#when i have a character / backstory / world idea i just go to her and tell her abt it

[sundrop-writes]

One Moment Per Episode With Dick Grayson

Season One, Episode One: "Titans"

Summary:

You and Dick haven't spoken since the Titans parted ways in San Francisco five years ago.

Even though you used to be as close as two people can be, both of you are doing just fine leading your own separate lives - until your psychic powers cause you to have a vision of the end of the world, and you have to turn to him for help. As much as Dick doesn't want to get involved, you know that him leading The Raven on the path she needs to travel is the only way to stop the terrible fate you saw.

He wants to deny it, and stay as far away from you as possible - but he can't avoid you or the truth that you have told him when he runs into that very Raven you speak of in an interrogation room later that night. He has to face a simple truth he has always known: you're always right.

Dick Grayson x Fem!Powered!Reader. Childhood Friends/Exes to Lovers. Emotional Angst and Bantering/Humor. Set during Season 1, Episode 1.

Word Count: 2,300

DC Titans Masterlist | AO3 Link

Detailed warnings and author's notes below the cut.

Warnings: the reader uses she/her pronouns (some people might accuse the reader character in this story of being more of an OC and I am okay with that - I try to make all the reader characters in my other stories as blank and open as possible and every now and then I let myself have a little bit of a treat) - but as usual with my stories, the majority of pronouns used in the fic are you/yours; other than clothing style and a scar that informs her backstory, the reader's looks are not described and are left vague (as far as race, body type, hair colour, etc. - those things are not described); the reader character does have powers - I might make a separate post detailing the reader's entire backstory and power set (or I might just let it be spelled out slowly through the chapters) - but for now, I will tell you that the reader character is psychic and can see glimpses of the future in dream-like visions; the reader and Dick are 'exes' - their relationship was never official (they never explicitly called each other boyfriend/girlfriend), but they used to have sex often (and they both have feelings for each other that they never openly spoke about), and they are childhood friends, so there is a lot of emotional history there; mentions of canon-typical violence; this fic does use Y/N; mentions of the reader being shot during a past undescribed incident; there is references to sex and discussions of sex, but no explicit smut (but there might be some later in the story? idk yet); emotionally constipated Dick Grayson; idk what else ? - pining, emotional angst, using humor to deflect emotional tension, banter. I just really like the vibes of this. there is not a lot of big content warnings for this fic (yet).

A/N: Honestly, I am really excited about this one. I have a lot of ideas for future episodes (especially the episode where Dick loses it emotionally and just gets followed around by a hallucination of Bruce for the entire episode - but that's not until Season 2, oop). Titans is one of my favourite series ever - if you couldn't tell - so getting to examine each episode closer and appreciate each individual episode as a unique piece of art while writing this instead of binging a whole season gives me a whole new appreciation for the show. I hope you guys enjoy these as they come out - especially because I do have an idea of where this fic is going, but I don't know where I want these characters to go in Season 4. (I kind of want to do a secret surprise reveal of two of the characters being related and being siblings, but... idk. Sometimes people don't like that.) But this is definitely a good opportunity to send me ideas of where you want this story to go/how you want it to end up. Anyway - please enjoy!!!

....

Dick needed some fucking air. 

He could barely fucking handle today. He had to compose himself before he lost it and started breaking things. It was all such a shitshow - the department pushing a new partner on him, footage of Robin all over the news, every other half-cocked beat cop making comments about how Robin was just another masked psychopath who wasn’t that different from The Joker. 

Fuck them. 

If they only knew what Gotham was like - if only they had to deal with a department full of asshole’s on the Joker’s payroll. If only they had to watch criminals walk away because they made bail on the decision of a corrupt judge. If only they had to sit behind a desk and listen to a mother’s sobs as she begged for him to find her missing child - knowing how many people elbow to elbow with him would laugh at her tears rather than start looking. 

If they only spent one night tending to civilians while the smell of burning flesh permeated the air, with the Joker’s screaming laugh stuck in their ears because he thought that bombing a low-income housing complex was just that funny. 

Fuck all of them. 

Dick clenched his fist tight - his knuckles aching as he resisted the urge to drive his arm right through the glass at the front of the precinct. He just - he really needed some air. 

Dick walked out the front doors (rather than smashing the glass), and took a deep breath of the cool night air, trying his best to calm down. It was getting late, and things were relatively slow, even for it being a Tuesday. No influx of late-night chaos yet. He had some time to collect himself before- 

“So - Robin’s in Detroit now, huh?” 

That voice. 

Dick felt the sting of familiarity pluck at his spine, and he whipped his head around at lightning speed, looking in the direction of the voice. Surely enough - you were the one standing there. It hadn’t been some kind of auditory hallucination on his part. 

So much for time to calm himself down. 

He was immediately met with a confliction - lust and annoyance bubbling up inside of him. He didn’t want to see you again, he didn’t want you to be here, especially not without warning. But you looked so damn good - it was a distraction from that fact. 

That was always the thing about exes, wasn’t it? 

(If Dick could even call you his ‘ex’ - the two of you had slept together more times than he could count, both metaphorically and literally, but the two of you had never put an official label on the relationship like he had with Dawn or Barbara. He cared for you like a friend, and like a lover in a way that he was never willing to admit - but did that make you his ex? Especially if he never stopped caring about you?) 

That thing about exes being: they always look so fucking good when you see them after a long time of being apart. The universe dangling something in front of you that you’re not allowed to have and technically, should no longer want. 

But oh - Dick found himself wanting so very badly. (And he tried his hardest to hide that fact as he continued to carefully stare you down.) 

Because you looked so good. 

You were wearing something of your usual style - an outfit of many confusing layers that somehow showed off the natural curves of your body and hid you all at the same time. 

A long skirt with a ruffled hemline and bold, colorful pattern. A pair of boots that you had probably gotten from some vintage store that were likely older than both you and Dick, leathery and well worn in. Your jacket was much the same - a supple brown leather with a soft fur lining that made you look very warm and cozy. 

Topped off with a pair of the largest, gaudiest dangling earrings that Dick had ever seen - the kind that would have gotten snagged on one of his nice shirts and gotten the two of you tangled up during one of your hook-ups. A pair of earrings that he would have scolded you for wearing - but he would have delighted in finding them on his bedroom floor after you left because it meant having a piece of you still with him. And it would mean having an excuse to visit you later because he had something of yours to return. 

Those earrings glistened in the light of the street lamps, just as your eyes did while you stared him down with those inquisitive, knowing eyes. Looking at him with that same expression you always wore - the one that seemed to say you knew everything that he never would. It equally fascinated him and infuriated him. 

He hated the fact that you had seemingly appeared out of nowhere, causing his heart to race - had you snuck up on him on purpose? Did you find it funny? 

“Y/N,” Dick said your name curtly, still feeling a slight twinge of shock that you were standing in front of him at all. “What the fuck are you doing here?” 

You let out a dry chuckle, and stepped closer to him, making his whole body stiff. His first instinct was to step backward - to gain more distance from you. But he didn’t want to seem like he was afraid of you - afraid of that closeness. So he forcefully locked his legs and stayed in place as you drifted closer, and you idly conversed back. 

“Oh, Dickie.” You sighed in return, using his childhood nickname. “A warm welcome as always.” 

Dick rolled his eyes at this. Did he really need to bother with manners and formalities? The two of you had known each other for so long, he guessed that you were both well over stuff like that. 

“Do I need a reason to be here? Can’t I just visit an old friend?” You posed, a humorous tone still running through your voice. 

He shoved his hands into his pockets as he took a more defensive stance. He quickly went from shock then to annoyance. 

The two of you were old friends - you had known each other since you were in diapers together. The two of you had grown up together, raised by a unique circus family. And that meant that Dick knew you well enough to know that if you were here, you had a good reason to be. 

(If you had wanted to chase him when he first left Gotham, you likely would have camped out in the trunk of his car, or you would have shown up at his new apartment the day after he moved in. You wouldn’t have waited this long to contact him.) 

“Do us both a favor and cut the bullshit, please.” Dick replied sternly. “Why are you here?” 

“Grumpy.” You sighed, sounding defeated. 

He waited for a moment, and surely enough - you folded, now willing to directly explain your reason for showing up in Detroit so suddenly. 

“I had a vision.” You explained. “A girl. The Raven. A lot of others consider her to be the eater of worlds, but she is the one who is going to save us all, Dick.” 

He let out a harsh puff of air, reaching up and running fingers roughly over his temple. Yup, there it was - the headache had fully set in now. He really didn’t need this. Not tonight. 

He had known about your visions for a long time. When he was younger, he had been shocked to find out that you had inherited your mother’s ‘gift’. He previously had no clue that her set-up as a sideshow fortune teller with Tarot cards and a large crystal ball wasn’t all psychology tricks and half-guesses she put on for tourists - but in fact, it was actually something informed by larger supernatural forces at play. And it was something you could do as well. 

So he was inclined to believe you when you told him about this vague vision, but he also didn’t want to be involved. He had a lot on his plate right now - he didn’t need this. 

“Look, I’m sure that whatever you saw was important, but-” He began. 

You sighed and shook your head harshly at this ‘but’. 

“Why don’t you just take it to New York instead? This kind of thing is way more Donna’s speed, anyway. I’m sure she can help you find this girl, and-” 

“That won’t help.” You told him. “The girl is already on her way here.” 

You spoke the words with such utter certainty, and it sent shivers up Dick’s spine. The calm, tranquil look on your face - the ominous wiseness you held: it reminded Dick so much of your mother. The other-worldly authority she held that had ultimately gotten her killed. It was strangely creepy. 

“Just so you know, I hate it when you say ominous shit like that.” Dick told you, gesturing to your person with stiff offense in his body. “Just because your mother played the creepy voodoo witch for tourists doesn’t mean you have to.” 

“I’m not playing.” You replied, exasperated. 

You knew that Dick could be frightened of your powers at times. He was someone very logic-based - he built his beliefs around facts. So having you follow your visions and your ‘gut feelings’ when they were never concrete, changing on a dime - he hated the uncertainty and chaos that came with it all. But you had learned to trust yourself and your feelings over time, even if he didn’t. 

“And you know, you’re involved in this whether you want to be or not.” You told him, trying to get the conversation back on track. “I don’t think it’s a coincidence that Robin made his first appearance in months last night.” 

Dick became stiff at this, and quickly glanced around - as though waiting for someone to appear out of nowhere and point an accusing finger at him, screaming out that he was Robin and he had been caught. 

“You can’t help it, Dick Grasyon.” You declared with intense certainty. “You need to save people, you need to feel like you’re making a difference, you-” 

“So what, now you expect me to save the whole fucking world?” Dick snapped back. 

“She does.” You corrected. 

“Who?” He replied - confused and once again annoyed at your mysticism and bold confidence in your visions. 

“The Raven.” You told him. “She needs you. And whether you like it or not, you need her.” 

You shifted your stance then, waiting for him to tell you that you were right - which was how most of your arguments ended. 

But then, as a sick reminder, the lapel of your jacket opened enough for Dick to get a glance at your chest. The neckline of your blouse was wide open, but his eyes weren’t drawn to your cleavage - instead, he became focused on a large scar that you had sitting over your heart. A place where a bullet had ripped through you, leaving you barely alive. 

He still remembered the feeling of your blood warm under his hands while you looked up at him with tears in your eyes, begging him to save you. He remembered sitting at your bedside, believing that you would never wake up again. 

He couldn’t help but to reach up and gently skim his thumb across the roughness of the scarred skin as he glared at it with a stiff jaw. The touch sent shivers through you - it was the first time he had touched you since that last night in Gotham, when you had woken up to an empty bed and absolutely no explanation as to where he had gone. 

Dick felt rage boil inside of him. 

How could you ask him to save the world when he had been responsible for this? 

This - this was why he was no fucking savior. 

“You shouldn’t be here.” He said, choking on the words slightly as he took his hand down, shoving it back into his pocket once again. He had to avoid the temptation of touching you any further. 

If you weren’t safe around him, why would some little girl from your visions be? 

“This isn’t about me.” You scoffed. “Or-” 

‘Or us.’ 

You held back, knowing how dangerous it was to mention the royal Us around flighty Dick Grayson. For a bird without wings, he was absolutely capable of taking off in a quick moment when he wanted to. 

“This is about something so much bigger.” You pressed. “She’ll be here soon.” 

Dick let out another strained sigh at you using such ominous words again. 

“Well, next time you’re gonna come here and be all ominous and creepy, you should at least bring some coffee.” He told you, sarcasm tight on his lips. 

You made a mocking face in return. 

“Well, you could be more polite.” You scoffed. 

Before Dick could recommend that the two of you go and get a coffee in order to truly catch up, someone called out his name, drawing his attention away from you for a moment. 

“Hey, Grayson!” Someone called, sticking their head out the front door. “Prentiss is looking for you!” 

When he turned back, you were gone. He tried not to linger on it too much - how creepy it was. You were silent and quick like a ghost - he thought that your ominous jewelry might jingle like a house cat’s bell. 

But - he would call you later. Hopefully you still had the same number. 

…

Dick walked into the interrogation room, trying to clear his mind of the interaction with you. When he saw a small, scared girl, he thought it best to lighten the mood with a joke. 

“Hi, I’m Detective Grayson.” He said, introducing himself. “I hear you like to play baseball with bricks and cop cars. You wanna tell me what happened?” 

“You’re him.” She said, whimpering and tearful. “You’re the boy from the Circus.” 

At first, Dick thought that everyone was simply being ominous and creepy today. But then he realized:

‘Oh fuck. You were right.’

...

A/N: Please do not ask me when this fic will be updated - this fic does not have a schedule.

While this is technically the first chapter in a 'series', each chapter is meant to be enjoyed on its own. The overarching plot of the series is still that of the original Titans show, and I won't be making any major changes to the canon of the show - I just intend to showcase smaller emotional moments between the reader character and the canon characters. This is something I want to work on casually in the background between working on other things. This fic is not my main focus, and I will not be rushing to update it or complete it.

Comments and reblogs are encouraged, and I am thankful for them - but please keep those comments focused on the actual content of the series (it's plot, the characters, their dynamics, etc.). Please do not spam me asking me to update this or asking me when I will update this - because I am not in a rush to do so. I have a lot of ideas for this series that I am excited about, but I want to work on it slowly and casually because I don't want to lose my enthusiasm for it and I know that rushing will take that enthusiasm away.

If you enjoyed this - great, thanks. But if you expect this to be updated weekly like a factory pumping out stuff on a clearly outlined schedule - then you are in the wrong place. If you are expecting constant updates of this fic and you will be disappointed if it doesn't get updated regularly - you should just block me now and pretend you didn't read it. But if you are a patient person - feel free to read and enjoy my other Titans works while I am working on updates for this (and working on other exciting things), and feel free to send me a message telling me what you thought of this fic or other fics in general.

Also - if you can't get Dick Grayson off your mind - my requests are open.

#sundrop writes #dc titans #titans fanfiction #dc titans fanfiction #dick grayson x reader #dick grayson #dick grayson x you #dick grayson x y/n #dick grayson x female!reader #titans x you #titans x reader #bat boys x reader

[am-i-the-asshole-official]

aita for not inviting a friend of mine into my dnd campaign?

so i (18nb) have a friend (18nb, Martin) who i play in a main dnd campaign with with all our other friends (Ill name them Dan, Virgil, Mark, and Ray). Dan is our DM after we kicked out the old one bc she was horrible. We're a pretty close group of friends, but lately we've all been really busy with respective school & work, ect. so we didnt play dnd for a solid, like,, 4 months. I DMed a one shot for everyone besides Ray cause she was flaky anyway, and added in my boyfriend Zeke for it.

Everyone had a really fun time w it and I loved everyones characters, especially Dan's. I watch a lot of dnd shows, so i just keep getting more ideas- but while the one shot was fun it was messy as hell. Ive been wanting to write a campaign for a smaller group for a while, (because when i tried making a campaign with the whole group the character creations were... disappointing to say the least. this sounds mean but i created a fairy world that was very magical & told everyone to go crazy on character creation in a world with few/no humans, and like 5/6 people opted to be a human with a fighting class :/ )

ive been writing a campaign that im really proud of and have a good vision for, and decided to include Mark (because we're best friends) Zeke (because he wants to play dnd more and has no opportunities) Dan (bc he never gets to be a player) and then another close friend of mine outside the group named Gabe (who i love but never get to see) I love their characters & we're all super excited.

Thing is. I was briefly talking with Dan, Zeke and Mark about it at school bc I'd sent everyone a little intro message for the world and they were all super excited and wanted to talk to me about their classes. Virgil had no problem with this and was excitedly asking abt the world + characters along with some other friends from school, but Martin got quiet and went and sat by himself. I could tell they were off, but Martin is generally a quiet person anyway and is often sad + doesnt want to talk for like a hundred different reasons, so i left her alone. Later that day in a different class I have with Virgil he showed me his phone where Martin had sent him a message saying she was really disappointed & felt left out that i hadnt invited them to my campaign.

i instantly felt bad and started to text him, but,,,, to be honest, i dont think im at all responsible for this.

i have reasons for leaving Martin out, the main one being that they just..... arent a very active player. Hes soft spoken and doesnt actually like rping their characters- her character in our main campaign is/was literally mute bc they said they didnt want to have to speak as him. (theyve since taken this back and went through with a curse breaking thing to be able to speak, but her character,,, still doesnt talk much.) he writes really good, sad backstories but doesnt actually play or do anything with them and gets uncomfortable acting. Their characters are not only emotional, but like. crazy. they play a bunch of cool tieflings with insane magic classes & features and then, again,,,, dont roleplay them. I didnt want the group to be big and had a good reason for including everyone that i did, and our other friends that arent in it (Virgil, Ray who is Martins sister btw, all our other d&d interested friends at school) literally dont mind at all. i just wrote a campaign that theyre not in. Martin also has their feelings hurt very easily, so to be honest i just find her being sad about not being in it just... stupid. id never say that to his face & i get that he feels bad, but like....cmon.

im aware im a very very incredibly low empathy person- to be honest i struggle with depression and bpd very heavily and am often mean to my friends & loved ones without really processing why or how much it affects them. i told Virgil that i thought Martins reaction was stupid, and he said that that wasnt fair bc Martin had always been in my campaigns before (which is, yknow, one. Martin and I were even in a campaign with a completely different group a while back and Martin willingly left it very early because the group was loud & their character wasnt doing anything (yeah)). Every time Martins expressed (or i guess not expressed) sorrow for not being invited to it ive just sort of ignored them. this again isnt that uncommon cuz when shes sad he doesnt like to talk about it, and also they havent directly confronted me with this at all.

ive been talking about the campaign a lot because it occupies frankly a lot of my brain because i have so much to write, and i especially talk to the people that arent in it bc theres no risk of slipping up and telling them something they arent supposed to know. The other friend, Gabe, is friends with Zeke and Mark and I, and Dan is good around new people,, but Martins really quiet around people he doesnt know well, so if i invited her anyway they'd probably play the game even less than they already do.

again, im really bad at having an actual perspecitve on this. Virgil said he feels bad for Martin but not for himself, as far as i know Dan doesnt know about the situation, and i literally just dont wanna involve Mark and Zeke (Zeke HATES conflict and when people fight so he really doesnt have to be involved.) Mark Martin and I have all been really close friends since literally 7th grade and I guess Martin especially feels left out that I involved Mark and not them but Marks both really good at character creation and also talking in character, and like, hes my best friend who i do everything with.

I dont wanna blow off Martins emotions but but i truly dont give a shit that they feel betrayed by my not inviting him. especially because they havent bothered actually telling me this. objectively i dont think its my fault even a little, and Martin is really horrible at handling their emotions anyway (this isnt an insult, just a fact. i am too). aita for not inviting him + not caring that shes upset by it and acting like they arent?

sorry this is so long i really like providing context

What are these acronyms?

#aita #am i the asshole

[ohcorny]

i need to be a hater on main about scavenger's reign or i will explode. i cannot be alone in this.

now that it's being moved to netflix and people are talking about it again, all i'm seeing is glowing praise and absolutely no criticism of the writing. i will gladly agree with anyone that it's visually stunning. like, a+ in that regard no argument. great looking show, and the worldbuilding of the planet vesta is super cool and clearly considered. i like those parts! but that seems to be all anybody is responding to when they praise it.

the character writing is fucking ridiculous. i could point at any of them individually and go "what the fuck is this" but it's been months since i watched it and i don't like arguing a point i can't clearly remember. but it was the most egregious around ursula so i'm going to focus on her. her character seems to exist just to cause problems for no reason, to the point where she's also the only character we get no backstory on. we never see her in flashbacks on the ship, never learn what she did for it or why she was there, nothing about her at all. she is the only one.

and she is the #1 source of shattering my suspension of disbelief. you cannot tell me that she and sam were surviving together for a month on this incredibly hostile planet, working together every day to call the ship down, to figure out how the world worked and what was dangerous and what they could use.... and then tell me she would turn around and treat him the way she does.

spoilers below the cut

she is so hostile toward him all the time for no reason. she wanders off to go look at a weird plant in the middle of a bramble that crushes you if you don't get out the right way, leaving sam alone on the outside with no idea what she's doing or where she is or if she's alive. and when she comes out and he is VERY REASONABLY upset that she did that and isn't interested in hearing about the thing she saw, SHE gets mad at him and says she doesn't need him.

YOU DONT NEED HIM? THE GUY WHO HELPED YOU SURVIVE THIS ENTIRE TIME? THE ONLY OTHER LIVING HUMAN ON THE PLANET AS FAR AS YOU KNOW, WHO IS THE ONE WHO KNOWS WHERE YOU ARE GOING, AND HAS THE CREDENTIALS TO GET YOU INTO THE SHIP? you have been alone with him for a MONTH, he is your ONLY HUMAN COMPANION, and you think you DON'T NEED HIM?? BECAUSE HE WAS WORRIED ABOUT YOU IN A LOUD WAY?

this could be explainable if there was any real tension between them, or if we're given any reason to believe she actually could survive without him, but there isn't! she fucks up with the spores in the very first episode and would absolutely die if she was alone. sam is never anything but a good leader to her and keeps trying to look out for her, and any time he's "wrong" it's because he showed reasonable caution about the fuckplanet. he gets hurt by the egg parasite because he didn't want to climb into a giant animal's egg sac. reasonable thing to not want to do! when he and ursula get into that argument about her disappearing on him, he gets hauled off by the weird emu for the dramatic irony. because he was upset his only companion in the world disappeared. he never does anything wrong. it's never his actual character flaws that he gets punished for, it's only ursula's ~trusting your instincts~ shit that ever gets him hurt. she is ultimately responsible for his death but the show never acts like it.

so much of the show seemed to be drama for drama's sake. do not get me fucking started on kamen's creature. what was that thing's fucking problem. what was kris' fucking problem?

if i have to ask 'what is their PROBLEM' at every other character's choices, your writing is not good.

[theskysungqueen]

to make things brief cause I suck at organizing what I have to say, the live action was definitely Something™.

Cast: 10/10 kinda biased personally but yall can't take this from me

Gordon as Aang and Dallas as Zuko were the standouts imo. Gordon needs some direction on line delivery and the angstier scenes but overall he's very charming and I'm so proud of him for getting so much exposure!

Ian as Sokka was great, I just wish he was allowed to be more...messy? like Sokka pretends to be chill and all that but he's actually dramatic so I hope that gets improved in the next season if there is one

speaking of improvement, Kiawentiio as Katara brought out a softer side to the character but sadly diminished her spark and passion. I like that Katara now actually feels like a younger sister, it makes sense within the context of the story that Sokka and Gran Gran would shelter her after what happened, but as someone said, her anger is so central to her character and I just wish that got shown more. It's more of a script and direction problem tbh, if you look at Kia's interviews she has the sass and feistiness Katara needs

Lizzy as Azula is great, the writing is a bit clunky though so she did the best she could with it. Can't really comment on Mai and Ty Lee yet because they're kinda just there but it's a nice setup

Maria as Suki? perfection show stopping never the same she is a queen and I love the tidbit of Suki backstory which she never really had in the og show. I love her being such a loser around her crush we love to see girlfailures girlfailing. I wish the writers didn't make them KISS though 😭 slowburn ftw

the adults were great

Writing: 6.5/10

There were genuinely good moments and I love the concept of mixing up certain plot points to condense the story

But they just suffered from too much Telling instead of Showing WRITERS PLEASE LISTEN TO THE CRITICISM YOU HAVE TIME TO IMPROVE PLEASE

Omashu, mechanist, and Jet plot mixing as a concept was fine, but it dragged on and my friends and I got bored of it. I like it in theory but if it was going to take THAT long couldn't they have just separated one of those storylines for a different episode?

I appreciate that they tried to develop the water siblings' relationship by making them the stars of the Secret Tunnels, but I would've changed the way they "conquered" the problem (really? badgermoles respond to love? cute in theory but like why). If anyone's watched Barbie: A Fairy Secret there's a part where Barbie and her frenemy accuse each other of why their friendship failed, and it helps them make up and breaks the curse put on them. So that's what I would've done, force them in a life or death situation in which they have to say the unsaid things, maybe hug it out and boom

The way they handled Koh and the Spirit World was a Mess™ but the effects were decent

Zhao meeting horrible ends in every incarnation is so deserved

Yue having more agency was a welcome change AND I LOVE THAT SHE WATERBENDS. Then waterbends even when the moon is gone. It's such a nice visual nod to the fact that she has the moon spirit within her

That said, the show could definitely use more visual storytelling, less weird dialogue. Like it's so strangely common for shows or adaptations these days to exposition dump. Like they did not have to make Yue say that the ocean spirit was angry, literally just show me the dead moon fish and I'll get the idea. Then Iroh says "That's Wrath" that's just redundant now isn't it

I like that they saved Katara bringing Aang out of the Avatar State until last even if it could've been done better

HOW DARE THEY MAKE ME LIKE HAHN HE WAS A JERK IN THE SHOW BUT THEY MADE HIM A GENUINELY GOOD CHARACTER. Yes to brown men not being portrayed as jerks but also in the original it was a nice contrast to how far Sokka had come because Hahn reflected who he used to be. But live action Hahn </3

I like that they showed the deaths and blood. I wanted a live action that was both lighthearted but more realistic when it came to the injuries and death, and that'd kind of what I got

Other thoughts + overall

You can tell they put so much heart into this show, watching the bts, the bending boot camp with the correct martial arts, the easter eggs, the nods to the comics, the beautiful adaptations of Cabbage Merchant and Secret Tunnel nomads, there's so much passion behind the show it's a shame it suffered in its writing

which is why if they read reviews and criticism from the bigger name fans (TheAvatarist, HelloFutureMe, etc.) it would really help them improve for future seasons! The cast is stunning already and they have great chemistry (hopefully gets improved too!)

The live action is just a different angle to the show. And I'm saying this as an Avatar fan–the original wasn't perfect, either. I had some problems w it but the overall show was genuinely so good and heartfelt, those problems weren't glaring enough to put me off (unlike The Dragon Prince, sorry). The live action definitely wasn't perfect, but it tried to give us a new look into Avatar. Again, no adaptation will ever be a 1:1 remake and none should be. Where's the fun in that? But while the show is so full of heart and with actual fans working behind the scenes, I doubt if they listen to any criticism that they can't pull this off better next season.

#atla #avatar the last airbender netflix #avatar netflix #netflix avatar #avatar the last airbender #netflix atla #avatar live action #aang #katara #sokka #zuko #iroh #azula

[welivetodream]

How much do you think Richard lied about the story?

Because I think he was lying about a LOT of stuff. I do not trust words that come from this man. He is sus.

Since he is talking about the past, it could all be misunderstandings and blurry memories (he was high half of the time) Or it could be just lies.

My favourite headcanon is that Richard was writing a book about his college life. He is a bit delusional and grandiose so when he went to college, he expected to have this main character vibe going on. But his college life was as normal as any of ours and he was disappointed. So, he tried to live vicariously through a book, which he wrote as an "autobiography" (he literally starts the book with "this is a story of my follies"). Richard is telling us, the reader, "his" story. He is acknowledging it as a "real" story. But that too is a lie. Richard made it all up. All the characters were written by him.

That's why Camilla was portrayed as an angel, she is the heroine, his damsel in distress, love interest. Henry was the mythical Jay Gatsby to Richard's Nick Carraway. Henry was someone he could obsess over and idolise. Francis is the gay one, he is another 'kind of' love interest, he is always making passes at Richard, he is snarky and a bit grumpy, that's his entire character. Charles is the mean villain, he is abusing Camilla and committing incest, his existence makes all of them appear better than they are. Bunny was homophobic to a degree that didn't make any sense, he was in a fucking Greek class and was friends with all these people with major gay vibes, what did he expect? If Bunny was sympathetic, we wouldn't have accepted the murder so quickly. And Julian is Julian, he is so out of reach and ethereal; depicted as a type of teacher we would love to have, the story's John Keating.

Now when we come to the ending. The only one who gets to live a "normal" life and has any success (at least graduating college) was Richard. Yeah, Camilla turned him down and all but, he doesn't seem that mad about it (he admitted he loved Henry too, which gives major Nick Carraway vibes) He doesn't really face any consequences of what they all did (he is an accomplice to murder after all)

Camilla is traumatised, she is still in love with Henry and he fucking died in front of her. Her relationship with Charles is ruined and that would be traumatising as well.

Francis is forced to stay in the closet with no choice in the person he dates. And he almost dies of a suicide because of that. He is done with life.

Charles tried rehab but then ran away with a woman in her 30s that was married. His life is a complete mess and he has no contact with his old friends or sister.

Henry commited suicide and Bunny was murdered by his own friends.

Out of all these situations, Richard was the lucky one. He still has ties to Camilla and Francis and they still are kind of friends. He graduated and got a job. He dates one of the most popular girls at college and moves in with her for some time. He is doing something in his life.

In the end, Richard got the best of all of them. Maybe because that's just his real life. He doesn't have a crazy backstory. He doesn't have a huge personality. He doesn't have many connections to these characters. He gets the best ending. He is always the outsider. He is the narrator. He is a liar. He is a storyteller.

It's Richard's world, we are all just living in it.

(I know this theory is not at all true. Donna Tartt was not going for it to be like this. But I find the idea of Richard faking the entire book for his own entertainment and delusion, fascinating. And it's even plausible because of his personality)

Just imagine if TSH happened in the present day. The afterward would be just Richard going to his desk job with four hours of sleep and revealing he was writing an OC self-insert fanfiction about a modern Greek tragedy in AO3.

(okay, this turned out so funny. I get Richard, I want to escape from my boring life with writing too)

#dark academia #chaotic academia #the secret history #donna tartt #tsh #henry winter #richard papen #charles macaulay #camilla macaulay #franics abernathy #bunny concoran #julian morrow #tsh memes

[sokkastyles]

Hi, I’m finding it difficult to wrap my head around your (and some other meta writers) take on Sokka’s sexism and how writing a nonsexist society would be braver?

Why is it more brave to write a story without bigotry than one overcoming it?

Defensive Writing Section Where I Respond to What I Imagine You Could Respond With: 1) I know the original series did not succeed in, or even really try, empowering its women. 2) I know sexism is baked into the show and its romances. 3) I know Katara deserves better (but, this might be where we diverge, I don’t feel served by a reality/story where we pretend women’s domestic, unappreciated labor isn’t a pillar holding society up. Tbh it feels kinda disrespectful to keep that offscreen and media tends to downplay it as is). 4) I know the show isn’t out yet and we’re all guessing. I am picking your brain on your guess cause it confused me. 5.) Sokka’s arc is about maturing manhood and leadership, I’m afraid removing his sexism dodges an opportunity to explicitly deconstruct its toxic expressions. Again, I know the show was unsatisfactory with this the first go around.

Fan Mail Section Where I Attempt To Convey I Meant No Harm: Love your blog! Again, just confused.

First of all, I did not say that writing a nonsexist society would be braver or that the story should not have bigotry in it. What I said is that the story should have more adult women in it.

For example, I do enjoy Katara's story of struggling against feeling like she needs to take on a motherly role because of her gender. I think it's realistic because it's a conflict many girls face, and watching her fight against that can be cathartic. But what's harder to reconcile is the way the narrative goes out of its way to justify forcing this role on Katara. Not all of this can be chalked up to a sexist world. Kya being dead before the story begins was a decision the writers made, for example. I'm not necessarily saying that should be changed, but it is a common trope in media and it's a problem that women are disproportionately killed off to serve fictional narratives this way. Compare, for example, the way the story explains Hakoda's absence without killing him off entirely, and the fact that we know a heck of a lot more about him as a character than we do Kya. His absence is still used to characterize the heroes, to explain the struggle they face in a war-torn world, but he gets to be an active agent in the story, too.

Another example is that although a lot of Sokka's sexism stems from a lack of understanding of Katara's waterbending, which can be explained in the narrative by the fact that the FN has nearly eradicated southern waterbending, this does not explain why Katara wasn't taught more about her bending by her grandmother, who is both from the northern tribe and present when Hama and the other benders were taken. In the flashbacks in "The Puppet Master," we see that there were many women who used combat waterbending, and apparently waterbending healing was not even known in the south so there was no gendered division like in the north. There's no real reason why that should change so quickly in such a short amount of time to the point where the southern water tribe all of the sudden becomes this hugely sexist society where only men are known to fight.

Katara and Sokka are presented with opposite ideas about gender, but we don't have any real sense of where they got these ideas. I like to headcanon that Katara got her feminism from gran-gran, who fled the southern water tribe because of sexism, but it's strange then that Katara doesn't even know this story. Why is Kanna such a complete nonentity in the narrative, when her story is so important to the story the show wants to tell about Katara?

We get more backstory on Sozin than we do a lot of the adult women in the story, when they even show up. Zuko's mom is fridged just like Katara's, and although I love how this serves as a bonding point between them, it would be less glaring if Iroh's and Azulon's and Sozin's wives were also not nonentities in the narrative.

Someone commented on this post that the live action might be giving us Suki's mom. So let's look at how even this small change might effect the story. Even keeping in Sokka's sexism. Let's say that it does play out like in the original, and when they get to Kyoshi Island, Sokka is shocked - shocked! - to be beaten by a bunch of women. We're supposed to think Sokka is wrong. And he does get proven wrong. But the Kyoshi Warriors are still the exception to the rule. Sokka doesn't so much learn that women deserve respect as much as he learns to respect some women because they can kick his ass.

But, if we bring in Suki's mom, then suddenly Suki doesn't have to be the sole named character responsible for teaching Sokka not to be sexist. The story becomes less about how Sokka should respect women because some of them are cool and he'll get a girlfriend out of it, and more about how all women deserve the same respect, because we see more women just present and living in the world of the story.

I'd also like to ask everyone to take a step back here, because to my knowledge, the show never said it was taking out certain arcs or presenting the characters without narrative flaws. This all seems to stem from the young actors themselves saying merely that the show took out some "iffy" moments.

So what did they take out that Ian and Kiiawntio might be referring to? Maybe some of the anachronistic and, frankly, racist moments such as, for example, Sokka and Katara calling Zuko and Sokka's cultural hairstyles "ponytails." Which would make sense, considering that the show probably feels like they can trust their audience to accept hairstyles that might appear different to Americans moreso than the writers of the original show did, considering that this is not a show airing on American kids' cable in the early 2000s, but a modern show with a global and much more globally aware audience. These are the kinds of updates that I would expect from a modern live action series. And that is a very good thing.

I also trust the young actors of color playing these kids to say "hey, these kids would not actually talk like that!" More than I trust white writers and execs.

#atla live action #katara #sokka #atla discourse

[onebadpunspoilsabunch]

Another thing I hated from those last two seasons were the villains, especially cozy glow

Bgdsafhbb

I really should stop talking about mlp. It's embarrassing 😅 I'm kind of embarrassed. I apologize to all my followers. But...

But again, 100% right.

Funny thing is, I can see a world where Chancellor Neighsay's character is written better. The problem with his character is that the terrible writers wrote him as the most stereotypical, strawman-y racist villain that I've ever seen in any piece of children's media, ever. 

If they wrote him more realistically, and actually gave the audience an explanation for why he feels that way about the other creatures...

For example, they could've showed that the reason he hated the other creatures is because of their past history with ponies:

The hippogriffs/seaponies refused to help when the Storm King attacked 

The Yaks were very picky when they came to visit for the first time

The dragons were usually very hostile towards ponies, to the point where ponies were afraid to approach them

The Changelings attacked Equestria twice

The griffins had a better relationship with ponies, but the majority of them were still very rude

Of course, the explanation for all of their behavior is the result of their environment, leadership, and upbringing. But it would still be an understandable reason.

And if they had him realistically realize the error of his ways, combined with writing him in a realistic way and giving an explanation for his mentality, then BOOM! Character fixed, problem solved :)

Now, as for Cozy Glow...

Idk what the writers were thinking when they came up with her character, but in terms of writing/character motivations she is 10,000 times worse than Neighsay. At least with him I understand what the writers were going for, and he can be more easily fixed.

But Cozy Glow…

She is a child. The same age as the CMC. Who is... inexplicable an evil sociopath who hates the other creatures, wants to get rid of magic, and... rule the world...

Absolutely no explanation given for how this child turned evil, racist, a sociopath, a master manipulator, and a megalomaniac. No backstory, no explanation. At all.

At least with Neighsay, you can logical see how he got there. But I have no idea what they were going for with Cozy Glow. 

The only thing I can figure out is this: Cozy Glow exists to prove one point that Neighsay made. He was afraid that the other creature students would use their friendship lessons and the school to secretly take over Equestria. He believed that they were sociopaths who were incapable of being changed, so instead of being improved by the school they would only learn how to better manipulate ponies. That's what sociopaths do in real life. 

But instead of it being the other creatures who did it, it was a pony. The point of Cozy Glow's character is to prove that ponies are capable of being the megalomaniac sociopaths that Neighsay thought the other creatures were. So in a way, I can see where the base concept for her character came from. 

The thing that makes it terrible is that there is absolutely no backstory or explanation given for why this child is evil, or how she got there. The writers just expected the audience to accept this incredibly bizarre, horribly written character. 

Lol, shrug

Grogar would've been a really cool villain, if he wasn't actually SPOILERS Discord in disguise the whole time.

The real Grogar does exist in their world. He could be dead, he could be alive. We don't know. But the writers lied to people, telling them that Grogar would be the final villain, hyping him up... only for it to be taken away with a terrible plot twist. That they (apparently) planned from the beginning:

But when Discord was impersonating Grogar, he was still a better villain than Cozy Glow and Neighsay. The plot twist was the real problem, not Grogar himself. 

I actually feel kinda bad for Grogar's character. They did him dirty. They did my sheep dirty :(

Anyway, my final thoughts on the season 8/9 villains:

Chancellor Neighsay: Terribly written, but can be easily fixed.

Cozy Glow: They were high on BATH SALTS or something and were watching Cats Don't Dance (or the episode of Batman the animated series with Babydoll) when they came up with her character, and didn't give a shit about anything else.

Grogar: I feel bad for my poor sheep :( You deserve better, you could've been great 🐏

#i apologize to my poor followers #ask #my little pony #mlp #mlp fim #my little pony friendship is magic #mlp g4 #mlp season 8 #mlp season 9 #chancellor neighsay #cozy glow #grogar #mlp analysis #mlp critical #critical

[crusherthedoctor]

Opinions That Aren't Mutually Exclusive:

"Sonic should be allowed to tell stories, and the dismissal of story in Sonic because it's a video game series is silly" and "It's still a video game series first and foremost, so the gameplay part is still the top priority, meaning anyone who doesn't like a game because they didn't like the gameplay is perfectly valid"

"Sonic is a Japanese IP, and no amount of western adaptations will change that" and "It shouldn't matter where in the world the people handling a Sonic product are from, as long as they're competent and humble"

"Alternate gameplay styles can exist in Sonic" and "You can't just do anything willy nilly, it should make sense for a Sonic game in some capacity, even if it's another character"

"Sonic's world should feel like a place that people could live in" and "It should be creative, inspiring, and not emulate the real world at the cost of everything else"

"Sonic does not think like a typical superhero, nor does he go out of his way to redeem villains if they show no remorse" and "Sonic is a compassionate person who is quick to befriend others if they're not evil or if things have mended between them"

"Sonic is the namesake character, and his influence in the world around him is key to the series" and "Other characters should be allowed to exist beyond Sonic, and not have their every decision and contribution dictated solely by Sonic's influence"

"Tails should have childlike traits" and "Tails should have agency, and not be useless or a submissive yes man"

"Tails' outburst in Lost World and his moment of weakness in Forces could have been handled better" and "The solutions fans come up with are often nonsensical and would only make things worse"

"The Master Emerald and Angel Island are important to Knuckles" and "His entire existence should not revolve around them"

"Amy's love for Sonic should not be flanderized to the levels of the mid-00's" and "Amy should not be a Strong Female Character™ who's too cool for mushiness"

"Eggman is a funny guy" and "He is also a huge piece of shit"

"Eggman doesn't do things for the evulz" and "He does things for himself, and his evil is not any lesser because of that"

"Other villains can exist" and "When two decades worth of upstagings have happened, no shit I'm going to be cautious and give every newcomer the side-eye until they're confirmed to NOT drag Eggman through the mud"

"Shadow can be aggressive if he has to" and "Shadow is never an arsehole for the sake of being an arsehole"

"Shadow's backstory is necessary to the context of what made him who he is as we know him" and "He's already confronted it and should be allowed to move on without having Maria's memory dangled in front of him at all times"

"Rouge is not in Sonic's immediate group in the same way as Tails, Amy, Cream, etc" and "Rouge is not a villain, or even that morally grey, since despite her jewel thieving tendencies, the amount of times where she's helped the heroes far outweighs the number of times where she hasn't"

"I don't think Silver is an interesting character, and he was artificially shilled at Sonic's expense in '06" and "IDW Silver is a deceitful portrayal of who Silver actually is"

"Elise was not used well" and "She did not deserve the hate she received, and is hated half the time for dumbass reasons"

"Metal Sonic's identity crisis is an intriguing idea" and "You can convey that idea without him usurping Eggman and becoming another dime-a-dozen giant monster, you can't use insanity as a handwave to throw anything at the wall to see what sticks, because the good and bad ways to establish insanity always depends on who that character is"

"Some of the IDW characters had potential" and "That potential was swiftly thrown out in favor of flanderizing them, turning them into Sally clones, or turning them into Eggman Usurper #59"

"Sonic shouldn't be infantilized as a series, like Sonic's portrayal in Prime" and "It also shouldn't be edgy for edgy's own sake, like the zombot arc in IDW"

"The games are not perfect, with some of them having much more inexcusable flaws and baffling decisions than others" and "The games are what started the franchise, and the cartoons/comics/etc would not exist without them, therefore you can't pretend the latter are the centerpiece of the franchise even if you prefer them"

"SA1 is one of my favourite games in the series" and "The direction shift from Classic to Adventure may have had understandable intentions behind it, but by making said shift so vocal instead of more graceful and seamless ala 3D Mario, ultimately it was responsible for creating one of the biggest divides in the fandom since SatAM"

"Shadow the Hedgehog is not a good game" and "But it is a funny one, so I can't hate it too much"

"Sonic '06 is over a decade old, and reviewers should stop bringing it up in every review where it's not relevant" and "It's worth remembering what '06 did wrong so that its mistakes aren't repeated, which is especially crucial in the wake of fans choosing to retcon it as an underrated masterpiece"

"No game in the series is perfect, not even your favourite one" and "Literal perfection is impossible to achieve, and would be highly subjective even if it was, the flaws shouldn't cancel out your fondness for the game"

"I respect Yuji Naka's contributions to the series" and "I don't necessarily like Yuji Naka as a person"

"SEGA of Japan have not had a flawless track record" and "It's still their IP, and SEGA of America, as well as fans and creators, need to respect that"

"I've not been that interested or impressed with Daniel Barnes' output in the series so far, and the mantra of ___ Can Do No Wrong is a dangerous slope that leads to egos like Flynn's" and "I respect Barnes' integrity that other IDW crewmembers have not shown"

"I favor adaptations that are faithful to the source material" and "I can like adaptations that do their own thing as long as it doesn't go against the core of the franchise/characters too much"

"We're on our way to the ARK" and "So I guess that means we're going too"

#Opinion #Sonic the Hedgehog

[teeth-cable]

Just say your reply and dam let me say it

Nifty makes me so sad shes everything i love in concept yet her execution kills me; she loves cleaning shes a bug and not only that a old timey bad alien movie inspired

I wish this show was actually about the hotel and that she had gotten the "alastor is allowed to not tell us his backstory because we need a season 2 " treatment, if this show actually follow the premise of redemtion Niffty, V and Angel (heh all bugs) would be the most complex ones and satisfecho ones to write about

V even if i prefer she wasend an exorcist if she n camilla carmine were former winners turned exorcist and them fallen we coul have both sides of going to hell

Angel Hess from the mafia! How how you teden that?? Even if he gets his sould how you fix all the blood or family spill! How did Molly did! (Rip my girls desing wtf she has maneged to look bald n hairly??) Just the journey he would have to go tru a looong road, would charlie put him on the back burner? Would that make him have a relapse?? Would he learn Molly make it hell would that be his motivation? Just this man

NIFTY she is conected to Al and im fascinanted to know why he favors her so much, why shes like this do Al know- does she even know? Its this her cope, was she murder or the murderer ?? Was she too a rasing overlord? Its her past the reason ? How does she feel in general honestly shes done so little in the show but i wanna disect her n know why shes like this so bad

Sorry for the rant n probably bad english just had to get that out my sistem at 1 am lol

Niffty was done dirty by the writers, everyone but her, got character development or a moment that hinted to some sort of character depth (Even if it was shallow).

Why the writers decided to reverse the seasons I have no idea. Charlie finding out Heaven is corrupted doesn't work since the plotline hinges on the audience's investment in her reaction and the cast, but why should we? We don't see the cast trying to actively improve themselves and the show repeatedly tells us sinners are the worst. At this point, it makes no sense for the show to continue the hotel premise because we know Heaven is corrupted now. What's the point, when we already know any effort the cast puts towards redemption will be in vain?

The characters are fulled of mystery and great ideas but the show refuses to explore them. I was surprised by the lack of references at their human backstories. The cast's human lives are why they're in hell and the person they are now. Like, how are we supposed to know Husk's cheesy love for magic came from watching the magic shows in the casinos he grew up in????????? That seems like a very important piece of information to know about his character, considering it's one of the few things he still loves. In that one line alone, we learn so much about Husk and why he turned out to be an alcoholic gambler. At the end of the show despite spending time with characters, I feel like I don't know them as much as I should. I don't know their motivations, beside for Al and Angel we don't see them struggling through their flaws (The show has Husk tell us, writing 101 /sarc), and the show doesn't really explore the cast's relationships with each other or their world. So any potential information we could have learned about them from their interactions through others characters and their environments isn't utilized.

The show just keeps important info locked, tells you character's infos that would have benefited better from showing it, and then except the audiences fill in the missing gaps between info-dumps.

Don't worry about ranting, it's was fun to read and respond too. I understood you just fine.

#꧁rambles꧂ #➥asks #hazbin hotel critical #hazbin hotel criticism #hazbin critical

[frozen-snowflakesandsunflowers]

Elsa losing her powers & Hans' Redemption + backstory | Theory

Cover created by me

Since Frozen 3 has been announced, it's left us questioning; What more could be told of the sisters' story, especially Elsa's story now that after years of searching she finally found herself as the 5th spirit? But has she really found herself? What would she be without her powers? The very thing that defines her to most. How would the world see her? But most of all how would she see herself if she lost them, even if it was temporarily. Who would this time pull her out of this new found identity crisis and who would she then become and stay as?

[Long post alert]

Elsa's losing her powers

I've seen a few posts going around theorising and wanting Elsa to lose her powers by Ahotohallan being destroyed. And reading them and understanding their perspective, I start to love the idea more and more to be honest because I honestly feel Elsa is mostly loved by the audience for her powers or at least some of the people who know her in - universe see her for her powers but what we really need to see is who she really is without it too. I think that could be quite important to see. How would she continue to look out for her family, her people, her kingdom and her forest?

Frozen 3 has been debatable since its announcement because of Frozen 2's ending, also quite controversial. I personally am always generally excited for more movement in the franchise because I'll always love Frozen no matter what. Frozen will always be in my heart, especially the first movie. But yes I am unfortunately on that "disappointing ending for Frozen 2" boat but I also see that Frozen 3 could potentially fix some of things that have been bugging some of us as well as adding and keeping the things we love. Frozen 2 was originally going to be the last film I think given Jen Lee's words in one of the interviews back then but looks like they changed their minds and might possibly be listening to us and this new director of Frozen 3 could do just that. Jennifer has recently said that there's a strategy to 'more Frozen' and that is that if there's more to tell for the story, then more Frozen will happen. So they can't keep the sisters separated for too long and will expand on the characters growth which is a good thing because it gives them the opportunity to fix the things we don't like and add things we do want to see.

Some people don't quite understand Elsa's fifth spirit role, why she had become something so unclear to understand, and made a decision to live in the forest instead. I from a perspective can understand it. Though the podcast is non canon, it's still something Elsa would do and act in on a situation given as so. The spirits are quite mythical and powerful but can easily be in evil or someone who doesn't understand magic's eye's catch and make them rage, as we do see in the podcast with Disa. But at the same time as looking after the forest, she is also concerned about her own kingdom. My explanation includes spoilers from the Frozen Podcast so skip to the 'Reasons for powerless Elsa' part. Queen Disa lives in Arendelle after a flood encounters her kingdom. Anna with open arms accepts Disa and all her people to her kingdom while Elsa had her doubts on Disa over time with her uncertainty yet knowledge for magic but respects Anna's decision of course. But actually it's just Elsa who misses being Queen having her schedule, knowing what decisions to make, but she's not at all saying Anna's a bad Queen, she just missed the role. Weird shaped machines are found in the forest that cause the spirits to act up and Elsa deals with them with Anna's help. Disa eventually admits she put the machines there because she wanted to help Arendelle. When Anna tells Disa of her confession, Elsa still feels no good about Disa despite her good intentions. The point is that Elsa is mainly in the forest to keep it out of harm's way such as we see. Also because of the fifth spirit being the bridge between Arendelle and Northuldra. If you look at the scene where the sisters reunite you could say that Elsa actually means that the bridge, the fifth spirit is both her and Anna. While Anna looks after Arendelle, Elsa looks after the forest. But I do also wish to see Elsa return back to Arendelle permanently at some point. I'll expand more on Elsa's fifth spirit role in another post but what this has to do with powerless Elsa is you first have to understand what she is with those powers now to understand how she'll be once they go.

Reason for powerless Elsa

Elsa has recently got a lot of hate - well actually I really wouldn't say hate but rather less love than she used to get because looking at the franchise as a whole Elsa takes up some of the spotlight and her growth through her powers is evident throughout. Why not really show her development in the character she really is, by making her understand not what they're worth but what she's worth with and without them. She's first seen looking at her powers as a curse and feeling fear of accepting her powers completely and seeing it as a gift that it actually was in reward to Iduna's act of saving Agnarr, her people's enemy. She's always been the most popular between the sisters too within fans and stood out more in merchandise too partly because of these powers. You'd even see kids dress more as Elsa than Anna. And that in her iconic icy blue gown. But while Elsa lost some love, Anna has gotten more love. Throughout the franchise, we see Anna's growth through optimism through all her ups and downs, especially her deepest darkest moment in Frozen 2, given she thought she lost everyone and everything at that point. It's not easy being head steady and strong in such a situation but she really showed us that we can do it.

And no I'm not saying Anna had more character growth than Elsa or vice versa in any way - please don't get me wrong here. I love the sisters both equally - it's true! I'm saying we need to see the natural side of Elsa. We need to get to know her for who she is without them too. Just like how Anna was more than just the spare (as it goes in a deleted song for Frozen) and a few years later she became Queen because she did truly earn the role through everything she endured in that sequel, the same way I want to see Elsa being more than just her powers. And while you're at it let's give her another big solo, with most or all of it being without her powers showing her athletic abilities and strong determination that is already there and is enough to survive whatever situation goes on. That moment in the dark sea when Elsa faces the very sea that killed her parents was one of my if not number one favourite moments in Frozen 2. We got to see Elsa run and jump and dive and literally fight and tame at the same time, a water horse. Elsa had been wondering her whole life about her powers origin and now that she's so close to not only seeking the truth about that but about the past that could somehow destroy the future of Arendelle too. That determination to set things right, to find out who she is is what I want to see but extract the literal magical side of it.

And as far as the theory of Anna getting powers goes, I personally don't approve of it because I think it sends the wrong message if Anna becomes like Elsa. That would make people prefer one or another even more and create the typical 'whose more powerful' argument etc. Anna already has powers. It's love. Yes love. It may not be a literal thing she can shoot out her Hans like Elsa but like hers, it's in a way a true force of nature. It's the strongest power there and Anna shares that power with everyone. So instead of giving a character powers they should strip Elsa of her powers temporarily to get those who see her for just her powers, to see her as so much more than that.

The effect of losing her powers

Elsa losing her powers would make Elsa be in an identity crisis, thinking she's nothing without them. In Frozen, her identity crisis was about how she was with her powers, feeling too dangerous for this world. But she's grown since then and has come to terms with them so now instead of feeling relieved as she would've in the first movie, she feels anxiety of not being enough to protect this world. Everyone has mostly relied on her because of her magic, so she would fear everyone loving her less or thinking herself as useless without them or something along those lines. (In Frozen 2 we literally see her taking requests from a few of the citizens to make ice sculptures). Elsa then finds herself back to square one; Hiding from everyone, wanting to be alone or hating herself. And I'm not saying everyone, in Arendelle and around, love for her for her magic only but Elsa, losing her powers, would think that but now that she's embraced her powers, with Arendelle and Northuldra now looking onto her as their saviour, protector, warrior etc, it's natural for her to think so. I mean think about it - girl has been with these powers since she was born, they're literally a part of her. She hated them for most of her life ever since she first hit Anna with them, then she sees let's go of holding it back to finally seeing the beauty in them and then starts questioning it's purpose and if she was meant for more as she feels them growing so she starts to search for answers in a place where she meets other creatures similar to her feeling like she's not alone with being the only known magical being as a call comes from the North which leads her to finally finding the birthplace of her powers and finally embracing them but then.. they just go. Just like that. That would totally cause major trauma and grief and stress. She's relied on them for so long. She finally embraced them. Finally found out she was with them. They even saved her life multiple times. They were the very first gift. She thinks she's everything she is because of her powers; in Frozen, she thinks she can only harm with them, feeling like a monster and here she thinks she can only save and protect lives with them, feeling like a saviour/ protector. But through a journey she could have with Anna or even solo one similar to the journey to the North mountain (or rather to her building her ice castle) in Frozen or the journey to Ahotohallan in Frozen 2, she starts to see that she's more than just her powers. She learns to love herself for her true self, with or without them. That would mean she would learn to be less reliant on her powers and more of her natural elements. It's what's inside the heart that really matters. With everything she's been through so far she thinks she's finally found herself, finally embraced her magic, in Frozen 2, but no she really hasn't. I know she's the Fifth Spirit/ the Snow Queen and that's what her powers are of and that's what she is and you would think that would be her final destination of her journey of growth but no - fact is she is more than just her powers and she needs to see this.

How would she lose them?

Some of you might be wondering well, how would Elsa lose her powers? It would mean something bad happens to Ahotohallan. But no not necessarily because Ahotohallan could be the one testing her. It did give her the gift in the first place so it's much capable of taking it back too. But you also wonder, she finally finds who she is, what her role in life is, so how can she live up to it and fulfil her duties without her powers? Remember that these were a gift to her as a reward for Iduna saving Agnarr when they were younger. Let's not forget the most important part of it all that, Iduna saved Agnarr without any powers. From what we saw of her flashbacks, she had a close relationship with the spirits so they helped her in saving Agnarr. So Elsa should look back to that moment and believe she can still save the forest and her kingdom from any kinds of threats without her powers too. The spirits will obviously keep their bond with Elsa, if they're around depending on how Elsa loses her powers but she could too, like her mother, use the spirits' help but not for things that would take away the whole point of this test. That's one option to stripping Elsa's powers temporarily, a test from Ahotohallan to see her courage and determination to protect her kingdom and forest as well as those she loves, too see if she will still keep what she has learnt of the lessons she has learnt from last experiences. Another option could be a punishment from Ahotohallan. Perhaps Elsa takes her magic too far and gets carried away with it leading Ahotohallan to see Elsa being ungrateful. I mean she was originally in the concept set to be the villain if it wasn't for "Let it go"'s huge success and other reasons too. It would be interesting to see if Elsa takes a dark turn in believing whatever it is she's doing wrong is for the good. But I think the first option is more likely if Elsa were to lose her powers because it really pushes her limits and her character growth and shows everyone that she can be just as naturally strong like her sister and can depend on her one natural abilities and skills too.

The physical change

Speaking of Iduna, losing her powers would mean all those physical features of hers that show her powers would go making her go brunette like her mother, just like Anna has strawberry blonde hair similar to their father's and grandfather's. Her clothes would perish given they're mostly created with her own magic and so she'd have to rely on earth material clothes. Her skin would turn warmer from being as pale as the skin gets when one's cold. Her attire colour pall would de - transform from a bright and pale cool colour bright palette to a darker, desaturated one, still in cool colours to separate it from Anna's wardrobe but also to show that she still loves her cool colours. Anna has the greens and reds and warm pinks but I think Elsa will be similar to how she was locked up in her room with the dark pale blues and blacks representing the trauma and identity crisis within. It'll be a parallel to her trauma when being locked up. While her role-found gown is white, her no power attire should black. Then as she starts to understand the point of all this, starts to learn the lesson from this, her costumes start having more colour and perhaps when she's finally found herself it'll be blue and white showing the two parts of herself she found while struggling on a journey with her powers inn Frozen and Frozen 2.

Hans' role and redemption

Okay I know the very mentioned of Hans will blow some peoples heads off thinking “He's just a one time villain and joke” or “He tried to kill Elsa! Anna won't ever forgive him” or “Elsa mocked him in Frozen 2! She won't forgive him either” etc etc. But I'm not going to waste my time trying to explain why Hans deserves redemption and that he wasn't really evil or the real villain of the story, when the lovely @a13thprincefora13thprincess has taken hours out of her time to write the most beautifully written 13 part analysis on who Hans really is. It's incredible. It's what got me to really push on the call to Redeem Hans.

So while she breaks down Hans' true intention, I'm going to try and explain his return for redemption and his pivotal role in Elsa's identify crisis.

I think Hans would be quite important here and have a good parallel with Elsa's crisis here. How and what's his role in it? Well let me briefly explain Hans true intention first. Anna hates Hans, and everyone does too really for almost killing Elsa and attempting to overthrow Elsa's newly royal status as monarchy of Arendelle. But really if we look at the situation closely, the entire council including the Duke were begging Hans to kill her because she couldn't end it the winter herself and because they fear Elsa's powers could harm others. They wouldn't get off his back. Hans wasn't listening at first because in almost all the scenes Hans has encountered Elsa he's tried to convince her to not be what “they” [Citizens and the council] (not him) fear she is and try and stop this winter. But the more he saw Elsa controlling her powers by making a huge ice castle, a snow beast, a new attire, hurting Anna (seemingly intentional to him as by Anna's words), breaking out of the handcuffs and the prison cell and finally the blizzard having a sudden stop the moment he told Elsa Anna's dead, the more he saw that Elsa lied to him about not being able to control her powers which led to him eventually agreeing to kill Elsa seeing as innocent lives were in danger given the blizzard. Before the final straw, being the handcuff and prison break, he was gentle and kind, he never said anything mean about the sisters nor did anything against them til. Hans was stressed and put under pressure given the citizens of Arendelle freezing to death, the council begging him to execute Elsa, Anna going missing for days in freezing weather, begging Elsa to end this winter and Anna being the case of Elsa going rouge and freezing the kingdom by causing as scene at the coronation party. It was really a misunderstanding and his behalf. As I'm sure you've heard a few times in Disney media, villains aren't evil, just misunderstood. But really the council are the real villains of Frozen, not Hans. But then again seeing that kind of magic and the way her powers came out, one would feel scared and think she's some kind of Sorceress.

Hans' "villainy" reveal scene

When the kingdom was thawed, and Hans was surprised to see Anna alive, he said to her he thought Elsa froze her heart. I just want to go back to the scene where Hans "villainy" is revealed because I want to explain as briefly, as I can, how him being stressed was the cause of his bad decisions from that point after. Hans is surprised to see Anna alive, when she came to him for the kiss, because when his horse, who Anna rode to find Elsa, ran back to him he thought Anna didn't survive the cold and died. But Anna tells him Elsa froze his heart which genuinely surprises him because Anna before had told him Elsa would never hurt her and with such powers that Elsa had making everyone fear her, Hans genuinely believed Anna with that being said. What makes Hans think Elsa did this deliberately, is her lack of explanation, her precise words to Hans, who says she said herself Elsa wouldn't hurt her, being “Nope. I was wrong”. From this point Hans starts feeling confused as to what Elsa's intention is and realises that he has to kill Elsa before she hurts anyone else. As for Anna he starts thinking she deserved it because all of this was all Anna's fault because if she didn't create a scene at the coronation party, Elsa wouldn't have ran and accidentally cause the Kingdom to freeze and wouldn't have had the repetitive suggestions to kill Elsa and Anna too wouldn't have been hurt and Arendelle would've kept their respect for him. So it makes sense for Hans to burst under stress in anger on Anna leading him to go mad. Imagine it like this: You are put in charge of a kingdom. You have to make sure the citizens are warm and safe, but have to reason with the 'gone rouge' Queen and have to find the missing Princess all the while the Kingdom gets colder and people start to freeze to death. Stressful right? Not just for a ruler but anyone put in charge would feel the same kind of pressure in a situation like that.

Swapped roles and intended plot holes

Originally, Hans was supposed to be a good guy while Elsa was the Villain. The good and evil roles were swapped around after Disney heard "Let it Go". That's why Hans' villain reveal felt so sudden and was unexpected. And that's why Hans' is alongside Elsa, Aan, Kristoff, Sven and Olaf I'm some of the movie posters. That confirms that what we saw of Hans before this villain reveal was indeed genuine. They also wanted Hans falling for Elsa too, which is why they have that chemistry, that dynamic, those scenes that get us, Hesla fans, to ship them. That's why the plot holes such as how Hans brought Elsa to the castle and how and why he gave her the blanket in the dungeon etc exist. And speaking of those specific plot holes [events from Elsa's ice palace to the dungeon], we can almost say for certain that it was Hans who carried her to and on his horse and gave her the blanket in the dungeon. The chains could be Hans or either or the guards, believing that the chains would hold back Elsa's powers. What I say it was Hans is because why would the Weselton guards carry her when they hate her and follow the order to kill her, and why would her one Arendellian guards carry her when they fear her. Hans is probably the only one who doesn't fear her. He's really just shown doing his responsibility as the one in charge.

So really we, who want Hans redeemed, are just trying to make sense of Hans' character rather than accept that he's all of a sudden a villain when before he revealed it, it wasn't really shown, hence the twist of the movie.

Feeling the guilt

Back to the Frozen's real villains, the Duke's punishment was cutting off all trades with Weselton and Hans' punishment was being sent back home. When the guards send both of them in the boat (separately), the Duke tried to resist and get out of it making excuses but Hans didn't. He didn't even say nor do anything to resist being sent back home and leave Arendelle. It's like he was already feeling the heavy guilt and regret. So why is going home a cruel enough punishment for Hans whether or not Arendelle knew Hans' backstory? But more so what is Hans' backstory? Let's find out.

Hans' backstory and intention

Hans is a prince from the Southern Isles, a neighbouring kingdom to Arendelle. His family consists of both his parents, and 13 older brothers. Being the youngest and least important in a large family would be difficult for anyone, royal or not. He is the youngest of 13 brothers. In the book 'A Frozen heart', it's revealed that Hans' father and brothers excluding the third oldest, Lars, treated him harshly and disrespectfully both emotionally and physically because he was the youngest son and last in line throne and hence to their eyes, useless. To add to it, all of his brothers including Lars, are married excluding Hans making him more vulnerable to his father's and brothers despise for him. His mother however, loves Hans' nonetheless just like any mother would love her son. His father had a saying to him that goes something like “The strong should pick on the weak”, which was his excuse of treating Hans like so. Hans wanted to prove to his father and brothers that they are wrong about him, and in fact is capable of ruling a kingdom, of respect, of love. He had to face it; he's never going to get the throne of his own and feel loved, whether his brothers have offspring or not and as much as he tried he just felt neglected, so he decided to squeeze into a throne somewhere else. Lars was the youngest child for a while so he knows somewhat how Hans is feeling. With his help, Hans found out that he could fit into the throne of Arendelle hearing upon Elsa's coronation. While his brothers and father could care less about where or what Hans' was doing, I'm assuming he told his mother that he was going to Arendelle for the coronation as a guest on behalf of his kingdom.

So when he got to Arendelle, after Anna ran off to find Elsa after the incident and the coronation party, she left him in charge and that led the the kingdom and the council to rely on him and that is what made Hans feel important and feel like this is his chance to prove himself worthy of love and respect by giving the same to the people. But being put in charge of the kingdom also came with pressure of holding the responsibility such as making sure the princess and Queen are safe, making sure the people are looked after, etc. Having sent back home, after attempting to kill Elsa, instead of receiving respect and love from his family he originally thought he would do so by gaining or rather stealing the throne and proving his worthiness of love and attention, he instead will be recieving more despise and disappointment from them along with other punishments of their own too like we see in Frozen Fever. And as he faces punishment he would regret more and more giving in to the council's manipulation to attempt to murder Elsa and most of all for letting the people of Arendelle, who looked up to him and relied on him for care and warmth (metaphorically and literally), down. In fact no; the worst of punishments is his mother's disappointment in him. He let his own respect down from the eyes of everyone down.

Hans' role in Elsa's identity crisis

So now we can finally answer the question, 'How and what's Hans' role in Elsa's identity crisis?'. Given all that said about Hans' intention, a way for him to seek forgiveness would be doing the exact opposite of what he was going to do, which would be saving Elsa's life. He won't have this idea come to mind when going ot seek forgiveness but a situation may arise in which he does do so and rectifies his past mistake. Now many have theorised and hoped for Elsa's powers to disappear temporally leading Elsa to go on an identity crisis, given she's had her whole life with them, fearing them loving them and for them to go would cause chaos within her as I've explained above. If Hans returns for redemption, he would also be finding himself while trying to seek that forgiveness. Hans will never be king and he may not feel himself worthy to be king anyways after what he's done. He's the spare of all the spares. So what his purpose in life? All he can do to start the road to redemption is ask for forgiveness to Elsa and Anna by helping them somehow perhaps..? So while Hans has his identity crisis (his own redemption arc), Elsa begins hers too. Elsa is now just a regular girl and she would think everyone hates but Hans would tell her that no, she's more than just her powers as he knows what it feels like not being important anymore and feeling like you've let people down, losing everything of which you claimed as your identity. They'd share a moment of heart felt talks and understandings but perhaps before this moment he saves her from doing something that would kill her and he saves her knowing he might die instead because saving Elsa without a risk to himself would make Elsa not buy it as he has saved her once, before he trusted to kill her, which would rectify his crime in attempted murder of Elsa. Why would Hans want to die? Well as I just explained on what I believe Hans backstory to be of, and given the outcome the situation in Frozen, Hans' would have to accept that he will never be loved by anyone. So upon trying to see forgiveness from Elsa (and Anna), he doesn't think they'll accept it and just sarafices himself for Elsa because he now knows Anna can't live without her. He knows that they have a stronger sibling bond than he had with his brothers. But when they're both safe, they sit somewhere and have a conversation in the situation they're in, like mini conversation in the dungeon in Frozen, but more impactful and meaningful. It would make Elsa begin to see that there really is more to Hans than just his mistakes and he starts to grow on her. She has no reason to believe he's still after the throne or any kind of power because she's not Queen anymore and doesn't even have her powers but is instead just a regular girl (and Anna is taken anyways). Their interaction could go something like this: “I'm nothing. I'm not the Queen anymore, I don't been have my powers. I'm just.. a regular girl”/ “A regular girl who is a Princess who gave up her crown to someone who you thought deserved it more because you didn't want to take away the attention of being the 5th spirit and Queen from someone who loved so much, she save your life twice. That's a true nobility of a Queen.”. Those wondering how Hans would know what went down in Frozen 2, well, given that Arendelle has made peace with the Southern Isles (as written in a newsletter in the new Arendelle theme park in Japan), the King and Queen would be talking about it and Hans would know from them. If Elsa was still Queen there would be doubts that he is still after the throne or if Elsa has her powers, some might say he wouldn't love her without them or he's trying to study Elsa's magic etc. We know her own family, Anna, Kristoff, Sven and Olaf would love her with or without powers and I'm sure the people of Arendelle and Northulra do but we need someone who would cause some doubts to people in order for Elsa to find herself. So that's why it's so perfect for Hans to come into the picture when Elsa loses her powers temporarily.

Learning from the situation

After she regains her powers, the lesson she would have learnt is that she is more than just her powers. And Hans would be the king to his Queen and gain his respect and love without actually being the king and having respect through being a monarch. And I think it fits in well with the story, making that part of the reason why Elsa gave up the throne to Anna; So that Hans would love her for who she is, with or without her powers, with or without the crown. Some might say Elsa is better off alone but I think not because one, love can happen to anyone even if they're an independent person, and two, I personally find it necessary for Elsa's partner to be one who loves her with or without the crown and her powers and as I just explained Hans is a perfect example of that. Just because Elsa seems alone doesn't mean she's not interested in men or isn't attracted to anyone. I believe she was just focusing on self discovery through her powers and family through Anna. Now that she's found herself and is assuming that Anna is well and about to enter a new life with marriage to Kristoff, it would be a great time to get Elsa to unintentionally explore romantic love. But anyways I think this theory, of Elsa having a love interest whose no longer after status, would fit in well because Anna deserves the crown for everything she is and has done for others with or without the crown and Elsa would be loved with or without her powers and the crown and by someone too. It would fit in with their individual arcs perfectly! Elsa and Hans need unconditional love from each other. Hans' biological family don't give him enough of that and Elsa needs it from someone other than family.

If Hans returns, which I believe is possible with all the hints lately, and if the writers feel like taking Elsa's powers away for some time, in the movie, then there you have it - my theory comes true.

Plus further reasons why Elsa and Hans are soulmates are these; Elsa is a North girl, while Hans is south. Elsa is born in winter and given Hans' hair colour and some people associate him with fire, but imma take that as an Autumn guy.

But alas until the run up to Frozen 3, updates of it, and/ or until we get further Frozen content with its 10th anniversary coming up in just 17 days, we can only keep hoping and joining the dots for more of a possibility.

#Disney frozen #frozen #frozen 2 #frozen 3 #elsa #anna #elsa and anna #disney frozen #disney #elsa of arendelle #hans #prince hans of the southern isles #let's redeem hans #redeem hans #long post #long post alert #hans westergaard #Queen elsa #helsa #helsa hints

[darkside-skyguy]

Okay so I saw Wish last night and I have some thoughts. Spoilers below!

The movie wasn’t bad. It wasn’t particularly good either though. It had all the elements that should have made a great Disney movie but it fell flat. And I think it all stems from the way the movie is so non-specific.

First, the world building. King Magnifico built a kingdom where everyone would be safe in exchange for giving him their wishes because…….. something bad happened to his family when he was young? And it prompted him to learn all the magic in the world and become the most powerful sorcerer so that he could…..NOT grant everyone’s wishes? We weren’t given enough background on the kingdom and the way it functions to have any kind of emotional impact in the end. Why does everyone agree to give up their wish? It seems like a raw deal. And also why does everyone only get ONE wish their whole life?? And if the wish is the best part of the person and they give it up, shouldn’t everyone over 18 be like Simon? Boring and sleepy and wish less? But this does not appear to be the case. It’s all too vague and muddled to make much sense.

(On a contrary note, I actually thought Chris Pine as Magnifico was the best part of the movie. You could tell he was having a lot of fun with it, even though the character was so shallow! I’m happy about a return to traditional Disney villains, even if this one wasn’t the best example of it.)

Okay, then there’s the music. It was bad. It was like a pop rip off of Lin Manuel Miranda but with terrible lyrics. (“When it comes to the universe we’re all shareholders”?? SHAREHOLDERS?) None of the music seemed to take inspiration from its vague Mediterranean setting and even the big I Want song was bland. In This Wish Asha sings “I wish for more for us than this.” Okay? So uninspiring! In all other Disney movies you know exactly what the mc wants and why they want it. Ariel wants to be humans because she feels trapped and misunderstood under the sea. Belle wants an adventure because she feels she does not fit in in her small village and she longs for her life to resemble the fantastical stories she reads. Mirabel wants magic so she can fix the cracks in her family. I could go on. Asha wants everyone to get their wishes granted because her grandpa is 100 and hasn’t gotten his wish granted. Very noble. But his wish kinda stinks—he wants to inspire people but we’re never told why or in what way. We never find out what Asha wishes for before she learns about Magnifico. She’s just a cookie cutter heroine with a mix of likeable qualities—loves her friends and family, adorkable, passionate—that all add up to a lot of nothing. She could be any one of us watching, I guess, but the thing that truly makes characters complex and relatable is specificity. And Asha is as vague as they come.

Then there are the other characters. None of them are developed enough. Her friends are the seven dwarves basically, but none of them grow past their one-word personalities (bashful, grumpy, sneezy, etc.) except maybe Simon, but even that isn’t really explored. There are too many of them and none of them are distinct. The goat is whatever. The star is adorable (though I’ve seen the concept art for the star boy storyline and I’m so upset we didn’t get that movie! But that’s a whole other post). The queen could have been interesting, but we never got any backstory on her. How and when did she fall in love with magnifico? What were her plans for their kingdom and do her hopes and wishes mirror what the kingdom has become? Asha’s mom and grandpa were just kind of there. And…. That’s it’s really. No one and nothing stands out.

The end was non specific as well. The people are inspired by the whole “we’re all stars” thing but they weren’t even there for the song the woodland creatures sing to Asha so how come all of a sudden they are so into this idea and it saves them when it never came up for them before? It should have been an emotional gut punch moment but it just felt rote and predictable. I didn’t feel any sense of triumph for any of the characters. There was no real magic behind it. Asha is given a magic wand and the king becomes a magic mirror and that’s it, the end. Overall it was very disappointing and I found myself bored in a lot of places.

I’ve read a lot of critic reviews and the one thing that I disagree with is the references to other movies. They didn’t bother me like they seem to be bothering others. Some of them were silly and over the top but like whatever. Even though they didn’t bother me they added absolutely nothing to the movie or my experience watching it 🤷🏻‍♀️

#non Star Wars #Disney #disney wish #wish #wish movie #chris pine #asha wish #king magnifico #spoilers #disney analysis

[new-tella-us]

Alright. No art. Just positive rant. The entire point of my redesigns was me being slightly annoyed at the designs and story of Seduce Me and having way too much positive nostalgia to be normal about this game. I love-hate this game. However! The one thing I will never, never shit talk Seduce Me for is its characters. The main six love interests (Yes I am counting Diana as a main love interest. Thank Demon War for that) are all so well written! I genuinely love them. Even Sam, my least favorite character, isn’t boring. I don’t dislike him for being a bad character, I dislike him because the tsundere trope annoys me.

But this isn’t a rant about the characters as a whole. This is a rant about Damien. Let me rave for a second. Because as melodramatic as his backstory is, it got me hook, line and sinker. I am convinced that either Michaela had a period of being obsessed with Damien or some redheaded fuck boy named Damien pissed her off so much that she made him into a character just to make him suffer. This boy is tragic!

Like b r o, all the other boys’ backstories can be summed up with “The palace life is boring, my dad is kinda shitty and I got one other, reoccurring, minor inconvenience” and then there’s Damien being like- “My mom suffered as my dad’s harem girl until she couldn’t take it anymore and tried to murder me before killing herself. Also my dad is extra shitty to me. He tried to kill me a few times. Food? That’s a luxury. Energy? I’m used to not having it. A room? What is that? Please let me become human because mind reading kinda sucks, oh wait, I only got a 1 out of 6 shot for that ending. And I’m not even the canon ending!”

And another thing! Matthew’s main bad ending has traumatized me for multiple reasons but that line, “That’s what you get for making me go to the human world” after he kills Damien! Now, Matthew is a favorite of mine, but in that moment, I wanted to shake that little bitch until his soul evacuated his body! Like, I don’t care that he was being controlled, how d a r e he come firing shots at Damien when all he wanted was a good life away from his abusive ass dad!? Bro Damien may have been the illegitimate child but at that moment Matthew was the bastard.

Tragic…

On a different, lighter note, I do love the sort of contrast between him and Matthew, at least on the topic of “naivety”. Of the two, you expect the fun loving, goofball to be the naive, kind of innocent one. But that’s not the case. Matthew is optimistic, Damien is innocent. Matthew knows what he wants and while the world is a wonder to him, he goes about the world with this sort of maturity, knowing what he wants to see and when. Damien is more of the spacey type. There is this level of inexperience to how he grasps the world as if he can’t even believe that it can exist. Plus, as much as he has an idea of what he wants to see, sometimes he feels like he must ask permission. Like in the New Years Episode where if you go on Damien’s route, he asks “Can we do this every year?”.

In conclusion, I want to wrap Damien into a blanket burrito and tell him that everything is going to be okay. And then take him to therapy because this man probably has C-PTSD. As my friends would say, I am mentally ill for this demon equivalent of a sad, wet dog.

#seduce me the otome #seduce me demon war #seduce me #seduce me damien #random ramblings #positive rant

[kayleefriedchicken]

This delusional user wants to read fluffy fanfics but is nowhere near good enough to write her own. Sigh.

So if anybody comes across this ask, can you please tag me if you are kind enough to write the following SKZ plots?

1) BTS x SKZ crossover with you as the main character. One of them is your best friend, the other is your brother, and the others are the supporting cast. Go with the flow, as you wish.

2) You are gorgeous, intelligent, and the light in everyone's life. Except that you were brought up with the idea that curvy can never be pretty (toxic family 'ideals' and the likes), so your self-confidence is all pretence because you never give yourself enough credit. You grow up in the shadow of your perfect baby brother (one of the SKZ members, of course), the only one who believes in you, is immensely proud of you and whom you love to the ends of the earth despite the toxic environment you two were brought up in. Said baby brother just wants you to heal, to love and be loved, and to have faith in yourself. Enter, [insert SKZ member - haven't decided whom yet, TBH] and a fluffy, angsty, heartwarming love story ensues.

3) I've always loved the idea of an overprotective younger brother who just wants his beloved sister to be happy and loved (I'm an only child, can you tell?), to stop being that stereotypical selfless noona who sacrifices her happiness for him just so he can be a success story. Maybe her happiness ends up being one of his members, and who cares if he's younger? It'd be an interesting direction, this oneshot or series.

4) What would SKZ be as an overprotective baby brother to his naive older sister?

5) SKZ being overprotective brothers of a member's noona, who's always looking out for them and whom they love like she's their own. The main plot being said noona's abusive ex-boyfriend harassing after he had the audacity to cheat on her. It can be a romance trope or just a platonic story, but I'd love for it to be SKZ as SKZ without it being an alternate universe (although an A/U might also work if the storyline is in that direction).

6) Been listening to 'Wow' by 3Racha on repeat and imagining the Noona they refer to is Y/N. Imagine this, you're the new manager that JYP had decided to add on to SKZ's entourage but SKZ don't know it yet. The boys saw you one morning at the nearby cafe and many mornings thereafter, just before you were officially onboarded. There was something about you that caught their attention that Han came up with this song about. Oooh, just imagine the chaos when you're finally introduced to them?! It'd be such a juicy story to read!

7) Am I the only one who's thinking of the backstory of Silent Cry? It's such a beautiful song and I've thought of some that will make a great fiction. My favourite is the one where, in an alternative idol world, you are Han's elder cousin whose family took you in after your parents' death - you're successful in your corporate job, beautiful, curvy and married to your childhood sweetheart; it seemed like you have everything on the surface. But you hide a secret, even from your doting cousin (who's like a baby brother to you) and his members (who love you like their own sister) - your husband is a manipulative, abusive man who had successfully hidden his dark side until a year into your marriage. Your once-natural confidence and bubbly self is now a facade, stripped away as soon as you're home alone; a facade so good, even Han never suspected until the boys dropped by unannounced at your hotel room while you're on a business trip, with the intention of surprising you for your birthday. You were sporting a fading black eye and bruises to your arm, which you tried to hide behind tinted glasses and a bathrobe you'd hastily pulled over your sleeveless top. The events that happened after - Han and the rest of SKZ finding out then working hard to bring you to your senses (in the midst of it, the song Silent Cry was born), finally peeling off society's toxic mindset and stigma of divorce, and liberating you from 2 years of hell. I've had variations where this is a platonic trope, a romantic one with one of the members, or even something in-between that is suggestive of a possible romance between you and one of SKZ. I would be so in-love with this series, I think I'll keep reading and re-reading this; I'm a sucker for sibling love (only child problems) and rescue stories involving a victim who'd usually be so strong (because it shows that anyone can be a victim, so we shouldn't be so complacent of those around us). Anyone willing to take this on?

8) On the way back to your car after a particularly gruelling night shift, you come across a horribly injured man in the back alley. You're a doctor with a strong belief in helping people in need, no matter who they are, and an equally strong belief in doctor-patient confidentiality. Which works well for the injured man because, unbeknownst to you, he's a member of a deadly underground group - the SKZs. He refused help at the hospital you work in, nor at any other hospital, so you made the decision to bring him home to treat his injuries. He's gone 24 hours later with a cryptic'I owe you my life, thank you' note, and that was the end of it. Or so you thought. Since then however, your very normal - very repititive - life has been a series of interesting incidents, including making the acquaintance of your mysterious new neighbour who, for some reason, seems familiar to you.

9) Your younger brother is one of the members of SKZ, and you get along fabulously with him and his group. He may be younger than you but, having lost your parents as teenagers, he has taken it upon himself to be your protector - sometimes even shadowing you on your dates without your knowledge (at the protest of his members because they felt it was a little too much - "Let your sister have some breathing space, for goodness sake, she's not a child!"). You sing really well but have never been interested in the music industry, finding passion in the law and are a successful lawyer. You have been featured in some SKZ and 2PM songs though, the uncredited female voice in some of their popular songs (let's pretend there are such songs). One day, you're pushed to the limelight after the firm you work in successfully saved an orphanage from losing its home (which was donated to them by an anonymous millionaire). You were, of course, the lead lawyer in that case. With that case being in the news constantly, your connection to the music industry (i.e. your brother) and singing talents are revealed. Fellow writers, take this forward however you see fit.

#SKZ #stray kids #SKZ x reader #stray kids x reader #SKZ imagine #stray kids imagine #SKZ x Noona #stray kids x noona #SKZ x you #stray kids x you

[loquaciousquark]

Game Masters of Exandria: Round Table

Good evening, good evening, good evening! Welcome to a special CR episode with our fabulous DMs of the CR Expanded Universe: Matt Mercer, Brennan Lee Mulligan, and Aabria Iyengar. Matt opens us up! Don’t forget that the Tal’Dorei campaign guide is out now. He’s so excited for more people to play in this world and expand it at their own tables.

Session Zero: very important, even with people you gel with and know well. It’s important to make lines and veils explicit. Aabria likes to have a tone check-in so everyone has a chance to give input. “It’s an amuse-bouche before you start the story.” Brennan sidebars all of us by just being so excited Matt opened up this sandbox for all of us to play with. Matt, cheerfully: “It was all an accident. It just kept growing like The Blob.” Brennan likens this to James Lipton meeting God at the pearly gates and discovering God has no idea what’s going on. Back on topic, Brennan quotes Voltaire: “I apologize for not having time to write you a short letter so I wrote you a long one.” Prepping for a confined campaign is very different than prepping for an open-world game.

Brennan tangents into a discussion of railroading vs. player agency; when you have a short campaign like this where a story has to hit certain beats, the railroading shouldn’t ever come from the DM. Instead, it should come from the players knowing their characters really, really well, which is all established in session zero. If you can establish really strong player backgrounds and motivations before the campaign begins, the plot can be wholly driven by them/their choices and still achieve the beats needed without ever taking away from player agency. “The rails are gonna be who you tell me you are.” The rails for short campaigns should be designed by the player, not the DM.

Aabria praises Brennan’s character creation style; she went into creation with him with half a thought and came out knowing everything about Llaerryn, and also knowing Brennan completely understood her too.

Brennan has a 13-year-old home game that had no session zero; he talks about how that had no creation session because he knew that game had time to expand and grow with the characters & the players would be okay.

Matt likes having everyone create characters together, or at least a session zero shortly after: this is how relationships started with Vex and Vax, Caleb and Nott, etc. Brennan thinks it’s critical to allow unfilmed sessions as well so the players can find their voices. Matt also likes to make sure people will be comfortable with their characters in the long run, not just the short run. He hates the idea that anyone is ever “locked in” to something they don’t want to play.

Sometimes, like for oneshots/charity games, you can’t have the session zero; in this case Matt likes to email the players just some brief back-and-forths to nail down one or two elements. “Who else in the party owes you a favor and why? What’s one regret from your childhood?”

Brennan tells us the GM is like a one-person Greek chorus. “When you are baking, you find out what you forgot to put in in the oven.” Backstory is meant to give you a trajectory; it’s not where you come from, it’s where you’re going. Backstory has to be a connection to the world; if you just show up with gear and no desires, no goals, “that’s just enlightenment, buddy, I don’t know what to tell you!”

Matt likes one-two page backstories; the more complicated it gets, the harder it is to incorporate things, but he’s also had a player whose whole character was a monk wandering in search of power, and he made that work too.

Backstory should be an invitation, NOT an expectation. Players should anticipate that not all backstory elements may come into play, but the GM should also communicate if they realize they may not be able to use the backstory at all. Players don’t want to wait for three years only to never get into their backstory, but also do have a responsibility to make sure it can be integrated into the world. Communication is key in both directions!

Brennan loves backstory in order to incorporate plot hooks he knows they’ll say “yes” to. If he has a party with no clerics, he knows he doesn’t have to work so much on the pantheon. I identify with this laziness.

Matt made his own settings at first because he was too scared to ruin or incorrectly run an established setting. Brennan enjoys making up canon in established settings, which makes Matt hilariously nervous. Matt: “For most of you, this won’t be livestreamed, so you can fuck it up as much as you want!” Brennan: “Dani Carr, in the corner, with a blowgun.” Aabria advocates taking a break and looking something up for something super critical that you can’t improv. Players always go off the rails; give yourself leeway when DMing for that. Matt also suggests telling players familiar with a setting ahead of time that “this is YOUR version of the world; some things might be the same, different, or conflict with canon, and that’s intended.”

Niirdal-Poc was super fun for Aabria to create. Creating something new in an established world, especially for someone not in love with high fantasy, gave her an amazing chance to pick out the themes she valued. This city was her love letter to the potential of power, whether it’s nature, divine, or wizardly. She ugly-cried when she saw the first map including it.

Brennan was incredibly relieved to get the Age of Arcanum over Aabria’s Kymal, because he was able to use the full weight of the established canon to build the world in retrospect. He especially loved the Aeor arc from C2, so this tied in beautifully with that.

“Fantasy is bad with time!” In Middle Earth, the best sword ever made was made 10,000 years ago; so are blacksmiths today emotionally distraught that they can’t get better? He much prefers Matt’s insistence on a calendar and growth and holidays and such to make it more grounded.

Brennan, on Aeor: “Yes, we have this lapsarian, Edenic thing necessary for the fantasy of populating a world with tons of dungeons and magical items because you need an ancient history for them to have come from,” but Calamity allows a grounding of that history’s existence without undermining the deeply tragic fall of the Age of Arcanum. He loved leaning into the differences between the ancient & modern worlds: Avalir had more technological advancements, Byzantine bureaucracies, etc., and he loved exploring the evolutionary paths of how to feed that into the modern world & Aeor's ruins. It let him fuck shit up without ruining the canon.

(Lapsarian: one who believes mankind has fallen from a higher state)

(Edenic: in the manner of Eden)

(Brennan also talks SO FAST y’all, criminy, and so many of his sentences are abandoned half-thoughts)

Aabria loves that he explained the Shattered Teeth. Matt jumps in here talking about how much he absolutely loves worldbuilding and collaborating on these pieces because it’s so much more freeing than coming up all of it in his brain by himself in his room.

He and Brennan spent an hour once discussing the cosmology and pantheon of Exandria while Marisha was at the vet with Omar (their corgi), including how gods relate to mortality. “I don’t get to have that conversation with just anyone!”

Brennan panicked when Sam & Luis went after Purvan in the show. He meant it to just be a cameo, but they expanded it past his plans. “Don’t make me explain this! This is a part I can really fuck up!”

Both Aabria & Brennan were so worried about breaking canon, but Matt loves that their choices instead clarified and enhanced canon, giving him things to build off of in future: “That’s much cooler than I was anticipating!” They expanded his world rather than breaking it.

“If you’re doing this at home, you can do whatever the fuck you want. Stop the Calamity!” Aabria: “If you see a tree and you don’t know what it’s doing, maybe just leave it alone.”

Aabria: “Every wizard is a yuppie. They wear their shoes to bed.”

What are Aabria & Brennan most proud of contributing to the world? Aabria: being light and irreverent about tragedies like the Chroma Conclave (Chroma spa cave), showing that nature heals and the past is not sacred. Matt loves having Taste of Tal’Dorei as Exandria’s own Casa Bonita. Matt loves finding humor in the darkness of humanity. Brennan: Humorlessness does not occur in nature. “Death is not a punchline, but it is a perfect setup.” He and his wife Izzy loved Everything Everywhere All at Once for the same reason (amazing movie!).

Brennan is most proud of how easily the Calamity crew handled the massive lore dumps he threw at them. Aabria had to learn 40 spell engines as part of her background. Brennan laughs about having texted Matt, “My job today is I’ve come up with 30 fake wizards.” Aabria felt really bad about how Llaerryn treated Madara, ha!

Brennan liked establishing that Vespin wasn’t a nihilist, he was hubristic. Vespin didn’t set out to release the Betrayers, he set out to achieve ambitions, which tied into the pattern of hubris evident in the Ring of Brass. Brennan loved painting the entire Age with this brush, showing that it wasn’t a coincidence, it was a trend over the entire age.

Matt loved how vibrantly Aabria brought Byroden to life--it’s better than he would have done himself. It completely changed his perspective on the city. Aabria shouts out Aimee regarding their conversations about Laredo, TX, and talks about how they wanted to find common threads that would reflect Vex & Vax as well as contrasting against Syngorn, which we saw more clearly in C1.

Brennan asks Matt about the misty history of Exandria. “It’s a little bit of the Matryoshka doll of the genesis” since C1 started in medias res. Aabria: “Who were you when you built this?” Matt: “Younger.”

It started as a city, Stilben only, for a home game for his VA friends. It was a oneshot without a country/continent name intended to be played for six hours on a weekend. Session two he built Westruun; when they got to session 3, he began building Tal’Dorei in Photoshop. He still has the old files of the early country.

He developed the name of the continent Exandria as the players expanded into neighboring countries. It was laying down the tracks right in front of the train, just developing things as needed. He notes that a lot of modern high fantasy is beautifully developed in aesthetic, but breaks down as soon as you try to dive into it. Brennan points out long-lived races with 150-year generations could theoretically date descendants without realizing.

The Calamity came out of Matt’s realization that there needed to be a recent historical event to reset the world. The Divergence was his attempt to rationalize the existence of all-powerful, all-knowing gods walking the planes and guiding the threads of fate, but then leaving great world-shaking danger to a handful of PCs. He wanted to come up with a reason the gods were removed from the world so that the players had to solve the problems themselves.

Brennan loves the idea of visiting the oldest part of a homebrewed world. If he were in Exandria, he’d want to go to Stilben. Oh my gosh, me too.

The Kryn dynasty was partly born out of a book Matt read about the idea of past lives.

There has never been a moment where Matt felt Exandria to be whole/finished. The pressure of having wikis listing out every contradiction he’s ever said does mean there’s a running list of things he needs to correct/address in future, which is its own kind of stress.

Brennan HILARIOUSLY calls out Matt for saying Tal’Dorei isn’t finished while the campaign guide is sitting right on the table in front of them. “This is not done? I’m just gonna go home. Not DONE? I got three months between seasons, okay. Welcome to Biggityburg, here we go. New city, new season. You wackity-schmackity doo, 10 episodes. Help me!”

Brennan points out that a ton of worldbuilding comes from improv in the moment passed off as fact. The players love it when they get the sense that you would pass out before running out of things to tell them about the world.

Brennan made his villains hot because Aabria made a hot spider queen. Matt laughingly says that he doesn’t make hot villains, he makes villains and the internet decides they’re hot.

Matt loves playing with new players and very experienced players; there’s a cycle. “When you first begin, you don’t know a lot of the boundaries. When you’re new to it, you make wider swings, bigger choices, you’re a kid learning how to walk for the first time and bumping into the furniture. Then you start coloring inside the lines because you’ve learned the rules, and then as you get more experienced you cycle back again” to breaking the rules with youthful abandon.

Brennan loves that the game MASTER is actually in a position of service. You’re making dinner for everybody. He praises Aabria for reading her players extremely well and giving them what they want.

Aabria asks about encounter map development. Matt prefers theater of the mind for smaller groups unless they prefer minis. However, with more players, the minis/maps help out a lot. He has been collecting minis for many years.

Brennan extols the virtues of Rick Perry, the production designer for Dimension 20, his D&D show. D20 has a lot of culture mashups (Candy Land Game of Thrones, high school for heroes, etc.), but those beautiful set pieces are often only used once. In his home games he uses lots of dry erase boards, Blu-Tack, and Othello pieces, which can be flipped over and written on the bottom of to track HP directly on the piece. He does prefer maps because he likes tactical play. For theater of the mind, he recommends checking in with the players a lot, because certain classes can get short shrift without clear/tangible tactical advantage (rogues, AoE spells, etc.). Maps with created elements also can lead to grist for player creativity--Reyka in the Bloodkeep series on Dropout was inspired by decorative chains that she used to tactically balloon her way out of a tight spot.

Matt also likes grids and hex maps for simple alignment without requiring a ton of prep. He recommends considering the terrain, enemy advantages and disadvantages, and a few interesting elements (like the chains) just to see what the players can do. He cites Orym’s messing with the augur machine which he’d intended to just be part of the scenery and using it to trap the Shape Mother.

Brennan: if you’re doing theater of the mind, don’t just breeze past environment or mood because that can open doors for the players. In the reverse, Matt points out that going hard into maps/minis can artificially limit what the players may think is useful unless they are experienced enough to ask questions about things in the room that might not be represented by the minis/maps.

Aabria’s prep time is roughly equivalent to the run time of the game she’s planning, just so she feels comfortable improvising. Brennan laughs that one time Izzy found him in the kitchen in the dark holding a container of half-and-half because he was so deep in thought about D&D. Matt will often start thinking about an NPC and embodying the physicality/voice in practice, and Marisha will call him out for talking to himself.

Brennan: “If you’re a dungeon master and you need some voices time, just don’t do it in the bathroom because other people in the apartment need sometimes to get in there, and if you’re in there doing voices time, they might remind you that that’s not the best place for that, and they might be brusque even though it’s kinda quiet and meditative in there.”

Matt has dozens of voice memos on his phone with various NPC voices he’s experimenting with.

Matt obsessively closes every tab in his office every time Marisha comes in in order to hoard his secrets.

Brennan: a home game should never have rails. D&D shows, however, have tentpoles; Rick Perry has to have guidelines for sets to create, so that’s different. He has to have character designs eight weeks before the first episode airs.

Brennan on rails, again: A player is looking for full immersion. Players aren’t generally trying to be storytellers themselves; they’re trying to inhabit a character who doesn’t know they’re in a story and is just trying to achieve a goal. However, the PLAYER wants the arc, so the player and character are at artistic odds. Characters are like water: they are running downhill seeking the path of least resistance. The players, however, don’t want the straight line. The DM’s job is to be the irrigator shaping the river running downhill; at the end of the story, the character ran in the straightest line possible to it, but the DM shaped the channel into something aesthetically pleasing in the process. The DM’s job is to recognize that the player’s & character’s goals may be disparate, and shaping the story to please both.

Matt adds that character story beat prep should be modular so that you can implement pieces that are important when it’s the best time for the story. Don’t lock critical information behind die rolls; don’t tie one piece of critical information behind one single NPC that they might never encounter. There should be many ways to achieve goals. Aabria likes the three-act structure because most people are familiar with that for movies, and good players who are also storytellers are great about lining up their shot in order to serve the plot. Having players recognizing the structure of the form is like having flowers turning towards the sun.

Brennan doesn’t remember a PC doing something that made a weight lift off his back in 24 years of DMing more than Llaerryn blighting the tree. It was such a perfect moment of a player serving the greater story. Aabria also using the bow as the last piece of her machine was a perfect way for Brennan to implement endgame steps, and he credits her for knowing how to help resolve the notes of the story. She was generously giving him the tools she knew he needed in service of the story.

Brennan talks about the first time Aabria DMed for him and mentioned, “And here’s what you don’t see,” and describes his own head popping off in the realization that you can do that?? He stole that immediately and has used it in his games ever since.

Matt talks about being very limited in his own style because prior to CR, so much of DMing was learned in a vacuum or in a limited friend group. He loves watching other live plays and seeing what other people are doing in completely different worlds. That excites him more than anything.

Favorite GM snacks? Brennan immediately addresses the camera in a classic Brennan rant. I’m so happy. “Let me be clear. This was put into this fucking questionnaire to come for me. If you’re at home and you’re afraid to tell your gaming group that you’re a snacker, I’ve got your back, okay? Because it’s okay to fucking snack. Some of us sweat from the moment we wake up to the moment we go to sleep. Some of our bodies are betraying us constantly. Would I have chosen this paper-white, fur-covered, constantly sweating body? No! I wouldn’t have! Does it require constant almonds? Yes! Almonds all the time, okay? And I’m not going to apologize to these two elevated beings, these two hovering pre-Skeksis pre-mystic light beings from The Dark Crystal--some of us are pod people, okay? I’m a little podling, and I need to snack. If I could have another mouth in my back--the biggest obstacle in my GMing, okay, is that the same place I talk from is where food needs to go! And I’m not sorry! I like to snack! And to answer your question, almonds.”

Aabria says Calamity was the least she’d seen him snack, which is how she knew he was nervous.

Brennan laughs that he hit the five-hour mark and his body immediately demanded a caffeine shot. As scary as the villains were, nothing scared Aabria more than Brennan saying, “We’re off keto.”

Aabria lusted after Brennan’s Funyuns, but couldn’t stand the idea of trying to have a romantic moment with Quay with onion breath.

Matt saw an internet comment about his eating early in the stream and stopped eating on stream after. :( However, he does find himself strongly in the moment DMing and loses his appetite anyway.

Brennan tells a hilarious story of getting in a car accident with some friends and eating a pizza and a half by himself out of anxiety afterwards. I have never identified with him more than in this moment.

And that’s it! What an awesome, meaty episode. Is it Thursday yet?

#talks machina #critical role #critical role spoilers #talks machina spoilers #long post for ts #very long post for ts #exu calamity

[lou-syd]

So I read the first issue of Red Hood: The Hill and my expectations were admittedly low because of how poorly Jason is handled most of the time so I'm not disappointed like I've seen some people be (if you are, that's totally valid though, I def get it). I feel entirely neutral about it. I think it wasn't a strong start for an already very, very short run, and with it being a flashback its pacing worries me a bit.

I think it could be interesting going forward but I'm definitely getting the vibe that this is not going to be Jason-centric like a lot of people are. I do think it's too early to tell but it's definitely possible this will focus more on Dana and her crew which like I guess?? I like Dana and I don't mind some of the focus being on her at all. She's interesting and I like when Gotham-set stories actually feel like it's a real but weird place with real people living in it. I enjoy it when they show how much of a mess the city is and how the people living in it have to adapt to get by. Dana's dynamic with Jason has potential and that being the focal point of this whole thing could lead to a more compelling narrative overall. The idea of Jason being the one to try and guide a friend entering into this world could offer up a lot of good character beats for him that we haven't seen a lot of in a while. That being said, it feels like Red Hood is more of a vehicle for this story about The Hill so I'm not holding my breath for it. Retroactively changing his backstory around to fit this place into it also doesn't give me the best feeling either.

As for the rest of the 'new' characters, I don't really care for the little neighborhood watch crew outside of Dana. There's not much to go off and seeing Jason interact with them does nothing for me and just feels forced (but then again most of his relationships are forced in general). Having this many characters with such a short run is not going to allow for any of them to be fleshed out enough for them to feel like they matter in the grand scheme of things. By virtue of this being a flashback, the stakes already feel pretty low so having a cast of characters that aren't particularly compelling and whose relationships with Jason evolved off-panel doesn't help. They have cool designs though, I'll give them that.

I don't like that it took getting through almost halfway through the issue for Jason to show up and when he does it's underwhelming.

So far, it's shaping up to be a one-off story with low stakes. Which is fine. A short, contained story can be good if it's written well and there's something to take away from it. Otherwise, they're just slapping Red Hood on the title for readership's sake and calling it a day. Which like, nothing surprises me anymore but it's lame that this is what we get for Jason after the nightmare mess that was Gotham War and TMWSL.

Apparently, Zdarsky is planning on including Jason in his upcoming Batman arc according to some posts I saw so take that with a grain of salt but the thought of that happening makes me want to grind my teeth into a fine dust.

At this point, I feel like I'm just holding out for nothing with Jason. I don't like any direction they've taken with him outside of some interesting bits here and there so I hope this run picks up.

#is this anything #i do really like Dana so I'm at least interested enough in continuing for her if not for Jason #the new love interest is cute but like im so tired of him being in any kind of romantic situation like please focus on his characterization #especially because it's not going to amount to anything because they want to force him into a situationship so bad #jason todd #red hood #red hood the hill #peach talks #also let me write jason's spanish dialogue thnx

[ineffably-human]

Today in 'Shadows things hundreds of people have decided are true that I really don't understand at all,' we have... [spins wheel]

'Nandor's seasons-long burning desire to become human' - everyone here knows what a cult is, right?

Like at its most cliche, we understand how cult leaders work in fiction, at least? They say 'hey, dude, you seem very lost and in despair. Good thing I know a secret key to Paradise nobody else does, and I alone am equipped to get you there, and also I understand you better than anyone else in the outside world ever will.'

Nandor came to Jan in an existential crisis with no idea of what would help him, and left convinced that becoming human would do the trick. (This is because Jan is good at her evil job.) He dove into that belief because he was diving into a cult and that's what they do. He felt that vampirism was a curse because he was in the middle of a huge emotional crisis, and his new way out of that crisis was telling him vampirism is a bad thing that is causing his problems (instead of loneliness, a poorly fitting job, sudden changes in his close servant-friend, existential stuff humans go through as well...)

When he's out of that crisis, he never mentions becoming human again. He never mentions feeling cursed by vampirism again. In fact: he visits his homeland where everyone else became vampires, and decides that if everyone else is a vampire there's nothing special about being a vampire. (Read: in normal circumstances, with the chance to feed his ego, he feels special being a vampire.) In fact: when given fifty-two wishes that we see him use on his body multiple times, he doesn't use them to be human, or to do any human things.

I can see why, in the throes of S3, you could pin some of his backstory onto the Jan thing and see it as Nandor resenting being turned. Nandor is the one who lost more than he gained being a vampire, in terms of his glory days etc. We know nothing about how it happened or if he wanted it. The first time he tells it, all his wives left him because he suddenly changed into this dangerous unpredictable monster.

But the second time we hear it, in s4, it's implied that when he became a vampire he suddenly abandoned them all? (It's pretty vague tbh.) Also it's made extremely clear he was a terrible husband to start with. If the thing with razing Antipaxos doesn't tell you enough, his behavior in s4 seals it in: the peak of Nandor's human life was as a violent, insecure bully, who took everything he even imagined he wanted and never slowed down enough to understand how empty he felt.

Being a vampire gave Nandor time and space to think about parts of life he'd never have considered when he was alive. The losses he felt allowed him to be more patient and more sober. He enjoys fighting and violence now, but he seems to think about honor and mercy just as much. You could argue that Nandor's main personal arc - his 'I'm okay, you're okay' if you will - is accepting the person he is now over the person he used to be. Think of how much more natural his leadership was this season rallying the vampires in a crisis, instead of the forced protocols and rituals of the earlier seasons.

I don't think that someone with one foot in a world that literally doesn't exist anymore, who has trouble talking to most people outside the house and loves to watch familiars fight to the death, would be happy as a human. I think he'd work a day or get a single summer cold, and beg Laszlo to turn him again, actually.

(I don't think he and Guillermo would have a great relationship if they were both human, either - these are people who bond over knight-vassal courtly love vibes and trying to kill each other. What can life as a mortal couple possibly offer to fulfill them?)

But all of that is speculation. Here's what isn't: Nandor wants to be a human for a single episode of the show. It is not a richly established part of his character. If we're talking pure facts, it's a thing that happened that one time, and has never been spoken of again.

#fandom: wwdits #wwdits #what we do in the shadows #i am a meta gremlin #this is implied but if nandor and guillermo left as humans to go rent an apartment together or something #they would kill each other in a WEEK