#I could go on about how beloved characters in this series make stupid decisions and face the avoidable consequences

[tequilaasquared]

God the fact that we were meant to fully take Fiona’s side during her whole ‘independent Fiona’ phase in s7 pisses me off. Asking the family that she CHOSE to become legal guardian of to put her at the bottom of their emergency contact lists, (underneath a couple with small children and a business who was unrelated to them, and their bipolar brother who had a super high pressure and high responsibility job) was completely unfair and irresponsible frankly. And doing it after she’d been called to Ian’s work as his emergency contact because he was clearly dealing with hypomania and his colleagues were concerned just felt like an extra twist of the knife. But I understood her reasoning to an extent.

But threatening to make her underage sister and her baby niece homeless because she was still pissed a traumatised 14 year old decided having a baby was the only way to become a part of a stable family environment? That was just plain cruel. Fiona didn’t have to be happy or agree with Debbie, and was well within her right to let Debbie know her disappointment and frustration, but she was still her legal guardian and she knew better! She was an adult and Debbie was a child being threatened with homelessness by the woman that raised her. Demanding Debbie get a job and getting her the application and Debbie following through and going to the interview, only for Fiona to actively sabotage it bringing Franny mid way through her interview was cruel and so unFiona like. Fiona was a grown ass 27 year old and should’ve sat Debbie down to communicate with her. I get that Debbie could be petulant and argumentative but she was a literal child! Fiona should’ve put her foot down and demand Debbie discuss with her how best to organise balancing work with childcare instead of offering zero support. She also lived with 3 brothers old enough to babysit Franny from time to time whilst Debbie worked. One of the overarching themes of Shameless was how the Gallaghers literally raised each other because their parents were awful human beings and you’re telling me Franny’s uncles couldn’t look after her for a few hours a week? It frustrates the shit out of me that the narrative successively villainised a young, impressionable girl because she made stupid decisions, influenced by grooming and the toxicity of her home life and her friends. And her following through with the decision to have a baby was further cemented by her sister’s cruel ultimatum and her only actual support at the time coming from her narcissistic, opportunistic father who used her vulnerability for his own gain.

Fiona was let down and emotionally neglected by Monica and she participated in that cycle of abuse with her pettiness towards Debbie. And I say that as someone whose favourite character for most of Shameless’ run was Fiona.

#shameless #fiona gallagher #debbie gallagher #shameless meta #Debbie Gallagher deserves better #fiona is literally in my top 3 shameless characters #but I HATE that she’s portrayed as being in the right for her treatment of Debbie #doing a shameless rewatch and realising I was right to quit halfway through s8 because post s7 was 90% ooc garbage #I could go on about how beloved characters in this series make stupid decisions and face the avoidable consequences #and yet there’s still collective compassion and empathy for them #but that’s a discussion for another day

[wc-confessions]

Longtail is my favorite character. I love his character arc, how he acts as a narrative foil to Firestar, and how he starts out as a jerkass but grows to have a backbone, shows himself to be a loyal warrior with a heart of gold where it counts, rejects Tigerstar when lines in the sand have been crossed despite how much he once looked up to him, and eventually grows to be very loyal to Firestar. I wish people talked more about the scene where he saves Fire when Tiger tries to drown him even though they’re not at all on friendly terms yet. Also his mentor-apprentice relationship with Swiftpaw tears me apart but I live for all the fan content that shows their bond and how much regret he has to live with after Swiftpaw’s death.

To this day I have so many gripes with what happened to my boy post-TPB.

If there is a non-death equivalent of TV Tropes’ “Too Cool To Live,” Longtail is basically that. He had to be written out because if he weren’t forcibly removed from the action, then he would be the obvious choice to become deputy during Greystripe’s absence in TNP (and arguably should have been chosen over Greystripe in the first place; I do like Grey but he was not particularly loyal nor responsible in his youth). Longtail was still relatively young, healthy and fit, loyal, experienced, passionate. You cannot convince me that he wasn’t dealt a career-ending injury solely because the plot demanded Brambeclaw become deputy by the end of TNP.

I don’t think Longstar would have ever been realistic to expect because he’s not a central enough character and not related to Fire/Tiger, and because he would have been fairly old for a clan cat by the time of Firestar’s death, but maybe he could have held out as deputy till the end of TNP or even early PO3 and been given a cooler and more memorable death than what he got. But more on that later.

We all know how badly this series shafts its disabled characters. Maybe this is trivial to some, but I really hate the retcon about his blindness. When his vision started failing of natural causes, it was still frustrating for the reasons above but it at least seemed like he made a voluntary choice to retire early. He maintained a degree of agency, and he made his own decision under the circumstances rather than having it taken from him by the narrative. Having him get blinded by a rabbit of all things just feels like a cheap shot to move the plot along. If he were going to have a freak accident, at least make it less stupid than an experienced warrior getting his eyes scratched out by a prey animal.

Not that any of them are handled *well* by any means, but we have roughly this same character arc with so many other characters who are given more depth in coming to terms with a permanent disability or disfigurement and having it alter the course of their lives (Cinderpelt, Brightheart, later on Briarlight…) that we didn’t need this one to happen to prove any kind of point or to say something too much different than any of those other instances.

The silver lining of Longtail’s injury is that it allows us to see more of his friendship with Mousefur than we would have gotten if either of them had died younger, and/or if they had faded to being background characters in the ever-growing ThunderClan roster. I really adore their dynamic. I headcanon them as aroace besties (iirc though this is basically canon for at least Mousefur). I find it so lovely and refreshing that a m/f pair of characters, and ones who are mostly very likable at that, can have a platonic relationship with so much care for each other without it eventually going down the marriage-and-children path that most m/f relationships eventually do in this series.

However.

Longtail’s death, and Mousefur’s role in it, are possibly even more frustrating and narratively awful than even the accident that caused his blindness.

Having him go out in such a cheap and easily preventable way felt like such a fucking slap in the face to these beloved characters who have been around from the very beginning of the series. Longtail had his whole life redefined and turned upside down by one random, frustrating freak accident involving prey and he ultimately lost his life to another one. Mousefur’s character was mishandled so grossly here, and a cat who is usually pretty sensible and grounded lost her best friend because she couldn’t let one (1) mouse go in a moment of what I have to assume is senility.

I am at least glad the two got a proper send-off in the Great Battle, with them getting to reunite on-screen and his spirit guiding her to Starclan after she fell in battle. It doesn’t quite make up for everything else given that Longtail had so much unused potential while alive, but it all would have been so, so much more upsetting if they weren’t given at least that much to close their chapters.

Thank you for coming to my TED Talk about Longtail. He is so dear to my heart and deserved so much better than most of what he got.

.

#text #anonymous #confession #warrior cats

[baby-girl-e]

The way I loved you

Characters - Iceman x Maverick 

Summary - Ice reflects on his relationship with Maverick and the gut wrenching decision to marry Sarah.

Word Count - 1.3k

Warnings - Angst, Discussions of sexuality, Strong language 

A/N - This is a companion piece to my Series “The best of my heart” (You can read Part one Here) You don’t have to read it for it to make sense, but it goes into more detail on why their marriage is beneficial to sarah! I will also be posting a Maverick fic similar to this one, and it will go into detail on how Maverick is feeling when Ice ultimately leaves.

Loving Maverick was like flying a jet. Adrenaline pumping, heart soaring, and absolutely terrifying. The man was reckless, especially after Goose died, taking any and every risk he could. He knew exactly what he wanted and wasn’t going to listen to anyone who told him no. Their first kiss happened exactly like that, all consuming and all because Maverick was going to kiss him dammit. (Mavericks words, not Ice’s) They had been hanging out at Mavs apartment, just finishing training the next class of Top Gun students, watching some stupid movie. Mav had looked at Ice from his side of the couch and made a point to scoot closer to him. Ice wasn’t upset by the close proximity by any means he was just confused. There was no way Mav liked him like that, right? Maverick took his moment of confusion to slip even closer to Ice, mere inches away from his face. “Mav, what are you doing?” Maverick got this small smile on his face and bumped his nose against Ice’s. “I’m just wondering when you were going to finally kiss me.” It felt like the air had been sucked out of his lungs. This wasn’t happening was it? He would open his eyes and he’d be back in that classroom, looking at the new hotshot pilot that hung around his old friend goose. “I- I didn’t know you wanted me to kiss you Mav.” The pilot in question just rolls his eyes. “Well then I don’t think you’re as observant as you claim to be then.” And with that Mavericks lips were on his. This was the first time he’d ever had the same feelings he had flying on solid ground. This was what he was afraid of, that if he gave in he’d never want to let go. And oh, did he never want to let go.

 From there it was a whirlwind. Spending every ounce of free time they had with each other, just soaking each other in, like they weren’t destined to crash and burn. They fought just as hard as they loved, getting into screaming matches in the middle of the pouring rain on an empty beach. It was 2 am and they had just come back from base after Mav had pulled some stunt and pissed off another Admiral. “Fuck Mav, one of these days you’re gonna get yourself killed. You know that right?!” Maverick didn’t feel at all phased by his mistakes and just scoffs at his boyfriend. “Who cares Ice. Who truly cares. The Navy would throw an actual party if I died.” That was the last straw for Ice. Who cared? All he did was care about Maverick. He cared so much that he broke a massive rule in the military. Cared more about Maverick than he cared about flying stupid jets. “Fuck you Pete. You know damn well who cares.” Ice started to walk away, not really wanting to look at Mavs' face right then. He was pulled back by a hand on his bicep and all but yanked down into a kiss. This kiss was wet from rain and tears but it was no less spectacular. It was like it was right out of some stupid romance novel. Maverick pulled back first but kept a tight hold on Ice. “Tom, please stay and fight with me? Keep telling me I’m an idiot, and reckless, but please don’t leave.” Ice’s heart broke for this poor abandoned boy. He realized that for how much he cared for Mav, Ice still had a family that cared for him. Maverick however didn’t. He didn’t even have his beloved RIO/ brother anymore. Ice was all he had and he almost walked away.

 There was no other way to describe Maverick than wild and crazy. If he wasn’t pulling stunts in his Jet, he was pulling them on his bike. He kept Ice on his toes for better or for worse and Ice couldn’t decide whether or not he liked it all of the time. Maverick was intoxicating in the best way and Ice felt like getting drunk on him forever. He was an endless ocean of crazy and he didn’t really care if he drowned in it. There was no doubt in Ice’s mind that this was the love of his life, even if it was fleeting. One day reality started to set in, that neither of them could give the other what they needed. The two of them loved flying too much to risk throwing it all away. They were scared, and as much as Maverick tried to convince Ice to stay, he just couldn’t. Ice had met Sarah while he and Mav were still together. She was the daughter of a family friend. They clicked immediately, both feeling like outcasts from their families. She was someone he could trust to talk about Maverick to, even vent a little about their issues. His family liked her, and she didn’t care about his sexuality.

 It was the perfect solution to his problem, mutually beneficial. It broke his heart to tell Maverick. To tell him that he had to do this for both of their sakes, so that they could live the lives they’d dreamed of. Being the best pilots the U.S military had ever seen. Maverick had been so heart broken, sitting on his living room floor after his legs gave up on him. Ice immediately dropped to his level, stroking his hair, lips on his forehead. “I know baby, I’m sorry. But you know we have to do this. We could be ruined if we were found out.” That seemed to snap Mav out of his reverie. “Ruined Ice? It seems I’m destined to be ruined no matter what we do.” As if Ice hadn’t already felt bad for pulling the trigger he remembered that Mav would now have nobody, save for Carole and Bradley. If it hadn’t been for the two of them he didn’t think he would’ve been able to do it. “Don’t call me baby if you’re leaving me lieutenant Kazansky. It’s now Lieutenant Mitchell to you. You can call me Maverick in the skys.” His words were uncharacteristically ice cold and definite. If Ice had any thoughts of taking it back, it was too late now. He had broken his already broken heart and there was no way back. “Okay Lieutenant. Goodbye.” and that was it. He walked out and didn’t look back. It wasn’t until just before the wedding that they decided to be friends. “I love you too much not to have you around Mitchell. Please?” Mav caved, like he always did for Ice. He always seemed to do the most reckless things, even if that was being his ex boyfriend's best man. Ice didn’t take Mavs' friendship for granted, always inviting him over to family dinners and encouraging him to bring Bradley and Carole around. Eventually when Ice had his daughter, Maverick suddenly became Uncle Mav to two little kids. Two little kids that seemed to be inseparable and just as mischievous as Ice and Maverick had been. They were both raised by the men and it showed. It wasn’t a perfect solution but it was the best one they had. They had their little bubble of a family and if it was all he was going to get, then he was going to take it. When Ice was sick  he knew his time was limited. There was so much he wished he had said to Maverick, wishing that things could’ve been different. Mav deserved to be told with words that he was still loved by Ice, not a computer. So he enlisted his daughter's help, telling her to tell him. He told her exactly where the ring was, and what to say. One of the last things he did in this life was write a letter to his beloved. He poured his heart out to Maverick, saying things he wished he would’ve told him sooner. The way he loved that man was beyond all reason, but it was the greatest thing he ever did. He loved his forever wingman. 

#maverick x iceman #top gun maverick #iceman x maverick #maverick #iceman kazansky #icemav #goose #top gun #top gun 1986

[cellard0ors]

Hackearney 'romance novels', First installment

As a huge fan of romance novels, I often like to envision the main hero and heroine as beloved characters or famous actors I know. Considering my current obsession with Travis/Laura, I naturally went seeking romance novels where I could envision them as the main characters.

I've found several novels that fit and am now going to do this lil' series featuring each of them and explaining why I think they work and why I recommend them

So! Without further ado:

Lady Sophia's Lover - Lisa Kleypas

Main Characters: Ross Cannon/Sophia Sydney

Plot: Lady Sophia comes to work for the Chief Magistrate of Bow Street, Ross Cannon, with revenge on her mind. Little does she realize how much she'll come to care for him and him for her...

Character descriptions: Sophia has Laura's looks hands down - blonde hair and blue eyed. Ross has dark hair like Travis, but grey eyes (easy enough to ignore) and his body description works well enough (yeah, I'm going there)

Age Gap?: Yes

Part of a Series?: Yes, but you don't need to know about or read other parts of it to get what's going on here.

Summation of novel over all: Runs a little too long, but the sex is steamy and I enjoyed their interactions. Ross's stalwartness speaks very Travis to me, as does his secretly seething with needs. I enjoyed the fact the story wasn't too trope-ish about Sophia's secret motives (ie, his finding out and being mad - they didn't do that) and her falling for him felt genuine. Overall, it was an enjoyable read.

Why I envision them: Ross has been celibate a long time and is an officer of the law - the moment he sees Sophia he immediately wants her and is upset by this revelation. I often think Travis was very much the same when it came to Laura.

As mentioned, there is also a significant age gap (20 years or more) which is another reason he's against it. Sophia, for her part, secretly hates Ross and blames him for her brother's death and is merely playing the part of caring about him - until she actually does and that's classic Laura right there - she hates Travis, but she does grow to understand (and care?) him.

Sample: "If I fail to please you," she added, "you can always hire someone else."

Ross was known for being a supremely rational man. It would be impractical for him to hire this woman. Stupid, even. He knew exactly what the others at bow street would make of it, they would assume that he had hired her for her sexual appeal. The uncomfortable truth was, they would be right.

It had been a long time since he had been so strongly attracted to a woman. He wanted to keep her here, to enjoy her beauty and intelligence, and to discover if she returned his interest. His mind weighed the scruples of such a decision, but his thoughts were eclipsed by male urges that refused to be quelled.

And for the first time in his magisterial career, he ignored reason in favor of desire.

#hackearney #travis x laura #romance novels #cellar recommends

[mikuni14]

Thank you @nieves-de-sugui for tagging me 😘 I've already tried to do it twice, but I'm one of those people who, wearing a T-shirt of their favorite band and asked about the band's songs, can't remember any of them 😄 it's so emabarssing, like "what's your fav BL" me, a BL enjoyer: "blank stare". But I'll do my best! and I'll probably remember what series and characters I could write about 10 minutes after posting

Worst soundtrack / weirdest song choice in a BL I honestly don't pay much attention to music in BL's, as it's mostly pop music, I rely on @troubled-mind who is my guru when it comes to the music stuff in BL series 😎

Most cringe-inducing line (cute) um, recently? Munchkin, but it's probably just bad translation :D

Most cringe-inducing line (actually bad) idk, let me think... uugh..hmmm a lot of the stuff Toh says in SCOY, although I love that show

Most stupid decision made by a character oh gosh, most dramas are made of stupid decisions lol. But there are stupid-stupid reasons that I tolerate and stupid-annoying decisions, that I hate. All "I will keep my beloved in the dark, for his sake" or "I will leave my beloved for years because of some stupid reason", or "this shit could have been solved by 1 (one) honest converstation" stuff falls into latter category. The drama that comes to mind is Step by Step, the characters made so many stupid-annoying decisions. oh wait, I know! I LOVED Ghost Host, Ghost House to death, and then one of them made a stupid decision. I'm not over it to this day 😤

Worst plot line if I have to choose one it's probably White pretending to be Black in Not Me

The most problematic show you've watched I think... Dangerous Drugs of Sex? it's not a series though

A show people love but you find bad people are gonna hate me for this 😬 but it's Not Me, Never Let Me Go, Between Us, Theory of Love or recently La Pluie. There are also series with a very devoted fan base that where just ok for me, like Bad Buddy

A show people find bad but you will defend I don't feel the need to defend my favs 😃 when I like something, I'm happy when others like it too, but when they don't, it doesn't bother me at all. I WILL defend a series, or character when I think they are misjudged or misunderstood though, not necessarily my favs. hmmm, I think Oh! Boarding House is one of my favs, that people probably find mediocre or even boring 😄

A show that is just objectively bad but you enjoyed it that's like 78,24% of my fav series 🥳

A bad show that you kept watching because you were intrigued/fascinated I watch many series just to see how they end, sometimes out of morbid curiosity, sometimes thinking that the ending will make up for something I didn't like. It doesn't necessarily mean they're bad, they just don't spark joy. Spoiler alert: the ending almost never is worth the wait.

A bad show that you kept watching because you were horny ummmm, TharnType? Together with Me?

A bad show that you kept watching because of that one character hmmmm, I suffered La Cuisine for literal crumbs of the side dishes

A bad show that you would still recommend shows that I would recommend are not bad 😎

The character that ruined a show the most ummmmm Phat from La Pluie, Pat from SBS

Most awful character that you hated I agree with @nieves-de-sugui : The fucking ex in Mr Cinderella. Also all characters that should ACTUALLY be in prison, like that guy from TharnType. The doctor and the girl from Together With Me, the bitches from The Eighth Sense

Most awful character that you loved Boston? :D

A character that wasn't awful but that you just don't like in the end, Kawin from GHGH and Woo Tae Kyung from Light On Me

A hero that should have been a villain umm, Theo from Enchante, Jaab

A morally bad character you're into Boston XD

A morally bad character you're not into and you wish people would stop being into people are gonna hate me for this too, but... VegasPete, I mean, I loved BOTH of them before they were together, but their arc was just so stupid and not done well.. I know it's weird but I just like them separately and hate them together so much

The show that disappointed you the most series that started so good but disappointed me in the end, hmmm lets' see: Light on Me, Ghost Host, Ghost House, Never Let Me Go, Chains of Heart

The Worst Show of Them All Because of Your Own Reasons due to personal reasons I think I dislike La Pluie the most 😃

Ok, that was fun, whoever wants to do it, go! 😘

[mono-chrono]

Ilu. Info dump about something you like. The bee swarm is listening 🐝

oh boy where do i start

i have OPTIONS. Most of them are video game lore.

gonna be honest, i used to be able to spout every scrap of fact about the zelda series. Middle school my beloved/beloathed

buuuuut seeing as this blog is slowly turning into a fnaf blog lets just talk about that one and why i absolutely do not like the idea of vanny and vanessa being the same person

Reason 1. I'm probably just butthurt that my theory before the game's release wasn't really substantiated. They were just being so heavy handed and obvious about the fact that Vanny and Vanessa were the same (that. goddamn. freddy voice line in lasertag. it bugs me) I THOUGHT IT HAD TO BE A RED HERRING. And, like, surely I wasn't the only one

We don't really know what the original story would have been, but in the trailers it looked like Vanessa was going to help us, voice lines and all. It would have been a cool story if she was trying to both help and hurt Gregory, but again, I don't see it happening

Reason 2: LOST AND FOUND. Seriously. Guys. Why the hell would Vanessa record herself talking at a random child, threatening to call the cops, then edit it and smash cut to her being in a bunny suit. What would be the point. This is stupid for so many reasons, mainly, that would do ABSOLUTELY NOTHING to help her plans! If they were the same person, why try to make an enemy out of both of them? Why not make Vanessa look good if the plan to kill Gregory in there didn't work, and why make the video AT ALL?????

Reason 3: Non lore related things. Things like having different voice actors, having completely different models with different heights and shapes, THAT STUFF

Reason 4: The tapes. Okay, me covering my hate but begrudging acceptance of SOME Gregbot theories will have to wait for some other time, but personally, I don't think that Greggy m'boy is patient 46. I also don't think Vanessa is. Vanessa has her own tapes, separate from patient 46 (if they were the same person, it would definitely be listed as the same patient, even if it is some alter ego), and we get some physical descriptors from both. One sits comfortably in the chair, one looks uncomfortable. One likes the flowers and the light, one doesn't.

And the backstory. People will often say that Vanessa doesn't have a dad named Bill, there wasn't an insane, traumatizing custody battle that drove her mom to do something even more traumatic, that it was all an act. I don't buy that. People say that because they think patient 46 is Vanessa, but the pure response that we hear Vanessa say in that therapist's tapes, that doesn't sound like acting. And if it is, give Vanessa a gig as an actress, because that would have to be a damn good and convincing performance, especially against a licensed therapist.

Now, you may all be saying that the writing in this game makes no sense anyway, which is fair! It totally doesn't! I could probably create a bottomless pit from all the plotholes it has, but there are conscious decisions made. The models and voice actors, who had to read the lines for the final draft of the game. Both of the voice actresses had multiple rolls, and while it would be unfair to take one and give it to another, it would make sense if they were the same characters.

So who is Vanny? Patient 46? My guess would be the Reluctant Follower from Help Wanted. Doing the bidding of PeePaw, watching, perhaps even tormenting Vanessa. I do think Vanessa is related to the Aftons (possible theories on that are complicated, though i may well point out that she has the same voice actress as Elizabeth and i do have my ✨opinions✨ on it), and that's mainly because of HOW Vanessa got hired, but I digress.

One last thing, while im as tired as everyone else about PeePaw, I wanna touch a little bit on the upper management. People often say Vanessa got her job from someone on high speeding through the process for her specifically, and say that it was Afton. Then, I would ask, HOW? My dude has been a rotting corpse for well over 30 years at this point and the company was left to it's co-owner Henry, who gave a badass speech then promptly died, so that leaves one question;

Who the fuck hired Vanessa?

#long post #shut up mono #or i guess SPEAKETH YOUR TRUTH MONO #this kinda had me rambling for a while sorry #literally took me half an hour #I’d like to think that there’s someone in upper management just as deranged as William #and not that it was the Afton virus #because everything can be explained by the Afton virus and not in a good way #i tend to try and think of security breach in a vacuum and how it would make sense #probably because the story isn’t well told anyway and it just in general feels separated from the other games #i wouldn’t mind writing a few more of these because again I have ✨opinions✨ #I’d probably have to put my head through the wringer to do gregbot tho cuz that one #that one makes me legitimately angry for no discernible reason other than how stupid it fucking sounds #and also the evidence against it yadda yadda #i am a strong supporter of glammike if only for storytelling purposes #i want to see Bonnie so bad too you guys do not even know #all my Bonnie things are less theories and more just me making shit up #anyway point is #i have very strong feelings about the theories in this game specifically

[marypsue]

Ahh cannot believe we’re nearing the end of the curse reverse fic!! Truly wild the passage of time, and also all the twist you threw in. I for one, am very curious as to how everything will shake out in the s3 rewrite since Things Are Not The Same, But Still a Little Bit The Same. Also I love how you give each group equal emotional weight (Dustin and mike!! Robin and Barb!! Joyce and Hopper and Bob!!) (also I love the way you capture that everyone is messy in their own way and that no one is perfect and also Nancy and Jonathan are an innately messy couple, bc I feel like the fandom does not account for the fact that they absolutely are the drama) Anywho! Very excited for tomorrow’s chapter!! I’m considering it a belated bday surprise and rooting for some fun hijinks. I may even treat myself and reread some road goes ever on bc Monster Steve, my beloved.

The end is too close and I am not prepared! (Well. I'm mostly prepared. Sort of.)

It's funny you should mention All The Twists, because I feel like this second fic (put your curse in reverse) sticks the closest to canon out of the three fics I've got written or planned in the series. It's possible I've just been too close to it for too long. I will say this though (and may have already said it once before, but shhh), I've made some major overhauls to the plot of season 3. I have a plan and I am tapping the pads of my little raccoon fingers against each other in evil glee about eventually getting to share it. Now to finish writing the darn thing...

I'm so, so glad to hear that the groups feel balanced, emotionally! One of the things I hate most in writing is when you have a clear set of "A" Characters, who Matter, and then a clear set of "B" Characters, who Don't Matter As Much And Are Mostly Here To Be A Punchline. I love all of these idiots and I want to give them all the kind of storytelling they deserve. And even if I don't necessarily like every character on this show (*coughcoughMurraycough*), somebody out there does, and thinks one of my very favourite characters is just the worst and wishes they'd drop off the face of the earth.

(And, you know, there have been times when trying to be fair to a character I have no particular feeling toward or even dislike, in my writing, has led to me finding a new appreciation for them. And...also, sometimes, accidentally convincing myself to ship them. You will not find any fic for Murray Bauman/Sam Owens on AO3, I'm sure, because I have not written it yet...but oh my god. You guys. Have you thought about how much potential for both hilarity and angst this pairing could have? Because I have. Against my will.)

Speaking of "A" Characters and "B" Characters, part of that dichotomy that I've noticed is that "A" Characters aren't allowed to fuck up. They're always ultimately proven right. Or, if they do do something wrong, it's always because they were given the wrong information, or intentionally misled, or someone else forced them into it. They never just...make a bad decision, or miss a shot, or act on a negative emotion and do something stupid they'll regret, or just plain trip and fall on their face. And "B" Characters basically can't not fuck up. They're there entirely to cause the problems that the "A" Characters have to solve, and then go 'oh the cleverness of you' at the "A" Characters. This is my least favourite kind of storytelling, and if you want to see a textbook example of it in the wild, just watch Thor: The Dark World. (Except don't actually do that, because I wouldn't intentionally inflict that on anyone.)

The best and easiest way to break down the dichotomy between "A" Characters and "B" Characters and get characters who start to live and breathe and act like Actual Human People, in my experience, is to make sure that every single one of your characters is a bit stupid about something. Something that matters enough to come up, not, like, something that will never affect the story they're part of. And if you've created a character who can't take a pie to the face and continue to be interesting to read about, you're probably not there yet.

Anyway! Thank you for that opportunity to soapbox. That very long rant all to say: yes Jonathan and Nancy are messy as hell, and they're much more interesting that way. Happy belated(?) birthday, enjoy the hijinx, and an enthusiastic hell yes to Monster Steve!

#chatter

[therealvinelle]

Hi, love your metas and your fic. I think you mentioned somwhere that at the end of BD Aro was trying to prevent the fight. What were his motives? According to Edward, the Volturi are cowards, but I didn't get this feeling. Caius was begging for a battle, the guard vocally proclaimed willingness to die for the cause... hell, Jane had to be restrained from running to Bella and punching her in the throat. And I find it unlikely that their leader is less brave than them. Explain Aro's brain pls

Thank you so much! That’s really nice of you to say. And sorry for the late answer.

And explain Aro’s brain, whew. That is a very big question with a very long answer and this post will be a manifesto by the time I’m done. But you wanted Aro’s brain explained so manifesto it is.

So, before we go anywhere I have to make the distinction between Aro of the books and Aro of the movies. Those two are different people.

Starting with appearance, because casting does a lot for me and if a big deviation is made it better be like Ruth Wilson as Marisa Coulter, which is to say it better fit the character. Also, disclaimer, I think most of Twilight was miscast, and especially the Volturi. I’m forever dying at Caius looking like Lucius Malfoy. However, this is an Aro post, so we’re highlighting Aro.

Aro of the books is a twenty-something Greek with skin that has petrified and eyes covered in a milky sort of film, which totals to him looking perfect, as all vampires do, yet frail. When he walks it looks like he’s gliding. This is an otherworldly, ancient, inhuman being. He’s energetic and excitable, yes, but if anything that should add to how very other he is. Casting Michael Sheen is a clear signal that the movies were going in a completely different direction with Aro. Sheen is a great actor who played what he was given perfectly, but what he was given was a very different character.

In New Moon the book, Aro first rejects Edward request because this is Carlisle’s gifted son, and more, this is not what the Volturi do. They are not hitmen. It’s just a big no all around.

Bella enters, and the Aro she meets is a very polite and gracious man who’s delighted to see the human still alive, and pleased Carlisle’s son won’t be suicidal anymore. However, Edward fully intended to step into the sunlight in the middle of Volterra, specifically to provoke the Volturi, and he has broken the law with Bella. Further, Edward makes it clear that he fully intends to walk out of Volterra with his human still human, and that she’ll die of old age if he gets his way. Edward’s contempt of the law could not be more clear. However, Alice shows Aro that Bella’s fate is sealed, she turns or she dies. The law will be upheld. Aro is glad to hear it, and lets the Cullens all go home.

All in all, it’s a very tense occasion where Edward has put Aro in a difficult position, because he’s trying to force him to kill his best friend’s son, and Aro goes “YES THANK GOD” when Alice finally gives him an out.

New Moon of the movies was not this. Starting with the flashback (because I’m being thorough), Aro executes a lowly criminal himself.  I object to that, I think that’s a menial task and Aro doing it himself made the Volturi look less regal, not more. Cut to the present day, Aro rejects Edward’s request because he doesn’t want to waste his gift. We get the whole meeting with Bella, and Aro… well I don’t know why he does any of the things he does. This guy never mentions his friendship to Carlisle, tries to kill our plucky heroes three times in the space of one minute (one, gives Felix the order to kill Bella, stopped by Edward. Two, moves to decapitate Edward, stopped by Bella. Three, he’s about to eat Bella, stopped by Alice), and when he lets them go it feels terribly convenient.

This was a guy written to be the villain of the series, and it showed.

Cut to Breaking Dawn part I’s ending scene, and while I love the song choice for the scene, and fully agree that Aro considers misspelling Carlisle’s name to be a capital offense, the scene itself… we are presented with a villainous, power-hungry megalomaniac who’s just waiting to strike against the Cullens.

We then get Breaking Dawn part II, and I haven’t seen that movie in years but I remember the fight scene well enough. Aro kills Carlisle with the biggest grin on his face, and gives the go-ahead to his Volturi to kill the surviving Cullens and their witnesses.

Contrast that with canon, where Aro’s first words to Carlisle are «Nothing would make me happier than preserving your life today». Now, he’s making it very clear that this meeting will most likely end with Carlisle’s death, but he’s not happy about it. He’s certainly not going to kill him with a smile on his face and laughter in his heart.

The movies needed a hammy villain, and that’s what Michael Sheen played. It is not who Aro is, at all. And he’s not the only character this happened to, but again, this is an Aro post so I’m not going to start raging like Don Corleone about what they did to my boys.

So, with the movies firmly expelled from the post, let’s look at the Twilight series from Aro’s point of view.

Or, rather, we’ll have to start earlier because Aro’s decisions throughout the series are pretty clearly motivated by Carlisle. And that means considering, “why is Carlisle so important, anyway?”

Consider these things: one, Aro is gifted with the power of knowing every single thought a person has ever had. He knows your soul. Two, Aro is the leader of the supernatural world, he has been for over a thousand years.

How many friends does a person with that power and in that position have?

Three, who does Aro even come into contact with?

Starting with number three, for Aro it’s going to be 1) criminals, 2) Volturi guard hopefuls, 3) Weirdos like Laurent who are wasting Aro’s time.

(“But what about the guard!” Well, while we observe close interpersonal relationships between Aro and Jane, and Aro and Renata, and one can assume Corin to be close to the wives, the distinction between Volturi coven and Volturi guard remains. The guards are servants, in some cases beloved servants, but servants nonetheless. It would be inappropriate and weird for Aro to start slumming it with Demetri and Felix)

So, Aro doesn’t get out much, which brings us to point two. The people he does meet, and who are willing to entertain a friendship with the Volturi leader, are going to be people who want something. And that might work for some rulers, Louis XIV built Versailles specifically to make his subjects do this for him, but he had something to gain politically from that. Aro does not, his power is supreme without a need to tolerate brown nosers. More, with his own and Marcus’ gifts, he’ll know right away that he’s being used for power. He would get nothing out of it.

Finally point one, Aro’s gift. Say that we have a vampire who’s not a weirdo and who thinks Aro’s a cool dude. Well, the question now is, who would ever want a person in their life who knows all there is to know about them? I wouldn't want anybody to know every thought I've ever had, I certainly would never seek out a person to know me that deeply when I could just go find normal people to be friends with instead. Not to mention how incredibly unequal such a friendship would be.

In short, I don’t think Aro has any friends.

Enter Carlisle a very amiable person who cherishes Aro for his personality, and doesn’t mind having his mind read. Aro just found a unicorn. Carlisle on his end likes Aro so much that he lives with him for decades. Even if you want to read their relationship as platonic, that’s still a very strong friendship.

Point being that Carlisle is unbelievably precious to Aro, and so very unique. Aro has lived for over three millennia, and never met anyone like this before. There won’t be another Carlisle.

This in turn makes him willing to stretch as far as he can to preserve that friendship and, as the plot thickens, keep Carlisle alive.

Fast forwards to 2006, and Aro is sitting in Volterra minding his own business when Carlisle’s son walks into town demanding his own execution. He has not committed any crimes. Not only is assisted suicide not something the Volturi even do, but this would ruin Aro’s friendship with Carlisle. Even if Carlisle was miraculously understanding of Aro killing his son (which I can’t imagine he would be), this would never leave the air between them. Carlisle could never be around him again after something like that.

So, Aro turns down Edward’s request. “Stupid Volturi man ruining my dramatic suicide, I’ll show him who’s boss!” Edward replies, and runs shirtless into the sunlight. I’m sure Aro was just dying, you had “The Sound of Silence” playing as he stared into nothingness because how is this happening to him. A whiplash of an hour later, Bella is alive again, Aro is happy, we can be done with this now, right? Right?!

No, Edward says, we cannot be done with this. He’s still refusing to turn Bella.

And so we get that whole New Moon exchange where Aro very tellingly shoves the part where Edward WALKED INTO THE SUNLIGHT IN VOLTERRA under the carpet and out of the conversation (for comparison: Irina is executed for false testimony and Bree for breaking a law she didn’t know existed), and he even allows Bella to leave human when he could easily have bitten her himself to keep the Cullens honest. This guy went out of his way to be lenient and show the Cullens good faith.

And then a few months later Irina walks into Volterra, bearing memories of what is unmistakably a Cullen immortal child.

Aro may care for Carlisle, but this is the guy who killed his baby sister so he’d still have Marcus’ gift. He will bend far, very far, for those he cares about, but he will not break. It’s duty above love, Volturi above Aro’s personal preferences. An immortal child is not an offense that can be tolerated, and so it’ll be Didyme 2: Aro Kills Someone He Loves Boogaloo.

By now I think it should be quite clear why I think Aro was trying to prevent the fight. Battle would have meant Carlisle’s certain death.

(And that’s even assuming the Volturi won the fight. With Bella there, there was a chance the Volturi wouldn’t prevail. But even before Bella started showing off, Aro was very much hoping this wouldn’t be another Didyme situation.)

#aro #volturi #carlisle cullen #twilight #twilight meta #twilight renaissance #the sad thing is that i have so much more to say about Aro #this is only the first of many posts #Anonymous #ask #i guess i also have to tag #aro/carlisle #sorry guys my terrible ship is leaking into my metas #but damnit IT'S A GOOD SHIP #long post

[atopfourthwall]

Ive only recently gotten into classic Star Trek so I don't think I can properly answer but what is it specifically about Discovery and recent Star Trek that classic Trek fans hate?

Putting this behind a cut because... it's a lot.

Well, first of all a big rejection of it is just on an aesthetic level. Up until the 2009 movie (which was considered a reboot, even with time travel elements), Star Trek tried to treat the original series and how it was portrayed as pretty sacrosanct. Sure, they might occasionally make jokes about goofier aspects of it and discard some of the stupider stuff (like how in the final episode, penned by Gene Roddenberry himself, that women weren't allowed to Captain starships), but how TOS looked? That's how the 23rd century looked. Buttons and multi-colored outfits and boxy computers and smooth, undetailed ships WAS what was appropriate for the time. When Scotty came back in TNG, they had him on the holodeck and it was the TOS bridge. When DS9 traveled back in time to that era for an episode? They went onto the Enterprise and visited it. When in an Enterprise 2-parter we had a TOS-era ship? It looked like a TOS ship. They even did a 2-parter on Enterprise to explain why Klingons had smooth foreheads when later (and earlier) they didn't. Star Trek up until then cared about maintaining that continuity of appearance. But Discovery is set in the TOS era... but nothing looks like TOS. Even when we got the Enterprise and those uniforms and we saw inside the ship, it was an upgraded form. The only logic I've seen people try to argue about WHY it doesn't look like it actually did was "Well, audiences won't accept something as cheap as TOS being futuristic." Well, then you've got a few responses there: -Don't set in TOS era, then. -That's horseshit, because audiences from the 90s through the 2000s accepted it just fine. Even a piece of dialogue from DS9 explained it perfectly: "I LOVE 23rd century design." It LOOKS cheap, but it was just the aesthetics of the period. And the Enterprise 2-parter it still looked good in HD. Hell, arguably it looked BETTER in HD because they knew how to light it and create mood and its own unique flavor. -It's even more horseshit because people are STILL going back and watching it even today, as indicated by you saying you've started watching it, so clearly it's not that much of a barrier. But what's even more egregious is the TECHNOLOGY. You might be able to accept updated aesthetics if at least matches what was present during the period... and it doesn't. Holographic displays and communication (holodeck technology AT ALL, frankly - it's possible it was there, but TNG seemed pretty adamant that the holodecks were fairly new, very impressive technology), weapons not looking or acting like they traditionally did, Enterprise and Discovery having R2D2-style repair droids that certainly did not exist in TOS, the wrong sound effects being frequently employed, replicator technology for good-looking food instead of food dispensers that gave out marshmallows and cubes, and honestly the tech level shown in Discovery looks just as advanced - if not MORE advanced than seen on TNG 100 years later. And this is a minor thing, but despite the attempt to make the future LOOK futuristic, from a cultural perspective, the future looks... way too damn similar to now. The excessive swearing (it was said in particular in Star Trek 4 that while they certainly did cuss, it was less common and they sure as hell weren't dropping F-bombs), a party on Discovery that looked like a rave (when previously it seemed like the most popular music and culture of the 23rd/24th century was considered fairly high-brow entertainment [classical music, Shakespeare, great works of literature and plays, etc.] - and while you could certainly argue that that snootiness and love of that stuff is a problem with Star Trek and a sign of how sterile and homogenized it is, THAT is the future they presented and a character in Voyager loving some of the goofier parts of 20th century culture like jukeboxes and old sci-fi serials was considered unusual), and just the general way people talk betrays the idea that the writers aren't thinking about how society changes in the future. It's just the modern day, but with cooler technology. But hey, let's set aside the general aesthetics - some people aren't going to mind that and find

ways to handwave away a lot of stuff (even Discovery season 2 TRIED to handwave away stuff like the holographic communications, but did a piss-poor job of it). This brings us to the problem of the WRITING. And the problem with the writing is a big Michael Burnham-shaped indentation. To be clear, I don't mind Michael as a character or her actress - there are interesting aspects to her, centering a Star Trek show around the science officer is a neat idea (though that means you should probably NAME IT AFTER HER and not around the ship, because it suggests this is a standard ensemble group and not JUST her)... but the actual execution is that it feels like the entire universe bends over backwards for HER. She has a unique relationship with a beloved longtime character that is retconned in. She has unique relationships with several important characters to the point where the fate of billions of people hinges on her and the decisions she makes. She is presented as almost always correct about everything, and those that oppose her are often wrong, naïve, or active enemies. Now, this is less of an issue in the third season - but that has its own unique problems - but in the first season, the resolution of two major storylines (mirror universe and the Klingon war) revolves around her and her relationship to the Terran Emperor and Lorca. In season 2, her mother trying to help or save her is the basis of the ENTIRE friggin' plot with time travel and the like, with special knowledge and history having to do with her and everyone ready to abandon their lives for her so she won't be alone when she has to go to the future when arguably they barely know her (the timeline of the show is debatable). Season 3 has a few different problems with her - the first is that she keeps being involved in things that don't concern her (why is she going down to Trill?) and she keeps violating orders. Now, her violating orders is a problem throughout the entirety of Discovery - in fact, it's kind of the instigating factor OF the series. And arguably, other Star Trek characters are guilty of that and they face no consequences, just as she faces none... and yet it's the brazenness with which it happens, and in those other series it's arguable because the series tries to avoid excessive continuity changes for its episodic nature, so the status quo MUST return to normal... but Discovery is pivoted as one of MAJOR continuity, so her lack of consequences (and indeed eventual PROMOTION) is baffling to the point of frustration. Now again, let me be clear here - she is not a bad character in and of herself. Honestly what it shows is that being the science officer on a starship is not where her talents lie. She should be in a position where she has a lot more freedom to act and not in a major command structure... but being in that command structure, what we see in season 3 is that she lacks the discipline, emotional maturity, responsibility, leadership qualities, and general other traits necessary to be a Captain. Only once during season 3 did she display such a quality - putting the safety of the Federation above a friend and colleague... but other times she will happily disobey orders and put herself and others in harm's way, creating potential new problems. Now, again, Star Trek is rife with characters doing that... but usually not the Captains. And, in fact, when this happened once on DS9 with one officer disobeying orders and putting their own personal feelings above the greater responsibility, it was made VERY clear that the incident would mean that they would never be able to command a starship because of the unofficial reprimand. What's even more frustrating about her is that the character is ALWAYS shoved to the forefront so much to the point where we just get sick of her. SHE is the one giving log entries (usually pretty piss-poor ones, at that - very flowery and nonsensical and kind of dumb) and not the Captain. SHE is the one given so much focus and how the plot of the episode affects her. Barely anyone else gets any focus episodes - I STILL can't

remember the names of some of the secondary characters because they're so rarely said, and a PTSD-related plotline in season 3 for one of the secondary characters basically gets resolved OFF-SCREEN. Michael would be fine if we actually had a chance to miss her... but we never do. Arguably one of the best episodes of the show is in season 2, when it focuses on Saru and his people because Michael DOES take a back seat. It's his story and his development and problems relating to him and his people. And even if, again, we forgave the idea of so much focus on her even in plots that aren't about her... she never seems to really change that much. She'll TALK about how she's changed, but I see no real difference in the way she acts (MAYBE season 1 to 2, where in season 1 she was stiffer and more Vulcan-like, but that's it). But hey, let's assume that's not a problem for you - you really, REALLY like Michael and are fine with so much focus on her. Simply put, the writing of the rest of the show... is just kind of dumb. The ship is powered by magic mushrooms that let it teleport everywhere because the universe has super fungus capillaries throughout it that nobody can see and also it's magic and can resurrect the dead. The time travel plot of season 2 doesn't make any sense when you sit down and diagram it. Well-established Trek lore is just kind of sprinkled in, but now in ways that doesn't match what it was before or at least in ways that completely recolor how it's supposed to work, because it needs to serve THIS plot. Everyone remembering a murdererous monster fondly after she leaves because "Hey, she was coooool." The explanation for the big mystery in season 3 is just fricking stupid and one of the two big reasons why I've finally given up on Discovery, because it's just so absurd, doesn't match how anything works, and just feels like the writers giving the middle finger to the audience because they care more about "YOU MUST FEEEEEEL THINGS!" instead of it making sense. And indeed, there is certainly a balance to be made of plot vs. emotion-driven storytelling - some stories are dumb, but are forgivable because the character writing and emotion are so strong that they override how goofy the plot is... but sometimes a plot is just so dumb it overrides anything I'm SUPPOSED to feel. And it would help if I already liked the show, already gave it some benefit of the doubt... but I don't and it hasn't done enough to impress me. A little thing that's a problem with ALL of current modern Trek shows is that whole sprinkling lore thing - I don't think a single episode goes by in ANY current modern Trek series that doesn't have a random reference to classic Trek lore. A name, a line of dialogue, etc. It comes across like the creators don't trust you to enjoy it on its own merits, but want you to like it because "Hey, remember thing? We know about thing! Like us because we mentioned thing!" But hey, I recognize that these are things that other people may not have any problem with or just disagree in general. But for me and my family, these are the big ones that keep us from enjoying it. Hell, my brother and dad still watch it for hatewatching purposes, but I was done after season 3. I gave it plenty of chances to impress me, and while each season MARGINALLY got better as it went along, I'm tired of waiting to actually like it and to stop feeling like it thinks I'm a fucking idiot. If other people still like it, great - it clearly appeals to them in a way that it doesn't appeal to me and they are free to enjoy it. Other people probably have their own issues, but this long, rambly bit is the major stuff for me.

[missnight0wl]

Masterlist

Hello and welcome to my blog!

It’s dedicated mostly to Harry Potter: Hogwarts Mystery. I’m caught up with the main story, and I do commentary for new chapters pretty regularly. From time to time, I do bigger, more in-depth analyses as well. In the latter case, I usually try to make it clear what part of the story it concerns, but keep in mind that there are spoilers here, and I won’t be warning about them every single time.

On top of that, while I rather don’t post NSFW content, it is not a “family-friendly” blog. There might be some tasteful nudity, adult humour, or mentions of violence etc. Also, I personally swear quite a lot. So, if it’s something that troubles you - you’ve been warned.

And what exactly you can expect to find here?

First things first. In this house, we stan Patricia Rakepick, and here’s a detailed explanation why. Of course, I’m not saying that you have to like her too. Absolutely not. However, if you hate her guts to the point that you can’t be bothered to read what I have to say and consider the possibility that her role in the story might be different than it seems – I just can’t guarantee you’re gonna have a good time here since most of my content is based on this idea.

Another important concept I use in my posts is that Jacob we found in the Portrait Vault is not real. You can find the most important information about that in The Fugly Slut Masterpost.

If you’re interested in the lore behind the Cursed Vaults and ideas about how they work, I recommend checking The Cursed Vaults Lore Masterpost.

And if you have a bit more time and want to dig even deeper into Hogwarts Mystery, you can find some vast analyses gathered in The “HPHM Explained” Masterpost.

These are the most important things, meaning that it’s obviously not all. Whenever I write a more detailed post, I’m using one of the tags:

theory – these are usually longer posts with more evidence and more developed conclusions.

analysis post – here we have pretty much anything collecting information from various points of the story. It could be close to theory, semi-theory, or simply pointing out Jam City’s stupid writing decisions… It’s a pretty broad group.

about characters – these are basically analysis posts focused more on characters (than just the story itself).

Sometimes, I’m a bit more creative, too. My MC’s name is Helena Ellis, and she’s a Ravenclaw. You can find the basic information about her and my Jacob below:

HPHM Character Profile: Helena Ellis

HPHM Character Profile: Jacob Ellis

Now, the most important thing for me is my beloved child which is the series called “Secrets and Riddles”. It focuses on the relationship between Jacob Ellis and Patricia Rakepick, but I plan to eventually turn it into a re-write, starting from Y4. You can check its masterpost, and if you look into the tag alone, you’ll also find some moodboards, headcanons, updates etc.

If you’re interested in more of my creative stuff, go ahead and check the tags:

my writing – it includes all of my creative writing, though they’re usually one-shots.

my art – self-explanatory.

my creation – here we have whatever doesn’t fit two previous categories. There are mostly moodbords, but not only.

If you enjoy my content, you can support me on my Ko-fi:

☕ ko-fi.com/missnight0wl

That being said, all kind of feedback is always very appreciated – whether it’s through likes, reblogs, or comments! 💖

My inbox is open, so feel free to ask me anything. It might be about HP, HPHM, my characters, other things I sometimes post about, or we can simply gush over Hozier!

#masterlist #theory #analysis post #about characters #helena ellis #jacob ellis #secrets and riddles #my writing #my art #my creation

[theoriginalcarnivorousmuffin]

Lily Evans and Severus Snape: Headcanons

So, I was asked in the ask about Sirius and Regulus what I thought about Snape and Lily. At this point people are probably going, “Oh that Carnivorous Muffin is just clearly a Snape stan who thinks he could never do anything wrong and anyone who was slightly mean to him is evil.” Shockingly, I’m actually not, I just happen to think sexual harassment and attempted murder are bad and probably worse than JKR intended (I do think she was trying to go the “boys will be boys” route versus “oh my god, they just dumped pigs blood on Carrie at the prom and then threw her at a starving vampire”)

So let’s start on Snape.

First, Snape did live an incredibly shitty life, with circumstances beyond his control, that did lead to many of his poorer choices. In no way am I saying that it was alright for Snape to have grown up in an impoverished, abusive, household and endured years of humiliation and torment at school. 

That said, I believe that we all, in some respects, are responsible for our actions and our decisions. Yes, even when we come from non-privileged backgrounds. Life is hard, some people will have it much easier than you, that doesn’t excuse you becoming a domestic terrorist or tormenting and terrifying your students, young children, so much so that an entire generation comes out with a loathing and incompetence in your subject.

I guess let’s start back on his friendship with Lily Evans. We get... a really weird perspective from Snape on that friendship. Time and her tragic death have warped it into this strange worship where I’m not sure the Lily Evans that exists in his mind and memory is the one that really was there. She’s this shining Madonna idol who he failed, actively betrayed, is very very hung up about it years later.

I suspect they weren’t as good of friends as either of them thought they were and it comes down to Snape’s resentment of his own upbringing and muggles. I believe Snape was very racist towards muggles, specifically, due to his father. It was his way of grappling with his home life and only fueled by being in Slytherin. Lily was probably, in his mind, always a golden exception to the rule (Lily is the token, gold standard, muggleborn where she’s pretty, brilliant, charming, etc.) That Severus himself was a halfblood clearly caused him some angst. What I’m getting at is that I believe throughout their entire friendship, especially when they got to Hogwarts, there was an unacknowledged undercurrent of intense racism that eventually boiled up with that one incident in Snape’s fifth year.

Calling her that, while he views it as a slip of the tongue that damned him for all time, I see it more as a Freudian Slip. That sort of thing doesn’t just slip out from nowhere, not at that age when they both knew exactly what that word meant, it simmers beneath the surface, and was ultimately what he thought of her. Later, she became the Madonna figure that he views her as today (ironically perhaps even less of a person than he viewed her as at the time).

That said I think a number of factors played into the young Snape becoming a Death Eater. One, becoming friends with Lucius/that crowd who were all being sucked into Tom’s influence. Two, having his terrible home life and all the implications of Snape resenting his own blood status as well as muggles and muggle borns at large. Three, the loss of friendship with Lily (now there’s nothing to hold him back anymore, he has no reason to preserve muggleborn life). Fourth, Dumbledore’s letting Sirius, James, and Remus entirely off the hook in the werewolf incident.

That last one, especially, I imagine cemented Snape’s utter hatred of ‘the light’ (don’t get me started on the stupidity of light/dark in Harry Potter but I guess I’ll use the term) and those that cater to muggleborns. They’re hypocrites of the highest order, Dumbledore claiming to defend the poor and non-nobility, when he goes and does the exact opposite (James is the next lord Potter, Sirius is still pureblooded even if disowned, Severus Snape is a dirt poor halfblood). 

So what I’m saying is I understand why Snape did become a Death Eater, I do not condone this action. Especially as, unlike Regulus, Snape never gets cold feet. He loves being a Death Eater at first, he’s living the dream, getting all the revenge he ever wanted and burning the stupid wizarding world to the ground as he scrambles for ways to climb in Tom Riddle’s graces. We don’t see any hint that he was wavering, thinking of the fact that beloved Lily might die in battle, perhaps at his hand, until the prophecy. 

Now, I’m a little kinder than some about the prophecy. We know Snape overhears the first portion of the prophecy in early 1980. He eagerly rushes to the dark lord, regales him with the prophecy in both a) aid to the cause and b) in the hopes of climbing in the ranks and gaining the dark lord’s notice. At this point, Lily Evans is pregnant, perhaps knows the gender, but has not given birth. Months later, when both Neville Longbottom and Harry Potter are born at the end of July, Snape realizes he has signed Lily Evans’ death warrant (because despite Dumbledore talking, I imagine Tom always planned to kill off both children, Pettigrew just happened to make things convenient for Tom to go to the Potters first).

With Lily’s death now so inevitable, and her blood on his own hands, Snape has his existential crisis, goes to Dumbledore who puts the Potters in hiding and becomes a double agent. Snape also pleads for Lily’s life with Tom and he puts in a minimal amount of effort to spare the woman. 

Then Lily dies anyway and now Snape lives in the bitter cynicism most commonly seen in characters from Game of Thrones. He’s Dumbledore’s agent and sort of a Dirty Harry character, getting to see all the nasty things that many of the other order members never have to deal with. He’s one of the more intelligent characters in the series, able to see the truth of the world he lives in, but he also doesn’t care enough to actually do anything about it. He’s a bitter, resentful, and angry protector of Harry Potter, choosing to hate a naive child for all the reminders of his own terrible life (both in Lily, for failing and betraying her, and in James his most hated rival and tormentor). He gleefully enables the favoritism of Slytherin (my god how he panders to Draco Malfoy) while tormenting poor Neville into terror (that Neville’s greatest 13 year old fear is Snape is very telling).

Basically by the time we get to him in canon Snape not only isn’t happy but I think he doesn’t want to be happy. He’s accustomed to his bitterness, his cynicism, his quiet rage and moves forward out of both resignation, guilt, and a sense of obligation to a woman’s ghost. The actions he takes in canon aren’t so much for Harry as they are for the memory of Lily Evans.

Even if Snape could be happy at that point, change his life or his purpose, I do not think he would. He’s a man who has given up on life.

Now, onto Lily Evans.

You probably think I’m going to rail on her to for the sheer hypocrisy and nerve of marrying James Potter. I’m actually not. Lily Evans is one of my favorite characters in the Harry Potter series and probably the one I’d label as the most moral (though that’s a very low bar in Harry Potter, the characters are almost all assholes, but even so Lily would still be very high on the list).

You know what, I’m just going to damn myself and sound like a crazy person. Lily Evans always reads to me as a more moral young female Tom Riddle.

What the hell? You undoubtedly ask but I’ll explain.

Lily, while having a far more stable homelife than Tom Riddle, also comes from a muggleborn background. She’s exceptionally brilliant, very good looking, and very charming with a lot of people who would call her friends but no one close. Lily, aside from Snape (and that’s debatable), has no friends.

If Lily had not been a Gryffindor, and were Dumbledore not a raging misogynist, his Tom Riddle bells likely would have been ringing with her.

“But wait, that can’t be right!”

Oh, yes it can. First, as I went into above with Snape and Lily, there was something deeply wrong with that friendship. I believe they both considered themselves best friends, didn’t see many of the warning flags, but ultimately we see the giant fissure when Snape lets loose the m-word. Given all of that, I would not label them having been true friends in the first place. Just the appearance of friends.

Otherwise, while it’s very easily to canonically point out James’ friends it’s incredibly difficult to do so with Lily. First, people hardly remember Lily. We get Dumbledore talking about her like she’s the Virgin Mary, saving her son with the power of her love. We get Snape’s weird Virgin Mary impressions of her. Otherwise, it’s pretty much just Slughorn. Everyone else remembers that she married James and that was great because JAMES WAS SO COOL and that she had very striking eyes and was “nice”. Lily is less than a ghost in Harry Potter canon (sadly Harry never really realizing it).

Also, unlike James who has Sirius, Remus, and Peter to point towards (that are very important characters in canon). Lily has no one. The godmother was Alice Longbottom, a woman many years older than Lily and James who probably liked Lily well enough but I can’t imagine was a close friend. In canon there’s an offhand mention of two girls named Mary and Marlene but we don’t see much of them/Severus was always cited as Lily’s closest friend. As for Lily’s sister, well we know they’re estranged. I think it’s very telling that Lily writes a letter to Sirius, James’ best friend and certainly not hers, telling him that James is pouting over his invisibilty cloak. It’s because there was no one else to write.

So Lily Evans is a brilliant girl, who everyone likes and is very charming, but has no friends and led a very lonely and short life.

Here’s where my slack towards Lily comes in.

When she dumps Snape I completely understand why she did so. Snape dropping that word wasn’t simply a mistake, a moment of infinite regret, but something that revealed what he truly thought of her and where she came from. Lily was absolutely right in walking away.

However, without Snape, her closest friend is suddenly gone and the world is cold. As graduation approaches I imagine Lily’s career options become clearer and clearer. While very talented and smart, Lily is a muggleborn, what job she does manage to get (thanks to the sheer nepotism of the wizarding world/lack of jobs) will likely be through Slughorn if she manages to get a job at all. The world is cold and it is cruel and no one seems to even notice.

Cue James Potter. I do believe, probably until seventh year, Lily loathed James, not simply because of the horrifying things he did to Severus (and I’m sure she knew very little of it, Snape hiding most of it from her out of pride and shame), but because he’s just a giant dick. He’d make flirting with her a kind of game and joke to be shared with Sirius, something to hold over Snape’s head, like she’s a prize to be one.

However, by seventh year the werewolf incident has happened, Snape’s retreated further and further into Death Eater recruit land and she’s cut him off, and for all my “James is a dick” I do imagine he calmed down a little. Now that Snape is no longer friends with Lily/after the whole almost murder incident I imagine they didn’t bully him nearly as much as they used to. Though yes, they probably still bullied him, but Lily probably doesn’t know that now that she’s lost contact with Snape. 

James is charming and very good looking. He seems a bit more mature than he used to be. Lily is desperately lonely, living in a world that rejects everything she is, and James seems like one of the few who does support her (that James is more of a ‘pretty fly for a white guy’ kind of support for muggleborns doesn’t hit until later). So Lily is charmed and makes the largest mistake of her life, she and James start dating.

Now, given their extreme youth as well as Lily’s pedigree (say what you like, I don’t think Mr. and Mrs. Potter were thrilled that their son was dating a muggleborn) I imagine the wedding was a shot gun wedding and Lily got unintentionally pregnant. Yes, go ahead and throw fruit at me or call foul, I just can’t imagine they’d want a child that young while in the middle of a war while they’re part of an active resistance movement and only just out of Hogwarts.

Then things start snowballing downhill. Lily and James have just joined the resistance movement, Lily’s son is prophesied to defeat Voldemort, they strongly suspect one of James’ close friends is a spy, and they’re forced into hiding.

In hiding is where I imagine stress runs high and their marriage begins to fall apart. We know from Lily’s letter that James was routinely leaving hiding, using the cloak, so he could meet up with Sirius and Peter (I imagine Lupin’s on the out as they suspected he was the spy). While James might not realize what a big deal that was, I imagine Lily always did, and she begins to realize just what she’s gotten herself into but there’s no way out while in hiding.

Now we go really off the rails into headcanon territory in: what the hell is up with Harry Potter?

In my stories, I often choose the unwitting god route. Harry can’t die because he is a god, he becomes the master of death and always was the master of death. This is an answer, but it’s one that makes canon Harry a god and... I would not want canon Harry as a god. JKR and Dumbledore push the “Lily loved her child so much that it deflected death... multiple times” but this always felt... unsatisfying. Many parents love their children (fathers too, JKR, let’s not make this weird Virgin Mary thing) and yet Harry Potter alone in the history of mankind survives multiple times. 

Most likely, Lily pulled off some insane bullshit with absolutely no resources and minimal education AND EVERYONE IGNORES IT. We do know that Lily crafted the blood wards, wards stronger than anything Dumbledore himself can come up with/than Voldemort can break. Ones that protect Harry not only at home but away from it as it melts Voldemort for simply touching his skin. Lily pulled off the impossible in only a few months and did it right under everyone’s nose.

This makes her easily one of the most intelligent characters in Harry Potter. Probably beating out Dumbledore and maybe tying with Tom Riddle. And Dumbledore tells us, “Your Virgin Mary mother loved you so much, Harry, that it courses through your veins and lights those that would want to harm you on fire.”

So, that’s Lily for you.

Now, that said, I’m probably a bit biased and clearly very lenient with her marrying James. To be honest it took me years to figure out why the hell Lily would ever marry James after what happened with Severus and was always one of those weird canon things I never quite understood. He’s that good looking and charming, I guess, was my response.

The answer I now land on with some confidence was that the world is that cruel and bleak and Lily was utterly alone for two years.

By the way, a side note/plug, of all my stories while head canons do pop up here and there I think “October” is one where they tend to crop up more. It’s a vast AU of canon, but it gives an idea of what I think x character would do in y situation. 

#headcanons #harry potter #lily evans #severus snape #october

[jackoshadows]

Why did Jon Snow refuse the offer of Winterfell from Stannis?

Read Jon XII, A Storm of Swords. An entire chapter dedicated to Jon’s though process on why he refuses Stannis’ offer.  To make it easier I will highlight the relevant parts:

He sat on the bench and buried his head in his hands. Why am I so angry? he asked himself, but it was a stupid question. Lord of Winterfell. I could be the Lord of Winterfell. My father’s heir.

It was not Lord Eddard’s face he saw floating before him, though; it was Lady Catelyn’s. With her deep blue eyes and hard cold mouth, she looked a bit like Stannis. Iron, he thought, but brittle. She was looking at him the way she used to look at him at Winterfell, whenever he had bested Robb at swords or sums or most anything. Who are you? that look had always seemed to say. This is not your place. Why are you here?

The warmth took some of the ache from his muscles and made him think of Winterfell’s muddy pools, steaming and bubbling in the godswood. Winterfell, he thought. Theon left it burned and broken, but I could restore it. Surely his father would have wanted that, and Robb as well. They would never have wanted the castle left in ruins.

You can’t be the Lord of Winterfell, you’re bastard-born, he heard Robb say again. And the stone kings were growling at him with granite tongues. You do not belong here. This is not your place. When Jon closed his eyes he saw the heart tree, with its pale limbs, red leaves, and solemn face. The weirwood was the heart of Winterfell, Lord Eddard always said . . . but to save the castle Jon would have to tear that heart up by its ancient roots, and feed it to the red woman’s hungry fire god. I have no right, he thought. Winterfell belongs to the old gods.

Thorne and Marsh will sway him, Yarwyck will support Lord Janos, and Lord Janos will be chosen Lord Commander. And what does that leave me, if not Winterfell?

Ygritte wanted me to be a wildling. Stannis wants me to be the Lord of Winterfell. But what do I want? Would I sooner be hanged for a turncloak by Lord Janos, or forswear my vows, marry Val, and become the Lord of Winterfell? It seemed an easy choice when he thought of it in those terms . . . though if Ygritte had still been alive, it might have been even easier. Val was a stranger to him.

I would need to steal her (Val) if I wanted her love, but she might give me children. I might someday hold a son of my own blood in my arms. A son was something Jon Snow had never dared dream of, since he decided to live his life on the Wall. I could name him Robb. Val would want to keep her sister’s son, but we could foster him at Winterfell, and Gilly’s boy as well. Sam would never need to tell his lie. We’d find a place for Gilly too, and Sam could come visit her once a year or so. Mance’s son and Craster’s would grow up brothers, as I once did with Robb.

He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me.

And finally:

“Gods, wolf, where have you been?” Jon said when Ghost stopped worrying at his forearm. “I thought you’d died on me, like Robb and Ygritte and all the rest. I’ve had no sense of you, not since I climbed the Wall, not even in dreams.” The direwolf had no answer, but he licked Jon’s face with a tongue like a wet rasp, and his eyes caught the last light and shone like two great red suns. Red eyes, Jon realized, but not like Melisandre’s. He had a weirwood’s eyes. Red eyes, red mouth, white fur. Blood and bone, like a heart tree. He belongs to the old gods, this one. And he alone of all the direwolves was white. Six pups they’d found in the late summer snows, him and Robb; five that were grey and black and brown, for the five Starks, and one white, as white as Snow.

He had his answer then

Jon thinks he could become Lord of Winterfell and make Ned proud. He thinks Ned and Robb would want him to restore Winterfell. He thinks of Ygritte and Val - how he could make a life with Val. He thinks of his precarious situation at the wall - with Thorne and Slynt wanting to get rid of him. He thinks of Sam and Gilly and Mance’s son.

This is important:

When Jon closed his eyes he saw the heart tree, with its pale limbs, red leaves, and solemn face. The weirwood was the heart of Winterfell, Lord Eddard always said . . . but to save the castle Jon would have to tear that heart up by its ancient roots, and feed it to the red woman’s hungry fire god. I have no right, he thought. Winterfell belongs to the old gods.

Stannis precondition for  making Jon Lord of Winterfell is that he has to burn down the Winterfell Godswood and convert to the Lord of Light. Burn down the Old Gods. And Ghost returning at the end of the chapter is what reminds Jon of the oaths he made before the Godswood, his duty to the NW and the Old Gods of the North.

The direwolf had no answer, but he licked Jon’s face with a tongue like a wet rasp, and his eyes caught the last light and shone like two great red suns. Red eyes, Jon realized, but not like Melisandre’s. He had a weirwood’s eyes. Red eyes, red mouth, white fur. Blood and bone, like a heart tree. He belongs to the old gods, this one. And he alone of all the direwolves was white. Six pups they’d found in the late summer snows, him and Robb; five that were grey and black and brown, for the five Starks, and one white, as white as Snow.

He had his answer then

To reiterate, Jon does not refuse the offer of Winterfell from Stannis for Ned, Catelyn, Robb, Sansa, Arya, Bran or Rickon. He does not refuse Winterfell for love of his family.

He does it because of sworn oaths to the Old Gods.

There is only one time over the entire 5 books that Jon makes a very important decision because of love for family - specifically one member of his family. And that’s when he breaks his sworn oaths at the tail end of ADwD to go save Arya from Ramsay Bolton. And yes, he is pretty much walking a thin line throughout the book by helping Stannis and sending Mance out to get Arya - but the end is where he decides to go attack Ramsay as Lord Commander.

So yeah, Jon’s arc is about overcoming societal biases and doing right and leading as just a bastard. It’s about not giving into his selfish impulses and envy unlike his character foil Theon Greyjoy.  

But Jon is also a character who wants to wield power. He wants more because all his life he’s been told he cannot have it by virtue of his birth.

You can’t be the Lord of Winterfell, you’re bastard-born, he heard Robb say again.

Imagine how he is going to feel when Robb then makes him KITN?!

Would Jon refuse being Lord of Winterfell when the same offer is made to him by his beloved brother Robb? Who does not demand that he burns down the Godswood? Who has legitimized him as a Stark? A Jon who has been assassinated by mutineer NW brothers and who has always wanted Winterfell? Who wants an united North to face the threat of the Others? 

It’s okay for Jon to want to rule Winterfell. He does not have to accept the circumstances of his birth - because those circumstances are unfair and unjust.

And yeah, Jon’s not going to be endgame king. There’s a good chance he ends up in the Lands of Always Winter at the end of the series. At the same time, this does not mean that his narrative arc and journey does not include climbing that ladder as high as possible, to the very top. There’s a reason GRRM spend 13 chapters on Lord Commander Jon Snow being a savvy politician, strategist and leader in ADwD.

Jon Snow is going to be ruler of the north sometime during the next two books and Robb’s will is there for a reason.

GRRM SSM, August 2000

Q: I have a question, since Robb actually  legitimized Jon and named him his heir for Winterfell and the North  before the Red Wedding (granted no one knows about this and is still  alive or free, the Greatjon knows as does Edmure, but I dont see them  getting out of the Twins any time soon and Catelyn would probably die  before telling anyone) does this make Jon’s rejection of Stannis’ offer  moot?

A: Edmure and the Greatjon are prisoners, true… but you are forgetting  the envoys that Robb sent to Howland Reed… Galbart Glover, Maege  Mormont, Jason Mallister… they are all alive and free... As to what is and is not moot… the key point is, only a =king= can legitimize a bastard……

#Jon Snow #ASoS #A Storm of Swords #ASoIaF #GRRM #TWoW speculation

[dalasteller]

shadow and bone spoilers! malina/mal fans this is not for you but it’s not pro-darklina either. i’m an alina x alina supremacist

so, somehow, the show made me like book!malina more than show!malina after weeks of thinking the opposite would be true. i don’t even like book!mal/malina, but my neutrality towards them is nothing compared to how much i detested show!malina.

I WANTED THE TV SHOW TO MAKE ME LOVE THEM. the trailers made me think i would!!! i'd heard screeners and reviewers talk about this epic love story that transcends everything—these two people who would do anything for each other—and i don't disagree, they definitely would. i just wish they would shut the fuck up about it.

sorry.

looking back, i'd rather the show gave us mal with flaws, who wasn't perfect to alina, who would die for her, but still said the wrong thing and flirted with other girls and was afraid of her power at first. archie did a great job. he just couldn't make me love mal, and neither could the writers opting to make him main character no. 2 and alina’s prince in shining armour who supports her endlessly and has never done anything wrong in his life ever. writers, please, why did you think that was a good idea? when i said i wanted a more likeable mal, i meant i wanted his flaws accompanied by positive traits, by compelling backstory, by personality outside of being alina's hot best friend who never noticed her. i didn't mean i wanted a guy who could be wrapped in a gift box and sold as a robo-boyfriend designed for romance.

no, i mean, they really did write him that way.

what i definitely didn't mean i wanted was over an hour of the show dedicated to watching mal’s perspective of hunting the stag and making besties with his military bros and writing letters to alina and getting shot at a bunch of times instead of letting the book characters who were already beloved by fans get the screentime they deserved. what i wouldn't do to have gotten more genyalina and well-written zoya instead of mal dissecting deer shit...

you would think with how much talk about malina basically being soulmates, childhood flashbacks, fighting and nearly dying for each other at least four times (and did i mention more narration about being soulmates?) that i would take the bait and just let malina set sail. but this show held me at gunpoint for eight hours straight and told me that these two are going to have the same cultural influence as new romeo and juliet and that if i disagree i am going to be killed on the spot. because of this, i have now died.

don't tell me what to do, narrative, because i'm not going to do it!

i am also annoyed that they took the time to redesign mal in perfect childhood-friends-to-lovers dreamboat fashion but refused to retcon zoya's stupid misogyny-fueled bitchy YA girl arc and instead made it even worse by having her be racist to alina? what was the thought process there? they seriously fucked her over. i tried to pretend it didn't happen moving forward but why do they want to use racism as a tool for developing a "bully" character anyway, especially a woc? am i meant to forget about it? they lost me there. i feel like the female characters, with the exception of inej, generally weren't given the same care the male characters were. there was a lot of sidelining in favour of mal's redemptive rewrite and the darkling's 15 minutes of half-assed backstory and crying in every scene for some reason. “make me your villain” .... okay, simpboy, i’ll try my best.

i've already talked about why i hated mal's role (i clarify his role, not his character, because there was literally nothing wrong with him and that’s why i hated him so much) but i'm going to address it from the perspective of my love for alina and why i think this decision was so disrespectful to her. alina in the books was already in need of more characterization, time for herself and her internal development as opposed to her relationship with the three male love interests she acquires through the series. somehow this show took a main character already underused in her own story (though at least the books are told from her pov) and neglected her even further. alina is tied almost entirely to her male counterparts, mal especially, but i'd say the darkling is used as a narrative rebound. i think they both have chemistry and can serve a purpose in the story but the emphasis on codependency is impossible to ignore.

in the first four episodes, every scene that could have been alina struggling to settle into a new life and dealing with the emotional weight of her pressure as a saint was instead about mal. she writes him letters, and cries over him, and slips him into conversations that have nothing to do with him, and gets sad after slipping him into conversations that have nothing to do with him, and can't use her power because she's thinking of him, and then only decides to fully accept her power because of his absence.

alina's feelings are lended to nothing but her missing mal. he isn't just her best friend and love, he's this colossal piece of her identity that she doesn't get to exist without, even when he's gone. the show's exhaustive attempt to make mal loveable and make malina an epic love story turns our female protagonist into a sulking, miserable shell of a character everytime he's mentioned, which, by the way, is like, every two minutes. and apparently it's necessary to draw parallels to the same three flashbacks in all of them. i knoowwwwwwww, they held hands and now they can't anymore, i knowwww. they ran through a meadow, i knowwwwwwwwwwwwww.

watching her scenes almost drove me to printing out a bechdel test and ticking off as many boxes as possible.

i hated it. it made me sad.

i wanted more alina. i want her power to be her own. i wanted that tension between her and mal in the books because his flaws gave her a chance to stand up for herself and say that she liked being powerful. that summoning is a part of her and she would never give it up. that there was a tinge of corruption, of greed, of wanting to be the sun summoner, and it was intriguing! mal's issue of not accepting alina's power allowed her to express how much it meant to her. i wanted the alina who said "the night was velvety black and strewn with jewels. the hunger struck me suddenly. i want them, i thought." i wanted a hint of the sun summoner who decided when it got dark and relished in it (yes i know this can be expanded upon in s2). alina has a cocky side, her insecurities are explored and she finds strength in her new gift and eventually has to find strength outside of it, but in the show the catalyst to her powers is mal. always. is it romantic? sure. but it's hard to enjoy the romance when all we see of alina is her romantic connection to mal. can't she be more than that?

#anti malina #i dont use tumblr and i hate discourse so just block if this take bothers you because i can’t be asked to engage in an argument on here #sab spoilers #shadow and bone #shadow and bone spoilers #tgt #alina starkov #anti malyen oretsev

[nellie-elizabeth]

First Line Meme Rules: List the first lines of your last 20 stories (if you have less than 20, just list them all). See if there are any patterns. Choose your favorite opening line, then tag 10 of your favorite authors!

tagged by @lizardkingeliot. Thanks!!! <3

This is going to be fun!

1. The Production of Penny. SPOILERS for A Comet Pulled From Orbit.

For the first several weeks, it’s just impossible to meet her. Penny will feel bad about it later, but he can’t take in any new stimuli when his entire body, mind, soul is shivering in the exposed light, trying to adjust to a reality he’d given up on returning to. He holes himself up with his family in one of his favorite places, a small house in Alaska, of all places, that he’d only just acquired and made comfortable when he’d—when he’d gotten himself trapped somewhere else.

2. The Way a Fool Would Do

You never really know what you’re getting into, when you choose to take a soulmate. Before Quentin had bound himself to Eliot, he’d been forced to endure the normal barrage of questions from the Fillorian Soul Council, and then a separate barrage of questions from his cousin Julia, who had nitpicked his choice down to the marrow, pouring concern after concern into Quentin’s already terrified brain.

He’d been so frustrated with her at the time, but in retrospect he can’t blame her for her caution. The fact is, no matter how much you prepare, no matter how much you think you’ve thought it all through, binding another soul to your own is unlike anything else in the world. It is impossible to know how it will feel until it’s already too late to turn back.

3. The Genesis of Julia

She decides, while watching the 1984 Summer Olympics one lazy day, a magically cool glass of lemonade on the table beside her as she lounges back into their comfiest armchair, to master gymnastics. The decision is made more or less on a whim; this is how Julia decides how to spend a great deal of her infinite life minutes, truthfully. She’s organized and meticulous once she knows her goal, but when it comes to finding said goal, it’s all about what strikes her fancy.

4. The Construction of Kady

The dust took a couple of weeks to settle, after Kady’s abrupt departure from her old life and chaotic intrusion into her new one. She’d been in the middle of war with her own people when she’d died for the first time, and the others had found her desperately attempting to steal magic from a rival hedge group in order to survive, too anxious about her own life to properly mourn for her mother’s death, and certainly too caught up in her own frantic mind to trust any of these new people, much less believe them about their immortality, or her own.

5. The Origins of Alice

There was no way to prepare for something like this. There was simply nothing she could do, nothing she could write down, no refinements she could make, that would help her to be more ready for what the morning would bring.

Alice hated that very much, of course.

6. The Creation of Quentin

The object in question was beautifully rendered, detailed and precise. A burnished color, the cool weight of it reassuringly solid in Q’s hands as he examined it, turning it over and over in his hands. This one wasn’t even particularly old; it looked to be a sixteenth century model, and Q had seen older and more beautiful in his time.

7. The Making of Margo

When Margo first met Alice, she understood her immediately. That wasn’t to say that Alice was boring, or predictable, or that there was nothing Margo had to learn about her. It wasn’t that at all. It was more that in meeting Alice, Margo was able to take one look at her and think to herself: ah, now this I know what to do with.

8. The Explanation of Eliot

El was afraid of heights, but only a little.

He could fly, after all, and that should have made fear illogical. But if anything, his ability to subvert gravity was the very reason for his nerves: he’d never been able to trust himself with anything, much less his own life or the life of others. The few times his telekinetic powers had been called in as a means of escape or rescue, when he’d held an innocent stranger or beloved family member in his arms and floated with them down from the side of a mountain or building or cliff face… well, those were the things he had nightmares about, on the rare occasions when he could remember his dreams. It was that sensation of freefall, of knowing it was magic, something inexplicable, deep in his consciousness, in his soul, even, that was the only thing preventing sharp, painful, deadly impact. He knew himself well enough to know he should never be trusted with something so precious as the life of another.

9. A Comet Pulled From Orbit

Alice Quinn woke up.

This was an unexpected development, considering the events of mere moments ago. Specifically the agonizing thirty seconds she’d spent bleeding out on the carpet, wondering in an abstract sort of way how long it would be before someone thought to look for her and found her mangled corpse tucked into the corner of a Brakebills Library study room, surrounded by the shredded remains of several large magical tomes, and her carefully collated notes.

---

Pausing here for a moment after the first 9 - eight of them are all part of one series. The main story, A Comet Pulled From Orbit, is an Alice POV AU of The Old Guard. Prominent Queliot subplot, some burgeoning Kalice and other ships as well. Lots of found family, etc. The other stories, all the ones with the seven main characters' names in them, are meant to be a series of small snippets to fill out that universe, backwards and forwards. I'm noticing that I do a lot of setup, I don't often start in medias res with any of these, trying to set a tone and get the information started right away. Each of the chapters of the snippet stories could be their own thing, so it's a little weird to consider it the start of a bigger story!!

Okay, moving on to earlier stories.

10. is it too late (or could this love protect me)

This is a story about nothing and everything. It is a story between then and now. It is a story of people living their lives, living them, and living them, and continuing to live them, with only some pedestrian heartbreak and alcoholism and good old millennial economic angst to add some variety to the humdrum of continued existence.

This is a story about stupidity, and love. Stupid love.

(A/N - hmm I kinda hate this beginning now even though I'm SUPER proud of the story as a whole)

11. Maybe This Time

"Quentin Coldwater?" Eliot says, twisting the name up in his mouth like an insult.

Give him a break - it's a weird fucking name, for one thing. And besides, the off-putting demeanor is an intentional scare tactic.

12. Beyond the Veil

"Do you think the Lorians would want a seat at the table?" Fen asked doubtfully, looking over the charter in front of her.

"Well, they're going to want to review the language, at any rate," one of the advisers put in. "Especially the order of the names."

"But it's in alphabetical order!" Margo said. "Fillory comes before Loria - sorry, not sorry."

13. Running All This Time

Quentin was sweet. There were a lot of words that Eliot could think of to describe him, several of them a lot more besotted than he was comfortable with, but sweet was an apt descriptor, generally speaking.

He had the softest little smile, and wide brown eyes that crinkled up in the corners when he was happy. He had strong yet gentle hands, hands that were somehow mesmerizing as he flapped them around wildly during conversation, trying to paint pictures in the air to accompany his latest rant about whatever-the-fuck. His voice was calming, his circular logic compelling, enough so that Eliot found himself listening - really listening - whenever Quentin was talking to him, even if it was about the Plover books and what they suggested about this time period in Fillorian history, or the politics of trade when it came to buying labor from talking animals, or how he may have come up with a better tracking system to mark down the mosaic patterns they'd already tried. Dry, uninteresting stuff, really. Which is what Eliot told Quentin, with an eye-roll, to stop him from getting a big head.

14. To Feel the Same

Quentin finds Eliot sitting alone in the armory, surrounded by books.

Something tense and frantic inside of him unclenches, like it always does around this man. It’s actually a remarkable thing, because by all rights Eliot should make him more nervous, not less. Quentin is a nervous person, after all, and Eliot is so… Eliot . A High King in his blood. Quentin had meant that, when he said it, and had drank in the gratitude in Eliot’s eyes like a glass of pure, crisp water, essential and quenching.

15. Identity Theft

The first thing the man noticed as he came to consciousness was that his head was pounding. It felt like the worst hangover he'd ever had, times about a million, and for several seconds all he could do was lay there and gasp and wait for his eyes to adjust. He appeared to be in a semi-dark room of some sort. It was large, with a cavernous ceiling above him, and the air was drafty. Like a garage maybe, bigger even - a warehouse?

The second thing he noticed was that he wasn't alone in the room. There were shapes all around him, rustling and making confused, pained sounds. After a few moments of this, there was a whoosh of energy and an orb of light floated above his head, illuminating the space in a soft glow. Someone in the room had cast a simple light spell. He looked around and sat up slowly, trying not to jostle his still pounding head. His next observation was that pretty much everyone in the room with him was kind of stupidly attractive.

16. Promises

Quentin gets about thirty seconds alone in his bedroom in the cottage, before Eliot is bursting through the door without knocking. It's not that he wasn't expecting him to take it hard, but seriously - can he not give Quentin just a couple of minutes of peace?

"This isn't happening," Eliot says without preamble, slamming the door shut behind him. "I'm sorry, Q, but it's not."

"I honestly don't think it's your decision to make," Quentin says, running a tired hand over his face.

17. The Curse of the Broken Vase (aka The One Where They Get Married and Nothing Goes Wrong)

Quentin was pacing.

He was pacing, and he was tugging his hands through his hair, which he really shouldn't be doing because it had actually taken a hairdresser an annoying amount of time to brush it out and tie it back, and apparently it was perfect now, even though Quentin couldn't really see how it was different from his normal lazy bun, but whatever.

There would be people, Eliot included, who would be annoyed with him for messing up his hair.

18. Liquid Courage

Eliot was fidgeting. Which was unusual, and generally not a good sign. But it still wasn't much of a warning, Quentin had thought to himself later, given what was about to happen. Then again, Eliot had been acting strangely all week, a little distant and distracted, and Quentin had known his partner was working up to discuss something with him.

Quentin had been worried, of course, but in an abstract sort of way. He figured whatever it was, the two of them were more than equal to the challenge. Given everything they'd been through over the entire course of their relationship, he really couldn't imagine any piece of news that would be capable of obliterating their lives.

19. Reciprocal

The thing about Quentin Coldwater was that it was pretty much impossible not to love him. Honestly, it wasn't even Eliot's fault - how was he expected to spend every second of every day around such a beautiful, adorable, kind person without letting it get to him? And the sex. Well. That was fucking incendiary, which really wasn't helping his resolve in the love department.

20. Fragments

It was a perfectly normal morning in Fillory. Which, honestly, should have been Quentin's first warning that things were about to go very, very wrong. Fillory was many things, but normal was not one of them: Q had gotten used to being woken up by harried castle employees, alerting him to one catastrophe or another. The Serpent War had ended months ago, but the paperwork was still pouring in like it had never stopped. His official role in the government wasn't supposed to have anything to do with the war efforts, but it had been an all-hands-on-deck situation for the last year or so.

---

Oh my goodness, this took me back to almost my first story in this fandom! I have 22 Magicians fics posted, so that's almost all of them...

I think my favorite of all of these is Maybe This Time, just because I like starting off with such an iconic moment from canon. It's the kind of fic that I hope resonates with people differently upon a re-read, and I like the strong, instantly recognizable hook. You read that first line and you know where you are, but you have no real idea where the story is about to take you.

I've also had a lot of fun writing Julia in the Comet 'verse and I like her opening line to the first snippet I did for her!

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I'll tag @hmgfanfic, @ameliajessica, @hoko-onchi-writes, @freneticfloetry, @honeybabydichotomy, @allegria23, @spiders-hth-is-an-outlier, @rubickk7, @portraitofemmy, @propinquitous, and all others who want to!!

#queliot #the magicians #my fic #my posts

[the-signs-of-two]

Do you think there are still hopes for season 5? A lot of articles claim that there is no future for sherlock holmes and that we should give up our hopes of season 5. Thoughts?

Ouf.

Tough one. And a long one to answer. But I want to be truthful and thorough.

Based purely on advertising and how keen people are to keep audiences invested, I don’t think they’re allowing us much hope. It’s been almost four years and they’ve done very little to maintain any kind of hype or interest, perhaps with the exception of keeping the escape room going. The sad truth of it is that a show will rarely get picked up for a new series if the majority of viewers have moved on. And they’ve done very little to keep their viewers excited about the prospect of a series 5.

Then, of course, there’s the elephant in the room, whether you’re a hardcore TJLC’er or a casual viewer: the fact that series 4, on a surface level, was just... not very good. It looks and feels disjointed and very different from the previous series and casual viewers don’t want to spend hours and hours trying to figure out if it was actually better than its surface narrative. That sort of thing - taking a long hiatus, hyping a new series by saying it’ll be television history and then delivering a somewhat lukewarm product - drives viewers away. And like I said, if most viewers no longer care, chances are it won’t be picked up for a new series.

That’s one way to look at it. But what about the actual story?

The show is called Sherlock. And I think, putting my Johnlock-glasses to the side, you could actually argue that Sherlock does come full circle. In series 1, Sherlock is driven almost entirely by his logic. He’s arrogant, cocky and he makes a show of being disdainful and unfeeling, even if you get small glimpses showing that that isn’t actually who he is. With every series, Sherlock has moved further away from that and become a softer, more emphatic version of himself - a version of himself who cares more about making his close ones happy than about making himself look cool and mysterious. Series 4 does seem to complete that narrative. They made Eurus into the synthesis of everything Sherlock was and tried to be in the beginning of the show and turned that against Sherlock - and I actually really like that. I think it works. When Sherlock says that they’re “experiencing science from the perspective of lab rats”, we’re reminded of the time when he would do something similar: when he would pretend to be Ian Monkford’s friend to get information from his wife, when he would scare/traumatise the already traumatised headmistress to get information on two missing children, when he would compliment Molly’s hair to convince her to show him two bodies. In each instance, it was to do good, to get ahead in a case, but it was also a coldly calculated piece of manipulation, one which Sherlock showed zero regret for. The way he acted in first couple of series hurt other people - sometimes you wouldn’t feel any remorse for them, but sometimes it was Sherlock’s closest. Let’s take the most obvious example: locking John in a lab after (as far as he knew) drugging him, then providing him with sound effects and watching what would happen on the monitors. Don’t you think John experienced science from the perspective of a lab rat then? Sherlock is a different person now, but TFP also forces him to come to terms with the consequences of his previous behaviour. He has to confront logical problems - kill one man or three men, kill one man or two people will die, save Molly’s life etc. - but he has to face the emotional consequences of those logical decisions. He can’t just look away as he used to do. Seen in that way, I actually think TFP does provide a poignant culmination of Sherlock’s character arc. When Lestrade says that Sherlock is now a good man rather than a great man, it does feel earned.

However. Then there’s... well, everyone else. I’m pretty sure I could tell you what John’s character arc was all about in HLV. If this is the end, I no longer know what his character arc was. John makes horrible decision upon horrible decision in series 4. A cynical reading would be that he’s “stupid for the plot”. They needed to drive a wedge between Sherlock and John for TLD, so they didn’t care that John’s decision to blame Sherlock for Mary’s death in TST makes absolutely no sense. Then there’s the morgue scene, which... To be fair, it has actually been foreshadowed that John is a violent person. That he has very bad aggression issues and that he deals with a lot of anger in a physical manner. Sherlock isn’t perfect, but John certainly isn’t either. And I actually think the morgue scene could work in that light. Hear me out. Sherlock has done bad things to John, he really has, and all those things have been in line with his character and a reflection of his flaws. John beating Sherlock up could work in the same way. But it HAS TO BE ADDRESSED. When Sherlock does something morally reprehensible and psychologically scarring, it’s not presented as acceptable. When Sherlock locks John in the lab, you FEEL that what he did was unacceptable. John calls him out for it and it’s discussed. And this happens a number of times and each time, Sherlock shows more and more regret for his actions. He begins to apologise. He begins to try to change. If the morgue scene is going to work as a low point in John’s morality which prompts him to feel regret and try to change, it needs to be presented that way. It needs to be presented as bad (it is), it needs to be presented as a low point (it is), but it also needs to be presented as unjustified, unacceptable and inexcusable. No matter how you feel, beating up your best friend is never okay. Just as no matter how badly you need to solve a case, experimenting on your best friend by subjecting him to a terror-indusing drug and locking him up to examine the effects is never okay. But John isn’t called out for this and it’s never discussed. That leaves John with no incentive to change, no moment of remorse and regret, no need to make amends. So, in a way, the series leaves him at his absolute lowest. Which isn’t a character arc, friends.

Then there’s Molly. After the most heartbreaking betrayal of all time, the series just... ends. Like, she’s there at the end and it’s all fine. The part where the man she loved told her to tell him that she loved him FOR AN EXPERIMENT and then she took the opportunity to make him say it in return, clinging on to those three words like her life depended on it... yeah, that happened, but he presumably told her that he had to do it and it was all fine. No lasting emotional damage or mistrust there.

You could argue that Mycroft does come full circle too. In TAB, he decides to relinquish control over Sherlock and instead tells John to take care of him in his place. In TFP, he goes all the way and decides to die to let John live. In doing so, he acknowledges that Sherlock needs John more than he needs Mycroft, but also that John is better for Sherlock than Mycroft ever was. After a lifetime of controlling and watching over Sherlock against his will, he finally decides to let Sherlock go live his own life and make his own decisions. And he proves his love by being prepared to die to give Sherlock happiness with John.

So... yeah. I think some character arcs did actually come full circle, while others definitely didn’t. I just took the most obvious examples here.

As a background story for the Holmes family, I don’t really think it works. To me, it doesn’t explain why Sherlock and Mycroft are the way they are - and it certainly is weird that their parents seem so normal and unconcerned about the whole thing. Buried trauma is definitely a thing, but there doesn’t seem to be any obvious correlation between what happened with Eurus and who Sherlock was at the beginning of the series. As for Mycroft... I honestly don’t know how he feels about Eurus, apart from the fact that he’s scared of her.

Then there’s the part where John flat out tells Sherlock that a romantic relationship would complete him as a human being. This goes completely unresolved. Are we meant to assume that Sherlock called Irene after this conversation and they got together? 1) Why should we assume this? And 2) effing straight culture, let him be gay, because he is.

To summarise... I don’t think TFP works as a conclusion. Some things are resolved, some are not. I think there’s so much story and plot left unresolved that a series 5 would definitely have story points to work with. Also, once you’ve said that a character needs a romantic relationship, you need to go through with that or it turns into a major hole in said character arc.

Getting a little more tinfoil hat-y, I think the television history, gut-punch moment could be a recreation of the circumstances around The Final Problem. The Final Problem seemingly finished the Sherlock Holmes stories by having Sherlock die. People were outraged and deeply upset. It took ten years for ACD to undo it and reveal that Sherlock had actually survived. Trying to recreate the atmosphere surrounding a beloved piece of literature in 1893 - that sort of thing has never been attempted before and would be television history. And in that light, it would make sense that they aren’t encouraging the rumours surrounding series 5. They need to make people think that Sherlock is “dead” if they are going to resurrect him. That’s the tinfoil hat speaking, but I can’t help but find it an intriguing idea. And I would be DOWN.

Still, they didn’t need to make series 4 bad for this to work. They could have just made it end sadly. Series 4 being bad and difficult to understand lost them a lot of viewers. And sadly, viewers are what make shows happen. In that sense, I think it could backfire very severely if that is their plan.

So there you have it. I haven’t lost hope. I think there’s still story and plot and characters that would make series 5 worth making. And of course I’ve only discussed surface narratives in this post. If some of the theories proposed by us (EMP) should turn out to be correct, it could fix a lot of the problems with series 4 and make for a fantastic gut-punch moment in series 5. But I will admit that I’m concerned it won’t be greenlit because people have lost interest. If it’s no longer likely to have a large audience because series 4 was bad, they may not be able to make it even if that was their original intent. Or they may need to really amp up the hype when and if they make series 5.

I hope this long ramble answered your question.

#Sherlock #BBC Sherlock #S5 #my thoughts #anon asks

[spaced0lphin]

Massive Speculation

On N7 day of this hellscape of a year, BioWare announced they were making another Mass Effect instalment. Naturally, being sat up here in the bridge as I am, it gives me a lot of time to speculate and here are my thoughts on the wider picture.

These remasters are intended to revitalise the fandom for the upcoming project.

That much, to me, seems obvious. Whatever this new instalment is, it’s some years off and it makes perfect sense to give something to the (not insignificant) fanbase Mass Effect still has to attract them again, as well as new fans. These remasters will be well positioned to buy them a few years of good “fandom time.”

This upcoming instalment after the remasters is going to be Mass Effect’s last hurrah.

And maybe, as much as it sucks to say, BioWare’s last hurrah in its current form, too. It’s no industry secret that BioWare has outlived its life expectancy since the EA takeover. EA notoriously acquires and dissolves spirited, highly skilled studios once they stop being profitable (and sometimes even before that.) Unlike films, where franchises are just allowed to limp on indefinitely despite litanies of failures (think Terminator, Alien vs Predator and its ilk) games “enjoy” no such luxury. Beloved franchises are taken out behind the barn on the regular. BioWare’s productions in particular are large, grand, expensive, and alarmingly the past two have been both critical and commercial failures, vastly underperforming expectations. Mass Effect: Andromeda sold well initially, but proved to have no legs in the market; so much so, that all its DLC was cancelled and the title unceremoniously shelved. Anthem suffered a very similar and drastic fate. Whatever this upcoming Mass Effect title is going to be, it needs wide, iconic and lasting appeal.

Mass Effect can only be a flagship title.

There is no way to make a cheap Mass Effect game, and so all the stops are going to have to be pulled for this one. The studio learned a painful lesson when they left ME in the hands of their passionate, yet relatively inexperienced branch. Narratively, that puts the upcoming title in a very interesting place.

Mass Effect: Andromeda 2 is not a safe investment for a flagship title.

It doesn’t make a lot of sense to rile up interest in the ME universe again just for the next offering to be a sequel to the broadly disliked and violently shelved Andromeda. Such a decision seems counterintuitive. ME:A seems like a very bad basis to hitch a project of such importance on.

In terms of Mass Effect, what is more iconic than Commander Shepard?

As discussed, the new title is going to need to capitalise on broad appeal and fan favourites to survive. Mass Effect: Andromeda’s premise of sidestepping the whole Reapers debacle by being pioneers seeding the stars in a new galaxy was an excellent idea. Unfortunately, that ticket has been used up. Doing that same idea again seems ill-advised at best. Fandom has been hungry for more Commander Shepard for almost eight years, now... Easily, they and the N7s are the most recognisable, iconic figures. But, and it is a krogan sized “but”...

However, the endings were not meant to be written around.

Whatever you think of them, each “candy flavour” has far-reaching consequences that narratively speaking would be intensely difficult to write a meaningful and interesting continuance for. I’m not saying it isn’t possible, but it is extremely challenging and I think the only way to go forward with that would be to piss off a lot of people, for lack of a better term. It presents several challenges: 1. Okay, so the protagonist is Shepard. How? We have to pick the only path forward from here, which is to say that only the Shepards who chose this particular colour candy ending can proceed. This essentially makes one of the decisions the “canon” ending, because you can only make a game based on one of these outcomes, realistically. Scope becomes too huge if you’re trying to include all the branches. So... we are faced with the age old problem that caused such outrage over the endings initially... a lot of people are going to feel like their choices didn’t matter. This said, there is a slight precedence for this in that one could get their squad and themselves all killed in Mass Effect 2, and only my man Joker is left. That’s a bit of a different situation, but it’s all I got. 2. Okay, so only the Shepards who chose x ending can load their save and continue on. Shepard doing what? N7s are an interesting concept and the Mass Effect universe is a very interesting one with many kinds of narrative possibilities, however, it’s a real pretty corner the writers have painted themselves into on this one, gotta say. This leaves only two other narrative possibilities: 1. The least interesting of all the options, a prequel. This presents challenges of its own, because in Mass Effect’s own lore, it’s not actually that long ago that humanity came into contact with the rest of the galaxy. You can either write about the First Contact War, which involves only humans and turians and shrinks the scope drastically so much so as to be disappointing and lose much of the colour of the universe... or you go so far back into the past that it’s the Protheans’ cycle, in which case there’s no opportunity for a human protagonist - which is a massive problem - and is narratively not very compelling because we know everyone and everything dies, unless you want to do something stupid like time travel. Mass Effect is already high concept enough, I don’t think time travel is a particularly good mechanic to introduce to the series... Unless it’s short-term and single-use, like Shepard has to stop themselves from making a choice in the third game’s era. Even then, that’s opening a big can of worms that I don’t think is a good fit for the series. 2. Mass Effect: Mandalorian The only way to retain the colourful scope, the human protagonist, and the aliens we’re familiar with is ditch the iconic N7 situation entirely and set the instalment maybe 5 or 10 years before Shepard’s time. This ensures humanity is still an up-and-coming member of galactic society, yet the whole Reapers business isn’t going on yet. They won’t go for N7s because as we know, Shepard was the first human Spectre, so the protagonist could be some kind of smuggler, criminal or vigilante rather than military. Touching on what fans loved so much about Mass Effect 2, which was the feeling of getting together your motley crew of misfits to do a real big job, your role could simply be to amass a group of space jerks to do a mission of much smaller scale than the Reapers’ plotline, but no less fun. I’m going to bet it would be called something like Mass Effect: Renegades (you can have that one for free, BioWare) and the player could be pitted against C-Sec and other galactic law enforcement agencies. This even gives the opportunity for small cameos, such as Garrus’ time in C-Sec, and other characters to appear in different points in their careers. Whilst it wouldn’t make up for the loss of the iconic N7 visual and idea, it might go some way towards helping broad appeal. Also just look at how successful the Mandalorian has been for Star Wars. The only reason I don’t like these ideas is because I don’t get to date Joker in any of them. Seriously, BioWare, I don’t care what you do, just let me date the damn scruffy pilot. Not a different one, that one. Specifically. You could get an impersonator if Seth Green doesn’t wanna do it. Say his voicebox got damaged, I don’t care, just something, please In all seriousness though, I’d love for Shepard to come back. My ideal situation has to do with only one of the endings being “canonised” and is that Shepard somehow survives. Then it’s about rebuilding the galaxy after the Reapers have gone. I’m sure there’s drama to be had in that. And it gives me the opportunity to hope for Shepard to finally, FINALLY hook up with Joker. Seriously it’s so narratively powerful they’re always there for each other come on give me this I think that option would be challenging to write and would involve a sacrifice of pissing some fans off quite a lot, but the fact is, Mass Effect needs to be saved if it’s going to continue on, and it might be possible to orchestrate a situation where Shepard passes the torch on to new characters at the end. That’s also a common theme in shows and games these days.

#Mass Effect #mass effect speculation #Mass Effect 5 #but seriously whatever you do just let me date joker ffs