#he bears a lot of weight in the narrative because that's in part what a good antagonist should do

[knowlesian]

my last post and the shameless mountain goats reference i threw in there got me thinking about one of my favorite story beats, because it combines a lot of character work and thematic oomph in one: ed being a victim of his own legend and ability to protect himself by hiding in plain sight + codeswitch into the version of himself that best suits the company/situation he’s in, in many ways but often most visibly through his interactions with izzy.

my take on “is blackbeard real or fake” has always been “yes”; blackbeard is pieces of ed filtered and strained and assembled and pruned down in ways that scarred him even as they kept him safe, in ways that are very sad and often stretching the definition of safe as far as ed’s personal definition of murder. nonetheless: it got him to the place he's at, still alive. could he have done it another way? who knows! that was the way he did it, it's the way he knows will work because it did work.

or: he thinks he knows that. but the legend was never all of ed and in fact demanded he spotlight pieces of himself he doesn't like so much a lot and repress a lot of the things that make him feel good, it’s not helping/hurting anymore. it’s just dragging him down.

so ed is sick of the blackbeard schtick; and here’s the rub. if he’d been worse at the art of personal fuckery alongside the pirate type, maybe none of this is happening. the world never knows his name; or worse, once he gets spotted as a man who won't kill they mock it. 

that version of ed does not attract izzy ‘ask me about my boner for the sunk cost fallacy’ hands, or does not keep him. because izzy has built his identity around ed’s legend; who is blackbeard’s first mate, if there is no blackbeard? who the fuck even is izzy hands, if he’s not seated at the right hand of edward teach?

now. you would hope, in a better world, that izzy would be like you know, edward, the thing here is: you wanting something different involves emotional consequences for me. i would have to figure out my whole life over again and i am simultaneously con o’neill’s age and emotionally sixteen like the real world me was, so you can see that would be super complicated. i have so fucking much baggage and you are just adding to it, and i do not like that. also: this fucks up my work situation and my home life at once, it makes me feel sad and abandoned and itchy in ways i do not wish to label with words because they would be gay ones like ‘please don’t leave me, i love you and i thought it was mutual’ so like... world rocked, thoroughly and in ways that make me want to rant until past last call, in conclusion this sucks and i think it's twenty mistakes in a trenchcoat, some of them maybe life threatening! i wish you would not.

and then he would step back and let ed make his own fucking choices anyway and either do the work to figure himself out in the same space or finally grab those cds from the car and find his own place to do the same, because a shitty fact of adult life is sometimes people cannot be what we want or need. sometimes that is because they suck: sometimes, it’s just because they can’t or don't want to, and that isn't them being mean or withholding. they don't owe us more than the basic kindness and dignity we all owe to each other just because we put in our hours longing for them to do so. that’s some toxic, entitled shit. understandable! an impulse i share at times! but we should never be That Guy (gender neutral) because the friendzone doesn’t actually exist and nobody deserves to win someone else as a prize for hanging around long enough and driving them to the airport. that’s just called being friends, etc.

izzy is sadly currently stuck on being That Guy. so instead of realizing ed is an adult man and can make his own choices, even if izzy thinks they're bad ones, he fucking panics and starts swinging around and finally runs to big daddy england to make stede bonnet stooooooooop (messing with ed’s brain).

and of course he does something like that! he thinks a relationship is when you metaphorically own each other and when you can only be tender after putting your right foot in and then putting it out before once again putting it in and then proceeding to shake it all about, violent rituals unlock love style. he’s a desperate man in a hell entirely of his own making.

and so is ed, in this entirely different way but stuck in his own fucking orbit as firmly as izzy, only ed is trying to claw his way up and out to see what else he can be, while izzy would do juuuust about anything (including lick the king’s boots) to stay the same forever.

that’s some tragic shit. i love this writing team, the end.

#what if i staple no children to their heads when they're together what then #truly this is some good writing #like: i find izzy fascinating because he was written by the same team who wrote everybody else #he sucks in ways that i want to think about because they sometimes allow me to examine myself #and then sometimes let me laugh at his dumb ass or talk about serious thematic shit #he bears a lot of weight in the narrative because that's in part what a good antagonist should do #anyway yeah the sort of classic tragedy of these two is super interesting since like...clearly the show knows what's up #i maintain izzy is gonna figure his shit out and become a productive member of this pirate society tho #because okay like: in real life i know the best i can often hope for is somebody knocking a specific behavior off #and often they won't ever do that #but if they did the world would be better and they would be better and i would have another comrade #i will always settle for one less enemy if that is my only choice #but i'd rather make a new ally i can trust #and my fantasy is often that the izzys of the world in all their forms don't just knock it off #it's that they start fighting alongside me or become someone i don't mind being around because i CAN trust them now #(hey: i did say it was a fantasy) #so i kind of ask myself: what makes life better in this fictional world #an izzy who can't hurt people because he is no longer around or an izzy who has started to figure his shit out #anyway yes: this shit is sad and well-crafted

[pedrithink]

i love you so ✩ kylian mbappé

summary: you and kylian always work it out, no matter how big or what the argument is about.

"And you always do that. You always find narratives to put the blame on me." Kylian exasperates and tries his best not to scream when he sees that you don't seem willing to listen to him.

"I don't want to put you down, you put yourself down as one." Your indignant voice shines through in the conversation. "Every time it is that. Every time I have to put up with these women all over you and pretend I don't care."

You let out a sigh. "I'm tired, Kylian. I don't know if I can take it anymore."

"So, that's it?" Kylian says it as a desperate cry. "The end of the two of us because of a silly thing?"

"Silly?" His tone of voice goes higher and higher. "Silly, Kylian? Is it silly when they hit on you and I have to accept it because it's part of your job?" You make the quotation mark motion when you quote the word 'job' and Kylian's gaze drops to the floor. "I'm just asking you for an attitude, that you say something. I can't stand you keeping quiet anymore and pretending they don't exist because that clearly doesn't change their attitude towards you."

"You don't understand." Kylian's voice sounds tired and low, he doesn't know what to say at this point because he knows that any slightest thing could result in something that will hurt both of you.

"I understand." His head moves up and down quickly. "I know you have your job, but acting this way is not part of it. You hurt me, Kylian. It hurts."

Your brittle tone of voice makes Kylian's heart ache and he feels like the worst person in the world right now. He has vowed never to break your heart.

He can only let out a frustrated sigh and rest his head in his own hands. The weight of his own mistake weighs heavy on his shoulders, and he just wants to hug you.

He doesn't know what to say to you, but he doesn't want to lose you. He doesn't want to go to bed knowing that he will wake up and not have you in his day. That would ruin everything and all the dreams of the future he has always wanted.

Kylian sits down on the couch in a bare manner and lets his head rest on the back of the couch. A sigh of frustration again comes from his lips. You stand for a while until you decide to go upstairs to your room.

You need a moment alone to think, and so does Kylian.

In the meantime, everything is going through Kylian's head. He knows that he can't lose you because he couldn't bear it, he can't even bear to think about the possibility. It would hurt more than anything to know that his future won't have you.

Kylian made a mistake and he is so sorry for making you feel this way, nothing hurts more than that. In regret there is no rest or peace, and so it is the greatest or most bitter of all misfortunes. He knows because he is feeling that.

Noticing the lack of your presence in the room, Kylian goes toward the bedroom, knowing that he will find you awake. You don't sleep until you make up, it's practically a law in the relationship.

With a light tap on the door, Kylian enters the room and finds you lying on the bed with red eyes. He hates to see you like this and hates it even more to know that he is the cause of it.

"Hey..." The murmur breaks free from his lips as he sits on the edge of the bed, "Can we talk?"

You only let a light confirmation release from your lips and fear takes over your chest. Fearful about Kylian's words and where this conversation will lead.

"I guess, first of all, I have to apologize to you." A wry laugh breaks loose from his lips as he lifts his gaze to look into her eyes. "My attitudes have been shitty and I know I've done something that hurt you a lot, but I want you to know that my love for you has always been visible, very true." Kylian's hand reaches for yours and you let his hand take hold of it. "When two people really love each other, they will always find a way to make it work. No matter how hard it is. Don't say it's over if there is still hope left and if reconciliation is within reach. We can be whatever we want to be, we just have to try. I apologize for my confusion, I never meant to hurt you. I'm sorry, love, for everything I've caused you."

You make an effort and sit up, pulling Kylian by his hand so that you sit on his side of the bed. "I never meant for you to be perfect, Kylian. I know you don't do it on purpose, it's just that I need you to recognize that these attitudes are not healthy. This is not normal and we need to deal with this reality because this can destroy not only our relationship, but it can destroy both of us. It can destroy the person that we are."

Kylian shakes his head positively and makes it visible that he is listening to what you are saying.

"A relationship is not just about putting a ring on your finger and going around saying you have a boyfriend or girlfriend. It's commitment, it's demonstration, and it's respect. Maybe many people don't realize it, but relationships are not a one-way street. It takes dedication from both for the relationship to thrive. When only one side struggles, the tendency is for things to go off the rails." Kylian's eyes fill with tears and you run a finger over his cheek. "I know your intention was never to hurt me, but in any kind of relationship, it's important to set boundaries and that doesn't mean building walls. The point is to define what is comfortable for you and respect the other person's space.”

“I don't want it to end, I really don't."

You hold Kylian's hands. "And neither do I. Our relationship is amazing and I am very happy with you."

The smile growing on Kylian's face makes your chest warm, so you pull him into a warm embrace.

"I love you, my love. I love you so much that my chest hurts just imagining a future that you are not in it." Kylian's hand wanders around your back and he whispers this in your ear as you are locked in this hug that feels so good. "It was only when I met you, my love, that I could understand the true meaning of love. It is you who now occupies my mind and fills my heart with happiness. So I can endlessly repeat "I love you".

You let Kylian kiss your lips and rest your forehead against his. There is no universe or reality in which Kylian is not the love of your life, your future husband and the future father of your children. You can't see a future that he isn't there, beside you.

Kylian strokes your face with his thumb and whispers as he looks into your eyes. "I hope life is enough to show you how much I love you."

#kylian mbappe x reader #kylian mbappe fluff #kylian mbappe #kylian mbappe x you #kylian mbappe imagine #kylian mbappe fanfic #football one shot #football x reader #football fanfic #kylian x reader #kylian imagines #football imagine

[parentsday]

I once saw someone say that after Parents Day (the episode, not you), they never really touched on Max’s familial situation again. And while I agree that episodes like With Friends Like These could have paid a little lip service to it (why David just sent Max back home to what he knew were neglectful parents is beyond me, maybe he didn’t think there was anything he could do about it?), it feels to me like one of those things where once you know about it, you start seeing the character in a whole new light. Like you see what Max does in older and newer episodes and you rationalize it as “Oh, I see, he acts that way because his parents neglect him. Stuff like him not knowing how to swim or having a teddy bear when he’s theoretically too old for one.

i agree with you on many of your points and disagree heavily on the use of them you make later on. to start off max is an incredibly dear character to me, like painfully so. if i had the chance to i would love to dissect his head like one of a frog in a lab and see what makes his brain tick in ways it does, and of course one of the reasons is the abstract emotional state of mind any victim like him would have. one that sometimes gets more kafkaesque the longer i stare at him. so please bear in mind that i love the subtext his character possesses, i just can’t always rely on it to explain anything.

if you know me you know i like to complain about this shows writing, not out of hate for it but rather out of love for the material and what it started off as and has ability to be still (stuff like heavier writing that holds narrative weight, david being an asshole, the whole harrison thing that is lost to time now etc etc). whenever i watch this show with someone i usually opt to rewatch several earlier episodes after we finish parents day. it gets praised a lot but i don’t often see people mention how well it recontextualizes a lot of stuff previously shown to us, not only for max but other cast members too. a lot of the problems that stem from this is the fact that most other characters whose issues were presented to us in this episode are strawman connected to their family by the writers in a way that laters on allows for progress without relying on mention or presence of their parental figures (proper examples of this are preston, ered, nerris, somewhat harrison). max doesn’t get that simply by the virtue of the fact that his issues cannot exist in a vacuum and are inherently connected to his family. max’s parents haunting all of the narrative surrounding him has enough psychoanalytical subtext for it to traumatize several men and leave freud rolling in his grave, so i believe that you cannot in good faith progress his character without mentioning them or their actions or lack thereof towards him once or twice. that’s pretty much why i think that the topic of his abuse has not been brought up in a meaningful way since parents day. from where i stand i view abuse as one of the focus themes in this show, so poor treatment of it is very obvious to pin point to me as it usually drags most characters down with it the less it is respected in a way it should be.

like i said, the way the show recontextualizes max’s behavior leaves way for interpretation of the viewer on the way why he is the way he is, it’s easy for us to understand why he can’t swim or why he can’t fathom the idea of moving on and letting go on several occasions. the thing is in a perfect world we don’t have to do all of this. it can be attributed to good writing for making the audience be able to perceive any part of the characters psyche without the authors help, but in reality it’s lazy to expect everyone to treat the characters from a watsonian perspective and view their every move as a meta reference towards their trauma when not everyone cares enough to do so. the writer referencing child abuse and not adding onto it aside from the mention of its existence is exploitative of the viewers personal care for the character, it’s bad writing. you obviously can interpret what max does as a result of neglect (and you should!) with the power of subtext, implications and critical thinking, but what you also should think about is what does it tell you about his character aside from the fact that he is neglected. do we ever find out something new about his home situation or do scenes like these give us any discussion inside the show about the fact that he is still actively a victim of neglect? (the answer is most always gonna be no, maybe just always)

tldr; stuff like child abuse is heavy, writing it is hard and treating it the way rooster teeth does is not only poor writing but also disrespectful to the very real human trauma they are inserting into their show on more than one occasion

i would also love to discuss the david stuff you brought up and why him acting towards max and others in a way that he does in recent seasons is a long standing issue rather than a new problem but thats genuinely a conversation for another day as this post is already long enough as it is. thank you for the ask :3c

#i want to make a tag for these #camp camp meta analysis #that will work #camp camp #max cc

[kiwibirdlafayette]

I’ve been thinking about season one (again) and I feel like the most important person in the “saving Ianite” mission is Tom. He is the literal key to unlocking the vault where Ianite’s heart is kept, it’s his ship that gets everyone to Aethoria, and he kills Dianite. I also feel like did more for the pirates (Capsize specifically) than anyone else.

I wish there was more of an emphasis made on Tom being a dianitee while helping the pirates. Like, more consequence? or weight because he would still do what Dianite wanted but he would also help Capsize n Red. He was helping the pirates Not Ianite (I feel like that’s an important distinction). Which is why I feel killing Capsize off doesn’t make any narrative sense, because he builds a positive relationship with her so he would at least have someone to vouch for him (co captains in my heart).

Also! I like how you’ve written your Aitheaca Ianite (at least my understanding of what you e posted so far). I like that she is evil of her own accord, I feel like that’s more in line with s1 dia and s2 mia which is nice. Her choosing a malicious way of getting balance throughout her realm is also interesting. I enjoy that a lot better than the isles interpretation (I think? idk if I understand isles lore tbh) of her getting used and tricked by the darkness.

licantropa: I want to go more in depth on an ask I sent like a bit ago. Unfortunately, I am not the best at articulation, so please bear with me as I try to get to the point. I said “Tom is not helping Ianite, he’s helping the pirates.” and I do think that that distinction is super important when it comes to Tom’s character. Ianite and what happens to her isn’t ever something important to him, but I do think he values the pirates and in his own way cares about them. I think the same it true for Capsize, hates Dianite but grows to care for Tom. And not in a “I can change him” but as himself, as he is. And the way Tom is viewed and the way he views himself is as the bad guy. Which is why Capsize’s death feels narratively unsatisfying and, to me, doesn’t make any sense, because of how her character is closely tied to Tom and he is not yet on board with helping Ianite, but he is more than okay with helping Capsize. The pirate arc I feel should’ve had Tom at its center, because while it is about saving Ianite, I do believe that Tom’s shifting perspective about what he’s allied to is what is the most important thing to come up during that. Because while he is and will always be a dianitee, he chooses the people he cares about even if that choice feels foreign to him. Like I completely understand that everyone’s the protagonist of their own perspective but that statement is simultaneously true and false. (I also wanted to say something about c!jordan throughout but I feel like my interpretation is a bit too pessimistic and I felt bad so 😅 yea sorry.)

YES TO ALL OF THIS YOU'RE SO RIGHT

The pirate storyline/Capsize's arc and Tom's character arc so go hand in hand and I wish that there had been more of an emphasis on that rather than. Not gonna lie whatever the fuck was going on with her and cJordan cause it still i think was my least favorite bit (for more reasons then one, other than her using it to make comments about him and Tom LMAO) There were definitely some parallels there with how their connection to Ianite drives their devotion but imo its not near as strong as the parallels between Tom and Capsize when it came to their gods.

Like ya mention in the second part, I think what's neat is that both Tom and Capsize see each other as people separate from their deities rather than extensions/champions of their gods as is the more common perceived relationship in the realm- which is ultimately what the two are sort of defined by (Tom *works* for Dianite, Capsize is there to be Ianite's messenger). By bein co-captains they kind of encourage that in one another (yes, this is about Tom's arc and the "you know I will promise to stay" motif that I keep bringing up with his silly ass) that yeah! We see concluded when he choose his friends over his god in the finale, that was driven mainly by his closeness to Jordan, him bein good pals with Tucker and Sonja, but most importantly, from Capsize like I didn't get much into it when I wrote my intial Tom essay but I so agree that the pirate arc really kinda like. gave it that final push if ya know what I mean? Ya said it really well, something that was once so foreign because it felt like he was on his own side of the war became something familiar, like home.

But on the other side of it!! Yeah it made it really fuckin suck that we never did get the resolution from Capsize, from her in her way taking control of her own narrative apart of being there just to help bring Jordan to Ianite. Instead she just gets turned into an almost damsel-in-distress figure and just goddamn fucking dies. We never get to see the payoff of her taking an unconventional place next to the literal champion of the guy who fucked over her goddess in the first place, of her like being more then what she was introduced as- whether that couldve been following the main cast to Ruxomar, taking the lead in rebuilding Ianarea without Ianite's direction or whatever, a symbolic severence if you will. I think in that way it probably would have brought her and Jordan's narrative arc closer together in how their individualism breaks from their perceptions of balance and how theyre meant to serve Ianite through their faith (which I think would be fun to explore in Aitheaca, comparing post-revival capsize with jordan and flash), and how their interpretation dictates how they become less of an extension of their goddess. Its a little abstract but hopefully makes some kinda sense xD

I totally get how easy it can be to fall into a sort of apathy with cJordan because I think in not sort of seeing himself as not much but his lady's champion (like he really holds that title close, all the way through Isles) that he maintains that blind faith, that being mainly an extension of Ianite longer I think is what the point of disconnect between him and Capsize post-series could be rooted in, that she's separate, he's not. That's not to say he isn't his own person at all because he absolutely is, but its where the joke I keep making about him only feeling secure in what he knows/the homes he's made (home realm, friends, his relationship with Tom, following Ianite, etc.) comes from, whereas Capsize i think could be happy out on the open seas on her own, and also maybe just Red and Tom for shenanigans

---------------------------------------------------------------------

And also I'm super happy you like my Aitheaca Ianite! I don't know how darkenss!Ianite was handled in Isles because I didn't get to that ep yet (no worries about spoilers, I've already seen so much I dont care at this point) but I really did want it to not be her tricked into doing something, or coerced into, but rather something she did entirely on her own fruition :D I did draw mostly from Rux!Mianite on how he wanted ultimate order because *he* wanted it, in the same way that Aitheaca Ianite wants unwavering balance because of what she saw herself, not what the Darkness or whatever imparted onto her

#i hope ya didnt mind I ended up just combining the two asks it felt like they should go together yeeeee #also im sorry this took so long to answer i couldnt form coherent thoughts for the past couple days SOBS #long post #mianite #zombiecaptainsduo #tom syndicate #captain capsize #lafakiwi talks #asks #licantropa #lafakiwi writes #character analysis

[bitch-butter]

⭐️⭐️

~ rivers rivers rivers rivers rivers ~

Web hummed, the vibration of his throat making Joe feel like a bee trapped in a jar. “You would be a good husband,” he said surely, sounding not far from sleep himself. “Good father. I think you’d be very happy, Lieb,” he said gently, and the sentiment was kind, earnest, but Joe felt nothing towards it. Maybe it was the pill, maybe he really just didn’t care. Maybe he had always been wrong in the act of unwanting. Did other people want things beyond the love of one person? He might never know. 

this was one of my favorite passages to write, because who doesn't love Lieb as an actual competant caregiver. additionally, and i was struck by how emotional it made me feel in the process of drafting it, but the fact that this conversation is coming in the immediate wake of both a horribly traumatic experience for the both of them And the first time that they ever speak the words "i love you" to each other. up until this moment in time they were content to leave it unsaid and allow the other to understand their feelings through actions, implication, support, etc. but it can no longer be that simple becuase now life and death has been involved in a place in their lives where they hadn't expected it.

and the immediate impulse is to assume that because they both made it out the other side of the experience they should be able to just slip back into their rhythm, but i thought the more interesting and Painful choice would be to finally have them say the words, survive, go home, and to Then be plagued by this insidious kind of doubt that they'd never had in their life before. like, Web has been holding these thoughts in his head a Lot longer than his accidents, but now he's so turned inside out and so in pain and confused that he can't hold in his own destruction anymore.

“Don’t you ever think about it?” Web pressed, anxiety attempting to imbue its way into the words and failing in the dark.

“No, I really don’t,” Joe said, as stern and sure as he could be in his current state, wishing he could crush Web’s body closer than close to his own, making their membranes go soft and sugary together like the happy guts of a fruit. “You shouldn’t either.”

an oft untouched element of any part of caregiving narratives is that even if it's important and meaningful it is still actually insanely exhausting to put yourself out on the line and bear the weight and be selfless. even if you're doing it for someone you love who needs it you can still feel tired and strung out, and i think that's where Lieb has gotten by this point. he thought he might not get Web back and now he has him back and Web is different and has different needs and this time which should be about them being happy and in love and grateful is actually run through with a massive amount of pain and exhaustion.

and it bothers him even more because web is bringing up something that he's desperately tried Not to think about for the past few years. as gay men in the 1960's it's imperative to keep quiet and keep contained and just let people assume your life around you instead of actually telling them about your life, so it's impossible that Lieb has Never considered what his life could be if he hadn't chosen to be with Web. he loves their life, and he wouldn't trade it, but it would be so easy to have just acted like he didn't want to live this life and marry a woman and have kids and fulfill peoples expectations. and sure he might die unsatisfied and completely un-actualized, but he wouldn't have to live two different versions of himself anymore. so the fact that web is seemingly goading him into admitting that he's thought about how simple his life could have been is just compounding the pain he's already in.

Silence stretched out long enough that he thought Web was back to sleep, that he nearly got there himself. “It’s hard not to sometimes,” Web said finally, tentative, a breath away from breaking his heart.

the nail in the coffin here is that as much as Lieb probably thinks about that other life unlived web is Also thinking about it. and that can make your life and your love and everything built around that feel very, Very fragile and somehow transitory. at such a fraught, emotional time in their life allowing even the tiniest Sliver of doubt to come in feels incredibly damaging, like everything could break down around it if they don't work hard to love and support each other. which is hard because they[re both already exhausted, depressed, and confused.

and That's what the last half of I saw stars is lol

#i know it doesn't seem like it but i've been writing rivers this whole time lol #it's just this part is So difficult #they're so in pain and they go so many places in themselves that are foreign and dark and painful #and when you feel that way you hurt the people you love #it is what it is

[nerdlydelicious]

What’s the best ship, and why is it White Knight?

Good question! Well obviously the answer is because best girl + best boy = best ship. It’s simple math.

But to give an actual answer to your question: Jaune and Weiss didn’t have the best start in knowing each other. Jaune came on a bit too strong out the gate, and kinda shot himself in the foot by not easing back on the throttle and just trying to get to know her. Weiss on the other hand thought Jaune’s interest in her stemmed from an interest in her family. Obviously we know that wasn’t the case, but it shows that Weiss has had to deal with that very thing a lot, and that made her jaded towards boys who made an advance on her. Why she didn’t give Neptune the same cold shoulder at first… I dunno, so don’t ask me.

But of course, Weiss learns that’s not the case at the dance and she realizes that Jaune really does care about her.

And that’s one of the reasons why I love White Knight so much. Their relationship, regardless of whether it’s platonic or romantic, didn’t start out on the right foot like it did for Ren and Nora, or Yang and Blake. Jaune and Weiss started Beacon rough around the edges in their own ways and they wound up grating against one another. However as time passed we saw that she warmed up to him, and he eased off. From Weiss complimenting him in the Vytal tournament, to the two of them sitting side by side at the dinner table in Haven, to him saving her life and the little moments of him looking out for her, to her accompanying him and Oscar to the movies, to Weiss putting a hand on his shoulder and smiling proudly at him when he helped Penny, and of course the two of them being the last to fall into the Void, it is clear that any awkwardness between the two of them has long since vanished. Despite how they started Jaune and Weiss have grown beyond those awkward days. Though the moments between them are small and almost background material, I still think they’re significant and bear weight, and shouldn’t be disregarded.

And there’s other reasons, of course. There are certain narrative elements that connect. Cinder wounded Weiss to torment Jaune, and Jaune unlocked his semblance, an aspect of who he is, trying to save her. Sure, Cinder chose her because her aura was broken at that point, but from a story writers standpoint the fact that it was Weiss, the girl he had a big crush on back at Beacon, who was chosen to be why he unlocked his semblance and not someone he was arguably closer to like Ren, Nora, or even Ruby speaks of intent on the show writers’ parts. They meant for that to happen, for them to have that moment. And with how volume 8 ended and what I think might happen in volume 9, they’re going to have some more moments of closeness, and I hope that this time Weiss will save Jaune from his greatest enemy: himself.

And, to finally wrap up my mini rant about my feel good ship: there are parellels and similarities in their backgrounds. They both come from a proud and old lineage. Weiss is trying to redeem hers and fix the damage caused by her father, while Jaune starts Beacon trying to live up to his family legacy. There’s also the fact that they fit nicely into the ‘knight and princess’ trope that I’ve always been a sucker for, though she’s certainly no damsel in distress.

TL;DR I like White Knight because they’ve both grown a lot throughout the show and have shared important moments together as well as having narrative connections and parallels. Also, they’d be very cute together.

#jaune arc #weiss schnee #white knight #rwby #rwby ships

[elia-de-silentio]

TENTATIVE ANALYSES: BUNGOU STRAY DOGS

Chapter 5: The Fatalist's Sorrow

NARRATIVE STRUCTURE

We open with a flashback of Akutagawa's words to Atsushi, about bringing misfortune to everyone he has ever met. He wakes up in the Agency's infirmary, looked after by Kunikida. He reveals to him that the two Tanizakis have survived and are under treatment by Yosano (cue horrific agonizing screams), but also that now that the Mafia is on the war path because of Atsushi, he will have to pull his weight to help them. Alright. Then proceeds to freak the hell out after a casual remark by Atsushi, fretting about their impending doom at the Mafia's hand.

We cut to see an assault squadron by the mafia in action, showing us how brutal and merciless they can be.

Atsushi takes Kunikida's words to heart; the problem is, his trust in himself is so low, he believes the only way he can protect the Agency is leaving it. And so he packs up, and makes the most naïve move possible: he contacts Higuchi and tells her that he is leaving, he is on his own, and they will have to leave the Agency alone. She doesn't doubt for a moment that this is all a ploy, Atsushi is absolutely with the Agency, and sends there the same terrifying battalion we have seen before. Atsushi hasn't even walked outside the neighbourhood when he sees the smoke. Horrified, he runs back to the Agency, to find ... the Mafia completely trashed, every detective perfectly well, and an annoyed Kunikida who tells him to at least help them clean up. The chapter ends with an Atsushi in tears.

NARRATIVE TECHNIQUES

There is a nice use of the setting for all of the chapter, with a plot twist at the end. The panels emphasize the Mafia's power and ruthlessness, with the building expectation that these terrible people will be soon going against our heroes at the Agency. In fact, they do, and ... we are shown the Mafia members trashed around the office, the Agency members none for the worse, Kenji even playing with a mafia rifle. The foreshadowing for the Mafia's power ends up working to emphasize that of the Agency.

CHARACTERS

Atsushi: here he is a lot less determined than in last chapter. While in the heat of the fight remembering Kunikida's words about not besmirching the Agency's name motivated him to fight, here, in an hospital bed with the 'proof' of what the Agency is going through in front of him, because of him, his insecurities resurface. His sense of uselessness returns at full force, and so the 'solution' he finds to help the Agency is leaving it to strike on his own. He also has the presence of mind to retrieve Higuchi's number from her card, but not that to realize that he is essentially applying reverse psychology on her and indirectly causing the attack to come much sooner that it would otherwise had. His reaction at the end is quite interesting: when he notices the smoke out of the buildings he runs back to the Agency out of selfless concern, he is genuinely relieved to find that they're stronger than the mafia ... but he also reasons that the Agency being stronger than the Mafia also means that they're his best bet for survival. His tears of relief and the decision to remain are out of both selflessness and selfishness, the peculiar, complicated mixture of lacking self-worth and desire for survival at all cost that is starting to be a consistent part of Atsushi's characterization.

Kunikida: he hasn't grown to care for Atsushi yet, and it shows. He is quite cold to him, confirming the mindset that Atsushi should 'make up' for attracting the Mafia's attention in them, and then not taking his attempt at an escape nor the motivations for it seriously. It looks like he truly doesn't understant Atsushi's mental state, with his confusion at his tears.at the same time, he is also anxious and pessimistic, exaggerating the threat that the Mafia could be to a group such as the Agency, only to 'casually' brush them aside at the end while regaining a dignified bearing.

Higuchi: noticeable for putting a number that actually could lead back to her to a detective Agency (seriously, why not give a fake number?) and for her blind devotion to Akutagawa. She commands the attack to punish the Agency for defeating him, not thinking about what he'll think of it (not good, probably).

The Black Lizard: for now, I'll group them together to avoid a subsection of one-liners. They look more like stereotypes insofar: Hirotsu is the classy, dignified elder commander, Tachihara the crass hothead and Gin the silent lethal type.

THEMES

This chapter goes to discuss the value of life, in particular the ambivalence that Atsushi places on his own. His leaving the Agency is both because he's scared that they would be in danger as a result of having him, and because he feels that he wouldn't be protected; he returns to the Agency both because they prove that they can defend themselves, and because they look like his actual best bet for survival. As for the Agency members, they don't think much of the whole matter, casually accepting both his leaving and his return. It goes to show that these people will require some emotional attachment to truly care about his well-being.

SYMBOLISM

• The baggage: the huge bag Atsushi is carrying on his back when he exits the Agency dorms to carry away immediate personal belongings. A bit on the nose, I daresay.

• Kunikida's Notebook: a good signifier for his mental state, it is here accidentally held upside down, revealing how distracted and stressed out he is despite his attempts to look collected. All it takes is Atsushi notifying him of that, and he launches in a borderline hysterical rant.

RIFERIMENTI

• Hirotsu Ryuro (pseudonym of Hirotsu Naoto) was a Japanese novelist of the Meiji era, credited with the creation of the 'tragic literature' genre in Japan. They're stories filled with improbable events, melodrama, and romanticism, where the protagonist undergoes an inexorable descent towards destruction, led by an inexorable fate.

And this was all for the chapter. Thank you for reading insofar!

If you liked my writing, you can support me by reblogging my analyses or offering me a coffee (link in first reblog).

#bsd #bungou stray dogs #bungo stray dogs #bsd meta #bsd analysis #bsd atsushi #bsd kunikida #bsd hirotsu #bsd tachihara #tentative analyses #tentative analyses: bungou stray dogs

[ladyhindsight]

One thing I never understood about Alastair's situation in the books:

In Nothing But Shadows Clive, a kid that is part of Alastair's Academy friends, gets himself killed because he tries to scare off James with a demon in a Pyxis box.

This is the reason James get expelled-Clive's death is pinned on him and he has to leave.

And yet, no one talks about this at all in The Last Hours-no, Alastair's Big Crime was (supposedly) circulating rumors. It got completely retconned.

It would have made a lot more sense if the MT were reluctant to be friendly with Alastair for this reason; even if he was not on board with the plan and was remorseful of his actions (as he was implied to be in NBS), the accident made all the Shadowhunters at the Academy consider James a murderous monster-how do you recover from that?

I suppose Clare really did not want to consider a scenario where James would be not fawned over (as if his ostracism was just a thing of his early teenage years) and did not want to give a real reason for Alastair to be resented, so nothing ever came out of it.

There is pretty much nothing in The Last Hours to remind you of what happens in Nothing But Shadows. Only thing carrying forward to the main series is Alastair’s behavior in the Academy, not that James was in any way despised because of what he was accused of doing.

I’ve not properly read Nothing But Shadows yet, but I understood it that only Alastair and Alastair’s friend group in addition to conveniently discriminate teachers were the only ones opposing James and subsequently his friends because of James’ ancestry that mainly is displayed in his Golden Eyes. In TLH, James is still coveted by any and every girl, is charismatic and charming, and is from respectable family that only the cartoonish antagonists like Inquisitor Bridgestock have any reason to oppose. Nothing But Shadows has not left but a teeny, tiny mark on their characters and their stories going forward, and only concerning the Merry Thieves (that is still the stupidest name).

The hate Alastair gets in TLH is entirely disproportional to begin with. Contrasted to someone dying, it’s really just kids talking shit about each other and being mean. My high school years were rough as hell, but as an adult, even though all that stuff still left pretty deep marks, I can recognize things as they are and nothing more. I don’t think in Chain of Gold or Chain of Iron ever brought up the happenings in the Academy from any other aspect than James and Matthew’s torment.

Not surprising though, James is still reminiscent of every Herondale in the series. Though the narrative likes to pretend there are all these things opposite of their favoritism, they bear no actual weight. They are, no matter what, still favored despite the smoke screen of characters like Maurice Bridgestock and Tatiana Blackthorn. TLH characters began in tatters, being only part of short stories that were eventually retconned anyway, so what value is there left?

#Alastair Carstairs #James Herondale #The Last Hours #Reply

[decepti-thots]

☕️ the Optimus Prime ongoing?

look, i get why a lot of the fandom, even the part of the fandom that likes exRiD, often bounces off the OP ongoing to one extent or another. it's a book with a lot of caveats required when recommending it; both in that it has some pretty significant flaws narratively, and that what it's even trying to do in a lot of cases is simply not what a lot of people want out of their TF comics. but i really really like the OP ongoing. at its best it has some of the most interesting and subversive approaches to iconic parts of TF, especially Optimus himself, that we've seen in any major continuity; it pulls together Barber's concept for IDW Optimus more completely than anything else, and as someone who really respects what he went for with that character personally, that alone means I get a lot out of it.

its big flaws are pretty easy to nail down, tbh. it exists during the mandated hasbroverse stuff that forces a lot of chaff into the world and ongoing narrative of IDW1, and it's forced to bear the brunt of it among the three ongoings. it comes at a point where Barber is being stretched REAL thin by his writing and editorial responsibilities, and there is a very real dip in how tight the storytelling is that i have always assumed was in part related to what must have been just an overwhelming amount of work Barber had to do each and every month on these comics by that point. (the devil works hard. Barber, when running TF comics, worked harder.) at times, Barber gets extraordinarily excessive regarding his tendency for extremely deep cut referential lore-heavy stuff, which if nothing else makes the fact OP was supposed to be a new-reader-friendly soft relaunch HILARIOUS. and content wise, there are some swings and misses in there for sure.

but still. i do like it. i think it does such a good job at making Optimus a central character, as distinct from necessarily a protagonist, and showing through all these other characters around him the weight he exerts on his narrative and his world. it's a story interested in the consequences of a character like Optimus being able to exist, someone who is mythic walking around still alive and interacting with those around him, and the near impossibility of leveraging anything like that for actual good because it will always bite you in the ass.

and it has so many compelling characters! arcee gets her due here, following on from exRiD. some of the best soundwave content in the comics is found here, and i love barber's soundwave. aileron, jazz (GUYS, JAZZ IS IN THIS ONE, WILL THAT MAKE U READ IT), a resolution for sideswipe... and yeah, the series understandably has a reputation for being Barber at his most overly convoluted and plot-heavy and fanwanky, but it also has some truly compelling emotional threads because dammit Barber IS good at writing emotional arcs, and he deserves to be known for it too. the issue where Arcee says goodbye to a dying Sideswipe makes me cry. the Arcee/Aileron throughline is wonderful and a hugely important part of her arc. the stuff he does with Soundwave thematically slaaaaps.

...this is really long so i'll finish with a couple final points. one, i think basically any analysis of Prowl's character in IDW that skips OP entirely is just inherently incomplete. one day, i want to write about what Barber does with Prowl in the flashbacks re: looking back on and recontextualizing some elements of the character. and two, this run has two of my favourite single issues in the entirety of IDW; the annual, Starscream: The Movie, and #25. so yeah. it's flawed and not for everyone, but i think people should really give it a chance.

#ask meme

[penig]

"But dear Madam Mina, are you not afraid; not for yourself, but for others from yourself, after what has happened?"

Headcanon/interpretation confirmed. She is definitely pregnant and the tension in this conversation ramps up a notch with the certainty.

Mina ascends to Mother Goddesshood on October 3, which is very Victorian of her. Even Renfield worships at her altar and turns on Dracula before the end for her sake. I will leave indignant and horrified reactions to the way his death is handled by the author and the characters to others. I’m sure they’ll do a bang-up job. It occurs to me that if his round of the Tumblr Sexyman contest had come after this scene rather than before it he might have won it - which is a fairly horrible thought all it itself. But no, I’m here to talk about Mina, Our Lady of the Files.

Mina clearly thinks quite a lot during the course of the day, to come out with the “compassion for Dracula” speech at the end of it. What else had she to do? Well, begin making another copy of the journals, for one. Her foresight in making multiple copies (extremely tedious work, as those of us whose work lives began before photocopying became common office tech recall) paid off when Dracula ransacked the study and, now that they’re back down to one copy and she desperately needs something to occupy her hands and mind, making a new backup seems called for. Such an occupation would provide exactly the right state of mind for thinking the kinds of thoughts she’s been thinking and working out the points she works out, as the content of what she copies out would be so familiar as only to take up a small part of her brain, leaving the rest relatively free but focused on the topic occupying that part. Anybody who’s done this sort of attention-heavy, cerebration-light work for an extended period knows what I mean.

Presumably the alternation between journals and the small amount of overlap in this entry indicates the editing out of redundancies to make a coherent narrative, so the audience knows Mina survives long enough to edit them, which probably wouldn’t occur to anybody else on the team and would be done less seamlessly by them, if it did. It also indicates that yes, despite the emphasis on inclusiveness, Mina does judicious omitting, which strengthens the interpretation that she may have omitted small parts of Jonathan’s diary, indicating that Jonathan has already been fed on and forced to drink blood at the castle. Even if not, the hints the Count drops to Jonathan about his joining the brides in his little vampire family must be leading her to consider the possibility that a shared fate awaits them even if she doesn’t take him down in her own fall, so in putting the case for mercy to herself being extended to Dracula, she is also putting the case for extending it to Jonathan. But she’s not going to say any such thing out loud. Jonathan’s hair has already gone white overnight, and it seems likely that only the pressing need for action and the self-imposed writing therapy have held off collapse all day. It is a theory, not a fact, and one she can’t help bearing the weight of but need not impose on him.

This probably looks masochistic and far too similar to the counterproductive shutting of Mina out of council that we just got past, to many people; but it something I do regularly myself. You will, too, someday, if you haven’t yet; many disabled people live like this all the time.

When one person is having a crisis, their loved ones take care of them; when everyone is having a crisis, constant calculations must be made concerning who can bear what weight when. My husband and I both have a lot of Health Crap, and when we both feel bad we have to run a comparison study to determine which of us is presently feeling less-bad in a way relevant to the task in hand. I had to take myself out of a podiatrist boot three days early because I couldn’t manage the back stairs to the kitchen in it and my husband lost all mobility recently; but I’ve also been too unbalanced to go downstairs at all for a month and my husband took care of all downstairs business for me during that time without once complaining about his aching back and feet. Our Year from Hell - not 2020, as you might be thinking, which was comparatively a doddle, but 2005, during parts of which I was 50% of the abled members of our support network - was marked by a serious emotional and mental crisis on my part, brought on by events early in the year, and which could not be resolved without my husband’s participation as it directly related to the marriage; but my attention had to be focused entirely on the fact that my husband would die if I couldn’t take care of him properly and he was not strong enough to handle his part of the crisis. Nor could I discuss it with other people, even within our support network, until I had discussed it with him, because it concerned him so closely. So I wrapped it up tight in a knot in my chest and carried it for about six months until he was strong enough to deal. Meanwhile, I was also doing constant calculations concerning what I could do for other people in the support network and who was in a state to be given certain information or asked for what kind of help, and the other people in the support network were having to deal with emotional distress and make the same kinds of calculations concerning us, without having the information I withheld in hand!

And this is more or less the state this vampire-hunting team is in right now, except that they are all focused on one overarching major crisis in the form of Count Dracula. Which at least simplifies the calculations. No one here is operating at 100% capacity, though. Mina and Jonathan are obviously the worst hurt and most in need of protection, but everyone has seen things and done things and been helpless to stop things that are significantly traumatic. All the judgement calls, good and bad, made from here out will be made under these difficult conditions, and we may expect a bill to come due to every survivor after the end of the book.

#dracula daily #health management #Mina Our Lady of the Files

[morgana-ren]

Is Ilya just as agressive/violent with the one he is in love with? Does he expect subservience and what level of freedom would he allow you? How does he expect you to behave

I know he's not an official part of the nightmare gang but hypothetically jpw would he get on with sharing?

It highly depends on the circumstance, in truth. He likely won't hurt you as much for his own amusement as often, but he certainly doesn't turn into a teddy bear once he develops heart-eyes. He's going to be more careful not to permanently injure you (choking you for too long, breaking your pelvis, etc.) unless Nightmare is around to come in clutch with the healing. He's still very aggressive, but sometimes, it's in a strangely saccharine way-- the way you might get that strange feeling when you see an animal that is so adorable that you just want to squeeze and squeeze--

He's just aggressive by nature, and his love is no different. He is used to taking what he wants, and so take he will. He is capable of being gentle, but it never lasts very long, as it bores him most times. He prefers things very hot and heavy with a lot of weight to the situation. The only emotion he enjoys running high is lust, and he tends to lose himself in the moment.

Now, behavior with Ilya is rough, because while he will strive for obedience and use fear as a weapon, it bores him in the same breath. If you're perfectly obedient and still, he's going to get tired of it very quickly. He wants a little spice-- a little spark of life to keep things interesting. He tends to find people he considers to be challenges and 'tame' them in the way one would a wild animal. That is to say, not very tame at all.

For instance, if he tells you he wants you, and to be a good girl and get on your knees for him, his ideal response to that is usually somewhere along the lines of "Fuck you, make me." It makes him ecstatic.

However, that's not always the case. The longer you spend with him, the better you will get at reading his deliberately dampened moods. There are times where it's going to be dangerous to deny him, and it's best to just give him what he wants. Glaring, cursing, all of that is acceptable, but sometimes, it's honestly better to just let him manhandle you down because the alternative is worse.

As for freedom, the answer to that is an astounding none most of the time. You will be where he wants you to be, doing what he wants you to do. Even when you are out of his sight, you can rest assured he is watching in some capacity. If he goes somewhere, you will follow, but especially in the beginning, he's likely to spend most of his time dwelling around the house and keeping you close by.

When he falls in love, you might be allowed more freedom, but he will insert himself into whatever the narrative of your life is. For example, if you have a family and friends you need to see, he is now your fiancé and you live together and you are very happily in love. If you have a job, he's your boss now. If something is important to you, he will wedge his way in somehow and make himself integral to it. That is his idea of 'compromise.'

Your family and friends will adore him most of the time, especially if they don't look too deeply at him. He's excellent at reading people and being whatever he needs to be to come out on top. He will ensure that he fits seamlessly into your life in that capacity. However, don't expect much else to change. When you return home, it's to his home, and you still belong to him. He's more likely to humor you with little ventures like that, but ultimate freedom is a thing of the past. Rest assured, he has ways of keeping you close.

If you're one of those people that needs to get out of the house or you need a vacation or something, he will oblige, but don't bother trying to run. One thing you will learn is that he has zero qualms with killing or maiming someone to teach you a lesson. It's overkill too, because he could just as easily manipulate their memory. Irk him too much, and blood will be shed to prove a point.

As for Nighty and crew, it's usually Ilya or Reaver that suggests taking someone for entertainment. He has no problems at all sharing, especially if he hasn't developed feelings. He's fine with participating in group sex and all of that, and will usually be the one to suggest it.

Developing feelings for someone though? It might be rough. He would pretend to be fine with it, but he's going to get underhanded to try and ensure that if you're ever made to choose, you will choose him. All the lads have this particular issue.

They're extremely territorial and possessive, and it becomes a problem when they start to fall. Ilya is going to try to deflect their attention somewhere else, or he's going to use his.. uh.. experience to try and ensure you cling to him, and that's if he realizes it before they do. Once the game is on though, he plays very dirty. Essentially, he will play as nasty as the others do.

They're still his brothers and he adores them no matter what, but he can be a real nasty little bastard when it comes to keeping what is his.

#morgana and friends #my ocs #Ilya the bastard

[basedsakura]

There is an argument thats going around which says that Sakura has never had an effect on Sasuke and that she could be easily replaced with any other kunoichi with no consequences on the story or Sasuke's character and that thats why SS doesn't work as a pairing. What do you think about this?

well, my take is that you can't really criticize sasusaku or sakura without (and i actually think people are going a tad bit overboard with this these days) pointing a finger at kishimoto's writing.

yes -- sakura technically could be replaced with any other girl, and you could argue with reasonable certainty that results won't be all that different. but this has nothing to do with sakura's character, and everything to do with her role (or lack thereof) in the overall theme of the story.

truth is, sakura isn't at all important to the narrative. remove sakura, and things change minimally, if at all. i think the sasori fight + saving sasuke from the sand dimension were the only two times where i can remember sakura directly influenced the course of the story, which is pretty sad considering this is your heroine and one of the lead characters. she definitely leaves a lot to be desired in terms of how she affects the plot, and i have no doubt kishimoto's world would have been all the more richer if he took the time to carve out more space for sakura in it.

we can clown BAMF!sakura fics all we want, but most of them are onto something when they provide commentary on her civilian status, or when they flesh out her bond with her parents/ino/kakashi/any character, because you can't have a manga about bonds, loneliness, war, family, duty, hard work, clan vs village, etc. and not let one of your main characters carry at least some of the themes -- you're gonna end up with a weird void in your story, because what is the current point of sakura's existence as a character, aside from being sarada's mother?

to say that ss makes no sense because sakura had no effect on sasuke -- like, yeah no shit lol. she barely had an effect on anything, i don't see how sasuke should be an exception. the argument would hold more weight if sakura actually had been an incremental part of the narrative, or if she was a catalyst to some other character's growth; it would serve to prove that, although she is a fleshed out character in her own right, sasuke remains unmoved by her and, well, tough luck. the problem is sakura hasn't been given a chance, because she has never had any bearing on anything. i'm not even sure she had an arc

that being said, i think that sasuke was affected by her -- and she was most definitely affected by him (i won't get into this, because i think it's obvious to most that sasuke was the catalyst to her development).

for sasuke, she may not have been this character defining, life-changing influence, like itachi was, or naruto, but as @blue-plums beautifully put it once upon a time, she couldn't stop him, but she was a speedbump. otherwise, why would sasuke, a boy who's been too fucked over in his life to really care about niceties or social conventions or who deserves what -- thank her? why would he bother to express his gratitude, on the night he chose to abandon his home (and sakura) forever, if he didn't feel that gratitude was well deserved?

#sasusaku #meta #i thought about talking about the forehead poke but i think it's self evident that sasuke using that gesture on sakura was an expression of #how important she is to him #long post #haruno sakura #uchiha sasuke #sasuke stans dont chew me alive i tagged all of this properly

[samanthalightning]

Selfish-Jacob x Swan!reader (Bella's sister) Sad Ending

*These are not mine. Credits to the owner*

Part I | Happier Ending

A/N: Hello again! Just wanted to explain why it's the 'end' The purpose of these parts are to explore possible outcomes of the previous part. I just wanted to write it and post something as I'm quite stuck what to do with it just yet; consider it as a sort of filler chapters. Although I am planning to make more parts with a different narrative than these two. And yes, as per request Jacob will suffer profusely. Hope that makes sense and hope you love this!

Warnings: Angsty, death. Just a lot of drama. I've been called a fucking sadist and utterly dramatic, bear with me.

***

September 11. The day the universe had to choose which sister to save. Your lives are not only hanging on by thread; a war of tug is happening, you're falling in and out of breath and will to live.

And at the same time, both hearts stopped and never will they beat again. But Death made his decision, and for the first time, you were the choice.

Billy had warned his son. Surely, not everyone knew, but enough knew who to shift the blame to. Jacob was stubborn though, it was like he did not hear his father's pleas. In fact, he dressed himself just for you— suit and tie to honor you for the last time.

He arrives outside of Charlie’s house. He’s pretty certain the whole town is here, all wearing black and chatting, they can all barely fit inside of the house. He has yet to see anyone he recognised, not that he paid a lot of attention to the faces— they were blurred. Each step he took was ridden by desperation and grief. He just had to see you. Once he got inside, he almost regretted it. The first thing he saw was your parents talking to someone. Charlie’s blank face, their tired red eyes; the sullenness on his face, he lost a little weight and was barely participating in the conversation. Your mother's forced smile and her anguished expression. The consequences of his actions screamed at his face so loud he would've gone deaf.

He turns away and fastens his pace, weaving through his guilt and the crowd. It's best if they don't see him. Jacob reaches where you were. So many people came, but none of them were here in this room. You were meters away, the nearest he had been to you for weeks, and yet his feet were stuck to the floor— it was like it doesn't want to come to you anymore. He fought through the dread, because he knew he’d regret it if he didn't see the one he failed.

His knees buckled when his eyes met you through the glass. Tears overflowed and escaped down his cheeks, as he exhaled and finally freed his lungs from hold. He covers his mouth, muffling the gasp he released. Locked in a box, that's what you would say. You were in the same position, coma for weeks in the hospital bed, before eventually giving out and succumbing to the pain. It must have been hell going through all of the injury you sustained, he wondered if he came and stayed, would you be here right now?

Your gorgeous locks splayed out, perfectly styled, your skin had turned white like the bloodsuckers. You lie, hands on top of your stomach. You looked beautiful, so, so heartbreakingly beautiful, he felt it through the ache of his heart. The empty and blank loop of feelings he had was destroyed, replaced by the scary sinking of the truth that he will always wake up to— you were truly gone.

For the first time everyone in a long, long while saw what it's like for you to be in peace. Although, it's safe to say that none of them are in the same state. He almost wants to beg the Gods to bring you back, to make things right and hold you tight; a second chance.

"Hi," he choked out softly through the tears. He wants to stare at you forever— or however long he can preserve this moment. He wants to touch your cheek, let his fingers run through the softness of your skin, because he never did that.

"What are you doing here?” It took a moment for Jacob to whirl around. He found the newly-turned Bella, not looking grief-stricken, rather glowing in anger, and its target was him. He never thought he’d see the day that she would look at him that way.

He lifted his hand up to defuse the situation, trying to explain, as she got closer, but Bella bellowed at him. "Get away from her!"

“Bells, please just let me,”

The vampire scoffed with venom. “Let you? Why would I do that? After what you did to her?!”

Edward, along with the other Cullens, entered the room. He tries to hold Bella, but she easily resists his grasp.

"How dare you come in here?" She lunged at him, grabbing him by the neck, and dragged him out of the house, not caring of the looks they received on the way out.

Bella then sped away into the forest for no one to see her wrath. The Cullens called her, but there was no stopping her. She effortlessly throws him to the ground, just as the rest showed up. He didn't bother to stand up, he knows he deserves it. Bella towered over him with righteous fury, her next move unpredictable. After all, she's different now.

“Bella, please stop,” Carlisle pleaded with his daughter-in-law.

"No!” She growled. “You had one job and that's to choose her!”

"I tried, Bella," he cried.

"You should have tried harder!" She kicked his stomach, sending him flying meters away. A loud crack echoed in the forest, enough to make the birds fly. Jacob winced, clutching his stomach.

Bella was to head for another attack, but Edward got to her first, holding her wrist, wrapping his arms around to restrain her. It was visible how hard he was trying, because of her new strength.

“Bella, don't do this. Think about your sister,” he whispered through his gritted teeth.

“I am!”

“No. She wouldn't have wanted this,”

“How do you know?! She's gone!” She screamed. Just then, her wrath morphed into something different; her face softened, slowly she stopped resisting him. She let out one more scream of agony that pierced the sky and Jacob’s heart— the ache of a loss that could have been prevented. She sobbed, and Edward let her go for her to turn and embrace him.

“She's gone, Edward. My baby sister’s gone,” she murmured, as she buries her face in the crook of his neck.

Just like the wind changed poignantly, and the yells turned weeps. Nothing could possibly measure the ache and loathe he feels. Emmett and the two blondes didn't hate him, but they showed no care for his grief too. The other three were the only ones kind enough to look at him with pity and sympathy.

Edward glares at him, before he speeds away with Bella. The rest followed, leaving Carlisle.

"Jacob, I think it's best if you keep your distance for now,” he advised gently, but firmly. Jacob replies with a nod. It was his fault.

The older vampire leaves him alone. Like he would be in his life.

He decided to take a walk, quickly turning into a hike, as he followed the trail you went to. Perhaps it wasn't such a great idea to do that in his attire or he should’ve turned for an easy trek, but it didn't matter. He wanted to feel what you felt during those times. He looked like a weary warrior, fighting for a cause as lost as him.

By the time he reaches the top, his tears are long-dry, replaced with dripping sweat. His feet ache and there's a pounding headache present with him.

He stared at the scary height below, pondering: how long would it take to be reunited with you?

He concluded the answer. Shorter than the rest of his life. He closed his eyes, not caring an ounce for what pain waits in the process. They're worth more than living with the pain of losing you. His thoughts of your vivacious smile and all the times you were such a light.

He sticks a foot out, slowly rearing himself down. The breeze was ready to take him.

But he was yanked away from it.

He opened his eyes to see who took the moment from him. It was Seth. He didn't even see him in the wake or anywhere at all. But he must have followed him to be right on time.

"Why'd you stop me? Get off of me!" He angrily grunted and ripped his hand off of him.

He looked nothing like Seth is. Stoic, almost robotic, emotionless even. The bags underneath and his downcast face makes him wonder when was the last time he slept.

“And what? Let you have your reprieve and escape all of this?” He bitterly spat.

Jacob sighed defeatedly, not wanting to put up any more struggle or fight. His whole existence ached for one thing and it is not living. With teary eyes, he clasped his hands together to plead with Seth of mercy.

“Seth, I just—please just let me be with her,”

“You don't deserve that,” his apathetic tone broke his already torn up heart.

"I wish we weren't werewolves.”

Seth’s voice rose; like a vicious growl fostering. Jacob gulped, fearing he might have to get into an unpleasant confrontation once more.

"I wish all of the things that came with it aren't true at all.” He took a step forward, gears turning and fist clenched.

Jacob took a step back. "Seth..." He gave him a look, their eyes meeting. Jacob hopes whatever left of their connection as brothers may be enough to knock some sense into him.

"I wish that she didn't have a connection with you; I wish she wasn't for you," he continued, his seeming control of his calm is spiraling down, his body trembling, and Jacob knows his anger is feeding his wolf to come out. He carefully eyes the young wolf, bracing himself in what's to come.

"Because I know I would've done a better job. I know that I could treat her better and love her better— I wish it was just me! WHY DOES IT HAVE TO BE YOU?!"

"Leah, take him away!" The loud bark of Sam’s order snapped all their attention out of the tension, preventing Seth from lunging at him.

He expected Leah to grab his brother harshly out of the scene, but instead she and Sam gently coaxed him out of the scene. Of course, he didn't relent at first, but Leah, whatever magic she whispers to him, it worked. They were able to get him to leave, not without shooting daggers at him.

“You okay?” Sam asked.

"It's my fault, Sam," he replied, blank faced. All of the anger, pain and all of there could possibly have exhausted him; drained him of strength inside and out. He was sick of crying— he was sick of himself.

Sam sighed heavily, as if carrying his burden. He clasped his shoulder, and he got a look that he did not know he would have today— Sam was concerned, sympathetic even.

"We all do things that come with unfaithful consequences, Jacob. We can't take them back, and we have no choice but to live every single part of that guilt. But you have to remember, her choices aren't yours," Sam said, like an older brother giving him advice. It was strange, but he remembers Sam was no stranger to unfortunate events.

Unsure if Jacob was listening to him, he forced him to face him, staring at him straight in the eyes, sternly but not withering.

"What's done is done. Ending it isn't going to solve it. You're just going to put people through more pain. Everyday that passes after this gives you an opportunity to do better than you did. Don't throw it all away,"

“Come on. Let's get you home.” Sam patted his shoulder, gently pulling to walk with him away from the cliff.

Perhaps this was his karma. To forever live with a void that can never be filled. He was a coward, who got greedy and demanded what he couldn't have.

There were so many choices that could've prevented all of this. If he just abandoned his selfishness and let the world do its job of keeping you together, you would be here.

He should've chosen you.

And maybe in the next eternity he can be selfish enough for you.

***

I honestly don't know what to say. It may be over the top, but I hope you liked it. Do check out the good ending one, and be on the look in case I start posting the multi-part version of this. Requests are always welcome so please, help yourselves.

SETH STILL DESERVED BETTER

Tags: @sluttmeoutttt @kennedyjeanine @sillyfreakfanparty @jessyballet @notahappystan @bibella8swan

#Twilight #Twilight saga #Jacob Black #Jacob Black x reader #Bella Swan #Bella Cullen #Edward Cullen #Seth Clearwater #Charlie Swan #Bella Swan x reader #Bella Cullen x reader #Edward Cullen x reader #Seth Clearwater x reader #Charlie Swan x reader #Cullens x reader #Alice Cullen x reader #Jasper Hale x reader #Emmett Cullen x reader #Rosalie Hale x reader #Esme cullen x reader #Carlisle Cullen x reader

[mokutone]

sasuke

YESSSS! sasuke yelling time.

explanation for the drawing in my answers ajdjanxkajjd

favorite thing about them —despite everything. when he is most himself, he doesn't want to hurt people if he doesn't have to. he can't bear to kill him, he tells team taka that they aren't to kill anyone, he's had an immense amount of trauma done to him, and he knows the weight of it, and if he can avoid doing that to somebody else, it seems he wants to.

least favorite thing about them —uhh my least favorite thing about him is also my least favorite thing about gaara. and a couple other characters in naruto. it's really hard for me to watch kids be in desperate pain and practically begging for help in a situation where nobody seems able or willing to help them. for a lot of sasukes parts in the anime i'm just like averting my eyes lmfao

favorite line —I think I'll pick the most impactful line. Idk if I'd call it my favorite.

you know the bit where kakashi ties sasuke to the tree? absolutely fucking humiliating him and then on top of that, telling him that his quest for revenge, LITERALLY sasuke's fucking ninja way (for all its many many problems!!!!), is useless and meaningless? and how sasuke gets that nasty look on his face and he says: "What if I were to kill the one you love most? How far would you stray from what you just said? I could make you feel true pain." and that line just fucking kills me. i am inconsolable. obviously Kakashi takes it as a threat from a child and brushes it off as one—but it's not! he's quite literally begging for understanding. he's like, if i could just hurt you as much as i've been hurt, maybe you would understand me! maybe this is the only way anyone could ever understand me! maybe then you wouldn't tell me how useless and stupid this one thing, the thing which i have built my life around, is!!! but kakashi doesn't give him that. lol. kakashi's like "well there's no way i'd ever be in that situation bc i there's nobody left who matters to me ,^)" like. great job dude. you had the witty comeback against the child. also told him that you do not care about him or his friends at all. you won the trauma game. congratulations. your prize is unfortunately dealing with your guilt complex around this for the next 6 years when you have to go to war against him. jesus fucking christ. Sasuke was trying. he was fucking trying! despite everything, he was trying, with the one adult he trusted enough to even ATTEMPT explaining himself to. ugh. whatever. i'm normal and i have normal feelings about things. i'm normal. i'm so fucking normal. jesus christ.

brOTP —this is unhinged for me, bc i normally answer these based on characters canon relationships, but i am so fucking desperate for yamato to interact with sasuke. i want it so bad. i have so many ideas. i think that yamato would be very useful to sasuke in his recovery. i hate kishimoto and i hate knowing that this will never happen.

OTP —i don't really care about this kind of thing! naruto, i guess, because naruto is the person sasuke seems to care the most about thruout the course of the narrative, and also because my best friend wuvs them

nOTP —i don't really care about this kind of thing. sakura, maybe. it doesn't really matter to me.

random headcanon —his life skills are atrocious and everyone in his close circle of companions is worried about him when he returns to konoha. Yamato starts giving him cooking lessons (Yamato is also an amateur at this. theyre both learning),

which are unfortunately the trigger for minor and unnoticeable but very regular panic attacks for Sasuke. He's like, having a very hard time believing that anyone could really forgive him, and his ONLY interaction with yamato before this was literally jamming a sword through his shoulder joint and running straight electricity through it. Why would Yamato, who didn't even know him before he ran off, forgive him for that? What does Yamato get out of this situation? When does Yamato reprimand him for the pain he caused? When does the other boot drop? When does he find out what this is all about?

This goes on, increasing Sasuke's tension slowly and steadily until Yamato accidentally triggers a major panic attack (he drops a pot, and Sasuke is so wound up at this point that the sudden metal clang itself is enough to put Sasuke right over the fucking edge) and suddenly it all comes into focus for Yamato, who realizes "oh, this kid isn't just unnaturally stiff all the time, he's actually scared shitless of me, and was only putting up with these cooking lessons because he clearly feared the repercussions of saying he didn't want to, to somebody so embedded in his social circle. fuck."

Trying to make this better, he then takes to inviting Naruto over so that Sasuke has a little bit of a social buffer between him and Yamato. Eventually all of team kakashi + team seven is trying to fit into Yamato's tiny jōnin apartment weekly for free food and entertainment (the entertainment is teasing each other).

unpopular opinion —i like him? and i don't think he's over dramatic. i think he's a fairly realistically written character (up until the end i guess stuff gets weird there) because he's mostly a reactive one, and Kishimoto excels at writing little traumatized guys having intense reactions to things. It's what he likes to do and hes pretty good at it.

song i associate with them —Baby, I'm an Anarchist by Against Me! solely for this line.

No, I won't take your hand And marry the State.

like. skdghskdghsdjhgsdhjgsdjhg

favorite picture of them

i literally use this all the time. i think things should be easier. i would like for sasuke to be able to pick up that glass of water.

#yamswers #anonymous #f1ghtingdreamer #hehehehehe #sasuke uchiha

[zazzander]

Nico and Octavian – More Similar Than You Think

“I always thought you’d make a powerful ally. I see the ruthlessness in you, and I appreciate that. I can assure you a place in New Rome.” [Octavian to Nico][BOO 427]

I want to talk about how the two characters of Octavian and Nico are actually pretty similar. Obviously, they’re backgrounds have strong differences – Nico was homeless for quite a while, for one. Is an orphan (on his mortal side), for another. But beyond the obvious stuff, they become quite comparable.

How they are viewed by other demigods

We are all, I’m sure, familiar with the general distrust Nico invokes in others. As a son of Hades, he bears the weight of suspicion and even enmity. After the events of the original series, Nico is accepted by the camp… to an extent. It seems that they respect Nico and are thankful that he helped save them (and the world), but that doesn’t mean they warmed up to him:

He remembered how nice the kids at Camp Half-Blood had been to him after the war with Kronos. Great job, Nico! Thanks for bringing the armies of the Underworld to save us! Everybody smiled. They all invited him to sit at their tables. After about a week, his welcome wore thin. Campers would jump when he walked up behind them. He would emerge from the shadows at the campfire, startle somebody and see the discomfort in their eyes: Are you still here? Why are you here? [Blood of Olympus 154]

Now, we get less of an impression about Octavian’s treatment by the Romans but I think it’s pretty clear that he isn’t well liked…

“The camp augur we’re going to meet, Octavian, he’s a legacy, descendant of Apollo. He’s got the gift of prophecy, supposedly.” [Son of Neptune]

“Octavian has a lot of friends, most of them bought. The rest of the campers are afraid of him.” [Son of Neptune]

Her words had the intended effect. The Roman officers laughed nervously. Some sized up Ella, then looked at Octavian and snorted. [Mark of Athena]

Some don’t respect him (probably the same ones who don’t believe Octavian can see the future). Some people accepted him – but only because it benefits them (monetarily or via promotions). And the final group, a good chuck of the legion, they fear him.

The fear aspect is reminiscent of Nico.

Of course, Octavian has managed to forge himself a place within Camp Jupiter. His primary position is that of augur. Theoretically this is a position deserving of respect, like his status of centurion, as seen above Octavian does struggle to gain any respect at all.

However, that’s not the part that’s similar to Nico. Instead, it’s the fact that the post of augur is one Octavian holds alone. He is the only priest for the legion, and that keeps him away from the others. He works out on Temple Hill, physically apart from the others. That’s some pretty strong symbolism for how Octavian is ‘different’ from the others at camp. For better or for worse.

How they are described

Before I go further, I want to discuss the various descriptions we get of Nico and Octavian. Once again – the obvious differences can be set aside. Nico is short, with tanned skin, dark eyes, and dark hair. Octavian is blond, blued eyed, and tall.

What I want to discuss is the wording and the vibe they both give off.

First of all, their eyes:

Nico: He studied me, his eyes sharp and colourless, like broken glass. vs. Octavian: His eyes too piercing… [and] Octavian’s eyes glittered with harsh curiosity.

Basically – they have very strong gazes. The symbolism of ‘broken glass’ and how Nico’s eyes are ‘sharp’, is similar to Octavian: ‘too piercing’ and even the ‘glittering’ since it’s described as harsh.

But more important, there is a running theme for both of them of ‘physically unimposing, secretly a threat’. This is mentioned more with Nico, but the characters around him realised he is a threat. A several POVs in Heroes of Olympus don’t seem to realise this about Octavian.

But Octavian still definitely has this narrative.

To dig into this idea a bit:

Nico: as pale and gaunt as he looked vs. Octavian: Octavian’s face looked almost ghoulish under his white mantle…his checks too gaunt, his lips too thin and colourless [and] His face was gaunt.

Their paleness is even mentioned in relation to each other (bear in mind that Octavian is naturally pale, while Nico naturally has more tanned skin).

The kid was almost as pale as Octavian, but with dark eyes and messy black hair.

So you can see that the words: ‘pale’, ‘colourless’ and ‘gaunt’ come up often with these two.

Not only that, depending on the time period, Nico is sometimes described as looking sick. And, of course, Octavian is often described as such – since his physical and mental health declines throughout Heroes of Olympus.

Nico: He appeared anaemic and frail. vs. Octavian: skinny and sickly pale [and] unhealthy version of Will Solace [and] “you anaemic loser!”

The anaemic descriptor is a favourite of Riordan’s to describe several of his characters, but it’s still notable that both Nico and Octavian fall into this category (others include Hearthstone and, if I recall correctly, May Castellan).

Now onto the idea of ‘secretly a threat’.

Nico:

Nico wasn’t physically imposing like Sherman Yang. He didn’t have Reyna Ramírez-Arellano’s air of authority, or Hazel’s commanding presence when she charged into battle on horseback. But Nico wasn’t someone I would ever want as an enemy.

[and] Nico didn’t appear scary. He was skinny and sloppy in his rumpled black clothes.

[and] This scrawny white boy was no fighter… She had changed her mind about that quick enough.

[and] He’d met plenty of scary demigods, but he was starting to realise that Nico di Angelo – as pale and gaunt as he looked – might be more than he could handle.

vs.

Octavian:

At first, he looked harmless, but as he got closer Percy wasn’t so sure.

[and] “Afraid of that skinny little guy?” | “Don’t underestimate him.”

[and] But she knew Nico was more dangerous than Reyna, or Octavian, or maybe even Jason. [the important point here is that Octavian is in this line up at all]

[and] Octavian marched up to Nico. To his credit, the augur didn’t seem afraid, though his only weapon was a dagger.

(a personal side note, there’s also this description of Nico: Nico’s smile was a bit of winter sun breaking between snow flurries. ~ and it’s exactly how I would describe Octavian if I wanted him to appear more likeable. Like winter sun matches Octavian’s descriptions so well and I’m definitely going to steal it)

The Iron Knife

This topic is really more of a side note but I think it should be pointed out – since this is all about Octavian and Nico.

Octavian slid his iron dagger from his belt and threw it at the table, where it impaled a map of Camp Half-Blood. [BOO 65]

At least one of Octavian’s knives (yes, he seems to have several) is made of iron. I point this out because you might think this is a parallel with Luke. But Luke wielded a steel and bronze blade. Luke had this because he wanted to be able to slay mortals, who aren’t affected by enchanted metals, like celestial bronze.

But Octavian is fighting demigods – not mortals. Not only that, but the word is different. Yes, steel is made of iron. But if why not say steel, then?

Reyna is familiar, presumably, with Octavian’s weapons. And besides, she’s the daughter of a war goddess she would be able to tell the difference between an iron and a steel blade.

Now, my point, because there is an enchanted metal that is notably made of iron. Yeah. Stygian Iron. The same metal of Nico’s sword.

So if we read into the wording here, Octavian owes a Stygian Iron dagger. Whether this was a slip up or intentional, it does add to my comparison. After all, Octavian could just as easily thrown ‘his dagger’ or ‘his gold dagger’.

Their Usual Alliances

I’m not going to fill up this post with quotes from all the times Nico has made unusual alliances in the series. Especially in Heroes of Olympus and Trials of Apollo. Nico has connections with monsters above and below. He often calls in their aid, such as with the Troglodytes in Trials of Apollo.

Then we have Octavian, who is able to commission onagers from cyclopes and get ‘wild’ centaurs and cynocephali to join him in a war they really aren’t a part of.

There is even a parallel with Nico and Octavian’s relationship between them and their divine ancestor / parent.

Nico brings in Hades for the finale battle in The Last Olympian, having convinced his father he will be better respected and regarded for it.

Octavian convinces Apollo to work with him, specially to fight a war, having convinced his ancestor he will be better respected and regarded for it…

Yeah, the circumstances aren’t entirely the same but it’s undeniable these two can be very persuasive when they want to be. And they certainly aren’t hung up on if their allies are morally upstanding or not.

(I think it’s a ‘I’ll judge them for myself’ type attitude, but I’m not 100% sure for either of them)

‘Death’ Powers

While it’s never stated, Octavian’s powers are linked to disaster. And of course, with disaster comes death.

Thus – death powers for the both of them.

Nico can sense when his friends die. Octavian foresees how they will die.

And more to that, Octavian probably presents as a herald of doom for the legion, whether he likes it or not. Why? Well, we can divide Octavian’s prophecies into two categories: ‘incoming disaster’ and ‘personal prophecies’.

Example of the latter comes with Hazel’s curse / prophecy.

Stupid augur and his gift of prophecy – of all people at camp to discover her secrets, why did it have to be him?

So while we never get told example what Octavian saw, I’ve discussed before that I think Octavian learned about Hazel’s personal prophecy – how a descendant of Neptune would break her curse. Therefore, Octavian worked out that Hazel was cursed and it was pretty easy to blackmail her from there.

Octavian doesn’t reveal this information to anyone, though we do have the circling rumours and he is pretty loose-lipped around Percy, he is never explicit. He keeps her secret, well, a secret.

However, the next category is different. Octavian foresees at least two incoming disasters: the fight against the giant army & the war with the Greeks. For the first, he informs Reyna and they establish a plan. For the second, seemingly because Reyna dismissed his predication as hogwash, he revealed his visions to the entire legion.

So we can see that, generally, Octavian keeps the personal prophecies under wraps. But the incoming disaster prophecies get told. Therefore, it wouldn’t be surprising if people associated Octavian with impending doom – in the same way Nico is associated to death due to his heritage and powers.

Fatal Flaws

I’ve written at length about Octavian’s fatal flaw – which I’ve dubbed ‘wrath’. Yes, the books will try to convince you it’s pride, but I just don’t see it. Yeah, Octavian has his moments where he could use a bit of humility but he isn’t overly arrogant nor egotistical.

What he does do is get overly angry.

And what’s interesting that, at least a part of, his anger is directed at Percy’s broken promise. Which is, of course, is a major plot point in PJO with Nico.

Percy promises to keep Bianca safe, Bianca dies, Nico is outraged. He holds a grudge against Percy for a decent period of time.

Then we have Percy, who makes an oath to the legion, who promises to fight with them if things who badly – and Percy breaks that promise. Octavian is outraged. He wants to drag Percy and the others back to Camp Jupiter to have them face ‘justice’.

While we can’t know exactly what is going on inside Octavian’s head, because we so rarely get a glimpse, he does seem to be willing to forgive people.

he allows the deserters to return to the legion,

he makes alliances with monsters whose (presumably) sister-tribes warred against New Rome (if it was the same monsters – gods, that’s a big load of forgiveness right there),

and finally Reyna, who was a traitor to the camp.

So I have to assume that the main issue Octavian has is that Percy and the other’s made a promise to the legion, which they broke.

(I would cut out this bit, since all the deserters technically swore oaths to serve for ten years, but we know the legion doesn’t really care about that, since Reyna only served five-ish years and left to join the hunters. No one was angry about. Plus, people leave to go solo all the time and there doesn’t seem much hatred towards them or anything).

And this all connects to the ‘ruthlessness’ mentioned in the first quote of this analysis. Because both of them can be bloodthirsty–

Bloodthirst and the Desire to Protect

So Nico di Angelo features way too much, often involving him in fights, to go that deeply into his psyche. He’s in way too many books! So I’m going to focus on the finale of Heroes of Olympus, because we get his POV.

Starting with this quote,

Nico was itching to stab Octavian in the chest. He’d been dreaming of that ever since Bryce Lawrence had attached them in South Carolina. But, now that they were face to face, Nico hesitated. He had no doubt he could kill Octavian before the First Cohort intervened. Nor did Nico particularly care his actions. The trade-off would be worth it.

But, after what happened with Bryce, the idea of cutting down another demigod in cold blood – even Octavian – didn’t set well.

[…] It doesn’t seem right? Another part of him wondered, Since when do I worry about what’s right?

Nico longs to stab Octavian. He mentions dreaming about it (not sure that’s literal or not) since the encounter with Bryce. He then goes on to contradict himself, saying that ‘after what happened with Bryce’ he doesn’t want to kill. Then he starts questioning the mortality of it all. Basically, he’s arguing with himself.

He has blood of his hands – he’s killed Bryce Lawrence – and a part of him doesn’t care, hell, it even rejoices. He wants to do it again. He wants to kill Octavian, who is threatening his friends much like Bryce threatened Reyna. He is perfectly willing to die if it means taking Octavian down with him.

In the end, Nico doesn’t necessarily kill Octavian – but he does let him die. Nico’s morality loses that argument. And because it does against what Nico believes should be the ‘right’ choice, he fears Will’s response:

He hadn’t talked to Will since the battle. The Apollo kids had been too busy with the injured. Besides, Will probably blamed Nico for what happened to Octavian. Why wouldn’t he? Nic had basically permitted… whatever that was. Murder by consensus. A gruesome suicide. By now, Will Solace realised just how creepy and revolting Nico di Angelo was.

Nico’s mortality tells him his actions were wrong. Sure, no one else believes that to be the case, but that’s not really important when discussing Nico’s ruthlessness. Nico was there. It was Nico who considered killing Octavian multiple times by his own hand. Only Nico knows that, perhaps, if Octavian hadn’t died by that onager, he’d have died by Nico’s own sword…

Then we have Octavian, whose bloodthirst is obvious. Octavian is perfectly willing to kill everyone in Camp Half-Blood, he orders the legion into battle over and over again. He hunts down the Seven to bring them to ‘justice’.

Of course, this is led by his anger and wrath. He believes, ultimately, that he is protecting his people – the legion, sure, but also the people back at New Rome, which include innocent children. After all, Octavian doesn’t know the Greeks didn’t mean to attack them, that it was Gaea.

Octavian believes that his actions are justified – required, even. Because of the threat posed by the Greeks. And unlike a lot of the other characters, he’s merciless enough to act on that justification.

But it’s important to note that, like Nico, Octavian has a strong desire to protect as much as he does to harm. The most important part of this is the running theme in Octavian’s plans that ‘no Roman will die’. For more on that see this post.

Summary

All in all, there’s a part of me who sees Octavian as what Nico could have become if no one befriended him, at least, on a thematic level. Octavian is older than Nico, he’d been burned just as badly, but ultimately no one has stepped in to… well, love him. Nico bonds with Reyna, with Jason, and finally with Will over HOO & TOA.

No one does that for Octavian.

Apollo almost does, arguably, but we know how badly that went…

And that’s why, Octavian can look at Nico and say, “I see the ruthlessness in you, and I appreciate that. I can assure you a place in New Rome”. Because they are so similar. Octavian knows that this offer might just make Nico waver.

Will certainly thought it might, since he stepped in to interrupt Octavian so quickly.

Basically, Octavian is the Romans’ ‘Nico di Angelo’.

(And it would be really cool if Octavian appeared in the Tartarus book as a foil for Nico. A ‘past demon’ come back to point out Nico’s flaws and mistakes…)

#octavian pjo #octavian analysis #heroes of olympus #nico di angelo #camp jupiter #pjo hoo toa

[class1akids]

to me the difference in length n build up between bakugou's apology and uraraka's speech is connected to HK's general plan for where he's looking to take the characters, which is much clearer and hard set for bakugou. his apology was short, sure, but everything that needed to be said was said on his part at least, he was eloquent and laconic about it, and i thought the little part about deku sharing his burden (my fav part of the apology) was very coherent and well written. on the other hand, ochako's speech was broken up first by chapter ending cliffies, second by flashbacks galore and explanations for nezu's plot device labyrinth school, third, we got a flashback we also got during jt and her repeating "deku isn't special he has a strong power but he's just a kid pls let him stay" two chapters in a row. i didn't feel that she said anything more in 324 than in 323. they both have their strengths and this could be just my bias showing but generally i felt that bakugou's moment was more compact and hardhitting, as was iida's which also had a good amount of build up but i think in the end ended up neater than ochako's.

It's interesting to look at the three speeches. Actually (so far), Bakugou's speech and Uraraka's speech appear about the same in lengths, but Uraraka’s is more than 3 times as long in panel count. I think the perception of length and the emotional weight comes from how well each responds to the situation built, the character saying it, who they say it to, what they did before (the whole Shouto thing about action >words), how well they are personally connected to the theme. I bolded the parts with narrative underpinning/ call-backs in each speech.

Iida's speech: (41 words, 10 panels)

"That's precisely why I am ready to challenge you."

[No, no you can't... just let go...]

"I will not! Ingenium the hero will dash across the land to take a lost child by the hand. Because giving help that's not asked for is what makes a true hero!"

Notes:

*challenge you - reference to Iida/Deku in the SF arc

*Ingenium the hero - this has a lot of narrative underpinning with the Tensei/Tenya storyline

*taking a lost child by the hand - the Ingenium storyline, but also more generally Tenko's theme, and also Eri's.

*giving help that's not asked for - direct quote of All Might to Deku in Ch 40 and Deku to Iida in Stain arc

Bakugou's speech: (it's 251 words, 25 panels)

"Hey, remember what I said when Shigaraki made Swiss cheese outta me?"

[No, I don't.]

"It was >stop trying to win this on your own<. But I had more to say. I needed to tell you that I got stabbed because my body moved on its own.

You know I always looked down on you because you were quirkless. You were supposed to be beneath me... but I kept feeling you were above me. I hated it.... I couldn't bear to look at you. I couldn't accept the way you were. So I kept you at arm's length and was mean to you. I tried to act all superior by rejecting you, but I kept losing that fight.

Since we got into UA, nothing worked out how I thought it would. Instead this past year has forced me to understand your strength and my weakness.

Now I don't expect this to change anything between us, but I gotta speak my truth.

Izuku, I'm sorry for everything.

There is nothing wrong with the path you've been walking down...since inheriting One of All and following All Might's lead... But now... you are barely standing. And those ideals alone ain't enough to get you over the wall you're facing.

We are here to step in when you can't handle it all on your own. Because to live up to those ideals and surpass All Might.. We gotta save you, the civilians at UA, and the people on the streets. Because saving people is how we win.

Notes:

*stop trying to win alone - reference to Ch 285 and Bakugou's sacrifice, but also Ch 62, Bakugou's Origin chapter

*Body moved on it's own - Ch 1, Ch 285, the whole idea of what made Deku exceptional according to All Might to give him OFA

*Looked down Beneath me... above me - reference to DvK and DvK2 and Bakugou's long superiority - inferiority complexes

*arm's length - reference to Ch 284

*my weakness - Bakugou's main objective in the Remedial and Endeavor's arcs is to understand his weakness

*Izuku - contrast to how he gave the nick Deku, signifies return to pre-bullying

*don't expect to change things between us - reference to Endeavor arc and Natsuo-Endeavor scene

*the wall - reference to Bakugou + Deku vs All Might

*surpass All Might - Bakugou's long standing goal

*save to win - long standing theme since DvK2

Bakugou’s speech is also visually incredibly well thought-out, with the changing ages, and the uniforms and the rives symbolism - all tying back to pre-established themes. 

Ochako's speech: (245 words - 60+ panels excluding flashbacks)

De.. Izuku Midoriya has a special power in him.

[civilian interrupts]

No you don't get it! He left school in in the first place because he didn't want to make trouble for anyone. We were the ones who brought him back here!

That power of his.. yeah, it's really special. It exists to beat All for One. That's why they are after him! That's why he had to leave this place. He left and went through who knows what out there. Take a good look at him.

More than anyone he wishes he could fix things. You are looking at a guy who could be attacked at any second but keeps moving forward. So really look at him please!

Special powers are one thing but there is no such thing as a special person.

[civilian] (this part is from @hanashimas TL)

The only ones covered in mud are the heroes!! Please give us time to wipe away the mud we’re covered in!! Alleviating your worries in this place right now…I’m sorry! We can’t do that!! It’s because we’re anxious as well!! Because we’re the same as you are!

That’s why….please lend us your strength!! So that we can smile together tomorrow- Please! Please allow him to rest by your sides…..and prepare!!

Midoriya Izuku is only trying to fulfill his part of the responsibility for holding power- but he’s a normal high school student who still has a lot learn!!

This place is His Hero Academia!! Please let him stay here!!!

Notes:

*De - a reference to Dekiru? Maybe?

*special power - OFA being a special power is a long theme, except Ochako was not connected to this before. She only repeats Deku's letter. No special history

*take a good look - recurring theme, possible reference to can't you see kun, whom Ochako referred to in 241

*special person - possibly a recall to how Uraraka always saw Deku as ordinary boy

*covered in mud - recall to Ch 317, where Uraraka wasn't even present and has no way of knowing about. Could recall though her own efforts in Ch 296 and the hero who quit mid-rescue

*smile together - long-running theme, mirrors Deku's thoughts in 318, but no special Ochako angle

*His Hero Academia - reference to the title, could be an IzuOcha reference back to them helping each other at the entrance exam.

So in terms of narrative punch, Iida's speech is very dense and Bakugou's speech is also has many more recalls to previously built themes. It is also very personal to him and Deku's relationship, each of these things built for multiple chapters. They are so well-built that there is no internal monologue interrupting, because HK is confident that we can remember where each line is coming from.

Uraraka is talking to a crowd and not Deku directly. Her speech includes some of the more general themes of the story. The weakness is that she has no or very little personal connection to the things she's talking about (e.g. special power, the covered in mud, heroes being worried). She's also talking about Deku's feelings and motivations when there was no build up for her knowing exactly what he thinks. Honestly, some of her speech feels like it was originally meant to be for All Might.

Also, because there is relatively little build-up, it is constantly disrupted by her internal monologue, trying to find a way to pin the speech to her "backstory of once watching a hero in action", which breaks the flow a lot.

It gets also visually bloated to 60+ panels (not counting all the flashbacks that keep recycling a single scene).  But the art is less symbolic, and it’s pretty repetitive - Uraraka screaming, people reactions, flashback, Deku, rinse and repeat - trying to establish emotions mostly through facial expressions.

So I think that's why her speech feels less punchy compared to Bakugou or Iida.

#bnha meta #bnha 324 #bnha 323 #bnha 322 #bnha 321 #bakugou katsuki #iida tenya #uraraka ochako #villain hunt arc #bnha manga spoilers #bnha leaks #narrative references #long post