily influence stocks.

Also, this argument that JYP is no longer CEO and is not to blame for Got7′s mistreatment is incorrect. He is still the largest shareholder of JYPE. He is on the creative board. He still directly manipulates Got7′s activities. He constantly meddles in their music. Keep in mind the members actively fought for Page to be the title track of Spinning Top and lost because JYP pulled rank. Don’t think for a second he can’t do the exact same thing for business decisions. Division two didn’t just wake up one morning and decide to poorly manage Got7. They got their instructions from the top.

Jackson stating he wants to move to Beijing next year does not mean he’s leaving Got7 or JYPE. It means he lives in hotels every time he promotes in China and maybe just maybe he wants to have a permanent residence while promoting there. He wouldn’t just drop a bombshell like that if it implied something more serious. He has more tact than that.

JYPE not renewing a contract in Japan for Got7 is not suspicious. Got7 can still go on tour in Japan. They just won’t have anymore Japanese releases. The smart move is for Got7 to work more into the Chinese market, considering how well Jackson and Mark do there. Or to push for more activities in the west. We’ve seen groups signing with American labels for promotions here.

JYPE renewing the Got7 trademark through 2024 is not the end of the world. If Got7 does not renew their contracts next year they can still promote as a group with new material. We all know Jaebum has a whole hard drive of rejected bops. Not to mention Yugyeom and Youngjae actively write songs with the group in mind. All that music they haven’t released would not fall under the trademark and would be completely owned by Got7 however they choose to rebrand themselves. Also the members would continue getting royalties for songs they produced while under JYPE.

Everyone likes to shit on Got7 for not being popular in South Korea, but make no mistake it is known how much money they bring in internationally. Got7 would not get blacklisted for leaving JYPE. They could very easily get snatched up by a smaller label that knows their worth. The more likely scenario is that they make their own label together.

This next part is my opinion based on what I’ve gathered, but it’s still an opinion so keep scrolling if you don’t wanna read it.

All this being said, I don’t want them to renew with JYP and I honest to god don’t think that they will. Go on Youtube and look at the videos of Got7 shading JYP and then the video of JYPE mistreating them. It’s also no secret how well artists have thrived after leaving that shit hole. Just look at Sunmi. The first rule of management is to keep your employees happy or they will leave.

Jaebum is not happy. He has made that abundantly clear. He is not given any artistic freedom though he has more than proven he has the ability to make great music. I personally think JYP is trying to stagnate Got7′s growth while also spiting Jaebum, because Jaebum does not willingly submit to JYP and his massive ego. The way JYP openly ridiculed them on Knowing Bros and his behavior toward Jaebum on Hyena on the Keyboard was very telling.

Mark is not happy. JYP has time and time again made it impossible for him to go home and see his family despite other members given the availability to go home. Mark is doing quite well in China, though JYPE keeps his activities to a minimum. He needs more freedom to promote there. We also know the infamous Papa Tuan tweet that eluded to Mark thinking carefully of what to do when it was time to renew his contract.

Jackson is not happy. Team Wang has thrived and Jackson has built it from the ground up, and despite JYP having zero aid or input still gets a huge chunk of Team Wang’s earnings. As hard as Jackson works I know he does not like having to cut a check to a company doing nothing for him and his employees. Also comparing clips of Jackson with JYP to now, you can see they no longer have the friendly relationship they once had.

Jinyoung is not happy. JYPE is closing their actor’s division. We all know Jinyoung is passionate about acting. It has always taken a back seat to his commitment to Got7, but it is still something he very much wants to pursue. He also enjoys making music so it doesn’t seem he wants to entirely abandon idol life for actor life. I won’t even get into how much shade Jinyoung throws at JYP. He’s not exactly shy about it.

Youngjae is not happy. Got7 has been debuted for six years and Youngjae is just now getting solo activities. A radio gig and soundtrack songs are not enough. He should have definitely had a solo album by now. Given what little activities JYPE has gotten for him, he’s had plenty of time to not only put an album together but also promote it. There’s simply no excuse. JYPE has completely dropped the ball in giving Youngjae activities.

Bambam is not happy. Of the other members Bambam has gotten the best deal thus far. He’s been able to thrive in Thailand and we know Thai ahgases carry this fandom on their backs. But still he apologizes to us. He tells us he’s sorry and how scared he is that Got7 will disappoint us. He apologizes for short promotions and the poor job division 2 does. He knows what’s going on and he always acknowledges how hard we work and how frustrated we are.

Yugyeom is not happy. Resorting to his soundcloud and constantly having songs rejected for albums. Not to mention his limited promotions. He killed on Hit the Stage. Also most importantly with the recent incident of sasaengs trying to call him while he was on vlive. Ahgases have reported sasaengs and antis and JYP has done absolutely nothing to protect the boys. They don’t even release a statement.

My suspicions are that JYPE is milking every drop out of Got7 with minimal promotion as they have done for years. From a business point of view, Got7 churns out maximum income for very little effort. In addition to that, I have always thought that JYP mistreats them to a) stagnate their growth, b) spite Jaebum and the other boys that don’t fall in line, and c) because he’s a worthless turd that gets his kicks ridiculing underage girls for their weight.

I recently had a discussion with my friend who is a business major and she said something interesting. The big question was why does JYP mistreat Got7 when they are their biggest money makers? She said that’s exactly it. They know Got7 is leaving. Got7 has grown beyond their control. Got7 heavily influences investor confidence. They are trying to undermine Got7, to slack their popularity so that Got7 does not have such an influential hold on the company and its business interests. In a way they are trying to lessen the blow when it comes next year.

The fact that Dye promotions were bad, similar to YCMN, implies that Got7 did not renew if they did so already. If they had chosen to renew you can guarantee it was with the stipulation they would receive better support and promotion. JYPE in good faith would promote them better. Now if this next comeback supposedly happening in September has great promotions then I would change my mind. But I don’t think it’s likely. I know ahgases are hopeful that JYP will give Got7 their own sub-label if they renew but I don’t think his ego can handle that. He just has to have his hands in their music, getting a slice of that money.

In conclusion, I think it’s noble for ahgases to be campaigning so heavily for better treatment for Got7 but it’s a lost cause. There is absolutely no doubt that JYPE knows what’s up. They know if Got7 is staying or going, whether it’s already been renegotiated or not. It’s not like they sit in an office on contract expiration day and wait for the big decision. It’s like any other business. They make sure they know so they can prepare.

tl;dr: Got7 and JYPE already know if they are renewing their contracts or not. By the way Got7 has vocalized their disdain and how JYPE continues to mismanage their activities, it is likely Got7 are not renewing their contracts.

#got7 #a rant #wow i didnt cuss that much #ugh i invoke every ahga prayer that they dont renew

[thevoilinauttheory]

Okay but for the "Romance and friendship ship asks" - petition for you to just answer all of them, LiveJournal interview meme style, lol. (I'll do it too if you will!)

(( Okay, but first I gotta start with... I still don’t know wtf LiveJournal is. I, uh. I’m not an internet-savvy person, unfortunately (I’m *still* trying to figure out what xkit is and why it’s so important to tumblr, so I usually just smile and nod when it’s brought up lol). I can’t even figure out how to work twitter or facebook. The fact that I learned how to tumblr is a miracle.

And next: A lot of these questions are really heavily dependent on the situation I’m in, unfortunately! So some may not have very clear answers. I’m going to put this ENTIRE thing under the cut - for several reasons. One, it’s long. And two, there’s some sensitive material that’s either triggering [allusions to sexual assault and manipulative behavior ], or NSFW. 

A huge thanks to @renofmanyalts, @spotofmummery, @lukawarrioroflight, and @cadrenebula for the asks on this meme! ))

So without further ado - here’s all of the answers to the questions for the “Romance and Friendship Ship Asks”!

1. When you RP a ship do you prefer to make everything be smooth sailing all the time or do you allow conflicts to arise?

I don’t mind either way, so long as my RP partner… y’know, talks with me. I’m reminded of an instance in the past where my RP partner wanted conflict, but took it to a whole other extreme to the point where it physically hurt to RP through. One of my characters, in a serious relationship with theirs; ended up kidnapped, drugged, and assaulted - resulting in the assailant getting pregnant. Now, when my character comes to - only semi-aware of what happened to them; absolutely distraught and hurting once they learned the truth; my partner’s character comes in and berates them for cheating, being unfaithful, not trying hard enough - essentially victim blaming. If I had been warned of this, I would not have agreed to playing this situation out. With adequate warning, however, I’m usually fairly open to anything. So, yes. It really does depend. I would prefer smooth sailing, and with warning, am very okay with conflict in a ship.

2. Do you like to RP smut when you RP a ship?

This one’s doozy lol. The base answer is, I do! I find the smut scenes to be very big character building situations - giving more detailed information on what a character is like in an intimate situation; what quirks they have, and whatnot. Sometimes it’s story building too - and I’m all about that story and character building. BUT. I will not. My IRL spouse is not comfortable with me doing so, and I respect that. So I will not ERP as long as they remain uncomfortable with it.

3. Do you like to plan a ship out or just let it happen?

Usually, all of the ships I have just… happen. Nothing’s quite planned except “what character would interact well with this one” - not with the explicit purpose of shipping (romantically), but more of seeing what kind of interactions can blossom. However, I’m not opposed to planning, if that’s what’s more comfortable with my RP partner.

4. Do you prefer monogamous or poly ships?

I, personally, have no preference. So long as the poly relationship is played out properly (i.e. the people who use being poly as an excuse to cheat/be unfaithful to their partner(s)). I don’t excuse people giving us poly folks a bad name. So I have no preference… but my characters do! Each preference is listed in their profile, whether or not they are monogamous or polyamorous / what their sexual and romantic orientations are. (tbh tho, all of them are negotiable)

5. Are there any characters that you want a ship for?

Ha ha. Yes. Quite a few, actually. (If not all of them, for shipping in a general sense.)

6. Do you like friend-with-benefits ships?

With warning ahead of time, yes. Whether IC or OOC - OOC is preferable, because some of my characters’ personalities make them very easily attached to others. The best example is Danny, with what some of the more recent ask answers show. And I want to make sure that the character is good for the situation. Though I do have a couple characters that would prefer to keep it at the “friends-with-benefits” stage, and if that’s a character or plot I want to play, I would ask my RP partner about it first.

7. Have you ever regretted a ship, romantic or otherwise?

Mmm… I want to say yes. I really do. Even the ones that screwed me over, though, part of me can’t help but cherish them in some strange way. Each one of them has been an experience for me and my character. But. I think… there is one yes in there. ...Maybe a couple, but all of those ships were with the same RP partner. At the time, though, those ships were my lifeblood - upon reflection… they were all pretty yikes. And I’ve got another friend as my witness lol.

8. Do you like to be friends with the people you have ships with?

I have to be friends with the people I ship with. I can do walk up RP with strangers, get to events and all that - but if someone is wanting a romantic ship with me, I need to know them as a person, not as their character. And I need them to know me as a person, too; that I’m not my character(s). Honestly, I prefer to be friends with all of my RP partners anyways! Ship or no! I like learning about people as they are, not just as their character(s) are.

9. What do you look for in a writing partner for ships?

Just… I guess, a decent person? That’s very vague, and that’s because it’s true. I want someone that understands that life gets in the way a lot, and that I might have to pause a thread or two until I can get myself situated. RP does not come before real life, and I want my partners to understand that as much as I do. I will drop threads with people who show toxic behaviors - not without talking to them first, of course, but if it blows up, then I’m done. I can’t put myself in a situation like that again.

10. Do you think romantic ships should be long-term?

Mm. This is another tough one. Which I think coincides a lot with the next question as well. If my partner wants a romantic ship to end, then as long as they talk about it with me, I’m totally fine with it - a day, two, a month, years? I don’t mind as long as I have warning, and things are talked through first. I’ll cover the rest of my thoughts on this in the next question.

11. How do you handle an absent RP partner that you have a ship with?

First, I’d be incredibly worried! I do have some friendships that disappear for a few months, then come back, and I don’t mind those at all. But if I make a new friend, and I don’t know if they’re prone to that, then I’d be worried about their safety! I’ll reach out first, as many times as I need to. I want to make sure that my friend is safe and in a good place. If they respond with “I’m alive, just stuff going on”, the ship won’t be dropped. I won’t drop ships due to absence, not right away - unless otherwise told to by my RP partner (maybe because they know they won’t be around, or they’re quitting the game, etc). If my RP partner is absent for a minimum of three to six months or longer *without* any sort of contact, I will tell them that there will be a pause on our ship and there’s a possibility of the character finding another… but also that if their life allows it, and they’re keen on it, I will pick up the ship again in the future. tl;dr: I want to make sure that my RP partner is in a safe place before I make any comments to dropping a ship.

12. How often do you think people should RP when they have ships together?

As often as it is comfortable for everyone involved. Whether that’s everyday, once a week, or twice a month. I, personally, have no issues with time. If RP isn’t being done, then I’m memeing or asking questions or putting terrible ideas into my RP partners’ heads.

13. Do you RP out all interactions or do you assume some things happen ‘off-screen’ with your ships?

Assumption, always. Even if we don’t play out those interactions, we’ll talk about them. “So it’s likely that [x] has happened during [x] time since [RP session]”. RPing out all interactions would take up a lot of time, and lead to a lot of disappointment - especially if you equate “one day irl = one day in RP”.

14. Is there anyone you know that you want to have an RP ship with (romantic, friendship, hateship, rival, ect.)?

My only answer to this is: yes, absolutely. My only clarification is: all of my wonderful followers - you all have such amazing characters, how could I not want a ship (in the general sense)?

15. What’s the most important thing you’ve learned when it comes to RPing ships?

The most important thing I’ve learned… happens to be two things. 1) Communication is your greatest tool. Not communicating with your RP partner about anything will cause everyone grief. If something makes you uncomfortable, if there’s a thread you want to try, if there’s a thread you want to drop - you need, need, NEED to talk to your RP partner. and 2) Your RP partner is a person, just like you. You cannot expect them to shit out a thread on command; nor can you expect them to write when there’s stress going on in their life. Your RP partner is your friend, and you should treat them as such. If the going is tough, make sure they know that they aren’t pressured into writing, and that you’re there for support. If there’s stress in your life, it’s on you to warn your partner - and trust that they treat you like a person too.

#a response for you: ooc #pls #if you are wanting a ship #pls talk to me

[bloody-wonder]

re: the ask you previously answered about kandreil, do you think — aside from shippers having overly aggressive approaches sometimes —interpreting anything romantic or sexual in the text with Kevin and Neil erases Neil’s demisexuality? I’ve always been unsure of that as I’m not a-spec, and I know that there are a-spec aftg fans who ship kandreil but I’ve never seen a discussion about Neil’s demisexuality specifically regarding it. Not sure I’m wording this right, just curious what you think.

well it’s a good and complicated question!

i’ve been thinking about it for the last couple of days and instead of giving a clear and concise answer i’m going to acesplain demisexuality and canonsplain neil josten in another lengthy post.

so there are two components to this question - 1) whether kevineil interactions are romantic or sexual 2) whether asserting that they are erases neil’s demisexuality.

1) so first of all kevineil is where the aroace dogma “relationships can be intense without being romantic or sexual and interpreting every such relationship as potentially romantic or sexual erases the experiences of many (not only) arospec/aspec people” clashes with the shipping culture dogma “these two characters glanced at each other once or had an ambiguous dialogue or both like bread and are therefore with a 95% probability already in love”. what can i say to people who think neil has romantic or sexual feelings for kevin? should i shout “people can be friends you guys are just brainwashed” at them? that seems very unproductive. this is a debate that can never be won but still i’d like to remark that interpreting kevineil interactions as romantic or sexual has more to do with this acquired urge to interpret all intense interactions as such than with what’s actually going on between the two. (bUt ThEy WeRe CaNoN iN tHe eArLiEr DrAfTs - i don’t know what you’re talking about, i’m talking about the three books that constitute aftg). i on the contrary rejoice in their romance-less dynamic and firmly believe that they wouldn’t be together even if neil weren’t demi. because some people are just friends. if neil weren’t demi it wouldn’t also be considered in any way problematic to ship kandreil, but neil is and some people like you begin to wonder - because now a rare “endangered” sexuality is involved.

2) i personally want to say yes, interpreting neil’s thoughts about kevin and interactions with him as they are presented in the books as sexual erases neil’s demisexuality - the key word being neil’s.

because demisexuality is a spectrum in itself and many aspec people will experience it differently. how strong an emotional bond does a demi need to have with a person in order to feel sexually attracted to them? it can be anything on the range from once in a lifetime soulmate to basically any person they know and like well enough. this lower side of the spectrum is where the line between demi- and allosexuality gets blurred and is probably also the reason why lots of people deny that demisexuality exists, seeing as they also usually get attracted mostly to people they know and like well enough.

anyway i suppose it’s more common for an average demi person to have had one or more of those emotional bonds that result in attraction by certain age even in order to identify as demi. so i imagine a lot of aspec fans who ship neil with foxes other than andrew, project their experience of demisexuality onto him. if you’re someone who identifies as demi, has deep emotional connection with several of your friends and feels attracted to them, you will probably want the very rare specimen of a fictional demi to have experiences similar to your own. if you’re also a kevin fan and are fascinated by the idea of kandreil, then you’re going to ship it without any concern of erasing anything. “neil’s demi and i’m demi so therefore anything i feel or do concerning sexual attraction he must feel and do as well”.

but neil’s version of demisexuality is quite different. based on andreil it really looks like he’s higher on the ace spectrum than that. even when he reaches the point where he’s like yep andrew is totally the person whom i’d let riko torture me for he still isn’t attracted to him sexually and only when andrew explicitly shows that it’s something he’s interested in does neil begin to explore the idea. when he knows he’s attracted to andrew he specifically checks if he’s able to think of his other male teammates in that way and the answer is no. but the most important thing about neil figuring out his sexuality in my opinion is the fact that he never defines himself as someone who “swings” at any person he establishes a profound connection with, but rather as someone who’s attracted only to andrew. (i’m not even sure if neil would use the demi label if he knew about it). he literally says “the only one i’m interested in is you”. so his situation looks much more like “once in a lifetime soulmate” one to me.

so the question is where do you begin to interpret neil’s sexuality? if you begin with the text then you’ll perceive him as someone who’s attracted to nobody at first and then only to andrew. (haha that’s some very wishful thinking on my part - see the shipping dogma above). but if you begin with your preconceived notions about the demi label then you might expect neil to form those special bonds that enable him to feel sexual attraction as often as you like. maybe if an average demi person was in neil’s place they would end up getting attracted to more foxes. but neil isn’t average, he isn’t a stand-in for the entire demi-dom, he’s a very specific person with a specific way of forming connections with people which is why if you want to write him in character i think it’s much more productive to take into account his personality as it’s showcased in the books than to research what demisexuality is or to self-project. so in the end what’s happening here is really not people erasing neil’s demisexuality by shipping him with this or that character but rather them erasing his canon personality by making him do the things he wouldn’t do.

that being said, fanfic is definitely the place for self-projecting and exploring things that aren’t canon. there are multiple ways to write demi neil in kandreil or other ships ranging from rewriting the canon and increasing the amount and quality of neil’s interactions with the new love interest to doing the same in post-canon to writing an au where they all come from different circumstances and nothing matters. the commonality between these types of story is that they all will be about a different version of neil with a different version of demisexuality which is just the way of fandom life and is perfectly normal.

however what i’ve been observing in post-canon kandreil fics is that the absolute majority of them are established relationship which means that their authors and readers think that whatever happens in the books between kevin and neil is enough for neil to form an emotional bond powerful enough to feel attracted to him (provided they at all agree that neil’s demi because if they don’t it’s a different kind of erasure discourse altogether). but that is just not true and totally erases neil’s demisexuality the way he experiences it. but can i really point out this particular facet of his personality being thrown over board when so many other facets get discarded along the way? neil is probably the aftg character whose canon personality gets misunderstood, ignored and rewritten the most. if a neil from some kandreil fic is a sweet peaceful gentle boi then what does it matter to me that he’s already kevin’s bf? it’s not the neil i know from the books. if neil’s canon personality isn’t important or appealing to this fic’s author then it’s only logical that the specific way neil experiences demisexuality won’t be important to them as well.

tl;dr: apart from those fans who don’t think neil’s demi and write him as allo, do kandreil shippers erase neil’s demisexuality? not necessarily. but do they rewrite the way neil experiences sexual attraction to better fit their ship? probably yes.

i want to end this by a disclaimer: like i said, i’m an aroace person talking about demisexuality which isn’t strictly my identity. andreil is very important to me as an ace because it reflects my personal understanding of relationships. of course andreil’s “once in a lifetime” soulmate situation speaks more to me as a person who doesn’t feel any kind of attraction and generally has trouble connecting to people beyond that. i can’t relate to most relationships i see in fiction because they are founded on attraction which is a language i don’t understand, so nora writing andreil in a language i could understand was a pretty big deal to me. consequently i feel very sceptical towards all other ships including kandreil because my views of romance are ace, not even demi. so basically i’m biased too.

#neil josten #demisexuality #kevin day #andrew minyard #all for the game #aftg mine #asks #i don't even want to tell how long i've been writing this monstrosity #is this jumble of words intelligible at all? #idc anymore #gonna go reblog some gifsets now #i earned it #aftg ask

[rhydium]

Info dumbo about the StarFinite story?

aright u asked for it anon GET READY [cracks knuckles] this is gonna be long so obligatory cut in 3, 2........

...1!

so the uh, the au! the story!! w/e yall wanna call it! full disclaimer, i only began working on this whole thing a while ago, but it's totally taken over my fukn brain. like, we're talking big hyperfixation hrs. am i cringe for being this invested in my own content? yes? cool i do not Care >:3€

i should also throw it out there real quick that i am kin w/ infinite, n this is actually one of my two canons (both of which are my own aus lmfao wow). i didn't go into it expecting it to be but sfsfsgdfs here we are ig!! for that reason it's got extra importance to me n this definitely contributes to the euphoria i get from it!! it's a lil odd writing ur own canon,,? but i kinda just go w/ the flow!

the au n, the story that i will start Eventually, revolves around infinite n starline (obvi) n it's honestly just ... the tl;dr is big healing momence n, what's this? uh oh sisters !!! they are falling in love 😳😳😳

uhhhh so infinite is an android, made by eggman. that's like, the most notable canon divergence here! super important context to have. i've got a whole big theory on the possibility of sega originally intending infinite to be an artificial being (which i explored in the works for my Other canon too), stemming from not only the scene in forces wherein infinite comments on sonic's "data", but a line of dialogue from tails in one of the last stages of the game where he Literally Says "so this is where eggman built infinite". that ... i mean. that contrasts w/ episode shadow pretty hard don't it?? would explain why that dlc was so rushed, n the comic too. ANYWAY adsfsfs um that's a seperate ramblepost. yeah!!!

they are also agender n use they/them (primarily) as well as he/him!! so i'll be refering to them w/ those pronouns!

after the war, infinite is taken in by the resistance n, instead of being dismantled, they're basically given a chance to rehabilitate themselves. it's agreed that they won't be reprogrammed, as despite the potential risks, it feels wrong to do so; like a violation of their free will, individuality n thinking. if infinite is to be a good person, it's not gonna be bc other ppl recreated their entire personality, it's gonna be bc it's what they themselves truly want. robot ethics idk man!! u can't tell me that sonic n co wouldn't offer this to infinite if they offered it to metal in IDW,,,, i am Standing By This!!!

it's, yknow, a bit rocky, at first. infinite has to really fight the urge to return to eggman (something they already tried once, before the resistance found them; they were cast out). it's a struggle against what they were built to do, against giving into unhealthy familiarity over facing a, while healthier, unfamiliarity. new faces, a new life, turning their back on their mission n creator, it's like, a lot.

they work for/with the sonic crew, rebuilding the world they tore down as deemed fitting justice, being closely monitored for a bit as a natural precaution. as it becomes apparent infinite truly no longer has any ambition to harm others (they don't have much ambition for anything, really), they're then granted more freedom, n start taking on more important missions!! it at least gives them something to do, keeps them occupied. they have issues with dissociation, unreality, whether they're truly a real person bc, well, android. feeling purposeless, n a lack of worth, especially. a need to prove themselves. heavy stuff. i'll kinda go into that a bit more in a sec. their work grounds them, if only temporarily.

n soooooo... IDW comic stuff happens. metal virus time. starline gets kicked out of the empire.

now, as the comics are ongoing, n as this is already an au, there's gonna be divergence, n i must admit i haven't planned out all that yet. there's a lot i have to consider!! infinite being w the resistance/restoration is a big game changer ... tho i Do believe that they were absent, likely on a far out mission during most of the chaos. eggman doesn't know abt them, nor does starline or anyone else other than the sonic crew; n some civilians that recognise them.

i'm not 100% sure of Exactly when it happens, but i think it's just after bad guys, that infinite is sent to locate n bring in starline. it doesn't prove too difficult. there's a whole, starline realising "oh fuck it's you???", some bickering n, the two don't hit it off right away. they're both kinda like. not mentally stable ddgddgdds,,,

so uh. starline ends up essentially going thru the same sorta shit as infinite. careful watch, rebuilding, all that jazz, making sure he can be trusted. he's like... very very lost, quite like infinite is. the world has kinda calmed down, in the meanwhile.

it's at this point i'm gonna go ahead n drop a bit of a ramble i subjected my friends to a while ago, to articulate the way i see the two, n their dynamic together!! i was considering making this it's own post a while ago!

analysing their characters a bit... let's look at starline. Like. so we have this, in bad guys, which SENT ME tbfh;

i feel like it's the moment that triggers starline onto the path he is rn canonically,,, he's clearly like. rly mad n bitter. the core of this?? he wants his work n his efforts to be acknowledged.

he's big angry. still kind of in denial at this stage. he has himself obsessed w/ the idea of making eggman see him as Worthy, that if he just tries hard enough, that'll happen. he's dependent on eggman's validation, n i mean, it's no surprise; he's followed him a Long Time by the sounds of it.

then in the recent issue, hold the fuck up, bc we got, This;

god. my god it's all comin together now homies. this???? this right here??? it is the CLASSIC "i have to do this to prove i'm strong n powerful n smart n worthy n should be respected please Give Me Acknowledgement" ..... n who else is Like That? can u see where im going w/ this?

i think most ppl are aware of infinite's character being extremely indicative of self worth/esteem issues n the need to prove themself, right?? the extreme adversity, repulsion, perhaps even fear toward the idea of being weak. the compulsion to prove otherwise, to show their strength, to become powerful, to conquer to make a point. their theme exudes this same energy as their behaviour in-game; an aggressive attitude, trying to assert themself, while if u rly listen...? the lyrics are actually really sad in places. it reeks of cover up, although composition wise, a v interesting thing to note is a lot of the more telling lyrics are prominent while some of the affirming ones are in the background. indicative of a desire to have their true feelings be heard but caught in a vicious loop?

okay okay that's yet Another different analysis. AHEM.

not to get deep on main (oh who the hell am i kidding that's the point of this entire thing) but i think starline has issues w/ his worth in a similar way to infinite. they both seem to have this need to Prove something, whether it's to others or themselves, n get caught in a toxic spiral of doing worse n worse things for Some kind of validation or acknowledgement. they'll go to really big lengths chasing that, n both of them ultimately sought validation in the wrong place n wrong way.

this is a big part of my starfinite dynamic,, n so, what happens, as they get closer n open up??? we have them BOTH realising together that they don't have to do fuck all to prove anything to anyone. they don't need to do all this to show they're strong n smart n worth something, not to anyone else OR themselves. they're enough as they are. they bond over that shared feeling that they have to do xyz, to prove themselves, n that desire to just finally be acknowledged n appreciated n help each other thru it. to help each other understand that other ppls approval, or lack thereof, doesn't define them, their strength, intelligence, and worthiness.

i feel like they have an interesting parallel between them in like... the above could be taken as a general analysis, but to go more in depth on this au specifically?? ...

starline followed eggman for presumably a long time n it no doubt left him feeling a heavy and deep regret for all that time wasted n spent on an unhealthy path. infinite kinda teaches him that what matters is what he's doing Now n also reminds him that if none of it happened, starline wouldn't have learnt a lot of the serious skills he has. n while starline still feels bad, he also realises himself that, he likely never would have crossed infinite's path if none of it happened. for that reason, he wouldn't take it back.

infinite has only been recently made, on the other hand. they haven't really existed long, yet, but so far their experiences haven't been very positive n it can be .... discouraging. starline sorta, shows infinite their limited experiences w/ the world are a very tiny fraction of what's out there, n things can absolutely change, yes, including for the better; that's the essence of life, a neverending, constant flow of change.

it's a big tale of moving on n letting go, honestly; made easier as they're doing it together. n as they heal n grow, well... these bitches gay. sfshshdgds like, ig that's putting it p bluntly but!! they start to trust each other, understand each other more. as they get to truly know who the other is, they both start developing The Feelings. they're both pretty oblivious n the reveal is totally unknown so far!! yeah, i know, bummer. i suck. boo. adafsfsds however i can say there will be lots of content in the making!! if that soothes the soul! i've got of ideas i hope to bring to life.

ofc there's still a lot of more specific things i haven't covered here so! if y'all want more juice hmu w/ more focused questions but !! this is the overview n i hope it was a decent read now that gave some uhhh! Cool Insight! yea!!! ✌

#jackal.txt #android infinite au #i need a proper name for this #infinite the jackal #dr starline #starfinite #long post #idw sonic spoilers

[thejudgingtrash]

Now hold up I would personally love to hear a full rant on this supposed adaptation I have never heard of until now. Like, legitimately, I wanna know what you have to say about this cause you seem to be one of the most valid PJO blogs

Uhhh what??? Me one of the most valid PJO blogs??? What kinda crack have you been smoking WHAT afahsgjskdh.

But still thank you 😊🥺🙈

Alright, you wanted a rant. You got a rant. Fuck the positives let’s just straight up jump into my aggression.

WARNING: Massive rant with a lot of swear words. If you can’t handle the heat, feel free to ignore this. I personally haven’t worked in Hollyweird, but I had some behind the scenes stuff here in Europe going on for a short period and also the trusty words of my college professors. So here will be a lot of prediction and speculation involved. Yes, I know that I’m a huge hypocrite for voicing my opinions based on stuff that hasn’t been pushed through in months and that I could be easily proven wrong in a few weeks/months. Still thank you should you actually take the time to read through this tomfuckery.

If things are wrong, please DO correct me!

Links to further reads will be included partially.

TL;DR: Keep your hopes to a low, stop harassing people online and mAnAgE yOuR eXpEcTaTiOnS!!111!!

Okay. First things first:

DISNEY

DOESN’T

GIVE

A

SINGLE

FUCK

ABOUT

YOU

Disney is a fucking multi-billion dollar corporation with many, many, many studios, stations, brands and franchises worldwide. The Percy Jackson franchise is a dime in a dozen. Disney doesn’t give a single fuck about the PJO fandom in general.

Disney doesn’t give a fuck about you 20-something year old with your 9 year old blog discussing which toilet paper brand Percy uses. And Disney also doesn’t give a fuck about you 16 year old, writing the worst fucking Solangelo fanfic I’ve read so far on this hellsite. Like goddamn.

Trust me, they know you are interested. They know they got you hooked. They see the numbers, they see the like/reblog ratio, they see the Twitter engagement. They see you with #disneyadaptpercyjackson. They see the petitions, they see how excited you were for the musical. You don’t get to be a gigantic conglomerate like Disney with playing stupid.

Also to you fuckfarts saying oH nO I wOn’T wAtCh It I dOn’T cArE aBoUt NeW sTuFf. Congrats dipshit. You are STILL alerting followers and people about what’s happening and creating more buzz, giving more awareness and adding to the transaction costs. You really cheated the system, you little edgelord. Again:

You are nothing but a number. You are a fucking walking dollar bill. You are a consumer waiting for a new shiny product to fill the void in your life for 45 minutes weekly or by two hours at some point.

The PJO movies 1. & 2 happened for a reason. Because Fox saw a popular book series á la Harry Potter, Twilight (and The Hunger Games) and wanted a piece of that action. They wanted your fucking money. Them entirely fucking up and ignoring Riordan’s advice is on them of course. But still. The movies happened. (And also saw people saying they were flops. Reception wise: hell yes. They are awful adaptations (not per se awful movies, there’s a difference). But money wise?? They made together over 245 million dollars in profit. Of course, that isn’t today’s Marvel level but it’s still fairly decent. Also don’t forget that the second movie still got greenlit. Interest was still there despite part one. You disliking something doesn’t turn it into a flop)).

Again, Disney doesn’t care about you. THIS is what Disney cares about:

1. MONEY

2. PROFIT

3. ENGAGEMENT

4. TOTAL GROSS

5. CONVERSION RATES

11. …. “Artistry“

So in terms of money, we gotta speak about the on-going woke culture. You know, lgbtqia+ stuff, poc representation and all the good shit we want and need in our life, right?

Well, I got bad news for ya. Disney being money hungry has its massive downsides. Because where is the money? In the east. Well and what happens if we include the woke stuff? Possible censorships (even retroactively! You know Gravity Falls went through that), bans, etc.

So all of you talking about representation and artistic vision and being bold and brave and blablabla… Throw that into the fucking trash. We can probably be glad if we get Grover back as the token black kid and a few other minorities sprinkled here and there. Open gay Nico? Doubt it. Your afro-latino Percy head canon? Definitely keep that but unlikely to be realized. And also, if you think that Annabeth wouldn’t get turned into the blandest whitest “I dOn’T nEeD nO mAn“ radfem, I got some bad news for ya…

The likelihood of everything being dumbed down, toned down with the exception of a few adult jokes or being even partially censored (depending on certain regions) is very, very high.

Also what makes you think we’re even getting close to the Heroes of Olympus and Trials of Apollo saga? I doubt you will see The Seven for a long time unless Riordan really says fuck it and throws his final ace card into Disney’s filthy greedy mouth.

So if Disney doesn’t have the fandom’s interest at heart, what are they interested in? Well… MONEY. Also NEW engagement. They know your funky ass is going to tune in. They know people will pirate the shit (Me waving like a maniac), they all KNOW that. Again, they aren’t stupid.

So: MORE engagement. MORE money. How do we get even more engagement? By luring new people into the fandom. Who is most likely going to get lured into a family friendly show/movie series because let’s not forget that we’re talking about Disney+? The targeted audience of the books. Who is the targeted audience of the books? MIDDLE SCHOOLERS. 11 to 14 year olds. Disney wants those kids’ (well their parents’ hard earned) money. They want to sell products, in that case books + Disney Plus subscriptions + possible merch. There you also have the likely future rating for the fucking show. Sorry to disappoint everyone that was hoping for gritty Game of Thrones filled with 12 year olds (like seriously wtf?).

Now that that’s settled, let’s talk about the outlook on the show/movie and Riordan’s influence that you people clearly overestimate.

How much power or say does Rick Riordan actually have?

ZERO. ABSOLUTELY NONE.

He’s in the worst fucking lose-lose-situation you could imagine.

Disney owns the books and Fox owns the movie rights. Wait. Fox got bought. By whom you ask? DISNEY, what a coincidence! In Rick Riordan’s own words:

Disney has him by his fucking balls and could crush them at any minute. And if you think, that Disney is letting go of that sweet sweet intellectual property you are fucking mistaken. Riordan isn’t a J.K. Rowling who OWNS the Wizarding World. You have no idea what Disney are capable of with massive lobbying that goes so far to influence copyright laws in the States (LINK)

So you can stop harassing him about a fucking Netflix adaptation as well! Or petitions that do nothing but annoy people.

These negotiations take up YEARS to get the simplest stuff done. No need to shit your pants whenever Riordan’s tweeting stuff.

Still: would Disney be fucking mad to do this without him? Absolutely!

Should Disney involve him to prevent a PJO movie 2.0 scenario?

Yes, they definitely should!

But CAN Disney do this without him?

OF COURSE THEY CAN! THEY OWN EVERYTHING.

In Riordan’s own words:

Read carefully what he has written. He doesn’t say he’s going to halter productions, he’s saying HE WON’T BE A PART OF IT. This also makes me curious about WHO approached WHO in the first place (my guess Disney tried to make some amendments because Fox ain’t shit and trying to alienate the author again would be a goddamn stupid move). Disney has the fucking film rights. Of course they can pump out shit without involving him. They could pull a Fantastic Four (the awful 2015 version) just to keep the rights and for the fuck of it.

There are the following possibilities with Riordan’s involvement:

1. Riordan as a producer: Dude’s gotta be loaded. We know that. But backing the production costs many, many, many millions and I don’t know if he’s THAT loaded. Also film producing isn’t his forte.

2. Riordan as a screenplay writer: Now we’re getting closer to something. Yes, many productions these days have authors directly involved which is great! But also can go the other way around (J.K. Rowling and her Grindelwald fiasco. Author’s do NEED to learn when to stop intermeddling with their franchises, just saying) Book writing and screenplay writing are two very DIFFERENT disciplines. You don’t have the liberties of book writing when it comes to film. The screenplay is the guide for the entire production, the visuals, the set design, the whole atmosphere of the product, the very first thing that needs to be done so that directors, designers and lastly the casted actors know what they have to do. Everything has to come to a point in a very short time and there are many, many, many versions of a screenplay before a final raw draft gets handed out. If that isn’t in Riordan’s interest (which I can completely understand) then that’s simply not happening

3. Riordan as a guide: Directors, screenplay writers, etc. sit down with Riordan on a regular basis to show him the written screenplay, which actors they have in mind, the whole vision and he has a mini veto right.

If you ask me, a mix of scenario 2 and 3 is the most likely to be the most successful. That means, that Riordan needs to have a good faithful team, that sticks closely to the source material. That isn’t guaranteed! Again: look at the PJO movies. But of course, we don’t know the internals of these meetings.

So… now the final part. The whole fucking “Animation vs. Live action“ debate. Well, both sides have their pro’s and con’s. And both sides are filled with a bunch of fucking morons. I won’t try to get you to either side.

But to those that want are begging for a live action version with age-appropriate actors I have the following to say:

FUCK

YOU

IN

PARTICULAR!

WHY THE FUCK WOULD YOU WANT CHILDREN TO GO THROUGH THE HELL THAT IS DISNEY AND THE SHADY SHIT GOING ON THERE SO THAT YOU CAN BE ENTERTAINED FOR SOME MERE MINUTES?!

Oh my god…. You people REALLY really want a fourth wave Me Too movement in 15-20 years. Not every Hollyweird kid has a helicopter parent hovering around them on set and many do get abused/robbed by their parents. And the people involved in the production! Of course, animation has still a chance of this happening but the risk is somewhat lower when it just comes to voice acting.

Tbh, I actually wouldn’t mind an aged-up cast again just to prevent this as best as possible. Unfortunately, child actors will always be needed.

I have nothing much to add to this, I’ll just drop a link to an old small post from me about that right here (LINK)

Personally I lean more towards animation but in the big picture I won’t care. (Also the whole animation is for kids and dumbs down the whole narrative for PJO is fucking stupid, boo boo the fool. You being in your late teens/twenties and grown out of the targeted audience is the cause of nature. Animation can be mature or would you show Attack on Titan or South Park to your 8 year old cousin?)

I’ll be just tuning in to see if this is as messy as I’d expect it to be or to be pleasantly surprised.

Also again: this process is a long one. It’s going to be exhausting, depressing, demanding, pushing.

From the meetings now that will take a very long time, to a screenplay, which can take YEARS in finalizing, to hiring staff, location hunting and set design (should they go the live action route), to casting, to costume design, to rehearsing/production, to filming, to dispersing, to editing, to fx, to finishing, to marketing, to publishing, NOTHING IS SET IN STONE! This is a very, very, very, wanky process despite contracts and everything on paper. Let’s not forget, Disney can afford some good lawyers.

And even if everything goes as smoothly as possible. Higher up people could see the final edit of everything with editors having scenes close to the books in an a/b/c/d cut and some producer says NO! I want an c/a/b/d version that again fucks up the dynamics of the books. Or something terrible: everything is shot and done and THEN it get’s postponed. Or even fucking worse: SHELVED to be NEVER RELEASED. Aka Henry Selick’s career after Coraline (Coraline from 2009 is STILL his latest release because of his fucked up Disney contract and them cancelling his shit). Millions of dollars wasted and we won’t get to see ANYTHING. This is all very possible and happens constantly in the film business AND at Disney. This is nothing new.

And there’s nothing we can do about it. No one cares about Riordan, no one cares about the books, no one cares about the fandom.

DISNEY holds the cards. DISNEY gets to decide. Neither Riordan, nor you nor me hold ANY power in this.

So kids… what have we learned today? In conclusion:

Keep your hopes to a low, stop harassing people online and mAnAgE yOuR eXpEcTaTiOnS!!111!!

That’s it. That’s all I wanted to say.

WHEW.

#percy jackson and the olympians #pjo #percy jackson movie #percy jackson #percy jackson adaptation #disney #disney adapt percy jackson #annabeth chase #grover underwood #nico di angelo #rick riordan #riordanverse #my rants

[hmsannlett]

Foe the salty asks:

4. Do you have a NoTP?

25. Would you change the ending of Anna/Hewlett(/Selah)???

4. Anna/Abe is a big nope for me and is probably the ship that irks me the most on the show because there’s so many destructive elements to it, and yet the show just kept pushing it. Their relationship has huge collateral damage for everyone who has the misfortune of getting dragged into it and, imo, does a disservice to both their characters (especially/mainly Anna).

Anna/Simcoe also bothers me, because she could not more clearly be terrified of him, and he uses that against her and doesn’t respect any of the times that she says no to him. It especially strikes a negative chord with me because I’ve been in Anna’s position more than a few times with men that just won’t take a no (although not to the extent that Simcoe took it to), so I truly empathize with the powerlessness that she feels. It’s the worst position to be in, and to feel completely alone like she does makes the situation all the more unsettling.

Both ships are unhealthy in their own ways, imo. Fortunately, neither ship is/has been very popular in the fandom.

25. Oh, goodness. So many thoughts on this. I’ll try to not write a whole thesis here lol and just distill it down to my main thoughts.

In short, yes, I would love a different ending. I will preface all of this, though, by saying that I’d like married couples to be happy with each other and remain together as much as anyone. I’m not completely against the idea of Anna/Selah (though Annlett is my fav and will always be my otp); I just don’t agree with how all of Anna/Selah was written and how Anna/Selah/Hewlett ended.

So, from a writing perspective, I think Selah was brought in too late in S4 to have the character development that he needed after how he was depicted in S1 (and, according to the show’s writers, Anna and Selah were supposed to have a pretty unhealthy dynamic in S1; some of these scenes had to be cut for time constraints, though, so we only get small glimpses of this dynamic). There wasn’t much opportunity to connect positively with Selah in S1 or S4, and as a result, his quick character arc in S4 (to me) breaks the age-old writing rule of showing vs. telling.

There’s no buildup to Anna’s and Selah’s reunion that shows him growing as a character or even what it was that caused him to grow and respect Anna. Why would he suddenly respect her now in S4 more than he did in the first part of S1 after she all but said that she wanted to end their marriage by jumping from the boat, publicly humiliating him, and causing their lengthy separation – during a time period when desertion/an extended period of separation was, in some of the colonies, considered equal to divorce? There’s no apparent motivation (that we’re shown) to inspire his growth. We’re just told as an audience that he’s changed, and I think that weakens the growth that the writers were aiming for. It could be that Selah spent a lot of time reflecting while he was in Philadelphia, but we don’t get to see that onscreen. And for me, what is shown on the screen is much more convincing and effective than whatever we are told happens off-screen.

My other issues with Anna/Selah’s ending are that

1.) If their relationship was so unhealthy before, is his change in how he treats her sustainable? (Would he still treat her with respect after he found out/got confirmation about her affair w/Abe? That tended to make a woman “damaged goods” back then.)

2.) If Anna feels that “he’s not the same man I married,” why then does she seem so upset in 4.10 when they return to Setauket and in the epilogue? It seems like the story ends w/Anna being in exactly the same spot she was in in S1 – unhappy w/her life for whatever reason – and feels like she had more of a character circle than a character arc. She didn’t really end up anywhere different than where she started, even though she had grown so much throughout the show. It just feels like lazy writing to me, and I had really hoped that all of Anna’s sacrifices and growth during the war would be rewarded (even if that wasn’t necessarily a future w/Hewlett like my shipper heart wanted).

Conversely, there was excellent growth shown between Anna and Hewlett, both individually and as a couple. We got to watch each of them grow to respect each other’s character, sacrifice for each other, and fight for each other over the span of almost two seasons – and do so even when both of them felt there was no hope that the relationship could continue. There was a purity and selflessness to their relationship that none of the other relationships on the show were really able to capture, and, imo, is absent from most relationships in films/shows. And I had hoped that that kind of character development would be rewarded or at least considered in S4 after dedicating so much screen time to it. I also feel that Hewlett offers what Anna truly wants: respect, agency, and to be seen as a person, an equal. Like I said above, I don’t know if Selah could offer that level of respect long-term in their relationship. I’d like to hope so, for Anna’s sake, but she definitely doesn’t seem satisfied to me in 4.10.

Anna and Hewlett each left a significant mark on each other and were an enormous part of each other’s individual growth, and I feel like that was largely ignored in S4. For two characters so dedicated to their causes (and practically acting as the epitomes of the two sides’ warring ideologies) to be able to see each other as people and respect the person/character they saw in each other, even at the end of their relationship, is huge. And it seems like the writers just abandoned that without a second thought because they felt that they (finally) had to be historically accurate.

So for me, it’s disappointing that a show that was so heavily focused on character development (and, by and large, executed that development very well throughout the seasons) took what felt like a cop out and didn’t fully realize/fulfill Anna’s, Selah’s, and Hewlett’s individual character arcs. Since the showrunners felt they had to keep Anna/Selah for historical accuracy, I would have preferred that their relationship had been given more time to develop before his arrival in S4 because they had grown very far apart and had significant issues to address before moving forward. But ideally, of course, my Annlett shipper self would have liked the writers to stick with the two seasons of character development between Anna and Hewlett, resolve their relationship, and find a way of kindly writing Selah out (because, tbh, he kind of deserves a better ending too. Anna did betray him deeply, and it’s a lot to ask of him to just overlook/forgive that and move forward with their relationship. Furthermore, I don’t know that Anna is capable of really, truly loving him – it’s always come off as more loyalty/obedience to me – and that’s not a very satisfying conclusion for his character either). And as for how I would end Anna/Selah/Hewlett…well, there is a fic in the works…

Annnnd this is over 1k and has indeed become a thesis, so I’ll leave it at that because this is probably waaaaay more than you wanted lol. This post pretty much hits the nail on the head (succinctly! unlike me lol) with my frustrations about the writing of Anna/Selah/Hewlett and the closure of their character arcs/relationship arcs, as well as the balance of character development and historical accuracy. If you want me to explain any of my litany of thoughts more than I have here (this is the best I can do at an overview of all my thoughts lol; I have many), I can write responses/metas that go into more detail. :)

tl;dr: I wish the show had decided earlier on whether it was going to go with the character development it had created or with historical accuracy, because I don’t feel either Anna/Hewlett or Anna/Selah got the ending they deserved. Annlett was left with two seasons of development unfinished and forgotten, and Anna/Selah was drawn to a close without enough development to make it feel truly convincing for me.

#ditching the usual tags because I know my Selah opinion isn’t popular #might have offended the Simcoe fans too #sorry guys #meta #my meta #asks #wellisntthatlovely

[eyeslikefoxglove]

Episode 14 - WangXian are a (v soft) Battle Couple & Foxglove is hella mad

Hi! Welcome to episode 14. I should be studying. It’s day two of morning runs, so my soul has left my body already, send help. Yesterday I went to buy plants with my mum and got so excited I just whacked on a bunch of eyeshadow because I haven’t seen the outside in weeks, I’m also wearing makeup today, because I have nowhere to go, but I really need to finish this bb cream before it goes bad, so my parents are getting my full fresh faced “woke up like this and put on mascara” routine (which is a fucking lie because I’m wearing at least three blushes and two highlighters). I’m determined to get this bitch down in under five minutes so I can have another five to do eyeshadow, I have way too much eyeshadow to not wear it (I have way too much everything except maybe mascara and eyebrow stuff).

Yes, if y’all were wondering I am in fact a makeup magpie. ANYWAY BACK TO THE ACTUAL THING WE ALL CAME HERE FOR.

(Btw further down I discuss once again how shitty I think the Yunmeng sibs’ parents are if that causes an issue for you)

Ok ok ok, so I was talking with damnpoe-2187 here about how we found that sometimes WWX crossed from gremlin into asshole when he tried to get LWJ riled up. Like in the Cold Springs, putting our shippers hearts aside, that was a dick move and he should have stopped undressing the second LWJ went from annoyed to incredibly uncomfortable. I find this scene the complete opposite, a show of character development if you will. It is kind of similar in that they’re both hurt, and alone (although this time is much more serious) and there was some undressing going on; however WWX here behaves like a fool in love considerate person and knowing how uncomfortable LWJ already is tries to make it easier for him. They’re also super soft and I’m weak.

A brief interlude from my one track mind: That pond is full of corpses isn’t it? Or at least the remnants of the Murder Turtle’s meals I suppose. Damn right WWX should not have gone into the water with an open wound, but think no one should go swimming in there without a full hazmat suit tbh (I want to pump them full of antibiotics at this point ngl)

So I love this tiny montage (is it even a montage) of the, getting themselves ready to kill the Murder Turtle.

Teamwooooooork.

Listen, I have read a few fics in which their mind-meld stays in place due to reasons and I need me more of those.

Ok, turtles don’t work that way, but then again, giant murder snake-Trex-turtle so that’s low on my list of priorities. What’s not low is the fact that this guy is knee deep into pretty much a mass grave and I want to take a few showers just watching him.

Yeah, I know exactly what he’s smelling and suddenly I hope I don’t have meat for lunch today tbh.

The screaming sword has always been fucking creepy and does LWJ’s fist clench mean that he’s also hearing them?

BATTLE COUPLE! BATTLE COUPLE! BATTLE COUPLE!

So I know killing the thing took them something like six hours. And while it feels quite a long time in the show, I think that, if they cut the scene with idk, JC running towards Lotus Pier, then back to them, then back to JC, but now the sun is in a different position, back to them, but now the blood from LWJ’s hand has dripped down his arm; and so on a so forth it’d convey more clearly how long it took for the Murder Turtle to die. I know fuck all about cinematography tho so feel free to ignore all this if it is in fact an abomination.

Tiiiiiiny interlude here to say that Yiling Patriarch!WWX is probably one of my favourite character archetypes. He’s slightly creepy, slightly amoral (smiling while torturing and murdering bad guys is still amoral ok), more than a bit on the Dark Side, cocky, smirky, a bit of an asshole a BAMF, a rebel with cause and yet he will still do the right thing, not despite his nature, but because of it. He’s kind of like a Chipped Spike? But you know, he doesn’t need electroshock to behave.

I just want a fic where he’s this Dark Lord of Evil in everyone’s eyes however the ‘good guys’ take a break from trying to off him because a bigger threat just popped up and they have no choice but to ask for his help. He agrees, keeps being his charming self while also saving everyone’s asses, LWJ is smitten.

TL;DR: The Necromancer is hot. Oh and nobody dare deny LWJ has a Yiling Patriarch kink.

Oh my, this is the part when I always get teary eyed.

WUJI ON A CELLO? DO YOU WANT TO KILL ME?

“Why hasn’t Jiang Cheng shown up and rescued me yet?” THIS IS ALL THE PROOF I NEED THAT WWX IS THE BABY SIBLING.

“Lan Zhan sing me a song”

IT IS HAPPENING, STAY FUCKING CALM EVERYBODY (I’m crying)

That slideshow of their best moments set to WuJi is a masterpiece, and also, it kind of drives home the point of “how tf did we go from flirting during summer camp to this mess”?

(Btw if that’s YiBo humming he’s got one hell of a deep voice)

Ok ok ok, so this moment had me spitting up my tea the first time I watched it. Believe it or not my dumbass thought these people were actually serious with the censorship and we’d get scraps of their actual relationship. Lots of charged moments like in some other western tv shows I’ve seen when two dudes have chemistry but “they’re not gay”, no longing glances, no tender touches, no being unbelievably soft with each other; just you know, amped up, because if I’m not mistaken you can be arrested in China for “promoting the gay”. I mean, they changed the beginning when people insult MXY’s sexuality to insulting his mental health; no one would think “ah yes, the gays are good” when they hear it used as a slur, but they still erased it completely. One of the things I thought they’d fully take away was WangXian, I mean, the into/outro is named Wuji, which, you know, still a mishmash of their names, but not their ship name. It is such a significant part of the story with all the “what’s the song name? Figure it out yourself” that if something were going to give away that they’re married with a kid it would be that. I thought we’d get an artful fade to black BEFORE LWJ would say the name not after. And also, YiBo is enunciating it so clearly that, even with the sound muffled and the blurriness I, who don’t speak Chinese, can make out the two syllables. That’s deliberate, I can say “WangXian” loud and clear without moving my lips too much. At this point in time I must assume someone in charge of looking for censorship violations in the show is a fan and just ignored it.

Censorship person 1: dude, isn’t that a bit too gay, maybe you shouldn’t greenlight it.

Censorship person 2: shut the fuck up, sit here and watch.

*a full rundown of the whole of CQL later*

Censorship person 1: oh my god they’re so in love and they deserve to be happy.

Back to the commentary: I’m sorry but I have a mighty need of a WWX & Peacock friendship ok? This might be me just wanting WWX and LWJ to make other friends besides each other but I think that the Peacock is just bitchy enough to not take any of WWX’s bullshit.

And the Yunmeng bros timing for banter strikes yet again.

That’s terrible quality fake blood btw.

@ Yunmeng disciples: STOP SHOOTING FUCKING KITES PLEASE AND THANK YOU

Oooof even with a change of clothes our boy is still looking rough as hell.

MY LOVELY YUNMENG SIBS BEING SOFT AND HAPPY WITH EACH OTHER.

It hurts my soul that the second JFM starts praising WWX for surviving the Murder Turtle our boy’s knee-jerk reaction is to start praising JC in return. It is instinctive, how many times must this have happened for him to know his brother won’t even get scraps of praise? (Seriously fuck their parents)

It was going so well, I mean, JFM had a point warning him to not say things in anger. But I thought he was going to tell him that it is because sometimes he’ll hurt someone without wanting to, yet, this asshole decided to, once again, remind his kid he thinks he’s a failure.

And here comes Mme Yu who I can only assume had a servant posted at the door to warn her when WWX woke so she could throw some verbal abuse at him. I mean, she must have been missing it.

And JFM’s misogynistic bullshit strikes once again, because why defend ALL your kids when you can insult your wife.

(Every time someone berates WWX for “intervening” I want to scream. I mean, seeing this I can believe why the society as a whole thought genocide was a good idea.)

I love how they use their kids as props in their fight, I mean it’s not like they have feelings or anything. This woman is gaslight-y as hell too “you don’t love your kid because I gave birth to him”, you can’t tell me saying that in front of the son she’s supposed to love isn’t going to hurt him. And she knows it, I mean, besides the Wen attack I’ve never seen her hit the kids (although I very much doubt she hasn’t), so a good part of the abuse must be verbal. There’s no fucking way a person who regularly uses words that way won’t realise where she’s aiming those arrows. Which means to her (to both) the kids are collateral.

But FR, the barely-out-of-adolescence disaster bi necromancer PTSDing all over the place and living in a mass grave was a better parent than any of the current adults in this thing.

Which brings me to another point, Shijie is textbook “the oldest sibling is just another parent” and I’m making myself very angry.

[this is when I start frothing at the mouth and itching to write a modern-girl(and friends)-dropped-in-CQL because someone has to be a positive adult influence in these kids’ lives and it sure as shit ain’t the ones in the actual show.]

CAN WE STOP BRINGING PEOPLE’S DEAD PARENTS INTO THE FIGHT?

*deep breath*

I am going to feed JFM & Mme Yu each other’s spleens. Look, listen, look and listen, let’s first talk about how calmly they lay out the facts of their lives, one is only loved because he’s been brought up in the shadow of his dead parents, the other knows with certainty his father dislikes him and his mother uses him as leverage in marital disputes. When have these two not exploded their emotions all over the place? Fucking never. Yet here they are, talking about this bullshit like some bout of inconvenient weather. They’re used to it!

And now let’s talk about yet again siblings-are-just-extra-parents, with an added pile of WWX’s terrible self awareness that, to the man who brought him up, his worth is due to his dead parents. Again I’m extrapolating, but with the amount of times Mme Yu brings up his parents in such a negative light I refuse to believe JFM hasn’t made all the “you’re so much like your parents” comments to him every time WWX does something right. I mean, telling an orphan about their parents if they ask is a good thing, but WWX seems starved for stories about his them, which leads me to believe JFM refuses to talk about the topic except to make those little comments. What a fucking stellar way to give someone all the trauma if you ask me. May also explain a lot of WWX’s self worth issues if the biggest praise he’s ever heard is that he resembles dead people, yes, people who were loved, but they’re dead, and it doesn’t look like any adult has bothered to go and differentiate WWX from ZSSR&WCZ.

I’m just really mad, despite all the silly anecdotes I put in here my parents are fucking great at parenting, so I know what good parents should look like, and this ain’t it.

Ok, so I made myself angry and I don’t know if I should move onto the next episode now or wait till tomorrow but thanks for reading!

#the untamed #cql #mdzs #mdzs live action #foxglove watches cql #foxglove watches the untamed #wei wuxian #lan wangji #wangxian #jiang yanli #jiang cheng #yunmeng shuangjie #yunmeng trio #yunmeng siblings #yunmeng bros #Foxglove is hella mad #good parenting? Less likely than you think

[brawlingdiscontent]

the men of metal, menacing with golden face, 2/?

a.k.a sequel to terrible with the brightness of gold

(cherik fic, viking au, subtle a/b/o, mature rating)

(first part) (tl;dr for any of you, like me, who can’t remember what happened: Charles wakes alone, finds he’s trapped in the tent, snoops around and writes a secret letter)

(part three)

This part is dedicated to all you amazing anons and non-anons who have been checking up on me and sending encouragement. You know who you are!

Warning: this chapter contains minor descriptions of violence, graphic threats of rape and murder, and some misogynistic/feminizing slurs (none of these last from Erik)

.

..

...

As Charles is marched outside the tent and herded through the camp, guarded in front and behind, he reminds himself that Lehnsherr needs him alive. The thought is especially comforting as he hears the crinkle of the letter concealed up his sleeve. 

There’s no Azazel this time to fetch him. In the bleak silence of the passage, marred only by the everyday sounds of the camp, he almost misses the other's cheerful if subtly threatening presence. Now there's just the crunch of feet on the compacted dirt of the camp. Of course, there’s no need for such official escort, nor for formality now, he thinks grimly. Formality is for guests, which he is no longer. Now he's caught.

He hears them before he sees them, in snatches of raised voices, as they approach the edge of camp. The voices echo as though carried on the wind, rising in pitch in the distinctive pattern of an argument, but words indistinguishable. 

They round the corner and the narrow view of tents opens up onto the plains that demarcate the outskirts of the camp. Horses are tethered here, by a small copse of trees. He sees Lehnsherr attending to a horse, his figure—though by no means short—dwarfed by the hulking, agitated form of another man: the source of the argument. Despite the size difference and latent threat in the other’s posture, Lehnsherr, though tense, looks more bored than worried.

As they get closer, it becomes clear that the conversation is uneven. The large man seems to be doing most of the talking, his anger apparent. Lehnsherr’s reaction is subtler, but appears in the tight curve of his shoulders, gradually stiffening as the man goes on, like a bow drawn taught just before it’s loosed. Before Charles can begin to suss out the particulars of the dispute through tone and gesture alone, it erupts. In a flash Lehnsherr's opponent buries a dagger in the point of a nearby tree, and then tugs it out aggressively, brandishing it in threat. Lehnsherr, for the first time, looks up fully from his task. He says something, steady and so low that Charles can’t even make out the shapes of the foreign words. With a thunderous look the other man lowers the knife, and, sneering, retreats. Throwing final warning glare back over his shoulder, he stalks off into the thrum of camp heading somewhere off to Charles' left.

Curious though the scene is, Charles only half follows the man’s progress, for the sight of Lehnsherr sets off a flare in his chest that's been building, smouldering since he tried to leave the tent that morning. He forgets his apprehension at the ambiguous summons and breaks from the rank of his escorts. A breath later he’s standing before the man.

“I told you I wouldn’t be a prisoner.” The accusation spills out of him, sharp and hot.

"Charles," Lehnsherr says in dry acknowledgement. “A moment, if you would.” 

He doesn't like the familiarity of his name as it curls across the other man's tongue. 

Lehnsherr gentles the horse--who’d begun to flick its tail nervously at the commotion--and gestures off to the side. It’s only then that Charles sees the dark-haired woman beside him. She's much smaller than the man who just left, so much so that he failed to notice her. She doesn’t seem to be an alpha, but her dress is looser, freer than that he would expect of betas or omegas. Lehnsherr picks up the interrupted conversation, imparting a few more words; likely some kind of instructions. She gives a brief reply, perhaps an affirmative, and darts a curious glance at Charles before slipping off back through the camp—possibly following the path of the man who just left, but he doesn’t turn to look. 

Lehnsherr watches her go for a moment. "Now then,” he says, sparing Charles a mere glance as he turns back to the horse, a mare with a silver-studded bridle—probably not his, “what was it you wanted?"

“I won’t be confined to a tent,” he repeats. Anger still colours the words, but of a more controlled sort, his initial outburst steadying to composed censure now that his displeasure has been given breath.

When Lehnsherr looks up at him, his eyes are shaded, obscuring his expression and any hint of whether he’s surprised or displeased by Charles’ outburst. 

“For your protection, I assure you,” he says with a wry twist of his mouth. “I was concerned about you wandering around on your own in the midst of such unsatisfied men.” 

Though it's seemingly said in humour, Lehsherr’s voice carries an acerbic note to it, as if to remind Charles that it was he himself who had forestalled that satisfaction by leading the omegas and beta women out of the city.

He ignores the warning in the twist of the other man’s words. “You’ve no right to keep me.” It’s a foolish statement to make. Even had he not the conqueror’s right to do as he pleased, then the right surely falls to Lehnsherr as his husband-to-be.

Lehnsherr tugs the lead to check it’s secured to the tree and steps suddenly away from his horse—and into Charles' space. Charles feels his pulse pick up, despite himself, not sure what to expect.

Were they commoners, it might appear to be the close conference of a newly-engaged couple; young lovers tentative in their newfound intimacy or drawn together by the animal urges of youth, like the amorous shepherds sung about in the bawdier ballads. But for people of their station such marriages do not exist. Marriages are made for political reasons, not romantic ones, and whatever else may lie between them Lehnsherr’s gesture denotes not intimacy but a desire to shield their conversation from those around them—the scattered remnants of his guard and runners scurrying back and forth—and most of all, a power play. To lean back would be to cede ground, so despite Lehnsherr's uncomfortable closeness, Charles stands firm.  

“In the past day you’ve proven yourself more capable than my top generals combined." The words slip silkily from Lehnsherr's tongue in almost an accusation as he fixes Charles with a piercing stare. He notes Lehnsherr’s arm where it hangs loosely, aligned with but not quite touching his. It burns with the potential to grab his wrist and close the final distance between them--in violence or in something else. 

“Beyond that,” the other man continues, “you've all too readily shown that your loyalty lies with your people. I would be a fool to ignore the evidence I am presented with and underestimate you." 

Charles feels a burst of regret, then, at the necessity of showing his hand and drawing Lehnsherr’s scrutiny—though never at its result—while at the same time he's somewhat relieved that Lehnsherr had confined him in order to protect himself, and not in demonstration of his beliefs on the place of spouses. 

His point made Lehnsherr steps back, leaving a gap in the space where he stood, and returns to the horse. He grabs a coil of rope hanging from a nearby branch and begins to fashion a hitch, when Charles’ mind suddenly catches up to what he’s seeing.

"What are you doing?" 

With an efficient tug, Lehnsherr finishes tying the hitch, securing an oilskin bag to the saddle. 

“Leaving.”

“Leaving?” For a split second Charles imagines he means the island; withdrawing to the longships and departing, leaving the shores of England bloodied and battered behind them—before reality catches up with him. Such an undertaking would require the disassembling of the entire camp, yet the preparations around him suggest a smaller party, a group of men, only. His hopes raised deflate once again, dropping back into the reality of the present moment.

“Yes,” Lensherr continues, unaware of his brief flight of fancy. “It's what I summoned you to tell you. We’ll be married when I return.”

“Why, what’s happened?” He ignores the latter point in favour of more pressing concerns. 

Lehnsherr doesn’t respond right away. He seems to be considering whether or not to tell him. He holds out a hand in gesture, and a man, one of Charles' guards, offers over the casket from the tent. Charles very deliberately does not look at it, wondering if Lehnsherr will be able to tell that it's been disturbed, will notice the missing vellum.

“I've received report of a disturbance near Eoforwic," the other man says at last, relenting. "I’m heading off to investigate.”  

A disturbance...what could it be? What force in the land would dare to rebel? He now sees the reason for Lehnsherr’s hesitation. Regardless of the distance to Eoforwic, Charles’ actions have certainly marked him out as a suspect. But one thing Charles knows for sure...

“I’m coming with you,” he asserts confidently. “And beyond that, I’ll need my men back to accompany me.”

“I’ve just told you I can’t trust you, Xavier,--” he starts at in suprise his family name -- “what makes you think I would ever allow that?" Hardness and wariness are the dominant notes in Lehnsherr’s tone, yet they make way, in part, for exasperation and a hint of something further—humour, even admiration at his daring, and, unmissable now that he knows it’s there, the faintest undercurrent of desire. Lehnsherr has relaxed his barriers, perhaps; or else he is starting to be able to read the other man. He can use this.

“If you don’t trust me, wouldn’t you rather I was somewhere you could watch me?”

“And your men?” the other’s amusement is such that Charles can hear the implied finish...how are you going to justify them?

“You yourself have just told me that you keep a dangerous company. Who better than my own men to protect me?" His tone offers a hint of challenge. "Call it a demonstration of good faith, a show of Danish spousal respect,” he adds, recalling Lehnsherr’s words the previous night. Bold, but he thinks he can get away with it. “Furthermore, I’ll need to fetch my travelling clothes.”

Lehnsherr looks at him, now, with a calculating stare, as though he’s weighing his options carefully. His blue eyes appear quite grey in the afternoon light. 

“No,” he says at last, tone firm. “I’ll let you send someone to the city for your things. But that’s it.”

Charles opens his mouth to object.

“If it’s so important to you to be near your men,” Lehnsherr presses on before he can utter a word, “you’re welcome to stay here with them.” 

The glint in the man’s eye is the equivalent of a victorious grin on his reserved countenance, and Charles closes his mouth, accepting the temporary defeat. 

He submits once again to the escorts when Lehnsherr gestures them back over and directs them curtly in Danish. Their presence no longer chafes as much, having tested Lehnsherr’s limits and found some slack. If he’s caught now in Lehnsherr’s grasp, there’s give; and if he’s careful enough, strategic enough, he can use it in order to wriggle free.

.

…

.

Going through the camp a second time, Charles notices what he should have seen sooner: the signs of a journey in the making. The camp is buzzing with potential, like a dragonfly touching down on the water, its surface thrumming with tension. As they walk he sees a few more of those he assumes are beta women and omegas, moving with the camp’s rhythms. There’s even a child or two, ducking into tents and scampering underfoot.

The guarded tent they are approaching is a familiar sight. This particular tent is big, large enough to require the support of a central wooden pole that shoots up towards the sky. A place for meetings, likely, or even dry goods storage. 

“Be quick about it,” the group's leader says sharply when they stop outside. She's a female alpha, demonstrable, as Northern custom dictates, from the braided sash she wears across her shoulders. With the tinge of red in her hair she might remind him of his daughter, were it not for her lethally sharpened teeth. 

He wonders if her keenness to hurry him along is based on an explicit order from Lehnsherr, or if she’d just prefer not to waste time watching him. Whatever the case, he's relieved to note that her instructions don't seem to extend to surveillance, and he’s free to duck in under the canvas flap alone, stepping into the muted light of the tent. 

There's a moment of hesitation at first, as the tent’s occupants attempt to identify the intruder, and then a voice calls out, “M'Lord!” and the title spreads through the tent’s close quarters. As his eyes adjust from the brightness of the day outside, the shapes of his men, his formal escort of the day before, emerge. They snap to a semblance of attention, those seated scrambling to stand even as he waves them to rest. They look bored, restless, but other than that, fairly well. 

The tent floor is unlined, sparsely sprouted with grass that’s gradually giving way under the churn of feet, and he can see little in the way of what they might have used to pad or warm their sleep. But there are much worse ways to pass a night, and such conditions certainly shouldn’t have troubled the hardened warriors Logan had selected. The most offensive thing in the space is the strong stench coming from the bucket in a corner.

He gets this all in a quick glance, holding off on further assessment: he has a task to complete. Acknowledging their bows with a tilt of his head, he passes through the group, seeking his commander, and finds him leaned up against the tent’s central pillar. 

“Logan---what on earth?--”

The man’s left eye is a bloodied, bruised mess. A split in the skin near his temple oozes blood, most of it drying or tacky; and besides the purple bruises raging like a storm across his face, the white of the injured eye is inflamed with the red of burst blood vessels.

With evident difficulty, he attempts to stand, pushing off the pole to support himself as Charles rushes forward to stop him.

“Stay down, please!” 

He settles a bit as Logan somewhat complies, not so much lowering himself as collapsing back into the pole. Logan’s eyes, both the bruised and the normal, are active, taking Charles in as though seeking assurance that he remains unharmed. The last time the other man saw him, Charles realizes, he was dragged off by Lehnsherr’s guards to uncertain fate. He senses Logan struggling with the desire to question him about what’s occurred--prevented, Charles suspects, partly because as Charles’ subordinate it’s not his place to ask. But more, perhaps, because no matter the answer there’s not a thing he can do about it. While Logan’s not up to questioning, however, Charles certainly is.

“What happened to you? Who did this?” 

“It’s nothin’. Probably had it coming.” 

Logan’s brusque reply prompts an imperious eyebrow, which yields a few more words of explanation: "Got a little worked up is all.” 

It’s bullshit and they both know it.

The two stare stubbornly at each other, at a standoff. While Logan is fiercely loyal, and would never withhold something of strategic use or relevance, obdurate man that he is, Charles thinks with mixed emotion, he would certainly keep something back if he felt in doing so he was protecting Charles.

Charles examines Logan’s face carefully, the desire to know warring with external pressures. At first glance his injury seems to be mostly superficial, but his hunched posture and stiff movement suggest damage that extends beyond his face. And yet he may not have much time here, who knows how long the guards’ patience will last? Logan’s looking back at him like he knows it, too.

Reluctantly, he lets it go, but not without shooting Logan a warning glance to signal that they will discuss it later.

“I need someone who can take a message.” He can’t send Logan, now. Were he in shape to make the journey, his injuries would attract unnecessary attention—though the choice of his commander would have been suspicious, regardless, for such a trivial task.  

"Alex."

"Alex. Which one is he?” Charles asks, scanning the assembled group.

“Over there,” Logan offers. “Far side. Blond kid, skinny.”

Charles looks over and catches sight of the youth that Logan means. He’s younger than most of the men and seems somewhat scrawny, not strong enough to have joined the honour guard, but perhaps that's why Logan selected him: he is unlikely to be seen as a threat by any of Lehnsherr’s men guarding the gates. Then, once he’s in, he will pass through the city relatively unnoticed.

He nods and briefly claps a hand on Logan’s shoulder in thanks, communicating in the wordless language that is their shorthand both the reassurance of a commanding officer and the support and gratitude of a friend, and goes to find Alex. 

As he passes near it, the flap at the tent’s entrance flutters—doubtless a signal from one of his guards telling him to hurry up. Drawing close to the membrane, he calls out in his most regal tone, “I’m not yet finished,” and hopes it will appease them for a few more moments. 

He stops before the young man Logan had pointed out.

“Alex.” 

“Sir! Your Highness.” He ducks his head, as though slightly awed at being addressed, and only Charles’ firm hand on his shoulder keeps him from jumping to his feet. He looks a bit peaked. Charles crouches down to speak to him which will serve better to hide what passes between them, even from the rest of the tent.

“Have you all been fed?” he asks first. It’s something Logan certainly would have concealed, should the answer be negative.

“Yes, your Grace—I mean, your Highness—” 

“Good.” Charles says, cutting off any further attempts at formalities. “Now, listen to me. I’m sending you on a mission of the utmost importance. I need to know that you can follow my instructions exactly.”

Alex nods, his eyes widening at the seriousness of the task with which he is to be entrusted.

“I need you to go into town. I’m sending you under the guise of retrieving some items from the keep, which you’ll do as well, but more importantly I need you to arrange to have this message passed on. There’s a person in the village, Roz, white hair. You’ll find them in the Blacksmith’s forge. It’s vital that you deliver this to them."

He slides the paper, the letter written in Lehnsherr’s tent, free from his sleeve. “They’ll know where to send it.”

The letter is for his children. Despite the promise of their safety he'd extracted from Lehnsherr their position remains precarious; worse, if he can't find a way to let Raven know what has happened. Before she took the children to safety Charles impressed on her that should she not hear from him within two month’s time, she was to assume the worst: that the negotiations had failed and he was dead, and was to flee with the children out of the reach of the assassins would likely follow. Lehnsherr will have spies in and around Normandy, and now that they've come to an agreement would likely read Raven’s flight as a sign of Charles' treachery—that he was moving his children to safety before striking back. He's not sure that he fully trusts Lehnsherr's promise, but fleeing again now is the surest way to get them all killed. Thus: the letter. Phrased tersely, it instructs Raven to remain in place. It's not exactly treason, but taken in the wrong hands, it could easily, perhaps willfully, be misunderstood, and so demands utmost secrecy.

Charles reaches into the folds of his tunic and draws out Sebastian’s seal, which also he presses into Alex’s hands. Since he couldn’t risk signing it, the letter will require another form of authentication.

"Hold this separate and send it with the letter,” he instructs.  “If anyone sees it before then, tell them it is for the guards at my chamber, to allow passage. Can you do that?”

“Yes, sir.”  The look in Alex’s eyes, which resolves from uncertainty into determination, affirms for Charles that Logan suggested the right man. “I will guard it with my life.” 

This most important task secured, Charles takes a moment to consider something else. 

“Alex,” he says, hesitating only slightly, “what happened to the commander?”

There’s a reluctant pause, as the other almost squirms under his gaze.

“They were provoking him....saying things about you, Your Highness, about your character.” He looks embarrassed and this, if anything, confirms Charles’ suspicion that Alex is a new recruit. Embarrassment and shyness don’t last long in the company of warriors. 

Charles looks back at him expectantly, silently prompting him to continue.

 “That is...about you and Lehnsherr...and the things you might be getting up to...together…” 

Ah. 

While Alex hadn’t managed to finish the sentence, the redness in his cheeks makes his meaning unmistakable.

Even knowing the tenor of what was most likely said, Charles is too weary to bother to muster up embarrassment or indignation. Especially not when it’s so close to the truth. 

“I see,” he says, realizing he has one important task left to fulfill. And then: “Don't forget your commission. Lives beyond mine rest in your hands.”

Once Alex gives his solemn confirmation, Charles rises and makes his way to the front of the tent; waits until he has the group’s attention. 

“I thank you all for your service and loyalty,” he begins, pitching his voice to carry, so all of his men can hear. The faces of the hardened warriors looking back at him are defeated, set with grim expectation in place of hope. The fact that he’s addressing them at all is indicative of how far they’ve fallen. When the battles were still raging their orders were conducted through Logan, a matter of practicality that also allowed those of them (of whom he’s sure there are many, even here among Logan’s chosen) who respected him only as Shaw’s consort the pretense that Charles was not in charge. 

“I’m working to secure your release, but in the meantime, I’m sure you all want to know where things stand.” He swallows, clears his throat. “An accord has been reached. Erik Lehnsherr has promised to honour the treaty and guarantee the lives of the citizens. Your families should be safe.” He hesitates on the final words, not quite wanting to speak them into being; as though this moment, insignificant though it is, marks the point of no return. “And to seal the bargain...I am to marry him.” 

The news should be comforting. The marriage will afford the Saxons another layer of protection; much more than they had before. And yet there’s much resentment towards the Danes over the violence they have wrought, the Saxon lives they’ve taken, and the air is clouded with mixed feelings. This union, advantageous though it may prove to be, forever ties the Saxons to their enemies in the final sign of their defeat. 

While Charles surveys the assembled men, there’s one area of the tent he can’t bring himself to look, to the one man who won’t find much comfort in the knowledge that any outrages done onto Charles will be overwritten, any stains on his honour restored by marriage. He doesn’t want to meet Logan’s gaze, for fear of what he’ll find there. Anger, maybe. Accusation; pity. Or perhaps, most painful of all, the loss of something that never could have been. 

The fabric near the tent opening flutters again, this time with more impatience. Somewhat relieved at the chance to duck out from under those eyes, both seen and unseen, he moves back through the flap to scold his overhasty guard.

“Yes, what is it?” he demands, falling back on imperious, “I told you--” ...I’d be a few minutes. The words die in his throat as he almost bumps into the man waiting outside the tent. 

It’s not one of his minders. For a split second he entertains the absurd notion that he’s nearly walked into a bear; until he looks up and realizes it’s a large man wearing a bear cloak, the man’s barrel chest before him covered in the cloak’s thick fur. His gaze travels further up to a heavy brow, banded by widows’ peaks. Masses of unkempt hair sprout from the man’s head, separated only by several braids, dotted throughout, which are threaded with what seem to be teeth. It takes him a moment, overwhelmed by the man’s presence, to realize he’s seen him before. This morning, talking to Lehnsherr. Angry. 

“Your Highness.”

The title on the bear-man’s lips is not sardonic like it is on Lehnsherr’s, or histrionically obsequious like Azazel’s. Nor skittish as on Alex’s. But hard, flat, and raw, as though he’s chewing the words and spitting them out. While preserving the physical distance between them, he looks Charles over in a way that feels as intimate and violating as unwanted touch.

“Lehnsherr may be willing to forgive,” the man says, “he’s long scorned our ways. But I know it was you who robbed us of our rightful spoils.” 

Spoils. The word sends a chill up Charles’ spine, knowing he’s not talking of treasured objects.

“You’re a pretty little bitch, aren’t you?” the man continues. Despite vitriol of the words, he maintains an impassive, solemn countenance, his expression fixed except for his mouth, which now twists up into a sneer. “Pretty enough that he spared you. But if I were Lehnsherr I would have stuck my cock in you and gutted you while I was still inside you. Then fucked you until your screams died away.”

The afternoon light barely reaches the shaded side of the tent, and darkens farther in the man’s gaze, seeming almost to vanish into it. His yellow eyes glitter, burning like the dense centres of coals in a brazier. And swallowing all the light.

…

..

.

----

And 5000 years later, here’s an update. Hopefully the next one will not be so long.

To anyone still hanging around, thanks so much for reading and for putting up with my shameless misappropriation of history for personal edification!  Apparently this fic now has shades of Xavierine, which is akasanata and gerec’s fault!

#cherik #viking au #historical au #Charles Xavier #Erik Lehnsherr #x-men #subtle a/b/o #cherik fic #brawlingdiscontent #twtbg #not happy with this part #but time to move on and edit later #encomium carolis regis

[silverjirachi]

Do u rly 100% believe ur not a woman? If u dont mind sharing how did u figure that out? How can u separate urself from ur body like that? We r our bodies! I cant wrap my mind around it even tho I have dysphoria. Also women are the most oppressed class of people 2 this day so it seems really really stupid 2 let our oppressors claim womanhood. We r all born from vaginas. How do people ignore history & reality? Is pretending ur not who u r a coping mechanism? Wouldnt accepting ur body b healthier?

Hi there!  I considered not answering this because I don’t want to fan flames or stir discourse because I don’t want other people to get wrapped up into something that is 100% about me. I try really hard to cultivate a positive, lighthearted environment in all of my online presences.  But honestly your ask isn’t worded hatefully, and I think what I have to say is important and might help someone else, so I’m going to answer it. But I probably won’t answer anything else and there better not be any funny business in these notes.  If there is, I would like to politely ask people not to engage with it.  Please leave me, and everyone else in these notes, alone.  I am writing this for me, to answer your question about me, and I’m writing this in case there’s a baby enby out there who is exactly like me who who needs to read this today.

With that disclaimer aside...,

Yes, I really do 100% believe I am not a woman.  I unfortunately cannot easily explain how without falling into the traps of words like masculinity and femininity.  But it’s the same as any other identity.  How do you know you are a woman?  Is it something that you identify with, feel a personal relationship with?  Or does it ultimately only come from your body alone, and you feel absolutely no connotations or connections to it whatsoever?  Did it come to you through your body?  I know people who 100% identify with their assigned gender, but can’t really articulate how or why without falling into these same binaries.  And I know people who 100% DON’T identify with their assigned gender and cannot truly articulate how or why.  It doesn’t even have a lot to do with masculinity or femininity.  A lot of our language just doesn’t have the words to describe such an internal experience.

It is true that there is a very specific type of oppression that comes with being born in a female body- or a body that would otherwise assign you female at birth.  From what I can tell, that’s what a lot of this really relies on.  I don’t think anyone who is AFAB and nonbinary or ftm is really denying that, at least not from my experience.  I’m sure they’re out there.  But we, by and large, HAVE had the experience of discrimination in some way or another because of our “femaleness-” our ASSIGNED femaleness.  (Something that got thrown at me was the idea of female socialization- it’s true, I was socialized as a female bc that’s what my body “looked” like and that’s just what our society assumes).  But just as there is a very specific kind of oppression that goes along with being AFAB, there is also a very specific kind of oppression that goes along with being mtf, and there is a very specific type of oppression that goes along with being a poc and any of those other categories.  That’s at the core of intersectionality.  Different parts of our identities interact with each other in different ways.  People experience oppression and privilege in different ways and at different times depending on where they fall in this mix of race/class/gender/ability etc.

I also have body dysphoria, and it’s true our bodies can define a lot of our human experience (after all if I didn’t have a body I wouldn’t have dysphoria, right?? Godddd what a life).  But also because I have dysphoria, I do not think that our bodies should be the defining characteristic of our identities.  Bodies and presentation can cause a lot of our social interactions- including oppression- but I think to say woman and woman’s experience = female body is quite a limited summary of the issue with little nuance, and it’s also quite limiting with the way our society is changing.  This is why I heavily prefer terms like assigned female at birth.  This can imply that such a person may have had a socially female experience (like me) in part due to their body, and thus was socially assigned to be a female, but just... also isnt a woman for some reason or another.

I also think that what we strive to do is not to ignore history (I think very few people are denying the way women have been treated in history, and are still treated to this day) but we hope to build from it.  I think that’s why feminism and gender studies get lumped together.  A lot of feminist activists/scholars (many were both at the same time) led our current strides into gender constructivism.  I studied a lot of gender essentialism when I started my thesis, and to be honest, I saw the point behind it in the context of the time, but we’ve shifted in understanding and context since then.

And, in full disclosure, at the start of this whole adventure, (and i am SURE this will be used against me) I really did identify with being a woman.  I thought it was awesome to have the body I had and when I started witchcraft I did actually fall into that really easy trap of tying the female experience to magic.  (Honestly because I HATED my body and looking back that was probably a way to cope with DYSPHORIA and not the other way around).  And isn’t inherently harmful to have a working magical relationship with your body like that, but it is harmful when you think and say that’s the only way people can exist and the only way people can be magical.  But over time, I just started to change.  Nothing traumatic happened, I’ve been incredibly fortunate and privileged my entire life, it’s not a coping mechanism, I just started to identify with womanhood less and less, for no real particular reason- nothing about me personality or preference-wise changed.  Just my own internal view of myself.

I also got the words for gender euphoria.  And I noticed more and more that, if I was being honest with myself, that that was always how I had truly felt.  While it’s true gender roles shouldn’t exist, just like any other role or label, it’s different when someone chooses that role for themselves versus when they have it thrust upon them.  As a child, like many other AFAB children, I had the idea of womanhood thrust upon me, with all the roles and stereotypes that went along with it.  It’s fucked up in the first place, don’t get me wrong, but I knew people who embraced these fullheartedly, I knew people who didn’t.  But some people who didn’t still identified with womanhood, others became ftm, others became mtf.  I had “woman” thrust upon me, didn’t identify with it, rebelled against it, tried to rationalize it by accepting that I could be a “woman” without falling into gender stereotypes because there is no ONE correct way to be a woman (which there ISN’T), still didn’t feel right, did a full 180 and started buying pink lingerie and worshipped Aphrodite, that worked for a while and was overall a positive experience that helped me hate myself a little less, but at the end of the day, no matter what I did, I still did not identify as a woman.  What does happen to me, however?  I get a burst of euphoria when I am called a boy.  That makes me feel like I’m being really seen.  I actually resonate with that after years of not resonating at all with womanhood no matter how I sliced it, and that’s why it feels so fucking good.  I tried to identify as a woman. Believe me, I tried like all fucking hell.  Even though my presentation is still read as mostly female (I would disagree strongly with it but alas society and their fucking gender roles), I am quite the feminine boy-something to me, and I don’t have to justify that to anyone.

So TL;DR no it’s not a coping mechanism, I have lived a life full of very accepting, open-minded people and I won’t deny that I have that privilege, but in spite of that i STILL did not view myself as a woman, no matter how hard I tried.  I’ve actually generally accepted my body except on the days my dysphoria makes me want to throw my boobs across the room, I don’t think it’s denying history if we’re building from it, gender roles are fucked up.  I recognize that my experience being AFAB- and others who are AFAB- comes along with a particular type of oppression, but that’s why I prefer the term AFAB because it indicates the experience you’re talking about while also leaving it open to considering other experiences like my own and the experiences of other trans and nb folks.  In a few years AFAB might be outdated as a term and then we’ll find more terms to help figure this whole mess out.

TL;DR;DR no it’s not a coping mechanism and anyone is welcome to think that this is simply part of the horrible fallout of female socialization, and anyone is welcome to think that i’m mentally ill for identifying like this. people can think or say all they want about me but it won’t change the fact that I’m a boy-something and it won’t change all the years I struggled trying to figure that out.

Thank you for allowing me to write this all out, I think I really needed to.  This is something that had been floating in my brain forever, and explaining it all to you actually made my thoughts that much clearer.

Now everyone who sees this- please respect my wishes and please don’t clown in these notes if it spreads.  I’m tired enough about this as it is today.  I’m tired enough about fucking gender as it is.  We’re all fucking tired.  What I’ve shared today is about me and me alone and I want to keep it that way.

#gender stuff #discourse #seriously i know people are gonna comment on this but i wanted to share it bc i thought it was important to say #but i REALLY don't want other people wrapped up in MY OWN issues and identity #anon #asks

[beyondthetemples]

{{ Listen, I am REALLY excited about that last reply. So, although I usually keep these on my Personal OOC Blog, I’m gonna babble a bit about why I wrote that post the way I did.

Below the cut, you’ll find me considering the 80′s comics, rambling about Azar, considering the history of Azarath and Trigon, gushing really excitedly about Azar, surprisingly not talking about Raven much aside from the fact that she died in the comic version of Season 4, and really just thinking about Azar a lot because writing for her always makes me Really Super Squee-Feeling, okay. 

SO! I don’t even know if anyone else will care to read this, but my heartrate is still raised from that post so I HAVE to ramble a little! I’ve been carefully curating that reply for, what, a month? Debating how I want to write Azar, because she’s a hugely important figure in Dove’s life, in Raven’s life, in Arella’s life, and I’m super attached to all of those characters, not to mention Azarath itself, so of course I’m super emotionally attached to Azar too, and I want to Do Her Justice.

tl;dr it’s a lot of comic canon, and I gave her some ~sass~ because the Azar I know isn’t just some empty enigmatic figurehead, but is, in fact, Actually Badass.

(Edit before I post this: I’m rambling really hard, actually. It’s an entire ESSAY. Read at your own risk!)

Can you tell I’ve read the 80′s comics? A lot? Because I feel like the Entire Style of that last post was written in the “New Teen Titans” narrative style. Word choice and sentence structure, sure, but also just Sowing Seeds of plot points yet to come. Azar being all “we’re gonna Do This Thing, but I won’t tell you How just yet”. Hinting, just oh-so-very VAGUELY at ~History~. Azarath Lore Via Speech. It’s just... it’s very 80′s Wolfman Titans style.

I’ve probably read Tales of the New Teen Titans #2, Raven’s backstory wherein it takes place in Azarath and Azar is actually alive, more times than I’ve watched any episode of the show combined. And I’ve watched every single episode at least 17 times, so that that tells you how much I love reading about Azar/Azarath.....

Admittedly, that issue’s kinda what I hyperfixated on. I took some ~Liberties~ with Azar and the history of Trigon and Azarath, since we only ever got like 2 vague sentences of History, and Azar only ever Actually Spoke like three times. (And one of those times she was dying, so does it even count?) But most of it is extrapolated from comic canon! Mystical Enigmatic Azar is also comic canon, but the One Thing I really like to add to her character is that little ~hint~ of sass. Hard to explain why it’s sass, specifically, but let’s just say I always get a vibe of Not Just Being This Enigmatic Figurehead from her. Like. She’s a person, too? A strong-willed, determined, defiant person.

She’s literally the reason Trigon doesn’t rule Earth in the comics! I’m not talking about the way she raised and trained Raven to defy him. (What? I’M not TALKING about RAVEN?! Believe it or not: It’s true!) I mean, after Raven had already gone Full Demon (and died), Azar LITERALLY took the souls of Azarath and DESTROYED TRIGON HERSELF.

Also, it’s from NTT II rather than TotNTT, but Azaratheans, actually?? DOING SOMETHING??? to DEFEAT TRIGON???? Even though they won’t so much as look up from their meditation when someone else’s life is in danger, they RISE UP when Trigon’s involved????

Yeah, I debated HARD on how to find the balance between Azar Getting Involved and Azaratheans Being So Non-Resistant They Literally Let Themselves Die When Trigon Attacked Azarath, but the whole “Fending Off Trigon” thing? That’s also canon as fuck.

If I remember correctly, the “letting us die” thing was actually part of a Long Game Azar was playing in the comics to defeat Trigon in “Terror of Trigon”?

Azar’s actually kind of badass.

(Pacifist leader? BADASS? Yes, you read that right! Azar’s a BRILLIANT example of why “nonviolence” isn’t the same thing as “utter inaction”.)

.....Hhhhhh, I want to post a TON more comic panels, but that would stretch your dashes as much as the rp post itself. Suffice to say, Azar had PLANS, So let me try to summarize: Azar planned to defeat Trigon from the start.

And things went very differently in the comics. I mean, the story that Season 4 adapted was the (first) time in the comics that Raven DIED. She had to die for this version’s plot to work out.

But, clearly, the cartoon didn’t find that necessary. (And I’m so glad. I mean, can’t do Dead on a 2000′s kid show anyways, but... 8F Well. You know how I am about Raven.)

Little known fact, I’m actually pretty damn devoted to Azar too.

It’s not ALL comics; I did try to blend in the fact that the “ring of Azar” that could offer “protection” from Trigon’s power from the show, so clearly in Show Canon, Azar’s power is useful against him too.

In the comics, those rings were like conduits for Azar’s power that led to her being able to bring the Azaratheans to Earth to do the whole Defeating Trigon thing!

I talk about this all the time, too: In the comics, there were TWO RINGS. Two! The show only shows what happens to ONE! I headcanon that Dove’s grandmother was close enough to Azar to have been given one of the rings. Then Magena gave it to Dove’s mother, and Dove brought it out of Azarath when she left for Earth.

So uhh. Sneak peek I guess, I’m considering making the ring Dove has play a part in the RP. We’ll see where it goes.

(But Caleb did give her a ring of his own, too, so maybe they could work in synergy somehow? Hmmmm.......)

#ooc announcements #azar

[misscrawfords]

The Rise of Skywalker: Part Two

Read Part One here.

One of the many things I’ve been grappling with over the 2 weeks since TROS came out is the validity and cause of my upset and anger. And it centres round the question: if Reylo had ended differently, if they’d had a happy ending, if Ben Solo had lived, would I still hate the film? Would I still be angry? Or would I forgive and overlook its other myriad flaws? And connected to those central questions is another that pressed upon me, namely: am I angry and upset because it is a bad film on multiple levels that insults its audience and breaks its own mythology in a way that is deeply distressing to female viewers and is fundamentally a poorly written film or do I only feel like that because I am a disappointed shipper? Am I only upset because I have got so attached to my HEA fluffy fanfic that I’ve lost sight of the story that canon is actually telling?

There’s a wider issue contained in these questions that I’ve been asking myself which is that there is a judgement implicit that responding to a film purely as a shipper is a bad thing, that it invalidates my criticism and my feelings if, in fact, I am simply an upset and disappointed shipper who wanted a happy ending. That’s an issue that is definitely worth pursuing but elsewhere.

It’s been two weeks. I’ve read multiple twitter threads, listened to bits of WTForce podcast (it’s very long... and was making me cry...), many reviews of the film, and today I finally started reading Valerie Estelle Frankel’s From Girl to Goddess: The Heroine’s Journey through Myth and Legend which is blowing my mind and giving me the confidence to say what I’ve known for a while:

My feeling that TROS is a terrible film on multiple levels - all of them actually - is valid. You may disagree and that’s fine. It’s only an opinion. But it’s my opinion and I stand by it. And, returning to the initial question that has been perplexing me - in fact I cannot separate the way the characters of Rey and Kylo/Ben were treated from the film’s other flaws. If Ben had lived, if Reylo had had a happy ending, if their relationship had played out differently, even if they had both died, yes, I would have been more inclined to forgive the film its many other flaws and misjudgements, but the fact is, if Reylo had been written in a satisfactory way then it would have been a very different film. Reylo is only one - one massive, egregious error - thing that contributes to the mess that this films. It is not the only thing that is enraging and upsetting but it is probably the biggest. I’ll talk about these other things in yet another post, but for now...

Let’s talk about Reylo.

tl;dr: Reylo is canon and the movie still sucked. Here’s a 5000+ word dissertation on why. Maybe don’t read if my opinions on this are going to make you sad/angry.

I’m going to break down my problems with Reylo in this film logically and honestly, I’m not sure I’m going to say anything that hasn’t already been said, but perhaps reading another perspective will help others who feel similarly? I’m guessing it’s going to help me if I write about it. We’ll see.

There are three problems. There’s the problem of the fate of Ben Solo. In a way, that’s the easiest and simplest one to deal with. Death was always on the cards as a possible ending for him. A tragic hero who commits terrible acts is redeemed in death by saving the world. The death of this character is... not a surprise and has always been an ending I worried about because I’m a shipper and I like happy endings over sad ones. And I’ve been very convinced by the meta and arguments of shippers who have argued passionately that Ben had to live. However, arguably the problem is not the death in itself but the circumstances and the context. So I’ll come back to that.

The second problem is that of Rey. Rey’s development (or lack of it) and especially her ending. Yep. This is a big problem. Far bigger IMO than the death of Ben which, while tragic, could have been beautiful and fitting.

Thirdly, is Ben and Rey together. Reylo. Their relationship and the way it plays out and the way, ultimately, all of this breaks the mythology being established in previous films.

So three very interlinked problems.

To summarise. In TROS Kylo regresses to being the Supreme Leader and trying to source dark power. This is not terribly surprising considering the ending of TLJ. Rey also regresses to someone who is training and who does not believe she is worthy of Luke’s lightsaber. This is surprising because Rey has already accepted her destiny and her role as a Jedi at the end of TLJ. There is no reason for her to feel insecure about it a year later in TROS.

Rey and Kylo connect through their Force Bond and fight. Their anger is understandable but these fights continuously rehash exactly the same material as what was covered in TLJ, leaving me feeling, well, not very much. Kylo is trying to tell Rey something about who she is (a question that was resolved in TLJ) and Rey is angry at him because of reasons. 

There are some good parts here. Unlike a lot of people, I really liked the fight at Pasaana. I felt it took something from TLJ and added something else. It was a rehash of the throne room fight over the lightsaber but while that conflict was entirely personal over an object that meant something to them but not the wider population (beyond what it could do as a weapon), the same conflict here was over a transport ship containing real people and Chewie (apparently), a character of importance to both. So what happened is that their inability to reconcile with each other and meet half way is manifested in a completely balanced conflict which has a living cost. Chewie dies! Rey kills someone dear to her - accidentally, sure - but she now has a body count showing how truly destructive her fight with Kylo is. It is a symbol of how necessary it is they work together and find balance. Daisy Ridley’s acting here was great and I felt genuinely shocked. Shocked that Rey plunged so immediately into a kind of darkness that put her on a level with Kylo and shocked that Chewie was killed off so casually without warning or build-up - a real casualty of war and the raised stakes in this film. I thought it was a great way to build on TLJ and extend it.

So you can imagine how I felt when Chewie’s death was retconned.

Pretty similar to how I felt when C-3PO got his memory back.

I will probably talk more about this in Part Three, which is my wider issues with the film, but it’s sort of unavoidable mentioning them here because of course the way the film invalidates serious emotion by showing in so many ways that Death Is Not The End and is consequently meaningless impacts on Reylo and the fact that Ben dies.

Another nice moment was the snatching of the beads through the Force Bond. I mean, Kylo literally stole some fertility-coded beads from Rey’s neck!? Uh, this subtext is rapidly becoming text, as they say. Pasaana was weird though, right? Rey talks to children, is at a festival of life, she is fulfilling her role of becoming a symbolic mother which she started in TLJ and which fits the child Jedi at the end of that film (who was never seen again but we’ll deal with that later) and Kylo receives a gift of a necklace (a feminine symbol) from her immediately afterwards... This is pretty hot and heavy symbolism. Of their union and a future involving children, real or metaphorical.

And Rey learns how to heal with the Force, trying it on a giant worm as practice. This fits with her heroine’s journey - she is not using the lightsaber (a symbol of masculine power) but is using her power to preserve and save, which is feminine power. So far so good. I mean, it’s a shame they are wasting all these Force Bond sessions backtracking on TLJ to the extent that instead of enjoying their interactions, I’m going “Yeah yeah yeah okay but we’ve already done this but better”. But there’s still development so it’s okay and sometimes it’s even kind of hot.

Rey Palpatine. 

Oh dear.

Look, it’s not the thing itself. The union of a Skywalker and a Palpatine, the balance coming from the union of two great families on either side of the Force, is honestly not a bad idea at all. Ben as the Skywalker with a bit of darkness in him balanced by Rey the Palpatine with a bit of light in her. BALANCE. It could be beautiful. 

Unfortunately it isn’t. Rey’s lineage was resolved really well in TLJ. Rey Nobody is a great idea for all the reasons everyone already says - opening up the Force to everyone instead of keeping it as a kind of aristocratic lineage etc. Retconning this is really unnecessary and also sends a terrible message to the audience, especially women, as everyone has already discussed to death. Rey is literally told her power comes from a creepy old man who won’t stay dead instead of something innate within her. Instead of letting the past die, we are digging it up like an overzealous and ignorant 19th century British aristocrat let loose in Egypt with a pick-axe and period-applicable racism. Rey is then told that her parents sold her and abandoned her… to protect her. Another great message. And apparently Luke, Han and Leia all knew this?????? Honestly, I was confused by all this when I was watching the film but from what I’ve read afterwards it seems this is the case and in which case not only does that not make literally any sense at all in terms of what happened in TFA and TLJ but also has pretty awful implications for the OT characters and how they related to Ben. 

As I mentioned, it is also unnecessary for the plot for Rey to be a Palpatine. If Palpatine has to come back (which he doesn’t but okay whatever) then surely it’s enough that Rey is extremely strong in the Force for him to either want to kill her or want to control her? Like, literally that’s what he did to Anakin. Why does she have to be related to him unless the film is making some very unfortunate conclusions about blood. Good blood, bad blood… yeeeaaaaaah, this isn’t great as a message. It could be but that’s not the story the first two films have told. Also does Palpatine want to kill her or control her? Like, I’m genuinely not clear on that. I’m not sure he is. I’m not sure the film is. What is actually going on? Also if Palpatine has been controlling Ben his entire life why the hell didn’t he control Rey? Surely it’s easier to invade and control the mind of his own flesh and blood than that of another random Force child he isn’t related to? Who is surrounded by other powerful Force users? When Rey is all alone? Like if Palpatine is able to build up an insanely massive army that nobody has noticed across the Galaxy while still being kind of dead, surely he can access the mind of Rey on Jakku? Also, how did he manage to impregnate a human woman while being sort of dead and old? On both a mythical level and on the level of a question of taste and plausibility, HOW??? 

THIS PLOT MAKES LITERALLY NO SENSE WHAT IS GOING ON AAAARGGGHHH 

And breathe. 

So anyway, Rey Palpatine. Rey and Kylo fight and Rey kills Kylo. It didn’t really work for me though I’d have to watch again to figure out precisely why. This epic, wet fight just… wasn’t quite as epic as I expected it to be. Maybe it was because Finn was randomly there. Maybe it was because it didn’t have the dialogue from the trailer. Maybe it was because I was just tired of watching them fight and not seeing their relationship progress during the film when it had already progressed beyond this in TLJ. And she kills him like it’s a calculated thing when his guard is down and this whole thing is a mess. Now, it’s coming back to me! The order of events don’t make sense. The characterisation doesn’t make sense. 

Kylo and Rey are fighting. Leia gives her life force to communicate something to her son and dies in the process. I don’t quite understand what she’s doing and why this means she has to die. She’s not force projecting like Luke did. How is this different from in TLJ when she says “Ben” then and he waivers about killing her? She was fine after that! I get that they’re working with what they could for Leia but nevertheless, if you’re going to include it in an actual film, it’s still got to have internal consistency. Not that this film cares. Anyway, Leia dies to make Kylo pause and then Rey kills him which seems very rushed and kind of mean but whatever. Then Rey immediately uses Chekov’s healing to bring him back to life and when she does he’s Ben without a scar. So this is all confusing to me. Did Leia redeam him by saying “Ben”? Did she do anything else that makes sense of her dying? Did Rey killing Kylo bring Ben back? Was it Han’s memory? A combination of all these factors?

But the order strikes me as off. The death of Kylo Ren to allow Ben Solo to live is good. Excellent content. But all that is needed to do this is for Kylo to die – meaningfully (which being randomly stabbed by his lover at the moment when he was changing does not quite feel to me) and be brought back to life – meaningfully. I’m not saying what Rey did wasn’t impressive but I don’t remember being overawed by the music and the cinematography here. This is in many ways, or should be, the turning point in the entire ST: the moment when Ben Solo is reborn. And the exact moment of it happening is uncertain. And does he need the moment with Han’s memory afterwards? I’m not saying it wasn’t very touching to see Han and to have their moment together but it nevertheless didn’t quite gell. Like so many things in this film, it’s a nice moment that is over too quickly and doesn’t quite hang together with coherent plotting and characterisation. The entire sequence is rushed with too much happening – fight, Leia, death, healing, Han, lightsaber, RANDOM FINN etc. etc. And in fact, this moment that should be climactic is then later overshadowed by later Ben healing Rey in the same way, a completely narratalogically meaningless act. But more on that later. 

And I realise that in my hurry to get to this fight, I’ve forgotten Dark!Rey. Dark!Rey, like Rey Palpatine, is an idea that could and should be amazing and, apart from the cool graphics and a moment of gasp for effect, isn’t and fundamentally doesn’t work. Rey is struggling with her inner darkness throughout this film, something that was suggested in both TFA and TLJ, so I’m very much on board with it, and I think it’s important to see women on screen be angry and especially angry in a wild, ugly way. I think Daisy Ridley did a great job with that. But TROS attributed this anger and darkness to Palpatine rather that all the myriad and understandable reasons that Rey had for being angry. Perhaps that could work in some contexts as a metaphorical way of showing her anger but Palpatine is too present physically for that to stick. Instead, her characterisation is given wholesale to her genes and a male influence. This is… not great.

Confronting the dark part of one’s self is vitally important in the heroine’s journey. Only when the heroine has reconciled the dark parts of her psyche can the heroine be whole. TROS has worked out that this important but then hasn’t really known how to execute it. The physical manifestation of Dark!Rey for Light!Rey to fight is hellishly unsubtle and is also over so quick you quickly forget that she’s there. (Again, momentary effect is prioritised over anything that actually makes sense in terms of storytelling.) As a manifestation of Rey’s inner anger, she’s completely pointless. Rey fights her quickly but fighting Dark!Rey doesn’t result in Rey unifiying her dark impulses with her heroic self. She still has dark impulses throughout the film! In fact, she never succeeds in fully reconciling them. If defeating Dark!Rey had been a striking and climactic moment then that would work, but it doesn’t. She continues to fight Kylo straight afterwards and Kylo himself is in some respects (certainly in TLJ) a physical manifestation of what Rey fears and needs in herself. It is Kylo who is truly Rey’s dark double in TFA and TLJ. He tells her what she knows and cannot admit, forcing her to confront that in herself. He attracts her yet repels her. According to what is set up in TFA and TLJ, until Rey can both kill Kylo and reconcile with him, she is not conquering and reconciling with that part of herself. After all, they are two halves of one protagonist. But in TROS Kylo no longer seems to take that role, or not coherently. For example, he delivers information (“Rey, yer a Palpatine lol”) that she doesn’t in fact know. So it doesn’t work. And yet it also doesn’t work that Rey fights Dark!Rey and then immediately goes off and fights Kylo! One of those fights is redundant, perhaps both. If Dark!Rey had been a real character who does stuff, who tempts Kylo, who replaces Rey (Odile/Odette-like) then this would be meaningful. But she doesn’t. I know that some people are arguing that Rey in the subsequent fights is possessed by Dark!Rey but honestly? I did not see that in the film and I just do not think the film is sufficiently coherent to be that subtle about something that is such a major plot point! So she continues to struggle with darkness even after supposedly defeating Dark!Rey which is just nonsense in terms of mythology. She struggles all the way up to her confrontation with Palpatine. 

So let’s get to that. Look, I’m going to be completely honest here: I have no idea what was going on. Palpatine was rigged up on a crane on creepy evil villain life support, there was a giant jam jar filled with pickled Snoke heads, Rey was there, Ben showed up having thrown away one lightsaber but then found another two lightsabers (there were a lot of lightsabers, I couldn’t keep track of which was which and why they were significant), the Knights of Ren were there to do a soundcheck for their upcoming gig IDEK, Finn wasn’t there which made a change and Palpatine wanted Rey to kill him so she would become super powerful until he didn’t want her to kill him. He was tempting her and used the standard threat of “I’m going to destroy the universe unless you take on these super dangerous powers to stop me but if you do then you’ll be evil yourself mwhahaha”. I’m not sure really how that benefits him. Was his end-game plan to build up a massive Sith Empire for his darling granddaughter to rule, ignore her for years in favour of corrupting Ben Solo via some dude called Snoke and then reappear from nowhere in order to die again so she could rule? Because that’s a really, really flawed plan. Like, my cullender is less holey than that plan. I may have got this wrong. But before anyone jumps in to “Well, actually” me, my point is valid: I’m an intelligent viewer who spends plenty of time thinking about SW. If I couldn’t follow the main reveal plan in the climactic film of the ST, then… that is a flaw in the writing and conception. It shouldn’t be that difficult!

 Anyway, back to Rey. She is being tempted yet again (which she shouldn’t be by this point in the film or trilogy) and, briefly (though I’ve mostly given up on hope for this film by this point) I am engaged by her quandery. I think it would be really interested if she takes the power offered and fully embraces her Palpatine heritage – she becomes a Sith in order to save the lives of her friends! Perhaps Dark!Rey was just a warm up to seeing the real Rey transform into Dark!Rey. Then Ben has to save her! As she has saved him from being Kylo Ren, he will save her from being Dark!Rey! Balance. So I think that could be interesting and it raises some interesting moral questions about whether doing something bad for good reasons is ever justifiable. But of course Rey resists! Rey is not allowed to actually do anything bad in this movie! It’s infuriating! Rey is completely good. I think the message the film thinks it’s giving out is that Rey is more than her ancestry – that she is good despite being a Palpatine, that everyone has the power to move beyond their background. Unfortunately, that message was already there when she was Rey Nobody! And the actual message is that Rey is a static, pure character who despite apparently containing darkness is never in any way truly tempted by it or gives into it. Any narrative tension over whether she will succumb or do something interesting is very rapidly dismissed. Just as Chewie’s death is retconned and C-3PO gets his memory back. 

Anyway Ben arrives and they somehow have two lightsabers (???? whatever) and stand and face Palpatine and I think at this point we need to talk about how this is just waaaaay less impressive on every level than them facing Snoke in TLJ. There was tension there and uncertainty and when they fought together it was genuinely breathtaking and surprising. There was no surprise about Ben and Rey facing Palpatine together, but there was a tired feeling of “Oh look, we’ve got to face off against another creepy old man who wants to hold onto power for evil after his time is well over. Oh well, I guess if we have to…” If nothing else, this sums up the Millenial experience very well! Ultimately, not only is Palpatine a confusing final villain, he’s also a boring one. The Chancellor in the PT was interesting on a political level, the Emperor was truly creepy as a foil to Darth Vader in the OT, but this fossil on life-support is neither scary nor original nor even particularly threatening.

That’s the thing with escalating the threats continuously – it becomes meaningless. Making the Boss bigger and badder and threatening the Universe instead of the Galaxy doesn’t make the drama more exciting, it just makes it less believable. It looks very impressive to have the entire sky filled with ships and the threat of Palpatine destroying everything but it’s also ultimately meaningless. A massive threat just means a massive reset button or deus ex force lightning. Superhero movies are very guilty of this terrible storytelling, so is Doctor Who. First London faces an alien threat, then England, then the planet, then the Galaxy, then the Universe… and where do you go from there? The audience doesn’t care about the world at large, they only care about our plucky little heroes and their lives. If Palpatine had said “I have Finn and Poe and if you don’t take on these Sith powers I’m going to murder them” the effect would have been the same, maybe even better because Rey’s dilemma would have been even more personal. Hey, another interesting idea: “I have Ben. Only way to save him is to adopt Sith powers!” Anyway.

So this confrontation is yet another less impressive copy of the throne room scene in TLJ. The lore also gets confusing here. Ben and Rey are tortured which makes no sense because doesn’t Palpatine want Rey alive? Not sure what he’s trying to achieve here except it makes our heroes look powerless. Then Rey takes on the force lightning and does some snazzy special effects to win the war very easily. So easily that you feel no emotion whatsoever at how easily this massive army of ships is instantly wiped out. (Side point, but I’m guessing there were lots of people on those ships and Rey’s just killed them all? And considering we’ve just got an admittedly half-baked but still a plot about the defection of storm troopers, isn’t this just a bit concerning? But Rey can do no wrong and it’s all for the greater good because this is the Light Side of the Force and she is All The Jedi so I guess we’ll just pass over this casual genocide on the part of our heroine.) This seems to kill Rey despite Palpatine telling her to do it to get more power a few minutes earlier. No seriously, isn’t this what happens? I’m so confused. At which point Ben force heals her as she force heals him and whereas she was fine and dandy after doing it, it kills him.

Which… okay. Is a thing that happens. It’s hella inconsistent. And makes no sense. But okay, I mean, okay. I wasn’t even sad. I was just like “…right.” And fortunately the film immediately moves on and completely fails to acknowledge Ben’s existence while triumphant music plays. So that’s a thing.

Remember how I said at the beginning of this meandering dissertation that I was always aware of Ben dying being a possible ending but it was the execution that failed here? Right! Well, the thing is that every time a death happens in the context of a hero’s journey, it’s got to mean something. In a world where people can be resurrected and, uh, SW is very much that world (or it is in TROS), then you can’t just die for no reason! And neither Rey nor Ben’s deaths made sense. Rey absolutely needs an underworld journey as part of her heroine’s journey but her death near the end of the film does not fulfil that criterion. An underworld journey is a way for a heroine to shed part of her behind, to learn something, and to confront herself. The cave scene was Rey’s journey to the underworld. Arguably, the scene on Pasaana where she learned force healing was another type of katabasis. Heck, you can argue that when she finds the lightsaber in TFA it’s a katabasis or when she ships herself to Ben in a coffin it’s another. Like. Rey has lots of metaphorical underworld journeys. But when she dies at the end of TROS she has already reunited with Ben, she has no darkness in her that needs to be purged because she never waivered from the light and when she is brought back she is the same person she was before. Unlike Ben who comes back from the dead literally a different person. So Rey’s death makes no sense either in terms of the magical world and powers in play but also for her heroine’s journey. Maybe she could have collapsed. Maybe the effort should have drained her and Ben of their Force powers – a sacrifice for using powers they shouldn’t have touched. That would have made sense and would have been entirely fitting. But death? Nope.

And Ben’s death consequently makes no sense. Force healing has been established within the very same movie to have no real consequences on the user (also similarly established in The Mandalorian) so Ben’s death makes less sense than anything else in the entire film. The internal logic of the film says that there are no consequences for force healing. And then it kills off someone who does it. Sadness is not the reaction to that; confusion is. And then on a mythological level, Ben shouldn’t die. Kylo has already died. And Ben has been reborn!  I know it’s a meme, but Ben has done nothing wrong. Kylo has been punished for his actions and what is left is Ben. This is very, very clearly spelled out within the film. This makes Ben’s death a senseless tragedy that makes no sense, a final death in a film that has continually shown that death is not real or an ending. Except for Ben Solo. Because… I don’t know? I’ve managed to go 4812 words without mentioning redemption but I guess I can’t avoid it now. I’m actually not a big fan of redemption because it gets all thorny and becomes about morality and specifically Christian morality and I’m just… I’m tired of that. I’m a classicist and stories of classical mythology and classical heroism have nothing to do with redemption and being good and evil and I really see the Skywalkers as a kind of Greek tragedy lineage rather than people who have to be redeemed. I know Vader died changing his mind and killing the Emperor for his son but I don’t see that as redemption. That was a man who had done many awful things making a choice out of love at the very end of his life. And again, Ben saved Rey – this was an act of personal love and had nothing to do with the Galaxy. Redemption seems to be an active, ongoing thing that is about more than the purely personal. Vader wasn’t redeemed and neither was Ben – because he didn’t have a chance. And it all gets confused because, as I keep saying, Kylo Ren died!!!! On a mythical level, that’s all that’s needed! Ben Solo, on a mythic level, has nothing to prove, nothing to atone for, nothing for which he requires redemption. On the level that SW is also a story of politics, if Ben had lived, he would have had to reconcile his past actions as Kylo Ren with his present experience as Ben Solo – and it would have been fair if he had to pay a penalty in the human world. But not the death penalty. Because he has already paid that. Ben succeeds in reconciling and facing off his inner darkness in the way that Rey does not in this film. But he is then punished again and dies needlessly and shockingly in order to save Rey, who also shouldn’t have died.

It’s very unsatisfactory. On a mythic level, it really doesn’t make sense.

And I haven’t even mentioned the whole thing about if they are dyad (lol I keep reading this as dryad and getting a very weird set of mental images) or two halves of a protagonist or soulmates or whatever you want to call it where if one dies the bond just remains as a wound. This is a scenario where Rey and Ben have been very clearly set up as a pair animus/anima hero/heroine who belong together whether that is in life or death. I’ve just been reading about Brunnhild and Siegfried from the Nibelung Ring Saga – they both die at the end when they’ve finally been reunited but they are united in death. It’s sad but their death is inevitable after what’s happened to them and it’s sort of uplifting because they are together. This could definitely have worked for Rey and Ben. And considering death doesn’t stop you appearing multiple times and even doing cool stuff like lifting ships out of the sea, it wouldn’t even have been very sad. The mystical hero/heroine who cannot remain in society once their journey is complete is not uncommon. Look at Frodo going off with the Elves in a metaphor for death at the end of LotR where the more down-to-earth Sam is able to stay and rebuild. It would make total sense for Ben and Rey to be unable to integrate with society at the end of TROS whether that means simply exile or death. So long as they are together.

Anyway, they’re not together which makes the whole thing horribly unbalanced and unnervingly wrong on a profound level. The myth is broken! It simply does. not. work.

But if the ending for Ben and Reylo as a whole was disturbing, false, internally inconsistent and emotionally empty, that’s nothing to the ending Rey gets. Lots of people have already written about this so I’ll try to be brief. Rey has no connection to Tatooine. Rey is not allowed to grieve. Rey regresses to a childhood state, her very definite, spelled out future as a symbolic mother being absolutely aborted. Rey takes as a family name one that she has no personal connection. Rey is left with absent friends and nobody but the ghosts of Luke (who she didn’t like) and Leia to talk to in the role of weirdly incestuous sterile parents. So I guess this is a win for the Luke/Leia shippers?

Okay, I just need to rant a moment. (Yes, this is 5556 words of ranting but you’ve got this far – indulge me?) I’ve seen several takes from people I follow who aren’t Reylos saying that this is a great ending for Rey because she has a family and I’m just like ARE YOU EFFING SERIOUS?????? Are you ACTUALLY trying to tell me that living alone on a barren, desert planet reminiscent of where she lived as a child before she heard the call to adventure, where she was symbolically asleep with nobody but the GHOSTS OF SIBLINGS for company and ABSENT FRIENDS is FINDING A FAMILY???????????? JUST KILL HER ALREADY – she’s ALREADY DEAD!!!!! You want to make me feel Rey at the end even if Ben is dead? Show her surrounded by her found family in the Resistance and show her WORKING WITH CHILDREN?????????????? IT. WOULD. NOT. BE. HARD. TO. DO. THAT. AND. MAKE. IT. UPLIFTING. But this -this is just painful, truly painful and insulting. And don’t give me this crap that she’s not living there, she’s just there temporarily to bury the lightsabers and leave and go back to her friends. WHAT ABSOLUTE BULLSHIT. This is the ENDING of a NINE MOVIE SAGA. The ending matters???? And the ending is of Rey alone with the droid she rescued two movies back staring at some binary suns that only matter to the audience and not to her. THE FILM DOES NOT TELL US THAT SHE IS GOING TO LEAVE AND MEET HER FRIENDS. THE FILM DOES NOT TELL US THAT. IT DOES NOT IMPLY THAT. So this is a bloody stupid argument.

Yeah, I cracked. I don’t regret it. This is so infuriating I actually have literally nothing to say about “Rey Skywalker”. Like, whatever. The film’s already done its worse. Just… whatever. Who cares at this point? It’s meaningless. I laughed in despair at the cinema screen and was glad it was over.

 The fact is, according to the heroine’s journey, this isn’t the end of the story. It makes sense that within 24 hours of the film premiering, AO3 was filling up with “fix-it fics” where Rey goes to the World Between Worlds to get Ben back. Because that’s what heroines do. They save their loved ones. They do it patiently and through endurance. And they always succeed. And unlike heroes who go to the underworld to save their wives (cf Orpheus), heroines who go to get their man succeed. This story needs Rey, like Psyche, to go save Ben. She hasn’t finished her heroine’s journey. In fact, she is in many ways back where she started. Her attempts to integrate and confront her darkness have been confused and ultimately meaningless. She has not unified permanently with her lover yet. She has not become either a literal or symbolic mother. There is a stage in the heroine’s journey where she retreats to where she comes from for reflection and growth. That is acceptable. But that is not the ending!!!

And to place this ending of the film, with Rey smiling and saying “Rey Skywalker” as if this means something and some triumphant music over the top alongside what so many viewers feel instinctively, namely that the myth is incomplete and broken, leaves the audience – or at least it left me – feeling cheated and empty and bemused about why it feels so wrong. Ultimately Ben dead and Rey pregnant would make more narrative sense than the sterile and barren and infantilised ending we were given. And that was just about the worst case scenario of bad writing that we ever thought could happen. 

The myth is broken. Good night.

(Tune in soon to the much shorter Part Three where I discuss everything else that isn’t Reylo related that is wrong with this movie.)

#star wars #reylo #tros spoilers #the rise of skywalker #anti tros #kylo ren #ben solo #rey #meta #sw meta #i haven't read this through #it's after midnight #but i feel helluva lot better for having finally written it

[navollidiot]

i know there is and will continue to be a lot of controversy about the hate crime scene, so if you don’t want to read this post because you won’t agree with me criticizing it, then don’t read it, don’t clown on it, just don’t interact and move on with your day, i’m not taking names and hunting people down for their opinions especially when i do not personally know most of you.

obligatory statement: i’m not cis, not het, not white. do not be a bigot on this post :)

i remember very clearly the night that clip dropped + literally spending the next 2 or 3 days scrolling through the tag to read every single post in there to gather all of the opinions that i could find, everything from people who had been following the season from the very first second of the first episode, to people who were only casual viewers, who had not offered commentary before that point and only came out to share their opinions after the enormous shock wave that clip generated throughout the fandom. i don’t even think that sander running out of the hotel in episode 8 caused nearly as much of an uproar, mostly because the majority of us knew that was coming (though i do remember the outrage that we didn’t see robbe find him until it was past midnight, which is also completely understandable).

over those next few days and the following weeks, i saw the full spectrum of opinions continue to expand as more and more people gradually processed what they had seen and began to come to their own conclusions about it, especially those, like mine, with many layers of conflicting emotions. some even shared their own stories that were deeply personal and brave and heart-wrenching and hope-giving. what was pretty universal, however, was that no one saw the hate crime coming. it wasn’t in og, it hasn’t been done in any other remake, there was no hint or warning whatsoever that it was imminent. i know part of that is probably the production thinking that was an appropriate way to show how something like that can unfold in real life. do i agree with how that decision was made? ultimately, no. i’m sure that plenty of you also share that opinion to some extent. i’m sure that many of you also excuse, turn a blind eye to, or even defend the hate crime’s necessity and importance. i’ve said before that it’s not a black-and-white situation and i continue to stand by that. i also stand by the opinion that the writers handled the execution poorly even if they had good intentions. intention ≠ impact. there should have been a trigger warning. there should have been a better and more assertive resolution in the following episodes, like there was for zoë’s season (which was very well done and makes me confused why they didn’t give robbe the same treatment but i digress)

“but iT’S REALISTIC—” yes, it’s realistic that gay people experience violence for being gay. no one is denying that this stuff happens. but the aftermath of the incident, which robbe discussed only briefly twice with milan (and senne, but robbe never told him the full truth of what happened) and then was not addressed further, even when it was at some points clearly mirroring zoë’s struggle with testifying against viktor? that was not realistic. i recognize the very real possibility that they are going to drag the assault into s4 to show how robbe’s storyline impacts however they’ve written yasmina’s arc, but whatever they have planned for her honestly terrifies me to no end because we have never had an adequate sana season that does the muslim main justice. i am including og in this, for those of you who have not seen it. i’m sure that many of you who have seen skamfr s4 and druck s4 agree with me. it goes without saying that i believe they should have addressed the assault before robbe’s season actually ended in order to minimize the amount of interference that he would cause in yasmina’s season. don’t mistake this as me hating on robbe; he is one of my favorite isaks hands down. i can simultaneously love his character and hate what the writers did with him.

“but wiLLEM SAID—” first of all, if you yourself are straight and you are pulling willem’s words from the article to defend your opinion, i want you to step back from the situation and examine the details a little further. willem herbots, for all the speculation that has gone on, has now stated outright with no ambiguity that he is straight. i do not deny his talent as an actor; anyone who follows and reads my tags knows that i have many times before praised his skill in portraying robbe as intimately as he did in s3. but the hard pill to swallow for a lot of you is that by being straight, he lacks the inherent nuance that only personal experiences and struggles with sexual identity can bring to a character whose arc literally revolves around internalized homophobia and coming out. no amount of research can help him understand robbe’s character the way a gay actor would. and to be clear, this is not a moral condemnation against him; i’m not blaming willem for being straight, which is a wild thing to have to state lmao but you never know with tumblr. i do harbor the same sort of apprehension that i harbor towards any straight actor who plays gay roles regardless of their reasoning behind it (most of it falls somewhere along the lines of “i wanted to challenge myself” which honestly is such bullshit to me). but, to my knowledge, we have never had a single male isak who was played by an actor who is lgbt+ irl (i’m not counting skamesp because lucas doesn’t fit the original mold since he’s both isak and eskild, sorry if you have a problem with that), so i’m not exactly surprised that wtfock hasn’t broken that mold. saying all that, i do think he is incredibly sensitive and compassionate for his age and amount of experience, and it is rare to see someone answer questions with the kind of sincerity that comes through even in what appears to me is a fluff piece that is meant to please readers rather than present the most objective truths.

i will link a post here that pretty succinctly sums up my view on what willem stated about the hate crime and about how this interview happened in the first place, but something that i did notice that no one afaik has talked about: notice how willem uses I-statements to answer literally every single question in the interview up until he’s asked about the assault, where he slips almost too obviously into the royal “we” that is often characteristic of pre-fabricated answers: “The only moment we really showed... but we really wanted to show the harsh reality of being out...  it’s not something we wanted to ignore in WtFOCK.” in the same paragraph, he uses “we” 3 times, where at no point before he had done so. of course, it’s possible that he did say it at other points and those sentences simply didn’t make the final cut for the article, but i still think it’s pretty telling that all of his other answers are so grounded in his personal, individual thoughts and experiences, but that specific response is so stilted and formal it’s almost awkward. it’s very likely that he was regurgitating an answer that was fed to him from higher up, precisely because the production knew from fan responses that it would come up in any self-respecting interviewer’s questions. these are very basic PR procedures within the industry; willem, at the end of the day, is a paid actor on a show that is still in production and is bound very tightly by his contract. do not expect at any point that what he states about wtfock is fully his own opinion, as whatever he says will reflect on the show’s reputation. this is also, more importantly, why you cannot automatically associate the words and actions of a production with the words and actions of its actors; i seriously doubt that willem h or any of the other cast members personally agree with everything the show has done, but i can tell you with absolute certainty that they are contract-bound to not share their full opinions while the show is still in production. he nor any of the other actors wouldn’t be allowed to criticize writing decisions even if they wanted to. finally, please note that i am in no way trying to lessen the impact of willem answering this question in this way, fabricated or not; i am only trying to present all the facts as objectively as i can because i’ve seen 50 posts today worshipping him for giving answers that likely did not come from his own actual brain. i am asking for a little of the same objectivity in return from you all.

finishing on a personal-ish sidenote: but i have never been more aware than in this moment how completely at odds the druck and wtfock fandoms are, like i knew during the run of robbe’s season, from some replies i was getting on posts and anons in my inbox, that it seems impossible to some people that people can like (and criticize) both shows. but now in the wake of this article, it really goes to show that both sides are ready at a moment’s notice to fight each other over matters that do not need to be fought about. we can all just talk through things and try to see each other’s perspectives and, sometimes, yes, agree to disagree. for a show that preaches “everything is love” left and right, certain people really do not seem to take that message to heart. just to be clear, im not saying that you should lie down and take people’s bullshit, but i am saying that we should hear each other out more instead of jumping to conclusions based on thirdhand information.

in conclusion: no show/film/book/other form of media is perfect and we should be allowed to bring attention to their problematic aspects without being accused of blindly hating on the aforementioned medium overall.

tl;dr criticism ≠ hate, take what willem said with a grain of salt, the assault scene is not black and white, im fuckin exhausted

#wtfock #wtfock cast #willem herbots #i was gonna put this under a read more but i need yall to read this whole thing lmao #also if there are weird mistakes or jumps it's bc i jumped around from bullet to bullet writing this and only read through it once #there are also things that i did not include here bc i thought they would be called ~drastic~ but if u wanna dm me or something #trust me i have More Opinions

[madsdefencesquad]

Hey, I really love your posts and I see we have similar points concerning Mad and Kevin. :) However, I wanted to ask you if you're confident she will be Kevin's endgame. I personally think she is the most likely contender considering all the hints the show has given to us, Justin's and TPTB's interviews and everything... I just try not to expect anything to avoid disappointment, but there's indeed more evidence to Madison being his wife than Cassidy or Sophie. So, what are your thoughts?

Oh my goodness, likewise! Absolutely love your posts about them too

I am pretty much 99% certain that they are endgame. And I’m not just saying that because of the overwhelming foreshadowing in the show itself and Justin’s interviews, etc., but because it makes the absolute most sense for the show itself. This Is Us is a masterfully crafted show about the realities of life that weaves different storylines and characters together in a way that makes ridiculous sense once revealed but without taking away from the conversation and the build-up and the questions/debates for the fans to pore over between episodes and seasons. And that’s why the whole Sophie and Cassidy (and really, all of Kevin’s other women) are in fact, red herrings to Madison being his greatest romantic love. They are part of Kevin’s journey, but not the destination. It has and always have been Madison all along.

The 1% doubt I have of them not being endgame is if 1. the writers suddenly go “Oh well, I guess Sophie’s a fan-favourite and we better please the super loud Sophie and Kevin shippers and/or the hopeless romantics” and honestly, I really don’t think they’re going to go this route because never once have they apologised for the decisions they’ve made in the past controversial or not (esp. regarding Miguel); 2. if they do a completely off-kilter writing decision like kill off Madison (which they won’t because this isn’t some soap opera, for crying out loud) or 3. if they decide to throw away all of Kevin’s character progression in all 4 seasons and by goodness, are we really going to go full Game of Thrones again (or HIMYM) because I will be 10000000% done. I trust them enough to not make such a devastating writing decision.

Season 4 was the season that really cemented it for me that they have planned for their eventual coming together all along. This season, we saw the opening and closure of Cassidy who, mind you, is actually not even that relevant to Kevin’s life apart from making him realise that he wants to have a family that he can take care of. Sure, they can bring her back again as a romantic rival or whatever but logically, how would that even make any sense? Kevin’s not going to all of a sudden leave Madison behind while she carries their children. He’s going to be spending all of his time and energy with her. He is all in. And also, they’re in a completely different state to them and I doubt Cassidy will just leave her own son behind for the sake of pursuing a romantic relationship with someone who is also expecting children with someone else. LOGIC, sis! They were also never in love either!

And even more importantly this season, we saw the closure of the Sophie arc. This may be controversial for a lot of stans (mind you, I loved Sophie too), but if they still believe they’re going to end up together, then we may be watching a very different show altogether. Sure, we can argue that Sophie looking at the ring may play a part in that like, the writers may make Sophie break off her engagement after realising she wants to be with Kevin, and hey, they can use it as another “obstacle” for Kevin and Madison but let’s put our logical hats on, shall we? So, let’s say they do go that route and Sophie comes back to the picture, do we seriously actually want Kevin to leave the woman, who is the mother of his children and the person that he fell so in love with that he went about and proposed to her so they can get married and raise their family together? Not to mention how much of a blow this is for Sophie’s character too. Do we really want her to only exist in Kevin’s life? Like, she can’t have her own happiness with Grant and the future they’ll have together too? That shot of her smiling/laughing upon seeing Kevin’s perfume ad was the biggest giveaway. Like Nicky, she found it amusing because she knew Kevin, not because she was pining. If you saw that as pining then, we are definitely not watching the same show lol Also, during the “What If” ep with Randall, I was so keen to see what would happen to Kevin and I told myself that if he’s married to Sophie in this What If, then that’s it. Sophie’s 100% not gonna be his endgame. And sure enough, she was. And I was like oop there it is.

The only other reason that I can think of for them to not get together is if Madison decides to not go through with getting married. But again, logically, why would Madison, who already told Kevin that she will not ask anything of him when raising the kids even say yes to marrying Kevin in the first place? Some can argue it’s because of the hormones and how overwhelmed she may have felt during the pregnancy but really, I’ll only understand this route after season 5 because right now, we have zero evidence on how they are like with each other as they navigate this pregnancy together. And even then, I’ll still be hard-pressed to believe that she’ll just say yes to Kevin, let alone have Kevin propose out of nowhere too. The fact that he didn’t pursue Sophie at her mother’s funeral showed that he’s grown. He knows how his decisions can hurt others. He didn’t promise Madison that he’ll fall in love with her and become her husband when he said “all in”. He said “the love of my life will be my child” to assure her that he will be there for their baby/ies; it was the responsible adult response for the woman, who is carrying his child. CHARACTER DEVELOPMENT (please don’t throw it out the windowwww).

Also, the amount of times they’ve tried to make us think that Madison and Kevin are not going to be each other’s endgame to the point of ridiculous is another huge reason as to why they are going to be. Like, why emphasise it so much? Madison literally talked about it TWICE in one dang episode! If they really aren’t going to be, SHOW US, DON’T TELL US. Because right now, we’ve got two seasons left of the entire show and since next season is all about them getting to know each other that leads to them falling in love and to the proposal and then the rest is navigating this new relationship they have WHILE parenting AND leading up to getting married PLUS Kevin and Randall’s fight and Rebecca’s situation, and to do all this in TWO SEASONS ONE OF WHICH IS THE FINALE THAT CONCLUDES EVERYTHING, then they have absolutely no time whatsoever to bring back another woman in Kevin’s life or introduce another one (!!!!). We’ve already got enough characters and storylines as is.

Anyway wow, this is soooo long (I’m soo sorry!!) but I just have sooo much to say! But TL;DR they make the absolute most sense in a logical, realistic, foreshadowed, mega-hinted, clued-in, stop-emphasising-that-they’re-not-endgame-in-every-scene-because-you’re-making-it-obvious-that-they’re-going-to-be kind of way and that is why they are going to be endgame. 

#this is us #whew that was a long one #but happy to get that out of my chest #thanks for the ask girl #appreciate you <3 <3 #let's keep talking away about these two! #I never saw potential in any of Kevin's romantic interests in the show until now tbh #it just makes sense!!! #also they be aesthetic #and can you imagine the rom com potential of these two #wiiiiilllddd #also they are the epitome of enemies to friends to lovers trope #and honestly #who doesn't want that #kevin pearson #kevin and madison #this is us madison #ask

[donnerpartyofone]

while i’m apparently still in confession mode for some dark reason: 

after i told that awful story yesterday about the degrading one night stand that an older male friend spent a year bullying me into, i started thinking about all the cliches that are sold to us about the sexuality of precocious young women: what it means for us to navigate the devious emotional traps set out by the jealous and covetous world around us. what i mean is, there’s this whole gothic narrative that never stops circulating, involving beautiful, talented, intelligent, sensitive young women who are advanced enough to start exploring their own desires independently, but not experienced enough to identify the (typically) older male predators who hunt them. these men take advantage of their uninformed curiosity, leveraging their prey’s desire to grow up faster in order to control, possess, and abuse them. while this narrative is inherently criminal, society never seems willing to fully denounce it, preferring to preserve its erotic potency for a wide and slavering audience. the iconography of this narrative is mostly derived from Lolita–

[which btw our cultural failure to see that book as anything other than a “love story” is really disturbing and speaks volumes about our willingness to project our grossest ideas wherever we want, even when other interpretations (like “black comedy”) are abundantly available]

–a mature but fragile adolescent with that /special something/ innocently hypnotizes a genteel older man whose sophistication belies his uncontrollable animal desire for her, which is less His Problem than it is a natural response to her beauty and charm; a  forbidden love affair ensues. when i was young, i swallowed this concept hook line and sinker, hoping it would happen to me some day! i hated dumb little boys my own age, and i felt that if some Humbert Humbert type were to flatter me with his highly curated attention, then i would know that i had truly arrived.

“sadly”, i made it through high school and college without ever knowing that validating thrill. i wasted the latter half of my 20s on an abusive relationship with a guy two years younger than me, who often argued that he should be allowed to wreck my life however he wanted because he was “less mature” than i was and deserved more leeway. as i turned 30, i met the extraordinary person i would marry. i felt a profound sense of relief, entering my 30s; i had finished with so many of my old delusions, and the pulverizing pressure to have The Time of Your Life throughout one’s 20s had finally lifted. i looked back on my youth, thinking of it as a period of dreary, pointless misery in which “nothing really happened”, good or bad. but recently, when i started to think about it with greater focus, i realized that some shit really DID happened to me. i had just completely ignored it, because i thought of it as the fruits of my own bad taste. 

throughout junior high, i had a bizarre rapport with a guy in his early 20s–”nothing happened”, as they say, but this guy was sort of a freak and a loner, and i’m probably lucky that there wasn’t a lot of opportunity for something TO happen. then my supposed best friend, jealous of even this non-event in my sad little existence, forced a relationship with a 30 year old man out of nowhere, and competitively abused my ears with a lot of gnarly details about their horrible sex life. then in high school, my first two boyfriends were both pretentious manipulative dickheads in their 20s who really had no business bothering someone who wasn’t old enough to vote. some of my friends suffered from the same problem, though we all just felt like we were becoming independent young women or something. then there’s some other stuff with an older classmate who was abundantly aware of how emotionally unstable i was, and took appalling advantage of that for a long time, and i probably won’t ever be brave enough to talk about it. then in college i briefly “dated” a guy around 50 with whom luckily nothing bad happened before i got rid of him, but like, it really wasn’t cool, looking back–he made me feel incredibly obligated, and as he only informed me mid-stream, he was married with children. then i spent the rest of college getting dragged through the mud by a guy in his 30s who used his professional clout and well-honed manipulative abilities to “take my virginity” (a phrase and concept i hate, but which applies here), which he was very excited about; it would have been best if he had just abandoned me after that, as so many assholes do, because he then cultivated a long tawdry and extremely damaging soap opera between us, the only point of which was to make trouble for his actual girlfriend, who was ALSO much younger than him. and the end of college and slightly after, i developed another intense connection with a man a few decades older, who would never quite initiate a relationship, but who was insidiously manipulative and made me feel terrible when i eventually got a real (age-appropriate) boyfriend, as if i owed him something; i later found out he did the same thing to another girl that i know, who is substantially younger. the terrible one night stand, previously discussed, was just a gross little footnote to this disgusting history…

…but the thing is, i never, at any time, felt like i had taken part in the overheated archetypal drama that society has built up around may-december romances. i didn’t even see myself as a victim of the bad behavior of adults, of people who should and did know better; i just felt separate from the whole thing, even though i had fantasized about it so much as a kid. the thing is, at the same time that the Lolita narrative is inappropriately romanticized, it does provide an opportunity to see the girl as a potential victim, a Little Red Riding Hood who enters a perilous erotic negotiation with a Big Bad Wolf. because i didn’t see myself as the heroine of my own iteration of this overly familiar story, i didn’t recognize the degree to which i’d been exploited by people who knew to use my youth and inexperience against me. i just blamed myself. and the reason for all this is really sad: i simply didn’t feel attractive. in my mind, the vulnerable nymphet was always delicate, doe-like, elegant; clothes hung on her alluring frame in a way that created a dizzying paradox between her youth and her emerging maturity; she could dance, play music, or write touching poetry; she was preternaturally irresistible even to “good men”. she had to be liv tyler in STEALING BEAUTY (*barf*) or some shit; only somebody that compelling could star as the doomed princess in society’s well-loved fairy tale about statutory rape. personally, i perceived myself as ugly, awkward, socially burdensome, and most importantly, the kind of girl who should count herself extremely lucky to be the center of anybody’s attention, even temporarily. because i didn’t see myself as a damsel in distress who deserved protection and sympathy, i failed to spot my own victimization. i thought of my history of increasingly negative and abusive encounters with older men as a matter of bad luck, bad judgment on my own part, and ultimately, “the best i could do” if i wanted any kind of affection. so i guess the irony is that if i had identified myself as a desirable dolores hayes type, then yes, i would have been in serious danger of fetishizing my own mistreatment–but on the other hand, i would have had a more realistic framework for understanding the sinister thing that was happening to me. unfortunately, the other side of the misogyny coin–not the side that turns you into a sex object, but the side that excludes you from feeling sexually worthy at all–prevented me from noticing that that awful Little Red Riding Hood cliche had already happened to me several times over.

tl;dr - when misogyny convinces you that you have nothing to steal, then it’s hard to tell when misogynists are trying to rob you.

it’s funny to start recognizing this only now that i’m approaching 40. i see a lot of young women on tumblr heroically fighting to strike a balance between enjoying their kinks and avoiding the corrupt elements in their communities–all the while trying to stay aware of how their personal history and mental health plays into this drama. some of them are way farther along in that philosophical journey than i was at their age, and i really admire the work they’re doing. i’m writing this more for the ones who don’t even know that they’re already a part of this struggle, because they haven’t learned to see themselves as desirable enough to be included in it. that is to say, i wrote this for myself; but i have a sneaking suspicion that someone else out there needs to hear it, too.

This post brought to you in part by the very beginning of CABIN IN THE WOODS, which, while not a deep film in any way, features a salient moment in which College Girl #1 tries to tell College Girl #2 that the professor who took advantage of her is a scumbag, and College Girl #2 defends him, humbly and maturely replying: “I knew what I was getting into.” The blood freezes in my veins when I think of how many times I said something like this about someone who did not deserve my defense. If you got dicked over, literally and/or figuratively, by someone older, sober-er, and/or more experienced than you, then this is your gentle reminder that you really cannot be accused of knowing what you’re getting into.

#gpoy

[cruddyborderlandstheories]

i walk in 20 hours late sipping a starbucks hot cocoa

i don’t like coffee

promethea!!! 

awwwwww yis

tl;dr: uhh wow i talked a lot today, sorry. Mostly about whatever the fuck that thing Rhys is handing us is, how it ties into the dig site we see like maybe it’s a piece to activate it, maybe the dig site isn’t a Vault but instead a teleporter or something and needs multiple pieces to activate. so i guess kinda like a Vault but not that kind of Vault. Also if said dig site is actually on Promethea because that’s, like, DEFINITELY Elpis behind it. and like, okay, maybe we used the giant space gun to destroy the asteroid fields and make room for elpis and teleport elpis there, or maybe we teleported the dig site to pandora because it needs to be opened since Moon = Key and maybe Promethea’s moon was destroyed by the giant space gun (TM) and turned into asteroid belt, or maybe the dig site was always ON pandora and it’s not actually a Vault (because the Map would have pointed it out), but still. lots of possibilities here. oh and i go over the Battleborn easter egg and talk about Tannis is Not What She Seems (and pray she won’t end up being evil bc I love her) and I wanna believe the Eridians sent that message, not the cult ‘cause fuck those guys they probably can’t see the future they probably just adopted the name. also I ramble about how gorgeous this planet is for like... 30 minutes. but damn it really is pretty.

man this was a fun thing to wake up to and then have to wait like 8 hours to actually fully take a look at lmao

“Home to the Atlas corporation headquarters, Promethea is a metropolitan world covered in futuristic towers of chrome and glass. A recent siege by Maliwan has turned the urban environment into a warzone; their mechanized infantry patrol the streets, rodent/insect hybrids known as Ratches infest the sewers and back-alleys, and the Children of the Vault are seizing the opportunity to recruit displaced and disgruntled citizens. Atlas CEO Rhys Strongfork is getting desperate.“

“... Children of the Vault are seizing the opportunity to recruit displaced and disgruntled citizens”.

yeah that’s the most important part of this description for me. I really really like the idea of that, and it could tie into the whole Mayhem is Coming tagline for the game as, like many people have speculated, the Mayhem we hear about is the spreading of the cult/the psychos across the universe. A very interesting tie-in to the marketing campaign, as it’s clear we’re now the target of this cult propaganda, like the citizens of Promethea are (were? this is all past-tense since marcus is telling this story, isn’t it?)... like the citizens of Promethea were.

And we know that Atlas is trying to protect the citizens in the tunnels, so it’d be really interesting to see the two get into a direct conflict over a group of citizens. Like Lorelei tells us it's a hostage situation or whatever and we run in and it’s more of a brainwashing situation. Worse if the citizens decided to switch over without any brainwashing. oof.

im also curious about the number of hexagons we see on Promethea. The shapes look identical to the ones on Pandora’s page, so I’m curious if this is an accurate representation of how many areas will be on each planet.

just sayin’.

We do know that Pandora has more than those 3 listed areas (from Supmatto’s new video! can’t believe i missed the stream. ah well.)

“Covenant Pass”. I wanna believe this is near the area where we go find Sanctuary-III, at the very least that one tunnel-y area?

you know the one

this one, it’s right next to Sanc-III afterall.

Also thinking it may not be the name of a huge area, but instead the name of one of the smaller areas within that area? like the ones where when you discover it you get experience points? yeah.

the name makes me think this is someway related to the CoV cause of the word ‘covenant’, an agreement. We also know this area is directly near this one bandit camp which I’ve theorized before is a sun smasher camp

(you can see the back of sanctuary-III near both areas) 

so it’s possible there was an agreement made and both could pass freely through that one tunnel, or the twins were able to build that wall close to this camp. idk, just spitballing ideas.

So then it is possible there’s only 3ish areas on Pandora, but I really hope not unless they are BIG areas. There are most likely more than 3.

oh but we’re here to discuss Promethea

sorry i forgot.

For Promethea we got the Titan Skyway, the Atlas Campus, and the Meridian Seaport.

Titan Skyway reads to me like that giant road we keep seeing in the trailers 

like this one, which is giving me huge Bloodshot Stronghold (Damtop) vibes. Which is one of my favorite levels to play as melee Zer0 with execute and many must fall so... please let this be what i think it is. i may end up running that map just for funsies at the end of the game. mm if it didn’t take running the actual bloodshot stronghold every time i wanted to play the damtop level, i’d be running it all the time. sigh.

Atlas Campus immediately made me think of the Meridian Metroplex, but that’s definitely not it. In the instagram trailer we see Rhys on the ‘Atlas HQ rooftop’ with Zer0, so I’m gonna imagine Rhys is somewhere in the Atlas Campus.

Now if this is like an actual college campus, which i don’t think gearbox would do due to the implications, that’d be wild. I heard they had a mall designed for somewhere in the meridian metroplex, but we’re probably not actually allowed inside. which makes me sad, but also it probably holds no significance on the story. but then again... neither did caustic caverns. hmmmmmmmmm

oh also rhys is holding

whatever the fuck this is

uhhhhhhh... huhhhhh...

tbh i legitimately thought this was their attempt at macgyvering a vault key at first lmao

i know it’s a mission object because it has those glitteries, but... it reminds me a bit of Gortys’s core but i really don’t think that’s it. maybe another Atlas project to try and open a Vault? It just doesn’t look Eridian to me.

then again

this appears to be at the eridian dig site so... maybe it actually is Eridian. Definitely new to me.

some way to get inside the Vault area maybe? I can’t imagine that’s the actual Vault Key, because the one we see in the We Are Mayhem trailer doesn’t match.

you know i’ve been thinking more about vault colors

this one appears pink which... alright. maybe something to do with seraphs/seraph crystals.

The bl1 Vault was blue, the bl2 Vault was purple, the Vault of the Sentinel was... purple? blue? pink? all of the above? ... bisexual? tbqh there was a LOT going on there lol. wasn’t the Vault of the traveler yellow? either way

the big question here is: does each Vault have its own color scheme?

I wonder what that means since the Vault Mey has turned red now... it’s probably leading us to the big boy. the Vault to end all Vaults. 

now wouldn’t that be fun

right back to Promethea sorry

final listed area we get is called the Meridian Seaport. Which, if you know me, has got me all like 👀👀👀👀👀👀

water area? why yes PLEASE

i was actually talking to someone on reddit about said ‘seaport’ and it got me wondering if maybe this area is where we’ll find that one car from the Mask of Mayhem trailer. 

i can’t imagine what else those wing-like things on the side would be for. but i am definitely not a car person, like the closest i get is being a fan of Transformers, so maybe someone can enlighten me.

I am wondering if this area is the one we see in the instagram trailer with Moze

here

also i know we see water near where we find Zer0 in the demo, but that’s not really a dock area, more just a viewpoint. this has me thinking it’s an actual dock because the buildings are all off in the distance. It reminds me a lot of NYC actually lol

and interestingly enough i write about an assassination mission at a port on Promethea in one of my fanfics, but tbh i wasn’t actually expecting anything like it to be in-game. That was kind of an assumption I made since the area with Zer0 had water and I can’t believe I’m going to have to go back and edit it to be canon-compliant, cause I legitimately didn’t...

anyway.

Should i go over the instagram stuff now? I feel like i should go over the instagram stuff now.

see here is my problem with this

no moon

you’ll understand why once i compile my evidence

no moon

no moon!!

no moon

i even watched both time lapses during the amd stream and there was no hint of the moon (i understand promethea is in a state of perpetual twilight, but i thought maybe it would show up somewhere. it doesn’t. in fact it only shows the sun and this asteroid belt).

where is my moon, randy?

well let me tell you what i’m thinking here so you’re not even more confused

let’s go through that instagram video showcasing Promethea again

you should recognize this!

this is from that one video i reblogged like 4 times because i kept debating whether or not it was on promethea or pandora. now we can assume it’s on promethea but let me ask u something

if promethea doesn’t have a moon...

what the everloving fuck is that?

in fact, let me ask something

what does elpis look like in bl3?

look familiar?

hell yeah it does

now...

is this actually promethea?

I can’t imagine gearbox would be using footage that ISN’T from the planet they’re showcasing in a video about said planet. because that’s naughty. Plus, Rhys is shown giving us something that looks very similar to the tech in that area, and I can’t imagine we’d go through all that trouble just to get that tech then immediately go back to Pandora with whatever it is. whatever happened to the Promethean Vault Key we see in the We Are Mayhem trailer?

so there’s 2 options here if we’re under the assumption that dig site is/was on Promethea.

This dig site was moved from Promethea to Pandora

OR

Elpis was moved from Pandora to Promethea

Now i went over ALL of this in an old post. (seriously, give this a read if you haven't already, i go into this in a lot more detail than i will here). but we kinda got some new information.

My first instinct is that this dig site is on (or moved to) Pandora. just, 100% Pandora. the moon, the spiky rocks in the background, what look like Rakk near the back, there’s no asteroid belt in the sky. etc. etc.

do the blue sparkles have anything to do with it? maybe!

Also again, im not 100% certain this is actually a Vault. It just... doesn’t feel right to me. If this was actually on Pandora the entire time, then we’d have known about it through the Vault Map. We would have gone to open the 3rd Vault on Pandora before bl3 even began. If this really has been on Pandora the whole time, I do believe this isn’t actually a Vault. I go over this in that previous post I’ve made and I’m still standing by it. I think this is just an Eridian ruin and the Vault shape is just a statue or whatever. I could be 100% wrong, but that’s my first instinct if we’re being lead to believe this is on Pandora. 

Now I’m curious why this dig site was never mentioned in bl2 if it WAS on Pandora this whole time. And, again, if it actually does end up being a Vault, there’d be a huge plot hole with the whole Vault Map thing if it was on Pandora all along.

So was it moved here? Yeah... probably. For what reason? I... have no idea. How? similar answer. Lily couldnt’ve done it, she doesn’t have her powers anymore. Maybe activating it with whatever Rhys gives us makes it teleport to Pandora. For... reasons.

If it is a Vault, maybe it requires Elpis to open it. for some reason. We know Moon equals Key, so it could play into that. It definitely looks like it’s positioned directly in line with elpis.

but why would a Vault built on Promethea need a moon from a totally different planet to open it?

Because Promethea’s moon was destroyed.

That asteroid belt? I don’t think that’s there just for funsies (okay maybe the artists had funsies but the actual writing? yeah). And that big gun looking thing we see in both concept art and in the trailer? i think that thing fucked up Promethea’s moon to the point it shattered. So they couldn’t open that Vault.

alright, we all cool on this version of the theory?

let’s flip it on its head.

let’s consider:

Elpis was moved from Pandora to Promethea

NOT possible i hear you say

but hear me out.

what’s our reasons for saying this is Pandora?

“the moon, the spiky rocks in the background, what look like Rakk near the back, there’s no asteroid belt in the sky. etc. etc.”

Elpis? teleported! bah!

Spiky rocks? Well! We hear typhon mention a quarry, don’t we? one with brittle rock. This very well could be the quazmarian quarry he talked about where he found that very first Vault (and Vault Key). After all, if he fell into a hole and found it, it makes sense that there would be a shitload of dig teams trying to clear it out for easy access.

Rakk? We see those on Athenas, too, during the Happy Together trailer. Plus, they’re super chubby on the bottoms compared to what we see of the Rakk in the Claptrap Presents Pandora video. Maybe they’re not even Rakk.

Finally. Ah. The asteroid belt.

Well, if you believe that that giant gun could’ve obliterated Promethea’s moon, then is it so hard to turn around and believe that it’s actually obliterated the asteroids surrounding Promethea?

in fact, if we really ARE moving Elpis to Promethea, wouldn’t it make sense that we can’t have asteroids hitting Elpis for fear of worsening the Crackening and breaking our own moon?

In FACT, do we even SEE any asteroids above Promethea in that trailer shot of the bigass gun?

I THINK NOT.

There’s more to this theory, though.

from claptrap presents pandora

from the we are mayhem trailer

yeah, they COULD be celebrating the destruction of Elpis (because i would not be surprised if those are both near the same area)

lets think of something new, though. Elpis being blown up was totally 2015, with Zarpedon. That’s SO last season, Calypsos.

Plus, why would the calypsos even want the moon destroyed? is that not the home of a Vault that would allow them to see the future? how fucking powerful would that be, being able to see the future??? Jack knew what he had to do to win the Pandora games (even if he uhhh didn’t get to see that last bit because of Lilith), so why wouldn’t the Calypsos want to see their own futures?

There is the argument that they’ve already gone to Elpis and didn’t like what the Vault showed them, but I kinda assumed that they’d have gotten the funky eye things like Zarpedon did if they really did see what the Vault showed them. Given that Jack’s was interrupted by Lilith, we don’t really know if that’s truly the case.

I’m 100% down to blow up the moon cause Good Riddance, but also it needs to make sense WHY the calypsos want it blown up other than like shits and giggles? which... fine, but the story..? Elpis has to be important somehow. They have to want it blown up for some reason. A show of power? awesome, maybe they got that giant space gun. Moon = Key, so maybe they think if we can’t get this Vault, nobody can? sure why not. Destroying Pandora? Sure, but why blow up elpis when u could just also blow up pandora? 

either way, if the game gives us an actual reason as to why the twins are blowing up the moon, we’re all fine and dandy. if they’re going it just because then yeah, im gonna get kinda testy. 

anyway my point IS

The effect around elpis here looks strikingly familiar to the effect that appears around Lilith (and the cultists) when they’re teleported.

so it would be much cooler if, instead of blowing up Elpis, they were actually celebrating its movement. 

And it would be very interesting then, if this tied into that Easter Egg we got.

You know the one:

Because yeah im still iffy on the implication that this is from the Calypso twins. Why wouldn’t they want the Vaults opened? isn’t that the grand plan?

maybe this could be from the Eridians or the Guardians on Elpis. If Elpis was teleported from Pandora to Elpis, maybe the translation from Eridian -> English is slightly off, or simplified for the message. (on vs orbiting for example)

Visit Promethea -> Where we are right now, or where we’re going to go. We need you there.

Children of the Vault -> Yes, it could be the CoV cult that’s being referenced, but the way this is broadcasted, through morse code, spoken like an actual cryptic message and not, you know, with that Calypso flair... me thinks the cult simply adopted the name “Children of the Vault”. I think this may either be referencing Sirens, or the Vault Hunters/Crimson Raiders. Maybe the twins picked up this broadcast and that’s why they immediately head to Promethea after they steal Lilith’s powers.

We are not on Pandora anymore -> shit dudes we got yeeted to Promethea, help us. Or... we’ve moved elsewhere. We’re not nearby, we escaped, we fled, come find us on Promethea. 

Tannis is not what she seems -> this one... I don’t believe the Calypsos actually know anything about Tannis. If they do, then she was possibly the one to rescue/experiment on them, turning them into artificial Sirens or whatever, but then... isn’t Tannis exactly what she seems? She’s crazy, she totally would experiment on the twins. That is EXACTLY what she seems like. 

The people who would know about Tannis not being what she seems... the people who can see the future? The Guardians of the Sentinel’s Vault (maybe just the Guardians/Eridians in general). The Watcher can speak (speak? she uses telepathy, doesn’t she? that’s why Brick asks Lilith what she says) eloquently, I imagine there has to be more than one Watcher-like Guardian. Or this is the Watcher herself sending the message. 

Either way, if, later on in the game, Tannis starts showing signs of not being what she seems, then... wouldn’t it make sense that the only characters who knew this were the ones who could see the future? And given the new info, it makes sense that the Guardians/Eridians/yougetthegist would know her by name, because she could be the one who turned herself into an artificial Siren.  Or figured out how to create artificial Sirens. Whichever (both?). Which is kinda big news in the Eridian world, I’m sure. Plus, the wording using ‘What’ instead of ‘Who’ is kinda a big pointer. I’m almost leaning towards the idea that Tannis tried to give herself Angel’s phaseshifting abilities. I can’t see Tannis with actual offensive abilities... It wouldn’t really fit her character. But I can 100% see her with mad computer hacking skills, to the point she could ruin anything with a flick of her wrist. Yeah, I can see that. 

And I really hope Tannis doesn’t end up being a villain. She could do so much good with her intelligence and newfound powers and tbh it’s really nice seeing a character with autism not treated like Sheldon from the Big Bang Theory (the butt of every joke). She feels real to me (as someone with autism)- she’s got her obsession (Eridians/Sirens/the Vaults), her crazy intelligence, the social phobia/unawareness. I really like her as a character (going from betraying us in bl1 to realizing her mistake and immediately trying to help and assisting the Crimson Raiders) and I’d really hate for her to become the villain just for... idk a shock twist? The shock twist should be that she’s a Siren or whatever, not that she’s going to betray us. I like Tannis :( And all the message says is Tannis is Not What She Seems, not that we shouldn’t trust her or that she’s going to betray us.

Do Not Open the Vaults -> well this is the whole thing, isn’t it? this is why I think this message has some sort of Eridian origin, instead of the Calypsos cult. The Calypsos WANT the Vaults open. They want that ‘universe-destroying’ power. They want to absorb the powers of the Vault monsters. Shit, even we Vault Hunters want to open the Vaults for some of that sweet, sweet loot. But who doesn’t want the Vaults opened? The Eridians.

oh yeah we were talking about Promethea. how the fuck did i get here?

oh the moon

yeah it could have just been a shot in the Instagram trailer they used to show off the ‘Eridian alien technology’. that’s not fun to talk about tho lmfao. plus the thingie Rhys holds matches up so well with the cool technology we get

anyway

the instagram trailer. we’re not even like halfway done with this post btw. still gotta do those beautiful screenshots

oh

trailer

sorry it’s like 1am im starting to lose focus im shifting into sleepy mode

i just love the aesthetic of this city.

also. that one building with the 0 on it? you can’t convince me Rhys didn’t give Zer0 their own skyscraper.

oh, you want an entire building to store all your loot and trophy kills? OF COURSE ZER0 ANYTHING FOR YOU

yes....... Eridian log.

im really excited to see it glowing. especially since it’s glowing red, like the Vault Map/key/you know. I hope that has some significance. 

i did boost the brightness and noticed it was part of a wall, not just one slab found elsewhere. makes me think this is part of a Temple. maybe part of the dig site below? we know that one is connected to some sort of building. and if it glows red, that’d be a really neat tie in to why Atlas always has that glowing red aesthetic going on in their bases.

still not done talking about this shot. yeah the stuff on the right looks similar to the thing Rhys hands us. NOT why i brought it back up tho. The guardian statues in the back seem very ‘low poly’. VERY different to the guardian statues we have on Pandora. they’re also holding staffs which is new. 

compare

these ones also seem much buffer than the guardians we see. with shorter necks, as well.

Maybe these are statues of ACTUAL Eridians? not just Guardians or any other construct (further proof for my theory Pandora was a Guardian production planet lol) but like what Eridians actually look like.

shorter necks, thicker limbs (because why would the constructs NEED muscles?), actual bodies that aren’t thin as twigs. I think we found it boys

this is the ideal Eridian body

no cause, seriously, if they ARE guardians, why are they so BUFF?? i don’t GET IT

also weird  this atlas gun isn’t wrist mounted. Atlas sniper confirmarinoed? or just an Old Atlas gun. sure. that too.

Moze on a turret near what i assume is the Meridian Seaport. She has what i think is an Atlas pistol equipped. There’s a dead guy leaning up against some cinder blocks, all cozy-like. 

better shot of the area. We talked about this earlier, so moving on!

Okay... so is THIS the New Atlas sniper? it looks like nigel thornberry’s nose

smashing.

we saw this before, too. im actually really excited to look out over the Promethea skyline from the top of a skyscraper. also, idk, rhys’s hand looks like a yaoi hand to me. like his fingers are above the F in strongfork, right? look how far away his thumb is. YEESH.

it’s actually ONLY rhys lol

An Atlas soldier at work! I like that their gear has the crimson lance logo on it. And the new Atlas symbol. I feel like if we have to fight these guys, the crit spot is gonna be that backpack.

maliwan robo!!!

a big boy. one of the flying ones too iirc from the We Are Mayhem trailer. 

Atlassss in the back. it’s weird that the second A in Atlas is the logo, not the first one. the first one is a triangle. that’s weird is it supposed to be signalling something else? a triangle with a circle around it. i don’t even know what that might be a logo for. hm.

oh also police bots i guess, but we see these dudes a lot.

im more interested in this thingie in the back. wonder what happened to it/what it is

ratches. blegh.

i hate these things jfc. they’re so gross.

i like that maliwan is just claiming things by throwing their flag up on it. that’s not how this works! that’s not how any of this works!

anyway.

how are those screenshots lookin

pretty good.

im pretty sure i’ve mentioned this before, but i love that they named this part of the city Meridian and then kept the Eridian logo in the spelling. it’s so fuckin dorky to me.

also i know we’re supposed to hate these robos, but at least they’re getting some characterization as enemies. the loaderbots in bl2 do this but not to a degree that they get their own interactions (LB being the exception of course). I like this.

also i love that parts of the city are color coded. like red and blue parts are different areas. It’s such a neat way to help people not get lost (cough, me) and it fits great into the design of the city with the neon lights and bright colors. I noticed this in the gameplay demo as well, tho i don’t remember if it was followed. Also I’m pretty sure that symbol up there

is what the blue area is called. could be wrong. but i think i saw this during the demo as well.

i think this is going to be my favorite area to visit on Promethea, hands down. I love this little living area. It feels so unlike anywhere we’ve visited in previous games, like it feels like somewhere Gaige could be from. Actually, iirc Roland was from Promethea, wasn’t he? Be wild if we visited his house here. Anyway, I’m also excited about the trees. Fucking! Trees!

and cars!!! holy shit yeah on Pandora we only ever saw like light runners or bandit technicals and the occasional bus. all the cars were broken down and stripped for parts! It’s really cool to see actual full cars here.

wow i am excited over the most mundane shit lol

wait till you guys hear about the PARKING LOT

OHHHH YEAH

CROSSWALKS TOO

lol im actually- i just love this area. i love it so much. this is lovely. i love the giant glowing reactor in the background too, i 100% hope we get to interact with that (posssssibly blow it up. maybe just a little.) I can see this area being the area we have to run through to reach the entrance of that thing. I mean, it’s just RIGHT THERE.

Also would not be surprised if this KV fellow is waiting for us there. “Who wants to BANG a billionaire indeed”. He’s totally gonna be a boss fight. BANG i imagine means more shooty shooty than innuendo... innuendo...

it sounded better in my head.

the symbol for the red area possibly on that tower in the back?

I’m like, 60% sure this isn’t the area we explore with Lorelei, so maybe this is the Titan Skyway? also maybe the bridge Moze and Fl4k drop off of in the Happy Together trailer.

hate. i would quote AM here but im tired so just imagine the entire ‘Hate’ quote here because i HATE these things.

there’s also a big skelly in the back, i wonder just how big these fuckin things can grow. hopefully uhhh like a cow died here or smth. cuz fuck man.

this area is also super green and watery so i wonder if this is a sewer or smth. that’d be wild lol

Another shot of the city. It’s so fucking beautiful. I really love how they went all out for this. Opportunity was great, but it wasn’t nice to look at. Promethea is fucking STUNNING. I love this place way too much. Never even been here before.

also i love the fog coming up from the bottom. Maybe this shot is taken from the water? god if we get to go on the water and then it starts fogging up i might actually start crying lol.

this building is my favorite by far i think. I love the way the middle turns in. I have no idea how that’d work like... from an inside standpoint, cause the ground would just be slanted under you but im sure they made it work somehow.

anyway. im gonna go cry myself to sleep over how beautiful this game is. sorry i talked like... WAY too much during this one lol.

also i just thought of this while writing the tl;dr but maybe that item rhys gives us is after all the Promethea stuff is over, even the Vault(s), maybe we need it to activate something in that vault statue area on Pandora and that’s our way to like some important Vault or the Eridian homeworld or smth and we gotta collect all the pieces to activate it. like it’s a teleporter. Maybe Rhys had a piece because that’s what was in the Vault of the Traveller. I mean it would make sense because if you didn’t want someone to have something, you fuckin hide it in a box that’s teleporting across the galaxy at random intervals. That might be our way to the Eridian Homeworld. Now wouldn’t that be neato...

#borderlands #bl3 #borderlands 3 #promethea #wow sorry i just WENT OFF tonight #it's 2am tho so nighty #i did my best #time for sleep

[hopoo]

Devblog #12 – Somewhere, Over the Double Fucking Rainbow

Hello there! This is Chris, hijacking the RoR2 devblog to share a few notes on music.

Tl;dr:

Yes, I am writing the music for RoR2

No, there won’t be a Coalescence 2

Chanson à nouveau..

The day I would start composing for RoR2 was a day I looked forward to with equal amounts of excitement and fear. The score to the original RoR is one I hold very dearly. It is music I loved writing, created during a very special time of my life, infused by each and every musical influence of my childhood and adulthood. It’s a perfect capture of me at that particular space and time. It also happens to be my most successful soundtrack to date, primarily because it’s part of a great game that people love to play, but also—if people’s feedback is to be believed—because it’s not too bad in its own right.

Now I find myself exploring the musical world or RoR once again and I can assure you it’s an awe-inspiring place! It’s also immense, savage and untrodden... You can witness this for yourself in the wonderful images posted on this blog and all over the internet, but let me tell you, it’s one thing looking at it and a whole different thing experiencing it first-hand.

The move to 3D was a bold one and I’m its biggest supporter. Honestly, even if it didn’t offer this amazing opportunity to expand the game’s universe into this whole new level of detail and immersion, I would still embrace it only because it gives me the perfect excuse—the obligation, even—to avoid repeating myself. The thing I feared most starting this project was writing the same music all over again. Not because I don’t like the existing music (I love it) but because the existing music already… exists. What would be the point of Coalescence 2 (some people have actually asked for it)? If anyone wants to listen to Coalescence it’s right there for the listening. The RoR OST is a product of very specific, irreplicable circumstances. Even if I wanted to write sequels to these tracks, I couldn’t. They would be mere parodies.

So, I’m writing new music for a new game. Hopefully it will be better music for a better game, but I’m going to be satisfied if turns out being good music for a good game. I know many of you will not be happy reading this but I ask you to be open minded and trust me. If you liked the music for the first game chances are, you’ll like this one too. It’s the same person doing the writing (and performing, and producing, and mixing, and mastering) after all. It will be different, but it won’t be that different.

Paying my Dews

Let’s make sure we avoid any misunderstanding here: I don’t take the RoR musical legacy lightly. Rest assured that many things will carry over, not least of which the RoR motif. The usual odd meter and various polyrhythms will be featured prominently too. There’s drumming, lots of drumming, way too much drumming…. Several cameos of familiar instruments and even entire sections that will sound very reminiscent to old players. And then, there’s the unsung (pun intended) hero: form. Even though you can’t literally hear it you can certainly feel it. Form is the glue holding the music together. Just like with the first game, I’m working my ass off to fit these new tracks into meticulously woven forms.

As such, all the above elements that are part and parcel to the RoR sound will not be let behind. As previously mentioned, this is terra incognita we’re heading into and only a fool would go into the unknown without a flashlight. I plan to use the original music to illuminate all the new one hidden in the darkness beyond.

Forecast

It’s still too early to tell what the new soundtrack will actually sound like. I guess it will sound more like the original RoR than anything else—a definition as intentionally vague as can be. A word I liked using to describe the first soundtrack was “monolithic”. I feel the RoR2 OST will be even more so. To use a classical music analogy, if RoR1 was a suite, RoR2 will be more like a symphony. Don’t worry though, I’m still delivering discreet pieces of music that you will be able to tell apart (and prefer over others). Let’s just say I’ve set up my sessions like communication vessels of sorts.

For the time being, you can sample some new music in the game’s teaser and this SoundCloud playlist (which I plan to sparsely update). There’s a lot of material already written but most of it is still being forged into shape. There are also new things we’re testing to make the in-game music more dynamic and meaningful to the player, which have directly impacted my workflow. For the moment, all I can say I’m working on it steadily but slowly—slower than usual (sorry, Duncan & Paul!). As I said, while I’m very excited I’m also quite fearful. There’s plenty of pressure to satisfy the many fans of the music from the original game (thank you all so much, btw!!!) and even more self-imposed pressure to write music that I feel proud of and enjoy listening to for years to come. You see, I’m trying to uncover music I’ve not written before and I need to make sure my excavation brings to surface more than just petrified feces…

FAQ

When? When the great Magma Worm in the sky deems us worthy.

Where? All over the place, starting with Bandcamp.

Vinyl? Probably. Hopefully in a nice boxset with an RoR1 re-print.

Engineer Edition 2? Yes, but no sheet music this time around. Too many arpeggiators and modular patches for it to make any sense.

DEADBOLT 2? I sure damn hope so!

“It Can’t Rain All the Time”

That will be all for now! If you made it this far, thank you for reading and see you next time! If you want to keep the conversation going you can find me in the social media outlets below, where I will post the occasional RoR2 update, answer all your questions and share pictures of my cats:

Twitter | Facebook | Instagram |YouTube |SoundCloud

Take care, Chris

#riskofrain #gaming #gamedev #devblog #indie