#and also moments where they truly doubt the antagonists ability to be good

[redwinterroses]

bangs hands on table. More Rambling now i'm going ham waiting for people's words ~@betweenlands

Okay, okay! Home from work now, and I write rambly thoughts about creeper-hybrid doctors in space.

So. Doc thoughts for Dog at the Door – all of these are given with the caveat that the fic isn’t finished and I reserve the right to be wrong about any and all of this. Also please excuse if this sounds like an English paper because it kinda feels like one. In my defense, I’ve written about seven thousand of those and have the diploma to prove it.

(Imma just put the cut right here because I already know this is gonna be a long one.)

Doc is, for all intents and purposes, the protagonist of Dog at the Door.

“Protagonist” doesn’t necessarily equal “main character” after all: Sherlock Holmes is the main character of Arthur Conan Doyle’s stories, but he’s certainly not the protagonist. That honor falls to the ever-delightful Dr. Watson. Dog at the Door is about Rendog and the Red King. They are the plot, the main character, and their own antagonists all rolled up into one. (Two? One.)

But Doc is our protagonist. And what’s interesting is that (at least so far) he doesn’t have a typical “character arc,” which would be something like “Character A has a belief or a normal state of being, that “normal” is challenged, and they either overcome or succumb to that challenge.”

Doc... doesn’t really have that. Again, the fic isn’t over and possibly something else will come up to change my mind, but for the moment Doc is the one character who doesn’t change on a fundamental level nor has a reason to do so. (Well. And Renbob, who at least thus far is really more set dressing than an actual character.) The dynamic character arc(s) belong to Ren and RK.

Doc is the one with a flat arc (which is a dumb term but let’s examine it.)

A flat character arc is someone who already knows their truth at the beginning of the story, and they use that truth to guide them through whatever doubts the plot throws their way. They change the world through their truth, rather than the world changing them. (Diana in Wonder Woman has a flat arc. Elinor Dashwood in Sense & Sensibility has a flat arc. Flat arc does not mean flat character.)

Doc’s truth is that Ren is his friend and he’ll do anything to help him. Along the way, he discovers new information and makes a new friend (?) in the Red King, but none of that changes his core truth: I help my friends.

Doc’s loyalty to his friends is like... his defining element. It’s what drives him, as far as DatD is concerned. There’s two moments that really showcase that for us, the first being this exchange between Doc and RK in chapter 15:

“Tell me you won’t hurt them, RK. I won’t back down otherwise.” Another step.

“…Even if I said no, you’d crawl out of your grave to save your friends. [...]I’d win. But you’d keep coming back. Defying death for the devil.”

And then this between Ren and Doc in chapter 16:

“I’m not supposed to be back, Doc. Did you make a bargain for me? ”

Doc breathes in. “I didn’t. You know I would have. But I didn’t.”

Crawling out of his grave to save his friends.

Huh. Who else does that sound like?

“You know I would have [made a bargain to save you].”

Man, RK has a type, I guess. Self-sacrificing, too-noble-for-their-own-good dudes who are willing to face down an actual blood god on behalf of the people they love?

Yeah. Ren and Doc are two peas in a pod – or two half-cyborgs in an RV in space, if you’d rather.

(*sidelong glance at Martyn* Mm-hm, I’m 3-for-3 on this analysis.)

But here’s the kicker: Doc hasn’t been given the chance to make the same mistakes Ren did. (yet? Apollo/Fluffy-Solar dni.) He probably would, if put in the same situation, but Doc hasn’t lived through anything that makes him go “Okay, the best way to protect the people I care about is to do this.”

So Doc isn’t living with the same second-guessing and guilt and this... whatever emotion Ren has right now where he’s like “I was right and I regret it all because it was a huge mistake but I wouldn’t take back a bit of it.” I don’t know if English has a word for that. Either way, Doc isn’t laboring under that burden – therefore his core truth is never truly challenged.

Ren’s arc (as far as I can predict it) is going to at least in some way involve his “I will protect my friends at all costs” truth being challenged (which it already is/has) and then either validated or dismantled. He has an active arc that involves a dark night of the soul and working through this challenge (along with others) to his core truth.

Because Doc’s core truth isn’t being challenged, he’s allowed to be the strong foundation of the plot. Things happen in an orbit around Doc’s unchanging core, and every problem he faces can be dealt with using that as a tool and a lens.

Now, that’s not to say that he isn’t allowed to doubt, or to change his mind about secondary issues at any point. We’ve already seen that a little bit – he’s had doubt in his own abilities to help Ren/RK, he’s changed his stance on who RK is and what he means, he’s reached a point where he can stand up to and challenge RK (something he wouldn’t have done at the start of the story), but all of those are changes that happen around Doc’s core, not to it. Some of them have happened because of it. He never doubts his truth, but he can (and does, and undoubtedly will continue to) doubt his own ability to enact that truth.

I have... very strong feelings about Doc as portrayed in Dog at the Door. He’s a character who is gentle and kind, yet strong, he’s allowed to be angry or afraid without being defined by those emotions, someone whose flaws are on full display and yet they never make you dislike him or distrust his ability to act in a way that positively progresses the story.

He doesn’t always trust himself, but he never wavers in his determination to do what he thinks is right and what he believes will best help those he cares about.

And apparently he makes pretty killer waffles, so. Ya know. The GOAT.

#sorry this got so long i got a little carried away #dog at the door #datd #i present: proof that Red has written too many lit papers #also that I have always sucked at summary paragraphs -- look if you didn't get the point through the paper my summing it up won't help #hopefully at least half of this makes some sense

[kopykunoichi]

Just some thoughts on The Bad Batch finale...

First of all - great episode. I never thought I'd feel sad about watching Tipoca City get blown up, but here we are. Now the Empire has all the data and research for the clones, which makes me wonder if Nala Se will be instrumental in Palpatine's research for transplanting his "essence" into another body. But I digress.

Omega's knowledge of Kamino and her revelation that she was there when the Bad Batch were being enhanced is very interesting. We know that Boba was from the first batch, so we can assume Omega was too. She would be 13 now, though a little small for her age (late bloomer, so to speak). If she remembers them, she had to be at least 5 when they were brought into the lab. They might have been a little older too when they were further enhanced because it would have taken time for their abilities to manifest. Perhaps they are 3rd gen (11 years old making them physically 22 now) and they were brought in for further enhancement when they were two years old (physically 4), which would make Omega 5 years old when she saw them. Theoretically, they could have been brought in even older than that and still not remembered because they were in tanks. Either way, it's very fascinating to realize that for a brief moment in time, she was about the same age as them...and she knew them.

Hunter and Crosshair. Oh, so much good stuff between them in this episode. Full disclosure, I'm not a big Crosshair fan and I never was (even in TCW), but I also try to give him a fair shake. I don't doubt that he felt betrayed after being left behind and I can sympathize with those feelings. On the other hand, I also think he's an extremely manipulative individual and he played up his hurt in order to control Hunter.

First off, let's talk about the clone supremacy thing. TBB was always biased against regs - they *all* thought they were superior to them. I think this had more to do with their training than with just genetics (sort of in the same way that Navy SEALs see themselves as superior to army grunts because they are elite special forces). But I think Crosshair truly believes his life is worth more than other clones' lives because of his genetic mutations. This was hinted at back in TCW when they rescued Echo and he outright said it today. "Not the ones that matter." Conversely, I don't think Hunter and others feel the same way about regs anymore after spending time with Cut, Rex, Howzer, and Gregor - which is why those interactions were so important over this season. They changed for the better while Crosshair has doubled down on his superiority complex (the core of the Imperial mindset). Crosshair sees his batch brothers as equals and he wants them to be a team again fighting for the Empire, but he rejects Omega.

This leads to the abandonment matter. Crosshair feels as though his team betrayed him when they left him behind - even though they didn't have a choice at the time. He counters Hunter with the argument that he didn't have a choice either. Except, he then undermines himself when he admits that he took his chip out "a long time ago", which means he *did* have a choice. Crosshair easily kills his new stormtrooper squad, demonstrating that he could have escaped on his own and joined his brothers a long time ago, but he chose not to because he wants them to join him as Imperials. If he cared about his brothers more than his new job, he could have joined them a whole lot easier than they could have extracted him (especially because they believed they would have to catch him, hold him, and then find a place to de-chip him while he was fighting them the whole time).

When Hunter brings up Omega, Crosshair counters with a seemingly solid argument about how if Hunter really cared about her, he'd leave her someplace safe, which, of course, Hunter attempted at the very beginning with Cut, but changed his mind when Omega ran back to them. It almost makes Crosshair seem as though he genuinely cares about her, but he contradicts himself again when he shifts his argument to "join the Empire so you can have purpose again". As if his brothers caring for Omega and keeping her safe isn't "purpose" enough, but that's a whole other thread. Crosshair has made it abundantly clear with how many times he has tried to kill Omega that he doesn't care about her - which says to me he was just manipulating Hunter.

Crosshair's feelings of betrayal clearly resonate with Hunter, but throughout their interactions, he shows that he still doesn't fully trust him (probably because of the chip). When Crosshair reveals that he no longer has a chip and refuses to answer when he removed it, Hunter's trust is further broken. And yet, even knowing that Crosshair is now loyal to the Empire of his own free will, he still saves him. Perhaps he thinks that Crosshair can be turned back now that he's no longer under the chip's influence.

Next week will tell if Crosshair will get the chance to shift his loyalties back to his brothers and join the good guys again. One part of me wants to see them all together and fighting the good fight as a team again. Another part of me really wants the writers to continue down the path they are taking - where Crosshair is a sort of foil for Anakin. Instead of the Jedi who joined the Empire and then hunted down the other Jedi, we'd have the clone who joined the Empire and then hunted down the other "disloyal" clones. Crosshair is a complicated character, which makes him an interesting antagonist, because many people still really like him. Or...he may just get the typical redemption=death Star Wars treatment. I hope not - I'm rather over that trope.

Here's to hoping everyone will make it through the finale episodes alive and well.

#the bad batch #the bad batch spoilers #crosshair #hunter #omega #the bad batch finale

[theravennest]

Let’s Talk: The Blooms at Ruyi Pavilion

I finished all 40 eps about two weeks ago, actually. I enjoyed it for the most part, the 1st half especially, but there were several things near the end that took me out. 

But first some of the good bits...

The cast chemistry was immaculate. Our four main lead actors were a lot of fun together. Not just Zhang Zhehan and Ju Jing Yi, but also Wang You Shuo and Xu Jiaqi (Loved them!). The four of them have such obvious ease with each other after their previous work together in Legend of Yun Xi and it made scenes with any combination of the main four really pop. 

I was especially drawn to the sisters’ relationship and the Prince-Vassal bond going on between Prince Su and Little Marquis. (Y’all know I’m a sucker for both sibling stories and stories about fictional royals and their loyal vassals.)

Most of the ancillary characters were interesting, actually. As y’all know from my last post about this one, I was crack shipping like crazy all the side characters. 😂 This cast made it easy for me.

Except for Prince An. (Sorry to hit the bad so early.) Good god, I hated that man. His character was poorly drawn in pretty much every way, which is unfortunate cuz he’s the main antagonist. Any story with a main antagonist that just doesn’t work is always gonna be weaker.

Also, no offense to people who like that actor but he was the only cast member who did absolutely nothing for me in terms of performance. So much of the story was focused on his weaksauce motivation and dry acting like, my god, put me out of my misery I do not care.

Anyway, the set design and costuming was top notch and I even enjoyed the broader story ideas the show was trying to put forth. The sitcom vibe of the first 20 eps or so was SOOO good. Our four mains’ comedic timings were pitch perfect. 

Unfortunately, the writing took a sharp nosedive in the back 3rd or so and it had a rough ending. (The lightning strike on the tower scene, the fight in the underground temple, the return of Prince An’s mom...all of that was trash. let’s be real.)

I mostly blame this on three things: the missteps with the Prince An character, the lack of development of Rong’s prophetic dreams even though that was the main premise of the show, and the jump-the-shark moment that was the wedding night and its subsequently underwritten fallout. 

Now to clarify, I don’t mean to say the wedding night event shouldn’t have happened at all but rather the execution of it within the story was poor and it negatively impacted 90% of the other character motivations/progressions and the overall pacing. 

You know, it felt like that thing you do as a writer where you wake up and have a specific scene in your mind. It’s evocative, impactful, fun, or otherwise intense. But you just have that scene and it’s something that would have to happen in the middle of your story. So you work your way backwards to try to get to that scene and you do your best to get the characters to make decisions to get there but when you sit down to write nothing works out. It’s clunky or OOC for the scene to still happen so you end up having to either scrap the evocative scene or keep the clunky lead up and hope no one notices. That’s what that wedding scene and everything that happened after felt like. They wrote themselves into a corner and just struggled to recover until the bitter end. 

The main pairing suffered the most because of the poor writing choices. No matter how much chemistry ZZH and JJY have together, even they could not completely salvage Rong’s yo-yoing behavior with Prince Su. They started off so wholesome and then dove into such toxicity and miscommunication for no reason. 

Don’t get me wrong. I can very easily enjoy angst. But Fu Rong consistently broke this man down. After ep 25-26, it stopped being good angst and became so awful to watch all the emotional manipulation and turmoil. There’s something broken in the writing if 9 out of 10 times Prince Su cried or fell into depression it was because of something Rong did or said to him after jumping to a conclusion with only part of the puzzle pieces gathered. 

I could forgive some stuff because Prince An was manipulating things but some stuff was just all Rong not giving Prince Su the benefit of the doubt or plain old not doing her due diligence in investigating. She is supposed to have inherited the most prolific and successful spy organization in the show and she still got 90% of her conclusions wrong. It was like she was determined to always think the worst of Prince Su no matter what despite how often he went above and beyond to help her. Despite the fact that he literally had a reputation as a general for being a harsh taskmaster but fair and just. 

I think what broke me was when she did the bare minimum investigation into her own father’s death and just fully blamed Prince Su without confronting him honestly or even considering his personality or their relationship up until that point. She really believed a single street seller’s entire testimony over the man she lived with and supposedly loved for months. Girl...

And this is after she’d previously mistakenly accused him of killing her mentor with very few facts to the point where she stabbed him on their wedding night.

There came a point where I actually wanted Prince Su to finally, truly divorce Rong and settle down with someone who could love him right. Maybe give him time to heal from the repeated heartbreaks, betrayals, and the literal stab wound in his chest but he was so fucking in love with Rong, he just couldn’t escape.

(If there were behind the scenes production reasons for the clunky-ness of the back half, I would not be surprised at all but ultimately they don’t matter cuz the story we got was the story we got.)

Imagine if we had gotten a Rong who used her prophetic dreams to navigate the cut throat world of royal politics. Or imagine if we’d gotten Rong as a true apprentice to Ruyi who learned both metalsmithing and spycraft in the first half and took over the pavilion as a competent leader in the second half. As it stands, it just felt like wasted potential.

I’m glad they had the modern day special AU eps tho cuz those were great. Zhang Zhehan and Ju Jing Yi had the opportunity to really showcase their incredible chemistry but in a modern setting and with better writing than the back 3rd of BRYP.

Now let’s talk Zhang Zhehan since he was the reason I started this in the first place. I loved him in this. I truly did. He was stern and serious but also playful and sweet. He was romantic but awkward, badass but vulnerable. He really delivered a nuanced and charming performance. I loved every second.

I think my favorite moment wasn’t some badass fight or even a super romantic moment. No, it was when he got drunk and started crying like a little baby cuz Rong was constantly doubting him no matter what he did. It was simultaneously sad and hilarious. Like gut busting funny. Y’all can watch it here:

I laughed so fucking hard at this. Oh my god, guys! This shit was too much.

Random Thoughts:

The romance between the 2nd leads was A+. Truly an adorable affair. Though I think they should’ve gotten together officially earlier around ep 25 or so and we should’ve seen the rest with them as a couple.

The costuming was so good y’all. For all the main four characters but I was especially drawn to Prince Su’s outfits.

The ghostly pale look with the bright red lips and eyeshadow makeup for Rong did not bother me at all. I actually liked it for her though I think it would’ve worked better if she’d had more explicit prophetic abilities.

I could’ve used more actual war scenes with Prince Su and Little Marquis.

The OST for the show SLAPPED!

That one kid spy in Ruyi Pavilion was voiced by the same actor as Chengling from WOH and I have never double-taked harder. lmao

Even though there were things I didn’t like in this show, I appreciated how gay I could make it in my last post. Truly it was a bisexual’s dream aesthetically.

#the blooms at ruyi pavilion #cdrama #zhang zhehan #ju jingyi #liveblogging #meta #reviews #long post

[aster-ion]

Sylvie x Loki Might Not Happen and Here’s Why

***SPOILERS FOR LOKI TV SHOW***

1.  They are basically siblings

Even though they have different personalities, backstories, and physical appearances, that doesn't change the fact that they are the genetic equivalent of siblings. No matter what Timeline you're looking at, both Sylvie and Loki are the offspring of Laufey and whoever he had children with. We know this because they are Variants of the exact same person, meaning that if either of them were born to someone other than Laufey, they would have been pruned as a baby. And since they weren't, that means they must be just as genetically similar as siblings are.

Because of this, the idea of Sylvie and Loki engaging in any kind of romantic or sexual relationship is extremely disturbing to a lot of fans. It's too big an oversight to brush past, especially when the show has continued to remind us over and over that they are, in fact, both Lokis. Maybe if them being the same person wasn't such a major plot point, it would be easier to ignore the facts, but it is, and that means that Marvel is basically pushing either an incest or selfcest (depending on how you look at it) type relationship. And that’s extremely risque for a corporation as large as Marvel, especially with a character as beloved by fans as Loki. 

2.  It is terrible LGBTQ+ representation

And before anyone says anything, no, it is not because Sylvie is portrayed as female and Loki as male. I've seen a lot of Sylvie x Loki shippers say that the reason people don't like the couple is due to it being one between a male and female, but that's not true. Loki and Sylvie were both confirmed to be bisexual, meaning that they can engage in a relationship with anyone of any gender. It would be completely valid for either of them to pursue romance with someone of a different sex and still be bisexual. No one is arguing against that, and if they are, I definitely do not agree with them.

However, the problem comes in when you take into account Marvel and Disney's (who owns Marvel) long history of queerbaiting. There have been countless times that Disney advertises their "first gay character!" only for it to be a single line of dialogue or a brief shot. Marvel in particular has used the popularity of certain LGBTQ+ ships and headcanons in their fanbase to generate media popularity that they don't actually follow through with in their movies/shows. So when Loki was confirmed to be both genderfluid and bisexual in Episode Three, lots of people felt like they were finally getting a win for representation. 

But those people, myself included, appear to have been let down again. The first two official queer characters had so much potential to go off and be with anyone they wanted, but instead, the show has set them up to be in a romance with each other. Now, this wouldn't be problematic on it's own, but when you take into consideration the questionable nature of their romance from Point One as well as the fact that the show has explicitly referred to it as "twisted," it raises the question of whether or not this is actually good representation. Because the fact is, in one episode the writers went “look, it’s two queer people!” and in the next, they said “their relationship is disgusting and demented.” Marvel’s first bisexual characters being borderline incestuous/selfcestuous does not sit well with me at all.

All of this is made even more confusing when you take into account the background of the Loki crew, most notably, the director Kate Herron. She also directed the Netflix series Sex Education, which has quite a bit of very well done representation of all kinds. So how is she managing to fail so badly on this project? It makes me wonder whether she truly is just losing her touch or if this is all a misdirection. Personally, I'm hoping for the latter.

3.  It does not send the "self love" message people seem to think it does

The writers, director, and cast of Loki have said multiple times that the relationship between Sylvie and Loki is meant to act as a metaphor for self love. And in a way, that makes a lot of sense. Despite creating different identities for themselves over time, they are still ultimately the same person and therefore share a special bond because of it. And there's a lot of potential that can be done with that concept.

Loki is an extremely complex and intriguing character. He has experienced a lot of trauma in his past that has shaped him into the person he is today. And that person is clearly very broken. He has never given away or received any kind of love, with the exception of his mother and possibly his brother, Thor. Other than that, he's had no healthy friendships, romances, or perception of himself. It makes sense for him to be confused by this pull he feels towards Sylvie, who is both alarmingly alike and vastly different from himself.

Something this series does exceptionally well is breaking Loki out of his comfort zone. He is finally forced to see himself from other people's perspectives. It started with the file Mobius showed him in the first episode. Loki was able to view his actions apart from himself, and was hit with the realisation that he had been hurting people, and he didn't like that. 

Loki is also confronted by the existence of the Time Keepers and the TVA, who describe him as an antagonist and nothing more. To them, his role is to make those around him look better, even if that means he repeatedly gets the short end of the stick. Mobius mentions that he disagrees with this and that Loki "can be whoever and whatever he wants, even someone good," adding another layer of depth as to who Loki could be in the future of the series. 

Another huge moment for Loki's character development is while in the Time Loop Prison with Sif. Though he starts out annoyed with the situation and recalls not feeling apologetic when he cut off Sif's hair, the longer he is in the loop, the more he changes. Loki admits things to himself that we have never seen him say aloud, such as the fact that he is a narcissist that craves attention. Sif telling Loki over and over that he deserves to be alone makes Loki question whether or not he believes that to be true, allowing him an introspective moment where he really has to think about who he is. 

Now with all of that being said, I'd like to tie in why this is important to the writing of Loki and Sylvie. They act as a mirror to one another, representing both the flaws and strengths of "what makes a Loki a Loki." For once, Loki gets an honest, unbiased look at himself without layers of expectations or self doubt. On Lamentis, he calls Sylvie "amazing" and praises her for all her accomplishments. That's a huge moment for him because it shows that despite also finding her irritating, he can look past those traits and see someone worth being a hero underneath. And through that realisation, he begins to understand that he can also grow to love himself. That kind of character development for Loki is incredible to watch, and it's the kind of character development I want to see from this series. Unfortunately, them possibly engaging in a romantic relationship will ruin it.

Whenever I'm feeling insecure about myself and my abilities, the solution has never been to look at who I am through a romantic lens. Self love is an entirely different type of love from romantic love, so if the series tries to push this relationship as a romance, it will fail to truly represent the arc that they are trying to show.

4.  Nobody likes it 

This one's a little on the nose, but it's true. Almost no one likes this ship, and more than that, most people actively hate it. Yes, there is a small minority that like Loki and Sylvie together, but there is an overwhelmingly larger group that is disgusted and angry by the fact that the show paired them up.

After Episode 4 aired, I ranted for about an hour and a half with a friend about how much we didn't want them together. My aunt whom I have never texted reached out to me to say that she hated their relationship. My homophobic neighbour came over and told me that she would prefer any other romance to this. Friends that I haven't talked to much since school let out for summer have all agreed that they collectively dislike Loki x Sylvie. This ship has brought people together purely because everyone hates it more than they hate each other.

There is no denying that the general feedback for Loki and Sylvie being a couple has been negative, even if you support them getting together for some reason. So if there are so many people out there who don't like it, I'm confused as to how it would be approved by a team of professionals.

5.  The contradicting information we have gotten so far

Before the release of Episode Four, Kate Herron said that the relationship between Loki and Sylvie was “not necessarily romantic.” During the interview, she continued to refer to them as friends and people who found solace and trust in each other.

However, after Episode Four, the head writer, Michael Waldron, and other members of the crew spoke up about Sylvie and Loki. They said things like “it just felt right that that would be Loki’s first real love story” and “these are two beings of pure chaos that are the same person falling in love with one another.” These kinds of comments very heavily imply something romantic, directly contradicting what Kate Herron said. Even Tom Hiddleston, the actor for Loki, has assessed the situation, highlighting the differing viewpoints. He’s also said before that the end of Episode Four ultimately has Loki getting in his own way. 

Now, this could all just be a misdirection on either side to build suspense for the show, but as of right now, it is entirely unclear who is telling the truth. Though it is more likely that the statements made by Michael Waldron are more accurate (as he is the writer), there is still a slight possibility that Loki x Sylvie won’t happen. I’ll link the articles I’ve found on this topic below so you can read them and decide for yourself. 

Kate Herron Statement - https://www.cbr.com/loki-sylvie-relationship-not-romantic/ 

Michael Waldron Statement - https://www.marvel.com/articles/tv-shows/loki-sylvie-in-love 

Tom Hiddleston Statement - https://thedirect.com/article/loki-tom-hiddleston-sylvie-romance 

6.  It is still salvageable

The odds are not in our favour, I’m afraid. It is highly probable that the show will put Loki and Sylvie in a romantic relationship with each other. Yet there is still a way to salvage it and turn their bond into something incredibly satisfying. Like I mentioned in Point Three, the relationship between Loki and Sylvie has the potential to be incredibly empowering and provide both characters some much-needed growth. And I believe that while unlikely, it can still do that. 

The only mention of them being romantically interested in each other came from Mobius, who at the time was angry, betrayed, and doing anything he could to get Loki to talk. Then, at the end of the episode, right before Loki is about to confess something important to Sylvie, he is pruned. This results in no explicit confirmation from either Loki or Sylvie that they are in love with each other. The audience is left not knowing whether Mobius was correct in his speculations, and honestly, I don’t think Loki knows either.

Loki is no expert on love, as I explained earlier. It is entirely possible that he doesn’t grasp how he feels about Sylvie and defaults to romance because of what Mobius said. There is undoubtedly some sort of deep bond forming between them, and I would love to see that being explored in the next two episodes. I would love to watch Loki’s journey of realising that he doesn’t want anything romantic with Sylvie, and was simply confused by the new things he was feeling towards her. Loki even says “this is new for me” when talking to Sylvie at the end of Episode Four. Him momentarily believing that he wants to be a couple with her then shifting into them becoming friends who help each other grow is still a reality that could happen. And ultimately, I think that would benefit them both as characters as well as strengthen the overall message of the show.

In a show about self love, acceptance of yourself, and figuring out who you want to be, Loki very much needs people who support him. He has that in Mobius already, and now he’s beginning to have it in Sylvie as well. I just hope that it is done in a way that resonates with the audience and subverts expectations, which just cannot be done through some twisted romantic relationship. I’ve spoken to others watching the show and seen people talking online, and everyone seems to agree that Loki and Sylvie work much better as platonic soulmates or found family than a couple. 

Of course, my hopes aren’t that high up. While I’d love for this to happen, I’ve been let down by Marvel before and wouldn’t be surprised if they went for the easy route of pairing characters up rather than dealing with the emotions correctly. Still, I have hope for this series. Everything else about it is wonderful and perfect in every way. It has the potential to become a masterpiece and easily the best thing that Marvel has ever done. However, this romance would ruin it for me and so many others. We already feel incredibly disappointed by Loki x Sylvie being suggested, so I can’t even begin to fathom how people will react if the show makes it canon. I’m begging Marvel to please do better than this. They have a wonderful story to tell and a wonderful team to do it, and I hope from the bottom of my heart that they don’t throw that away. 

#marvel #loki #sylvie #mobius #loki x sylvie #loki x mobius #kate herron #michael waldron #disney #lgbtq #representation #tva #loki tv

[chibimyumi]

The Circus Arc

Last week somebody asked me what my favourite manga arc is, and without a second of hesitation I answered 🎪. As I have already publically declared my love, it is only natural for me to write a love letter to the Circus Arc.

Why do I consider the Circus Arc the best still after more than a decade?

I. The true story

First of all, the Circus Arc is in my opinion the first arc wherein we truly get to meet the characters, as well as the series itself.

A protagonist who is dispensable in their own story is not a true protagonist. As touched upon in this post, before the Circus Arc O!Ciel was actually little more than a plot device to show off Sebastian’s many assets. “The Watchdog has a case because the Queen said so, Sebastian solves it.” “The Watchdog was kidnapped because Yana TOLD us he made life for the mafia a bit hard, so Sebastian saves him.” When Sebas said to his master “you truly have no other talent except for getting yourself abducted,” it sure rang very true until that point. It wasn’t as much a story of O!Ciel’s revenge as it was Sebas saving the day because: demon powers.

In the Circus Arc however, we truly got an insight on why this little boy could indeed have made life for the mafia hard, and why after two years the Queen still hasn’t fired him. As discussed in the post mentioned before, almost as a compensation for his prior starfishhood, O!Ciel had insisted on doing the investigation himself, even at the cost of his own health. We saw him actively cooking up strategies as well as dealing with any situation as they were met. O!Ciel really displayed a commendable aptness at playing the cards he has been dealt in the Circus Arc. In contrast, while Sebas did make many accomplishments, all his actions were the undertaken because of O!Ciel’s orders. In the Circus Arc we truly got to see how the boy is the chess player, and demon the black knight.

II. Our protagonists - into the core

The Circus Arc is likewise the arc wherein we actually get to meet our two main characters outside their token function.

We have seen Sebastian’s establishment as “the pawn that can move across the entire chessboard in one single move”. But without O!Ciel’s input or any price that the master would have to pay, Sebastian is easily just an ‘instant-win card’, an ironic “deus” ex machina, if you will.

As discussed in this post and this post, in the Jack the Ripper Arc Sebastian was quite dissatisfied with his master and therefore decided to teach his master a lesson at the cost of more innocent lives. However nasty, it had been O!Ciel who ordered for a subpar move, and technically the pawn “did nothing wrong.”

In the Circus Arc O!Ciel became meticulous about decisions regarding his chess piece. Principally there was nothing wrong with the order O!Ciel had given his butler about releasing the snakes before the first stringers would return, and Sebas who was bound to perfect completion of any order also didn’t do anything wrong, technically. However, it had already been established that as long as Sebas sees the interest himself he would find any loophole in orders to still benefit his master in one way or another. As it is, considering how Sebas did decide to release the poisonous snakes while his master was in the danger zone, we are left with a chilling conclusion that Sebas simply ‘did not see the interest’ of shielding O!Ciel from danger. For the first time we truly learn the extent of Sebastian’s nondiscriminatory nastiness; how indeed all humans are the same to him. For the first time we truly understand that O!Ciel is paying with much more than his soul for Sebastian’s services. This demon is a double-edged sword, but much more than swinging outwards, this sword has a tendency to swing inwards the moment the wielder allows for any opening.

Previously discussed in this post, we also see the full extent of Sebastian’s manipulativeness and toxicity in the Circus Arc. Sure, in other arcs Sebas is also manipulative, but all of those actions could still be categorised under “merciless honesty”. In the Circus Arc however, O!Ciel objectively did nothing wrong to be triggered and exhausted from the Circus shenanigans, and yet Sebas was unnecessarily re-triggering and victim shaming his master for some extra “flavouring”. If there had been any doubt whether Sebas is bad for O!Ciel, then surely the Circus Arc put all doubts to rest.

For the first time in the manga we also see a genuine obstacle for Sebastian that is for not also the final hurdle to overcome, like in the Ripper, Curry, Campania or any other arc really. In the Manor Murder and Werewolf Arc there were of course Earl Grey and Wolfram respectively, but in those cases Sebas mostly tried to outrun the obstacles. In the Circus Arc however, William is likewise a supernatural being, and Sebas knew very well that he can’t just neutralise William without causing more trouble than good. Hence we saw how Sebas tried to negotiate with William, and we learned that even Sebastian cannot just avoid hurdles. Negotiating with William did not work of course, so the story forced Sebas to be creative. It truly was great to see Sebas use his brain rather than demon-muscles to overcome a problem for a change.

While getting “creative”, Sebas displayed his aptitude for preying on humans in our weakest of moments. As explained in this characterisation of Sebastian, Sebastian is not terrifying because he has super powers, but because he understands human weaknesses like no other and uses our own weaknesses against us. Click here for an analysis of Sebas’ cross-media manipulation of Beast.

In this same arc we likewise truly understand the looming threat O!Ciel is dealing with, an explicit revelation of the monster Sebastian is. This scene from underneath is the most explicit moment telling us that Sebas is not just dwelling on Earth comfortably; he is holding out under a cover. This scene almost served as an alarming reminder to us: “beware, the demon can snap”.

What about O!Ciel? In our boy we saw his tremendous dedication to his job. Except for purposes directly related to the investigation, never once did he order Sebastian to make life easier for him. He never made Sebas secure food for him or do any of the chores for him. Surely Earl Phantomhive would consider himself above wrestling for food or scrub some floors, and yet he was willing to just take on any task without complaining. In no other arc do we see just how effective O!Ciel is as the Watchdog exactly because he is so versatile both in playing the ‘cute little boy’ card as well as the ‘feared Watchdog’ card.

Doll was an exceptionally well chosen “obstacle” for O!Ciel (more about her later). When Doll briefly wondered about why a peasant boy like Smile would speak in flawless RP, we saw O!Ciel’s ability of thinking on his feet, giving a very logical explanation of: “I served in a Lord’s household where I learned to speak proper.” When Doll caught him red handed when he sneaked into Snake’s tent O!Ciel also immediately pulled the “I didn’t steal anything!” card, skillfully tying it into his previous story as ‘the page boy who was fired for stealing’. We learned that the Watchdog really is willing to carry out his job through any means necessary, not just ‘the cool and edgy means’.

One of the best ways to get to learn a person is judging from their gut reactions. When O!Ciel was triggered in the final showdown he no longer had any energy to put on a strong front or think about matters rationally. He was in emotional pain and his gut reaction was to want that pain gone.

Even Sebastian who would not directly benefit from the case being completed advised his master against burning down everything. Even with the Queen’s commission as leverage however, the boy still yelled to have everything reduced to ashes. In this moment we also understood just how traumatising everything was to O!Ciel personally. This trauma response didn’t come from nowhere; everything that happened up until that point had been a logical build-up towards this inevitable result.

III. The Side Characters

A story cannot be told with just the main characters; you need to care about the interactions they have with others too. In my opinion the Circus Arc has delivered the most memorable side characters that linger with us even after death. In particular Joker and Doll.

Joker is a very fun, charismatic character as well as a person with many different sides. He is lawfully inexcusable, but we cannot help but sympathise, or at least understand how he too is a victim compelled into evil. Rationally we reject Joker’s actions, but partially it is because we have the luxury to do so. “Is this self defense? Would we, or how would we have done anything differently had we been in his exact shoes?” is a question worth considering.

Doll too; we see a child who lived a relatively happy life in the recent past. In the anime they made it explicit that Doll was complicit in all the kidnappings of the children, but in the manga it is more ambiguous whether Doll is fully aware of Kelvin’s agenda. This gives the effect that with the revelation of Joker always having taken most of the bullets, we understand that the torment Joker has been suffering was the price he paid to buy his siblings a more-or-less normal life. If O!Ciel sold his soul to the devil in the literate sense, Joker did so in the figurative sense in exchange for his family’s happiness.

IV. The Antagonists?

We do not spend too much time with Baron Kelvin, and he is a relatively simple character. But that is not bad as long as the villain’s threat reaches us. The horrors of Kelvin have always been quite clear; when children are harmed it triggers a gut reaction of disgust in most viewers. But the kidnapped children were not the functional victims in this story, it is the first stringers with Joker in the centre.

Kelvin has made a bunch of crippled children fully dependent on him, and used their own dependency as a currency to satisfy his own greed. Never once did he allow these children to forget how he could easily return them to the gutter from where he collected them. The kidnapped children were just numbers in the newspaper, but the first stringers are characters we spent time with. We have seen their suffering and we know they are just trying to get by. So it is all the more heartbreaking that children who merely wanted their basic human rights were turned into the antagonists that had to be exterminated. In the showdown between Joker vs Watchdog, the dynamic is shifted from “heroes vs child-kidnapping villains” to “villain-protagonists vs anti-villains”.

The Circus Arc is very special in how the villain impacts the readers, because the people affected matter to us. In the earliest arcs we didn’t REALLY care about O!Ciel, but he was the main person who suffered from the villains. With Sebastian around however, we don’t really worry. In the Ripper, Mansion, Campania and Potter Arc the main victims are characters we don’t spend any time with, so emotionally we don’t really care whether “evil gets vanquished”. In the Werewolf Arc we do have Sieglinde and Wolfram, and it is heartbreaking to see Sieglinde discovering that all her happiness had been a big lie and that to even her own mother she was nothing but a tool. But in the very least she did grow up happily, she survived and has a fresh chance to start a new life, and the person closest to her (Wolfram) is still with her.

For the first stringers however... all had been meaningless, all is finite.

As expertly described by Sebas in the musical adaptation of the Circus Arc, humans are pathetic because we are merely “accumulating sins in the version of hell [we] have chosen to live.”

V. From foil to team members

The servants at the Phantomhive manor were originally just designed to be foil for Sebas to demonstrate his awesome butler skills. I don’t know whether they were liked at first, but for one I do know that many found them quite annoying or pointless too.

The Circus Arc is the first time we see the significance of the Phantomhive servants, that they’re not just there waiting to be fed by O!Ciel because... he’s a philanthropist of some sort? Yana had made some questionable decisions at first, and she clearly regretted those ‘choices’. I personally see the Circus Arc as her first demonstration of her skills as story writer, and her public proclamation of: “this is Kuroshitsuji’s potential!”

Had the entire series started with the Circus Arc, then surely the animated series would have gotten a much higher budget and a better time-slot for airing.

VI. Humour

The humour in the Circus Arc is also great, but nothing was shoehorned in there for the sake of laughs, neither do these moments disturb the tone of the story.

Everything was funny because they were the inevitable consequences of putting these people together. William had been established as a demon-racist plank, and when made to cooperate with a demon, of course he would say: “my hands will rot”. When called “four-eyes”, of course he would say: “it’s SUIT”.

Many of the comedic moments are centred around our protagonists’ inconveniences, but nobody is inconveniencing them for the sake of inconveniencing them. When Sebastian was not trying to leave the vicinity William mostly let him at peace. O!Ciel for example also couldn’t do many things simply because Doll was clinging to him. But she did not know what was at stake and her actions were well grounded in her immense desire to make new friends. “You are young, I am young. You lost an eye, I lost an eye. Let’s be FRIENDS!”

This is in stark contrast with how ‘funny inconveniences’ were staged before using Lizzie or Grell for example. Lizzie was a drag to O!Ciel because... she’s a girl who wanted everything to go HER way... and Grell was a drag to Sebas because she... is a girl who wanted everything to go HER way.

VII. Ending

The ending of the Circus Arc also carried a bitter-sweet tone that most other arcs do not present. The thematic of “demons dwell in the human nature of stepping on others” is perfectly addressed in the Circus Arc, but it does not end with: “so don’t be evil!”. The Circus Arc simply highlights the issue and reminds us that ‘stepping on others’ does not exist in a vacuum.

Had the objective of the series not been established as “boy who swore on revenge”, and instead be: "rethinking evil”, then the Circus Arc alone would have told the story sufficiently.

The finale of the Circus Arc resonates with its audience because the core principle on which Kuroshitsuji is built is a narrative humankind has always wanted to externalise, but without success: “demons are only as evil as humans allow their own evil to show”.

#Love letter to the Circus Arc #Circus Arc #Sebastian Michaelis #Ciel Phantomhive #O!Ciel #Our Ciel #Joker #Doll #Baron Kelvin #Analysis #Noah's Ark Circus #best arc ever imo

[ghostietoasty]

Why Sherlock Holmes FGO is Sus: Theories and More

Before I begin, I’d like to give thanks to my wonderful friend for all the points, art, and info searching that have been made to produce this piece, I can’t appreciate you enough for the effort you put in. 🥺🙏💕

Alright now on to it!

INTRODUCTION: Humble Beginnings (Identification of the Abnormal)

If you’ve played the app Fate/Grand Order for a while you’d know about the Heroic Spirit we first encounter in a hole within Camelot’s dessert whilst going to the Atlas Institute. Smart, handsome looking, and sharp enough to discern our True Name, this man of mystery has been seen as an oddball by many long time players of the game. There are many aspects about him that raise doubt about his credibility, is he truly what he wants us to think he is? That servant is Sherlock Holmes (Ruler) and there are many theories about him having some secrets, about him either being a Foreigner class, Beast class, or something else entirely. We are attempting to catalogue all this information in one place for maximum clarity.

SECTION 1: Other Character’s Reaction (First Impression is the Best Impression) *WARNING LOSTBELT 1 AND 2 SPOILERS AHEAD*

From the first encounter in Camelot right until the end of Lostbelt 2, there are many instances of characters reacting to his presence in….interesting ways.

Bedivere, when first coming in contact with Holmes in Camelot says that "I suppose I've never really been good with people like him. He reminds me of Merlin."

It could refer to the mysterious manner in which both Holmes and Merlin conduct themselves, but better to keep in mind that Merlin is a Grand Caster, and that he manifests as a servant due to specific circumstances (he is not dead).

In Camelot, Mash assumes that Holmes must be Caster class and that the original novels by Sir Arthur Conan Doyle must have been biographies penned by Dr. Watson under a pen name. Holmes corrects her, saying that: "My true identity, my essence, is slightly different from what you may think. And sad, but that is not the purpose of our gathering here today."

This dilemma is also present in the Sherlock Holmes Trial Quest (which mostly tackles the debate of whether he's a fictional character or someone who actually existed). Holmes has a line where he says:

"Ah, yes. I mentioned I was a Caster. Forgive me, I lied."

This is however immediately followed up by:

"A jest. My apologies. I couldn't help myself." 

This sort of backpedalling raises a doubt as to whether he was really Caster class before, so the nature of his former class is still a mystery. He later mentions that his Ruler class is the World telling him that not all illusions and dreams need to be laid bare.

When meeting with Salieri in Lostbelt 1, Holmes introduces himself as such:"I'm Sherlock Holmes, Chaldea's administrative advisor. I became a servant through unusual means, just like you."

Salieri was only summonable as a servant  because of his reputation caused by the fact that he killed Mozart. He is under the effect of Innocent Monster. It can also be said that Salieri is a lostbelt servant and is significantly more sane than he would have been in a normal summoning, that was the unusual summoning that Holmes was refering to. Does this mean Holmes is not from Proper Human History? 

Sigurd (who's under the control of Surtur), while attacking us in Lostbelt 2 says this: "So, a human and two Heroic Spirits. No, wait. Neither of you are pure Heroic Spirits, are you? You've both got something else mixed in. Hehe, hybrids then. Interesting" 

This is in reference to Holmes and Mash, who are alongside the master at this moment. Mash is a demiservant (human+servant) hence the "Hybrid" comment makes sense, but Holmes? What is the "something else" mixed in with Holmes?

Later in LB2, Holmes requests the assistance of Scáthach-Skadi in beating Surtur. Skadi says that normally she would never pay mind to what a mere Heroic Spirit had to say but: "...but in your particular case…I sense wisdom in those beautiful eyes. You remind me of Baldr, god of light." Quite a bit later, she also has this to say:"Perhaps those piercing eyes of yours in fact surpass Odin's? Mystic Eyes, perchance? ….No, that's not it. They merely reflect your wisdom born of human history's cumulative accomplishments."

She says that's not it, but the fact that it was the first thing she thought of shouldn't be ignored. 

Baldr is the god of light. Holmes' attacks consist of beams of light, and his cane lights up when he's using it in battle.

In Norse legends, Odin is said to have sacrificed one eye to the spring of Mimir in order to get ancient wisdom, the ability to perceive everything in the world. 

SECTION 1.5: More Reactions (From JP Only)

Since it is JP only and there is no official translation for NA yet, this information cannot be 100% confirmed in any way. (Most of this is from Reddit translation done by fans). But as these are also important, it's best to put this information separate section.

Moriarty's interlude involves him finding a micro-singularity in London. At some point the transmission between Chaldea and the master gets cut and Moriarty reveals he created this scenario, made the singularity and everything to get one on one time with the master. He tells us not to trust Holmes. When the time comes, we as master should choose Moriarty over Holmes. 

It has to be kept in mind that Moriarty is not a good guy, he is a character created entirely to oppose Holmes so it is natural that he doesn't trust him. For all we know, it is just emotional manipulation. 

Moriarty's very nature is tied to being the antithesis of Holmes. Holmes might theoretically go against us for the sake of humanity while also trying to keep us safe (the master is in a way, a Watson replacement to him after all) while Moriarty would gladly let humanity burn for the sake of us but also for the sake of being completely opposite to Holmes and keeping his identity as such.

However he does raise valid points, how was Holmes able to rayshift? This part was never explained, and he also mentions that his hypothesis has a fatal contradiction in the fact that Holmes risked his life to save ours. What can be inferred from this is that Holmes is a good man and is on our side, but there is something very weird about him that should not be ignored.

In Lostselt 5 it is mentioned at one point that Zeus called Holmes dangerous, he mustn't look at Zeus or the other gods and that his eyes are enemies of the world.

It has to be mentioned that this is some heavy emphasis on Holmes' eyes (Skadi mentioned Holmes' eyes twice, and she was a god as well). Is it because of the nature of Holmes that he is the one that reveals all truth? Is that in some way detrimental to gods, magic and the world in general?

Recently, from Holmes' skill upgrade interlude there was a section about Holmes saying that he is always an ally of justice and that while he may be on our side, he is still capable of evil but it doesn't change the fact that he is our ally. Even then it seems he has some secrets that can't be understood by himself.

By now with the presence of Dr. Jekyll and Helena and their recounts on what happened, it is confirmed that Holmes was actually "alive"(?)

Some of the adventures penned by Dr. Watson were actually censored versions of the original happenings, which were magical in nature.

Holmes was traumatised(?) by Helena's death back when they were both alive. He swears he would never let that happen again. (remember what happened in lostbelt 2…)

It seems that Holmes himself is not fully sure of what is secret about him. Since he utterly dislikes talking about something without being 100% sure about it (this tendency of his has gotten us in trouble before) plus his general secretive nature, it can be said that this is why he wouldn't talk about that.

SECTION 2: Weird Things That Holmes Does (And Other Questions)

Heroic Spirits are anything but normal, but there are few servants who break the norm even further, and Holmes is one of them.

Holmes is able to Rayshift (presumably) from London, to Camelot, and then to Shinjuku. There are very few servants who are able to manifest themselves. 

Musashi also appears here and there, but it's not a deliberate choice on her part. She is not able to predetermine her next destination. 

Arthur travels from a parallel world to this world, but this is due to "chasing after a certain powerful antagonist, evil omen" - so he tells.

Beast class has the skill of Independent Manifestation which would allow the servant to manifest anywhere they'd want. Merlin, Tamamo Vitch and Shiki possess it. However, it has to be noted that Holmes' rayshifts have a significant toll on his saint graph, as he is unable to fight or defend himself by the time we meet him in Camelot. While normal Independent Manifestation shouldn't lead to the depletion of the user's saint graph. Holmes' class is unknown at the time of his rayshifting. 

At the time of summoning, Heroic Spirits usually reveal their class and True Name (there also are exceptions to the rule). At the time of his summoning, Holmes doesn't reveal his Class: "Are introductions necessary? I am a detective. If you were expecting a hero, my apologies...But if you wanted a detective or an investigator, you drew the right card."

In the case of EOR Servants whose names haven't been found, they reveal their class.

Who summoned Holmes? The only thing we know regarding his presence was that it was first clearly there when he tampered with information in London.

Holmes' illustrator is Yamanaka Kotetsu, who was also the illustrator of the beasts Tiamat and Goetia

The artists who design and illustrate the characters tend to do it in groups of servants who are related to each other in some way (Pako with Arjuna and Karna Chacha and Nobunaga; Miwa Shiro with Brynhildr and Sigurd). It is strange that Kotetsu designed only Holmes, Tiamat and Goetia.

(NEW ADDITION) It should also be noted that as an illustrator Kotetsu has had previous works in a Lovecraftian Guidebook and is also the artist to the Alien God Preistess, somewhat showing how their work leans more to the outerworldly.

SECTION 3: The Design

It is a very commonly noticed fact that Holmes' coat in his third ascension has a very similar shape to that of the Foreigner card artwork.

The pattern work on the coattails of the foreigner art and the inside (blue) part of Holmes' coattails have a very similar, if not exactly same pattern running down the entire length of it. The sphere summoned in Holmes' Noble Phantasm also has the same pattern on its sides and front.

There is a "fog" around Holmes in his third ascension, which is reminescent of the smoke in the card art. (Also can be the London smog).

The glowing section of the abdomen of the being reminds one of the metallic corset that Holmes wears. 

There are 4 notches of smoke on either side of the being (total 8), under their cape. If we stretch our interpretation, then it could mean Holmes' arms and the metal arms that he has is also equal to 8.

In that tangent, the shape of the coat is also similar to that of Saver class Buddha, the fantasy trees from Lostbelt 3 and 4, and the Shadows made by the 6th imaginary element.

The Endless Knot / Shrivatsa symbol on his shoulders is one of the many references of his connection to Tibet (faking his death after the Final Problem). It is an important symbol in both Jainism and Buddhism.

Some of its interpretations include:

The eternal continuum of mind.

The union of wisdom and method.

Since the knot has no beginning or end it also symbolizes the wisdom of the Buddha

the endless cycle of suffering or birth, death and rebirth within Tibetan Buddhism.

The cane that Holmes wields has a pattern on its handle in the shape of a Prayer Wheel. 

However, we are not able to find the meaning behind the script on the cane. Both of us attempted to translate it but failed. If anyone can translate the meaning it would be greatly appreciated.

The holographic books in the base of the unidentified sphere have a pattern on their front that greatly resembles a lotus. 

In Holmes' third ascension, there are a number of magical circuits on his coat.

The circuits are almost only on his left side, with very few circuits on his right side. It's not like it was woven into it, were that the case the circuits would have been all over his coat in a more even distribution. It's almost like an impact radius.

The circuits are very similar to the ones visible on the title screen of the lostbelts, as well as the patterns seen on the fantasy trees.

CONCLUSION SECTION: Something's Up (It's Big Brain Time)

It's clear that something is very strange about Holmes, from his interactions to his design, it's clear that there is too much effort into throwing these hints that it's not just a red herring.

Is he a Foreigner? Beast? Counter Guardian? Some other unknown extra class? It cannot be said at the moment. Holmes' role as a revealer itself is dangerous to mystery and magic, so it can be anything.

 It is also not necessarily true that just because Holmes has all these abnormalities, that he will betray us, or is on the side of evil. When has there been a clear cut side of good or evil anyway? It can be argued that we are the villains in some way, as we bring about the end of these timelines to safeguard our own proper human history. 

Holmes has always been on the side of humanity and will continue to be, the question is what the reveal will be, why and how. That, only time and future chapters can answer, all we can do is speculate.

#fate #fate grand order #fgo #Sherlock Holmes #lostbelt spoilers #foreigner theories #fuccyoutumblrfuccyoutumblrfuccy #hope yall enjoyed!! feel free to give yalls thoughts!! #and again thank you soso much fremd🥺🥺🥺🙏🙏

[creathechiboi]

Wow, hey, the rant’s here.

Just a heads up, this is (of course) gonna contain spoilers for everything up to S3 EP11 “Death Peck/Ponynomium,” so yeah, you’ve been warned. As for season 2, i’ll try to count everything but my god, it's a lot to say.

Seeing as i also have all the time in the world to rant, i will try and get into as many goods and bads, but i’m unfortunately as lazy as i am hooked to the show, so i guess i’ll take questions if i missed anything. at the end will be my plans for fanfics and fanart in the future and my last short thoughts.

Yes this is long as hell but deal with it, it’s my post, I do what I want. Be happy i got a spoiler warning on this or else this would’ve clogged your feed a LOT. (2.8k words incoming!)

I think i was nearly 12 when star vs. the forces of evil first premiered on Disney XD and it was one of the best times of my life, especially since i was just a kid who didn’t know jack about anything in life and just wanted to have fun. At the time, i don’t think i’d say that because… idk, what does a kid know about knowing the worth of ‘now?’

So when i am once again pulled into the temptation and great feeling of nostalgia and into the love of western cartoons such as Steven Universe and Owl House (which I will check out btw), i just needed to push away any worries i had and just return to what i loved when i was young. And it ABSOLUTELY did not help that the last episode I watched was Bon Bon the Birthday Clown, which is literally the front door of what i like to call ‘when-the-show-gets-real’ phase. So finally, years after its premiere and fewer after its end, here’s what i got so far about star vs. the forces of evil. I’ll go over what i consider crucial and all above.

(i’m not going back to episodes for a quick reminder, too lazy *after about 20 minutes in, i went against my word, but thank u to alyciadweeb for uploading reaction vids, saved me a lotta time.)

Season 1.

I think the episode list was fairly strong in this one. it nicely showed what it had to offer, what was to be expected going forward and how each character acted. Its ‘left-field’ progress is very charming, refreshing and random with each episode and the subject matter of everything under the list of ‘wholesome’ coming from Star mixed in with exciting and thrilling action and fight scenes is just so good.

Some highlights from this season were (and some are very obvious) Star Comes to Earth since it’s basically season one in a nutshell, Mewberty because i find it to be pretty suspenseful and i like star’s form, The Blood Moon Ball (you know why), Fortune Cookies for introducing Toffee nicely and pushing subtle plot, Marco Grows a Beard for Toffee again and showing off what Star is made of, and Storm the Castle. no words for Storm the Castle.

Considering the starco burn, it was nice and slow while staying pretty unpredictable as to how it would continue and even more conclude. Party with a Pony, Blood Moon Ball, and Storm the Castle were great for the burn because it showed what they were willing to do for each other and even through some rough talks, they can understand that they’re both on the same page of trying to stay alive.

Going over CHARACTERS, i think the main ones have contributed greatly to the season and are layered well. Star is naive but not so much to where it’s irritatingly stupid (imo btw), sweet, and so considerate of those who are in need of help such as in Mewnipendence Day when it clicked that PERHAPS monsters had it badly in both the history and present time.

Marco is cool yet awkward, he’s obviously super cautious being the Safe Kid he is, and the way he lets his concern take control to fight or monitor Star regardless of consequences displays just how much good he has for what he cares for.

Oskar and Jackie were pretty likeable whenever they appeared, their cool nature is relaxing and easy to love, and I understand love interests being an addition to the romantical aspect of the show and I can totally roll with it. I was super into Janna’s traits considering her side being stalker-ish (okay, VERY), forward, and a huge trickster, plus her dynamic with Marco is really enjoyable and I could side with their ship.

Ludo was playing a pretty good antagonist, but not enough for me to root for him. I think the ‘antagonist’ should be well made to where you despise them but at the same time you’re hyped the next time you spot him because the story will be pushed in a direction you didn’t anticipate. Which is where Toffee comes in.

This is pretty debateable; Toffee’s introduction is an antagonist’s introduction done right, at least as far as cartoon shows go. Maybe. At his first appearance, he only seemed off, strange, a character with a very ambiguous mission. Before I noticed, he became the one I wanted to see the most, the one that would bring the show its best colors and deepest moments. And his traits just make it so much better, he is meticulous yet his plans are mysterious, unsettling, unusually still and calm, and just truly evil.

And then the next season arrived.

Season 2.

Entering this felt pretty nerve-racking, but I was also excited to catch up to when I last separated from this show. After breaking through the Bon Bon episode and finishing the season, I can say that season 2 was really, REALLY good. To me. And seeing as this prick has 22 episodes, I will try to mention all the crucials and highlights in a messy mixture.

The first episode/season debut did a great job of starting a new plot with new moving parts and staying somewhat connected with the first season. ‘Dip down’ was a really cool ability to see Star unlock, yet I didn’t catch her continuing with said ability. Ludo’s episode was really entertaining and it got me wondering where the plot was going with Ludo still involved. There’s a moment where you just know when to drop the antagonist, and with Toffee ‘gone,’ I would say that dropping Ludo would’ve been the best choice to move on.

[Ludo in The Wild, Wand to Wand, By the Book, Bon Bon, Is Mystery] Except that it resulted in the best pair of villains for the season. Ludo finally became a menace worth taking seriously, someone who had minions who took him more seriously than his previous, and with Toffee technically ‘in charge’ and corrupting magic, it was the best hint to something huge and dangerous growing in the distance.

[Wand to Wand, By The Book, Into The Wand, Bon Bon, Just Friends, Face the Music, Starcrushed] The corruption of the wands was one of my favorite ongoing points in this season. At first, I would’ve never suspected Toffee was behind it all and that it was a result of destroying the wand (it just clicked how he ended up in the wand, omfg, S3). As it kept going, I understood that the wand was never supposed to work completely for Ludo, that it was all part of a much more complicated plan for Toffee to return and just destroy magic for good. As for Star, it’s...I don’t know. The fact that her emotions, either good or bad, were mostly the ropes pulling the wand to function properly was very interesting, and even more so when Star was distracted by her own jealousy and anger towards the Jarco ship.

(And being the fanfic lover I am, I would’ve loved for the jealousy to kick up the evil magic and anger to Jackie because… ._ . Because I like drama and I’m a weeb who likes yandere moments. All love to Jackie though, great character, I just need drama.)

[Mr. Candle Cares, Friend-enemies] Before hitting the romance portion, I just wanna shove in my appreciation for the bond growing between Marco and Tom. Despite being a pretty short 2 episodes, I think they did a good job of bringing the two to a better spot in their relationship and being able to discuss Star without weird tropes such as Tom trying to keep Marco away from Star (which I guess he did, but whatevs) or Tom trying to get with Star for 11 minutes, which would’ve been pain—ful. Much love to the Tomco shippers !

[Camping Trip, Sleepover, Naysaya, Bon Bon, Trickstar, Just Friends, Face the Music, Starcrushed.] Iiiiii..The triangle was great here. I think these episodes did a good job with progressing the Jarco ship and watching Star having to third wheel or try to suppress her feelings was saddening until she was hit with her own truth, which then led to her being the one verifying it instead of hiding it forever. It was relieving that she had the chance, even if it had to lead to separation because of plot, which was the best and worst cliffhanger to leave on.

[Cont. of above.] I didn’t really see a reason to bring back Oskar in the last episode, especially at the highest point and at the very end of the season. I suppose it was for Star to try and develop a new love, something to pull her away from Marco, but like—there could’ve been many other ways to accomplish distance, no? Maybe I’m wrong, but it didn’t feel completely right when I watched it. Also I only included Camping Trip and Trickstar because I like to wonder how Starco would’ve come closer by being alone in the woods and that line Marco gives when he has his joy sucked out is just so out there. They might have been Marco’s doubts or being insecure of how it would go with Jackie, but it’s also funny to think that it was written in because of its seriousness.

[Running with Scissors.] This is just ‘The Hekapoo x Marco Fanfiction’ episode, plus I think it was one of the best concepts for an episode. One thing that does tick at me is that Marco continues to be himself instead of mentally matured since his mind has aged 16 more years.

(this is becoming longer than I guessed, but let’s keep going. Kudos if you made it here, and more if to the end.)

[Page Turner, Into the Wand, Baby, Running with Scissors, Face the Music, Starcrushed.] The Butterfly’s and the Magic High Commission. I was very hooked to Glossaryck and his connection to what I guessed were some ‘very important people.’  It always felt like he played a much bigger role than just the explainer of the Book of Spells, and that he possibly knew what cards were going to be dealt later on. The members of the Commission were all unique, loveable, and clearly held power that I was excited to see. But even after saying all that, my biggest questions rested on Moon and Eclipsa. Moon coming into the picture was a huge alarm and seeing her involved in the conflict for the safety of her daughter and magic kept me on edge. Having Eclipsa pop up often meant she would most likely meddle with oncoming situations in the next season and Baby comparing Star to her made me want to know what that meant for Star, her desires, and goals.

Season 3.

aaaAHHHHHHH—Okay, let’s make this fast. Season 3 hit me really really hard. So what better way to start than with The Battle for Mewni?

[The Battle for Mewni episodes.] As much as I’d like to peek into the romance, I need to stay organized and follow my own plan. This portion was the best way to resume the plot and I legitimately couldn’t stop until I had finished it and witnessed the conclusion. Moon’s backstory brought much more info for Toffee and Eclipsa and gave her own perspective as to how she acted when she was Star’s age; she wasn’t any wiser than Star was in the present, she made mistakes too.

[Cont.] A part of me was worried that maybe evil would have the last laugh, everything just seemed to appear as if the worst was meant to happen. Glossaryck was gone, the High Commission may never return, Star would most likely stay within the wand forever. And then I reached the battle against Toffee and it was one of the most exciting, most moving moments I have ever seen. Plus, I get to see Star not only ‘dip down,’ but morph into a whole new beautiful yet scary form.

And can I just mention how AMAZING the ending song is?! I’m a big music fan, but even without my studies and without experiencing a pile of diverse music, this ending song would continue to give me shivers and bring a smile to my face.

[Cont.] If it wasn’t for the Blood Moon’s assurance that Starco’s souls are bound together for eternity, I wouldn’t reeeaally see a reason for Marco to arrive at Mewni and become roped into the conflict. I would’ve thought that maybe this would be Star’s fight and Marco would face a much longer wait before deciding to leave and stay in Mewni. With all that said, Marco’s experience with Mewni and then returning to Earth is a good way for him to realize that he couldn’t completely forget and that he truly wanted to live there.

I blame River for a majority of it. Dumb meat cape.

[Moon the Undaunted, Stranger Danger, Lint Catcher, Sweet Dreams.] My god, Eclipsa is so likeable and I absolutely cannot trust myself with the choice of trusting her or not. She is so sweet and understanding when both Moon and Star dumped their personal problems onto her, her attitude is nonchalant and cheeky, and I can totally see where Star’s rebellious side came from, both just have their own ways and plans to get what they need. All knowledge is good knowledge after all.

[Scent of a Hoodie, Lint Catcher, Sophomore Slump.] You know, I’m somewhat glad that Starco’s bond is taking a few steps back and even more awkward than before. It was super cute (and gross) that Star continued to miss Marco to the point where she lied in order to keep a piece of him with her. I don’t fully believe that Marco initially returned to Mewni for Star but more so as a result of his days being cooped up in it. While it meant that Jackie understood fully and tore her ties with him as to make the feeling go away faster, it was a new door for Marco to enter and better enjoy than to be the ‘croissant girl.’

[Cont.] The part where the roles were reversed and now Marco was the one dropping into Star’s life was a new take on a used beginning that I enjoyed, and showed that some time needed to pass before things would return to normal.

[Club Snubbed, Demoncism, Lava Lake Beach.] I almost ALMOST had this strong feeling, this permanent question, which was ‘why the hell would you bring TomStar back?’ If it was for the Starco slow burn, I was completely certain that there were better ways to develop the ship. If I remember correctly (if I’m wrong, this is still good), Star had her attention on trying to be the best princess she could be, so why not have her try and use that as distance and denial while Marco continued as he did, like a squire, just someone by her side?

[Cont.] After about 2 days of thinking, I just decided to drop it into the excuse of Star successfully finding a new love in an old flame (ayy, fire pun). Love is just complicated like that, even Marco faced the same feeling when seeing the two and found himself a breakup buddy in the form of the great Kelly (Kellco is great btw). While this explanation suffices, I still have a pinch of doubt in it.

Conclusion.

I am not prepared to drop this show. These characters, this story, all of it just leads me to want more, for the story to continue and it’s what leads me to click the next episode but at the same time want to hold back to make it last longer. Sometimes wanting to feel what you felt before leaves a sharp feeling when it’s all gone. It feels much worse when I’m going through a big part of life, and trying to feel memories just makes you remember that it doesn’t last forever. While the Season 3 ED brings me joy, it constantly reminds me that I’ll have to finish the show soon.

But past the nostalgia, I feel a once dead love for shows return to my heart. This show reminds me that sometimes it’s okay to indulge in entertainment, in great plots and characters that you end up loving forever. I hope that I can find time for shows and bring back the great feeling this show always does when I watch it.

I’m planning to resume my fanfic writing and begin a fanart series based on SVTFOE, but also try and bring and continue other series that I love today and then. And these won’t be WIPS and drafts, I want to go all out.

Thank you for reading all…this. It means a lot. I’ll be back when I finish the whole show. This’ll be a painful, wonderful, great experience, and I won’t take it for granted.

#star vs evil #star vs foe #star vs #i need starco #starco #star butterfly #star vs the forces of evil #svtfoe #marco diaz #eclipsa butterfly #moon butterfly #star vs the force of evil spoilers #star vs the force of evil season 3 #tom lucitor #jackie lynn thomas #janna ordonia #toffee

[imaginesandinserts]

Irreverent Pt. 32 - The Ball

Title: Irreverent Pt. 32 - The Ball Pairing: Aaron Hotchner x Reader Rating: R Words: 3024

Irreverent Series Masterlist

Jack had had a sleepover the night prior and his friend had just left. The two boys barely slept all night and you and Hotch could both tell that Jack was exhausted. So, at the first sign of a yawn, you nudged him towards his room for a nap. You'd come over in the morning to help with breakfast because Aaron had been on his own the night before. You would've joined, but he'd insisted he could handle it and had pushed you to go hang out with Penelope and Emily instead. You hadn't told the team - even Emily - about the two of you yet. It had only been a couple of weeks since your first date and both of you wanted to keep this to yourselves for the time being.

You had, however, discussed telling Strauss. With the Ball nearly upon you, you figured you should tell her and make the relationship official sooner rather than alter to avoid having it seem as though you were hiding it. Aaron had agreed, though you could tell he didn't love having Strauss know his business. The two of them still had somewhat of an antagonistic relationship ever since she'd questioned his ability to lead the team soon after his divorce. When he'd told you about this, you'd been shocked. That would have been right around when you joined the team, and while yes he had been more subdued and quick to anger those first few months, you had hardly seen reason for Strauss to have questioned his leadership.

"Jack's asleep," you told him, when you found him in his room, finishing up folding the laundry. The yawn you'd been suppressing for a while finally came out.

He smiled at you as he folded the last shirt. "Sleepy?"

"Mm a little. Emily is seeing someone new and so of course Penelope pulled out her computer and now I know that he has a cousin in Utah that was arrested for a misdemeanor charge in 2006," you explained, as you helped him put the clothes away in his closet. You appreciated that Aaron was a very neat and orderly person. Everything had a spot and it was just how you would've done it yourself.

"Well," he said conspiratorially, as he came and hugged your from behind, "Jack is taking a nap. We could also take a nap."

He was holding you so close and he smelled just like his Irish Spring soap and musk and something sweet that was uniquely him. "I hope you actually mean a nap," you mumbled, as you felt his lips against your neck "because that sounds amazing."

He gave a low chuckle as he dragged you over to the bed so you both could lay down. You laid down right next to him, his arm under you as you slung an arm over his stomach and your leg over his. You were quiet for a few minutes, as he tried to let you actually sleep. His hands played gently with your hair and Aaron always ran so warm it was like sleeping with a personal heater. However, now that you were actually lying down, sleep was elusive. You tilted your head up to see him watching you with a slight smile on his face.

"That's not sleeping," he murmured, as he continued to gently massage your head. You'd always liked having someone play with your hair - it was so soothing.

"I'm not actually sleepy anymore," you admitted with a small pout.

"Hmm." His voice was still low and quiet, in the hope that you might be lulled into a nap anyways.

You reached up to his face, a single finger tracing the outline of his face, down his perfect nose, across his pink lips. You'd really allowed yourself to appreciate him lately and it continued to amaze you how breathtakingly beautiful he was. Part of you couldn't believe you hadn't noticed it before but the other part knew that you hadn't let yourself go there. He seemed to be enjoying your exploration as he closed his eyes and just let your fingers ghost over his features.

"Aaron?"

"Mmhm."

"Where do you want to be after the BAU?"

He opened his eyes to look at you, not expecting the question. "Why do you ask?"

"I don't know…I guess with the Ball approaching and us talking about my career and future and all that…I guess I just kind of wondered. What's next for you?"

He let out a large breath as you sat up slightly on your elbows to look at him properly.

"I don't know. When I first started I wanted to do the whole move up thing, but the longer I'm here I don't know if I'm suited for that." He had a far away look on his face - like it was a thought from so long ago that it was entirely removed from the person he was now.

"Why not?" you asked, as you watched him carefully.

"It's a lot of paperwork and a lot of…difficult decisions. With the BAU it's more clear cut - we catch bad guys. Occasionally things are more complicated, but overall I feel like I do good in the world and I get to go home and not worry about the politics of moving up."

"Hmm," you said, coming back down to lay on his chest again.

"What is it?"

"I think Director Hotchner has a nice ring to it," you shared, pressing a kiss to his chest.

"Director?" You could hear the amusement in his voice.

"Yeah, you'd be a great Director for the Bureau." You really truly believed that. He was such a great leader who commanded respect - yours and everyone else's.

"Well I'm glad I have someone's vote," he laughed, trying to brush off what you'd said. That was an ambition for the old him - the one that had just had a kid and was married to Haley and had a whole life in front of him.

"You'll always have mine," you confided, as you hugged him closer, burrowing in more to his side.  "McKinney should be scared."

He had a really soft, perfect, I-am-Aaron-Hotchner-and-I-make-women-swoon smile on his face as he looked at you. Aaron brought his arms around you at that, kissing the top of your head.  "I'm sure he's shaking in his boots as we speak."

*------------*

The meeting with Strauss had gone as well as could be expected really. You and Hotch had asked to meet with her early in the day, before anyone else got there and when you'd explained that you needed to declare an official relationship, she hadn't seemed all that surprised. Which was surprising to you at the very least.

"Have you told your team yet," she'd asked, as both you and Hotch sat in her office and filled out the required paperwork.

"No, not yet." Aaron had responded quickly, not looking up as he said it, concentrating on filling out all the details.

You smiled and looked at her, knowing you had to compensate for his utter dislike of this whole situation. "We just want to keep it to ourselves for now," you'd explained. "It's hard enough working with profilers without everyone knowing everything."

She'd nodded understandingly, but added, "Well, I doubt anyone would be too surprised. I wouldn't wait too long if I were you."

Aaron had simply smiled and stood up, but Strauss asked you to stay behind for a moment.

You looked at her in question as he walked out and closed the door behind him.

"You should know that this could impact the tapping process. I will do my best to ensure that it doesn't, however situations such as this can raise some eyebrows. Are you sure about this?"

You thought about what she was implying, turning to look at the seat Aaron had vacated just a moment ago, before looking back at her. "He's worth it." The answer came easily. It was just that simple.

*------------*

The night of the FBI Director's Ball came sooner than expected. You'd chosen to get ready beforehand with the girls, and the four of you had made a day of it. Aaron saw you when you entered the venue, having arrived only minutes earlier himself. You walked in with Emily and you were wearing a dark green gown which complimented you perfectly.

"Take a picture, it'll last longer."

Aaron startled, only to see Dave standing next to him in a matching tux, with a shit-eating grin on his face. Sometimes he forgot that Dave knew, since the rest of the team still didn't. He grabbed the drink proffered by Dave and rolled his eyes good naturedly. No use denying he'd been staring. "How're you liking her odds tonight?" he chose to ask instead, changing the subject.

It was common knowledge that the annual Director's Ball was where up and coming talent was recognized. Aaron himself hadn't gone through the tapping process, but had heard of Bureau stars who were tapped at the Ball, go on to lead new taskforces, teams, and missions - have great careers within the Bureau and beyond it.

"Good," Dave responded, taking a swig of his drink. "I spoke with Erin about it and she still seems pretty confident in her recommendation. She did have to bring up the matter of you two to McKinney, and the final decision will be his."

Aaron nodded as he saw you approach with the rest of the team. Everyone had decided to meet up early on and grab a table together, so you all began to walk over. Aaron conveniently made sure to find himself right beside you. "You look beautiful," he said, leaning in just barely. He saw the slight blush rise to your face as he complimented you, his eyes running appreciatively over you again.

"Thanks," you smiled, "you look pretty good too." He really did. The man could always pull off a suit, but a tux was just a whole new level of attractive.

He pulled out your chair for you as the group found an empty table in the main room and grabbed the seat right next to you. Emily had grabbed the one on your other side and everyone else had found a spot around the table. Past years, the Ball had been nothing more than an excuse to drink and eat on the Bureau's dime and have fun with your coworkers. This year, however, you had to network and get to know other Section Chiefs and anyone who rolled up directly to McKinney. Both Hotch and Rossi had told you that having all of those people on your side was of the utmost importance. Aaron had already been helping you out in that regard, making sure to bring you along to some inter-departmental meetings and getting your name and face out in front of other leaders. You'd asked if he was giving you special treatment, as you couldn't recall him having done this for anyone else. However, he had assured you that he was not, and that if Reid or JJ to want to move along a similar path, he'd do the same for them. Prentiss and Morgan had a lot more experience and connections of their own, so they wouldn't need him to run interference as much.

Once dinner concluded, the string band started playing ballroom music. You all watched as some coworkers began to lead their partners out onto the dance floor. Derek quickly asked Penelope to dance as well, and the two of them were off, with Will and JJ joining them soon after.

"Alright kiddo, let's do this." Rossi reached for your hand across the table and you quickly accepted, allowing him to lead you out onto the dance floor. He knew that with you, he'd at least be guaranteed a decent partner - Emily had both left feet.

"He's right, you know," Rossi said, as he gently spun you around the dance floor, "you do look beautiful."

You smiled. It was nice having someone know about the two of you.

"You really think I have a chance tonight?" Dave had some experience in this matter - more so than you or Aaron.

"They'd be idiots not to pick you." As he said this, the music changed, and Director McKinney had walked over to ask Rossi for your hand. Rossi graciously handed you off, swaying back to the table for his tenth drink of the night.

McKinney smiled at you and respectfully took your hand in his, his other at your waist. "Hello Agent L/N."

"Good evening, sir." Your heart was thudding in your chest, knowing this was the moment.

"You dance very well," he remarked, as he easily led you through the motions.

"I used to dance as a kid. Not easy to forget." You quickly flashed back to the numerous recitals and lessons - most of which your parents had missed.

"I see." He looked contemplative. Sighing, he says, "You should know, the recent revelation of your relationship complicated the decision making process slightly."

You choose to just nod, not trusting yourself to say anything constructive.

"However, I would like to inform you that you can consider yourself officially tapped."

You felt your heart jump as a large smile broke out across your face. "Thank you sir! I really appreciate it."

"You will be working with me directly. You should also know, the only reason this process was not pushed off the tracks is because it is Aaron you're with."

You looked at him in question, imploring him to continue.

"Agent Hotchner is above reproach. Were it anyone else, we'd have questions about the recommendations and reviews. However, I trust Aaron and so I trust that the two of you have done your due diligence and kept everything above board."

"We have, sir. Thank you. I very much appreciate the opportunity."

As he continues to spin you, you catch Aaron's eye over McKinney's shoulder. You quickly shoot him a grin and a  wink, indicating that you got it. His face breaks out into the biggest smile, and you can see him making his way towards you through the crowd. He reaches the two of you right as the music changes, and seeing Aaron approach, McKinney stops.

"Aaron, good to see you."

"Director, how are you?"

The two of them shake hands and exchange pleasantries, before McKinney takes your leave to tend to other guests, promising to have his assistant get in touch with you very soon. Aaron takes that as an opportunity to grab your hand for the upcoming dances, pulling you in much closer than Rossi or McKinney had.

"Congratulations sweetheart," he whispers into your ear as he holds you close, swaying along to the music.

You look up at him and it takes everything in you to not kiss him right there in front of everyone. He catches the look in your eye, because he maneuvers the two of you to a corner of the dance floor where no one on the team is around. Squeezing your hand, he quickly looks around, before leading you off the end and out a side door. Having seen a supply closet across the way, he urges you to follow inside, closing the door behind.

Before you could take another breath, his mouth is greedily on yours, tasting you and drawing out a breathy moan, his name on your lips. Your back is pressed up sharply against a shelf, but the need to just touch him and feel him far surpasses the discomfort. You find yourself unbuttoning his shirt, just to be able to feel skin while he continues to explore your mouth.

His hands have worked their way under the dress and his hands roamed upwards and came in contact with your bare ass. Aaron pulls away, a little surprised at the thong, before returning to his exploration.

You'd managed to open up the collar of his shirt and move your mouth from his, resulting in a whine that turns into a moan as your lips come in contact with his neck. The desire to mark him as yours is something new you're experiencing, but your dedication to the task at hand rewards you with more sounds.

Not satisfied being alone in his ecstasy, Aaron's hand grazes over your breast, drawing a sharp inhale from you as a knot starts to form in your stomach.

"Do you like that?" his voice smooth despite him being a moaning mess a second earlier. You watch as his fingers ghost over your breast and your nipple hardens under his touch. "What about that?" He looks up finally to meet your eyes and his pupils are dilated beyond belief. Briefly you wonder what you must look like.

You'd never really pegged yourself for being much of a talker, but having Aaron talk to you as he touched you was definitely a turn on. You nod shakily, prompting him to cup your breast and run his thumb over the bud, maintaining his eyes on yours. You're afraid you're going to be too loud, so you reach up and kiss him again, allowing him to swallow your moans as he continues his ministrations. You can feel the dampness growing in your underwear and you swear you blacked out for a second when he breaks away from your mouth and takes a nipple into his mouth instead, biting gently through the fabric of your dress.

"Aaron!" You meant for it to be a sharp rebuke but instead what came out could really only be a groan of pleasure.

He looked up at you with false innocence, knowing exactly the effect he'd had on you. However, taking note of where you two were at the moment, he returns his attention to your mouth with promises of continuing later.

By the time the two of you leave the supply closet, trying not to look as though you'd spent the past thirty minutes engaged in intense foreplay, the party was dwindling down and your friends had been looking for you for quite some time.

#criminal minds #criminal minds imagine #criminal minds reader insert #aaron hotchner #aaron hotch x reader #aaron hotchner x reader #aaron hotchner x you #aaron hotchner x y/n #hotch x reader #hotch x you #hotchner imagine #hotchner x you #hotchner x reader #irreverentseries

[doomonfilm]

Ranking : David Lynch (1946-present)

Film is definitely an art, and yet, it seems to be distinct from other forms of visual art such as painting or sculpture.  Perhaps that is what makes David Lynch such a fascinating director, as he has the ability to tap into the surreal stimulus often found in the most famous paintings and transform it into brain-bending moments on film.  Whether it his fear-fueled fascination with fatherhood present in his debut film Eraserhead, his ruminations on Hollywood society present in Inland Empire, or any of the stopping points in-between, it’s safe to say that David Lynch sits in the rarified air of directors like Ingmar Bergman, Alejandro Jodorowsky and the other few who can turn film into something deeper, more visceral and more meaningful.

With one of the most unique collections of films credited to his name, including a couple of curveballs in the early portion of his career, ranking the films of David Lynch is as perplexing as it is entertaining... so, without further ado, we attempt to climb that hill.  I’m not even going to pretend that I can break down all of the symbolism and meanings of these films, but I can give my honest opinion about them.

10. Dune (1984) For a film that is supposed to be such a science-fiction gem, it’s a bit funny that nobody can seem to make a coherent, entertaining version of Dune.  After nearly 15 years in pre-production hell (and three iconic names attached to versions of the production), the film landed in the laps of Dino De Laurentiis and Ridley Scott, but after another extended period delaying production, Scott bowed out, leaving the door open for David Lynch to step in.  For what it’s worth, he did bring a huge list of names to the project, but the fact that the directing credit for Dune belongs to the throwaway pseudonym Alan Smithee should clue in any perceptive viewer that the project may not be one that Lynch cares to stand behind.

9. Inland Empire (2006) David Lynch isn’t the type of director that revisit ground he’s already covered, which is what makes Inland Empire (the seemingly final film from Lynch) such a confusing choice.  Had this film not been released after a five year gap between it and the stellar Mullholland Drive, another film that focuses on the dark underbelly of Hollywood, fame and the tolls of the acting craft, perhaps it would hit a little different to me.  That’s not to say that the film isn’t good, as it is definitely a slight adjustment from the style that Lynch basically trademarked, but when a director like Lynch experiments on what feels like general principle, it makes experiments that feel like a step backward lose impact.

8. Lost Highway (1997) Technically, you could count all of the Lynch “mystery” films as noir in some capacity, but Lost Highway feels like a direct skewing of what we know as the traditional noir structure.  At its core, the film is a simple murder mystery, but it doesn’t take long for the Lynch signatures to begin appearing in every form from a mysterious, unnamed character to our protagonist literally changing into another person with no base explanation provided.  Perhaps the latter choice was a look into split personalities and the disassociated nature that can come with brutal crimes... as I said before, I’m not here to try and decode the David Lynch mystery.  While Lost Highway serves as a good entry point into the David Lynch catalog, it sits on the back half of the rankings due to no fault of its own... it’s more of a situation where the other mysteries are so stellar, that even the strange seems simplistic by comparison.

7. The Straight Story (1999) If you played a game of “one of these things is not like the other” with the films of David Lynch, it would not be difficult to make a winning choice, as The Straight Story is clearly the most accessible and standard of all the Lynch fare.  What the film lacks in oddness and style, however, is more than made up for in terms of heart and performance.  The use of a lawnmower as the main source of travel allows for some beautiful landscape cinematography, and the sheer force of will exhibited by Richard Farnsworth pays off in spades when he is reunited with Harry Dean Stanton.  If you’re looking for something creepy, eclectic and mind-warping from Lynch, there are plenty of other films to choose from, but if you are looking for an excuse to shed a tear or two, this is the film for you.

6. The Elephant Man (1980) It’s funny to think that if not for The Straight Story, the Joseph Merrick biopic The Elephant Man would serve as the most normal film of the Lynch canon.  This sophomore film dialed back on the abstractions present in Eraserhead, but it brought some extraordinary makeup and costuming to the table, not to mention it gifted viewers with a powerfully moving performance from John Hurt.  Though memorable in its own right, the film really made its mark by tying Raging Bull at the 53rd Academy Awards, garnering eight nominations (and sadly losing in all categories, going home empty-handed).  The backlash for the Academy’s lack of giving The Elephant Man special praise for its makeup effects also led to the creation of a Best Makeup award for the Oscars.  It is quite possible that the combination of shock from Eraserhead in tandem with the skill and prowess shown in The Elephant Man opened all of the creative control doors for David Lynch, as not even Dune could derail his career and artistic oddness. 

5. Blue Velvet (1986) While Twin Peaks is where I first heard the name David Lynch, it was Blue Velvet where I first got a taste of why Lynch was held in such high regard.  The suburban paradise presented in the opening credits is immediately shattered by the discovery of a random ear, and the weirdness rabbit-hole gets deeper and deeper from that point on.  The classic look of the film stands in powerfully beautiful contrast to the extreme darkness of the narrative, and Dennis Hopper turned it all the way up to 11 for his performance in the film.  If Lost Highway serves as the best introductory film for those curious about Lynch, then Blue Velvet serves as a good midpoint to determine how much weirdness, abrasiveness and shock you can handle in a Lynch film.

4. Mulholland Drive (2001) I really and truly do not know where to begin with this insane rollercoaster ride of a film.  The first time I watched this film, I thought I had everything figured out, every mystery solved and every bait and switch identified, but upon repeat viewings of Mullholland Drive, I’ve determined that I either had a brief moment of harmonic brilliance or I was fooling myself.  The film makes sense at its root, if really and truly dissected, but when taken at face value and in real time, it’s almost impossible not to get completely lost in the sheer immersive nature of everything thrown at you.  Naomi Watts is brilliant as the viewer guide through the film, and it’s good that she is so powerful in her lead role and guiding task, because Mullholland Drive is not afraid to get downright bonkers on more than one occasion.  While films about the trappings of Hollywood and stardom are nothing new, I’m hard pressed to think of another film that approaches these in a manner even remotely close to that of Mullholland Drive. 

3. Wild at Heart (1990) Quite possibly the most enjoyable of all the David Lynch films, despite some downright brutal moments of celebratory violence sprinkled throughout.  The combination of Nicolas Cage and Laura Dern is nothing short of electric, and the presence of Willem Dafoe as antagonist is the perfect spark to ignite an already volatile mixture of leads.  The energy level of this film starts on ten and only continues to rise as the film progresses.  If/when I ever get the chance to program theater showings, I am putting this film on a double bill with Natural Born Killers immediately.  While I can’t say that Wild at Heart is my favorite David Lynch film, I can say without a shadow of a doubt that it’s my favorite Lynch film to gush about with other fans.

2. Eraserhead (1977) More often than not, directors the caliber of David Lynch have stunning debut films to their name, and Lynch certainly exploded onto the scene with a gamebreaker in the form of Eraserhead.  Upon first viewing, there is enough “WTF?!” going on to confuse most people, but for those brave enough to watch the film more than once, it becomes painfully obvious that all of the madness and shocking imagery on display is a clear metaphor for Lynch’s fear of fatherhood.  The simple act of taking a fear that resonates with most humans and turning it into the equivalent of a black and white bad drug trip works perfectly, and Jack Nance’s iconic look and performance are almost recognizable enough to know without knowledge of the film.  Eraserhead is one of those films that leaves you different than you were prior to watching it.

1. Twin Peaks : Fire Walk with Me (1992) In all honesty, was there every any doubt that Twin Peaks : Fire Walk with Me wouldn’t be in the top spot?  Of all the properties that the David Lynch name is connected to, none of them have even come remotely close to touching the sheer size of the lore and fandom that has emerged from this modern day masterpiece.  The story of the high school princess with deep, dark secrets to hide is not new territory, but the way that Lynch handles it all with Twin Peaks takes the familiar to all new realms of weirdness, including the creation of iconic places and characters like the Black Lodge, the Log Lady, the production mistake that created the infamous Bob, and the eternally iconic Laura Palmer, and oh yeah, the film’s not half bad either.  I doubt that David Lynch ever had any intention of reaching the heights of fame that Twin Peaks : Fire Walk with Me afforded him, but it would be dumb to think that he isn’t impressed with the magnitude of the world he created based on that single idea for a film.

#ChiefDoomsday #DOOMonFILM #DavidLynch #Eraserhead #TheElephantMan #Dune #BlueVelvet #WildAtHeart #TwinPeaksFireWalkWithMe #LostHighway #TheStraightStory #MullhollandDrive #InlandEmpire

[wonderfulworldofmichaelford]

Psycho Analysis: Vlad Masters/Vlad Plasmius

 (WARNING! This analysis contains SPOILERS!)

Danny Phantom is the one truly great thing Butch Hartman can still slap his name on. A fantastic show, it evokes the fun of oldschool comics while still keeping that Hartman charm. But as a superhero show, it’s only as good as its villains, and thankfully it has one of the most impressive rogues galleries this side of the PPG. But every great rogues gallery needs a great archenemy, and of course Danny Phantom is able to provide that.

Vlad Masters, AKA Vlad Plasmius, is one of the coolest antagonists in a series chock full of cool antagonists. He has the style, he has the flair, he’s a politician, he has the hots for Danny’s mom and is a Green Bay Packers fan! What a fiend! Vlad is a great foil for Danny in a lot of ways due to being essentially a more experienced version of Danny himself due to having years of practice with his powers, which allows the show to showcase Danny’s growth as a hero as the threat of Vlad diminishes with time going on.

Shame about all those dropped plotlines, though.

Motivation/Goals: As established in his very first appearance, Vlad is a man who, despite his immense wealth, desires things he can’t possibly have. Humorously, one of these things is the Green Day Packers, but less humorously one of those things is Danny as a protege or even as a son. He frequently tries to get Danny to join him or to find some way to weasel his way into Danny’s life in ways that bring us into his third and most definitive motivation.

You see, Vlad “loves” Maddie Fenton. This is in quotations because the show makes it abundantly clear he loves the idea of having her more than anything else and that his attraction is entirely surface-level bitterness at Jack having something he doesn’t. So Vlad is a man who goes out of his way to try and woo a woman who has a rather clear lack of interest in him due to being married, yet still he continues to pursue her romantically despite the sheer impossibility. There’s a word for men like Vlad… you know what it is… Vlad Master is a

This alone truly solidifies him as one of the most evil men in fiction, and he honestly might be the biggest simp of all. Move over, Mordecai! The simp king is here to claim his crown! And if you doubt that Vlad is less of a simp than Mordecai… he’s a middle aged man who has been lusting after the same girl since college and has amassed a massive fortune and gained tons of power (through illegitimate means, according to the creators) solely so he can try and cuck his former best friend. Mordecai temporarily killing Rigby over a girl doesn’t even come close to the levels of simping on display. He literally named his cat after Maddie! Vlad is next level.

Performance: Martin Mull portrays Vlad and gives him the perfect classy yet slimy voice, but can you expect much less from the man deemed worthy to take up the mantle of Colonel Mustard in Clue? For the most part, Vlad remains a very effective villain who raises the stakes when he appears, and a lot of his intimidation factor comes from how well Mull is able to sell Vlad even when he’s doing really dumb stuff or is the butt of jokes. He definitely helps cement Vlad as the Norman Osborn of the 2000s.

Final Fate: After all of his scheming, all of his tricks, his becoming mayor of Amity Park, his hounding of Danny, Vlad ultimately decides to reveal his full hand when a deadly meteor is about to strike the Earth and wipe out all life. He ropes Jack into helping him, and of course Jack is crushed to learn the man he considered his best friend has not only hated him for years, but has constantly been trying to steal his wife and family from him. So when Vlad fails to stop the meteor and realizes there is no way he can return to Earth and face the people there now, he turns to Jack and pathetically asks if Jack would help a friend. And of course Jack says he would help a friend… but Vlad? No.

And so he abandons Vlad in the lonely vacuum of space, where he is doomed to wander as a pariah. The exchange between Jack and Vlad here is one of the sole bright spots in the otherwise depressingly awful series finale, “Phantom Planet,” so hell yeah am I gonna go into tons of detail about it. It’s probably one of Jack’s finest moments, as he finally stands up to the Simp King who has been stalking his family for years now.

Also Vlad gets crushed by a meteor at the very end of the episode.

Best Episodes: I think with Vlad it really depends on what you’re looking for. His introductory episode, “Bitter Reunions,” is a wonderful first impression that really set the tone for him for at least the first two seasons. “Masters of All Time” shows an alternate, powerless Vlad who still manages to be every bit as horrible as the main Vlad. And “The Ultimate Enemy” showcases him at his most sympathetic, with his brief appearance being a fantastic addition to an already stellar special.

Best Quote: Vlad drops this line in “Reign Storm,” and while nothing ever came from that particular plotline, this line has always stuck with me: “What? That I used two fourteen year old pawns to turn a knight and topple a king? It's chess, Daniel. Of course you don't understand. But then, you never really did.”

Final Thoughts & Score: Vlad is certainly a cool villain and a great foe, but unfortunately the show drops the ball with him a bit, though I think at least some of that is intentional. In the early seasons, he is much more dangerous and competent, having had decades to master his powers while Danny is still relatively new. But as time goes on, and Danny becomes more and more powerful and more accustomed to his abilities, Vlad’s threat level diminishes significantly, and while he is certainly no slouch, he loses a lot of his luster and his schemes become more petty and pathetic.

I think a lot of this can be attributed to his arrogance and pride, as well as his selfish desires. Vlad’s motivation is constantly to have things he simply cannot have and childishly act out of spite when he can’t get what he wants. More than anything he wants Danny as his son and Maddie as his wife, but it’s pretty apparent he doesn’t care about Maddie beyond the surface level and even with Danny it seems he more wants to spite Jack due to perceived slights than anything. He’s just a bitter, miserable, lonely man who is incapable of self-reflection; in fact, the only timeline in which Vlad realizes the error of his ways is one in which Danny’s whole family and Danny himself die, with his own powers being stripped away from him. His own ego and pride hinder any growth, and in the end it is ultimately what does him in, since he is left abandoned alone in space by the man he repeatedly tried to stab in the back, unable to return home to Earth because he foolishly revealed his powers, thinking he had everything under control.

While I do think his threat level diminishes a bit and the show doesn’t handle him quite as well as they could, I do think he’s a very effective thematic villain and an excellent archenemy to Danny. I do wish they had utilized some dropped plotlines such as whatever he was going to do with Fright Knight and of course the stuff with Dani, and I’d be lying if I said it didn’t hold him back from a perfect score, but I’d still say Vlad deserves a 9/10. A lot of it is because of his cool design and voice acting, and a lot of it is because he’s honestly a pretty savage deconstruction of the type of shallow, obsessive character type he embodies…

...but let’s be honest, he scores this high because he is the ultimate simp in all of fiction. Truly there is nothing more evil than that.

#Psycho Analysis #Vlad Masters #Vlad Plasmius #Danny Phantom #Martin Mull

[twentiethcenturymoviesandtv]

The Wizard of Oz: The Story

At first glance, the plot of The Wizard of Oz seems pretty simple and chock full of clichés.  A girl from Kansas and her dog find themselves in a wonderful land, and meet a Cowardly Lion, a Tin Man, and a Scarecrow, traveling on a feel-good journey to find the titular Wizard of Oz, the only person who can send Dorothy home.

Pretty straightforward and obvious, right?

Well, there’s a bit more to it than that.  (Spoilers below, so on the off chance you haven’t seen the movie, go check it out and come back when you’ve seen it!)

Here’s the setup:

The film opens with Dorothy Gale (Judy Garland) and Toto running along a road in the dull, brown land of Kansas.  They are running just ahead of their bike-riding, witch-like neighbor, Ms. Gulch, who is trying to have Toto put down for biting her.

Dorothy, in an understandable panic, tries to tell her Aunt Em and Uncle Henry (who she lives with) about the situation, but they blow her off.  She turns for advice instead to three farm hands, who express sympathy and interest in the problem.  It is here where Aunt Em tells Dorothy to find somewhere where she won’t get into trouble, and here where Dorothy sings the most famous song in all of cinema.

Now, we’re already looking at quite a lot of setup that will be hugely important later.

First, the templates for the future characters of Oz.  Ms. Gulch and the three farmhands are introduced immediately with clear personality traits that will be echoed in their Oz counterparts later on.  Ms. Gulch is appropriately antagonistic and witch like.  The three farm hands quietly display the traits upon which their dopplegangers will be fixated: brains, heart, and courage.

Then there’s that song.  Somewhere Over the Rainbow, while being a song with seemingly little to do with the story has a lot to do with Dorothy’s character.  Feeling pushed aside, ignored, and helpless, Dorothy’s famous song is a window into her desires: leaving and finding a place where her dreams will come true.

Long story short, there’s a lot of foreshadowing in this scene.

Ms. Gulch (Margaret Hamilton) arrives on the scene with a sheriff’s order to put Toto down.  When her aunt and uncle do nothing to stop it, Dorothy takes Toto and attempts to run away from home.

She doesn’t get far.

She is stopped in her tracks by a kind, traveling con-artist fortune teller (Frank Morgan).  The fortune teller, by looking through Dorothy’s things to surmise enough about her situation, uses his crystal ball to cause Dorothy to believe that her aunt is in serious trouble.  Worried, Dorothy races home just in time for a cyclone to strike, knocking her on the head and carrying her, Toto, and the house, into the skies, along with Ms. Gulch, who transforms into a witch aboard a broomstick.

When the house lands, it’s in an entirely different place. Gone are the brown-grey tones of Kansas, replaced with bright color and vivid imagery of Munchkin land.  Dorothy emerges from the house to be greeted and hailed as a hero by both the Munchkins and Glinda, the Good Witch of the North. Dorothy has slain the Wicked Witch of the East when her house fell atop her, and freed the inhabitants of Munchkin land.  Cue song.

Dorothy is understandably confused, especially when the dead witch’s sister, the Wicked Witch of the West (Also Margaret Hamilton) turns up to claim the powerful ruby slippers that belonged to her sibling and are currently sticking out from underneath the house.  

Glinda transports the slippers onto Dorothy’s feet instead, enraging the Wicked Witch of the West, and causing her to swear vengeance for her sister.  Not powerful enough to hurt Dorothy in the presence of Glinda the Good, the Wicked Witch vanishes in a flash-bang of smoke.

All Dorothy wants is to get home.

Glinda assures her that she can get home by going to see the most Powerful Being in All of Oz: The Wonderful Wizard of Oz of the Emerald City.  She can do this, of course, by following the Yellow Brick Road.

Cue another song as Dorothy skips her way out of town, down the road, and towards her goal: getting home.

Already we’re seeing some irony here.  Not fifteen minutes ago, Dorothy’s goal was to get Somewhere Over the Rainbow, to be in a magical place. Oz is as magical as they come, and Dorothy was immediately beloved and befriended, and yet, worried for her family (especially her aunt) the goal seems to have flipped; now her desire is to return home.  This is unusual for both a fantasy movie and a coming of age story, and The Wizard of Oz is both.

Even stranger, throughout the story, Dorothy never wavers from this goal, leading directly to the lesson at the end.  But let’s not get ahead of ourselves.

Dorothy comes to a fork in the Yellow Brick Road by a cornfield, where she meets an unusual figure: a scarecrow (Ray Bolger), stuck on a pole. Dorothy immediately goes to his aid, helping him down and listening to his woes: he has no brain, which he explains through song.  (Aren’t musicals wonderful?)

Dorothy has a solution.  She suggests that he joins her, so that he may ask this Wonderful Wizard for some brains.  He agrees, and they continue along into a grove of apple-trees.  Dorothy, being hungry, goes to pick an apple, only to realize that the trees are alive, and aren’t happy about having their children ripped from them and eaten in front of them.

They don’t word it like that, but that’s the gist of it.

The Brainless Scarecrow takes action, enraging the trees to instead pelt them with the apples, no doubt breaking the hearts of several parents who witnessed their children used as ammunition.

Mission accomplished, Dorothy moves to collect the apples when she stumbles on something else interesting: a man made of tin, rusted nearly solid.

Sensing another opportunity to help, Dorothy uses an oilcan to restore mobility to the Tin-Man (Jack Haley), who thanks them and expresses his own problem: he has no heart, and this just about moves him to tears.

It moves him to song, anyway.

In the end, Dorothy suggests that the Tin Man join them in their journey to Oz, so that he may ask the Wizard for a heart, and he agrees.  The Wicked Witch appears again, this time as a more sincere threat, revealed through a demonstration of her fireball-hurling abilities.  She disappears in another puff of smoke, and the Scarecrow reveals that fire is his only fear, as it is the only thing that can truly destroy him.

The group continues on into a deep forest, full of ‘lions and tigers and bears’ (oh my!), and are suddenly jumped by a Lion (Bert Lahr). They scatter in terror before his might, all except for little Toto.  Faced with this challenge of a tiny dog, the Lion pounces after him, to the outrage of Dorothy, who viciously slaps the Lion on the nose and scolds him. The fierce Lion responds to this attack by bursting into tears.

The Lion explains, in a song, that what he wants most in life is courage, sealing out our rule of three.  He too joins the group in the desperate hope that the Wizard will give him the courage he desires, and the three emerge from the forest, across a field of poppies.  There is a brief and pointless attack by the Witch, deflected by Deux Ex Glinda, and the group merrily makes their way to the Emerald City.

The guy at the gate briefly stops them, but lets them in after seeing Dorothy’s Ruby Slippers and hearing that they know Glinda the Good.  Cue another song, this time describing the joy it is to live in Oz, however they are cut short by the main conflict kicking into high gear: The broomstick-riding Wicked Witch of the West blazes a smoke trail in the sky that says simply: Surrender Dorothy.

The lack of comma is a little confusing as to whether Dorothy is to surrender, or if the people of the Emerald City are supposed to surrender her, but either way, the idea comes across pretty clearly.  In the face of this danger, the message returns from the mighty and wise Wizard of Oz: he won’t see them, due to the danger Dorothy has brought.

In desperation, Dorothy starts to cry, mourning her situation, which, despite three new friends, is pretty bleak.  Her outburst convinces the Wizard’s guard to let them in, where they meet the famed Wizard.

He’s pretty scary, all right.  He insults the group for a few minutes as the group stutters out what they want (a brain, a heart, a home, the nerve), and then lays down his deal: He’ll give them what they want if they bring back the Wicked Witch of the West’s broomstick.  

Left with no other option, Dorothy and Co. head into the forest after the witch, and here I want us to pause for a moment and look at where we are in the story.

For one thing, this is kind of a weird structure for a movie. The setup is fine, a girl finding themselves in a magical world is a normal fantasy format.  The main antagonist was introduced quite some time ago, but she hasn’t really been too much of a threat until now.  We got a few reminders to let us know she’s still in the movie, but we’re really just now getting to see the main ‘conflict’, Dorothy vs. the Witch, and we’re really close to the end of the movie.

It almost seems like we’re just now entering third act climax after a very long first act of rising tension/inciting incident.  It feels as though we’ve skipped right over a second act. The quest to defeat the witch, which in other stories would be starting at the end of the first act, is at the beginning of the third.

The ‘quest’ wasn’t even for Dorothy’s own sake.  She’s doing this because the Wizard is giving her no other choice.  Dorothy isn’t a fantasy hero in the normal sense.  She just wants to get home, and there’s no sense of ‘good vs. evil’ struggle in this film.

So where are we in the story?  Where we are right now is a scared, but determined, little girl doing whatever it takes to get home, with three friends and her dog at her side, marching into the woods to kill the Wicked Witch of the West, a powerful woman who’s been trying to get at her this whole movie.

The Witch’s horde of flying monkeys arrives in the forest, carrying Dorothy and Toto off, mauling the Scarecrow, and subduing the Lion and Tin Man.

Once in the Witch’s castle, threatened with her dog’s death, Dorothy agrees to let the Witch have the slippers, but wouldn’t you know it, the slippers won’t come off her feet.  Enraged, the Witch locks Dorothy in a tower with an hourglass that is counting down time until the Witch kills her.  (The reason she didn’t do it right away is that ‘these things must be done delicately’.  Maybe she needed a spell or something to do it with the Ruby Slippers on her.)  During her imprisonment, she is shown images of her aunt, worriedly calling out for her.

Meanwhile, Toto gets away and rushes to fetch help: the Scarecrow, the Tin Man, and the Lion.  After putting the Scarecrow back together and surmising what must have happened, the trio immediately decide to go rescue Dorothy.

In a display of brainlessness, heartlessness, and gutlessness, they sneak into the Witch’s castle to save their friend, beating up three guards and taking their uniforms in the process.  Seconds before the hourglass runs out, the Tin Man finally gets to use his axe and chops down the door to the room Dorothy is locked inside. Their reunion is cut short, however, by the Witch and her guards, who, after a brief chase, manage to corner them.

The Witch gleefully informs Dorothy that the Witch intends to kill them all, one by one, saving Dorothy for last.  Making good on her promise, she sets the Scarecrow on fire, which, as previously stated, is the one thing that can really kill him.

Horrified, Dorothy grabs a nearby Deus Ex Bucket of Water and douses the Scarecrow, putting him out and saving his life.  In the process, the Witch gets soaked too, and let’s be honest, you all know what happens next.

“You cursed brat! Look what you’ve done! I’m melting! Melting! Oh, what a world! What a world! Who would have thought a good little girl like you could destroy my beautiful wickedness…”

So the Witch vaporizes away, leaving Dorothy and Co. stunned and surrounded by the Witch’s guards, who thank Dorothy profusely for murdering their leader.  They gladly give them the broomstick they were sent after, and the gang immediately heads back to the Emerald City, full of joy and confidence.

Once they arrive back in the Wizard’s presence, however, he immediately begins wavering on his deal, telling them to come back tomorrow.

Dorothy, having recently (if accidently) vanquished the most feared person in all of Oz, is having none of it.  She stands up to the Wizard and is just setting in on giving him a piece of her mind before Toto rushes to an ignored corner of the room, pulling back a concealing fabric and revealing a scared little man behind the curtain, working frantically at his machinery in an attempt to draw their attention away from him.

The man (also Frank Morgan) admits the truth: he is the Wizard of Oz, and has no wonderful powers whatsoever, but he does stave off their anger with a few items from our world, where he is apparently from.  To the Scarecrow, Tin Man, and Lion, he bestows gifts that officially grant them the traits they were ‘lacking’.

A diploma, medal, or clock won’t get Dorothy home, however, but the Wizard has an idea.  He arrived in Oz several years ago by a decidedly less fantastic way than Dorothy had: he had come by hot air balloon, and it just so happens that it is in perfect condition.  The Wizard decides that it is time for him to go home as well, and offers to take Dorothy with him.  Of course she accepts.

However, while the departure is taking place, there is a scuffle involving Toto and a cat, and the balloon takes off with the Wizard, but not Dorothy.  The girl is now in complete despair about ever getting back to Kansas, and even though she’d be welcome in the Emerald City, she’s coming to the realization that there’s no place like home.

Cue Deus Ex Glinda.

The Good Witch arrives in their midst and tells Dorothy something that probably would have been helpful before if not for The Plot: The Ruby Slippers that Dorothy has been wearing could have taken her home any time she wanted, simply by clicking her heels and saying ‘There’s no place like home’.

(I wish I had a pair of those.  That’d make social gatherings much less uncomfortable.)

Dorothy tearfully wishes her friends goodbye and with Toto in tow, follows Glinda’s instructions and wakes up in familiar, gray Kansas, surrounded by her aunt, uncle, farmhands, and Professor Marvel.  It was all Just A Dream.

Contrived?  Maybe. Or maybe not.

A lot of people have quite a few problems with the ending of the Wizard of Oz (besides the Scarecrow’s math slipup, which we aren’t addressing today).  For example, if Glinda knew the slippers did that this whole time, why send Dorothy on this dangerous adventure and have her murder a Witch?

(Or maybe it was Manslaughter.  It was accidental, after all.)

For a while, I subscribed to the theory of it just being an easy way to end the story.  In the original book, the Good Witch who sends Dorothy off and the Good Witch who helps her get home are two different people.  I just assumed that the scriptwriters just crammed them into one person, didn’t realize the Adaptation Induced Plothole, and just hoped no one would notice.  (I didn’t like this movie for much of my childhood, and I was rather cynical towards it.)

However, when I watched it again, I had another thought.

First off, this entire adventure was a dream, and if we can accept talking lions, scarecrows, and men made out of tin, we can sure as heck accept the fact that Dorothy’s subconscious wasn’t thinking of a plot-sensible way to get home.

Secondly, and more important thematically, this way home matters to Dorothy’s journey.  In the beginning of the first act, we see Dorothy’s desperation to be elsewhere, somewhere where her dreams come true, somewhere brighter and Better than Kansas. And then she gets her wish.

For any other fantasy hero, this would be amazing.  She immediately is hailed as a hero and makes three good friends, defeats a villain, and has the opportunity to stay behind in this magical land where she has learned so much.  But what does Dorothy say at the end?

“If I ever go looking for my heart’s desire again, l won’t look any further than my own backyard, because if it isn’t there I never really lost it to begin with.”

Right from the beginning, as we’ve mentioned, all she wants is to go back home, to be with her family and friends, and to be content with the life she had.  Her ‘Hero’s Journey’ isn’t learning to strike out on her own and be Independent.  Her ‘Hero’s Journey’ is gaining the same things her friends did: brains, heart, and courage.

She proves her own intelligence, her own caring, and most importantly, her own bravery.  She learns agency.  In the beginning of the story, she is helpless, running away from her life because the adults in her life are unable to help her.  The story of Dorothy is of being able to affect where you are in life, not by escaping, but by dealing with your problems yourself.

By initially going to the Wizard to be sent home and finding out she had the ability to do it herself, Dorothy realizes that she has power and agency in her own life, and that she can’t, and shouldn’t, totally rely on others to fix her problems.  So in a way, it makes sense that she had to go through all of that before she could go home.

By the same token, she’s also learned that she belongs with her family at the moment.  Dorothy is still a child, and does spend a good deal of the movie worrying especially about her aunt.  Where she begins the movie feeling swept aside by her family, Dorothy realizes how much she cares about and needs family and friends in her life.  She has learned to be self-sufficient, but not alone.

That’s a pretty good message for a kid, and indeed, for people of all ages.  With that in mind, it makes a lot of sense that people have kept coming back to this film for its heartwarming story.  There’s a reason this movie is a classic, after all.

In the upcoming articles, we’ll be taking a look at some more of the fascinating facets that make up The Wizard of Oz, so please, stay tuned for next time!  Thank you all so much for reading and feel free to message me with your own thoughts. I hope to ‘see’ you in the next article!

#The Wizard of Oz #The Wizard of Oz 1939 #1939 #30s #Film #Movies #Fantasy #Adventure #PG #Judy Garland #Margaret Hamilton #Frank Morgan #Ray Bolger #Jack Haley #Bert Lahr #Billie Burke #Victor Fleming

[itsclydebitches]

RWBY: The Horcrux Theory

Yesterday when I answered the lovely @leonhaxor‘s ask, I was surprised by the number of people who said they hadn’t heard about this theory before; people like me who are invested in the characterization of Volume Six and presumably would have come across it. I figure then that I either saw this theory on another blog and it didn’t spread in the way I assumed it would, or I thought of it myself, forgot it, and upon remembering it assumed I’d seen it elsewhere. Considering both of these things have happened to me in the past more than once (woo shit memory!), your guess is as good as mine. The important thing is the theory is here now and I’d like to take the time to lay it out in a more organized---and hopefully more persuasive*---manner.

(*As a bit of a disclaimer, I’m really just working with what I perceive as a valid interpretation of the text, not a theory in the sense that I expect Rooster Teeth to implement it in Volume Seven. If that were the case, I’d have expected our finale to paint Ruby and the rest as less heroic/justified in their actions, instead emphasizing how OOC they are, thereby setting up a situation wherein they would eventually question why their outlook and behavior has changed so drastically. But we didn’t get that. So this is less, “Sincere expectations for Volume Seven!” and more “Based on what Volume Six gives us, this is a plot twist that could work for these reasons...”)

Let’s start with the title. For anyone who may not know, a horcrux is a magical object within the Harry Potter universe that houses a piece of someone’s soul, a way of ensuring that they live on even if their body is killed. Within the plot, Voldemort (our primary antagonist) creates multiple horcruxes, one of which is carried by our heroes over a long journey. The object’s dark nature as well as its limited ability to think for itself results in a dramatic change in the group over time. They become moodier, more prone to fighting, and one character in particular, Ron, succumbs to a number of doubts and fears he’s been carrying since we met him at the start of the series. Thanks to the horcrux’s influence, he ends up acting in ways he otherwise never would have, including saying things he does not mean (“Your parents are dead. You have no family!”) and settling on courses of actions he later regrets (abandoning the group).

We can see some similarities then between the two situations, both in the Relic’s potential influence on those who carry it---to the point where, the longer they hold onto it, the more likely they are to act in ways contrary to their nature---and in the concept of a magical object being able to think for itself. Obviously Jinn is far more of a person than a sliver of a soul is, but the point is each has a certain amount of agency. As leonhaxor points out in response to my original post, there are also numerous similarities between this potential setup and the ring from Lord of the Rings. There we have another powerful, semi-sentient magical object carried by our heroes over a long journey, slowly corrupting them overtime. I think the variety of source material here is worth noting. Meaning, it doesn’t matter which comparison between stories is “best,” but rather that such comparisons are common. The Corruptible Object is an established motif in fantasy storytelling and RWBY is a web series that is highly invested in re-creating standard setups (such as fairy tales) and then attempting to subvert/complicate them. It makes a great deal of sense then that they would use a trope seen in two of the most popular fantasy series ever created, and then work to update it: the Relic is not a simplistic, pure evil thing like the ring or a horcrux is. It functions in similar ways, but---like most else in RWBY post-Volume Three---has a more complex morality attached to it. Jinn seems kindly at times, the Relic was created by the God of Light, etc. Form then, our expectations for how Rooster Teeth pulls from popular storytelling and incorporates those elements into their narrative, can be used as a potential bit of evidence.

But onto the juicier stuff.

The first thing that’s worth establishing is that all of Ozpin’s plans and choices function on multiple levels. For example, take letting Ruby into Beacon. He seems to have done this because she’s a prodigy, and because she has an excellent moral compass, and because a Silver Eyed Warrior is useful in the fight against Salem, and because Beacon is the safest place for someone belonging to a group that Salem has actively hunted in the past, and because she’s now drawn attention to herself by fighting Roman and Cinder. Phew. There’s a lot at play here. This sort of thinking is important because even if we introduce the possibility of the Relic encouraging negative emotions, it means we needn’t undermine any of the already established reasons for Ozpin’s choices in regards to its safety. Why does he put the Relic in a massive, underground vault that looks like it exists in its own pocket of reality?

Obviously to make it difficult to get at, but also, perhaps, to make sure that the Relic is as far away from humanity as possible, unable to influence them. (As a side note: creating what essentially looks like a mini-dimension removed from the real world would definitely drain someone of their remaining magic.) When Yang first enters the vault we see bits of dirt and sand floating upwards, defying gravity, much like how the snow stops when Jinn appears. The Relic appears to have an impact on its environment, perhaps one that grows stronger the longer it stays in one place. Ozpin hides it deep below the earth, in its own little pocket of reality, because otherwise having the Relic sit in one place for too long is going to cause real problems.

Why put it under a school? Both so that there’s extra protection and because these are the people most equipped to deal with the Relic’s influence. If it does still manage to produce negativity---and as a result draws more Grimm---do you want a bunch of untrained civilians dealing with that, or the people used to both managing stress and fighting monsters? Why take the Relic immediately to Atlas? Because, as said, safety works in a multitude of ways. You’ve put the Atlesian army between both Salem and any Grimm the Relic may call; you’ve put the Relic in the city that’s most prepared to deal with the consequences attached to it. All of Ozpin’s choices remain logical even if we introduce the possibility that the Relic is capable of more than just answering questions. 

But I’m actually getting ahead of myself. We’re still working under the assumption that the Relic produces negativity at all, so let’s take a moment to lay out some evidence for that.

In short, it comes down to the fact that the Relic attracts Grimm. Ozpin says straight out that he's not “entirely sure” why this is the case, but he clearly has theories, one of which has to do with the Grimm’s “origins.” AKA, the God of Darkness who we know after this episode created beings that are both physical representations of, and are attracted to, negativity. That’s their origin. 

The simplest explanation here is that the Relic is somehow producing the thing we already know the Grimm are attracted to: negativity of any sort. Rather than introducing another, convoluted bit of lore---Grimm are attracted to negativity AND now any objects explicitly created by the gods---it would make sense to streamline things. The Grimm are still attracted to the same things they’ve always been attracted to, it’s just now we have an object that actively produces that. It would explain why Ozpin describes the attraction as “faint, but undeniable.” After all, there’s plenty of negativity in the world. Nearby Grimm might get distracted by something bigger and nastier, but you’re more likely to become a target if you’re in the presence of something that eats away at your ability to remain optimistic and generate kindness. This explanation would also function well thematically, both for the trope reasons discussed above, and due to the nature of djinns and genies. I’ve laid out elsewhere how Jinn herself is rather manipulative, subtly encouraging cruelty towards Ozpin as well as reckless behavior in Ruby. Jinn is the lamp, so if that’s her characterization, why not extend that a little further? As an entity she actively does what the lamp passively does: encourage fear, mistrust, and anger towards others. 

What’s immediately notable to me then is how negative moods seem to follow the Relic around, literally coming and going as the Relic does. One of the happiest moments in Volume Six is when everyone gets on the train and the girls are settling into their room. It’s just like old times with arguments about video games, Qrow coming in to tease his nieces, Weiss getting playfully annoyed at Ruby, etc. Sure, we also deal with some of Blake’s lingering doubts in regards to Yang, but it’s an incredibly optimistic conversation. Everyone is supporting one another here, everyone is smiling... and notably Ozpin, carrying the Relic, is absent. It doesn’t register as odd to us because Oscar and Ozpin have been removed from most group gatherings that don’t relate immediately to the war, most obviously when Oscar doesn’t join the re-united groups for their celebratory dinner in Haven. His absence makes sense, but it also happens to coincide with one of the last truly happy scenes we get this Volume (the other being the reunion with Jaune’s sister). If we buy into this idea that the Relic can impact people over time, Ozpin’s absence might also help explain why things don’t start going south until the train. As established, he keeps his distance within the Haven house. Except for explaining the Relic’s function---which lasts for only a minute or so, wherein the conversation presumably ends and Ozpin leaves the group to their chit-chat, taking the Relic with him---and other logistical details in regards to their journey, Ozpin and Oscar might have kept to themselves, thereby limiting the rest of the group’s exposure to the Relic.

From then on though the group is forced to keep close quarters with Ozpin and the morale very quickly takes a nosedive. Whoever is holding the Relic and whoever else is in its immediate vicinity demonstrates an incredibly short fuse, starting with Oscar getting into a fight with Dudley and Dudley getting mad enough to shove him in the middle of a fight.

We then see the group’s knee-jerk fury over Ozpin’s new bit of information while back on the train, Yang antagonizing him in the snow, all the way through to the group drawing their weapons on Qrow, an ally and uncle, for merely saying, “Hey.” As myself and others immediately pointed out when the episode aired, that is not a normal response for these girls, especially when Qrow isn’t even the one they’re mad at. What’s difficult in analyzing a theory like this is that we have to acknowledge that all of these emotions are still real. The Relic is just taking them to an extreme that results in unexpected and inappropriate behavior. The Relic isn’t producing these feelings of anger and hurt and confusion---fans are right to establish that it’s natural for the girls to be upset here---but it does seem to be escalating things at an unnatural rate. Which is why I chose the horcrux as a comparison. Just like Ron under normal circumstances, outside of the necklace’s influence, would never say or do these things, neither would the group outside of the Relic’s influence. They’d all feel the same things, they’d just a) be experiencing the normal amount of those emotions and b) be better able to manage their response to them.Things like drawing their weapons, punching Oscar, slamming him up against walls, abject pessimism, rejecting adults, deciding to steal an airship, insisting on fighting Cordovin, or letting out a furious, “He was watching us?” when you learn Ozpin just saved your teammates’ lives are all pretty unexpected explosions among a group that’s normally more diverse, more level-headed, and more compassionate. Volume Six is absolutely stuffed with examples of extreme behavior, actions and knee-jerk reactions that don’t fit the crime and don’t fit established characterization. We can chalk it up to terrible writing, or we can theorize that maybe, just maybe, something is encouraging them to act in this manner.

With these explanations in mind, consider how Ozpin reacts to Ruby merely touching the Relic. It’s quick, but when he finds out she has it his response is wide-eyed fear and an immediate, “Please hand it over.”

Based on what we already know, this makes no sense to me. Why would Ozpin be fearful? Ruby quite literally can’t do anything with the lamp until she has Jinn’s name---his secrets are safe. Even if they weren’t, or even if his trauma is convincing him here that Ruby might somehow divine that there are questions left and find a way to use one of them against him, I can’t believe that Ozpin would deal with that situation in this particular way. Meaning, the guy has a pretty level head and he’s good at putting people at ease. How do you get your Relic back without drawing attention to the fact that it’s still usable? By expressing relief that Ruby found it. Oh good. It’s safe. Wonderful, I’ll just casually take it back now. Yet Ozpin is incapable of doing any of that here. He sees Ruby holding it and is blurting out an instinctual request: “Please give it back.” It implies that his only concern is to get it out of her hands as quickly as possible, which in turn suggests that merely holding it has some sort of consequence attached. This isn’t a problem (questions) that he can take the time to carefully coax a solution to, this is a problem (her holding it) that needs to be solved now. Right this instant. Please drop the magical object that encourages depression and fury in people nearby. That’s my burden to (literally) carry.

He even reminds them then that it’s a “powerful item” (again, what power is at play if Ruby can’t summon Jinn?) and that it’s “[his] burden to bear.” Blake picks up on that implication and asks for us, “Why does it matter who carries it?” but Ozpin isn’t inclined to answer. He simply begs them to listen to him and then Oscar takes control, revealing Jinn’s name. But the question still stands. Why does it matter who carries it, provided that no one else has the word needed to access the Relic’s one, established power? Ozpin’s behavior here suggests that there’s more he’s worried about than just his (well founded) fear that they’ll somehow ask a question.

In my recap of “Uncovered” I theorized that there was a consequence to using the Relic given Ozpin’s non-violent desperation to get it out of Ruby’s hands. If you’re concerned only with keeping your own secrets... just take the damn thing. Ozpin might be in Oscar’s body now, but he’s still incredibly powerful. He could snatch the Relic out of Ruby’s hands easy-peasy, but only if he’s unconcerned with her mental and physical health. If, on the other hand, you’re likewise concerned with keeping her from using it because it would harm her in some way, you’re not going to exacerbate that problem by putting her in even more, potential danger. Instead you beg. You plead. You try to reason. You charge with an open palm, looking like you want only to knock the Relic out of her hands.

That assumed consequence could be a sort of double-dose of whatever negativity the Relic is already producing; an emotional whammy thanks to the increased interaction: someone near the relic won’t be as impacted as someone holding the relic, who in turn won’t be as impacted as someone who actually uses it. While re-watching some scenes for this meta, it struck me that twice now we’ve seen characters collapse immediately after that close interaction:

Granted yes, both Yang and Ozma are reacting to already terrible news: Yang that Raven has officially abandoned her and Ozma that he presumably can’t beat Salem. Visually though it’s an intriguing detail. Those who touch/use the relic tend to buckle under its weight. It literally and figuratively generates the sort of emotion that causes people to collapse in despair. So why don’t we see any more of this? Why isn’t Ozpin falling over in Haven and Ruby on the rest of their journey? Potentially because of either their Silver Eyes or what Silver Eyes represent. We know that Ozpin’s magic is what created children with Silver Eyes in the first place, so it could be that his original magic---Light’s magic---helps to act as a buffer against the Relic’s influence. Ozpin and Ruby are both able to interact with it more easily than others because of that buffer. That is, up until Ruby has been carrying/sleeping with it for days on end and is now mistrustful of Ozpin and throwing herself into canons; up until Ozpin has been carrying/sleeping with it for days on end and is now much more snappish towards his students than normal. Or, a related theory, it’s just their innate natures that do the trick, no literal magic involved. Ruby is the “simple soul” of our story and Ozpin the one who believes simple souls hold the key to success. They’re both already optimists at their core and therefore it takes longer to eat away at those beliefs. Unlike someone like Yang or Qrow who is already grappling with anger and pessimism. They fall right under the Relic’s influence.

All of this would, put plainly, explain a whole slew of issues in Volume Six. Why are our characters so OOC? Because magic is seriously putting them off their game and turning them into people they wouldn’t normally be inclined to become. Why wasn’t there an overt downside to using Jinn like many fans expected (given the mythology attached to her)? There was, we just haven’t  acknowledged it yet. Why did everyone have a near identical reaction to the Relic’s information, despite being different people with different experiences and worldviews? Because magic created a blanket uniformity of anger, despair, and eventual superiority. What was up with that side quest to the farm that didn’t lead anywhere plot-wise? It’s thematic work, even more-so than the already established “Oh, our characters have doubts about their mission and here are Grimm that literally make them apathetic!” Those moments may also function as a pseudo red herring. No one is theorizing about “things that magically change your mood” because we already got that this volume. Whole episodes worth. It was those Grimm and then the group set them on fire, freeing themselves... except what if there was more than one magical thing influencing them right from the start? It’s the sort of thematic detail you might include to help establish a plot twist. 

As said at the start though, I don’t actually believe very strongly that we’ll see this revelation in Volume Seven. There’s too much else that, if I were setting up such a reveal, I would have changed with this information in mind. But I think it’s still a possibility given what we’ve seen and it’s absolutely something I would accept moving forward. I would much rather be able to say, “Ah. Everyone went OOC because of this conflict with the Relic you were setting up. Far from perfect execution, but you still pulled it off.” Rather than what we currently have, which is, “Team RWBY is turning into a bunch of violent, arrogant, and cruel people entirely of their own volition. This is what ‘heroism’ now looks like in the RWBY-verse.” Magical influences, to my mind, are the preferred explanation here.

#rwby #mymetas

[eidolonlathi]

Chapter 78 and the Current State of Tanaka

Chapter 78 directed light on certain issues that have been festering in the plot since a while and it’s not a pretty sight. Tanaka should stop making himself miserable and return to Sato’s side because that’s obviously what he wants. But being all talk and no action he won’t even be able admitting this to himself. He convinced himself so thoroughly that all of his less favourable urges don’t really belong to him but were instead installed by Sato that he’ll continue lying to himself. Just like he can’t admit to himself he doesn’t truly care about ajin rights either, but simply prioritizes getting outside validation for his years of torments the most. It’s a need that brought him nothing but misery that far.

And it’s all rooted in him being unable to accept being an ajin, still so deeply repulsed by his own identity, craving to be viewed as an equal by the exact same humans who met him with indifference at best and unhidden disgust the worst. Tanaka’s former suffering doesn’t elevate him above other ajin and it is not making him better than them, even though his words towards the ministry official during the Iruma meeting indicated as much: Eager in his urge to be seen equal with humans, ready to dismiss and outright deny the importance of the man who saved him from years of a living hell (regardless of his motives, Sato is still the only one who made an effort to free Tanaka from the laboratory) and in the same breathe admitting not to care about fellow ajin who face the danger of getting the same mistreatment he endured should they get caught. In his rage not even being able to grasp why continuing to dismiss the concerns and opinions of his (former) comrades and even outright endangering them by forcing them to get caught up in his sudden whims (not even allowing them to bring guns as self-defence to the Iruma meeting? Really?), dismissing on his own what the group had previously agreed upon, would eventually let them deeming him unreliable. (And in Sato’s case, Tanaka threatening him with a gun during Forge operation, unprovoked. It would need a mind as entitled as Tanaka’s to deem it a betrayal he’d eventually would have to face consequences for continuing to act this hostile towards people supposed to be his comrades.) Tanaka made it clear his priorities lie with humans now instead with his fellow endanger ajin. It is little surprise they let him wander into the arms of the humans whose validation he craves above all else and were happy to leave him there.

All Tanaka is able to do is trying to force his will upon others. Be it pressuring his former comrades into his whim du jour or trying to convince above mentioned minister into going along with the narrative that the only ajin worthy of consideration is Tanaka and no one else. (Where was Kei in Tanaka’s angry demands? Didn’t even cross his mind. And that though Kei suffered just as innocently and unfairly at the ministry’s hands who put him through torture as well. But then, deep down Tanaka really doesn’t care about ajin rights, it’s a good sounding screen to hide he only cares about Tanaka rights.)

In hindsight I’m convinced what shook Tanaka the most when finding out Sato’s group had dropped him and went to Iruma base, was not that Sato intended to continue causing bloodshed and leaving Tanaka behind. But that being dismissed by his former comrades was demonstrating that Tanaka is not nearly as important as he claimed himself to be mere seconds ago, when trying to convince the minister that the only ajin of importance is Tanaka. His behaviour until now made it clear he expects getting special treatment while at the same time isn’t deeming it necessary to meet people with even half of the respect he demands (think of all the times he met Takahashi and Gen with unhidden contempt, the smallest annoyance towards them used as a justification to make it clear he views them as way below him). Experiencing people getting fed up with this behaviour, seeing them unwilling to give him the special status he sees as his right and instead willing to drop him once he had made clear he deemed their common enemy more worthy of consideration and respect than them, this was an offence to his pride his inflated ego didn’t even see coming, hence him breaking down.

Force was also the only way he finally coerced an apology out from one of the people he deemed to have wronged him. There’s a reason secretary Li stopped occupying his thoughts the moment she was out of his sight again. Pressuring a target he put on the hit list of his former tormentors himself into a desperate apology while she was fearing for her life must have felt good the first few moments. Given she was not a responsible or driving force in his torture, her only sin being that she was too frightened to go against more powerful higher ups who had forced her into complicity, it must have felt easy to condescendingly allowing her to repent. But then, exactly her comparative insignificance must have been the reason matters soon felt stale and Tanaka yearned for apologies given by people he deemed more important: After all what's the worth of an apology forced out of an unarmed and frightened woman held at gunpoint? For people driven so brutally by outside validation like him, not much.

And I don't see him getting any kind of closure with the way he conveniently keeps shifting responsibility. Secretary Li having enabled the mistreatment of him no longer deemed the problem, Tanaka was quick to put the blame on Sato instead. Clearly all that bitterness and hate Tanaka felt towards the humans putting him through torture couldn’t have originated in a person as upright as him (a person deserving so much to get acknowledged as a fellow human by his previous abusers, deserving so much to leave the horrid label of ajin behind), clearly it must have been no one but Sato installing those impure thoughts in him and making him act upon then. Lying about his intrinsic motivations worked as long as chapter 78 made him face again the man who saved him from years of torment (where were Tanaka's precious humans while he was suffering torture and experiment? - certainly not busy rescuing him), getting reminded so strongly of the good facets of the person he tried hating so much that this short meeting was already enough to render him static. Proving once again Tanaka is all talk but no action. It also strengthened the impression that for manga!Tanaka it’s more important to show a flawless picture towards the outside world, towards the people he cares to impress than to follow any inner values he deems important.

It was no coincidence it was Izumi made unable to act by Sato during that tense moment during chapter 78 and not Tanaka, Sato immediately recognizing her for the threat she is as soon as a situation gets serious. It is also no coincidence Izumi in the meanwhile accepts the second chance Tosaki gave her during her situation most dire, unlike Tanaka not denying her conflicting feelings, deciding despite Tosaki’s past mistreatment of her that she wants to continue cooperating with him regardless: Listening to what her inner self deems right to do instead of getting tangled up with outside expectations. (Outside expectations like Tanaka not so long ago trying to shame her for cooperating with the same side he now deems useful enough helping him to enforce the revenge his hurt ego is making him persue in a blind rage. Though I doubt she will be allowed to say to Tanaka as much. Reduced to nurse and prop she is still allowed to scowl angrily at him but isn't here now for critic but for most empathetic shoulder pats only. Why is it only Tanaka deemed worthy of sympathy anyway? Other ajin (and humans) are threatened in their safety as well. You know Takahashi isn't getting an ounce of that sympathy for just having lost Gen and for all we know being on the way of becoming a lab test specimen himself - But of course him being portrayed as nihilistic drug addict in favour of Sato's methods was supposed to signal to the reader that he never was worthy of sympathy to begin with.)

From a reader's perspective this shift is a tragedy as well. The plot point with Tanaka going against Sato could have been handled well, an interesting contrast to how Izumi decided to adapt to her similar situation with Tosaki, a contrast to her having chosen cooperation and feeling content to stay at Tosaki’s side. But with the manga trying to gradually erase more and more of its grey scale in favour of painting a clear side of who is officially deemed good and who bad, this portrayal of declaring Tanaka's self-righteous anger as justified while casting Sato as the mere baddie (with all his previous nuance and better sides erased or in the meanwhile rendered invalid), this depiction fails to keep up the tension in the storytelling. Nothing at stakes anymore, just the question when and how the character this story declared biggest of its numerous antagonists will get taken down by team no-longer-grey-but-good-because-manga-told-readers-so.

Anime!Tanaka was eventually able to grow into his role, overcoming his insecurities instead of getting ruled by them and also felt pride about his identity as an ajin since the beginning. This fundamental different approach to his situation and the ability to view himself with sincerity also allowed him to have a honest view on himself when the time had come to decide sides, him recognizing staying with Sato and staying true to his nature as an ajin was making him happiest: Validating him by letting him make his own choice instead of relying on outside opinions.

Given manga!Tanaka’s intrinsic values were different and more convoluted from the beginning, I see him as having gotten too lost to even see his own likes and dislikes anymore. And contrary to what he wants to make himself and others believe, this had never been caused by Sato putting a nebulous control over him but from the beginning had been a motivation rooted in Tanaka's own inner self.

#ajin #tanaka kouji #satou #shimomura izumi #nagai kei #naomi li #eidolonlathi writes #lathi writes ajin

[universalpeonies]

Pillar Men Zodiacs

So I was driving around and I had a thought... the pillar men don’t have clear cut birthdays but have clear personalities, and the fan community has plenty of room to work with in developing their characters further. As one of my weird hobbies and latest interest in JJBA, its time to look at horoscopes!

So after leafing through my books, friends, and websites, I’ve got a few guesses as to who may be who in regards to zodiac signs:

!!!!MINOR SPOILER WARNING FOR JJBA PART 2!!!!!!

Wamuu:

Wamuu is most likely a Taurus: He is not a violent creature by nature, although it is stated and shown Wamuu does enjoy a good honorable fight any time of day he has standards (and the fact he’s technically a vampire so he is a violent creature in that sense). He is not a mindless killer, always thinking his way through battles and planning out the next moves, this can also be assumed that he analyzes everything rationally and quickly in high-pressure situations. Showing level-headedness as a staple of his character.

Emotions are not a personal weakness for him if anything it is his code of honor that dictates his actions. As such, he is reliable in his actions and will only do as much effort as necessary to carry it out. For him, there is no need for embellishment or grand spectacles. At the same time, this same code creates a sense of absolute loyalty to both Kars and Esidisi. He has shown to be largely obedient and even offers to punish himself after minoring transgressing either of the other two. The refusal to break his own code of honor shows stubbornness and consistency in addition to his aforementioned level-headedness.

I would argue that Wamuu is the ‘kindest’ of the pillar men due to his code. Again, killing is not something he enjoys as victory is what matters to him most and his pride is largely based on the victories he’s gained through abiding by the said code of honor. This is because to him, victories do not always have to result in death, and those he knows he could easily defeat are spared without a second thought. His practicality comes into play here as well in the sense of ‘Only take what you need to get the job done’, this is most apparent to me when he battles Joseph for the first time.

Santana:

Santana is most likely a Gemini: We didn't get to see much of this boi during the anime or much in the manga, on top of that he doesn't really talk that much. All we can discern from background commentary is that he is a man of few words, has the ability to analyze like his adopted brother, but has a very different approach to battle. Kars compares Santana to a dog when talking about his own fighting power, so it's fair to assume that perhaps Santana did not develop himself as much as he could in fighting and have and spent his time honing other skills. 

Perhaps his analytical skills specialized in observation. Living for thousands of years and seeing the world with three people who are focused on a single goal is a good environment to create a deviant personality within the group. Maybe while his family was off looking for the red stone, he decided to/ended up staying behind. In doing so he watched the world around him and had a silent but deep interest in what things were and how they worked. In addition to his ability to grasp complex concepts both literal (the physical composition of a machine gun) and the conceptual (a whole new language), I feel his own powers of contortion and body entering contribute to this theory. These powers literally involve the desire to learn deeply (contort himself into other creatures or environments) and his willingness/expertise of being able to adapt to a new environment and master it (new bodies that he takes control of). 

Personality wise from what I can gather, being a man of and the willingness to learn involves a sense of passivity and gentleness. Not every situation involves needing to charge mindlessly, however, once Santana understands something he wastes no time in putting his full energy into mastering it to make it his own. The active nature, the hasty nature of his actions, combined with his passive nature, the assumed background of his ability to learn and observe in silence, are the most obvious traits I've noticed that make me conclude he is a Gemini. 

Esidisi:

Esidisi is either a Cancer or a Libra: Esidisi is the only pillar man I had a difficult time assigning in the zodiac. We do not see nearly as much of him as Wamuu or Kars, but we see more of him than we see Santana. It goes without saying that he is the most emotional and expressive of the group, but beyond that, the only other things we see from him are his abilities to play mind games on a near equal level that Joseph displays (maybe that’s why his brain was something that was able to survive after the fight between the two?). His ability to have a wild mind on par with a Joestar shows creativity and an ability to be persuasive. These are points for him being a Cancer. However, these factors go hand in hand with diplomacy and show a sense of emotional intelligence, which are points for him possibly being a Libra.

In truth, half of the reasons I placed Esidisi where he is is because of two specific lines in the anime: when the anime recounts the history of the pillar men and Kars’ place in creating the stone mask Esidisi is referred to as “His sole ally.” When we look at what kind of person Kars is we see that it takes someone who is able to have not only a sense of passion that is equal to his towards either Kars’ ideals or Kars’ himself but also a sense of sympathy and understanding, points for being a Cancer and a Libra respectively. We also hear Kars speak “I am no warrior, nor am I a romantic.” when Wamuu was killed, it is safe to assume that the word ‘romantic’ referred to Esidisi yet again. This word is used far more often to describe Libras than Cancers, but romance could also refer to his tendency to be more in touch with his emotions and have them play an active role in his battle methods and overall behavior.  

Being a Libra myself, I can vouch for being indecisive. This is one of the most common traits that I do not see in Esidisi, considering he’s been with the same man for thousands of years and having his eyes focused only on one goal. But you could argue that this could be because of a passion he has for Kars or his ambitions, which makes it a toss-up between the two signs. When it comes to the weakness of these two zodiac signs, Esidisi fits both the Cancer and Libra profile. As the emotional one who has no doubt had a few bad days and from his outburst shows evidence of moodiness and pessimism (cancer traits). But self-pity, the literal root of the whole arm tantrum, is more than apparent. While Libras often tend to avoid confrontation, Esidisi is the one who goes out of his way to confront Joseph and get the stone. Overall due to his character being steeped in emotion and his own powers, fire literally symbolizing passion and emotion, he could go either way. I had the most fun analyzing him because he has the most to unpack. 

Kars:

Kars is a Virgo: This is the only one that I am truly decisive on because.... if you've seen the show, Kars’ nature is one of the most Virgo moods I have ever seen in my ding dang life. 

Where do I even start? Of course his obvious physical appearance, look I know all the pillar men have this attribute but holy fuck does it really shine when Kars takes the stage when he fights Lisa-Lisa and he lets his hair down. Luxurious and meticulously dressed to appear simple while delivering a message of his own personal view; that at the end of the day he is a god among those that walk on earth. That he was the one who chose to take those first steps towards achieving greatness for himself and those who followed him. His appearance is very much in line with the symbol of the Virgo itself, with his own beauty being on par with his zodiac. 

Throughout the entire series, we see him have tunnel vision towards a single goal, to obtain the red stone of Aja. He even had to remind his companions of their main goal more than a few times when either Wamuu or Esidisi got distracted. He stays grounded in the world and environment that surrounds them at that moment, appealing to the practical nature of Virgo. In addition, when it is time to act his analytical skills and intelligence are on full display. Able to use people, objects, and tools for his own accord under high-pressure situations to ensure victory is achieved. Taking account for every little detail to ensure perfection is a trademark of Kars’ sign. Plus at times when I was watching him, I couldn’t help but think of a few of Jenna Marbles’ moments that would fit him perfectly. 

A competent Virgo as an antagonist for any series spells trouble, but even meticulous Aztec vampires have their shortcomings. When I think about Kars in the series, as well as Esidisi, I almost always think about the fact he was a parent for thousands of years to two children who (assumedly) have never really left his side. So parenting methods and the outcome of both Wamuu and Santana are where I see the negative traits of the Virgo sign are most apparent. For example, a few of the negative traits of this sign are that they are overly-critical, fussy, harsh, and conservative in their methods. If you look at how Wamuu turned out as a fully grown developed adult, you will notice that he is extremely critical of his own behavior and carries a conservative nature when it comes to interacting with humans, I feel this sort of behavior had to be taught in a child. Maybe these tactics did not work that well on Santana, but whos to say what the actual psychology is of pillar men? Either way, in my opinion, I think harsh and strict methods must have been used at first to keep his family together and in line over the course of their thousand-year journey. That takes dedication, careful planning, and intensive organizational skills.

And that's it!! That's the train of thought I had in the past week. This was only for fun and none of this is canon, as far as I know, I hope you got some amusement from this!

#jjba #pillar men #wamuu #wham #esidisi #santana #kars #zodiac #jojo part 2 #battle tendency #spoilers #my mind went racing #Im even doing art of this whole thing

[mittensmorgul]

not sure What It All Means, but i think it’s kinda interesting that when crowley and gadreel were in sam’s head, gadreel manifested as Tahmoh, and lucifer manifested as nick in cas’ head, but when michael was in dean’s head, he manifested as dean. oooh or is that more of the metaphor for repression everyone was talking about

I know you’re looking for a deep narrative reason for it, but I think this one is a lot simpler than that.

Let’s start with Gadreel. When we first met Gadreel, he was in the Tahmoh vessel. That’s the face we associated with Gadreel, even when Sam was possessed by him, if that makes sense. Before and after Sam was possessed, Gadreel returned to that same vessel, who remained his vessel until his death in 9.23. In the scene in 9.10 where Crowley went into Sam’s head to convince him to evict Gadreel, it just... wouldn’t make narrative sense for Sam to have to fight HIMSELF, you know? Gadreel had spent most of his possession of Sam keeping Sam tidily in the dark. Sam didn’t even KNOW he was possessed most of that time, and what he did remember, Gadreel had wiped those memories, saying it was for Sam’s own good. (which, yeah, at first it was so Sam wouldn’t evict him before he could heal him enough so that he wouldn’t just insta-die if Gadreel left)

So there was never any interpersonal conflict between Sam and Gadreel, no identification between Sam and Gadreel during which Gadreel’s goal was to “steal Sam’s identity” in that way. Not to mention Sam’s conflict in s9 wasn’t with himself. So a fight scene of Sam wrestling and banishing HIMSELF would’ve been narratively... a mess. :P

We had ONE episode of Sam possessed by Lucifer (5.22), wherein Lucifer used Sam’s face. For the purposes of this post I’m not counting 5.04, because it was either Dean’s dream injected into his head by Zachariah (if you believe canon as we’ve seen it through the present time where AU Zachariah’s abilities clarified OG Zachariah’s powers-- ironically enough by using them ON Nick-As-Lucifer in 13.07, as well as Jack in 13.14), or a time travel scenario that Lucifer would have no recollection of after the fact when that timeline never came to pass in reality. So either way, irrelvant to the point of this post. :P

Back to the point. The visage of Lucifer, over the years, has LARGELY been portrayed by and associated with the Nick vessel. That has been the face that not only *we* have identified on the spot as Lucifer, but that Sam and Dean have identified as Lucifer, despite the fact he has possessed numerous other people-- including Cas, Vince Vincente, and President Rooney. Somehow he always comes back around to Nick.

And in 11.18, again Cas’s issue wasn’t an internal struggle against himself. At least not like that. His difficulty was his resignation and self-worthlessness, his belief that only Lucifer could act, and the only important purpose he could serve was as a willing vessel who just got out of the way and let Lucifer do the thing. Even though the current face had truly and traumatically been established as Cas’s face during the latter half of s11, and even though he continued to possess Cas right through the end of 11.22, it wasn’t CAS HIMSELF that was fighting to either expel Lucifer or to keep Lucifer in residence. He was literally sitting across the room not even paying much attention to the fight at all, resigned to his self-worthlessness and wallowing as if he was irrelevant. That was the point-- that Cas didn’t put up a fight either way. So he needed another face, and again, the face we all identify as “Lucifer” is Nick’s. That’s Lucifer’s Antagonist face-- not Sam’s face, not Cas’s own face.

Using the Nick vessel as his face possessing Cas (as it did for Sam when he confronted him in the cage in 11.09 and 11.10) also doubled down on the fact that yes, Lucifer is still that Antagonist. And for a character whose signature move is using specific faces to gain the trust of his intended vessels via manipulation (tempting Sam to say yes by appearing as Jessica, tempting Nick to say yes by appearing as his dead wife, tempting Vince to say yes by appearing as his dead girlfriend, etc.), the fact that he didn’t attempt to manipulate Cas by appearing as someone to “trick him” into compliance says a lot. He didn’t NEED to manipulate Cas into compliance, because Cas’s own mental state was doing most of the work for him.

So that brings us to Dean and Michael in 14.10. For most of s14, when Michael wasn’t actively possessing Dean, the fear and trauma suffered by Dean because of that possession had been the underlying dread for him. That loss of identity was something that Dean had never had to face so directly before, making his issue with Michael as one of him “fighting his way to the surface” through a feeling of “drowning” inside himself. And yeah, that also does directly touch on ALL of Dean’s issues, but from the moment Dean said yes in 13.23, Michael effectively adopted Dean’s face as his own. 

The struggle for Dean after Michael repossessed him in 14.09 wasn’t so much against Michael, but against himself. This had been portrayed all season via the flashbacks to what Michael did while wearing Dean’s face, Dean’s first confrontation against Michael where Dean appeared in the mirror himself, already fighting to evict Michael, for whom the “etiquette of possession” did not seem to apply. Even though Dean was DIRECTLY revoking his consent to possession, Michael calmly refused to gtfo, you know? They’d already established a MUCH deeper connection there, entirely against Dean’s will.

Because Dean’s battle was never one of deception, it was always a matter of human will versus divine manipulation. Just as we saw unfold in 14.20 with Chuck, where we learned that NO amount of free will applied to these sorts of cosmic situations could ever have won the day as long as Chuck was invested in manipulating their story for his own entertainment, you know? And his struggle against Michael was basically the Final Boss Battle for Dean’s will, with Michael wearing Dean’s own face, locked in a literal fridge inside Dean’s mind. Nothing that’s locked up ever stays locked up forever, as long as cosmic forces are around to pry open those locks again for the sake of the story.

In that scene in Rocky’s Bar in 14.10, this was Dean metaphorically confronting those parts of himself that were tempted to believe in the story, the parts that made him doubt his own will, his own understanding (because the things Michael tormented him with were pretty warped interpretations of Dean’s own memories, you know?). And eventually it did take Dean’s “mirror” to destroy Michael... who continued to manifest right through 14.14 with Dean’s face, when he sought out Rowena to possess her. Theoretically he could’ve chosen any face to do that, and yet... he picked Dean’s.

Because that’s what s14′s main point boiled down to in that final scene, setting up s15′s initial conflict-- that after a lifetime of Dean basing his his ENTIRE personal philosophy in the face of Cosmic Conflict on the indomitability of the human will... well, now he must confront that essential belief and truly understand who he is, and his true place in the universe in the face of this eternal divine conflict.

#spn 14.20 #spn 14.10 #spn 14.14 #spn 14.03 #spn 9.10 #spn 11.18 #spn 11.09 #spn 11.10 #that's what free will is #spn 5.04 #spn 5.22 #if you say 'mysterious ways' so help me i will kick your ass #dean is the center of the universe #spn s15 speculation #Anonymous

[littlemisssquiggles]

We've seen Oscar extend a hand of mercy towards misguided foes such as Hazel in the show, but do you believe he would have the moral strength to risk his life and actively save someone whom he may dislike for personal reasons or would his doubts and reluctance win out over duty in the end?

Hello again Al. This is actually a pretty great question. One I’ve considered beforeand my Pinehead headcanon is that Oscar is a selfless kind of kid---the kind of hero in themaking with the drive to risk his life for someone regardless of feelings orany emotional attachment he had to said person. Oscar would do it because it’s the right thing. Oscar strikes me as the type to do everything in his power tohelp if he can and this is extended to anyone he meets; friend or foe. If Oscarwas willing to take the chance to attempt to reason with Hazel in spite ofknowing he’s the enemy then I think he would definitely attempt to save someone;again friend or foe, so long as it is within his power. And ironically enough,Oscar is the type of character to be that unapologeticallyselfless. Not only does he have thereincarnation granted by the God of Light but he also has the potential to usemagic. Magic, in Remnant is literally the power of the Gods bestowing its userswith abilities beyond the likes of anything one has seen.

If magic can be used to turn regularhuman beings into animals and empower them with the forces of nature then whatelse can magic do? Instead of developing a god complex, I can see Oscar comingto view himself as a self-sacrificing saviour willing to put his life on theline because in his mind; he is the one person who can make that daringsacrifice and not have any severe repercussions.

Unlike all those huntsmen andhuntresses who died throughout Remnant’s history to decide the fate ofhumanity, Ozpin---Ozma and the other Wizards of Light have the advantage ofreturning. When one of them dies, he returns as another. I can see Oscar willing to die because in his head, his death will mean something. If he’salready going to lose himself to becoming the life of another then shouldn’t heat least ensure that his life---the one he still has control of goes outmeaning something.

It is for this reason why I think should Salemthreaten to attack Atlas with her army of Winged Beringels, Oscar wouldn’thesitate to surrender himself. He’d willingly hand himself over to the enemy ifit meant protecting or ensuring the safety of a kingdom full of innocent lives.One life in exchange for the lives of millions. Oscar would make thatsacrifice. The only folks who might be against that are the people who careabout the boy---the smaller, more honest soul that is Oscar. I’m seriouslylooking forward to seeing how that part of the Atlas Arc plays out and hope itisn’t turned into a disappointing mess since it’s an opportunity to developOscar’s character.

I actually have two imagined scenariosthat can provide decent examples for Oscar’s noble side. Okay, so hear me outon this one. Once upon a time I was left a question prompt for any theories orideas for a Mombi/Tip interactions in RWBY. For my response, I depicted another bullycharacter reminiscent of CardinWinchester---a genderbent Mombi around Oscar’sage who acted as an antagonist to him during his attendance at Atlas Academy.For the sake of this theory, I will christen this boy Kid Mombi.

For this idea, it plays out similarlylike the events of Jaundice only with Oscar as the focus character. An Oscar-worthyarc of some sort. He attends Atlas. Unintentionally attracts the attention of alocal first year bully named Kid Mombi. Kid makes it his duty to ensure that Oscar’s first timeexperience at huntsmen academy is a living nightmare; harassing him to no endusing the detail about Oscar’s lack of experience as a huntsmen as a crutch tohumiliate him repeatedly. It gets to a point where Oscar becomes frustrated andconsiders quitting Atlas and being a huntsmen altogether. Fortunately he hadclose teammates such as Ruby and Jaune to help him through this tough ordeal.

Ruby offersto be Oscar’s Pyrhha---volunteering to aid him with hiscombat training through private lessons the two will share together. This is afeat I can definitely see Ruby doing for Oscar and she’s the most fittingcharacter to do this since she’s been in Oscar’s shoes before. She knows what it’slike to be the youngest huntsmen in an academy of older more experienced pupilsand have to work hard to prove her worth. Ruby was fortunate to have her familyand friends who believed in her and now she wishes to extend that hand toOscar; if he’d allow her.

I can see Oscar being firmly against thisidea at first due to his pride. But ultimately, he’d accept Ruby’s help. Thetwo start training together thus providing a good bolster for their budding friendship to blossom further.

On Jaune’s end; he offers Oscar someadvice on how to deal with Kid Mombi, using his experience with Cardin to offerOscar some guidance. This acts as a great bonding moment for Oscar and Jaune tofurther solicit the idea of him ultimately joining JNR to revive JNPR. Isincerely hope that part of V7’s storyline with Oscar is building upon his tieswith the JNR gang; particularly Jaune as he is the leader of the team.

I pray that partof Oscar’s side of things for the next volume is showing him developing therelationships that will be most detrimental to his character growth and story OUTSIDEOF HIS SHARED STORY WITH OZPIN. TheWriters need to invest time into developing Oscar as his own character. It isadmittedly very disappointing that even after a full three-seasoned arc, Oscar still feels lessas his own person and more as a vessel through which the CRWBY Writers canprogress Ozpin’s story. Even when Ozpin is taken out of the story, nothing muchhas been done for Oscar’s character. I find it kind of odd that the narrative triesto paint the consensus that Oscar is his  own person yet the writing has done little to nothingto truly justify that; at least in a way that feels satisfactory to those of us who genuinely want to see this done for Oscar. LikeI said, he needs this.

But to be fair, this is only my opinion and asalways feel free to respectfullydisagree if my words sound too harsh. At thispoint, I feel as if the only way the Writers plan on fleshing out Oscar isthrough his relationships. I’m okay with this if done right and with people whocare about Oscar for Oscar and not his connection to Ozpin. They’ve done wellenough so far with making Ruby someone on Oscar’s side.

Another example is his growing comraderywith the JNR gang, particularly Jaune. I can see the JNR gang becoming Oscar’sfamily team---his brothers and sister in arm and I want this dynamic so badly.More than that, I want Oscar to earn this relationship of his own accord. Iwant to see Oscar prove that he would make a worthy addition to the JNR gang. I’dlove to see more moments of Oscar bonding with each member of JNR. Ren includedbecause as of now he’s the one person that Oscar hasn’t shared a bonding momentwith. 

This is why I like the idea of Ren being the one to suggest to Jaune tohave Oscar join their team. Jaune andNora have more or less had their moments with Oscar. Now all I need is one withRen to complete that trinity.

I will be most displeased if the CRWBYWriters end up glossing over this development too and just have V7 begin withOscar already being a part of the reformed JNPR without showing how it got tothat. But I digress.

Going back to my example: so in theend, Oscar grows stronger through the help of his friends. It gets to a pointwhere he’s able to use what he learnt from them to protect Kid Mombi during atraining session that goes haywire. In spite of everything he put him through; Oscar saves Kid and in a twist, earns his respect. After this, Kid stops bullying Oscar and instead learns torespect him as a fellow huntsman. That’s one example involving a potential RWBYcharacter.

My next example is based on a theorywhere Oscar winds up unintentionallykilling Tyrion Callows. I know most fansare probably expecting Jaune Arc to be the one to do that but once more, hear me out. This theoryplays into my musing about Ruby andOscar being kidnapped by Tyrion to be taken to Salem only for the Rosebuds to make their daring escape; winding up stranded in the middle ofthe Dark Domain where they are forced to make the trek back to civilization.Granted there was one in such a dark world.

After failing to bring the children toher, Salem mercilessly disowns Tyrion for his failure, practically leaving himleft for dead in the Dark Domain too. This sends Tyrion into a psychoticbreakdown where he vows to hunt down Ruby and Oscar and bring them back to his goddess;dead or alive if he must.

So Tyrion begins his pursuit of thechildren and at some point, he manages to track down Ruby and Oscar. During hisassault, Tyrion poisons Ruby and threatens to take her life in front of Oscarif he didn’t play ‘good lil boy’ and surrender himself to him.

My Pineheadheadcanon is that should there be a standalone Dark Domain Arc involving Ruby and Oscar surviving together, it would provide theperfect setting for Oscar to hone his magical abilities. I still stand by myhunch where part of Oscar’ssemblance will enable him to take back Ozma’s magic from a Maiden; startingwith Cinder Fall.

In the event that the CRWBY Writersplan on keeping Cinder in the main narrative and not have her killed off inAtlas, I can still see Cinderthreatening Ruby’s life before Oscar with him unlocking his semblance to saveher.

I’ve heard a number of ideas for Oscar’ssemblance from fellow Pineheads and RWBY theorists. But for this squigglemeister, I’m still sticking with his semblancebeing Nullification or Negation. I still feel as if Oscar willpossess the power to render another’s semblance useless; maybe even temporarilydisable it.

I also like this concept for theadditional detail of it having a unique effect on the Maidens. If Ozma possessed the ability to bestow his magicto the Maidens as he did in Isaac’s lifetime as the Hermit then I believe itwould be most fitting if Oscar’s truepower allows him to take that magic back. So inthe event that Cinder shows up, Oscar will relinquish her of her Fall Maidenmagic, rendering her powerless while he in turn regains a portion of hisoriginal magical strength; making him stronger than the average Maiden.

So resuming my point with the DarkDomain Arc, my hunch is that during this potential storyline, Oscar would beforced to master full control of his magic since it plays an important role inhis and Ruby’s survival in the Dark Lands. While Ruby’s Silver Eyes kept themsafe from the Grimm, my belief is that Oscar’s magic offered them nourishmentand accommodation. Like since magic provides control of elements without theuse of dust, I figured it could be used to perform feats like manifest a rockenclosure for Oscar and Ruby to camp during their travels; create fire out ofthin air to keep them warm during the nights; grow food (or the closest thingto it) out the soil for them to eat.

I know the food part sounds a lilfarfetched. However in the World of Remnant episode on the Four Maidens, therewas a shot of the original Spring Maiden growing a sunflower in the palm of herhand I believe. It’s not even to say that she had a sunflower seed in her handthat she turned into a flower. She literally conjured it out of thin air. So ifmagic can do that then surely Oscar would be able to grow some kind of food tohelp him and Ruby through the trek. Even if it’s something as small as himgrowing a small apple tree out of thin air that him and Ruby could pick from.Oscar and Ruby are the two known beings in the series who share the God of Light’slight within them. Ruby has his eyes which can combat the Grimm and Oscar hasthe gift he gave to humanity centuries ago. That’s bound to count for somethingbut who knows.

Anyways, Tyrion threatens to kill Rubyand in a heated rage, Oscar uses his magic to subdue Tyrion. But to Oscar’sastonishment and Ruby’s; the kind of magic he manifests was one he’d never usedbefore. It was a darker kind of magic---one more akin to Salem’s. I can picture Tyriontaunting Oscar. Mocking him just to further enrage him. And when Oscar’s guardis down, he lunges to finish off the subdued Ruby only for Oscar to use hisdark magic again; putting Tyrion in such a tight death grip that heaccidentally crushes the Faunus; killing him in the process.

Imagine…Oscar using dark magic and his first act isusing it to kill someone out of unbridled rage. I can imagine Oscar being horrified by this. Even though Ruby does her best to comfort him and assure Oscarthat everything was going to be okay, Oscar is left traumatized at what he haddone. While Tyrion was an enemy. 

Someone Oscar tremendously disliked since heplayed a hand in Salem’s scheme to conquer Atlas kingdom; separating him and Rubyfrom their allies who they weren’t sure were still alive or dead. Despite beingthe reason the two rosebuds wound up stranded in the Dark Domain far away fromthe security of their loved ones on their own. In spite of the grief thescorpion Faunus had caused them, Oscar believed he didn’t deserve to die theway he did. By his hands. With his power. Something that was meant to be good. Do good.

It was the first time Oscar had comeclose to being exactly likeSalem and that thought frightened him most ofall.

So yeah, that’s my answer. Does this answer your question Al? Let me know if it does and as always, thanks for asking fam.

 ~LittleMissSquiggles(2019)

#squiggles answers: rwby #oscar pine #ruby rose #lie ren #jaune arc #salem #rwby theories #rwby v7 theories #squiggles pinehead headcanons #pinehead headcanons #albion-93