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twilightprince101 · 2 years

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"EVERYTHING IS FINE" is awesome, but it is NOT FOR EVERYONE

Hi! So recently I've gotten into the Webtoon "Everything Is Fine," created by Mike Birchall. And honestly? I'm fucking loving it right now! And I don't see many people really talking about it on Tumblr, which is frankly a crime considering how popular it is on Webtoon itself!!

I wish I could talk to all my friends about this webcomic, but I am fully aware that there are a few VERY BIG hurdles that some people would need to get past first.

So! To all my mutuals and followers, let me give you my pitch for this webcomic, along with a few disclaimers on what's to come.

IS THIS A "CUTE BUT SECRETLY EDGY" THING?

The main way I found out about this webcomic was through marketed/animated ads on Youtube. The general vibe that they were going for was that it was a "looks cute but is actually really fucked up" story. Think your Happy Tree Friends or Don't Hug Me I'm Scared's. Designed to lure you in and then SLAP you across the face with all of its gore and fucked-upness. If you've seen ads for a game called "Evertale" on youtube that kinda looks like pokemon, you understand what I'm saying and I get your apprehension.

And don't get me wrong, those worries are not unfounded! There's some stuff in this comic that is really messed up and honestly leaves me up at night. But while in the cases of the two above samples they feel more to shock, Everything Is Fine feels a bit more deliberate in what it does. They feel like they're a product of the world and a side-effect to the setting. The fucked-upness holds a purpose outside of shock and says something.

(this isn't to bash on the two above examples btw, no shame in liking them. However for me personally, it definitely seems more for the purpose of drawing in attention than telling a story)

The first 12 "episodes" have by far some of the darkest in terms of content-- ALL OF WHICH I WILL LIST AT THE BOTTOM WITH A "READMORE" LINK--but if you make it past those first 12 chapters, there's a really damn compelling story waiting for you. The moment that the main character Maggie opens up a science book, that's when you've crossed that threshold.

Everything past this point is spoiler territory, so if you already feel like going into this then I recommend just reading the warnings past the read more then heading into the story blind.

OKAY SO WHAT IS THIS STORY THEN

Here's my best elevator pitch for this series:

It's a dystopian domestic thriller that utilizes a suburbia setting to enforce themes of formality and productivity vs family and love, while also incorporating a "Mind games battle" style into its action ala The Promised Neverland or Death Note.

Whew, that certainly was a word salad! Lemme break it down a bit more.

-Dystopian Domestic Thriller?

The exact scale of this story (at least at the time of writing this) is very small scale. It focuses on two characters: Maggie and Sam, a married couple that are forced--alongside everyone else--to live in a picturesque happy neighborhood. A very "Howdy neighbor, can I borrow a cup of sugar" type place, and if you deviate from that vision then... well, it doesn't end pretty.

However, despite just how grand a change this is (the world is implied to have been just like ours 7 years ago or so), the focus is much more intimate. The whole first chapter solely focuses on five different characters, all of whom are neighbors in this dystopia trying to get by, along with getting the reader acquainted with their situation. And, despite the friendly faces, each family wouldn't think twice about throwing each other under the bus if it meant they could move up in the world and get a chance to [REDACTED, GOTTA READ TO FIND OUT YOURSELF BUD].

There are no evil monsters. There's no big bad boogeymen waiting in your closet to eat your brains. All there is is your neighbors, the ones that wake up next to you with a smile on their face. And it's almost impossible to tell whether or not their smile is genuine or not.

-"Mind games battle?"

If you haven't read The Promised Neverland (or watched season 1 of the anime and ONLY season 1) or are acquainted with "mind games battles" in general, imagine this scenario:

There are two different characters, each of them entirely equal in their strengths and weaknesses. One has a diamond, the other wants the gem for themselves. To try and get the diamond, the thief tricks the other into thinking they already have it, causing the owner to reveal the key's location so they can steal it themselves.

That is the essence of "Mind game battles" or (coined by SuperEyepatchWolf) a "Non-Battle Battle" story. Very little violence truly happens, the core focus is on espionage and getting a leg up on your opponent by figuring out what they're going to try and do, then countering with your own plan. Highly recommend checking out his video btw

This might seem a little strange compared to what I just described with the whole "Suburban Dystopia" setting, but this brings it down to its core elements. Everyone is a normal person, at the youngest about 30 years old, and in the end they want to throw each other under the bus to get further in life. It utilizes that suburban dystopia setting with the fear that "secretly, deep down, all your friendly neighbors and friends wouldn't blink to sacrificing you for something more" and it hits fucking hard, leading to a story about forging your own path and recognizing who truly matters in your life.

It is MUCH more subdued and tame compared to the above examples, but believe me when I say this was intended from the very beginning, and it's only going to get better.

BUT WHAT'S THE POINT OF THE STORY

geez you don't gotta yell like that every time dude

So if you're like me and you tend to try and search for a bit more meaning in your stories, you might be wondering why you should read this (aside from my recommendation of course). You might ask "yeah if it's scary/fucked up, cool. But is that all?" If you're the type that stays away from horror-esque scenarios like this, I can doubly understand (again, READ THE WARNINGS AT THE BOTTOM OF THIS POST).

But as I've been growing into the adult world, a constant nagging fear that's been growing is the thought "People are only nice to you out of necessity, none of their kind words hold any truth to them. Their smiles are only of toleration." With how much of the business world thrives on that sort of formal kindness (job interviews, sucking up to your boss, etc.), it has ended up leaking out into my personal life and causing some pretty harsh damage to my mental health.

This webcomic not only feels like the first story to address this specific fear, but also one that has a direct answer/resolution to that. Yes, sometimes it may feel like it's impossible to tell who's truly kind and who needs to be kind. It will feel hard to truly tell that difference.

But no matter what fear you feel, no matter how impossible that feeling is to overcome, there will always be someone in your corner that loves you for you. Their smiles are not of necessity, but of enjoyment of your presence. And if you acknowledge them and trust in that kindness, nothing will stand in your way.

And... fuck man, I don't know. I think that's something I kinda needed to be told, and something I think a lot of other people need to hear.

So yeah! "Everything Is Fine" is a fucking banger and I highly recommend it! If all of the above parts (and the below warnings, FOR THE LAST TIME CHECK THOSE WARNINGS) didn't bother you and you seem intrigued, go check out the webcomic and send some cash the dude's way. Chapter 2 is getting into full swing, and I want some peeps to enjoy this with as these two keep moving their way upwards.

Either way, that's all. Hope you have a nice day!!

Now then...

TIME FOR ALL THE CONTENT WARNINGS

-One of the things in episode 1 at the very start is a decaying dog carcass, which has been implied to be sitting there for at least a couple months rotting away.

-In episode 3, a starving homeless man is given said carcass. I don't think I need to go into detail here.

-Body horror doesn't come up too frequently, but let's just say those masks aren't just masks. This starts subtly at episode 9 and 11, but from then on it'll become more apparent when it comes up.

-Several moments of suicidal implications come up throughout as well, most especially in Episode 11. They often have warnings at the start of the chapters when they happen though.

-Attempted murder and successful murder, via bashing a person's head in! Oh boy!! These will be apparent when they come up as well, keep an eye on that hammer.

The last warning is a SUPER BIG SPOILER so don't read it if you don't wanna be spoiled.

One of the biggest punishments/consequences that each of the characters can be given is called "Red Status." Getting into Red doesn't kill you, but instead it forces whoever is subjected to watch their children die--though vague, it's implied that those fates are. Not kind. Episode 26 gives us a front row seat to two children seemingly being forced to jump off a tall building and commit suicide. They don't show the bodies, but it still very much happens. It's one of the most subtle, but horrifying moments in the series so far.

Definitely not as bad as a lot of other stuff out there, but... that dog scene man. Fucks me up still today, and I know one specific person it would fuck up the most. So if these are too much for you, you know what to do.

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chazz-is-a-zelda-fan · 2 years

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this is something that i think about a lot and why i think stormshipping is canon and it’s long and dumb and stupid but it’s my life and i’ll ship whatever i please

okay so. we all know that Atticus was ‘recruited’ as a Shadow Rider and that he was possessed by Nightshroud. well there’s always a difference between the english and japanese versions and i’d like to highlight one of them here.

in the japanese version, Nightshroud is Darkness. Nothing else changes, not that i’m aware of, so Atticus is still under the control of an evil influence and is a Shadow Rider. i mention this because, in both versions, something that stays consistent is Chazz. more specifically, the organization Chazz gets roped into.

the Society of Light is pretty well known and i’m kinda sad it has such a pretty color scheme cus its very evil but that’s a no brainer. anyways i mention the Society to call on a very obvious parallel. but let’s keep talking about Chazz for a moment.

one very notable difference is Manga Chazz and Anime Chazz. to avoid confusion, i’ll be referring to Manga Chazz as Jun and Anime Chazz as Chazz. i’m sure you’re all aware that Jun and Chazz are two COMPLETELY different people. i think it’s best represented by their ace cards. Chazz’s aces are the Ojama Trio, and Jun’s is the main reason i even mentioned the aforementioned organizations our lovely bisexuals have been unwillingly roped into.

the Ojama Brothers are very very wacky cards, not seemingly very good, but even the weakest cards become the strongest when Chazz is wielding them. Meanwhile, Jun has a very close relationship with LaDD, (lmao ladd) comprable to Jaden and Winged Kuriboh. They are Spirit Partners and even though Jun buried LaDD to win in a duel against Judai, LaDD still watches the duel and wants Jun to win.

Lightness and Darkness Dragon. oh you knew it was gonna come to this, i LOVE THIS CARD. and i will gladly use these three as red strings on a corkboard as another excuse to ship chazz and atticus.

So, what do the Society of Light, Darkness, and Lightness and Darkness Dragon have in common? I… am not sure lmao this made sense in my head. let’s try to unravel my stormshipping brainrotten spaghetti train of thought.

okay so Jun’s ace is Lightness and Darkness Dragon. Atticus’ ace is Red Eyes Darkness Dragon. they both share the ‘darkness’ connection, and they both have dragon aces. you know how i feel about two characters with dragon aces (cough cough joukai cough cough)

but they also kind of share a light connection?? while it’s more obvious with chazz, i guess it’s kinda visible with atticus too. i mean, to escape the darkness, you’ve gotta see the light. i’m so sorry that was so bad, but it’s kinda right? it’s the kind of cheesy thing atticus would say okay

i mentioned that duel between Judai and Jun for a reason. even though Jun buried LaDD to beat Jaden without it, Lightness and Darkness Dragon continued to watch over him. and i really like this because of Atticus. Atticus is an older brother, but that doesn’t mean he’s super mature. he’s lighthearted and fun! a bundle of sunshine, you could say.

okay i know i’m reaching but my point is! atticus is a mentor figure for chazz!! and atticus will overlook chazz and his successes and failures and will support him no matter what!!! atticus is his lightness and darkness dragon!!!! they are literally SPIRIT PARTNERS!!!

^ i don’t say that in a way that implies i ship ladd x chazz or winged kuriboh x jaden cus that just weirds me out, i mean it as in soulmates but ygo ver

also! ladd is just a light and darkness. which is what chazz and atticus were recruited into against their will. but they persevere and get out, and then they bond over chazz’s severe lack of b****es /lh (and their traumas but that’s just a headcanon of mine)

so yeah. i’m sorry this is so long but AUGH RA9 i love them.

#yu gi oh gx #ygo #chazz princeton #jun manjoume #manjoume thunder #chazz it up #atticus rhodes #fubuki tenjoin #atticus #yugioh gx #stormshipping #yugioh #long post #nonsense

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anyoneseenadam · 3 years

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Hii

Can you please write something for fenrys? first meeting maybe? And the bond clicks? Thank you 🥺🥺

pairing: Fenrys x reader (throne of glass)

warnings: implied smut, kissing and nudity, lil bit of blood and injuries but mainly pure fluff

a/n: fenrys is my fave and u can tell in the fic omg!! i hope you enjoy it cause it’s probs my fave one i’ve written yet :))) (i also made it a teensy bit ddlg but that’s just cause i want Fenrys to baby me lol)

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Shit

Fenrys pressed his hand to the wound in his side, feeling the slow pump of blood seeping between his fingers as he stumbled through the woods. He had won the fight. The other guy now lying in the dirt, however not without consequence. And he wasn’t entirely sure he would stay alive unless he could find a healer soon.

He stopped to lean against a tree, breathing heavily as he held himself together. He transformed into a wolf, moving faster, and trying to pick up a scent, any scent, that could possibly help him, when he caught the sweetest smell he ever had. It was a female, smelling like peonies and blackberries, sweet but with an underlying smoky smell. She smelled of long days in flowers fields and even longer nights beside campfires, evenings spent curled in hand woven blankets and mornings spent drinking dark coffee and eating sweet toast.

He whimpered and began running in the direction of the scent. If he wasn’t so focused on not bleeding out he may have stopped to consider why the scent was pulling him in the way it did. He would have considered the direction he was running into, the direction of his future, his past and his present. But he just kept up, going as fast as his injured body would allow, concentrating on the sweet smell and putting one foot in front of the other.

He felt the change almost immediately, the cold snow and rough bark being swapped for cool moss. The pine trees swapped for tall, oak trees teeming with life. The silence of a frozen forest swapped for the rustling of bushes as nocturnal animals moved silently under the guise of darkness. The chill of the snow-covered woods swapped for the warmth of a summer evening. He pushed between two bushes and found himself facing a clearing, in the middle of which stood a wooden cottage, the wood dark and the roof covered in more moss, flowers growing from every surface and ivy peeking out of the crevices in the house. He stumbled down the path to the cottage, turning back into a male and crossing a small bridge over a stream that separated him from the intoxicating scent he chased.

He let out what he could only describe as a bark, calling for the female that carried the scent he was growing addicted to, collapsing onto his knees, feeling his conscious fade as he held to the side of his stomach, searing pain replaced by fiery veins as his head swayed. He barely heard the door open, only noticing the scent get so much stronger. He attempted to look up, the movement making his head spin as he collapsed, the last thing he saw, a girl in the halo of the moon.

Fenrys awoke in a foreign bed. An unbelievably comfortable bed, but foreign all the same. He pushed up on his forearms, gritting his teeth at the reminder of his wound.

The room he was in was dark, not just in light source, but also in décor. The window was cracked open with lacy curtains half closed, there was a tall bookshelf sat next to a desk with leather-bound books lining it, and tall candles flickering and casting the room in a golden glow. The bed he was in was small, clearly just for one, but so soft. He had blankets surrounding him and copious amounts of pillows, some that appeared hand made. In fact, upon closer inspection, a lot of the room looked handmade. Art covering the walls depicting crying women or bloody scenes that he presumed had been done by the owner of this house, given the pallet and assortment of brushed he saw on the windowsill.

And then there was that scent. It was stronger here and he pressed his face into a pillow tentatively, breathing in through his nose as he picked up on the deeper undertones. Fresh picked daisies, melted wax, the pages of old, worn books and something he couldn’t describe. Something so intoxicating he felt tears spring to his eyes, his body reacting in an unheard-of way, so overcome with emotion from scent alone.

He heard footsteps approaching the closed door and hastily put down the pillow, sitting up straight and readying himself to fight whoever it was if they were an intruder. But when you entered he faltered.

Mate. The word clanged through him as he came face to face with an angel. You were wearing a dark brown broderie dress with white hearts lining the hem, your feet bare and toenails painted black. Your hair was falling around your face, messy and untamed, and you had dark smudges around your eyes, makeup that accentuated your features and made you look like a character from the scary books he read as a boy. However right now you looked more like a teddy bear.

He briefly remembered the tail of a witch he had read. An evil witch who lured men into her house with whispered words and sweet kisses, only to steal their hearts and use their blood to keep her skin young and eyes bright. This girl however was no witch, you had elegantly pointed ears and a graceful way of moving that only came from being Fae. He watched as you moved to his side, silent on your feet, putting a tray down beside him before moving an opening the curtains further, letting in more natural light.

“How are you feeling?” your sweet voice interrupted his thoughts. His mind coming to a halt as he heard you speak.

“I- er fine..?” His voice was rough, and you smiled, a reserved smile. Moving to his side and sitting at the edge of the small bed he was on, pouring him a glass of water from a small decanter you had brought through.

“(Y/n.)” you answered his unspoken question.

“Fenrys.”

He muttered a thanks as you passed the glass to him, noting the crystals that hung around your neck and adorned your fingers.

“Crystals?” he asked, and you looked down, playing with the rings you wore nervously.

“My mother taught me about their meanings, they’ve always helped me.” You bit your lip and Fenrys decided he would never meet anyone as cute as you again, it simply wasn’t possible.

“Me too, my mother used to carry them everywhere.” You smiled at him shyly, a beat of silence passing between the two of you as he listened to the birds outside.

“Can I see your wound? I want it make sure it’s healing properly.” You asked and he nodded, pulling the blankets down slightly, grinning as your eyes widened as you took in his physique.

“I’m presuming you’re the healer I have to thank for letting me see another day.” He flirted playfully but you shook your head,

“I’m not a very good healer I’m sorry, but I did stitch it up and it should do the rest itself.” You pressed gentle fingers against the skin surrounding his wound and he glanced down, seeing it was already practically healed.

“You still saved my life.” He said, completely serious and you looked up at him with wide, innocent eyes.

“I’ll let you rest.” You said quietly, standing to walk away and he smiled, feeling more at ease than he ever had since the war, watching his little mate leave.

He woke up again a few hours later, wound completely healed and puckering into a scar. Standing he stretched his arms above his head, not bothering with a shirt as he left the room in search of the girl that had occupied his dreams.

The rest of the house was alike your room, tall candles and worn books everywhere. He passed a kitchen filled with copper utensils and a living room with an old armchair, a half-filled mug left next to it, but still no you. He saw the front door was cracked open and wandered over to it, pulling it open and stepping into the fresh air, barely feeling the chill on his body as he found you kneeling on the moss-covered ground facing away from him.

You were muttering under your breath and as he got closer he saw you were cradling a small bird with a broken wing. He watched as you closed your eyes, the ground and air seeming to still as you called upon your magic, a soft white light flowing from your hand into the bird until its wing was healed and it could flutter away.

“I thought you said you weren’t a healer,” he broke the silence and you turned to him with a small smile.

“I said I wasn’t a very good healer.” You replied, standing with green stained knees, your hair now piled atop your head and lip gloss coating your soft lips.

“What are you then?” he came closer to you, unable to resist holding his mate, even if you weren’t aware yet.

“My mother said we were natural faeries.” You said, looking at him shyly, “we derive our power from the earth, crystals, sea water, dirt, fire, stuff like that.”

He hummed, “So technically you could have any type of magic?”

“I guess, but I’m not very good at magic,” you muttered, hands fiddling with your rings again as he wrapped his arms around your waist. “Fenrys?” you asked, all pouty lips and wide eyes.

“Have you realised yet darling?” he asked, and you bit your lip. He knew he could tell you, but he wanted to hear you say it.

“I- we’re mates I think.” You were practically shaking, and he didn’t know why he suddenly had this burning desire to scoop you into his arms and protect you against the horrible world that was out there. He nodded with a smile, watching as awe took over your stunning face.

“Can I kiss you princess?” he asked, and you felt your face heat up, looking down as he pulled you closer. “Have you ever been kissed before angel?” he asked, his face hurting from the grin that was spreading over his face when you shook your head.

He tilted your head up to his, looking deeply into your eyes as your breaths came out quicker. “Not many people can find our cottage, my mother put up wards when she got ill, our family wasn’t well liked by the king. You probably only got here because we’re mates,” You muttered.

“Can I kiss you?” he asked again, running a soft hand over your head, smoothing your hair away from your face as you nodded sweetly.

He smiled before leaning down and kissing you gently. Pulling away and feeling as smug as a thief when your lips followed his, pouting at the loss of contact so quickly. He chuckled at your put out expression and leaned down to kiss you again, deeper this time, his tongue slipping into your mouth when you gasped against his lips, quickly beating your own in a battle for dominance and taking his time exploring your mouth.

He laid you down that morning and took you for the first time in the soft moss. Then again in your even softer bed. Now you were sitting in his lap, eating strawberries of a bush you had in your back garden as he pressed dizzying kisses into your neck, both of you still as bare as the day you were born, Fenrys having forgot how much he missed skin to skin contact, when you suddenly remembered.

“Fenrys?” he hummed in response, completely enamoured with the feel of your soft skin against his rough calluses. “Why were you hurt last night?”

“I didn’t tell you my job did I angel?” he asked, the pet name making you giggle as you shook your head, “I work for the queen of Terrasen.”

You gasped, “But she was killed!”

“Oh angel, when was the last time you left this cottage?” he asked, worry coming over him as he realised you had been holed up alone for so long.

“Not since my mother died. She said the king was dangerous and that he would hurt me if he found me,” your bottom lip was wobbling and Fenrys quickly kissed it away, shushing you as it dawned on him just how innocent his little girl was.

“No baby, he’s gone now, the new king of Adarlan is a very kind man and the Queen of Terrasen is wonderful,” he promised, “Will you let me take you to meet them?”

You nodded enthusiastically, bouncing slightly in his lap making him groan. He nipped at your ear lobe and you squealed as he pushed you down. You could meet them another day, today he was too busy with his little mate.

#throne of glass #tog #fenrys moonbeam #fenrys x reader #fenrys moonbeam x reader

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your-brilliant-lady-m · 3 years

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Part 4 - Basic Concepts of Miraculous Ladybug: Glamour

You can call it however you want: kid's show logic, superhero disguise logic, magical girl show logic, cartoon laws, suspension of disbelief, etc. But the fact that nobody recognises Marinette, Adrien and others when they are suited up IS NOT BAD WRITING. It's one of the main laws of this genre. That's not because characters are stupid, okay? So, being frustrated that everyone in the show acts stupid about this "wearing a mask that covers only eyes" trope is strange. This criticism is not valid or fair.

But, this trope has to make sense in-universe as a worldbuilding and narrative element.

Miraculous doesn't give us much direct information on how glamour works. And in this case, I think we need both SHOW and TELL. Because if you don't establish the glamour rules clearly, you are going to run into problems and create unfortunate implications with your storytelling choices.

Appearance

Miraculous obviously gives our heroes magical glamour. In "Lady WiFi" we find out that masks can't be taken off. It's magic. No other explanation is needed.

Miraculous can slightly change the appearance of users (eyes, face shape, height and hairstyles). People can identify and notice the hairstyles of heroes (numerous Ladybug wigs, statue in Copycat). Jagged Stone points out the change of hair when he mistakes Chloe for Ladybug ("Antibug"). But it's just a costume. There is no magic that prevents Jagged from understanding that Chloe isn't Ladybug. So, how does it work? But it's forgivable because it's cartoon logic. Suspension of disbelief works here, I suppose. I won't judge this too harshly.

Glamour also obviously prevents people from making a connection that Marinette and Ladybug have identical hairstyles. So people know that Ladybug wears her hair in pigtails, but magic does not allow them to notice similarities.

Another important question. Does glamour work on Kwamis? Can they see who is behind the mask?

New York Special makes it clear that magic does not affect robots and they can see through glamour. Does that mean that Markov, AI built by Max, knows the identities of Ladybug and Chat Noir? And it's never addressed.

Plagg in "Frightningale" says that holders can subconsciously choose their superhero appearance. This is actually pretty interesting and I like this idea a lot. Except the show is not consistent with this. The transformation of Master Fu looks identical to Nathalie's. And we have seen how different from each other Ladybug and Black Cat holders looked in the past. At the same time, Master Fu and Nino have different takes on Turtle superhero suit.

Age Glamour

Does age glamour exist? Do people see Ladybug, Chat Noir and other heroes as adults even when they look like teenagers to the audience (their height and build are smaller even when they are transformed)? Is that why no one ever questions the fact that children nearly die on a daily basis?

I mentioned unfortunate implications earlier. Well, this is where they come into play. Let's talk about "Copycat". A lot of people discussed it before me, so I won't bore you with details.

When I watched "Copycat" for the first time Theo's crush on Ladybug didn't bother me, because I thought that he sees Ladybug as his peer, a girl who is about 20-23 years old. Theo is an artist, his character design is that of an adult. He has his own studio, its appearance indicates that he did serious commissions in the past. The guy has no idea that Ladybug is like 13.

But then we get "Heroes' Day" and "Ladybug". And Hawkmoth calls them "kids", which means that there is no age glamour. Others see Ladybug and Chat Noir as teenagers. Perhaps, other Miraculous users aren't affected by age glamour. Therefore regular people see all heroes as adults but other heroes are able to guess their age more or less correctly. But you must spell this thing out because the audience can interpret "Copycat" differently. If there is no age glamour, then Theo is crushing on a teenage girl and he is fully aware of this fact. And this doesn't look good for your show.

The "No Age Glamour" theory is further confirmed in "Sapotis" where Alya just straight up analyses voice recordings and says that Ladybug is a girl their age. If glamour exists then it should also cover technology. Kwami can't be photographed. Face and voice recognition software shouldn't be able to analyse transformed superheroes and detect their identities in any way.

Besides, after "Sapotis" Alya should definitely be sure that Ladybug is not 5000 years old (also not an adult), especially after she wore Miraculous herself and was one door away from detransformed Ladybug.

SEASON 4 UPDATE! There's no age glamour after all.

In "Furious Fu" Su Han calls Chat Noir a child without knowing his identity. It means that everyone knows their superheroes are teenagers. "Copycat" can't be saved from that, uh, subtext anymore. No one questions the danger of their job or the balance of their lives outside of the mask. No one doubts their competence after "Origins" ever again. No one becomes annoyed after being bossed around by two teenagers in spandex. You had many opportunities to drop these details into the narrative. Someone could have been akumatized over this (I will not be ordered around by some magical kids!).

I don't know why writers decided not to use at least this idea and slightly adjust "Copycat" if they got rid of the age glamour completely. It can be explained as kid's show logic, but unfortunately, I'm reluctant to do it. If many characters sympathise with akuma victims on-screen, why not with the teenage superheroes who must fight them?

New York Special had this weird focus on collateral damage out of nowhere (the damage done by sentimonster Robostus) and yet it has 0 effect on the main story. No one in Paris is pissed that their 2 teenage protectors weren't there.

Ironically, "Furious Fu" and that one remark made by Su Han also created unfortunate implications for other moments in the show. Just hear me out. Apparently, Jagged Stone wrote a "thank you" song for Ladybug knowing that she is 13-15 year old child back in "Pixelator". Fandom is more than happy to roast Lila for lying about saving Jagged Stone's cat and him writing her a "thank you" song. Fandom claims that Lila's tale could harm Jagged's reputation, when he wrote a song for teenage Ladybug several weeks prior. Meanwhile, in-universe this lie is 100% believable.

If we put on "realism glasses", then both this whole song situation and Theo's crush in "Copycat" have uncomfortable implications. However, the show's canon can't be viewed and criticised through "realism glasses". I admit that bits and pieces of my criticisms are affected by these "glasses", but, ultimately, I'm trying to be fair and concentrate only on things that can't be justified by "cartoon logic and worldbuilding".

Could the existence of age glamour solve this problem of unfortunate implications and other concerns mentioned above? YES. Is it better for the narrative? YES. Is essential for the story? NOT QUITE. Could the absence of age glamour be called an irredeemable storytelling flaw? NO.

Disclaimer: On a side note, only older audience can notice these implications. Children, the target audience, most likely won't understand this subtext simply because they don't have enough experience. So, perhaps, this criticism is unfair, because these moments only look weird to me as an adult. It's like an adult joke in a cartoon that you don't get until you reach a certain age.

There's nothing technically wrong with adult writing a "thank you" song for a teenager. It's just an expression of gratitude. However, unfortunately, we live in a world, where adults normally wouldn't write songs for teens to express gratitude only. In real life similar actions would imply pedophilia and would be actively scorned by the public. No one would risk their reputation like that even if their intentions were genuinely pure and sincere. But this show can't be viewed through "realism glasses", because it's a cartoon and in certain cases we as the audience must use suspension of disbelief and pretend that certain things are possible for plot to happen.

Su Han also wants to give Ladybug and Black Cat to adults. Why didn't Master Fu do this then? Writers don't give us any explanation. Throughout the show we never question this up until the moment it's revealed that adults don't have time-limited powers. Then comes "Furious Fu". Story suddenly becomes self-aware here. Because apparently nothing prevented Fu from giving the most powerful Miraculous to adults who won't have time limit and will be more effective against Hawkmoth (see part 3 for more details).

I have a very good example of Age Glamour done right. It works in the story. There is no confusion or unfortunate implications. There is like one plothole connected to the glamour (it's been years and I still can't forgive them for Cornelia and Caleb) but otherwise, it's a pretty solid example of both show and tell. Clearly, writers wanted to avoid uncomfortable implications which are present in "Copycat". I am talking about W.I.T.C.H. comic books and animated series.

If you are not familiar with it, I'll give you a brief explanation. The story follows 5 girls, the Guardians of Kandrakar who are chosen to protect their world and parallel ones from evil. They receive magical powers from the amulet known as the Heart of Kandrakar. Their powers are based on elements: fire, water, earth, air and energy. Our main characters are about 13-15 years old. In the animated series they are younger and they attend middle school, making them 12-14 years old. But the transformation makes them look 18-20. They look like young women to each other and to other people. At the same time, people can recognise them, their looks and voice don't change. Most people don't know that they are really teenagers when they are not transformed and these people don't know that magic can make them look older. That's why everyone treats Guardians like adults when they are transformed. Comics establish this fact in the very beginning. In first issues characters state that they look older, we are also shown this multiple times.

In fact, one of the first side plots revolves around the fact that Irma uses her powers to sneak into the disco club to meet up with her crush. Irma is 13 at the beginning of the series, she is a high school freshman. Her crush, Andrew Hornby is a senior guy 17-18 years old. Irma has liked him for a long time and wants to impress him, so she decides to be clever about this. She transforms into her Guardian form of the 18-year-old girl, hides her wings, sneaks out to the club after her parents are asleep without any problem, and meets Andrew, who obviously doesn't recognise Irma in this girl who looks about his age. Smitten Andrew offers her a ride and 13-year-old Irma doesn't understand the implication of that offer, so she accepts. And, obviously, he decides that she is interested in more than just a ride home, since she agreed, and the comic implies that he fully intended for them to have sex in the backseat of his car. But Irma understands the implication only when Andrew tries to kiss her. She panics and turns him into a frog. And she actually pulls this "I need to look mature" trick more than once over the course of the series.

It's not the only situation where this age difference is handled well and makes sense. People who know the main characters in everyday life remark on their older appearance during transformation. Sometimes people flirt with Guardians when they are transformed. In one of the side-novels centred around Cornelia, she is worried that the prince of the realm they helped to save from famine would try to marry her. That never happens, but Cornelia actually brainstorms with her friends about how to tell the prince that she is really 15.

There are many other plot points where this happens, but I think that you got the idea. I really like how "Age Glamour" was handled in W.I.T.C.H.

How do we fix this? Create the situations where people offhandedly mention "Age Glamour" in the presence of Marinette or Adrien, use Kwami for this.

"Don't worry, dear. Chat Noir and Ladybug are adults, who know what they are doing. I am sure that they will handle this. "

Theo could say: "Oh, I wonder which university Ladybug goes to?"

"So, does that mean that other people see us as grown-ups, Tikki?"

A few words and boom, problem solved. Then allow the "show don't tell" rule do the rest.

#miraculous ladybug #ml #miraculous analysis #miraculous meta #ml meta #ml analysis #miraculous transformations #miraculous critical #miraculous ladybug critical #miraculous glamour #superhero glamour #miraculoustalesofladybugandcatnoir

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lee-scribbles-and-doodles · 3 years

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My Top Ten Overlooked Movies With Female Leads In No Particular Order

Note: When you see this emoji (⚠️) I will be talking about things people may find triggering, which are spoilery more often then not. I mention things that I think may count as triggers so that people with them will be aware before going in to watch any of these.

Edited: 3/16/21

Hanna (2011)

So, before I get into why you should watch this movie, I just want to take a moment to say why it's near and dear to my heart. Growing up as a queer kid in the early 2000s, seeing portrayals of people like or similar to myself on anything was rare at best. It was mostly in more "adult" movies or shows that my parents would occasionally let me watch with them that I'd see any lgbtq+ rep at all. Often times they were either walking stereotypes, designed to be buried, evil, or all three.

Then here comes this PG-13 action thriller with a wonderfully written main female lead who, at the time, was close to my age, and who got to kiss another girl (her very first friend, Sophie) on screen in an extremely tender and heartwarming scene. To say the least, it was a life changing moment for me personally.

Now that I've gotten that out of the way, Hanna is a suspenseful movie about a child super-soldier named, you guessed it, Hanna (played by Saoirse Ronan) and her adoptive (?) father Erik Heller (played by Eric Bana) exiting the snowy and isolated wilderness of their home and taking on the shadowy CIA operative, Marissa Wiegler (played by Cate Blanchette) who wants Erik dead and Hanna for herself for mysterious reasons.

It also has an amazing soundtrack by the Chemical Brothers, great action scenes, and it has an over arching fairytale motif, which I'm always a sucker for.

⚠️ Mild blood effects, some painful looking strikes, various character deaths, and child endangerment all feature in this film. However, given its PG-13 rating, a majority of viewers are presumably able to handle this one. Still, be aware of these going in.

Sidenote: It's recently gotten a TV adaptation on Amazon TV, although I have not watched it, and do not know if Hanna and Sophie's romantic/semi-romantic relationship has transferred over.

A Simple Favor

A Simple Favor is a "black-comedy mystery thriller" centered entirely around the relationship between two mothers, the reclusive, rich, mysterious, and regal Emily (played by Blake Lively), and the local recently widowed but plucky mommy blogger, Stephanie (played by Anna Kendrick). When Emily suddenly goes missing, Stephanie takes it upon herself to find out what happened to her new best friend.

It's a fantastic and entertaining movie throughout, with fun, flawed and interesting characters. The relationship between the two female leads is also implied to be at least somewhat romantic in nature, and they even share a kiss.

⚠️ The only major warnings I can think of is that the movie contains an instance of incest and one of the main plotlines revolves around child abuse, although both of these potentially triggering topics are not connected to each other, so there is thankfully no csa going on.

Edit: I legitimately forgot there was drug use in this movie until now. So, yeah, if that's a trigger, be careful of that.

I Am Mother

I became mildly obsessed with this movie when it came out. I Am Mother is a sci-fi film that centers entirely around a cast of two woman, and a female-adjacent robot who is brought to life on screen with absolutely amazing practical effects.

The plot is such, after an extinction-level event, a lone robot known only as Mother tasks herself with replenishing the human race via artifical means. She begins with the film's main protagonist, Daughter. Years go by as Mother raises her human child and the two prepare for Daughter's first sibling (a brother) to be born. However, on Daughter's 16th birthday, the arrival of an outsider known only as Woman shakes Daughter's entire world view. She begins to question Mother's very nature, as well as what's really going on outside the bunker she and her caretaker call home.

⚠️ This movie features child endangerment and reference to child death.

Lilo and Stitch

When I decided to add a single Disney film to this list I initially thought it was going to be hard but almost immediately my brain went to Lilo and Stitch, and specifically about the relationship between Lilo and Nani.

On the surface, this film is about a lonely little girl accidentally adopting a fugitive alien creature as a "dog," but underneath that the story is also about two orphaned sisters and the older sister's attempts to not let social services tear them apart by stepping up as the younger sister's primary guardian. Despite its seemingly goofy premise, Lilo and Stitch has a very emotional and thoughtful center. It's little wonder how this movie managed to spawn an entire franchise.

Despite the franchise it spawned (or possibly because of it), I often find that Lilo and Stitch is overlooked and many people only remember it for the "little girl adopts an alien as a pet" portion of its plot, and I very rarely see it on people's top 10 Disney lists.

⚠️ This movie could be potentially triggering to people who were separated from their siblings or other family members due to social service intervention. There's also a bit of child endangerment, including a scene where Lilo and Stitch both almost drown.

Nausicaä and the Valley of the Wind

Unlike the above entry, I did struggle a little bit with picking a single Studio Ghibli film. Most media of the Ghibli catalogue have strong, well-written, unique, and interesting female leads so selecting just one seemed like quite the task.

However, I eventually settled on this particular film. In recent months, Princess Nausicaä has become my absolute favorite Ghibli protagonist and I'm absolutely enchanted by the world she lives in.

Set in a post-apocalyptic world overun by giant insects and under threat of a toxic forest and its poisoness spores, Nausicaä must try to protect the Valley of the Wind from invaders as she also tries to understand the science behind the toxic forest and attempts to bridge the gap between the insects and the humans.

For those who have never seen the film, I think Nausicaä's personality can best be described as being similar to OT Luke Skywalker. Both are caring, compassionate, and gentle souls who are able to see the best in nearly anyone or anything. She's an absolutely enthralling protagonist and after rewatching the film again for the first time in well over a decade she has easily become one of my all time favorite protagonists.

Whenever I see people talk about Ghibli films, they rarely mention this one, and when they do mention it, it's often in passing. In my opinion it's a must watch.

⚠️ This movie contains some blood, and the folks who either don't like insects or who have entomophobia may not appreciate the giant bugs running about throughout the movie. (Although most insects do not directly relate to real life bugs, and are fantasy creatures).

A Silent Voice

A Silent Voice is an animated movie adaptation of a manga of the same name. While I've never had the pleasure to read the manga, the movie is phenomenal. It covers topics such a bullying, living in the world with a disability, the desire for atonement, social anxiety, and depression in a well thought out manner that ties itself together through the progression of the relationship between its two leads, Shoya and Shouko. It's also beautifully animated. Although very popular among anime viewers, I've noticed that it's often overlooked by people who watch little to no anime. So I suppose this is me urging non-anime viewers to give this film a chance.

⚠️ As mentioned above, the movie deals with bullying, anxiety, and depression (with this last one including suicidal thoughts and behaviour). If discussion of those topics are triggering to you, than you may want to proceed with caution or skip this movie all together.

In This Corner of The World

Another manga adaptation, this one taking place during WWII-era Japan. In This Corner of The World follows the life of a civilian Japanese woman, Suzu Urano, as she navigates simply living and her new marriage as the wartime invades nearly all aspects of everyday life. I think this movie is a good representation of what it must be like to be living as civilian in a country at war where the fight is sometimes fought on one's own soil. It was also an interesting look into pre-50s Japanese culture in my opinion. It's also beautifully animated featuring an art style I don't see often.

Despite it being well known among anime fans, I never really see it be brought up, even among said anime fans themselves.

Side note: I've seen many WWII dramas centering around civilians but they've almost always been about American or UK civilians. This was the first movie I'd seen that features the perspective of a Japanese civilain.

⚠️ Features the death of a child and limb loss. There's also a disturbing scene featuring a victim of one of the atomic bombs near the end.

Wolf Children: Ame and Yuki

This film follows Hana, a Japan-native woman who fell in love with a magical shape-shifting wolf-man, and her trials with raising their children, who can also magically shape-shift into wolves, on her own. It's a very heartfelt movie about a mother's love and the struggles of doing right by your children when you have limited resources to actively guide and care for them. All the characters feel unique and alive in my opinion. Also, the animation is so good that my sister and I initially mistook it for a Ghibli film.

Again, like the previous two anime entries, I don't see it ever brought up outside of anime circles.

⚠️ There's some child endangerment present in the film, although none of it is the fault of Hana as far as I can remember.

Roman Holiday

Roman Holiday is about the fictional Princess Ann (played by Audrey Hepburn), who while on a whirlwind tour of Europe, finally reaches her breaking point over having her entire life be one big schedule and all her words and actions being rehearsed. In the spur of the moment, she runs away in hopes of experiencing what life is like for other women. Unfortunately, she was previously given a sedative, meaning she doesn't get too far before it takes effect. Fortunately, she is found by the kind reporter Joe Bradley (played by Gregory Peck). Believing her to be drunk and unable to get an address from her (because she has none) he ends up taking her home for safety's sake and allows her to sleep off her suppose drunken stupor. The next day, he realizes who she is, and decides to take her on a fun sight seeing trip across Rome in hopes of getting the big scoop. Along the way, they begin to fall for each other.

This is my favorite black and white, old romance film. I think the relationship between the main characters is absolutely beautiful and I have a lot of fun watching it.

⚠️ I'm not entirely sure what kind of warning this film would need. However, it was released in 1953, so values dissonance will probably be at play for many viewers to at least some extent. For example, early in the film Ann is given sedation drugs by her doctor for her behavior, something that is very unlikely to happen today. Also, Mr Bradley deciding to take Ann home to keep her safe rather than call the police or an ambulance is a very pre-90s decision in my opinion.

#hanna 2011 #a simple favor #i am mother #lilo and stitch #nausicaä of the valley of the wind #a silent voice #in this corner of the world #wolf chilren ame and yuki #wolf children #roman holiday #black and white film #anime #disney #studio ghibli #movie recs #top 10

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therealmintedmango · 4 years

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Cerberus - Part One

Summary: ...”An eerie shadowy figure looms across the way making my murderous blood run cold. It looks smaller than a bear so the thought of running into a bloodthirsty wild animal leaves my mind. It looks not like a wild boar or cat. Wait. There appears to be not just one figure looming across the meadow but two. My eyes widen. The figures don't move but they both stand like humans would upon two legs. But they are bigger… Much larger now that I squint across at these two unknown figures. My stomach drops as I feel like a low growl is produced by the looming, unwavering figures… with… glowing amber eyes?...”

~-~-~-~-~-~-~-~-~-~-~

Genre: Werewolf/ Shifter AU; Medieval AU; Strangers-To-Lovers AU; Heavy Angst; Soulmate AU; Eventual romance/ smut

Beta Read By: @justanothergirlfromeurope Thank you so much my darling for helping me with this! You are wonderful! Thank you! 💖

Rating: NC 18+, Explicit

Words: 5,379

Pairings: (Eventually) ot7 BTS x Human Female Reader

Warnings: Dark themes; Possible Yandere Vibes in the future; Death; Gore; Murder/ Killing; Implied Incest (nothing happens - I promise); Mentions of being naked/ being seen naked; I think that’s it.

It’s late July in the afternoon, the hot sun baking boils on exposed skin if you are a brave enough soul to show any flesh. The cicadas cry, the large winged beasts screaming into the scorching air, sounding like terrible, angry monsters. My giggles cut through the loud droning of the winged beetles, pleased to my core I even let out an unladylike snort, shoulders shaking as Seungkwan tells the group of us a joke. I sit with a few of my brothers - the princes of the land in which father rules - in the shade of the maple when the laughing ceases as a shadow blocks the sun from roasting us further. The younger crowd of my brothers and I look up to see it is men from the king’s court, walking over to our shady spot in the garden, solemn features, shiny hats, and a loyalty to my father is the only thing they share.

They say that mother has passed.

My brother Minghao gets up and asks where the older kin of boys are. The advisors tell him as he barks at us to stay here. The castle, they say. Infection, they say. Seokmin gasps, the bright smile like mother’s downturned at the news. Seungkwan’s joyful attitude dies. Vernon covers his face with his hands, a sob ripping from his throat. Youngest of my thirteen brothers, Chan, clings to me suddenly, tears welling in his large brown orbs as I hold him steadfast.

The food sitting in my stomach feels rotten and cursed all of a sudden. All the sound dies from my ears, my mouth hangs open as the breath escapes me.

Infection they say? How could they say such a thing? She was never ill, I think as people are running in and out of the castle, screaming and crying—something I wish I could do at this moment. I flinch, hearing my most vicious brother - Soonyoung - bellow a sound I wasn’t aware he was able to produce.

I feel the same, but only in my heart for my lips cannot utter even a simple, single whisper.

I was never close with mother even being the only daughter she had out of the fourteen children she created over the years with father when she was fertile - the only job a woman of nobility has in these times. And when she is finished having many children she is to still retain her youthful appearance which she did easily.

They said that she gave her children a little piece of herself when she birthed us all. Chan has her sparkling eyes, Seokmin her smile, Junhui has her high cheekbones, Soonyoung has her unbreakable spirit, Minghao has her sharp tongue, Jeonghan has her cunning brain, Jihoon has her feisty attitude, Mingyu has her ability to be understanding and kind in the midst of her fire and passion, Seungkwan retains her strange sense of humor, Wonwoo got her cool intelligence, Vernon got her uncanny skill to be so young but so strong at the same time, Seungcheol has her unyielding stride, and Joshua her wit. And they say that I am a twin of my mother physically: her hair, her body type, her smile, eyes, her wide hips, sharp shoulders, feet, hands, legs, and even my fingernails.

I only wish I had her spirit and fire my brothers bear, but perhaps they took it all before I was created in her belly? They say that children suck precious things out of you. Did I take everything else from her? Was my guilt eating me alive?

My father, the king of this land, kept her locked away most of the time in the high tower of the west portion of the castle. I don’t know much about father but I know he is easily jealous. He wants the best whatever that may be: the most children, the best cloaks, the best military, the cleanest streets, the shiniest coins, the happiest peasants, the most beautiful queen in all of the land. Father hated when mother would talk to anyone that wasn’t close kin at dinner time or when we went to the market when she would merely look at the fruit seller man. She would be gone for days, no trace of her for a week or so, emerging with tired eyes, brushing the stray hairs from my face as she smiled sadly at me. Little did I know there was no fruit seller in the cobblestone market either.

Still, my heart aches for a mother I had and hardly ever knew.

The sound of the boisterous cicadas fills my ears, hearing returning to normal as brothers Jeonghan and Joshua come to collect us shortly after that, faces made of what looks like stone.

It has been many moons since mother has passed. The air that was once ripe with colors and sounds is quieter now. It’s cool, my peacoat and shawl wrapped around me when I roam the garden in the afternoon with a different brother each day. It’s almost time for a harvest moon which comes in a week, Wonwoo told me on our walk yesterday. The demons and goblins of the underworld are said to have sprung up from the dirt and mud during these times. We sent mother away on a burning ship out to sea so I can’t help but wonder if mother is in the sky, the ground, or the sea still.

My brother Soonyoung and I walk quietly together, the brown leaves crunching under our boots. It is a rare time when his voice is still. I know he is pondering what to say to me.

What can one say to me?

I love them deeply though, their touch and affection they still bring to me after each day. Sun up to sun down they coddle me. They have always coddled me, even the elder ones who are fit and strong and ready to be wed treat me as if I am a babe. I used to hate feeling like this, like I am small and unimportant, a babe who needs protecting. The only daughter the king has ever had. One of fourteen. I am no one to my father, to his people. But to my brothers now I see, I am their youngest sister. Something they only have one of. They cling tighter to me emotionally and physically now that mother is no longer here.

I will take this feeling and hold onto it. I am important to them for that is why they treat me this way.

The sound of horse hooves clattering up the path behind startles me. Soonyoung shields me, pulling me into his warm chest. I am comforted and protected.

“Prince Soonyoung, Princess.” The captain speaks monotone. They do not call my name for I am a woman. Even of nobility and the pride of my brothers, I have no name besides my title.

The captain’s lips move. I have no idea if what I heard was true. Soonyoung snarls and tells them that it's preposterous and evil and to shoo before he cuts them with his blade attached to his hip. They turn on their stallions and leave, a fog rolling into the garden as I feel hot and confused.

Did I hear them correctly?

They say that father wants to marry me.

They say that he will never be able to find a bride as beautiful and as perfect as my mother. They said that I will wed at sunset tomorrow.

It is my turn to be made of stone as I fall into darkness. My breath is gone, a warm exhale hits the cool air, leaving my lips in a wisp before I pass out in my middle brother’s strong arms.

When I awaken, my eldest brother, Prince Seungcheol, is heard pleading with my father in the political hall. His usually calm voice echoes against the rock of the building, the fire crackling in his basins as my thirteen brothers all object to me being my father's next bride. His brows are kit, furrowed as his lips speak my thoughts for me while father watches with mild amusement, seated at his holy throne.

“She is not ready to be wed! She has not even bled yet!” He remarks, flinging his hands out to his sides. Little do they know, I have, I have just kept it a secret, becoming a woman is nobody's business but my own. “She is your daughter! Think, father! Think! How the kingdom will hate you for that! It is vile!” His voice cracks, tears swim in his brown eyes as my brothers shake their heads in agreement.

Yes. How vile indeed, I think watching them all silently behind a pillar from above the hall.

Father gets up with a wretched smile stretched upon his lips. I take a few steps forward, uncloaking myself from the secrets of the darkness in my nightgown a maid must have dressed me in, looking over the stone railing. “She is our littlest sister! Our only sister! She deserves to be married for love and only love-“

SLAP.

I gasp as my stomach pits into itself. My brothers flinch.

“How dare you talk like this to me, Seungcheol!” Father spits, anger flashing in his eyes like the fire in the torch basins. “She is a woman. She has no rights no matter who and what she is. She belongs to me.”

“How dare you treat Y/N like an object and not like your daughter!” Soonyoung snarls, mothers fire lit inside of him like the hot sun. He is brilliant and strong like a tiger who burns through the forest in his powerful wake.

Father raises his hand striking Soonyoung across his cheek with a sound that echoes in the corners of the hall. Something falls from his hands, though its clanking sound is covered up from the shouts that follow.

“How dare you thirteen boys!” Father is shouting, my feet are moving on their own, rushing down the stairs to my brothers. “All of you are utterly worthless!” He shouts as Mingyu, the tallest brother, rage ablaze on his face as he moves toward the king, arms raised as he acts like he is about to slap father.

Please, don’t! Is what I want to say, but I cannot.

“Guards!” My father shouts into the hall as they come running in at his command. “Flog them all hundred lashes each!” He smiles a wicked smile as I run up to the scene with the ones carrying swords and pointed sticks. “And if they make a sound give them ten more!”

My brothers are being beaten and detained and my heart is breaking into fragile glass as the noise and blood coming from their mouths is too much to bear.

I do the only thing I can do.

It is my turn to protect my brothers.

Please mother, give me all your strength to stand up to this vile, evil man who surely killed you for the sport of it. My gut twists thinking of the peril I may face rising to the challenge that is our father.

“Stop!” I say, my voice shaking as the next few seconds feel like hours and the eyes of all the men in the hall are on me. I walk toward my weathered and old looking father as he smirks a devilish grin down at me ascending the steps to his throne.

“Father please, I beg you: I will marry you and do whatever you say, as long as you let them go now.” My voice does not shake now. My voice is calm and steady. Mother’s spirit fills me at this moment as I speak up to my father. Before this, I have not spoken to him before this for what feels like eons until now.

“No!” Several of my brothers yell as I stand in false confidence, inhaling the iron from the red liquid that fills the hall. “No! No! No!” They shout as I stand in front of the man that doesn’t see me as a daughter. I am an object to him, whether I like it or not.

He smiles, stroking his wiry, grey beard as he sits back on his golden chair, cloaks draped over his shoulders pool and spill over the seat behind him.

“Whatever you say?” Father quips and I nod, hands balling into fists onto my sides, nails that are not mine dig into skin that is also not mine. “Then strip.”

My eyes grow wide, my lips part in shock, my blood which is mine boils, white-hot and merciless trapped in this skin that should belong to my mother.

“Father, please!” Jeonghan, my father’s son and second eldest, pleads now. “Be reasonable!”

“She said anything, boys.” My father, the ugly worm that he is, states calmly.

“Should a virgin be seen like this before she is wed?” Joshua makes a good point while father rips his pupils away from me as Jihoon, smart bugger that he is, recites the article of the kingdom where it is unlawful for a virgin to be seen in such a state before she is made another man’s woman.

Father scoffs as he says, “Flog them two hundred times if they don’t like-“

“No.” I say, holding my ground, brushing hair out of my face. All eyes on me again as Chan starts crying. “I will do what you wish.”

“Then do it!” Father shouts, banging his fist on the arm of the golden seat as he gets up. “Do it now and if anyone makes a noise: I will behead you.”

I do it. I find the buttons on my yellow nightgown, my hands do not shake or waver as I shake the comfortable garment from my shoulders. My slip is the only thing that covers me now. My brothers close their eyes, look away, Chan choking on his sobs but the only thing I can hear is the roar of the crackling of fire. I step out of my nightgown, walking up to my father's throne. I see it. Glinting in the torch light. A stray blade lies upon the steps close to the devil king that is my flesh and blood.

Praise the gods for the viscous middle brother I have.

I step out of my white slip now, distracting the men who have their wicked eyes set upon me, hungry wolves ready to take any meat they can. I hold my father’s gaze as it travels down my body, making sure he does not look upon what my right hand is doing.

I have it. I move quickly, the spirit of my mother now fully alive inside of the body that is said not to be mine.

But now it’s mine.

I am not a disrespectful child nor have I lashed out against my parents ever. I followed the rules without exception, never spoke out of turn and always let my older brothers go first for treats and presents. Always. I am a slave to my family and the system that I was born into. The ugly demons and snaggle-toothed goblins are really alive and well during this time as my brothers have said. The scent of strong ale hits my nose the closer I get. Maybe the beings of the underworld have possessed him? I am looking for a way out, a way to logically justify the way father is. But no. I know the real answer.

This man is evil. Has always been evil. And he needs to be stopped.

I am not a killer. But I am sick of the mistreatment of my family. I know my father killed my mother. There was no infection. None.

Like a crazy witch with eyes burning like white-hot coals, whose blood is singeing to be set free, I plunge the pointed blade into my father’s throat.

Blood spurts from his neck, squirting against my bare flesh, his eyes roll back as he gurgles profanity, my body blazing as my whole existence is overcome with the desire to end this cycle of corrupt injustice.

“Run!” Vernon shouts as the guards descend in my direction. I drop the blade in haste, my brothers scream for me to run away as the guards scream mutiny.

And I do.

—

-Somewhere deep within the neighboring wood...-

“I’m hungry.” A clear tenor tone sounds off in the dark wood, a small chuckle leaving his lips as he resumes a human form in all his naked glory. Hoseok’s lithe body full of sweat glistens under the moonlight as he reaches for his purple cloaks under the large tree in the middle of the bog they just finished running around in.

“Me as well, brother.” A deep bass vibrates off the trunks of the thick trees, his wolf form morphing into his handsome, tan body.

“Taehyung, Hoseok.” A soft voice wafts through the air. “We aren’t to feast before the full moon.” The eldest quips, melting from his shiny fur, shaking his dark locks free from his collar as he dresses under the almost pregnant moon.

“I can’t wait.” The second eldest grunts as he comes into the torch light that was burning on the stump next to their favorite tree. “The air is ripe with so much wildlife tonight.” He wets the edges of his lips, the thought of fresh, pink, juicy flesh at the forefront of his mind as well as his brothers.

“Where are Jungkook and Jimin?” Namjoon growls as he quickly morphs into his tall self, sweaty skin glistening under the light from the mother moon. Their run through the dense wood was very fruitful in the sense that they let loose and got a lot of pent up energy out of their bodies.

“Weren’t they behind you, Yoongi?” Seokjin questions as he scoops up the younger one’s clothes in his arms, signaling Taehyung and Namjoon to take the torch light. Yoongi shakes his white hair back and forth with a solemn grunt. “Very well,” Seokjin nods, twitching his nostrils in the air. “Hoseok, you have the loudest howl. Will you please call for the troublemakers?”

The man with the hair as bright as cherry pie chuckles right before he sucks in a large breath. The third eldest bellows a howl that will be heard throughout the wood surely.

They wait with bated breath for two of the younger brothers to respond. The wind whips around them carrying the smell of fallen, rotting leaves, thick moisture in the atmosphere, and the odor of something unfamiliar in the air. They all exchange looks in the torches' soft, orange glow. Something doesn’t feel right.

The five brothers start to become uneasy. Taehyung shifts on his feet. Yoongi wets the edges of his lips more. Namjoon shifts his eyes between his brothers, swallowing uncomfortably. Hoseok frowns, kicking a few leaves in the dirt as he waits for the brothers to return his call.

After another moment or two, the second eldest bristles, anger flashing in his amber orbs. “I swear if those wild banshees from the Twicelands have set another trap for us in our forest-“

The white-haired brother is cut off by the sudden cry of both of his brothers they were in search of, coming east off the dense bog.

“Come quickly!” Jimin yelps, his higher pitch ringing around the wood. “Come see brothers!”

Meanwhile, Jungkook only utters one word that has the brothers taking off like bats out of the deep trenches of hell. “Mate!”

—

My skin is on fire, my fingertips numb, and my feet hurt as I run naked from the castle into the blackness of the night.

I escaped through the kitchens, not a sane soul awake at this hour so I quietly slipped through the cracks. I hear more yelling and shouting but I cannot slow down. The blood of my father drips down my naked body, making me feel like a painted warrior.

A shout is heard from the stable. The men on my father’s court call my name but it is not a happy sound. It is a sound of lies, of deceit, of pain they want to inflict upon me. I shudder when I hear Soonyoung scream a throaty battle cry into the evening air, on his way to find these men and rip them limb from limb surely.

Under the almost full, pregnant moon, a blood bath is occurring in the usually peaceful castle.

I trip on an exposed root from a tree beyond the stables. When I gather myself, pushing up off the ground, I see a bed sheet hanging from a line out to dry and I snatch it from the air. I tie it, tugging it around myself loosely, giving my legs room to carry me off into the thick wood that lines the backside of the castle.

Dread and fear taint my senses as I pad along the brush barefoot, trying to maintain a quietness even though I am running. The fallen leaves crunch underfoot, the earth cold. My naked body starts to shiver, the adrenaline of my actions wilting away as I fly through branches and bushes. I have no clue where I am headed, the pale moonlight guiding me. Wherever I see on my path I go next.

My feet slip on the slick ground under my feet. I trip over my heel several times, mud and dirt covering my palms as I right myself. I must not look like a princess, so disgusting, covered in blood and unkept in this feeble, white bed sheet.

I have to press on, I remind myself.

My breathing is ragged as I climb through long, pointed branches and under low shrubs. I stop for a second to catch my breath as I glance at the almost completely blackened forest. The nightlife of the dark wood whispering around me: bats screeching overhead, crickets that haven’t died out sing into the cold night air, even a pack of wolves howl out into the throes of the velvet evening.

I suck in a cool gust of air, ready to trek along the unknown path once more.

Wisps of my breath leave my lips as the cold night air stings my lungs. It feels as though I have been running for ages, the torch light not visible through the thickness of the tall trees. Have I run far enough? I think as I come to a little clearing in the wood, a meadow of soft, lush clover encompasses the land.

An eerie shadowy figure looms across the way making my murderous blood run cold. It looks smaller than a bear so the thought of running into a bloodthirsty wild animal leaves my mind. It looks not like a wild boar or cat. Wait. There appears to be not just one figure looming across the meadow but two. My eyes widen. The figures don't move but they both stand like humans would upon two legs. But they are bigger… Much larger now that I squint across at these two unknown figures. My stomach drops as I feel like a low growl is produced by the looming, unwavering figures… with… glowing amber eyes?

A wind whips through the meadow quickly, breezing from behind me, whipping my hair and the bedsheet about like a flag on a pike.

I hear the sound of horses and I gasp, covering my mouth with the noise I just made. I shake my head, snapping out of my trance of looking to the almost human like figures.

Have they found me? Have the guards and the men of my father’s court located me? My brothers were surely fighting, right? I pray none of my kin have lost their lives because of me. Or are they not men from my father’s castle? Would they hurt me? Torture me? Deflower me?

I shudder.

I turn to run east, looking over my shoulder to the figures that have disappeared in the trees. A fog sweeping through the thicket, blocking my vision. It was probably a trick of my scared mind, I remind myself.

Another thought chills me to the bone as I feel the exposed skin of my legs and arms slice under the thorn bush I accidentally stumble into, making more noise than necessary. I squeak in pain. The more I try and pry myself of the spikes, the more I become entangled inside of the nasty, winding plant. I want to call for help but I don’t want to alert whatever is coming near me.

It is almost the harvest moon. The line between realms is blurred meaning creatures that normally I think exist in fairy tales are real at this time of year. Could it be a wandering herd of ghouls? A pack of wild demons coming to devour my flesh clean off my bone? My body shakes with uncertainty as I paw about the dirt.

Ever since I was a little girl, my brothers have warned me about the wood. I should never go in alone. I should always bring someone. I should always have a weapon or a horse or something to protect me. Monsters are said to lurk in the bog that the wood surrounds in a thick sea of lush brush and vegetation.

An owl hoots overhead as the sound grows thicker, heavier. The footfalls inching closer and closer by the second. The wolf’s howl sounds off again, this time the cries from the beast desperate - the noise much too close for comfort.

No, I think as I freeze with a bone-chilling noise that vibrates off the trees around me. Not just one lone wolf howl. There are two very distinct animal noises that echo off the earth I lie bound to. One softer and longer. The other a little nasally and short - more like a bark than a howl.

I should have run to the market, I think, body shaking from the cold and acute fear that plagues my mind. I should have tried to hide with a peasant or two until this treacherous act blew over or married a nobleman’s family in a neighboring town. Mentally I chastise myself as the thunderous noise draws closer and closer. Why am I so rash?

My heart hurts, it clenches in around itself as I look up into the shimmering moon hanging low in the sky. In a bed of thorns I lie, blood from wounds of my own and from my father still flows down my body, exhaustion overtakes me finally. I’m entangled, suffocating in the sharp spikes that pierce my body, choking me from the freedom I so desire. I can’t move my muscles, my body tense and sore, my feet blistered and cold. I’m weary. A tear rolls out of my eye and falls onto my dirty cheek as I snap my orbs tightly closed, the horses almost upon me, I think as I hiccup a sob.

All of a sudden, the boisterous noise of what sounded like a hundred horses pounding toward me, stops. I suck in a breath and prepare for the worst. An eye for an eye, right? So they should slit my throat like I did to father.

It is my turn to die.

“Little bird,” a soft, steady tenor of a voice purrs out above me that I don’t recognize. My eyes fly open, revealing a glowing torch light and a few handsome faces I cannot place hanging around me. “It seems you’ve flown far from your nest.” He simpers, flames dancing off his puffy lips as he gently brushes a stray hair away from my unkempt face. He shows no disgust, only empathy as he gazes upon me trapped in this tangle of wild thicket.

I flinch as the long thorn branches I have ensnared myself in are being removed from my shivering body. The other boys, I’m unsure of how many surround me, take extreme caution, trying not to harm me as they pull the plants off of me.

“Are you from Royaume des Diamants (Kingdom of Diamonds)?” His puffy, pink lips utter quietly in the night. I stare at his sculpted face, admiring his accent as I feel like the terrors of the darkness are melting away with his soft speech. I say nothing but look up into the rich eyes that seem to glow a golden-amber shade in the torch light. They bewitch me and I am in awe. “Little bird?” His perfect brows twist into an expression of concern and I take a moment to glance away from his otherworldly face and to his other features for a second.

Dressed in rich purple with gold medals hanging from his broad shoulders, I can tell he was from a family of prestige. His lips are giant and lush but they are not out of place on his pale face. He appears to be a prince from those fairy tales I’ve heard so much about from the stories my brothers have told me since I was a babe. His dark hair envelopes his face, curling just at the ends, making him look far younger than I am sure he is. They finish uncovering me from the thorns and all gaze upon me covered in blood, dirt, sweat - looking positively disheveled - the farthest thing from a princess.

“Hyung,” a deep bass speaks from behind the broad shouldered noble-man, “she’s shivering.” A tan boy with thick eyebrows observes above me. His velvety voice makes my cold body feel warm with the way his timbre seems to echo off the wood of the trees around me.

“I know you are probably frightened and it looks like you have been through a lot…” The prince-like man holds an arm out for me to take. “...and even though your lips don’t speak, I do not wish for you to freeze out here in the wood.” The boys surrounding me shake their heads in agreement with the handsome one speaking. “Will you come with us, little bird?”

I don’t want to die and I don’t want to die out here in the cold night. Even if they want to hurt me or worse, I don’t want to die frozen to death in the thicket. Somehow, I don’t think they are bad men, but my threshold of trust was high due to the internal struggle I faced with my family. Still, I feel oddly comforted by the seven who are mostly quiet above me.

As I go to speak - to tell them ‘yes’, opening my lips slowly, nothing comes out. Not a peep or a squeak I can utter. The boys share looks of confusion at my lack of acknowledgment. My orbs flit from one handsome face to the next. Are they all princes wearing the same cloaks of purple and gold? I register you all, I swear I think in my mess of a mind. My body is too exhausted, not being able to do anything but nod once.

That’s all they needed to collect me it seems.

“Come, little bird.” The soft voice purrs again as I am being propped up gingerly, carefully by one of the boys around me. I lull my head against his warm body, a blanket or a cloak (I haven’t a clue which) was placed upon my dirty body. This boy is strong, not struggling to hold me up in the slightest I think as my eyelids flutter. I look up to him. He has long, black-as-night curly hair that falls around his neck, smiling tenderly down at me, his nose is long and rounded at the tip, a little mole under his lip catching my eyes that flutter more and more with every breath I take. Sleep was overtaking my body now that I know I am safe. “We will take you to a place where you will not suffer any longer.”

And with that affirmation, I nestle closer in the arms of the strong, young boy, believing the prince-like voice that hums a sweet lullaby. I yawn while he continues stroking my matted, tangled hair as I fall fast asleep against this stranger's chest.

I miss the seven smiles and nods, drinking me in with their sparkling amber gazes.

---------

PART TWO

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beneaththetangles · 3 years

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The Curious Incident of the Christianity in the Fictional Setting

Relatively few fictional settings feature Christianity. There are a variety of reasons for this—some good and some…not. Even in the isekai stories of C. S. Lewis (The Chronicles of Narnia and The Space Trilogy), where the God of the Bible is recognized in other worlds, the inhabitants of those other worlds don’t actually practice “Christianity” as we know it.

However, I’ve encountered a fascinating exception that I want to share.

Christianity—actual, literal Christianity—exists within the world of 86–Eighty-Six. The recent anime adaptation of this light novel series was good enough to pique my curiosity about its source material. I’ve now finished all seven of the volumes currently available in English, and along the way uncovered a striking amount of evidence suggesting that Christianity is present in the setting. Of course, anime and other works contain countless references to Christianity that are best inconclusive, so we’ll need to discuss those, too.

“Now let me be clear,” the story of 86–Eighty-Six doesn’t take place in our world. The technology, psychic powers, and ethnic groups with all sorts of fantastical hair and eye colors are enough to establish that. The story and setting are unmistakably inspired by real history, but it’s not our reality.

We all know that the works of fiction on which this blog focuses (Japanese anime, light novels, manga, and video games) liberally appropriate words and symbols from Christianity without intending at all to say anything about Christianity. Neon Genesis Evangelion is one famous (or is that infamous?) example, but it’s far from unique. Anime has given us more evil popes that than the most fervid of Protestant demagogues could possibly have imagined, and yet such stories are just using the word “pope” to denote a religious leader, and rarely if ever do they intend to say anything about the actual Roman Catholic Church. In these works of fiction, we must take care not to read too much into the mere use of words or symbols associated with Christianity. This is especially true when it comes to book, series, or chapter titles, which can get really meta and not have any bearing on the reality within the fictional setting.

Another kind of inconclusive reference to Christianity comes through idioms. If a present-day English speaker wants to talk about a benevolent passerby who stops to help someone in need, there’s a good chance they will refer that individual as a “Good Samaritan.” The phrase comes from a parable of Jesus recorded in Luke 10, but it has evolved beyond its origins into a widely used idiom, one that any English speaker might use without implying anything about their religious beliefs. Similarly, the exclamation “jeez” was, historically, a euphemistic reference to Jesus, but I’d argue that it has lost that meaning and today is just a sound that signifies surprise or annoyance. Consequently, when we run across such idioms, we must ponder whether the translators intended to evoke the religious connections of such phrases, or were just using the best English expression available, which coincidentally had a religious origin.

With that said, let’s start with some of the weaker, more circumstantial pieces of evidence in 86–Eighty-Six. The story makes references to churches and priests, but those are dime a dozen in fiction. A chapter in one volume bears the title “Veni, Veni, Emmanuel,” the name of a venerable Christian hymn associated with Advent and Christmas. But as noted above, chapter titles can be super meta and don’t prove much. There is a book called the Bible within the setting, but that’s hardly unique. For example, the world in Ascendance of a Bookworm has a holy text about its pantheon called “the Bible” that bears no relation to the Christian scriptures. The idiom “to bear one’s cross” shows up, but see above about idioms. All of these are interesting, but not necessarily significant.

However, there are some surprisingly specific Old Testament allusions in 86–Eighty-Six. Someone references a story involving seven days found in “Genesis.” There exists the concept that humans are made in God’s image. There’s mention of the “mark of Cain.” People are aware of a story, found in something called “the Old Testament,” about how humans tried to build a great tower at Babylon, and God responded by causing them to speak different languages. Finally, a character says “Let us die with the Philistines,” thereby paraphrasing the Israelite judge Samson. Of course, since all these examples come from the Old Testament, technically they only imply the existence of the Hebrew scriptures, not necessarily the New Testament and Christianity.

But wait, there’s more! While many fictional settings have pseudo-Christmas events in early winter, 86-Eighty-Six goes a step further by informing us that the setting’s early winter holiday isn’t just a winter festival or solstice observance, but a “holy birthday.” Separate and apart, characters have heard of an individual called the “messiah” who lived thousands of years ago. This “messiah” reportedly said “Man shall not live by bread alone.” There’s also a story in which he encountered a demon that identified themself as “Legion.” While not explicitly stated to be the same person as the aforementioned “messiah,” someone called the “savior” died by crucifixion. And there is a “Revelation” that contains mention of seven seals, and of a dragon with seven heads.

Just one more thing: references to other fictional works. You might not think a work of fiction containing in-universe allusions to real works of fiction would indicate much about Christianity, but… A character thinks something they witness is “a scene cut straight out of Salomé,” referring to a play by Oscar Wilde. A play about the martyrdom of John the Baptist. It doesn’t make sense for such a story to exist without the New Testament. (Yes, technically, John the Baptist does show up in the writings of Josephus, but it’s a fairly cursory mention. And besides Josephus also mentions Jesus, so…) Similarly, there’s a direct quote from Dante Alighieri’s Divine Comedy. Moreover, the source of the quote is cited by title. Dante’s epic poem is steeped in Christian thought; there’s no way such a work could possibly be known to anyone within the setting of 86–Eighty-Six unless Christianity also exists. Neither of these references to fictional works is technically a direct mention of Christianity, but the fictional works themselves are ones whose existence strongly implies the presence of Christianity and the New Testament.

Volume after volume, the in-universe references to Christianity keep piling up. The story isn’t casually borrowing vocabulary or symbolism inspired by Christianity. It’s not just using idioms that coincidentally originate from the Bible. These aren’t “meta” references that don’t necessarily imply anything about the setting. I find it unfathomable that details within this fictional world could “coincidentally” overlap with Christianity to this degree. Just as we have terms for groups of animals (e.g., a “flock” of birds, a “pride” of lions, etc.), I believe the correct term for a group of coincidences is a “pattern.” And the pattern here indicates that 86–Eighty-Six is a rare case of a fictional setting that contains Christianity.

#Anime #Light Novels #Christianity #86: Eighty Six #86 #Religion #Articles #Author: Jeskai Angel

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itsclydebitches · 3 years

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RWBY Recaps: Volume 8 “Dark”

Welcome back, everyone! Can you believe it's been six weeks already? I can't. Something something the uncomfortable passage of time during a pandemic as emphasized by a web-series.

But we're here to talk about RWBY the fictional story, not RWBY the cultural icon. At least, we will in a moment. First, I'd like to acknowledge that shaky line between the two, growing blurrier with every volume. A sort of good news, bad news situation.

The bad news — to get that out of the way — is that we cannot easily separate RWBY from its authors and those authors have, sadly, been drawing a lot of negative attention as of late. This isn't anything new, not at all, but I think the unexpectedly long hiatus gave a lot of fans (myself included) the chance to think about Rooster Teeth's failings without getting distracted by their biggest and brightest production. There's a laundry list of problems here — everything from the behavior of voice actors to the quality of their merch — but as a sort of summary issue, I'd like to highlight the reviews that continue to pop up on websites like Glassdoor, detailing the toxic, sexist, crunch-obsessed environment that RT employees are forced to work in. A lot of these websites requires a login to read more than a page of reviews, but you can check out a Twitter thread about it here.

Now, I want to be clear: I'm not bringing this up as a way to shame anyone enjoying RWBY. This isn't a simplistic claim of, "The authors are Problematic™ and therefore you can't like the stuff they produce." Nor is this meant to be a catch-all excuse for RWBY's problems. If it were, I'd have dropped these recaps years ago. I'm of the belief that audiences maintain the right to both praise and criticize the work they're given, regardless of the context in which that work was produced. At the end of the day, RT has presented RWBY as a finished product and, more than that, presents it as an excellent product, one worth both our emotional investment and our money (whether in the form of paying for a First account, or encouraging us to buy merch, attend cons, etc.) I'll continue to critique RWBY as needed, but I a) wanted fans to be at least peripherally aware of these issues and b) clarify that my use of "RT" in statements like, "I can't believe RT is screwing up this badly" is meant to be a broad, nebulas acknowledgement that someone in the company is screwing up, either creatively (doesn't have the skill to write a good scene) or morally (hasn't created an environment in which other creators are capable of crafting a good scene). The real, inner workings of such companies are mostly a secret to their audiences and thus it's near impossible for someone like me — random fan writing these for fun as a casual side hobby — to accurately point fingers. Hence, broad "RT." I just wanted to clarify that when I use this it's as a necessary placeholder for whoever is actually responsible, not a damnation of the overworked animator breaking down in a bathroom. Heavy stuff, but I thought it was necessary (or at least worthwhile) to acknowledge this issue as we head into the second half of the volume.

Now for the good news: RWBY has reached 100 episodes! For any who may not know, 100 is a pretty significant number in the TV world because, when talking about prime time programming, it guarantees syndicated reruns. Basically, networks don't want audiences to get burned out with a show — changing the channel when it comes on because ugh, I've seen this already, recently too — and 100 episodes allows for a roughly five month run without any repeats, making it very profitable. RWBY is obviously not a television show and doesn't benefit from any of this (hell, modern television doesn't benefit from this as much as it used to, not in the age of streaming), but the 100 episode threshold is still ingrained in American culture. Beyond just being a nice, rounded number, it is historically a measure of huge success and I can't imagine that RT isn't aware of that. Regardless of what we think of RWBY's current quality, this is one hell of a milestone and should be applauded.

All that being said... RWBY's quality is definitely still lacking lol.

Our 100th episode is titled "Dark" — keeping with the one word titles, then — and I'd like to emphasize that, as a 100th episode, it definitely delivers in terms of plot. There's plenty of action, important character beats, and at least one major reveal, everything we'd expect from a milestone and a Part II premiere. The animation also continues to be noteworthy for its beauty, as I found myself admiring many of the screenshots I took for this recap. There are certainly things to praise. The only problem (one we're all familiar with by now) is that these small successes are situated within a narrative that's otherwise falling apart. It's all good stuff... provided you ignore literally everything else surrounding it.

But let's dive into some examples. We open on Qrow starting, awoken by the thunder outside. Robyn has been watching him and makes a peppy comment about how none of them will be sleeping tonight, followed by a more serious, "Sounds bad out there." Yeah, it does sound bad, especially when they all know — thanks to Ruby's message back in Volume 7 — that this is due to Salem's arrival. I think a lot of the fandom has forgotten that little detail because people often discuss Qrow as if he is entirely ignorant of what is going on outside his cell. Even if we were to assume that he's forgotten all about the pesky Salem issue (the horror of Clover's death overriding everything else, perhaps) he still knows that Tyrian is running loose in a heat-less city with a creepy storm going on and, from his perspective, the Very Evil Ironwood is still running the show. So it's bad, which begs the question of why Qrow (and Robyn, for that matter) hasn't displayed an ounce of legitimate worry for everyone he knows out there. Thus far, their interactions have centered entirely around Qrow's misplaced blame and Robyn's terrible attempts to lighten the mood, despite the fact that a war is raging right beyond that wall. It's another example of RWBY's inability to manage tone properly, to say nothing of balancing the multiple concerns any one character should be trying to juggle. Just as it rankles that Ruby and Yang don't seem to care about what has happened to their uncle, Qrow likewise doesn't seem to care about what might be happening to his nieces. When did we reach a point where these relationships are so broken that someone can be arrested/chucked into a deadly battle and the others just... ignore that?

So Robyn's otherwise innocuous comment immediately reminds me of how badly the narrative has treated these conflicts and, sadly, things don't improve much from here. We are thankfully spared more of Robyn's jokes when Qrow realizes that what he's hearing can't be thunder. A second later, Cinder blasts through the wall — called it! — and Qrow instinctively transforms.

The only downside to this moment is that the whole ceiling falls down on Qrow and the others because APPARENTLY these cells don't have tops on them. Seriously. As far as I can recall we don't see the stone breaking through the forcefield somehow and this looks pretty open to me.

If it is... you're telling me these crazy powerful fighters who practice landing strategies and leap tall buildings in a single bound —

— can't just hop over this mildly high electric fence to get out? Qrow can't just fly away?

We're, like, two minutes in, folks.

We transfer to Nora's perspective as she wakes up, seeing Klein giving her the IV. He tells her not to worry, that "you and your friend are going to be just fine." What friend? Penny? Klein went upstairs prior to Weiss hugging Whitley or Penny crash landing outside. I had thought them bursting through the door with another unconscious friend was the first time he learned what the big bang outside was, but apparently not.

Penny is, obviously, a mess. While I now understand the choice to make her blood such an eye-catching color when that's crucial to the Hound's hunt, I still think it looks strange visually. Like someone has taken a copy of RWBY and painted over it. It doesn't look like it fits the art style. More than that, it implies some rather complicated things about Penny's humanity, especially in a volume focused around her being a "real girl." Real enough for Maiden powers, but with obviously inhuman blood that isn't even referred to as "bleeding." Penny "leaks" instead.

Toss in the fact that she's literally an android who is made up of tech — recall the running gags about her being heavy, or it hurts to fist-bump her, to say nothing of keeping things like multiple blades inside her body — yet Klein says that her "basic anatomy" is the same and he can "stitch up that wound."

I'm sorry, what? Whatever Penny looks like on the inside, it's not going to resemble a human woman's anatomy, and Klein might be able to stitch the outer layer of skin she's got, but that won't do anything to fix whatever metal bits have been broken underneath. Penny isn't a human-robot hybrid, she's a robot with an aura. Penny has knives in her back, rockets in her feet, and a super computer behind her eyes. When our clip introduced that Klein would be the one to help Penny, my initial reaction was, "Seriously? He's a butler and a doctor and an engineer?" But RWBY didn't even try to get away with a Super Klein explanation, they just waved away Penny's very obvious, inhuman anatomy. Yeah, I'm sure "stitching up" an android wound is just like giving Nora her IV. I hope the surgical sutures he used are extra strong!

In an effort to not entirely drag this episode, I do appreciate that Whitley is allowed an "ugh" moment about the non-blood covering his shirt without anyone calling him out on it. That felt like the sort of thing the show would usually try to make a character feel guilty about and I'm glad that, for once, he was just allowed to be frustrated without comment.

Then the power goes out and May calls, which raises questions about what state the CCTS is in and when scrolls are available to our protagonists vs. when they're not. But whatever. She's checking in because she just "saw another bombing run light up the Kingdom" and —

Wait. Bombing? Salem is bombing the city? I know we've seen explosions in the sky, but I'd always just attributed that to evil aesthetic. Why does this dialogue sound like it's from a World War II film and not a fantasy sci-fi show about literal monsters launching a ground attack?

May looks pretty against the sky though. I like her hair color against that purple.

I'm admittedly grasping at positives here because we finally return to her "You have to choose" ultimatum and — surprise! — May has pulled back completely. Ruby says that once they've helped Penny, "We'll...we'll do something!" which is once again her avoiding making a decision. Ruby still refuses to choose, instead falling back on generic, optimistic pep talks. They'll figure out how to stop Salem later. They'll think about the impact of telling the world later. They'll choose who to help later. Ruby keeps pushing these problems into the future where, she hopes, a perfect, magical solution will have appeared for her to latch onto. When that continues to not happen, others pressuring her to actually do something and stop waiting for perfection — Ironwood, Yang, May — she panics and continues stalling for time. Wait an episode and the narrative supports her in this.

Because initially May was forcing Ruby to decide. Now, May enables her desire to keep putting things off. "Don't beat yourself up, kid. At this point, I don't know how much is left to be done." That's the exact opposite of what May believed last episode, that there was still so much work and good to do for the people of Mantle. This is precisely what the show did with Yang and Ren's scenes too, having people call Ruby out... but then return to a message of, 'Don't worry, you're actually doing just fine' before Ruby is forced to actually change.

None of which even touches on May calling her "kid" in this moment. That continues to be a convenient way of absolving Ruby of any responsibility. When she wants to steal airships or Amity Tower, she's an adult everyone should listen to, the leader of this war. When the story wants to absolve her of previously mentioned flaws, she becomes a kid who shouldn't "beat herself up." I said years ago that RWBY couldn't continue to let the group be both children and adults simultaneously, yet here we are.

So that was a thoroughly disappointing scene. Ruby gets her moment to look sad and defeated, listing "the grimm, the crater, Nora, Penny" as problems she doesn't know how to solve. Note that 'Immortal witch attacking the city I've helped trap here' isn't included in that list. Ruby is still ignoring Salem herself and no one in the group is picking up where May left off, challenging her to do more than wring her hands over things others are already trying to take care of: Ironwood is fighting the grimm, May has gone off to help the crater, Klein is patching up Nora and Penny. Ruby, as one flawed individual, should not be expected to come up with a solution to everything, but she does need to stop acting like she can come up with a solution to everything when it matters most (office scene) and rejecting others' solutions when they ask for her help (Ironwood, May).

If it feels like I'm dragging the flawed, traumatized teenager too much, it's not in an effort to ignore those aspects of her identity. Rather, it's because she's also the licensed huntress who wrested control from a world leader and violently demanded she be put in charge of this battle. Ruby, by her own actions, is now responsible for dealing with these problems, or admitting she was wrong and letting others take the lead, without purposefully derailing their plans. She doesn't get to suddenly go, "I don't know," cry a little, and get sympathetic pats.

But of course that's precisely what happens, courtesy of Weiss.

During this whole scene I kept wondering why no one was celebrating Nora waking up, especially when Ruby outright mentions her. Have they just not noticed given all the Penny drama? Because Nora absolutely woke up.

Aaaand went back to sleep, I guess. What was the point of that POV shot? No worries though, she'll wake up again in a minute.

Willow arrives and announces that they can fix the power (and Penny) using the generator at the edge of the property. I'm convinced RT doesn't actually know what a generator is because the characters are acting like it's some super special device that only richy-rich could possibly have. Whitley says that it's the SDC executives who have their "own power supply" and that it's "extremely unfair." Now, don't get me wrong, a good generator powering large portions of your house can run you 30k+, but you can also get one that plugs into your extension cord and powers your fridge for a couple hundred. There's absolutely a class issue here, just not the one Whitley and Weiss seem to be commenting on. They make a generator sound like the sort of device that only a politician-CEO could possible have and it's weird.

Likely, it sounds weird because it's a choppy way of getting Whitley to bring up the wealth disparity so he can then go, 'That's right! We're crazy rich with a company housing tons of ships! We can use those to evacuate Mantle.' Awkwardness aside, I do like that the Schnee wealth is being used for good purposes, but... evacuate where? To the city currently under attack by a giant whale? In a RWBY that wasn't determined to demonize Ironwood, this would have been a great plot point during the office scene instead, with Weiss offering her services to Ironwood, even if the group decides that a continued evacuation still isn't possible.

Instead, we get it here from Whitley. Do I need to point out the obvious? That Whitley is the MVP of this episode? He's done more good in an HOUR than the group has managed in a year. Give this kid some training and make him a huntsmen instead.

We're given a (very pretty!) shot of the shattered moon because it wouldn't be RWBY if we weren't continually reminded that gods once wiped out humanity before destroying part of a celestial body... and absolutely no one talks about that lol.

Blake's coat might not make any sense for her color scheme, but it does make her easy to spot as she and Ruby run across the grounds. Oh my god, they're actually doing something together! It only took eight years. They even get a lovely talk where Blake admits how much she looks up to Ruby, despite her being younger, and once again I'm struck at how much more I would have loved this scene if it had appeared elsewhere in the series. It is, indeed, as sweet and emotional as all the RWBY GIF-ers are claiming... provided you overlook that this is the exact opposite of what Ruby needs to hear right now. She doesn't need to hear that she's more mature and reliable than her elders when she's functioning under a "We don't need adults" mentality. She doesn't need to hear that not knowing what to do is totally fine, not when that led to her turning on Ironwood, despite not knowing how to stop Salem. She doesn't need to hear that "doing something" — doing anything — is a strength, because Ruby keeps avoiding the big problems for smaller ones she's comfortable with, like standing by Penny's bedside instead of deciding between Mantle and Atlas. Blake's speech is heartfelt, but it's a speech that suits a Beacon days Ruby who is having some doubts about her leadership skills, not the girl whose impulsive — and now lack of — actions is having world-wide repercussions. Everyone is babying Ruby to a staggering degree. It's like if we had a med show where the doctor is standing by the bedside of a coding patient, fretting between two treatments. 'Don't worry,' their colleague says, patting their shoulder. 'I've always looked up to you. You'll do something when you're ready' and then they continue to watch the patient, you know, die.

Also: who does Ruby look up to? Everyone talks about how much they depend on and trust Ruby, but who does Ruby look to for guidance? A number of her problems stem from the fact that she has rejected the advice of everyone who has tried to help her improve: Qrow, Ozpin, Ironwood, even Yang. Ruby is presented as the pinnacle of what to strive for in a leader, rather than a leader who has only been doing this for two years and still has a great deal to learn.

Anyway, they get the generator on and the Hound shows up.

I am begging RT to just make RWBY a horror story. All their best scenes the last three years have been horror I am bEGGING —

Anyway, while Ruby waits to be eaten we cut to Willow and Klein, the former of which is reaching for her bottle, pulling back, reaching again, all while her hand shakes. This is good. This is what we should have gotten with Qrow. Which isn't to say that their (or anyone's) addiction should be identical, but rather that this is a far more engaging and complex look at addiction than what our birb got. Willow tells us that she doesn't drink in the dark despite bringing the bottle with her; tries to resist drinking when she's scared and ultimately fails. Qrow just decided to stop drinking after decades of addiction, seemingly for no reason, and that was that. Why is a side character we only met this volume written better than one of the main cast?

Blake manages to call Weiss about the Hound and she asks if Whitley can handle the airships without her. I mean, I assume so given that Weiss is looking at the bookshelves while Whitley does all the work lol. He makes a teasing comment about how he can if she can handle that grimm and she comments that they still need to work on his "attitude."

No they don't. Weiss stuck a weapon in her kid brother's face. Whitley made a joke. Even if Weiss' comment is likewise meant to be read as teasing, it's clear that we've bypassed any meaningful conversation between them. That hug was supposed to be a Fix Everything moment even though, as I've laid out elsewhere, it didn't even come close.

We cut back to Ruby getting thrown through a wall into the backyard and the Hound creepily coming after her. She's freaked out by this clearly abnormal grimm and Blake is weirdly... not? "It's just a grimm. Just focus!" Uh, it's obviously not. Have we reached the traumatized, sleep-deprived point where the group is sinking into full-blown denial? I wouldn't be surprised. They've been awake for like... 40+ hours.

Because the Hound knocks Ruby out with a single hit. Just, bam, she's down. "Focusing" is not the solution here.

Weiss calls to warn the others about the grimm, telling them to stick together. Willow (understandably) starts freaking out and flees the room (classic horror trope!). Klein is left alone when Penny wakes up with red eyes. Oh no!

Don't worry. You know nothing meaningful happens.

She shoves Klein before (somehow?) resisting the hack, her Maiden powers going wild in the process. Just when it looks as if Penny might cause some serious damage, Nora wakes up, takes her hand, and says, I kid you not:

"Hey... no one is going to make you do anything you don't want to do... It's just a part of you. Don't forget about the rest."

Okay. I want to re-emphasize that I love hopeful, uplifting, victory-won-through-the-power-of-love stories. Istg I'm not dead inside, it's just that RWBY does this so badly. I mean, what is this? It has similarities to the character shouting, 'No! Resist!' to their mind-controlled ally, but this is not presented as a desperate, last-ditch effort by Nora. She just speaks like this is the most obvious truth in the world. If you don't want to have your mind taken over... just don't! It's that simple. The problem definitely isn't that Watts has changed her coding and has implemented a command she can't override, it's that Penny has forgotten about the "rest" of her personhood.

And this works. Granted, not for long, but we leave Nora having successfully calmed Penny down and until her eyes unexpectedly go red again scenes later, we're left assuming that this is a permanent solution. That, imo anyway, is taking the Power of Love too far, overriding the basic reality of Penny being hacked. It’s not a personal failing she must overcome, it’s an external attack. I would have rather had Nora react to the scars she saw on her arm, or have a moment with Klein, or get some love from the group. Not a wakes up, falls asleep, wakes up again to save Penny with a Ruby level 'Just ignore reality' pep-talk, then back to sleep again.

So Penny isn't attacking her allies, or mistakenly hurting her allies with wild Maiden powers. Not that the group doesn't have enough to deal with, but still. Weiss arrives to help with the Hound and attempts a new summon, only to fail when two minor grimm burrow up into her glyphs. I really enjoyed that moment, both for the wing visual and the knowledge that Weiss' glyphs can fail if you break them somehow (which makes sense). Also, I just like that she failed in general? Weiss is, as per usual now, about to demonstrate just how OP she is compared to the rest of the team, so it was nice to see her faltering here.

The Hound tries to make off with Ruby and Blake does an excellent job of keeping it tethered. Ruby finally wakes, only to realize that the grimm is actually after Penny since it's staring at her power up through the window, no longer trying to escape. Moments like this remind me that there's someone on RT's writing team that knows what they're doing, at least some of the time. The assumption that the Hound is after Ruby as a SEW, the surprise that it's actually Penny, realizing it holds up because Ruby is covered in Penny's blood and Blake is not... that's all nice, tight plotting. More of that please!

The Hound drops her and Ruby's aura shatters when she hits the ground. I want everyone to remember this moment as an example of how strong the Hound is. The group may be tired, but unlike YJR they've been sitting around in the Schnee manor for a number of hours, regaining strength. We saw the Hound hit Ruby twice — once through the wall and once to knock her out — and then she falls from a not very high distance for a huntress, yet her aura is toast. That's the level of power and skill the Hound possesses. Decimating YJR, knocking Oscar out, same for Ruby, avoiding Blake and Weiss' hits, soon to treat Penny like a ragdoll. Just remember all this for the episode's end.

Blake tells Weiss she'll take care of Ruby, you go help the others. Yay breaking up the duos more! Bad timing though as the new acid-spitting grimm pops out of the ground and Blake is now left alone to face it.

Weiss re-enters the mansion, knowing the Hound is somewhere nearby, but not where. Suddenly, Willow's voice sounds through her scroll with an, "Above you!" which... doesn't keep Weiss from getting hit lol. But it's the thought that counts! Willow has accessed the cameras she's set up throughout the manor, watching the Hound's movements, and I have to say, that is a WAY better use of her separation from Klein than I thought we were getting. I legit thought they'd have Willow run away in a panic, meet the Hound, die, and then Weiss could be sad about losing her mom.

It does say something about RWBY's writing that this was my knee-jerk theory, as well as my surprise when we got something way better.

The Hound runs off, uninterested in Weiss, and she asks Willow to keep tabs on it. It heads for Whitley next (also covered in Penny's blood) and very creepily stalks him in the office with a, "I know you're here." Whitley is seconds away from being Hound chow before one of Weiss' boars pin it against the wall. He runs, then runs BACK to finish deploying the airships, before finally escaping assumed death. Goddamn this boy is pulling his weight.

I assume all these ships are automated then? I hope someone takes a moment to call May. Otherwise it's going to be super weird for the Mantle citizens if a fleet of SDC ships just show up and hover there...

I don't entirely understand how Weiss saved him though. She's nowhere to be seen when Whitley leaves and he runs a fair distance before he and Willow encounter Weiss again. We know her summons don't have to keep right next to her, but are they capable of rudimentary thought, attacking an enemy — and an enemy only — despite Weiss being a couple corridors down and unable to see the current battlefield? I don't know. In another series I'd theorize that this was a deliberate hint, a way to clue us into the fact that Willow, someone who we currently know almost nothing about, had training in the past and summoned the boar herself. Weiss and Winter certainly didn't get that hereditary skill from Jacques. Hell, we might still get that, Weiss reacting with confusion next episode when Whitley thanks her for the boar, but I doubt it. That scene with Ruby and the Hound aside, the show isn't this good at laying groundwork and then following up on it.

Case in point: Weiss says, "I didn't forget you" to Whitley after he gets away from the Hound, the moment trying to harken back to her promise to Willow. Key word is "trying." Because she absolutely forgot him! Weiss threatened and ignored Whitley until he proved his usefulness. I also shouldn't need to point out that, "Don't forget your brother" does not mean, "Don't let your brother die a horrible death by abnormal grimm." Weiss acts like her saving him is a fulfillment of her promise, rather than just the most basic of human decency. And also, you know, her job.

So that part is frustrating. The entire Schnee dynamic is a mess, from Weiss making a joke of her father's arrest, to Willow (presumably) fixing their relationship by putting a hand on her daughter's shoulder. Okay.

Then Weiss cuts off the Hound by summoning a giant wall of ice. My brain, every time this happens:

YOU COULD HAVE FIXED THE HOLE IN MANTLE'S WALL.

Moving on, Blake's fight against the acid... thing has some great choreography, including Blake using her semblance which we haven't seen in AGES.

I really like the fight itself, just not what Blake is shouting the whole time. "I need you, Ruby! We all need you!" This has really gotten ridiculous. Ruby is presented as everyone's sole savior despite failing time and time again. It's not that I don't think Blake as a character should have faith in her leader, it's that I don't think the writers should be crafting a story where everyone puts their unshakable hopes in an untrained, disloyal, impulsive 17 year old. I mean, Ruby is currently unconscious, yet Blake is acting like if she doesn't wake up — she, as an individual, if Ruby Rose does not re-join this fight — then all is lost. If Ruby doesn't save them, no one can. Which is, of course, absurd on numerous levels. Blake doesn't need the passed out, aura-less Ruby right now, she needs the still very healthy Weiss pulling out multiple summons and an ice wall! Use your scroll and call for backup again.

But of course, Ruby wakes up and kills the new, terrifying grimm with a single hit. It's a preview of what's to come with the Hound and it's just as ridiculous here as it will be there.

Speaking of the Hound, am I the only one who thought this was... cute?

I can't possibly be the only one. That head-tilt is exactly what my dogs do and my brain instinctively went, "Aww, puppy!"

Murderous puppy.

The Hound realizes none of the Schnees are who it's looking for and runs off. Penny, meanwhile, has been fully taken over because, well, that's just what's convenient now. She resists long enough keep Amity up, then succumbs, then resists to apologize to Ruby, then succumbs, then resists because Nora asked her to, then succumbs once it's time to knock her out. If RWBY was willing to commit to consequences, Penny would have been taken over and that was that. The characters would need to deal with whatever outcome happens as a result. Instead, the show very carefully avoids any of those pesky consequences by having Penny successfully resisting at key moments, despite no explanation of how she's managing that.

She shoves Klein again (Klein is having a Bad Time) and starts walking down the main steps. When Whitley wants to know where the hell she's going, Penny mechanically responds that she must "Open the vault, then self-destruct." I suppose the change Watts made was the self-destruct order? Ironwood obviously wants the vault open, though not necessarily Penny's death. Think what you will of his moral compass, she's a damn powerful ally — a research project, perhaps — and a Maiden to boot. At the very least, her death may give the powers to someone even worse.

God, please don't let them have brought Penny back and made her a Maiden just to kill her again.

The Hound arrives though and, as said, knocks Penny out. We're back to square one with her, then. Note though that this attack is near instantaneous. She grabs its hands one second, is hanging limply the next. Wow, the Hound sure is a terrifying antagonist!

Not for long.

"That's enough," Ruby says and one-shots it with her eyes.

Now, I want to talk for a moment about the implications of that line. "That's enough." Obviously Ruby is #done with this situation and emotionally unwilling to let the Hound kidnap Penny (congratulations, Nuts and Dolts shippers), but there's a meta reading here as well. Not intentional, but glaring to me nonetheless. Basically, the idea that the Hound has, from a plot perspective, done enough. It has served its singular purpose. It kidnapped Oscar and now it dies. Never-mind how insanely powerful we've established the Hound to be, never-mind how Ruby's eyes also work or don't work according to whether anything of actual import is on the line. From a plot perspective "that's enough" and the Hound can be disposed of instantly. It got Oscar and gave us an episode of filler creepiness. Move along now.

The idea behind Ruby's eyes isn't bad, but the execution absolutely is. RT has undermined a huge portion of the stakes by giving their protagonist an instant kill-shot that always works precisely when she needs it to. Starting with the Apathy, we have yet to get a moment where Ruby's eyes fail to save the day when she really needs them to, no matter how incredible the challenge. The Hound was very intentionally written to be a grimm outside of the group's current power level. It thinks, it talks, they literally can't touch it. This creates the expectation that the group will need to grow stronger — or at least become smarter — in order to surmount this new obstacle, yet Ruby's eyes undermine all of that. The group hasn't grown in years, the show just makes enemies weaker as needed (Ace Ops), or has Ruby pull out her eyes as a trump card. It wouldn't be that bad if we'd at least gotten a good battle out of it, one where the group gets close to defeating the Hound on their own, but needs Ruby's eyes to finish it off. Instead, she literally walks up without any aura, announces to the audience that this antagonist's time is up, and blasts it out a window.

Granted, Ruby's eyes don't completely finish it. The Hound pulls itself to its feet and we see this.

Yup, that's a guy and yup, those are silver eyes.

I would like to issue a formal apology to the "It's secretly Summer!" theorists in the fandom. I mean, I still think it would be ridiculous (and at this point highly improbable) that Ruby's dead mother has actually been a grimm mutant this whole time, just hanging out in Salem's realm while she waits for the plot to start before attacking the world, and then sends some no-name faunus dude after the group instead of their leader's mother for extra, emotional torture... but you all were definitely right about the “It's a person” part! I... don't know how I feel about this. Admittedly, it seems to be a logical continuation of the other grimm-human hybrids we've seen — namely Cinder and Salem herself — and it finally explains why Salem wants Ruby alive (even though it actually doesn't because WHY did she want more SEWs for Hound grimm when she wasn't even attacking back then? And already has all these other insanely powerful tools??), but at the same time, it feels like it's complicating a story that doesn't need further complications. The group fights monsters and has an immortal enemy. You don't need to add 'Some of those monsters are secretly human' to the mix.

It doesn't hurt that this twist is giving me Attack on Titan vibes, which, ew. A dark time in my fandom life, folks.

The Hound staggers a few steps before Whitley and Willow dump a suit of armor on it. That's all it takes to kill the most dangerous grimm we've ever seen: a single flash of silver eyes and some heavy metal. This also wreaks havoc with the implication that Salem wants SEWs alive because they create such powerful grimm. Obviously not. I mean yeah, normal huntsmen are going to have serious problems, we’ve seen that this volume, but any other SEWs nearby will take a Hound out instantaneously. For a villain with so many other powerful abilities — immortality, magic, endless normal grimm, her nifty soup — Salem would be much better served just killing SEWs straight out. Clearly, creating Hounds isn't worth the effort.

The Hound leaves some bones behind and Ruby collapses to her knees, overcome with the knowledge that this was once a person. Again, uncomfortable Attack on Titan parallels.

We finish our premiere with Cinder clearing away rubble to reveal Watts. Honestly, I like that we ended on this because her rescue is hilarious. She just slings him over her shoulders like a sack of potatoes and blasts off with her magic fire feet. Fantastic.

Note though that with this scene we've seen almost everything from the clip and the trailer. What's to come in the rest of Volume 8? No idea. Outside of Winter leading the charge with the bomb, we got it all here.

Time to update the bingo board!

I'm crossing off "Introducing new grimm that are quickly abandoned." Between the Hound and acid-dude both falling to a single blast/cut from Ruby, we've more than earned this square.

It doesn't look as if we'll get another Watts-Jacques team-up now that he's left, but you never know.

Maria's got me worried. I feel like her Yoda fight against Neo is the one thing she'll be allowed to do this volume, but given that we didn't see anyone except Ruby's group this episode, we don't yet know whether the story is now ignoring her and Pietro, or if they'll re-appear in another episode like YJR.

Qrow is free. Will he get a drink before trying to murder Ironwood? Perhaps.

Still no bingo :(

All in all, the episode was by no means horrible. I think there were lots of horrible parts, but also some legitimately well executed moments, fun action, and scenes that I can easily imagine as squee worthy if you lean back and squint. Everything is comparative and in the growing collection of bad RWBY episodes, this one isn't securing a top slot. Which doesn't mean I think it's good, just... not as bad as it could have been and primarily only bad due to long-running problems, not things this specific episode has done. That's my bar then, so low it has officially entered the underworld.

Still, RWBY is back and a part of me is eager to see where this volume takes us, for better or for worse.

Until next week! 💜

[Ko-Fi]

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby dark

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dailycharacteroption · 3 years

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Deity Drop 1: Apsu

Though today’s subject is also lawful good, he is much less involved than Erastil. I present the draconic deity Apsu!

It always seems that in fantasy settings, at least the ones with their roots in D&D, there are always two major dragon gods, one good, one evil, and Pathfinder is no different. However, while the classic duo in many D&D settings are brother and sister, in Pathfinder, the duo is father and son, and today we are looking at the father.

According to draconic belief, Apsu is in fact one of the deities responsible for the creation of the multiverse, and while that is likely an exaggeration on the part of dragons, it no doubt has a grain of truth to it. In any case, Apsu originally did not go by a name, and was originally described as one of two great waters (which ties into the description of his real Mesopotamian namesake), the other being Tiamat (whom is implied to be, or at least a version of the very same Tiamat running around D&D’s various settings, but who is only mentioned in Pathfinder briefly because of legal reasons), whom was his mate and wife.

The pair had many children together, but one in particular, Dahak, was a violent and destructive being whose rampages are the very thing that turned the plane of Hell into a burning place of suffering long before the first devils or even asura arrived on the plane. He was not content to end his rampage at an entire plane of existence, however, and slew many of his siblings, whose broken remains fell to the material plane and were reborn as the first metallic dragons.

Enraged, Apsu named himself and took form, joining with the metallic dragons against his wayward son, defeating him. However, before the final blow was struck, Dahak pleaded for aid from his mother, who answered, offering the dragons injured in the fight healing if they would turn on Apsu. Those that accepted became the first chromatic dragons.

Dahak escaped in the ensuing fight, but Apsu ordered his followers not to pursue, turning to ask his mate, who took the name Tiamat, why he had aided his son.

Tiamat only answered that she blamed Apsu for the death of their children, and cast them out from their home to wander.

Since that time, Apsu and Dahak have only met once, when they teamed up to help other gods defeat the monstrous Rovagug. After the battle, Dahak swore he would kill his father, and left. Ever since then, Apsu has been a distant leader of dragonkind, quietly preparing for the day when he and his son will have their final showdown on the surface of Golarion.

Apsu himself, who dwells in a roving demiplane home called the Immortal Ambulatory, teaches that one should seek glory and peace, and that leaders should be just and fair, which makes sense as he is the patron deity of all good dragons, metallic and otherwise. However, while many good dragons worship him, very few among them actually take training in divine magic under his guidance, perhaps out of draconic independence. However, he does have a small following of humanoids on Golarion, most notably the group known as the Platinum Band, who do train as proper priests of Apsu.

Unsurprisingly, Apsu has a much wider following on the planet Triaxus, where the native Rhyphorians and their dragonkin allies among the Dragon Legions of the Allied Territories.

Though Apsu’s parenting skills are called into question by the existence of Dahak, he is nonetheless a god of justice and good, serving as an inspiration to those who wish to uphold his ideals. He commands his followers to help those in need, as well as guide them to become stronger, and punish the wicked that betray your mercy.

This aligns him with a lot of paladins, as a lawful good god he is at least respected by many civilizations, but he is most commonly worshipped by those who travel and do his work across the world. However, it is notable that Apsu apparently refuses to have a hand in the creation of oracles, even as part of a pantheon, as it is against his beliefs to force power upon a mortal, especially not that which also curses them. Oracles that come to worship him later do exist, apparently, as those that do gain access to unique spells. Additionally, as he is associated with the preparation for war, he is often given prayers by architects and craftsmen who build fortifications and other tools of protection for coming war.

Apsu is served and worshipped by most good dragons, metallic and otherwise, as well as even some wyverns and drakes that have risen above bestial concerns. He does command some angels as a celestial god, but he counts no one specific outsider type as his own. He does have a herald in the form of the celestial silver dragon Oreganus, as well as Blameless Flame, a coatl surrounded by the flame of a gold dragon’s breath and Syrax the Platinum, a clockwork dragon with the mind of a once-living brass dragon.

Apsu rules over the domains of Artifice, Good, Law, Scalykind, and Travel, as well as the subdomains of Archon (by way of good or law), Construct, Dragon, Exploration, Toil, and Trade. The inclusion of Artifice is tied to the oft-forgotten aspect of Apsu as the builder of fortifications.

His second edition domains are creation, protection, travel, and wyrmkin, as well as granting spells associated with bolstering natural attacks, creating temporary items, and shapeshifting into draconic form.

Those who are devout enough to follow his deific obedience perform a daily ritual of walking in one direction for half an hour, then walking back. When traveling away from their starting point, they consider the tactical and strategic advantages of the terrain, while on the way back, they consider it’s wonder and beauty and contemplate on the Wayfinder’s role in its creation. Such devotees are granted heightened awareness, particularly when it comes to attackers.

Evangelist devotees tap into Apsu’s aspect as a crafter and preparer, gaining spells to carry large loads with a disk of force, bless weapons with the divine power of law, and create wards against the environment; as well as enchant weapons to fight on their own, and the power to pour life into an object you have crafted, animating it.

For those that follow the path of the exalted, they imbue his aspect as a traveller, blurring their movement, defying gravity, and moving with incredible speed. What’s more, they are blessed with the ability to monitor the places they have been, placing short-lived sensors whenever they teleport away, letting them see what goes on afterwards, be it pursuers, or potential spies or sneaks. Additionally, they can set up safe locations and teleport back to them with allies at later dates.

Draconic fury is the gift granted to those who become sentinels in his name, blasting foes with sprays of light, bolts of fire, and imbuing themselves with draconic wards against the elements. What’s more, they can surround themselves in a ward against foes that is most effective against evil dragons. Additionally, they can imbue their weapon with the normally reserved fury of Apsu in battle, making for supernaturally accurate attacks that are almost guaranteed to deliver deadly wounds to evil dragons.

As far as I know, neither Apsu nor Dahak have been mentioned in Starfinder yet, so it is unknown what their status is. Both deities were prophesized to end their struggle once and for all on Golarion someday, but in the far future of Starfinder the planet Golarion is missing. So, either their battle has already happened before or during The Gap, or that prophecy was derailed in the same way as most other prophecies in the Age of Lost Omens and beyond. If Apsu does exist, either with or without Dahak, he is no doubt most popularly worshipped among the Skyfire Legion and among more goodly parts of the Drakelands on Triaxus, much as they have always done. Still, any world where metallic or otherwise goodly dragons exist may see some of his influence, and I imagine that he might even have a small following in the Knights of Golarion.

That does it for today, but it’s good to demonstrate how even gods outside of the Inner Sea grouping can be just as influential in their own way.

#pathfinder #deity #Apsu #dragon

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crystalkleure · 3 years

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Haha hey remember that post I made awhile back, speculating on what a bad idea it might be to fuse dead things in the godless Frankenstein fossil machine

Meet White. He is a reanimated corpse. Two of them, actually. Or more like 1.5. [And I whipped up this half-assed partial reference sheet in one night instead of sleeping, so don’t look too hard at the chickenscratch lineart and visible guidelines, and kindly ignore the total lack of shading as well as any other messy jankiness.]

White is a product of me wondering not only about what happens if you NecroFuse a human with a Pokemon, but also what happens if you make it even worse and specifically fuse that human with a Pokemon capable of mega evolution. Because canon seems to imply that mega evolving is at best deeply uncomfortable -- and at worst outright agonizing -- for whatever creature is going through it.

Character Lore under the cut. Lots of text:

White is one of actually multiple undead guys who got mashed together with bits of dead Pokemon. They’re science experiments, so they've got the dex numbers of the Pokemon they're spliced with tattooed on the backs of their necks, and those numbers were treated as their names In The Evil Science Lab.

In his Original Life, White [and some of his buddies] got gored to death by some escaped Horrible Fucking Monsters that were accidentally [...and then not-so-accidentally] created via Two Pokemon At Once In A Fossil Resurrection Machine, because hey, it is SUPER easy to think you got Just One Thing's Bones from an excavation dig but then later you realize that Some Of Those Bones were from something TOTALLY different that just died in the same place. It happens. So, some Fossil Scientist People accidentally resurrected an Abomination, realized they fucked up pretty fast...and then started wondering if they REALLY fucked up or if this is Cool, Actually. And then the team of Science People split into two Morality Factions, with one half being like “This is unethical as shit, we need to make sure this doesn't happen again because it's not natural so who knows how this poor fucked up creature is suffering” and the other, cooler half being like “WE NEED TO DO THIS AGAIN RIGHT NOW BECAUSE SCIENCE. IMAGINE THE POSSIBILITIES HOLY SHIT.”

Cooler group splits off from the Horrified Group With Morals, and they promptly use their Science Knowledge to Construct More Machines and Make More Monsters. Doesn't take too long for them to realize, however, that Abomination Pokemon are stupidly hard to control, because not only are they suffering, their masters obviously don't care for their wellbeing, so Revolt Inevitably Occurs and they escape to wreak havoc upon the nearest congregation of townspeople. They promptly maul some people to death at a nearby local rock concert, scientists chase after them to clean up the mess, realize “Oh Shit, Manslaughter Charges Impending”, and then realize...

Science Guy 1: “...Hey, what happens if you put a dead person in the fossil machine?”

Science Guy 2: “Hey, people probably listen better than Pokemon. We can, like, TALK to people.”

Science Guy 3: “Lads, I got a stellar idea just now. And we got plenty of Dead Guys to start with right here! Great way to hide the bodies too, probably.”

This goes approximately as well as you would expect, and precisely as ethically. A smashing success!

However, because they Fucking Died, the reanimated Newly-Monsterized dudes do not remember shit about who they were pre-resurrection. They're not technically even the same people, they’re more like clones. They've been remade. So, all they know now is Science Lab Life, and they have no initial attachment to eachother aside from "that other guy is also a Science Experiment Person just like me, so Same Hat @ Labrat Neighbour ig", in spite of several having been friends or even family prior to death. They also just...don’t know/remember things in general. They are fresh blank slates. And to a morally-bankrupt team of scientists, that’s perfect! They can train these guys to behave however they please!

...However, people might be People Instead Of Animals, meaning they can be Reasoned With And Manipulated And Coerced far better than animals due to their far better communication abilities with the Science People, but...there is Still A Problem in the sense that Holy Shit, A Person Can Only Take So Much. You can only treat someone as "Experiment [number]" for so long, blatantly putting no value on their life outside of The Value Of Scientific Research, in spite of literally basically needing to raise them like a normal child due to the Lack Of Memories issue. Eventually they're not gonna be able to take that anymore and they are gonna Fucking Leave, too. And they’re gonna be much harder to track down than the rampaging Pokemon were. Impossible, actually, once they’ve ripped out their tracking chips.

So then there's just these monster dudes, who don't actually know what they are because they weren't ever told anything more than necessary to get them to cooperate with Tests And Experiments, just Escaped Into Civilization and having NO idea how Anything works. Fun! Especially considering how, at first glance, these just look like Normal Dudes. Their monster bits either aren't apparent or just look like funky body modifications.

They've also got Science Things in them and they Don't Know What The Fuck Those Things Even Are. They've just got these little Devices in/on their chests, and they were never informed of the exact functions of them because there's no reason to explain to the experiment What Is Happening, just that the experiment needs to Hold Still and Cooperate and Now Do This, Now Do This, Now Do That, Good Job That's Enough For Today, etc.

Those devices contain both key stones and mega stones.

If you were a Mad Pokemon Scientist, you would most certainly be interested in the mega evolution phenomenon. What would YOU do if some of your Undead Fusion Experiments happened to be spliced with bits of Pokemon known to be capable of mega evolving? You’d kill two birds with one enigmatic set of stones, that’s what you’d do. Your Frankenstein Experiments can even TALK to you and tell you exactly what they are experiencing when you run tests on them! It’s perfect!

So, if a rock-bearing monster’s heart rate goes too high, part of the little device, which is a barrier between one type of rock and the other, opens up and Exposes One Rock To The Other Rock. Which exposes the monster to the Rock Energy Reaction. The greater the stress, the higher the dose. And I’m sure you can see the snowball effect that’s gonna create, at least the first time or two.

They were INTENDED to eventually be made to Physically Fight With Eachother to gauge the effects of The Rocks™️ when the Guys With The Rocks are under Stress and need to Do Some Self-Defense. The Science Squad was basically trying to suss out the Actual Purpose of mega evolution. Because mega evolution is weird -- it puts ENORMOUS stress on the body of whatever is undergoing it, so the hypothesis was that its true power is probably drawn out best via a perceived life-threatening situation, like it’s a type of hysterical strength, because what else would cause a need for that kind of ability. And aren’t ethics a bit overrated?

So, there’s our premise. White is just wandering around without any particular purpose outside of never ever going back to Science Hell, and he has no clue what the funny little doohickey buried in his chest does until it activates one day and absolutely fucks him up [...as well as everyone around him. Mega Absol radiate an Aura Of Sheer Terror that can literally scare people with weak hearts to death if they’re not careful.]

And now, some Miscellaneous Character Info:

The bit about Lots Of Death happening at a rock concert specifically was important. White was actually the vocalist of the band that was playing. He doesn’t remember that now, but he still loves music and has the same strong vocal cords. And THAT is important because White is partially an Absol now and Absol naturally learns Perish Song. These Fusion Monsters are absolutely capable of using Pokemon moves, though whether they’re aware of this is a different matter entirely. Imagine what happens when they end up tapping into those abilities accidentally.

That band was a relatively-unknown little local band. White was by no means anywhere near famous. Very few people even realized he was gone, and most of the ones who would have noticed also ended up Equally Unalive.

That black stuff between the belts on White’s arms is mesh. Like, stocking mesh. It gets Ripped The Fuck Apart when he goes Mega Mode and his arm fur gets Extra Spiky. Hence one stocking being a bit tattered in that reference pic. He frequently has to replace those things, they are fragile.

“How did White get his name if he doesn’t remember his original name and didn’t have a real name in the lab” I am glad you asked! Post-escape, he eventually encountered a situation where someone asked him what his name was, he bluntly told them “I don’t have one. I am #359.”, they said “Well That Is Not A Name, I need something proper to call you”, and he was just...Super Apathetic. So, the other person picked out the name “White” just based on the fact that White’s hair is white, and he just shrugged and rolled with it.

As you can see in my Incredibly Quick And Rough Sketches, the backs of White’s shirts are open to accommodate that huge amount of fur that bristles out into false wings when he goes Mega Mode. Because his Actual Normal Hair is relatively long and overlaps with that fur, it blends in with his Actual Normal Hair and doesn’t look too odd [when it’s down]. Probably mostly because nobody’s expecting it to be anything OTHER than Perfectly Normal Hair That Just Happens To Be Very Long.

White does not particularly like violence. White does not want to beat you up. He will, though, without a bit of hesitation, if there’s some logical reason he feels like it’s the most practical course of action. Being essentially raised by Cold, Emotionally-Sterile Scientists With No Care For The Wellbeing Other Living Beings uh, tends to affect a guy a little bit. White has a bit of an internal dilemma regarding “It would be efficient for me to just Harm This Other Person to defuse the current situation, because attempting nonviolence will be overall more risky somehow” vs. “Holy shit it feels bad when I hurt people. Why does it feel bad when I hurt people. Is it...SUPPOSED to feel bad when I hurt people?? No one ever felt bad for hurting me.” He Figures Out How Empathy Works Eventually. He is a good guy at heart. He is a Monotone Snarker, but not actually Cold or Malicious at all.

If an Absol can do it, White can probably do it. He has incredibly keen senses and a STRONG ability to Detect Impending Doom. He has exactly the amount of Supernatural Absol Powers you would expect. He is also stupidly physically strong, way more so than he appears to be.

White can’t punch people. Look at the fist he’s making in the pic, he’s doing it wrong. If you punch someone like that, you WILL break your own thumb. That’s not a Revving Up To Sock Someone pose, he’s just tense. He’s using his thumb as a buffer between his long-ass Sharp As Fuck claws and the flesh of his palm. If White tries to punch anybody, or just makes a proper fist at all, he will impale his own hand on his nails. Like, all the way through. He CAN slash straight through things like metal and bone with those claws, though.

White...is unsettling. Completely accidentally, and unknowingly. He just radiates an Aura Of Intimidation [...or Pressure], even when not in Mega Mode, that scales depending on his mood. Just being near him tends to put people and Pokemon on edge. Thus, he’s generally avoided.

The latter point is especially unfortunate, because White’s preferred method of Socializing and Bonding is to just kind of quietly hang out in the same room as whoever he is trying to Socialize and Bond with. He just wants to, like...chill out Near A Buddy and watch a movie and share a bag of chips or something. His social skills are predictably not good.

#DO YOU LIKE MY TOTALLY NORMAL GUY #HE SUFFERS #He's pretty though and that's what actually matters here right #I need to draw the other Totally Normal Guys sometime too. White is Part Of A Set.#Pokemon #CK's art #OCs #I have Long Pointy Fingernails myself can you tell

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nanami-says · 3 years

Text

Part III (1/2): chapters 19-25

Vs. Mahito Arc

Chapter 19 (aka why this blog exists)

J:”Yeah, we know that. But we flatter her because she looks easy.”

⇒ ”And the three of them know it as well. But they flatter you exaggeratedly anyway because they think you’ll let them do you”

Actually Junpei’s lines.

J:”I can’t believe people like that go to my school.”

Not incorrect, I just want to point out that Junpei didn’t just say “people”, the word he used is “race” (人種）, which implies he doesn’t see them as the same kind of human he is.

J:”Was it that guy who did it? There’s no way a person could do that! If he did it, he must not be human.”

⇒ “Was it that person just now? No, would such a thing be even possible for a human being? And if it was, would they really be a ‘human being’?”

Overall correct but the flow was different. Mind you, 人 can be translated both as “person” and “human being” (among others) depending on the context. Imo this captures the nuance better but YMMV!

N:”I’m here to identify the truth and uphold the law. There was a time when I thought the society had the same goals”

⇒ ”Adapting to the facts [in front of you] and managing yourself accordingly. That’s who I am. There was a time where I mistakenly believed society operated on the same basis.”

This was really hard to translate, especially since the phrase Nanami uses here is rather formal language. I actually checked the official anime subtitles for this one and they went with “I adhere to the facts and judge on that basis”, which I guess is close enough? I’d probably go with it as well if not for the fact that he doesn’t just say 律する but 己を律する (己/onore = I/me in humble language).

Seems like the exact meaning of the phrase is difficult to understand even for Japanese people - there are whole articles out there breaking down the meaning and giving examples of how to implement it in life 8D Anyway, the simplest explanation is “to control yourself”, with further nuance of “enforcing rules on yourself in order to achieve a goal”, “restricting your desires and impulses by your own will” etc.

Thanks a lot, Gege.

Btw, Ino, who respects Nanami greatly and considers him a mentor, actually uses the same phrase, word for word, in ch. 95! (事実に即し、己を律する) That’s how important it is. Also, continuity!

Y:”Let’s do it!”

N:”There’s no need to get excited”

⇒ Y:“Let’s go all out!!”

N:”No, if moderate’s enough, let’s just do it moderately”

They both used descriptors for just what kind of intensity they should approach the mission with. Imo, an important distinction because after they learn the full extent of the situation, Nanami takes back his words from this moment and agrees with Yuuji, going as far as to use the same words Yuuji did here.

N:”I wonder what others would think hearing you say that”

⇒ “I’m sure the others wouldn’t want to hear that from you [of all people]”

So not so much “don’t be rude” as “dude, you’re the weirdest of them all”. Emphasis mine.

N:”What I learned at Jujutsu High is that jujutsu sorcerers are idiots”

& “What I realized while at the office is that work is idiotic”

He actually says “shit” both times lol. If it was just the humour that suffered here, it still wouldn’t be too awful but unfortunately it’s not just that. The “sorcerers are shit” line gets recalled when Nanami’s facing death, trapped in Mahito’s domain, which makes it pretty damn important. It gets translated yet differently by the official release then, too, which further damages continuity I believe Gege intended for this.

”So I took the lesser of two evils. Nothing more, nothing less”

⇒ “If both are shit, then I just chose the one I’m more cut out for. That’s all as far as the reason for my coming back is concerned.”

I mean, if we realllllly insist on watering down everything that Nanami says (as JJK translators apparently did), then the basic meaning was conveyed but the original wording and nuance was closer to what I proposed.

N:”Prove to me that you can be useful in spite of the demon Sukuna inside of you”

⇒ “Give your best to prove that you’re useful despite carrying the bomb that Sukuna is.”

Considering how 2 pages later Nanami tells Yuuji that he’s not the one Yuuji should be proving himself to, it’d have been weird if this is actually what he’d said, wouldn’t it. But Nanami’s nothing if not reasonable, so that wasn’t the case.

Y:”I’m weak and useless. I’ve been hearing a lot of that these days”

⇒ “That I’m weak and useless... I’ve been realising that to a painful extent these days”

“I’ve been hearing it” would imply that someone was actually saying it either to Yuuji himself or to others which he was aware of. (I mean, other than Sukuna.) The original wording doesn’t really hold such connotation.

N:”If you think you’re in trouble, let me know”

Y:”Have some faith in me, will ya? Just a little.”

N:”It’s not about faith.(...)”

Y:”A child? I’d rather be underestimated”.

⇒ N:“If you decide you cannot win, please call me.”

Y:”Aren’t you underestimating me too much?”

N:”This is not about ‘underestimating’ or ‘not underestimating’.(...)

Y:”[Even] being underestimated would’ve been better over being treated like a kid.”

I guess the translators wanted to avoid saying “underestimate” 3 times in a row? Albeit that’s what the original does.

More importantly though!!

N:”I’m an adult and you’re a child. I have the obligation to look after you”

⇒ “(...) It’s my obligation to prioritise you over myself.”

Quite a different nuance, right. Not just “I have to look after you” but “your well-being [life] takes priority over my own”.

N:”Experiencing these little losses is what helps people grow into adults”

⇒ “It’s the accumulation of such small despairs that turns people into adults”

Not that wildly different but despairs (hopelessnesses) >>> losses, y/y. Also “helps” made it sound more positive when it’s both a poignant and at the same time dry statement.

Chapter 20

N:”There are techniques that aren’t affected if revealed to certain enemies”

Those two feel more like separate examples to me. I.e. that there are techniques that aren’t affected if revealed, and there are some enemies that you can afford to reveal your technique to. Could apply simultaneously but don’t necessarily have to, if that makes sense?

“There is a merit to revealing one’s hand and the rules it initiates. You can make your technique even more effective.”

⇒ “It has its merits too. The ‘binding’ of ‘revealing one’s hand’ amplifies the effectiveness of your technique.”

Wild lost “binding” appears! Like I indicated before, it’s the lack of consistency to translating terms that are consistent in the original, that has negatively affected the fans’ ability to understand the basics of jjk techniques and world-building.

[Explaining Yuuji’s divergent fist]

GJ:”But it’s a lot easier said than done for anyone else.”

⇒ “It’s not something that can be easily done on purpose”

N:”His physical strength is superhuman. The impact of his hit doesn’t have incredibly strong energy, but it’s still about 20% more than a normal sorcerer. That means his delayed hit comes from his main source of cursed energy. It must be quite annoying for those on the receiving end. Such potential. If he’s able to go out all and combine his full physical strength with a cursed technique…”

⇒ “(...) The initial impact contains little cursed energy but it still achieves 120% of an average sorcerer. And then the actual cursed energy hits with a delay. For those on the receiving end it must be more unpleasant than one could imagine. And he’s got potential for growth, too. If he becomes able to add 100% of cursed energy to a 100% body…”

Uhh, this was a tricky one because on the first read it doesn’t seem that terribly wrong but when you read the original carefully, you realise this and that got lost in translation. My version should be closer to the original meaning.

I:”We’re going to have to ask the murderer about the technique”

⇒ “That’s just something that you can’t know unless you ask the offender about their technique”

Obviously Ieiri wasn’t suggesting to literally ask the murderer.

“However there’s evidence the brain stems were modified. Their consciousness were also modified to create a state of confusion”

⇒ (...) This was probably done to create a disturbance of consciousness... a state of mental confusion”

Slightly different nuance for this one.

Y:”For me, the gravity of death is the same regardless. This isn’t right!”

First sentence is mostly correct but it should’ve been “the gravity of death of another person” (emphasis mine).

Second sentence sounds too mild for what is actually Yuuji being super mad specifically about the way those people were killed? The phrase he uses means something like "This is just in way too poor taste”, “way too vulgar” etc. I guess if you went for a less literal translation, you could say “just too disgusting”/”revolting”.

N:”This matter won’t be taken care of so easily. Let’s do it”

⇒ “Looks like ‘moderately’ won’t be enough here. Let’s go all out.”

This is the instance of Nanami retracting his words and backing Yuuji up by borrowing his own words that I mentioned earlier!

M:”Jujutsu sorcerers brand such entities as “special grade potential spirits” and fear them as much as powerful curses. The fact that they categorize them as such really shows their shallowness”

⇒ “Jujutsu sorcerers register them as “special grade potential apparitions” and remain on alert against them [on alert for their appearance]. The same applies to powerful unidentified curses. That they categorise them as ‘potential apparitions’ just shows how little they truly see.”

It’s not that sorcerers fear them per se but that they (most likely) monitor them and are on guard against them. When followed up by the “what people truly genuinely fear are natural disasters [forces of nature]” conversation, it becomes clear that what Mahito scorns sorcerers for is their short-sightedness for thinking all powerful curses must be born out of people’s imagination, ~urban legends~ etc.

[Junpei asking what Mahito was born from]

M:”Thanks to the hatred spewed between people I was born”

⇒ “I’m a curse born out of the fear and hatred people harbour towards [other] people"

or even

“I’m a curse born out of people hating and fearing people”

Again a quite different nuance. They really shouldn’t have edited “fear” out.

Chapter 21

J:’Don’t you think that whoever first said, ‘The opposite of love is not hate, it’s indifference’ must be rotting in hell? There’s no way hating people is better than feeling indifferent towards them.”

⇒ “(...) There’s no way that approaching others with evil intentions is better than not interacting [with them] at all”

The first sentence is mostly fine although the original doesn’t include the “is not hate” bit, it only says “the opposite of love is indifference”. The second part is quite different. After all, hating doesn’t necessarily imply there’s any action taken.

“Complicating simple things for the sake of meaning is such a Japanese thing to do”

⇒ “Japanese sure love it - complicating simple answers and gloating in it”

I didn’t like the “for the sake of meaning” bit, imo it’s over-interpreting.

J:”Indifference. That’s what humans should strive for.”

M:”Sounds more like revenge”

J:“Are you saying that I got it all mixed up?”

Junpei’s first line here is fine although interestingly enough he puts it as “a virtue humans should strive for”. Then it’s

⇒ M:“And yet you wish for revenge”

J:”Are you trying to say I’m contradicting myself?”

M:”In this world, only I understand the soul’s composition. I can even transmogrify living beings. Emotions come from the soul. It’s too simplistic to call it ‘heart’. People overthink the things they can’t see. (...)”

⇒ “In this world I’m the only one who understands the soul’s composition. After all, I change the shape of living beings by touching it. Emotions are products of the metabolism of the soul. It’s altogether too mechanical [of a process] to call it a heart. People assign too much value to things invisible to the eye.(...)”

Last one is literally “consider ‘special’ way too much”, simpler wording than what I went with but I tried to make it more legible.

The “metabolism of the soul” phrase is especially vital because Junpei throws it at Yuuji almost word for word when confronted by him at the school after his mother’s death.

More philosophy lessons from Mahito-sensei \o/

“Don’t limit yourself to just being indifferent. There’s no reason to live by such a restricting philosophy.”

⇒ “Don’t allow yourself to be shackled by the ideal called ‘indifference’. There’s no need for there to be consistency in one’s way of life.”

Mahito actually takes the “is ‘consistency’ necessary” stance a few times in the manga, including when he and Getou squabble about the relationship between the body and the soul in Shibuya. A pity about the mistranslation here.

“I support everything you represent, Junpei”

⇒ “I’ll affirm your everything, Junpei”

Imo the act of supporting and the act of affirming while similar aren’t one and the same, hence the change.

N:”Either come alone, or risk bringing Itadori with me. I chose the former, nothing more. He’s still a child, after all.”

⇒ “The risk of venturing [into the enemy’s territory] alone, or the risk of bringing Itadori-kun with me. I simply chose the former. He’s still a child, after all.”

Idk, I feel like cutting out “the risk” from the first option makes Nanami sound more callous? Like Yuuji’s a liability and going by himself is a sounder option. Whereas, it was actually him weighing two risks against each other and deciding that potentially endangering Yuuji is the one he can afford less.

[After Yuuji asks why he doesn’t know important jujutsu related stuff.]

I:”Because Gojou’s your mentor.” ⇒ “it’s because Gojou’s ...”

He actually uses a lovely adjective to describe Gojou, which can mean a plethora of things, including: irresponsible, sloppy, lazy, unreliable, careless, perfunctory etc. etc.

Ichiji? Not a member of Gojou Satoru Fanclub.

Y:”This feels like a bad plan”

⇒ “This feels so staged, I don’t like it.”

Lit. “play [perform, read] one's own work”. I think what Yuuji might’ve meant here was that the plan felt dishonest? Second sentence could also be “I don’t feel up for it.”

Chapter 22

M:”Was that some kind of cursed technique?”

N:”What do you mean by ‘some kind’? I don’t appreciate questions that are left open to interpretation”

⇒ “(...) I hate abstract questions that put the whole burden on the other person”

Lit. “that leave it to others”. Other than Nanami being more straightforward with “hate”/”dislike”, I think this was him expressing he doesn’t like people who don’t even try to think for themselves and immediately demand answers from others instead.

“It would be silly to not assume a connection(...)”

⇒ “It would be more unnatural not to assume a connection(...)”

Different wording (unnatural instead of silly), which imo affects Nanami’s characterisation.

M:”The shape of the body will always be dependent on the shape of the soul”

This sounds a bit too passive and generic? Closer to “The shape of the body gets pulled along by the shape of the soul”, which is literally what Mahito’s technique does.

I’m heavily paraphrasing but!

magazine raw scans: ”it's 6:30 PM now and I started working at 11 AM, so I'm going to finish by 7PM no matter what”

official English release:”it's 5:30 PM now and I started at 10, gotta finish by 6”

The time change is so random, I wonder if Gege simply changed it themselves for the volume release. Maybe to bring it closer to the common office job times? Typical Japanese work day at the office begins at 9AM and lasts 8h + 1h break (completely unpaid but compulsory). I guess if Nanami skipped the break then working 10AM-6PM would make it exactly 8h?

The biggest mystery of jjk.

Chapter 23

M:”Even if sorcerers can protect their bodies using cursed energy, they can’t protect their souls”

⇒ “Even if sorcerers can protect their bodies using cursed energy, they [just] aren’t used to protecting their souls”.

So it’s not that they “can’t” as in “are incapable of” and more that there’s never been the need, so they never learned how and aren’t used to doing it. As proven by Yuuji later it’s not impossible.

M:”Overtime? He restricts himself based on time! He was limiting his power until now!”

⇒ “Overtime work? A ‘biding’ based on time! He was suppressing his power by himself until now!”

Another instance where “binding” as a term makes its appearance (it even uses quotation marks) but wasn’t properly denoted by the translators.

M:”A large-scale attack, and he doesn’t care if he gets hit while doing it!”

⇒ “A large-scale attack [done] with the resolve of [potentially] getting killed along with me!”.

The phrase Mahito uses here is 相打ち, lit. “killing [hitting] each other at the same time”. Also, “doesn’t care” and “is prepared/has the resolve” are quite different, aren’t they.

Chapter 24

J:”The way a perfectionist is willing to lay everything out there is beautifully portrayed”

⇒ ”The change in emotions [leading up] to a perfectionist abandoning everything is properly portrayed here”

I’m including this because knowing Gege, it’s not just simple movie talk, and it’s actually foreshadowing Yuuji’s future fate or something 8D

I can’t decide if it’s “abandon” (also “throw out of the window”) or “sacrifice” because the word used can mean either. I’m leaving that to everyone’s interpretation.

“Like I thought, that sorcerer’s nuts!”

⇒ “He doesn’t look it but he sure does reckless things, that sorcerer”

How does "he doesn't look it but (...)" even become "like I thought (...)"? He was laughing at and enjoying the contrast between Nanami's appearance/attitude and his actions/fighting.

M:”My cursed energy is also controlled by my will”

⇒ “The spending of cursed energy too is among things I can supply by myself.”

I’m not entirely sure because it’s a tricky one, so take this one with a grain of salt. But the official release is definitely missing “spending/expenditure” and Mahito isn’t talking about using/manipulating his cursed energy in general but “the amount of cursed energy spent”.

“Mr. Irresponsible Gojou” ⇒ “Devil-may-care Gojou-san”

“Mr. Mature Nanami” ⇒ “The adult of [all] adults Nanami-san”/”the adult above all adults”

I just really enjoy Ichiji and his little epithets, I guess.

J:”Have you ever killed anyone?”

⇒ “Have you ever killed a human being/another human?”

Just putting it out there because imo there's a distinction between “anyone” and “a human being”. Especially considering how much of this arc was questioning what being a human means.

Y:”Um… I mean, the choice to kill will definitely find its way to me”

⇒ "How to put it... once I've killed someone, "killing" would become one of the possible options [to take] in my life".

Maybe the nuance was there in the official release too and I just didn't pick up on it but to me the former makes it sound more like he’s saying "I may still have to kill one day". Whereas the original seems to hold the connotation that if you do something once - even if it’s something as horrible as killing another human being - it becomes easier to do it again in the future because it's a choice you've made before, it's not untouchable anymore.

Chapter 25

[Yuuji expressing his regret over Nanami choosing to go fight Mahito alone.]

"Am I in your way, Nanamin?”

⇒ “Am I a burden [to you], Nanamin?”

A different nuance for this line.

“’My friend died but I wasn’t there because I’m a child.’ I wouldn't do that to you. That said"

⇒ "’My comrade died. But I wasn’t there. Why? Because I am a child.’ I would hate something like that" [to be put in such a position]

And this is just pure mistranslation. The whole “my comrade died but I wasn’t there because I’m a child” line is actually Yuuji painting a possible scenario (he does it with short sentences but the speech is overall polite). What they translated as “that said” was actually a follow-up to that scenario and could be translated as “something like that”.

N:”Being a child is not a bad thing”

⇒ “Being a child is in no way a crime”

I wanted to point this out since the original word’s most common meaning is actually “sin”, which is significantly heavier than just “not a bad thing”. Could also go with a milder ��is not something to feel guilty about” here I guess.

G:”How’s the curtain coming along?”

M:”Can’t get in, can get out. This only applies to humans with weak cursed energy.”

⇒ G:”What’s the effect of the ‘curtain’?”

M:“Can't get out from the inside, can get in from the outside. (...)”

Literally the opposite for the curtain’s effect. Emphasis is Gege’s, too! Also Getou’s question was actually about how exactly the curtain in question would work, and not just how it was coming along.

M:”We’ll make them fight and force Yuji Itadori to make a binding vow in Sukuna’s favor”

Just to reiterate, whenever “binding vow” appears, it’s actually just “binding”.

[to part iii (2/2)]

#jujutsu kaisen #jjk #jujutsukaisen #jjktranslation #jjk translation

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thegoodomensdumpster · 4 years

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Can't stop thinking about your Crawleigh drawing, its so compelling. I feel sad for him getting rained on all alone...has he been on earth alone all this time? Will you draw him again? Is there a way to learn more about his story?

OOOOOH you have no idea how delighted I am that I received this ask ! You just enabled me to drop all my Crawleigh feelings out in the open. Thank you so much for that. First of all, for those who might have missed it: here the fanart @yeoldehetalian is referring to (yes I’m showing it again because I love Crawleigh he’s so baby)

If you are not aware: Crawleigh was the proto version of both Crowley and Aziraphale in Gaiman’s first draft of what was going to become Good Omens, a little piece of writing called William The Antichrist. After he sent it to Pratchett, the latest made the excellent suggestion to split Crawleigh into the two characters we’ve come to know and love. From memory, here is what we learn about Crawleigh in William The Antichrist: -is baby -not very good at being a demon -waited for the plumber a whole day -didn’t do any evil deeds because he was waiting for the plumber to arrive -the plumber never came and Crawleigh was really put out so he said nothing -saves all the neighbourhood cats from trees they get stuck in -can’t be mean to humans because well they are nice to him so ??? -has been tortured in Hell after the whole Atlantis debacle (which implies that he was the reason Atlantis sunk I guess) -drives a Citroën 2CV -doesn’t seem to really have any magical ability ? Uh maybe there’s something else but I don’t remember. But you get the idea. He’s baby. In the picture below (yay ! new Crawleigh fanart !) you can see Crawleigh and his entourage of cats. I was conflicted on whether the rescued cats would take a liking to him or if they would be scared of his demonic aura, but I couldn’t bring myself to draw the Bad Cat Ending so, there, new headcanon: all the animals Crawleigh rescues take an immediate liking to him and their presence become an every day life nuisance. Kindness contains the seed of its own destruction lmao)

The boy is gonna trip on the stripped cat, I can tell you that much. ANYWAYYYY.... Here comes the fun part where I dump all my Crawleigh thoughts. More below the cut!

So, considering how GO works with binomes and mirrors, I decided to back engineer WTA by removing the duos. Crawleigh is a mix of Crowley and Aziraphale; there are two other characters that are respectively a mix of Anathema and Newt and a mix of Tracy and Shadwell (not entirely sure what that would entail tbh; so far I’m imagining two female characters, and Anewthema is the most fleshed out. She’d be something like the descendant of both a witch and a witchfinder and would be very conflicted about her heritage, having troubles making sense of magic being a thing when she has raised rationnality to a degree that it has become a dogma. Or something like that. Anyway I think that’s a cool base.) Now about William himself, the Them and the mirrors. I thought, by removing the duos and therefore the mirrors, Crawleigh would end up trying to stop Armageddon all by himself. This means that one of the core themes of GO, the fact that people have to work together and every contribution, as little as it is, is never unsignificant, isn’t really applicable anymore. Because the theme has to be shared by all the protagonists. In GO, Adam can refuse to destroy the world because not only does he like the world, but also because he’s got a whole network of support. So I think, if Crawleigh ends up having to try stopping Armageddon on his own, that should be the link at the very least between him and William (I would have said between him and all the other main characters but let’s be honest: a story where none of the main characters interact together is not very appealing). And thus we get a story that isn’t about relying on support of other people but on doing the right thing and gaining self confidence and loving yourself even when all the odds are stacked against you and you don’t have anyone to really rely on. I would imagine Crawleigh beginning the story as an obedient (tho ultimately useless) demon with little backbone and regrets and no self confidence, and through the pressure of Armageddon, discovering a very strong and very good part of himself that would end up with him saying fuck to Hell and repairing his plumbery all by himself. As for William, well, he would go along the same way. I don’t think he’d have the Them with him. At least not yet. Maybe he’s a little weird, has trouble making friends. Maybe the other kids at school make fun of him. Maybe there is this group of kids that seem cool but he’s too shy to approach them. And I imagine after a pep talk from someone ( Anewthema probably ? After all Anathema is the one talking to Adam in GO so it’d be fitting ) William would realize that because his life sucks a little it’s not by destroying the world - a world that he actually loves ! he’s built up a fort in Hogback woods all by himself! he loves nature and animals! - tht it’s gonna get better. He won’t be able to make any friends if there is no one around to make friends with. (This adds the non neglectable bonus of making the Horsemen “friendship” offer all the more tempting to a young boy who has never really had any friends and is aching for it). So ultimately, Crawleigh and William would be like “yes, I am weird. Yes, I am alone. Yes, it makes me suffer. No, I’m not gonna be a bastard because of it. Maybe it’ll get better, maybe it won’t, but I’m gonna do my darn best to take care of myself even if nobody else will”. So, it’s less cotton candy than GO, but I think it’s a great message to pass along. Self love, self discovery, self confidence, staying true to yourself even in dark times. Also the fact that being alone / single is not necessarily a bad thing, can be a choice and something you can live with very well. Crawleigh and / or another one of the main characters would end up like “I am actually fine like this”. And... that’s pretty much it. There, you’ve got all my thoughts and reasonning about, basically, how I would have decided to write the whole William The Antichrist novel lmao. I’m not gonna write it though. But if anyone feels inspired and want to give it a go based on my ideas, by all means. Feel free to borrow or to contact me if you want to brainstorm more ideas / make a collaboration. Why not. I’ve got too many Crawleigh feels.

#good omens #i mean not exactly but uh yeah #william the antichrist #my stuff #long post #crawleigh #lol this post began with a silly cat fanart and now look where we are #yeoldehetalian #ask

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abizarreyodelingincident · 4 years

Text

Our Nightly Confidant 5

Four steps in my shoes

Four feels strongly.

In general, as a rule, but also in this specific situation, where sweat sticks his hair to his forehead and the pegasus boots chaff from constant overuse. From the slight burn of his arm muscles that nonetheless keep swinging the Four Sword.

Amazingly, the emotion at the forefront of his mind cannot be easily and neatly assigned to one facet of him. Annoyance isn't exclusive to any one side of him, quite the contrary. And the 'you can go die!' disdain is a taaaaad too specific as well.

White paws sweep at him and barely miss the top of his head. Would have hit Ezlo, if this had been his first adventure. The pang of nostalgia doesn't help his focus much.

Small bursts of magic and swings of his boomerang sting enough to keep his enemy on the backfoot. Behind him, a few roots twist enough for an opening beneath the trunk. If he can just...

The paw slams inches away from where he was standing a second earlier.

Urgh. It had to happen after they marched all day in search of civilization, didn't it?

Well, nothing to it, Four adjusts his sword and glares back at the slitted eyes trailed on him.

Which is when the loudest, most thunderous bark he ever heard rips the air in half and hammers in his eardrums. The white monster (cat) yowls in fright, fur straight up in horror, back arched, and it sprints right up a tree.

Wolfie is a familiar sight, and a welcome one at that.

But some instinctive part of him that is more Minish than Hylian can't help grip the Four Sword tighter. From this perspective, Wolfie has more in common with Wild's divine beasts than a regular animal. His claws look about as tall as Four himself. And at the moment, the wolf is displaying a mouth full of fangs that promise a painful death.

He doesn't blame the cat for scampering. He's seen what those fangs can do to a throat. Or a wrist. Or an ankle. Not, really, he thinks the cat shows great wisdom in getting the hell out of Wolfie's range.

But, because he is a Hero of Courage, he flips the sword in his hands, sheathes it and waves his arms.

“Twilight!”

The shift is instantaneous, and a little amazing to witness. The ears perk up, the posture straightens from its crouch, the teeth all disappear behind the black lips. It's a flip of Pacci's cane, a turn on a rupee, and there's the big beast their group loves.

“You okay there, Smithy?” Twilight asked, sniffing him for signs of injuries.

It's strange, hearing Twilight's voice coming through the sort of mental-bond-language of the Minish. Useful though. He's not certain he currently possesses the patience for some games of charades with a wolf.

“No injuries.” He puts a hand on the damp nose even as a burst of hot air washes over him. “Just a bit out of breath.”

“Right.”

It's not a doubtful tone, but there's some Time-patented exasperation in there.

“I would have been fine, you know?” says the part of Four that is a bit younger. “I dealt with lots of monsters even at this size.”

(Not Wolfie size though, that he thinks might be beyond him when shrunk.)

The flat look he receives makes him want to squirm.

He's too controlled for that.

“Yes, yes, I know.” He waves off the implied question. “I thought the innkeeper's cat was still inside.”

“He was. But after he mewled a bit, his owner let him out. And when I didn't see you... I had a feeling.”

Four wants to hit his head against a tree. Animals always were more aware of the scent of Minish magic. Many eyed him curiously when he walked through town. He should have known the cat would want to stalk after him. Probably thinking he knew where a village was hidden. He's going to have internal arguments about this all night.

“Cats are all bastards.”

To Four's amazement, Twilight's tail curls between his legs, his ears drooping. He rather looks more the guilty dog part than the majestic beast he insists he is.

“... But they're so cuddly.”

“When you're bigger than them, maybe,” Four deadpans. “Sneaky little shits.”

Twilight's whine is absolutely ridiculous and enough to make him snicker.

“Fine, fine. I'm not deaf, I hear what they say. Not as bad as cuccos, though.” Twilight's gaze wanders off to a faraway place. “Nothing is as bad as those psychotic birds.”

They lose a moment reliving their trauma over the feathered fiends.

Twilight shakes it off first. He lies down, his body like a hill of dark fur before Four, and hints at his back. Any protest Four might have had before dies in the face of his aching legs. He can fight off monsters at this size, but it's unreasonably more complicated. And he is not in the mood to stab spiders in the face tonight.

The fur is silky under his fingers, which is comforting but also a bit of a pain. Climbing means parting the coat of dark hairs and finding grip against skin. Sometimes, the body under him flinches or trembles, like Twilight is fighting off the urge to roll over. Four imagines it's quite similar to tickling. So he hurries up and makes his way up to the top of Twilight's head. Between the ears and roughly around the markings on his forehead.

Satisfied, Twilight stands, and the whole world blurs like he's still using his pegasus boots. A few more steps are needed before Four's body adjusts to the speed, and then he can relax. Twilight's safe.

And, he notes, not heading straight for the inn.

“We noticed the looks, you know,” Twilight says, because he's one of those busybodies that can't help mother cucco everyone around him till they are 'right as rain over a spring'.

“So?” he replies, even, practiced.

(Zelda had questions, at first, then orders that were swiftly obeyed, when in her sight. He hasn't told her that yet.)

“... How many of them do that?”

Do what? He wants to ask. The inn's owner had been quite polite, very careful in avoiding certain words around Four. Indeed so careful that Four could feel their syllables get more and more defined by the innkeeper's silence.

“Whisper?” he settles for. “A few. I'm weird, I know. Shorter than some kids, but can lift a hammer to forge. Own my business outside Castle Town, only shows up for groceries, talks to myself sometimes and stares at empty spots on shelves. I don't know, I suppose they expected me to apprentice beforehand, but there was a kingdom to save and what did that matter then?”

He punches the ground next to him before remembering too late it is Twilight's head.

The growl doesn't last. But the first few words he says are a bit more bitten out than the tone implies.

“There's a kid in my village. Younger than you. Couldn't lose the baby fat in his face for the longest time.” Twilight snorts, and his tail wags a bit. “And he's smart, really smart, a lot more mature than his older brother too.”

Four has a feeling that's partially due to the older brother's personality, but holds his tongue.

“People whispered behind his back. 'That boy is so creepy.'”

“Fey-touched,” Four says before he can hold back the red in him.

That one hurt. He's picked up habits from the Minish, he's aware. Little things like leaving keystones lying around for other kids or tiptoeing minish rings in the grass. But for those differences to matter so much, he hadn't expected until the first time the words had been floating around him.

“Ah,” Twilight says, followed by a whole lot of nothing.

Crickets around them sing. He can almost see some Minish putting a collar on the bugs to bring them home for a concert. Moving from behind stalks of grass, praying to the moon and the goddesses.

Then, Twilight says: “That takes me back.”

Four stumbles through the fur, his hands grasping on some new strands, but he can't tell if his unbalance is due a jolt in their steps or to the enormity of the idea. Twilight, the stereotypical rancher, seen as an outsider?

He tries, but all his brain conjures up is a much shorter version of Twilight dragging goats by the horns. That and dancing (badly) to the melody of a grass whistle.

Even from his spot atop Twilight's head, the eye roll is obvious despite being out of sight. “The only Hylian in a village of Humans?” he drawls. “Found as a toddler lost in the woods? Hardly able to speak for a while?”

Oh, Four thinks, that'd do it.

“They don't have the right to say that to you,” Twilight growls. “You're their hero.”

He could bask in the warmth. Lets himself lie down on Twilight and forget all about the events of tonight.

Curiosity wins, or well, violet does. “What did you do?”

“Nothing special? Just stayed the same and let them talk.”

Four's eyes bug out. “That's it? Nothing? How does that change anything?”

“When you're you, Four... When you're a good person regardless of rumors and whispers... Idiots don't stop talking, but the ones that are worth it stop listening.” A wolfish grin breaks out on Twilight's face. “Besides, you should have seen their black eyes after Rusl heard them say it to my face. After that... well, they could have called me the King of Evil and it wouldn't have mattered. Knowing you got someone in your corner's better than hollow praise from idiots.”

Four blushes.

He forgot for a bit, and he'll apologize to Zelda when he sees her, but it's true. Whenever he recalls that moment, the guard's words aren't ever the same. The phrasing lost all its power, outshone by the impassioned defense and the sheer anger wielded by his friend.

His back straightens. And he allows himself some childish pride in having the Princess of Hyrule in his corner. What do they have to beat that?

Twilight rumbles a laugh. “So... yeah, ignore them. Put them in their place if you want, the goddesses know you have the strength to do it, but that won't change their minds about anything. If you want some peace of mind, discard the idiots.”

Companionable silence falls between them. Four doesn't feel the need to speak after that bit of reassurance. They circle the woods, avoiding Hylians late on the road and monsters alike. Twilight's seemingly content just taking him on a ride, and Four's loath to admit he wants the moment to last a little longer.

They're not too far back from their starting point when he decides to ask: “About that kid?”

“Malo?”

“Yeah, him, how does he deal with it?”

Twilight does not answer right away. He first jumps over some large, gnarled roots and growls at a fox that seemed a bit too curious about the smell of Minish magic. Four's grateful for the time to calm his pounding heart.

“Well, Malo just stares at them until they get uncomfortable. Then he asks them what they're looking for. It never seems to affect him too much.” – discomfort hits at that, and Four can't tell why – “But, well, it also happened in front of me, you know? And I take after my Pa. So I might have knocked a couple of heads together in Casle Town. Followed by a strong talking to. Not that Malo appreciated that I ran off some of his customers.” A sigh. “That kid, I swear.”

Four grimaces. That type of 'customers'. Will think they bless his forge with their presence, praise him to all ends, then turn around and whisper. “I'm sure he's grateful inside.”

“Eh, I hope so, but it's his call in the end. Can't live his life for him.” Some muscles roll, and Four gets the impression of a shrug. “Speaking of, what do you want to do, Smithy?”

The question takes him by surprise, and it's silly that he didn't expect it.

He knows that Twilight would spend the night outside with him if he asks. They're no strangers to outdoor camping and the woods of his era are less dangerous than most. Wolfie would intimidate most if not all the creatures that live inside it.

But it would be illogical to sleep in the woods when they have more than enough rupees to pay for some rooms in a local inn.

Four is reasonable. It's one of his trademarks as a Hero. Mature for his age. Calm. Collected. It's how he's taken seriously as an adventurer. Why would he shatter an illusion that useful? Over some mild ostracization?

'Serve it cold,' says one quarter of him.

Another sides with Twilight. Their big brother made a good point. They couldn't be bothered by every single ungrateful person out there. They'd always exist, so let them stew in jealousy and paranoia and fear. He has the favor of the Princess, his best friend. What does he need anger for against a countryside shop owner?

But, the blue in him counters with an hammer-like argument: 'No, the best revenge is both.'

The others would be a little mad, he thinks. A little.

He's usually mature enough not to get in trouble. He's due for some insanity and explosions. Wild would back him up here. And it might be his voice in his head that pushes the words out of his mouth.

“So, not that I haven't listened to a word you said, but, hypothetically, if I needed help knocking heads together...”

“How many heads? Wars mentioned an interesting technique he learned from his sparring with some Sheikah general the other night. Though, if you'd rather, I can say, without boasting, that a lot of grown men weep at this form. It's embarrassing for everyone, I tell you.”

Four snorts, struck by mischief. “We're going to need to find a stump. I might have a plan.”

Yes, Four contemplates, the glint of wolf fangs under the moonlight is just as terrifying as he figured it would be. He can't wait.

***

Legend is silently debating with Sky over the right to punch the innkeeper in the face. It's a fierce debate communicated entirely through raised eyebrows, scrunched up nose, muted snarls and meaningful looks.

The others' patience is steadily fraying at the edges. It's especially noticeable with their youngest. There are fireworks going off on Wind's face. The knife cutting his slab of meat to pieces steadily stabs into it every time the innkeeper's mouth opens.

“And where are you fine young men traveling to?” he says with a customer pleaser smile.

'Fine young men'. Ah! There's a thing he didn't say about Four. The fucking nerves of this man.

“Far,” Time replies, his tone even, but his expression thoroughly unimpressed.

“Ah, yes, of course...” the innkeeper says agreeably. “You, huh, you'll be going with the, ahem, with the boy, I imagine?”

How dare he sound hopeful? And 'boy'?! This man's livelihood is owed to the smithy! And he doesn't even have the excuse of mind control!

A hint of shame tickles the back of his mind, when he had first heard the innkeeper talking. He had sounded nothing like the ones from his era, who sometimes refused him entry outright on the basis of old and false accusations.

This current attitude was, technically speaking, a strict improvement over that.

But does the man have to come alive and become so at ease serving them food whilst the Hero of this land take a walk outside? Alone, at night?

Legend grunts into his mug. The rancher left after the smithy, so that ought to solve the 'feelings' question. A bit of a stick-in-the-mud he might be, but Twilight's one of the few he would trust to help navigate difficult feelings. He's got the patience for it, unlike a lot of them who tackle everything the way they do a dungeon, with reckless abandon.

Yet, in the cozy warmth of the fire in the hearth, over the hesitant plucking of the minstrel's chords, a howl suddenly calls to the moon.

They, alone, do not tense.

The howl echoes a second time, much louder. Closer.

The innkeeper shoots them a desperate look, but Legend suddenly realizes that he is blind, and possibly deaf. He has no reason to stand up, much less draw his sword. And, would Farore look at that, his condition is contagious!

The hinges creak as they inch open.

If Legend were not so experienced, he might have been nervous. But he's better than that. He leans back in his seat, places a hand on Hyrule's shoulder, and sips his ale.

There in the doorway, cut in shadows with the moon as backdrop, riding on a large grey wolf, Four raises both arms high in the air.

“Fear my unnatural power,” he says with as ominous a voice he can produce.

Warriors snorts, cheeks reddened by alcohol, and he gives a thumbs-up to their smith, despite the owner's pale complexion.

The mugs left on the table begin to shake. Oh, this is gonna be good.

It starts with a pair of squirrels and a owl, neither obeying their instincts in favor of swooping inside the inn. Followed by a handful of moles, fireflies and stray dogs.

In a flash of white, the inn's cat bolts inside the inn, meowing, till it reaches its owner's legs and climbs onto him. It perches itself on his bald head, seconds before the first deer bounces inside the building.

Epona breaks the first table.

But the three raccoons lunging after his cat are what make the owner scream.

Legend guffaws in his ale.

#Linkeduniverse #Linked Universe #LU Twilight #LU Four #LU Wolfie

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hipparelinda · 3 years

Photo

I am shooketh that someone made a silhouette mirage iceberg... you are amazing op... and now, I’m gonna talk about it, share my thoughts! Go read op’s comments on it first. I’ll only comment on the points I have thoughts on/know about

Here’s the original post, please check it out!

It’ll be long so I’ll leave a break

Tip: Religious references: Only in the japanese version, mostly names of things that link to christianity and judaism. Shyna Nera Shyna is called Sinner Neutlarva Sinner (sins being a big thing in religion, duh), Bug is Moses, Polly Peepers are called Cupids and Specters are called Devils. A lot of the guardian angels are named after stages of angel hierarchy in judaism. I made a list of all the names in english then japanese

Playable Zohar: They’re playable only in the english version in the credits and the ‘Super Core Fighter 2′ mode (never heard of that one...) perhaps as a bonus for the english version

Censorship: In jp version bunny salesman has a cigarette which was changed to thumbs up and when he wants you to hurry up shows a flaming cross in the background which was changed to a dragon in the localised version

Regional differences: Kinda referenced already with hell bunny and name changes. Also, the reaper and geluve aren’t in the japanese version (which with the latter I was surprised about when I found out)

Delia’s wife is Serah: Before the fight with Deliah, Hal states something like ‘think about Serah’ before he buggers off. I dunno if it’s really implied that they’re married and there’s no other reference of it, even from Delia. Though I believe there is a track in-game called ‘your wife is an angel’ so that could relate to it

Ikaruga: Think I heard about this game while watching a review on sm. Apparently it has the same silhouette and mirage thing with two aspects and facing two different ways when fighting etc etc

The genus of Zohar (their gender): Pfffftt they’re just both, duh, dunno why people get wound up over this... anyways, I just headcanon them as two separate characters..

Shyna and Clod are brothers(means, Clod is Shyna’s brother): I..... always thought Clod was female... -_- after reading up jp stuff about it I think they were male in the og version but changed to female in translation because of the translators not getting their gender. I always thought their voice sounded female in the english version. Nevermind... in the jp version Clod (dumb name) says ‘Goodbye, sister’ before the fight.

Which ending is canon?: Whichever you want... there isn’t a sequel... My chosen one is the restore edo one. I believe everyone is reborn too

Shallows Discarded bosses: Judas, Nebuchadnexxar and Hashmalim04 (+ Geluve in the jp version). Judas was apparently meant to be an ally of Megido. I believe she may have betrayed him though since Judas bible betrayed Jesus bible in the bible tm. Nebu man looks like the stereotypical anime pervert.... I think he’d play a roll in Delia’s tv pad since he looks like a director. Not sad to see you go, sir. Hashmalim04 is, duh, the fourth guardian angel. Looks real cool, probably controlled both silhouette and mirage.

Zohar crying: I’m not aware of this, god, I felt so much for Zohar.... ;-; apparently its during the cypher zohar fight. Went to find it again and it’s kinda barely noticeable.. I must’ve thought it was just flashy particle effects. Though it’s quite sad now looking back on it.

The reaper: English only boss, appears if you haven’t lost all your health at all. Apparently they’re challenging you since you so op. I find them kinda boring... love their horse chariot though..

Merchandise: WHERE CAN I GET IT?! Nowhere probably because they most certainly made barely any

Doujinshi: Damnit these look so cute..! Doujinshi is japanese for fan manga. Not official works

Hal is not that smart: Well it’s more Shyna’s just powerful... I believe that if the angels couldn’t stop her that nothing would’ve stopped her.

The image of adult Shyna: God... I’m not a fan....

The middle bit The age of Shyna and Zohar: I see them as programs/robots so I don’t think they have ages. Op states Shyna is 14 and Zohar is 17 which I think is a good choice.

Ying and Yang: It’s the idea that good and bad must be equal and the other exists a little in the other. I really see this link. Since it’s shown that Silhouette and Mirage need to be in balance - as seen in the ending where Megido goes weird cause Har was killed therefore there was too much mirage. I believe Silhouette and Mirage in the world of the game are perhaps like light and shadow or good and evil.

Geluve’s father is Hal: I believe this one but I don’t think op does. Doesn’t Har distinctively call Geluve ‘daughter’ as she interrupts him...? I do rather believe some of the guardian angels see Har as a father, such as Dynamis calling him ‘daddy’. I also wouldn’t be surprised if Har took the angels in like children after they were abandoned

Pollys and Pumpkins are human: It seems op believes this but I’m not sure if I do. I just don’t see the evidence. Why would the humans be attacking Shyna is she’s going to restore the world for humans??

Bottom of the iceberg Shyna is has (hmm) a bomb: Like, kinda a reset bomb. She isn’t really a bomb as she’s never destroyed - you can see her in the reset ending, alive and well. You could say she was carrying a reset button that turns on automatically once close to Edo, it’s not particularly a bomb.

Shyna needs the player for her to have a purpose: I think that’s a bit deep. Yeah, every game protagonist can only do things if the player controls them. I think this is just thinking a bit too deep.

Hal and Megido are Clod’s personalities: I’m not sure what to think of this. So Clod was an asshole and an asshole? I don’t think Har and Megido are different enough to be ‘separate personalities’. We don’t really know enough about Clod to know this at all.

Depths Was she the messenger of destruction or not?: I think this all comes down to what you believe happens after Edo is restored. If you think everything is reset and all the humans are saved then she’s the messenger of justice. If you believe everyone is killed and new humans are born, perhaps it was destruction after all because everyone died anyway.

Shyna committed human genocide: See above

Silhouette Mirage 2: I wish. Though I think treasure isn’t known for continuing their ips so I don’t think this would ever happen.

The side effects of being subjected to experiments: I suppose this is talking about Clod. I really have no idea what to say about it. As I said before, we really don’t know enough about Clod to tell us what really happened to them during the experimentation.

Geluve represents how Shyna would end up if she turned out to be another failed messenger: Uh, I suppose..? Wouldn’t all the guardian angels be though..?

Bonus! Explaining the images on the iceberg: Tip: Shyna talk sprite Shallows: ‘Adult’ Shyna official(?) art Middle: ? merch perhaps? Bottom: image from a comic about how the Polly Peepers and Specters see Shyna Depths: the real faces of Polly Peepers

#silhouette mirage #iceberg

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onebadwinter · 3 years

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The Joker Tropes Part 2

Taken From Here and here

Nether Realm Studios especially seems to love making Joker out to be evil incarnate. In Injustice: Gods Among Us and its sequel, he loses all his cred (and life) once he nukes Metropolis; Harley ditches him entirely, Batman just completely gives up on indulging him any more, even Guest Fighters like Hellboy consider him worthless, and non-Batvillains such as Grodd and Brainiac and even Darkseid loathe him for either Metropolis, or just in general principle. Mortal Kombat 11 shows that even the MK cast see him as a scourge upon the realms, and also express distaste toward him for either his nuking, a previous outing, or because he's seen as a buffoon who cannot be taken seriously (this is usually the case for other villain characters).

About the only person who can tolerate him for long is Lex Luthor, only because they both have the same level of hatred for their respective enemies. Even then, Luthor prefers to keep his distance from the Joker, if only because a bored Joker screws with everything For the Evulz.

In the animated series, he claims to have been beaten as a child when interviewed by Harley Quinn. It is unknown if this is true. According to Batman, he's simply making it up.

In one issue of New 52, he claims to have been driven insane by an abusive grandmother, who also bleached his skin to its present pallor.

In the same continuity, he is one to a baby gorilla he adopts, trains up as a gun-wielding henchman, and ultimately gets killed off for laughs.

In the comic book adaptation of Injustice, it's implied Harley fears Joker would be one, and gives their daughter to her sister, lest he kill the child. It's left ambiguous whether the Joker's even aware of the ruse.

Averted in one story, wherein one of Arkham's doctors realizes Joker's faking insanity just to piss off Batman as revenge for his disfigurement. Another doctor finds the report and excitedly reveals it to the current head doctor, only to learn that the Joker left it for everyone to read, since the paper's written by Harley Quinn, and therefore worthless as evidence.

In Batman: The Man Who Laughs, it's established that the name "The Joker" was given to him by the media, and he liked it so much that he decided to call himself that.

The same happens in Joker (2019), where Murray tells the audience to "look at this joker" when talking about Arthur. Arthur took it to heart.

Batman: Arkham Knight takes this even further by revealing that being forgotten is the only thing the Joker truly fears.

Just to demonstrate how much disregard he has for his henchmen, a reoccurring motivation for offing his own lackeys is failing to laugh at one of his jokes. Or laughing too late. Or laughing for too long. Or laughing at the wrong joke. He's... unpredictable.

The Joker loves it when people laugh with him, whether genuine or not, but if someone laughs at him, they're most likely already dead.

Joker loves attention and being above the normals, so never imply that he's not interesting or unique. Terry exploits this flaw in Batman Beyond: Return of the Joker just to drive him to a Villainous Breakdown.

The Batman Who Laughs. Since the character's first appearance in Dark Nights: Metal, the mere mention of him is enough to put The Joker in an uncharacteristically un-jolly mood and is a good way to get on his bad side. In fact, the dislike of this twisted version of his archnemesis is so great, that when Lex Luthor and The Legion of Doom started cooperating with him against Joker's protests, he quit the legion (after non-lethally jokerizing every other member of it) in disgust.

If you're going to hurt Batman, do it right. One of the supplementary stories for Joker War had him beyond furious with Bane - to the point of promising him he'd kill him in a way he would never see coming - for showing so little imagination in killing Alfred in City of Bane without even letting Batman listen to it to torture him. By his reckoning, if you have a great gag to break the Bat, use it to break the Bat - don't blow it by having Robin be the only one to witness it.

Originally Conrad Veidt from The Man Who Laughs.

Later portrayals base themselves on his actors, with Cesar Romero a popular candidate, and after Jack Nicholson came in, artists such as Alex Ross base him on him, such as the actor's distinct widow's peak and slicked back hair.

During Knightfall he and Scarecrow killed several members of a SWAT team, and one of his last actions in Batman: No Man's Land was to kill Commissioner Gordon's second wife, Lt. Sarah Essen.

One of the alternate realities seen in Zero Hour! was one where he killed Commissioner Gordon instead of crippling Barbara.

Part of the reason Gordon takes over the post of Commissioner in both The Dark Knight Trilogy and Batman: Arkham Series is due to the Joker killing Gillian Loeb. Additionally, the first game in the latter series, Asylum, he sees several of Arkham's guards killed by him and his men.

He's holding a dead cop's corpse in his intro in Injustice: Gods Among Us and using it as a puppet. He also talks to the body of one of the Regime enforcers who captured him once he breaks out and heads to Gotham.

Whether he was driven insane or was already insane and became completely bonkers.

Where he is on the spectrum between "wacky prankster" and "utterly depraved and sadistic sociopath and murderer".

Whether he is a senseless, performative terrorist wreaking havoc for kicks or a deceptively cunning and competent criminal mastermind. Or both. Usually both.

He's no Batman, but sometimes he is a proficient hand-to-hand combatant, Knife Nut or marksman, and other times a flimsy wimp who goes down in one punch. In some of the grittier settings, his raw strength, numbness to pain and viciousness are enough to level the playing field with Batman.

Whether he actually loves Harley Quinn varies. In the animated series, (where Harley first appeared) the writers haveoutright said he's a sociopath incapable of loving anyone, and just sees her as a useful mook. Some other works imply he really does love her on some level (although he's usually still an abusive asshole.)

He can either be Faux Affably Evil, Laughably Evil, just a Monster Clown, or some combination of the three.

At least one such incident implied he would be interested in Batman... but only after he was dead. Again this may only have been a tactic to get under Batman's skin or truthful admission. The readers will never know for certain.

His plot in The Killing Joke is to put Jim Gordon through the wringer hard in the hopes of driving him mad. He'll also try to drive Batman over the edge (particularly, drive him to break his "no killing" rule), sometimes by cutting off all of Batsy's human connections.

The Dark Knight reworks it into Driving Gotham To Senseless Violence with wanton acts of destruction or terrorism, just to prove everyone's as bad as him deep down.

Ironically, a 1952 story has the Joker get himself falsely committed to an insane asylum, to question a patient who knew the location of a cache of money. The end of the story has him Laughing Mad due to a prank Batman used to disguise his identity.

He didn't have his signature laugh. This seems to have been a way to "goofy up" the character to make him less terrifying in the days of the Comics Code Authority. Later on, he'd learn to giggle while remaining terrifying.

He actually committed crimes for moneynote , and wasn't really interested in causing chaos or terror for a joke's sake.

Building off of that, his plans weren't really "insane" until the Silver Age (at which point it's not even fair to say this was exclusive to him), nor was there any question of the character's mental stability.

His obsession with Batman wasn't there, much less the idea that he would pass up chances to kill the Bat or learn his identity. This aspect was probably introduced to explain the Bond Villain Stupidity he (and every Batman villain) had become infamous for in the Silver Age.

His clown-like complexion was actually makeup in his early appearances. He even removed his makeup to disguise himself as a cop, which was referenced in The Dark Knight. It's later revealed that the look is permanent after falling in a vat of chemicals.

The Brave and the Bold #111 and #191 have him team up with Batman to clear his name after being framed for several murders. The first instance turned out to simply be a framing the guilty part occasion but the second instance was actually genuine on Joker's part (except the person Joker seemingly murdered turned out to be faking their death).

He also does this with Batman whenever The Batman Who Laughs is involved (specifically in the Dark Knights: Metal series).

He abruptly ends a partnership with Red Skull when his Nazi affiliation comes out. Red Skull simply wonders why he is so surprised when he thinks that the Joker would make a great Nazi. The Joker is NOT happy about this, proclaiming "I may be a criminal lunatic, but I'm an American criminal lunatic!" It even provides the trope's image. And yes, folks, even an equal-opportunity murderer like the Joker despises the Nazis!note

The exception is mentioned again in the Last Laugh arc where the Joker immediately refused to join the American Neo-Nazi Aryan Alliance group in the Slab after he was offered membership. Joker: I'm evil and all that, but you guys are just plain mean.

Will not harm dumb animals and doesn't condone it. There's no humor to be had in that. Higher primates apparently do not qualify but a lot more effort went into that one.

While in Arkham with villain Warren White, AKA the Great White Shark, Joker calls him the worst person he ever met. He states that while he may kill people, even he doesn't steal their kids' college funds.

Sees nothing funny about someone parking in a handicap spot when they're not handicapped. However, he does think it's hilarious to hurt them in ways that will make certain they'll always be able to park there.

A girl named Janey Bennett, whose class was studying criminal behavior, became pen pals with the Joker while he was in Arkham. When Janey revealed that her father, the mayor of Motor City, was abusing her (exactly how isn't specified, though it was implied to have been really bad) the Joker broke out and, convinced that the authorities would be of no help, tried to force the mayor into admitting to his crimes and giving him Janey (so that he could find a better home for her) by threatening to contaminate the city's blood supply, going through with it (because the ends justify the means) when the mayor refused to give in to his demands. He originally intended to give her to Batman as well so he could protect her but at the end decided to give her to her mom. Joker: I mean, stealing a city blind is something I can admire... but being mean to one's own daughter... that just makes my blood boil.

For a rather literal form of "standard", the Joker's team-up with Carnage in Spider-Man and Batman: Disordered Minds fell apart in part because the Joker, known for his love of theatrics, found Kasady's desire to get straight to killing boring. Conversely, Kasady didn't like the Joker's flair for theatrics.

The Joker absolutely loathes The Batman Who Laughs, to the point where he drops his usual joking demeanor and is deathly serious whenever directly referring to him, even willing to work together with Batman to face him when it comes down to it. When Lex Luthor goes behind his back to make a deal with The Batman Who Laughs (going against the only condition Joker has for joining his plan), Joker responds by Joker-gassing the Legion of Doom, putting Lex into a series of deathtraps, trashing Lex's Power Armor, and quitting the Legion. In the process, he tells Luthor how he had planned on ruining the Legion utterly on the verge of victory, and as nightmarish as his plan sounded, he claims it is nothing compared to what the Batman Who Laughs is going to do.

While he still gloated about it and found Commissioner Gordon kneecapping him funny after remember that he'd crippled Barbara, the actual act of killing Sarah Essen in the penultimate issue of Batman: No Man's Land is one of the few times the Joker wasn't happy with something he himself did, considering he's seen walking away while scowling afterward, leaves the babies he originally planned to murder unharmed and immediately turns himself in to the police.

Emperor Joker sees the Joker disgusted with a corrupted Jimmy O Lsen tormenting the Superfamily and Batman when they're turned int animals.

Later one he is disgusted when his minions vandalize the Moai on Eastern Island.

Again, when he rescues Lex from The Batman Who Laugh's infected minions in Hell Arisen, the mere mention of his alternate universe rival prompts him to have a very uncharacteristic Freak Out. The Joker: I told you. I told you not to deal with him. You should have shot that thing in the head the second you had it in a cage! It is wrong. It is a wrong thing.

Played more straight in his relationship with Punchline. Only time will tell if it lasts.

There’s also a comic storyline when Hush informed that a dirty cop Office Halmet killed his wife Jeannie. The Joker wanted nothing more than to kill said cop in revenge. Then there’s Batman: Three Jokers where, despite it being being heavily implied he was abusive, the “Comedian” Joker is seen setting up fake tea parties with dolls, clearly trying to substitute them for his wife and child showing that he does miss them and desire to be a family with them.

While The Dark Knight is one of the few times the Joker's clown-like appearance is the result of make-up, he does sport a Glasgow Grin.

While Joker still has the permanent clown look, it's combined with the Glasgow Grin.

While Batman: Endgame would see the skin of his face restored with a chemical called Dionesiumnote , at the start of The New 52, the Joker had the Dollmaker skin his face and then, after he recovered it, spent Death of the Family wearing it like a Leatherface-esque mask. And even in Endgame, his restored face ends up badly burned as the result of the finale battle between him and Batman, though it still ends up restored again.

Gotham sees neither Valeska escape this. After his death in season 2, Jerome (the proto-Joker) ends up resurrected in season 3, but because Dwight thinks his attempt to revive him failed, Dwight ends up cutting off Jerome's face ala Death of the Family and Jerome ends up stapling it on when he catches up with Dwight and while he later has it properly reattached, there's still scars from what happened. Jeremiah, Jerome's twin and the show's true Joker, ends up with the "perma-clown" appearance due to Jerome having the Scarecrow brew something up to spray in Jeremiah's face, but season 5 sees his fateful fall at Ace Chemicals badly scar his face and sear off most of his hair with only stringy patches left.

Averted entirely in Joker (2019), where his clown appearance is entirely makeup, and the worst it gets is painting his iconic smile on his face with his own blood from a car crash. Not even a Glasgow Grin or anything, the blood is from his hand and his face only has a few normal cuts on it.

While Batman is a rather serious character who refuses to kill anyone, The Joker is a rather comical character who revels in death.

Joker's gadgets tend to be rather goofier but much more lethal, such as the Joker Venom that he often uses to kill his victims.

While Batman gets along well with his sidekicks Robin and Batgirl, Joker frequently abuses his sidekick Harley Quinn and has tried to kill her before, not to mention all the times he has been a Bad Boss by killing his henchmen for any reason you can think of, sometimes for no reason at all.

While Batman's backstory is well known, even by the citizens of Gotham who know of the tragedy of the rich Waynes' in Crime Alley, no one knows anything about the Joker's backstory, but most versions he tells are consistent in two things: he was a nobody, and possibly someone poor.

In most adaptations, his voice is high-pitched in contrast to Batman's Badass Baritone.

Why he went by the name the Red Hood has changed over the years: The Killing Joke claims he was a failed comedian driven to crime to support his pregnant wife. The trauma of his disfigurement from jumping in the acid and his wife's earlier accidental death drove him insane. However, even this backstory is questionable, as the Joker himself calls it "multiple choice".

In Injustice 2, an intro with Atrocitus has the Red Lantern wondering what drove the Joker to nihilism.

In the animated series, he claims to have been abused as a child when interviewed by Harley, but according to Batman, it's just another ruse to escape Arkham.

The purple suit and matching pants with either an orange and/or green shirt with a bowtie or tie, remains the definitive Joker look one that many artists and costume designers have given spin on. He is sometimes known for wearing a cool hat but other times goes hatless. Heath Ledger's custom-designed purple long-coat, trousers, blue shirt and green Waistcoat of Style with a tie has likewise become iconic and famous for its contemporary and downright stylish update on the classic look.

The original Red Hood outfit which is a black suit, white shirt, bowtie with an opera cap and a bizarre red dome is also quite famous.

The Hawaiian tourist outfit he wore in the notorious scene in The Killing Joke.

The white suit he wears in Miller's The Dark Knight Returns as well as the white nurse maid outfit with red wig in The Dark Knight is also quite notable.

The Future Joker look from Batman Beyond: Return of the Joker which went with a mime look (black body suit, slicked-back hair) is also quite distinct and unique.

The first issue of Batman with Joker's debut has him described as having "burning, hate-filled eyes" and the moniker, "the harliquin of hate".

The Man Who Laughs had Bruce dosed with a light version of the Joker Venom and he felt his perspective shift into a paranoid vengeance were he felt everyone deserved to be punished for his parent's death just for existing.

Death of the Family had Batman describe how Joker's irises are always narrow when looking at anyone but Batman and that it is usually an indication of negative feelings toward something with Bruce mentioning that his eye are the eyes of someone who hates everything he sees.

In the Justice League storyline "Rock of Ages", Martian Manhunter has to put in incredible effort to reorganize Joker's mind long enough for him to give up the cataclysmic Philosopher's Stone. The briefly sane Joker immediately says My God, What Have I Done? verbatim as he hands it back, before quickly losing his mind and going back to the laughing madman.

The famous example from the end of The Killing Joke, where Batman tries to convince him to allow Batman to rehabilitate him before their vendetta kills them. Joker considers it for a long, somber moment before quietly reflecting that they're both too far gone.

Batman: Cacophony ends with Joker being pumped full of an inhuman amount of antipsychotic drugs to keep him under control while in recovery from a near-fatal stabbing. Batman takes the opportunity to have a relatively-sane conversation with him, though it's somewhat subverted by Joker still being a homicidal sociopath even while heavily sedated.

He even gives multiple reasons on how he came Back from the Dead in Injustice 2 and will go along with whatever his opponent thinks is true, despite being Dead All Along in story mode and only appearing as a hallucination to his ex-moll.

Batman: The Dark Knight Returns sees him kill David Endochrine and Ruth Weisenheimer, who were clearly based on David Letterman and Dr. Ruth Westheimer.

During Knightfall, once he realizes that Azrael isn't Batman, his plan's gone to hell, and one too many criticisms from Gene Siskel and Roger Ebert stand-ins, he kills the stand-ins.

In one of the issues for the The Batman tie-in comic, The Batman Strikes, he terrorizes a stand-in for Conan O'Brien. This becomes darkly Hilarious in Hindsight as the real O'Brien voiced Endochrine in the animated version of Batman: The Dark Knight Returns. In the series proper, Harley's debut had the two of them terrorize a stand-in for Dr. Phil for the climax.

If you want to know how truly terrifying The Batman Who Laughs is, look no further than the way Joker acts whenever discussing him. He doesn't laugh, he doesn't smile. He becomes calm and serious and simply tells whomever he's talking to that the TBWL is "a wrong thing that shouldn't exist". Someone HAS to be scary if the very thought of him makes Joker act like a calm rational sane person.

In Batman Beyond: Return of the Joker, the clown has a massive Villainous Breakdown when Terry mocks him for his failed attempts to break Batman.

On the rare occasion Joker gets bored and leaves Gotham, expect everyone to think of him as just a silly clown, until the bodies start piling up.

One issue of the Robin Series had him talking about having Abusive Parents, only for a psychiatrist to tell him it's the seventh story he's told now.

Batman lampshades on this to Harley in the animated series, thinking it's another lie to gain sympathy.

The Killing Joke claims he was a failed comedian driven to crime to support his pregnant wife. The trauma of his disfigurement and his wife's earlier accidental death drove him mad. However, even this could be a lie, as he himself calls it "multiple choice".

It's even discussed in Injustice 2, as Atrocitus wonders what drove the Joker to nihilism. Despite only appearing as a hallucination to Harley in story mode, he spews out multiple theories for his Unexplained Recovery and will say Sure, Let's Go with That in non-canon fights. Was he resurrected by someone, or is he from another universe? Did he escape from either the Source Wall or the Phantom Zone, or is he just an apparition?

Shadow of the Bat #38, Tears of a Clown: He celebrates his anniversary of the day he was a still sane, but hapless comedian, and was thrown out of an exclusive Stand-Up Comedy club for an unfunny act the patrons mercilessly heckled. It was the last straw as he agreed to provide to his family by pulling a job for the Red Hood gang. So he kidnaps all the patrons and reenacts his act with control collars that will kill them when they laugh. Oddly enough, the patrons are hardcore Stand-Up Comedy fans, so they can't remember the number of times they've booed someone. However, even this origin story could be a lie.

It's come to be his primary disfigurement over the original skin bleaching.

In Batman Beyond: Return of the Joker, Terry McGinnis exploits this by delivering an epic Boring Insult so the clown will have a Villainous Breakdown.

King Barlowe proved to be a big one in his Thanatos Gambit in the episode "Joker's Millions" of The New Batman Adventures. In a spiteful Video Will, he gives the clown his millions, revealing in his tape that most of it was fake. Expecting the clown to splurge on it, he won't have enough to pay off the IRS, allowing Barlowe to get the "last laugh" after his death, without the Joker coming after him.

Alan Moore's "I go Loony" from The Killing Joke, an in-panel song-and-dance tune that was eventually made into an actual song belted out in Batman: The Killing Joke.

Batman: The Brave and the Bold has "Where's the Fun in That?" from the episode "Emperor Joker".

Batman: Arkham City ended with him covering The Platters' "Only You (and You Alone)", Batman: Arkham Origins had him cover Hank Williams' "Cold, Cold, Heart" and Batman: Arkham Knight had him provide an original composition, "Can't Stop Laughing".

Action Fashionista: This incarnation of the Joker has a wide variety of garish outfits for every occassion — most of them straight from the comics.

Adaptational Attractiveness: Metal teeth, lack of eyebrows, and tattoos aside, he's still being played by the youthful-looking real life Pretty Boy Jared Leto; especially since the last two cinematic Jokers were a creepy middle-aged gangster with a botched face-lift and a filthy, scarred vagrant (even the mentally unwell clown-for-hire doesn't scream Mr. Fanservice one bit). This version looks more like Marilyn Manson.

Adaptational Nice Guy: A very downplayed example. While he's otherwise the same Clown Prince of Crime we all know and love to hate, he appears to genuinely care for Harley, and even throws her out of a falling helicopter to save her life. Almost any other iteration of the Joker would do that to save his own skin or rid himself of her.

Adaptational Skimpiness: This version of the Joker tends to be shirtless a lot more than he has in any other medium. It mostly seems like an opportunity to show off his tattoos.

Adaptation Distillation: Leto's Joker seems to be less of the "evil philosopher" that Heath Ledger portrayed him as in The Dark Knight, and instead seems to be a cross between the garish, larger-than-life Mark Hamill version from the animated series and the Arkham games, and the creepy, deeply twisted Brian Azzarello version. David Ayer had also stated that he looked specifically to the Golden Age Joker for reference, providing reason for many to believe that Leto's Joker is a modern re-imagining of that incarnation.

Advertised Extra: Heavily featured in Suicide Squad promotional materials, barely appears in the film for more than seven minutes. According to Jared Leto, several of the scenes he shot were not included in the theatrical cut.

Ambiguous Disorder: In Suicide Squad, most of the time the Joker seems... not all there compared to Harley. In addition of psychopathic tendencies, the Joker has random bouts of maniacal laughter, confusion, and slurred speech-like patterns. All attributes that stem from punch-drunk syndrome. Considering he has faced Batman one too many times, it makes sense that the Joker's mental stability is finally catching up to him.

However, come Birds of Prey, they broke up, mirroring the comics where they do have an Relationship Revolving Door. It appears to stick, as Harley publicly calls it quits between the two of them.

His tattoos are very reminiscent of the Joker in All Star Batman and Robin.

Ax-Crazy: Like all the incarnations before him, calling him a violent psychopath is one of the biggest understatements you can make.

Bedlam House: Spent some time at Arkham Asylum, where he met Harley. Then he broke free from it with the help of both Harley and his gang.

Chewing the Scenery: An important part of the character is his theatricality.

Cool Car: A bright purple sports car with underglow lights and a "HAHAHA" license plate.

Dented Iron: It's subtle, but the numerous scars on his body and metal replacement teeth in his mouth are clear signs that his frequent run-ins with Batman are taking their toll.

Disney Death: He seemingly dies in the crash of his helicopter... only to come back to free Harley from her high security prison at the end of Suicide Squad.

The Dreaded: In true Joker fashion, everyone is terrified of him.

Establishing Character Moment: One that takes place before he even makes his official debut in the setting - he killed Robin (a minor) and vandalized his outfit to mock Batman over his inability to save him.

Even Evil Has Loved Ones: Insofar as much as the Joker can love anyone, anyway, but he does seem to genuinely care about Harley. Eventually, subverted.

Evil Has a Bad Sense of Humor: He considers the brutal murder of a minor as a joke he played on Batman. When he's torturing Harleen Quinzel, he promises not to shatter her well-kept teeth while flashing his own hideous metal dentures. When Harleen later has him at gunpoint, Joker just says "please don't kill me, I'll be ya friend" in a snarky tone.

Evil Is Hammy: It's not The Joker if he's not Chewing the Scenery. And, sure enough, he does.

Evil Is Petty: The graffiti on Robin's costume seems to imply that Joker murdered him just to prod at Batman. It is confirmed in Suicide Squad that Joker and Harley killed him.

Evil Laugh: It's kind of his thing. One notable example is when he chuckles while surrounded by an arsenal of weapons.

Fake Shemp: Indie rocker Johnny Goth stood in for Jared Leto in Birds of Prey, in the flashback where he and Harley torture and tattoo the big mafia thug Harley later bumps back into.

Foil: To Batman as usual, but with some new additions. After 20 years, Batman became more jaded and cruel, while the Joker somewhat mellowed out and his criminal activity became more professional. Batman didn't settle down until the death of Superman while the Joker grew attached to Harley Quinn.

In Suicide Squad Griggs' smug indifference about his gambling debt immediately becomes pure terror when he realizes the Joker has gotten involved.

He is so feared that even the likes of Black Mask would rather steer clear of him. Harley's enemies only start gunning for her in Birds of Prey when it's become clear that she's no longer with him.

G-Y

The Ghost:

There is an allusion to him in Batman v Superman: Dawn of Justice ("HA HA HA Joke's On You, Batman" painted across the chest of the dead Robin's empty suit in the Batcave), but he doesn't actually appear.

He gets mentioned a lot in Birds of Prey, but he's only seen very briefly in some flashbacks, always from the back (including footage from Suicide Squad). There is a whole Deleted Scene where he and Harley have a domestic dispute. Harley leaves the house through the window and the Joker throws her stuffed beaver out through the window. In the film proper, she's just kicked out of the house, with no shot of Mr. J.

Greater-Scope Villain: His role in Batman v Superman. Despite not actually appearing his murder of Robin by this point has driven Batman down a darker, more vengeful path that goes against Batman's traditional moral code; the one that the Joker is always trying to prove is wrong. Batman's rage towards Superman blinds him to the possibility of Lex Luthor being the real threat long enough for Superman to die fighting Doomsday. In a way the Joker's actions contributed to Batman's failure.

Guttural Growler: This Joker is noticeably more snarly than previous incarnations.

Handshake Refusal: He doesn't like to shake hands, as Monster T finds out.

Hell-Bent for Leather: Wears a purple crocodile skin duster at some point in the film.

Jerk with a Heart of Jerk: Despite being a homicidal sociopath, he seems to truly love his girlfriend Harley Quinn. Then in Birds Of Prey, he coldly and violently breaks up with her.

Joker Immunity: He appears to die when his helicopter is shot down about halfway through Suicide Squad. To absolutely no one's surprise, he shows up alive and well in the final scene. It helps that he's the Trope Namer.

Knife Nut: And by God, does he have enough blades.◊

Lean and Mean: This Joker, while muscular, is quite lean, especially compared to the heavily muscled Batman.

Love Epiphany: Well, "love" is pushing it, but Joker realizes his affections for Harley when she dives in the chemical bath that ultimately turned Joker into what he is. Symbolic in the sense she was agreeing to join him in madness. Further adding to the complexity of the scene; Joker was tying up a loose end, having used Harley to escape from Arkham. He lead her to her demise and intended to leave her for death but at the same moment realized she had entered his world and his madness. Joker never anticipated the amount of utter devotion Harley would have for him, something inside him just couldn't walk away from her, so he jumped in to save her.

Manipulative Bastard: He manipulated Harley into helping him escape Arkham because she fell in love with him. When she served her purpose, he would have had her kill herself jumping into a bath of chemicals to prove her feelings. He instead saves her from this demise because he has a Love Epiphany in the moment.

Monster Clown: Like the previous film versions, Joker is an Ax-Crazy criminal with clownish makeup. Green hair notwithsanding, his white makeup, red lipstick and absence of facial scars make him look closer to a mime than his predecessors.

Noble Demon: In Suicide Squad, his whole motivation is to rescue Harley Quinn. His commitment is so strong he doesn't even waste time with pranks or petty acts of cruelty. Everything he does is for someone else.

Only Known By His Nickname: He's only known as The Joker, or "J" / "Mr. J".

Outlaw Couple: He and Harley Quinn are lovers and partners in crime.

Sadist: Even though there was only a few select scenes of him, one of them is him torturing Harley. It's disturbingly obvious that he is positively gleeful over it. And he doesn't seem to have lost any sleep over murdering Robin, either.

Pet the Dog: David Ayer confirms that while he did push Harley out of the falling helicopter, his intent was in fact to save her life.

Satellite Love Interest: To Harley Quinn in Suicide Squad. His characterization revolves entirely around Harley, not even getting involved with the main plot.

Scary Teeth: Several of his teeth are made of metal. According to David Ayer, Batman punched his teeth out after he killed Robin, leading him to replace them with metal teeth.

Screw This, I'm Outta Here!: Although he has a presence at the start of the film, The Joker appears to have left Gotham City to be controlled by Black Mask in Birds of Prey, with Roman saying that Joker has already skipped town.

The Sociopath: He's chaotic and remorseless, much like his previous versions. Special mention goes to his murder of Robin, which he topped off by spray-painting a cruel taunt for Batman onto the boy's costume.

Tattooed Crook: His torso is covered in jester-themed tattoos. He also has a few on his arms and face.

Villain of Another Story: He mainly appeared in Suicide Squad, but his biggest act of villainy to date — killing Robin — happened some years before Batman v Superman: Dawn of Justice, in which he doesn't appear. The spray-painted message on Robin's empty suit ("Ah ah ah joke's on you Batman!") in the latter film can't be anything else than his doing.

Where Does He Get All Those Wonderful Toys?: Is seen with a rather impressive arsenal of guns and knives. And even says to warden Griggs, at some point, "I can't wait to show you my toys." note Notably, he manages to hijack the gunship which was sent to extract Waller and the squad so he can rescue Harley.

Would Hit a Girl: In the past, the Joker electroshocks and manipulates Dr. Harleen Quinzel into allowing her to fall into a vat of chemicals, in order to become Harley Quinn.

Would Hurt a Child: He killed Batman's sidekick, Robin, while the boy was an underage minor.

You Gotta Have Blue Hair: His hair is bright green.

"Knightmare" Joker

"You won't kill me. I'm your best friend..." Appearances:

Zack Snyder's Justice League

"You need me. You... need me... to help you undo this world you created, by letting her die."

The Joker meets up once more with Batman in the nightmarish alternate future where Darkseid has conquered the Earth and Superman turned evil. But things aren't the same anymore between the two legendary foes.

See also the Knightmare page for more on that setting's characters.

Break Them by Talking: He deliberately tries to agitate Batman by reminding him of how many people have died on his watch.

Cop Killer: He wears a bulletproof vest with at least two dozens police badges on it. Whether these were good cops killed prior to the apocalypse or servants of the oppressive regime of Superman after the apocalypse is not detailed.

Costume Evolution: He has ditched his garish gangster suits for what looks like either a medical gown or a butcher gown, complete with orange gloves and a bulletproof vest with a dozen police badges pinned on it. He got rid of his "Damaged" forehead tattoo, let his hair grow and put red makeup around his mouth, looking closer to more common depictions of the character.

Enemy Mine: He and Batman had the worst kind of enmity imaginable, but the Earth being conquered by Darkseid is enough of a Conflict Killer for them to call a truce and work together to try undoing this mess.

Evil Has a Bad Sense of Humor: He utters the line "We live in a society" while gazing upon the devastated landscape in the trailer. This is clearly a Meme Acknowledgement, and it's quite awkwardly used given the context (is there really any society left in this post-apocalyptic world?). It doesn't appear in the actual film, however. The line was improvised by Leto.

Evil Laugh: Even with the world being in such a sorry state and him still being sane enough to acknowledge how bad the situation is, he'll still let some laughs out, even though they sound more subdued than ever.

Evil Versus Oblivion: Even he sees the necessity of teaming up with Batman to try undoing what Darkseid did to Earth.

Future Badass: He survived the apocalypse brought upon Earth by Darkseid and looks like he's geared for guerilla actions.

My Card: He gives a Joker card to Batman as a symbol of their truce. Shall the Dark Knight want to break that truce, he'd just have to tear that card up. The card could be seen strapped on Batman's assault rifle in Batman v Superman: Dawn of Justice.

Nice Job Breaking It, Hero!: Joker gets a high reminding Batman how costly his mistakes in the past have been.

The Nicknamer: He nicknames Mera "my little fish stick" and Robin "Boy Wonder".

Progressively Prettier: Despite being worse for wear, this Joker is arguably even better looking than his previous appearance, with his over-the-top tattooed gangster image toned down and his androgyny played up. Ironically, this version also more closely resembles the Heath Ledger incarnation.

Thousand-Yard Stare: He has such a stare when looking at the devastated horizon as he starts talking to Batman.

Villain Has a Point: While he’s the one who killed Robin, he gives Batman a minor What the Hell, Hero? for sending “a Boy Wonder to do a man’s job.”

Vocal Evolution: His voice is much softer and higher pitched than it was in Suicide Squad.

#TheJokerInformation

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