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roosterforme · 3 months

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How Do You Feel About the Parking Lot? (Rooster x Reader)

Part of The What If Collection of blurbs for Roo and Baby Girl. My masterlist. Banner by @mak-32

Warnings: language, drinking, angst, fluff

You were excited at first. Very excited. You showed off your ring to everyone and gushed over the fact that you were engaged. And while you were still wearing his mom's engagement ring, it was becoming obvious to Bradley that things were not quite as they should be.

"Hey," he said softly as he walked into the kitchen. It was exactly nine weeks ago that he'd proposed in the dining room and you'd happily accepted that ring that glittered on your finger right now. But tonight you just mumbled something at him without looking up from your computer where you sat at the island. It was nearly midnight on Friday, and he would have given anything for you to start planning this wedding with him. "Are you coming to bed soon? I thought we could talk about potential wedding dates."

"Oh," you replied without looking up at him. "I'm still putting this presentation together."

Bradley sighed. "Baby Girl, you've been working nonstop for weeks. I just want... a little bit of your time." He wanted a lot of things, actually. Like a long snuggle on the couch while you and he watched a movie, or a soak in the tub together. He'd love a blowjob or pinning your hands above your head while he slammed you into the bed. But mostly he'd love to plan his wedding to you, because more than anything, he wanted to get married this year. And it was already late September.

You glanced up at him and adjusted your glasses. "How about tomorrow? I really need to get this done before my work trip."

"Sure," he whispered before pecking you on the cheek and heading off to climb into bed alone.

But it only got worse from there. You worked all weekend. On Monday, you didn't come home until seven o'clock. Tuesday was eight o'clock. By Wednesday, he wasn't sure if you were even eating or sleeping any longer. And worse yet, you were leaving for Annapolis in a few days. Bradley wouldn't even see you for a week. Not that he really saw you now, he supposed.

He ate a bowl of cereal for dinner before sinking down onto the couch with Tramp and a bottle of scotch. He turned on Real Housewives, but he wasn't really watching it. He took a sip, and it burned. But the next one didn't. And neither did the one after that. He started to feel better. But he'd stop when you got home.

Another episode started, but it still wasn't holding his attention the way you would have, and that's when he realized it was once again seven o'clock, and you still weren't home. When his phone rang, he sloshed some of the alcohol onto his tee shirt reaching for it, and he was praying it was you calling to tell him you were on your way home.

He pressed his lips together and then took a deep breath before he answered. "Hi, mom."

"Bradley! I haven't heard from the two of you in days! How's your lovely fiancée? And Tramp?"

The dog must have heard her voice through the phone, because he perked right up. But Bradley couldn't answer with anything other than a raspy, "Fine."

The line went silent. "Are you sick? What's wrong?"

"Nothing's wrong, mom," he lied. "How are you? How's dad?"

"Well, I went to lunch with Brenda, and I got the scoop on all of her kids. And your dad needs hearing aids, but he keeps arguing with me about it. Maybe you can talk some sense into him, if he can even hear you."

"Okay," he replied, realizing the room had started spinning when he leaned back against the couch.

"Bradley, are you drunk?"

How could she possibly tell? His own wife-to-be couldn't seem to see what was going on, but Carole could tell by his voice from almost three thousand miles away. "I'm... fine, mom. I need to take Tramp for a walk. I love you and dad. Bye."

Then he ended the call, because he could feel tears in his eyes. And when you got home at nine, he was already asleep.

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You needed to go to happy hour with your boss and coworkers on Friday, but you really didn't want to. You'd been pulling twelve hour days, and you were so exhausted, you just wanted to climb into bed with Bradley and sleep until you left for Maryland on a Saturday night red eye flight. You also really needed to tell him that he had to lay off the wedding planning until you finished this work project. It was just a few months of all these extra hours, and you desperately wanted to be promoted.

Your plan was to stop home quickly and change out of your uniform before heading back out with everyone to celebrate that fact that you were going to present your research at the Naval Academy. When you pulled into the driveway in your shitty, little red car, the Bronco was already there. But when you looked around the house for Bradley, you didn't immediately see him. But then you heard his voice through the open sliding glass door. He was sitting on the back patio in just his gym shorts with his back to the door and a half empty bottle of scotch set on his knee.

His voice sounded miserable as he said, "I tried, mom. She just... doesn't seem to want to. I don't know what I did wrong."

You froze in place. He had to be talking about you. Embarrassment and sadness filled you as you listened to what he said next.

"I really wanted to get married this year."

You ran down the hallway to the bedroom as you fought off your tears. You had to get changed and go right now while you still could. In another week, you'd have a little more time to talk to him about the fact that you couldn't plan a wedding and get married in the next three months with your current schedule.

You left the house again without talking to him, but he was still sitting on the patio on the phone. And when he dropped you off at the airport the following evening, he didn't seem to want to let you go as he whispered, "I love you, Sweetheart," and ran his thumb along your ring.

"I love you too, Roo. I'll be home in a week, and then we can talk about maybe planning a wedding for next year?"

He swallowed hard and nodded. "If that's what you want."

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When you landed in Maryland on Sunday morning, you were still exhausted and looking forward to crashing until your presentation on Monday. But Carole called you when you were at the baggage claim, and you knew you had to answer. A guilty feeling was about to eat you alive as you put on a bubbly voice and said, "Hi!"

"Have you arrived in Annapolis?" she asked straightaway, and you sighed because at least she didn't sound angry with you.

"I did," you told her softly. "Still at the airport."

"Perfect," she replied. "I'll leave now, and I'll be there in less than fours hours, and we can go get lunch."

You were so stunned, you watched your bag go past without realizing you needed to pick it up. "You're going to drive up from Virginia?" you asked her slowly.

"Yes. I'm grabbing my keys right now. Bye, Goose! I'll be back later!" You listened to her call out to her husband, and then a few seconds later, you heard a door close and a car start. She was actually going to drive up here.

"Oh, okay," you muttered, pressing your lips together, embarrassed about where you'd left things with her son. "I'll... see you in a few hours."

You managed to take a short, restless nap while you waited for Carole to arrive. You changed into a simple dress and put on some makeup, but you didn't really feel any better until you met her at a restaurant in the city. She rushed down the sidewalk toward you with a bright smile on her face. "My sweet girl!" she called out, wrapping you up in a hug next to a few tables full of people enjoying their lunch outside. "It's been too long." She kissed your cheek and started to lead you inside.

"Thanks for driving all the way up here," you told her, not bothering to fight the smile tugging your lips. She was absolute sunshine, and it was pointless to try to resist it. "You didn't have to do this."

"Nonsense," she said as the two of you made your way to a booth. "I wanted to see my future daughter-in-law."

You nodded and enjoyed some pleasant conversation. She told you all about Goose's appointment with an audiologist and about Brenda's kids. And after you finished your avocado toast and bowl of soup, she said, "Now, I think we should talk about what's really important."

Her voice wasn't unkind, and she was still smiling softly, but you knew what was coming as you whispered, "Okay."

Carole reached across the table and took your hand gently in hers. "I know you're smart and independent. And I also know that's part of why Bradley loves you so much. You don't need him. He's not offering you anything you can't get on your own or with someone else. You chose him, because you want him." Tears started to fill your eyes, and you had to swallow against the lump in your throat. "And he just wants you to be happy, so he would never tell you to your face that you're hurting him."

You tried to speak, but you just made a pathetic sound and started to sob. "I don't want to hurt him."

"I know you don't," she replied softly, squeezing your hand. "I know you're not trying to. But I think you need to tell him once and for all that you don't want to get married this year so he can finally get used to the idea of waiting a bit."

You buried your face in your free hand. Why were you trying to push it off anyway? It's not like you really cared where you got married or what the two of you were wearing. Planning some sort of huge celebration was not something you wanted to spend your time doing. You wanted to be with Bradley exactly as you were right now, just with two more rings and a certificate involved.

When you looked up at Carole, you whispered, "I don't really think I actually want to wait. And I don't want you to hate me either."

"No," she gasped, standing and coming to sit next to your on your side of the booth. She kissed your tear streaked cheek and whispered, "I could never, my sweet darling girl. I think you just need to talk to Bradley, okay? Can you promise me you'll give him a few hours of your full attention? And maybe let him know how much he still means to you?"

"Yes," you croaked, and you let her hold you as you cried.

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The week without you was kind of miserable. Bradley managed to dump the rest of the bottle of scotch at Carole's urging over the phone. And he did notice that she and Goose started calling with a bit more frequency which he didn't really mind. But the best part was that fact that you called him every night before you went to bed.

Every time he answered your calls, his heart thundered in his chest. And as soon as he called you Sweetheart, he could practically hear you smiling through the phone. "I can't wait to pick you up on Friday," he said over and over. If he just felt like he mattered to you again, then he could wait until next year to get married. That was no big deal in the grand scheme of things.

But when he met you in baggage claim at San Diego International late on Friday night, he was so surprised, he could barely speak. You ran for him with a garment bag in your arms, but you let it fall to the floor when you reached him. "Roo," you moaned as soon as you were in his grasp. "I missed you so much." You kissed him deeply. "I just got off the phone with your mom again. And I didn't tell you before, but I went to see my friend Caleb a few days ago," you said as you smirked.

"The tattoo artist?" he asked as he kissed your cheek fifteen times. When you nodded he asked, "What's in the garment bag?"

"My wedding dress."

"Holy shit." He scooped it up off the floor and held it tight. "You bought a dress?" he asked, trying to hold you and the garment bag both to his chest at the same time.

"Yes," you told him matter-of-factly as you tugged him toward the exit while you kissed his lips. "How do you feel about getting married in the parking lot in two months?"

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#if you ask emily #is it working for you?#roosterforme #b&bg #bradley bradshaw x reader #bradley rooster bradshaw x reader #rooster x reader #bradley bradshaw imagine #rooster imagine #bradley bradshaw x you #bradley bradshaw fanfiction #rooster x you

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wen-kexing-apologist · 7 months

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Who is Mew Anyway?

I realized we are over halfway through Only Friends now, and that I have only talked about Mew once in my write ups. Which…makes sense for me, all things considered, until now he’s kind of been a blah character in my eyes. And I am leaning in to and really appreciating how intentional that is beginning to feel on behalf of Jojo and co.

When you think about it, until literally halfway through the show we have known almost nothing about Mew besides the fact that he is the table keeper for his friends, he is a hotel management student, and he’s a virgin. If you asked me to list any other facts about Mew’s life or his role in life, I would not have been able to answer much of anything.

And that’s because Mew isn’t really anything. Personally, I feel like Mew thinks he has a strong sense of self and the second that something comes along to question that, all those illusions he has of himself start crumbling. When I look at Mew’s character, and I mean start getting in to the nitty gritty of Mew’s character, I don’t think Mew has any idea who he is. Which, for a show about college students is fucking brilliant. I thought I knew who I was in college, and then I graduated and promptly became queer and trans. I thought I knew what career I wanted, and then I ended up going to grad school for something outside of my initial plans. I know @waitmyturtles mentioned something similar about trying on different personalities in college in her Episode 7 Review.

Think about Mew’s apartment, it was his mother’s old place. He took it over after she moved out. He didn’t choose this place, we can’t be certain this is the type of apartment or the location that Mew would actively decide to be in. When he brings Top home the first night they meet, Top comments on the place:

“Your room is nice, it suits you”

To which Mew replies ‘It’s my Mom’s old room. I decorated it using ideas from the internet”

Which says to me that Mew’s own personality, his own interests weren’t even involved in the creation of his own personal space. He decorated it based on inspiration from what other people had done to their own places. And Mew’s apartment fascinates me further, as a color-coder in BL kinda person. Because Mew’s apartment is all over the place in its decoration.

On one wall we have striped wallpaper, in orange hues.

On another we have light blue walls with white and golden patterning. A yellow couch, a blue bookshelf.

In his room he has a wall that is painted a solid green

And I can’t quite get a good image of it, but the opposite wall in his room is painted a dark turquoise with white patterning, which is different from Ray’s house, but still evokes a similar visual point of comparison.

Even Mew himself, when we first meet him is alllllll over the place with his colors. He has lines all over his shirt, with squares of different colors. His second look of the show is a solid light blue shirt over top of a striped shirt with orange, green, yellow.

His bed sheets are similarly stripes with dark gray, green, yellow, and orange.

Which is to say, at the beginning of our time with Mew, it is hard to pin down who he is as a person. He doesn’t have a color, he doesn’t have a pattern, to associate with his character. He fluctuates between rich, saturated colors and light, washed out pastels.

When I think of Mew, I think of all the outfits he’s worn that have a strong green tint to them, but honestly, looking back through his wardrobe, Mew has a broad range of colors he chooses from.

(Now, I recognize that all of this could be because the costuming department does not actually care about color coding, and that the eclectic styling of Mew’s apartment was just how it already was. And that’s fine, but I’m here so I’m gonna overanalyze it.)

All this to say that, Mew’s colors, Mews home, Mew’s pattern choices are all very disparate. All this to say that as a result I am now assuming that Mew does not know who he is, and neither do we. He could go any number of ways. Mew could go orange, yellow, green, blue. He could be complicated (with complex patterns) or straight forward (with solid colors). But none of us know at the beginning of this show quite where he will go.

Truthfully, the only aspect of Mew that I have seen be steadfast throughout the show, is Mew’s moral superiority complex. Everything else is mutable. Mew has throughout most of the show, regarded himself as a good person. He doesn’t drink much, he doesn’t dance much, he doesn’t sleep around at all, and that somehow in his mind, grants Mew the opportunity to talk down to his friends.

He’s not an alcoholic like Ray who he has no problem lecturing in the bathroom about how he is going to be dead by 30, despite knowing that Ray is/was suicidal. He’s not a slut like Boston, who is far too obsessed with Mew’s virginity, etc. etc. etc. Mew fucks with Top, deciding that he is going to wait to have sex with him for awhile. And that is his right, but Mew doesn’t say he’s waiting because he isn’t comfortable with sex. He tells Boston and Cheum that he is waiting to have sex with Top to make sure that Top is serious about their relationship. Because if Top is serious about dating Mew without sex being involved, that means that Mew is worthy of the top tier because he is top tier, and not because he is an easy lay that Top can use for bragging rights (bagging a virgin).

And I would have previously entertained a conversation around whether or not that is true, but unfortunately for any dissenters to my read of Mew, now that Mew has decided to #embracethenasty, there is no convincing me out of my observation that Mew does not know who he is.

Why? Because the second that Mew starts retaliating against Top, the second he decides to ruin Top’s life, to stoop low, to be the lesser person…Mew starts dressing like Ray. I am certainly not the first person to notice this, it has been circulating in multiple different forms across my tumblr page, but.

Gif from @firstmix

Mew doesn’t know who he is, Mew doesn’t know how he fits in to the world now that he has decided to make Top’s life a living hell. I am not convinced Mew is capable of seeing himself as a bad person, because he isn’t a slut or an addict or a cheater. [As an aside here, this is Mew’s thinking, not my own personal beliefs on what makes someone a good or bad person]. So, of course, if he wanted to become a bad person. If he wanted to play at being as toxic and terrible as the people around him, it makes sense Mew would don the wardrobe of his “best friend”, Ray. Ray, who Mew looks down on for being an alcoholic, for not valuing his life. Who Mew has told time and time again to love himself, and to quit drinking and doing drugs, as if that is going to cure Ray’s addiction. And who in under five minutes just took a blowtorch to everyone’s relationships.

Why? Because Mew is so self-righteous that he looks down on others around him. Mew isn’t ready or willing to look at and acknowledge the nasty, flawed parts of himself, so he adorns the nasty, flawed parts of others, to abstract himself from his own behavior. He uses Ray’s clothing, Nick’s methodology, and Boston’s personality to retaliate at the people he feels wronged by.

Mew uses Boston against himself, wielding Boston’s sexual prowess, his willingness to fuck, his Hunter charm to get himself in to Gap’s apartment. He uses Nick’s methodology to steal the video of Boston and lords the knowledge over Boston’s head (like Nick did to Top), and again, he is wearing Ray’s clothing. But while Mew is trying to be a chameleon in his behavior, his appearance, his strategy to get back at Top, Mew’s own flavor of flaw starts becoming ever more clear.

Mew has a superiority complex.

It is absolutely, unbelievable shitty and vile to threaten to out Boston to his father. To treat Boston’s privacy and safety with such disdain. Boston records others and he keeps those images as evidence, so Mew steals Boston’s MO. Mew takes the recording of Boston, looks Boston in the eye, and makes Boston think that he is going to hold on to that for evidence.

Now, right before this, Mew does actually draw a comparison point between himself and Boston.

“You and I have something in common.” he says

“We’re both gullible”

Mew makes Boston beg. And after he has made Boston sweat sufficiently, he throws the flashdrive on the ground. He says: “I’m kidding. No matter how much I hate you, I won’t do it. Because I don’t betray my friend like you did.

“Then I’d be just as filthy as you are.”

While Mew is able to identify a potential flaw of his own, being gullible isn’t a fundamental aspect of Mew’s personality or character, being gullible isn’t who Mew is. It’s a flaw that he is pointing out only because he is still reeling from allowing himself to be fooled by Top and Boston. It’s a flaw that he is point out so that he can weaponize his superiority complex.

In other words: “You and I have something in common, but I am better than you because I don’t betray my friends” As if he didn’t just threaten to publicize Boston’s sex life to his father, the implications of which could have a national impact.

And while it is ultimately unsurprising that Mew channels Ray in doing all of this, it is interesting. Interesting because Mew is using Ray. Mew not only knows that Ray is capable of fucking up his own life, and the lives of the people around him, he also knows that Ray is the least liked by both Boston and Top. Boston’s distaste for Ray is subtle, as his obsession with Top and Mew has been more at the forefront of his interactions with his friends. But we have seen from the very beginning of this show that Boston does nothing to care for Ray. Boston is assigned to take care of Ray and make sure he is safe when he’s been drinking too much. Boston literally never once helps Ray when he’s drunk. Boston sees Ray and Sand crossed, cuddling, and generally having a good time, and Boston goes and airs Ray’s dirty laundry. Ray is the first person to confront Boston about cuckolding Mew.

So wearing clothing that is reminiscent of Ray when Mew goes to Boston’s house to threaten him is a flavorful undertone for how Mew is hoping Boston will see him.

At the points in which Top and Mew interact during the episode, Mew is not dressed like Ray, but he sure as shit does lord Ray over Top just to fuck with him. When Top comes to apologize to Mew, Mew asks Ray to find a new designer, literally asking Ray to replace Top. When Ray helps treat Mew’s injury after the group fight, Mew decides to use Ray as a rebound. To use Ray’s feelings for him as a way to experiment, once again, with the type of person he wants to be and the type of person he wants to be with. We end the episode with Ray and Mew dancing together at the bar, Mew dressed in a very Ray style

Because Mew is trying Ray on for size, trying his fashion, his company, his lifestyle (as we see from the promo for next week) and that is prone to make RayMew crash and burn, because Ray is self-destructive enough as is, and I don’t think Mew is going to do well with treating himself with Ray’s level of self-care.

Mew doesn’t know who he is, Mew doesn’t know what he wants, the only thing Mew knows is that he’s better than everyone around him, and he can only stoop as low as them is by pretending he is them, rather than facing the fact that he's just as terribly human as the rest of the group.

#only friends the series #ofts #only friends #raymew #topmew #forcebook #book kasidet #khaotung thanawat #neo trai #force jiratchapong #ofts meta #ofts analysis #only friends analysis #only friends meta

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rowanraven08 · 25 days

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Unsolicited tma rant no one asked for:

I’ve been thinking a bit about exactly what makes me like the Magnus archives so much, cause I’m not really into horror anthology. Yeah, it’s a good aspect of the genre, but it’s never really caught my interest that much. And I consider myself a fan of horror, but I don’t actually like that many horror movies that much. I like it as a genre, and watching video essays about it, about how different horror affects us, that sort of thing. Horror doesn’t even make me scared usually. I’ll flinch at jump scares of course, but it’s pretty rare that I’m watching a horror movie and be genuinely afraid of the murderer or demon or whatever’s on screen.

Tma even took me a while to get into. I started it maybe in October or November? And it took me until January to get even a dozen episodes in. It was good, but I was really just waiting until it got to the good bits that made everyone love it so much. I knew there was some sort of meta plot, and had a cannon gay ship, that was all I knew when I started, and the reason I kept on with it. I hate to say it, but if I didn’t know even that, I don’t think I would have listened to more than a couple episodes, because short self contained stories isn’t what I’m interested in. Especially when there’s a magic Latin book and a coffin with knocking (I thought it would be a vampire or something) or some weird thing luring people into alleys to kill them. I took those early episodes to be generic devil worship sort of horror, that the weird details were added in just to add to the spook. That’s something that tends to bother me with horror movies, when there’s all this dark magic just for the sake of dark magic, and ends with this big question or realization that can’t be solved. And I do understand ending movies with something the audience can’t understand, because the mystery and strangeness can add to the horror. But I really dislike this, I’m all cool with hard or impossible to understand endings, don’t get me wrong, but when there’s no way to theorize, no dots to start connecting, I find that really frustrating. A good example (I can’t find what movie it is, so if someone know lmk) is a movie with the classic family moves into large old house, creepy basement, with satanic sort of imagery. I did actually like most of it, the stairs to the basement were normal, until there was a ball knocked down them when the light was off, and you could hear it keep going far longer than the actual staircase was. That these stairs kept going for who knows how long when the light is off. What I didn’t like was the end, where we got to see what was at the bottom of these endless stairs, and there’s long lines of people in this void, just standing there. But there was no explanation for this, no way to start theorizing as to what this could be, why it happens.

This is what I thought TMA was gonna be. Each episode never really ended with an explanation, or a way to theorize (early on) and I thought it would stay that way. I remember in January I was finally listening to more on a plane ride, and got to ep22, Martin’s statement about Jane Prentiss. It wasn’t even this specific episode that got me interested, not fully. I did like the worms, description of Jane prentiss, all that but it was when I kinda realized there was something to theorize about, that there was actually something going on behind the scenes. And it kept me listening. It was a bit frustrating how slow the season seemed to go, because I wanted to know what the worms were about, and I admit I rushed through a few episodes, again, thinking they were just filler short stories to break apart the real meat of it. The episode I think that really sealed the deal was strange music, specifically the bit between Sasha and Jon, I wasn’t too interested in creepy clown dolls, but that silly little debate over how to pronounce calliope was honestly charming. Like “oh, these characters aren’t gonna be overdramatized horror movies characters, at least not too much.” Once I got to the season 1 finale I was obsessed and basically finished the rest in two or three weeks (I listened to the last 120 episode in a single week).

And good lord Jonny I am SO SORRY I DOUBTED YOU. Because none of it was creepy books or creepy dolls or weird coffins for the hell of it, you weren’t actually left with no idea of what the ending meant. You just had to listen to Jon as he because paranoid and pulled out the red string, pulling all the pieces together for you until we finally got the big picture. I never once expected the fears, or avatars, or that Robert smirk was anything but a weird architecture, that Jonah Magnus was anything but a stuffy old man who founded the institute. And that’s why I think I love TMA so much, is there really is a big satisfying pay out as a listener, I didn’t even put the dots together myself and it’s still gratifying. The slow realization that these episodes aren’t just horror for the sake of horror, they have a reason, an explanation, and it still manages to keep a level of mystery and unknowability that makes you just always want to know more. Re-listening has been genuinely so fun, because especially with later episodes I’m able to connect those dots, and see the full picture as it unravels. The thing in the dark alley wasn’t targeting smokers to be spooky, it was a monster collecting victims to use in a ritual, and that addiction is part of the web.

So yeah, that was probably really redundant, but I just really love that slow reveal, all the little bits you can connect, and theories you can make. Jonathan Sims forgive me for ever doubting your writing, I see now you’re a genius, please give me your brain, I need it for my own creativity. Thanks for coming to my ted talk

#the magnus archives #tma #jonathan sims #rambles #rant #rant post #tma rambles

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genericpuff · 11 months

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Mystery solved.

Okay. Okay I gotta figure out where to begin with this- breathes

A fellow ULO community member was going through old S1 panels and pointing out typos that we had all somehow missed (LO typos have a tendency to sneak by like that) and one thing they pointed out that I had never noticed was this one panel from Episode 102:

Particularly pointing out how the font overlays Hades' fingers which is just hilarious. That was where it was supposed to end.

But have you ever actually read the letter?

Because I did. And it took me on a ride I wasn't expecting to go on at 2:30 in the morning.

This shot of the letter is from the second instance it appears, when Hades scratches out part of it and writes, "I love the way you treat me, and I want to feel that way all the time."

But the first time this letter appears, when he's actively writing it, it's delivered to us through narration, in Episode 47. I actually love this episode, it does a great job at visual storytelling without overuse of active dialogue, and the content of the letter itself shows a great amount of self-awareness from Hades in the moment, even though the dark implications of what he's feeling is falling on his own deaf ears and the scene itself is quickly dashed by the obligatory quip-for-comedy-so-people-don't-get-too-sad of Hades' dismissing his therapist's advice, with the irony of him not realizing his own issues as he's writing this letter mere hours before overstepping his boundaries and having a guy whacked for taking photos of the Goddess of Spring.

But there was one line in particular that's always stood out to me.

The line "it ends up hurting you" felt random and out-of-context. In the beginning on my first read through back in early-mid 2019, I thought maybe it was just being poetic and I "didn't get it", until I became a critic of the series and had a reality check and realized it was likely just a typo, perhaps it was meant to be "It would end up hurting you" or something of that nature.

But it was looking at that panel of the letter and actually reading the text that was there that I realized - the line feels random and out-of-context, because it is random and out-of-context.

Look back at the letter. Paragraph eight. Rachel didn't write the full line despite it being necessary to the line 'it ends up hurting you'.

The full excerpt reads:

"I WISH I COULD EMPTY A DRAWER IN MY DRESSER FOR YOU, OR BUY YOU A TOOTHBRUSH TO KEEP IN MY BATHROOM. THE TRUTH IS, EVERY TIME WE HAVE SOMETHING TO DO WITH EACH OTHER... IT ENDS UP HURTING YOU."

I can't believe it's not just a typo. I can't believe it took me this long to find this. I don't know how this got missed by Rachel, I'm assuming she wrote the letter out first and then copy and pasted the words into a larger font size which she placed throughout the episode, but how could that one part have been missed when the line "it ends up hurting you" is a dependent clause that can't stand on its own without the line that precedes it?

At the very least, I do finally feel like I've found closure over this one scene, now that I know the full context to the line. And I wouldn't have found it if it weren't for people joking about the letter panel being drawn like shit.

But it's definitely discouraging because it begs the question, what else is being haphazardly left out of the dialogue? What other clunky sentences with next to no context or build-up or reasoning could be better if they were actually finished or if Rachel and her team had spent the extra time to double check the script and ensure that no sentence is being left half-finished?

The irony in this scene as well is that Hades acknowledges he's too old for Persephone, he acknowledges that they aren't good for each other and that he'll only wind up hurting her, he acknowledges that he barely knows her and he shouldn't call what he feels for her 'love', but infatuation, a very accurate and self-aware statement that I feel like the current Hades lacks. It makes it feel all the more distressing when the letter makes a return in Episode 102, and he makes one simple change:

As impactful as this statement was back in the day, looking back, knowing fully well how far his character has now fallen, this now feels less like a triumphant statement accepting his feelings and more like one of giving in to his selfish desires. This is even more accentuated by the use of the red ink, which splatters across the page alongside messy handwriting, contrary to the meticulous typewriting above.

He's pushing off his baggage as a mere bridge to cross later.

He's making hopeful assumptions about her feelings and putting her on a pedestal without communicating his actual baggage outside of his own head and with her directly. In fact, he doesn't get around to talking about this baggage until she's in a position to depend on him in Season 2.

He's fantasizing about their future with next to no foundation yet, and while he's recognizing that she might not be happy with him in the long term, he still tosses all those legitimate concerns aside to "I love the way she treats me", as if all that matters is what she can do for him - and what he can and can't do for her isn't important until it will inevitably rear its ugly head after she's already become his.

This is the turning point where Hades has become the villain. Where he's shifted from being the responsible adult and leader to an obsessive fanatic whose only goal is to have Persephone. To the point that, despite him saying in the letter that it would be best to limit his presence around her-

-seems to be upset over the notion of doing that exact thing as soon as she's the one to suggest it. Acting as if he's being rejected when he was the one to originally conceive the idea to limit their presence around one another for her own good.

Hades being a responsible King and adult went out the window years ago and I feel like this was the moment where it happened, and that red pen was the gavel. Apparently all it took was her admitting she has a crush on him - undoubtedly as shallow as his crush on her, based solely on infatuation but not written on paper as Hades' confession was - for him to toss aside all that work to unpack his feelings and all that responsibility he was willing to take. Never mind the fact that her feelings could undoubtedly use unpacking of their own. Never mind the fact that her liking him back still doesn't change the reality of their situation - that they're fundamentally different people, from different worlds, with vastly different experiences and outlooks and values and goals, living in massively different life stages. Try as it might to be presented as romantic, that "opposites attract", it's more appropriately and commonly known as being incompatible.

If this were any other story, this would be a precautionary tale in so many ways, made especially significant for an audience that's largely coming of age and experiencing feelings of infatuation and attraction for the first time.

But this isn't that story. It's Lore Olympus.

Hades is, through and through, the villain of this story, no matter what the narrative tries to convince us of otherwise. I stood by that statement before and I stand by it even more so now. Unfortunately we're now at the point where Persephone herself has become a villain, corrupt by the same system she used to criticize.

And just like the letter and all its raw text admitting to Hades' faults and baggage and showing he's willing to take accountability, so too does the narrative itself slyly tell the ugly truth in between its lines: that love is not enough, that love is not the same as obsession, that power can corrupt even the purest of hearts - that love is enough, that you should pursue the one you desire until they're yours and only yours, that you should climb higher towards those in power above you until you have that same power in your hands.

Because you love the way it makes you feel and you want to feel that way all the time.

#oops this wasn't supposed to be this deep #it was literally just me wanting to point out a missing sentence in a panel from years ago #this is what happens when i eat too much LO food for thought at 3 AM #lore olympus critical #lo critical #antiloreolympus #anti lore olympus #next thing you know i'm drawing parallels between the narrative and hades' own delusions

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aspoonofsugar · 1 year

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About You, About Me

Jaune: What about you?! It's all about you!

This line is what the episode is about in a nutshell. As a matter of fact it conveys 2 ideas central to the whole situation:

1 - The "you" Ruby is talking about is different than the "you" Jaune means.

Ruby is asking about herself as a person, while Jaune speaks about her as an ideal. This dychotomy is the crux of both their current situations. Ruby has been lving as the embodyment of an ideal, so now she struggles to express how she feels in a healthy way. Jaune is instead trying to hide who he is behind the ideal of a hero.

So, Ruby wants to be seen as a person, while Jaune as a hero. Interestingly, both fail, as WBY's reactions to them make clear:

WBY immediately understand Jaune's pain and can see through his very thin (paper-thin I would say) facade.

WBY fails to pick up on the many red flags Ruby has been showing throughout the whole volume. They try to address Penny's death and her frustration on a couple of occasions, but never really go deep.

2 - Jaune is lashing out at Ruby, but he is really projecting on her his own frustrations.

This is made clear by the rest of the conversation:

Jaune: On that bridge, I was the only one, who could do it... I was the only one! And I... And now I have to live with it forever, in here or back home.

It is all your fault! It is all my fault! Jaune just keeps swinging between these 2 extremes. It is exactly like when in Mistral he goes on a rampage against Cinder, but the one he really hates is himself. There he lashes out at the villain, here he lashes out at the hero. The villain is a monster, the hero just could not live up to her role.

Ruby on her part does exactly the same. To be specific, she lashes out on everybody, but I would say she does so in 2 distinctive ways.

BLAKE AND JAUNE - STOP BEING LIKE ME!

Ruby: Shut up... Don't do that... Just don't.

The fight ends with Ruby telling Blake to stop trying to be positive. This complements her previous outburst directed at her (and Yang):

Ruby: Gotta stay positive, right?! Smiles all around!

Ruby can't stand how Blake is behaving because it reminds her of how she is supposed to feel. And she doesn't feel it anymore.

Thematically, Blake has been stepping into Ruby's role since the beginning of the volume:

I would not say she has substituded Ruby as the leader. Still, she is being the optimistic one, the idealistic one, the hopeful one. She realizes they are in a fairy tale and is enthusiastic about it. She knows the right definition of what being a Huntress means. She is Ruby's past idealistic self and Ruby can't stand it. Ironically, our Black Beast is now more optimistic than our Little Red.

Which is why both moments Ruby shares with Blake and Yang past volume are now bittersweet:

Blake: I know you don’t always know what to do, but that’s never stopped you from doing something. I was like that as a girl, but time and… a lot of other things, took their toll on me. Then I wasn’t sure if that kind of girl could actually survive in the world… until I met you. It was a little strange at first because you were younger, but I’ve always looked up to you, Ruby. And I still do.

Yang: You were being optimistic. Look, blind optimism isn’t great, but no optimism means we already lost. We need hope. We need to take risks.

Sure, everybody loves Ruby because she is optimistic and pure and inspiring... but what when she can't be it anymore?

This episode addresses precisely this and takes Ruby and Blake's current foiling to its extreme conclusion:

Blake: Then we won't run this time.

Blake charges into battle to protect strangers, while Ruby runs away from her loved ones.

If Blake reminds Ruby of her past, Jaune is a spitting mirror image of Ruby's current self. This is why she doesn't even talk to him directly, but keeps mentioning him:

Ruby: What about me? No time, right? Gotta get home! Gotta help Jaune! Gotta find someone, who isn't just going to screw everything up!

Ruby: I'm sorry, is this a bad time? Are we supposed to be mourning Jaune's make believe friends?!

Notice the 2 references to time. Ruby, just like Jaune, feels she has no time. It is just, Jaune feels he has not enough time to save everyone, while Ruby feels she has not enough time for herself. No time for others to care and nurture her. This is what she is trying to convey.

Similarly, the remark about Jaune's make believe friends is cruel, but it has definately to do with Ruby's own very real lost friend:

The one she has yet to mourn. The one nobody is mentioning anymore because everybody is too focused on other things. So, yeah, why should they all be mourning a bunch of afterings they know nothing about? When Ruby herself did not even take the time to properly mourn Penny?

Throughout the whole episode,Jaune (unwillingly) steals Ruby's spotlight and caters everyone's attention on himself.

He's obviously been through a lot. We can be frustrated later. Right now, Jaune needs us. And we need him. We just can't count on him.

While Blake says so, the one in focus is Ruby because this phrase is actually about her. Except nobody realizes it. Nobody (or almost ;)) notices she is struggling.

This pattern keeps going throughout the whole episode:

Weiss and Jaune insist Ruby should just grab her weapon and fight like always

Weiss aka Ruby's partner chooses to assist Jaune instead of her. Symbolically, even the Walker that almost kills Ruby is the one Weiss and Jaune launch in the river while they are fighting

When Ruby lets Crescent Rose fall, Yang's question to her is cut off by the paper town being floaded, which leads to everybody comforting Jaune

Even Ruby's own outburst is overshadowed by Jaune's one, which leads to Ruby finally leaving

All Ruby wants is for someone to look at her properly and empathize with her. Still, everybody has been too focused on their own feelings and losses. At the same time, Ruby herself has been refusing to open up with her friends for several volumes now. Everybody believes she is alright because she has always repressed her negative feelings, so nobody really knows she has any.

Everybody thinks she is Blake, when she is actually Jaune.

WEISS AND YANG - LOOK AT ME, LOOK AT ME!

You don't need me anymore No, you don't see me anymore I'm alone in this war I am a trap door

Ruby lashes out at Blake and Jaune because they are like her. When it comes to Yang and especially Weiss, instead, she is angry because they don't realize her pain.

Yang is too caught up in her new love life to notice her little sister needs help. Or at least, this is what Ruby thinks tbh because there is not that much evidence of this in the story. It is just that when you feel very low, you can end up resenting others for their own happiness. And this is what happens with Ruby and Bumbleby:

Ruby: Good for you, by the way. We are all soooo happy for you.

Weiss is too caught up in her own pain and grief to realize how much her partner needs help. Even in this episode, when she sees Ruby has not Crescent Rose, Weiss bitterly reprimands her. Just like she did at the market. Not only that, but after Ruby has made clear she is absolutely not okay by letting Crescent Rose fall... all Weiss has to tell her is to help support Jaune.

Weiss: It's what they wanted. Right Ruby? Ruby: Why are you asking me? Because I am the leader? Because I am just supposed to have something to say? Cause I don't.

Nobody looks at Ruby or notices her low spirits... well, actually someone does... a small soul ; )

RED HOOD AND LITTLE

Ruby leaves and the only one she has left is Little. Her new friend. Her Ever After's guide. Little is the only one this episode who notices Ruby is off. And they are also a lot how Ruby used to be when the series starts. Little is someone who sees her and also someone like her.

It is going to be interesting how Little will impact Ruby going forward. Especially because we might get some new Little Red Riding Hood's references this volume.

Ruby leaves her family/loved ones/home and enters a wood alone. Where is she going? Maybe she just wants to go back home:

Yang: Return home, eh?

And yet, the woods are dangerous and full of wolves, who want to eat our Little Red Riding Hood:

And just like with the Hound aka another representation of the Big Bad Wolf... the monster hides a person:

In general, the situation is the reversed one of volume 6:

There Ruby enters the woods, discovers dangerous things, but also meets a mentor figure who teaches her something about her Silver Eyes. She is able to inspire everyone to move on and steps in the role of leader.

Here Ruby enters in this strange new world and can't find an ounce of optimism. They are in a literal fairy tale and she doesn't give a crap. The same girl, who started volume 7 eager to explore Atlas after having crossed a whole continent on foot.

In any case, I am curious to see where we are going with Ruby. Especially because she might very soon have a meeting with the true Neo, aka her Shadow. Little as the Little of her Red Hood and Neo as her shadow and the wolf. Probably both ingredients are needed to see where Ruby is going in the future.

Speaking of Neo, there is this:

Yang: But that's... those were more than her usual tricks. They eat and growl and... how has she gotten so powerful?

Yang openly questioning Neo's new powers make me thing there is more than just a semblance evolution. The power-up happening in the Land of Darkness makes me thing it might have something to do with it. Darkness in Jungian psychology is the Shadow and the Repressed. What if this land lets you tap into your buried potential? For better or worse?

Scratched through the surface And you found a key Unlocking what you thought was safe inside a box But it's somehow been set free (Finally)

THE FALL OF ATLAS- ONCE AGAIN

So far, the protagonists have experienced the fall of Atlas twice now. The first time at the market. The second time at the paper town.

In general, the 2 episodes clearly parallel each other. To better say, the paper town is an escalation of the market.

Both times WBY and Jaune fight Neo's Jabberwalkers, while Ruby freezes up. Both times Ruby is reprimanded for apparently spacing out when she is experiencing psychological distress. Both times the protagonists feel as if they are living Atlas fall once again. And yet:

Neo's presence is made clearer, as if we are building a climax toward a final meeting with her. The real her.

Ruby consoles Weiss at the market, but refuses to console Jaune at paper town.

Ruby buries her feelings at the market, but explodes here.

The Rusted Knight is introduced as a dependable hero and a saviour at the market, but Jaune is revealed as a broken and grieving person here.

The most interesting thing is that when it comes to the Fall of Atlas specifically the 2 characters in focus are Weiss and Jaune:

This fits the foiling set up in the Ponder Storm mirror gallery. There we see how they both are still struggling over what happened in Atlas.

Weiss thinks about her Kingdom, her people and how they risked their homes without gaining anything.

Jaune thinks about Penny and his role in her death.

Both can't forgive themselves for failing to stop Cinder and to save Penny. This makes sense considering how they are the last 2 to fall and the ones who hold on the longest. They were both blooming in Atlas and were in very positive moments of their life. And yet, last volume's climax changed things. They were brought down when they were at their strongest... so what can they really accomplish?

And yet, even if they clearly blame themselves, they end up lashing out on others, as a coping mechanism (even if in different degrees). This volume both are shown particularly rude, sassy and cynical, in ways they usually are not. Or at least not anymore and not as often. The result is that they both enter into a conflict with Ruby. Weiss's insensitivity and ignorance of Ruby's feelings coupled with Jaune's exploding at her are among the reasons why Ruby leaves.

It is clear the dynamic among Weiss, Jaune and Ruby is going to be important for the resolution of this volume and for all 3 their character arcs. Especially, there is still something that hasn't been addressed:

I thought this episode was perfect for the reveal Jaune killed Penny. And yet, it doesn't happen. Which makes me wonder when this truth is gonna come out and how it will impact Ruby, Jaune and Weiss's dynamic. What is sure is that Jaune and Weiss clearly have a role to play in this volume's climax and in Ruby's arc.

WEISS - SNOWHITE, SNOW QUEEN, SNOW ANGEL

Weiss: Then, who does that leave us with? It's obvious we need someone to guide us or we can end up throw back in time or killed by the tree or worse.

Weiss keeps looking for someone to look up to, to guide her, to console her and to support her. This is not wrong per se, but hilariously Weiss is the one who is probably the most put together compared to the characters she wants to depend on.

She opens up to Ruby about her loss. There is nothing wrong in this, but we as viewers can really see it should be the other way around. She should be the one Ruby can lean on. Even in this episode, when it comes to support Jaune, she asks for Ruby's help. Now, she doesn't really need to. She can say something kind to Jaune by herself and neither Blake nor Yang ask Ruby to butt in. Weiss does and, as little as it is, this is what sets Ruby off. Because once again Ruby is asked to ignore what she feels for someone else's sake. Even if Weiss and the others can really handle the situation on their own.

This is why Ruby calls out Weiss specifically this episode:

Ruby: Gotta find someone, who doesn't screw everything up!

Something similar happens with Jaune, as well:

Yang: And when did you get so... Weiss: Mature...

This is both ship-teasing and a joke, but it hides an important truth. Notice that Weiss doesn't say "handsome" or "hot", but mature. Jaune is an adult, he is Weiss's childhood hero, so he must be dependable. And yet, he is not because he is still RWBY's old awkward friend and he has spent years alone with his guilt. Weiss should understand better than anyone else why Jaune isn't well. I mean, she was there when Penny died. She outloud states Penny sacrificed herself, so I think she knows what Jaune had to do. And yet, her reaction this episode to Jaune's predicament is this:

Weiss: But how? He's clearly not... all there.

Just like with Ruby, she makes a snappy remark, which is heard by Jaune and this starts a discussion and escalates an already difficult situation.

I don't say this because I think Weiss is a monster or a bad person, obviously. She is clearly suffering as well and really means no harm. Still, it is important Weiss stops looking only at herself. She failed to save Atlas, but she can still save her friends. She has the inner strength and the wisdom to succeed:

CC: I am talking about you, Wise Huntress.

It is through helping others that she will move forward from her loss. Just like Jaune did it in volume 5 by saving her.

JAUNE - HERO, VILLAIN, MAIDEN

Jaune is instead the opposite of Weiss. He tries to overcome his grief over Penny's death by trying to help other people. I mean, it worked with Pyrrha in Mistral, right? So, why shouldn't it work here? Sorry Jaune, but that coping mechanism is not functional anymore because your past self has been shattered:

And yet, Jaune refuses to let go of the heroic self-image he has worked so hard to built. Basically, he has regressed, as well and is stuck here:

Jaune: I don't want help! I don't want to be the damsel in distress! I want to be the hero!

Jaune's arc has always been about integrating with the anima, aka his most feminine parts. He refuses them, but it is through them that he will eventually become the hero he wants to be. He needs to accept he is a damsell in distress to be the hero. Even more so, to truly complete his journey he needs to become a symbolic maiden. Only in this way, he will be complete. He will truly be himself. After all, he alludes to the very famous Maid of Orleans ;)

So, right now Jaune is once again refusing his anima and this is why the once promising hero has turned into a toxic version of himself. He thinks he is protecting the paper pleasers, but he has actually trapped them. He is not the one saving them, but they are the ones saving him by offering him a coping mechanism to keep himself together:

Weiss: Then why do you care so much about this village? Jaune: Because I can actually protect these people!

They are pleasing him in a relationship, which is honestly detrimental for both parties. Jaune protects them, yes. Still, he also stops them from evolving. The same is true the other way around. The paper pleasers are keeping Jaune functional, but they are also stopping him from making any real progress.

This is why after years Jaune is still a prisoner of the Ever After. It is because (obviously) the way out one way or the other has to do with the tree. And yet, Jaune keeps avoiding it. Just like he is avoiding any real change.

This is because "changing" is a risk and a risk means you can't be sure if things are going well or badly:

A new me, I am ready, but who will I find?

And you know what else is a risk?

Weiss: Trust is a risk

Interesting...

Jaune: Afterlings are all either too clever, too stupid or too crazy to trust!

And who is the last person Jaune trusted exactly?

Penny: Trust me...

Jaune is clearly trying to "fix" what happened to Penny through the Afterlings, but he is wrong. There is no fixing the past this way and what he obtains is just that he is making people suffer for no reason. Not only that, but his stubborness puts the paper pleasers in real danger:

If the Jabberwalkers get them, Jaune's friends would never ascend. There is no escaping death, one way or the other.

Jaune needs to accept this and he is actually starting to accept it. Symbolically, the day after he finally reunites with RWBY, the time starts moving once again. After years of delusions, Jaune starts facing what he has done. His delicate stability, which is symbolically represented by a paper world evaporates and dissolves into water (this episode starts with fire and ends with water > 2 elements linked to alchemy and transformation).

He starts the episode claiming he is fine:

Jaune: This isn't crazy. I'm not crazy.

He ends the episode admitting he isn't:

Jaune: I'm sorry. I know I am not okay. I know I am not right.

And even asking himself the key question:

Jaune: What am I supposed to be?

What are you? Only by facing this question head on Jaune can hope to finally evolve. Only by letting fo of his armor, which is rusted already, he can hope to find his new more refined self. A hero, who is also a maiden.

GRIEF

It seems that after the first 5 episodes exploring the 5 stages of grief, we are getting calls out to them in different ways:

Ruby bargains her emblem in order to help her friends. Another way to run away from Summer, but also to sacrifice her pain for others. She failed to get the ingredients in time, so obviously now she has to sacrifice something so personal, like her mother's memento, right?

Ruby, Weiss and Jaune walk in a mirror gallery, which reflects their grief and fail to discuss it. They didn't even properly discuss Penny's death and how it happened. They are negating it on some level.

Ruby and Jaune explodes into anger this episode and in this way they can finally both start their self-actualizing journeys.

We'll see where it goes...

ASCENSION VS DEATH

Personally, I think we need an exploration of this dychotomy on a thematic level.

On the one hand ascension is clearly a metaphor for death. However, the Jabberwalker, which is clearly a creature of Darkness seems to be offering a different idea of death. More similar to the one the characters have. What is the difference? What is ascension really? And why does the Jabberwalker embody something different?

This a very interesting mystery thematically speaking and I am curious to see how it is solved.

Is it about introducing 2 different flavors of Destruction?

Cancellation (death)> negative

Transformation > positive

We'll see...

On another note, the reveal of Jaune's role in the paper pleasers' town gives more context to the Cat's dislike for our Knight. The CC's role is to lead the Afterlings to the Tree, but Jaune goes in the way of this. Symbolically, this makes them antagonists.

MISCELLANIA

Here come some miscellania thoughts:

The time motif is interesting. This episode specifically times keeps being mentioned by Jaune and Ruby. Jaune keeps saying they don't have time and that he is late. He also keeps asking what time is it. Ruby is annoyed there is no time and sarcastically asks if that is a bad time. In general, Jaune and Ruby are also opposites when it comes to time. Jaune is currently a man who has spent too much time alone with his trauma. Ruby is a child who has had not enough time to properly process hers.

Jaune's allusions just keep multiplying. He is the White Knight in Alice (also that character sings a song whose alternate title is litterally The Aged Man :P). He also fits the Hatter to an extent in how he killed time (aka spent years alone making no progress and broke the time fruit). And now he is also the White Rabbit.

Speaking of Jaune... meta-narratively the Rusted Knight is very interesting. Judging by the girls' enthusiasm and by Jaune's own excitement when he mentions realizing he was that character, the Rusted Knight is surely portrayed very positively... And yet, Alyx poisons him. I think @harostar suggested what we saw in this episode might offer us a glimps of why. Jaune might have been controlling to Alyx and Lewis and Alyx may have felt trapped by him. And yet, the story still portrays Jaune as a hero. If Alice wrote the story or if Jaune was really that terrible to her and her brother, then why isn't he portrayed as a villain? This question is interesting and seems to confirm Alyx might not be the writer of the story... At the same time, Jaune might have failed to leave up to a fairy tale- standard. However, if the writer still felt to write him as a hero, maybe he did better than what he thinks.

This is the third time Ruby hallucinates three people. The first one when she falls (Oscar, Yang and Penny), the second one in the Blacksmith's place (Penny, Alyx and Summer), the third one while fighting the Jabberwalker (Cinder, Penny and Salem). Clearly they relfect Ruby's deteriorating mental state. The first time, she isn't hallucinating, but seeing Neo's illusions. The second time she is subjected to the Ever After's strange magic. This time, though, she is having a straight out panic attack. In all this, Penny is fittingly present all three times. Ruby needs to properly mourn her or she will never move on.

WBY's discussion about the Tree this episode is interesting because we have: Blake (destruction) believing the Tree is rebirth, Weiss (creation) being wary of the dangerous power of the Tree and Yang (knowledge) wanting to know more. Fittingly, Ruby (choice) is silent and so they fail to reach a resolution.

I think this volume might introduce a key theme, which will probably keep going in later volumes. The idea of need vs wants in a reverse sense. Jaune and Ruby both want to be needed to the point Ruby fears that now she isn't needed anymore, she is going to be left behind. It is the same as Yang's conditional love idea (see the Auction)...I think the resolution is going to be that you don't love people because you need them, but because you want them in your life. It is the same concept expressed by Blake last volume... Others are just a part of you... you don't stay with them out of codependency or need, but because you are happy and wish to be with them.

#rwby #rwby meta #rwby spoilers #rwby volume 9 #ruby rose #jaune arc #weiss schnee #blake belladonna #yang xiao long #my meta

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hollersparrow · 2 months

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just some 9-1-1 headcanons/plot bunnies

so i've kinda gone on a 9-1-1 deep dive that started out casual and rapidly turned into an obsession. a few things to note, i definitely think that buck and eddie have something (whether it's romantic or queerplatonic is up for grabs but there's something beyond friendship there and no one can convince me otherwise) and i am a strong subscriber to any tropes that strongly encourage found family/families so...make of that what you will

anyway, after binging all of the available episodes, i have several headcanons that i want to put out there (for some reason a lot of them are from season 5???)

ana realizing that there's more to eddie and buck's relationship than it seems in that scene from s5e2 when she brings christopher to the station. buck clocks that eddie has started panicking immediately and ana just like. *looks* at him for a few seconds in a way that just makes me think that this woman clocked that they have a deeper than normal connection to one another. that or she's heard about buck but obviously has never seen eddie and buck interact and is suddenly realizing exactly what people keep trying to tell her about

a buck/eddie-focused exploration of the aftermath of 'brawl in cell block 9-1-1'. buck freaking out once mitchell's been carted off to get his heart taken out and refusing to let eddie go anywhere while checking him for injuries, eddie having some uncomfortable realizations about just how affected buck was by the whole experience. personally, i feel that would lead to them actually talking about the sniper and all the mess that goes with it

lots of potential for temporary angst with eddie having a lot of big feelings about having failed as a husband in his marriage to shannon and not wanting to get married again b/c of it (thinks he doesn't deserve another shot at it? thinks there's something fundamentally wrong with him to where he can't? don't know how this would manifest exactly). personally, i see this eventually leading to him and buck realizing that they're more or less functionally married and they may as well reap some tax benefits from it but you can do whatever you want with that

buck goes to the funerals of many of the people who die on calls that he's a part of. it's mostly people that he directly worked on and he doesn't tend to tell anyone that he's a first responder that was involved (b/c of how devon's sister reacted in s1) but he does go to them.

kinda of tied to the headcanon above this but! buck getting adopted by a bunch of older queer folk following the deaths of mitchell and thomas in s2. he goes to the joint funeral that was planned for the two of them, in part b/c he wants/needs to and in part bc he accidentally took a few photos from the scrapbook from the scene (he shoved them in his pocket on instinct when thomas collapses). anyway, he shows up and the older queer community has rallied to show up at the funeral and they recognize him as someone who needs more found family and just adopt him into their ranks. i could see the 118 finding out about this soon after it happens or not until years later; maybe karen and hen finding out sooner than everyone else but buck asks them to keep it quiet?

s5e14 where jee-yun gets sick? what if it actually WAS leukemia and she somehow ends up needing some sort of donation (plasma? bone marrow? idk really anything about how cancer is treated). jee's put on a list and they start testing family members, none of whom work out until...buck. cue maddie not wanting to ask that of buck b/c of all the baggage that comes with daniel and the buckley parents are absolute assholes about it (along the lines of completely disregarding buck's autonomy as a human being in the face of their precious granddaughter being in trouble), maybe a chimney that isn't trying to be pushy about it but also just...can't help pushing a bit, a buck that so overwhelmed with everything that he's feeling that he goes off the rails a bit. obviously everything works out and buck donates or whatever needs to happen and jee-yun is completely fine b/c i don't actually want it to end badly

the entire 'buck's a sperm donor' family argument and maraget saying "you're a miracle baby yourself" made my fucking blood boil and i want to see a better exploration of the fallout of that statement b/c you just know that there was more to it than it just getting brushed off

buck telling maddie that he has a checklist that he goes through every time he wakes up post-coma in s6e12. chris and eddie being part of that list, where buck is just constantly checking up on them to make sure that they're still in LA (part of the reason why it's so easy for him to fall asleep/relax on the diaz couch or in their house in general). eddie doesn't notice the uptick in check-ins b/c he's too busy figuring out the least intrusive ways for him to check in on buck at all times b/c he NEEDS to know that buck is alive/breathing. once eddie notices though, he confronts buck about it

maddie asking buck to be her maid of honor for her wedding since hen is obviously going to have best man privileges. mostly just exploring the ridiculous that this brings up and everyone joking about buck in a dress (up to you whether he actually wears one to the wedding or not), but i have to include a side note that the buckley parents are dicks about it and have no sense of humour/fun

literally anything featuring athena being worried about buck as a maternal figure, i was so disappointed by her lack of interaction when buck was struck by lightning and, while i'm so fucking happy to have may acknowledging that buck is bobby's son too, we missed out on athena being devastated by the situation as well

there will probably be more of these to come at some point knowing myself.

#9 1 1 #evan buckley #eddie diaz #9-1-1 cast #buddie #headcanon #plot bunny #angst with a happy ending #fic idea #the buckley parents suck #buckley siblings #bobby nash #athena grant #hen wilson #chimney han #these will not leave my head so i'm sharing them #i don't know how to tag #send help bc i've become obsessed with a show/fandom again

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krewekreep · 7 months

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After the Night Ends Chapter 1

3K Words. Alucard X OC!Reader. Reader is non binary with a femme body. AU but contains lore from Castlevania & Castlevania: Nocturne. Takes place during the last episode and goes from there

Angst, Estranged Lovers AU, Soulmate AU, Alucard is a reclusive, flirtatious snarky brat. Not 18+ yet but following chapters may and will be properly tagged as such. So indulgent I’m adding a soundtrack. Unknown Mortal Orchestra - Multi Love.

༉‧₊˚🕯️🖤❀༉‧₊˚. ༉‧₊˚🕯️🖤❀༉‧₊˚. ༉‧₊˚🕯️🖤

Your estranged love materialized out of thin air. A ghost of his former self; a slimmed figure, stark white hair, pearlescent pale skin. His eyes a hollow but peering yellow. Your heart beat beyond sound, a thunderous full body vibration. Although in mid-air piercing his sleek ornate sword through Drolta’s chest, you could do nothing more but falter in stability at his appearance. “Adrian…” you mumbled low. Richter took in your surprise realizing you had not been truthful of your affiliation with Dracula. Or rather, your affiliation was a lot more intimate than you let on. Much of your facade fell as Drolta’s screech and outreached hand towards you gave no fear. Not only because your Adrian was immaculate with his weapon, or the fact he would never let anything happen to you—you could handle yourself beyond compare.

For the sake of achieving your desire of reuniting with your love you found yourself amongst these well-meaning youth of tomorrow. Disguising your age was not difficult at this point in your travels but faking your background became harder as the old world you knew was vastly changed. You had to learn now, with your darker complexion, and couple hundred years from your original background, how to navigate the questions of who you were and where you came from.

The days of knowing the love of your life as Alucard, fighting and joking alongside Trevor and Sypha were long gone. You had already joined them close to the end of their respective voyages latching onto Alucard because of your shared loneliness and troubled background. Admittedly, you wanted to snatch Adrian away into the darkness to confirm he’s the man who’s dangling in the air as if an ethereal marionette. Yet, in a way he was nothing as you remembered. The soft peach of his warm skin, his lively almost rose golden tresses, the breadth of his shoulders—all replaced by a more demure, reclusive, cold countenance. He felt…dead. You were the only one in suspension at this point as Drolta crashed to the ground without a nail reaching you. Her radiant crimson pink embers dwindling with her decaying body catching up to all the time she used. You could admit she had been captivating even if depraved. And as you watched her body wither into the wind a booted foot fell into your eye line. Large, leathered, and desiring acknowledgment.

Now he was on Earth, on land, the same as yours, beckoning you to confront the man you abandoned almost three hundred and something years ago. Your adoration and yearning caught in your throat. How could you apologize to him? Was it actually on you to apologize? How could you explain you missed him but hated him but loved him but ran away? You hadn’t realized you’d fallen to your knees until Richter prompted: “What the fuck is actually going on?” He stood back protective of Annette and Maria, his bulked arm extended as a barrier. You took no notice of him as when the second foot touched Earth you could muster no confidence to face your estranged beloved. “I heard you are in need of assistance,” he spoke directly above you, turning his head stilted to throw “Belmont.” The name fell from his lips in a knowing but wayward tone. “I am the son of Dracula…and I believe you have been looking for me.” Almost a question, hinted with deprived amusement. Everyone’s eyes fell to you who could do nothing more but clutch your chest tightly, wide-eyed. A nervous wreck of emotions. Richter spoke finally “Yes…we need your help,” he was earnest and determined taking in the gaping white of the eclipse centered in the blackened sky. He wavered looking to the ground defeated. “We…dearly need your help.” Richter was the most overtly perturbed. But also the most obviously willing to sacrifice his life to save the world. You knew them all courageous, even poor Eduard you promised Annette to help. It was easy to lie to them at first, everyone was cautious of the other. Yet, fight after fight, you all proved your loyalty and even love for one another. Then, the guilt of deceit weighed on you. You lied to them about everything focused only on your goal of finding your beloved again. And here he was in all his angelic splendor far from how you left him. You were as weak as when you ran away.

Maria joins “We are going to fight against Erzabeth. She has done unspeakable evils…” she weakens to a whimper as the thoughts of her mother hushes the entire group. Richter, now never not scowling, continues: “We are going to kill that Bitch. But it would be helluva lot easier if you join us…” Alucard stood statuesque, as acclaimed a visage as Apollo or Dionysus. A truly remarkable visual that captivated them all. If only they knew how many before them could do nothing more but gawk at his appearance. If only they knew how his skin glowed against the sun, unlike this almost bleached complexion. How his hair fell far beyond his shoulders and bounced with his laugh or his ballerino steps as he sauntered about. 300 years…how alone you had been. How alone he had had to have been. Tears brim but you quickly wipe them away shaking your head. It felt unreal, surreal, a lie.

“Are you…” his voice was soft, loving. “In need of any assistance too? Ma’am?” What? Ma’am? It was sharp and loaded. It was what he referred to you when you arrived appearing as a lost young maiden unbeknownst to him with experience in new identities already. When you arrived in the dark begging for his mercy and somewhere to reprieve. In a long blue ornate dress you stole easily from a paused caravan at the neighboring stop. All you needed to steal was food, medicine, and yeah maybe something to sell. In the unsafe sweep of midnight you saw the torches that lit the garden before the mountainous shadow of castle came into view. You could only make it out as the dark clouds passing peeked moonlight through that reflected off the staggering pointedness of the seemingly alive, angry architecture.

Truly had it not been the dead of night, as a woman (well perceived as such despite your personal desires), and performing the damsel role. You ended up sticking yourself in a situation where you’d need to go back miles the way you came or stick out this con of sorts. You thought to nab a few vegetables but it was so well kept you thought smart of guard dogs or some sort of watcher. Wouldn’t be far fetched someone peers out of the windows of this monstrous abode awaiting a strangers mistake.

You rush past clutching your dress in a hurry. Makes sense to seem distraught, lost, and vulnerable. You knocked softly upon the door which felt immediately futile. How thick and staggering the door was and the real size of the castle sent a cold chill through you. You press your hand to the door because you were sure you felt a pulse, or that rather while you knew it was not flesh—the door felt aware of you. I guess I’ll knock again. You knock much harder this time. Banging actually as you felt foolish becoming annoyed at how hard it was to successfully be weak. But in exchange for your admittedly resounding knocks you lifted your voice to a pitiful, desperate “Please! Hello!!! I’m lost and in dire need of assistance! Any help!! Please!!” Oh how you’d be sure to steal as much as you could. You were about to quit before the hulking door widened by itself. Tired of your persistence the door cracked enough to show a vast gallery with huge winding stairwells on either side. It felt like a library…while life has known these floors there’s a sense that much has happened…but you can’t ignore the cobwebs, floating dusts, and the sense that if someone did live here, they forewent cleaning a good bit of time ago. You shimmied through the doorway as it had not been kind enough to open fully. You stumbled a bit taking it all in.

“Hello?! Apologies, I’ve led myself astray far from those I was traveling with. I can compensate handsomely…” It just didn’t feel like you were talking to no one. Instead of reversing course you were the stubborn, hard headed type. “Please, I…I actually have no one.” You could be somewhat honest you supposed. Becoming genuinely desperate that atleast you weren’t crazy. “I am here in need of food and shelter. Only for a night.” You voice blared across the gallery traveling it’s way into the further darkness of the hallways leading deeper into the abyss of this now increasingly creepy place. Fear, worry, concern crept upon you. Maybe I did choose wrong. “I’m…desperate…but I know an unwelcome guest... I apologize for bothering you…thank you for opening your door if just to bade the weather for a time.” You were sincere. Whatever, whoever this was while maybe not of pure malice or evil was definitely not interested. You turned on your heel quickly about to shimmy back through the door’s crack when a masculine voice of obvious nobility cleared his throat loudly. So much so it stalled your legs leaving you shook to the core. You turned jolted at the sight of a long haired blonde man. A man you could easily claim is 6’3-6’5, dressed in a loose open chested blouse ruffled at the wrists. His broad shoulders, substantial almost bare chest, and his height sent you in a tizzy. You slipped on nothing grabbing at the door with an awkward chuckle. “Hello! Hi! I-uh,” Goddamn he’s attractive. “I’m just here for help. I am in need of food and reprieve, sir.” You clutched your hands to your heart, cleavage corseted against your chest that made your breasts bubble over the arch of the heart shaped hem. You knew how you looked—pathetic, sexy, and in need. You look up at him at a distance that blurs your ability to look him in the eyes. Most men were weak once you looked them in the eyes. Not only would you get what you needed… if he decided you could only take if you gave…you’d consider obliging.

“You could’ve taken the food in the garden…why disrupt me?” He was actually confused. Yeah you could’ve just stolen the food but there was a role to play and now by his presentation being a princess for tonight was acceptable. “I could’ve but I found it lacking etiquette. At the very least a proper request is well within my rights.” You fold your arms now in coquettish annoyance. Poking your lips out a bit in a pout. “I knew someone lived here by the attention and cleanliness of your land. So I just felt…determined I guess.” You throw a glance at the man still perched atop the stairway balcony. He’s unmoving and establishing his disinterest clearly. “Hmmm.” He looks you over well accustomed to a swindler. You were quite obvious as you only had began to even run in desperation towards the castle after scoping out much of the area. You were right, you had been watched. Unbeknownst to you the master of this home watched you wrestle your dress in frustration, curse along about your hatred for being girly, and your promise to yourself to take extra for your trouble. How dare you push out your chest, lift your voice, and plead as if a real maiden. He was amused but more cautious. Had he not known true violating betrayal he’d have likely bantered you into exposing yourself. He likely would’ve accepted your cleavage as repentance for lying. But, he actually was growing irritated with you. Had your stomach not growled this whole time he’d have a harder time even wanting to feed you.

“You may eat and leave. You cannot stay the night.” He was stoic. You had no real emotion or response to play off of so you leaned more into your attempt at flirtation. “Is that right?” You walked farther in now center of the gallery. You were able to see more of his features in the wafting light of the candlebras and chandelier. He was beyond. And you caught the raise of his brow at your staring. “Why might I not rest until morning?” Why not press the issue? While past midnight that meant you absolutely could stay till morning. A couple hours wouldn’t hurt this guy. “I’m truly alone. I would not ask of this with such persistence if I had somewhere else.” You place your open hand on your chest hoping to appeal to him. “One must know shame so please be aware I recognize how lowly it is of me to ask of you anything. I can maneuver the day very well…night…as someone like me…is just simply a danger I avoid at all costs.” This time you ended with the truth. Whether it be vagrants, vampires, night creatures, or the general evil person you knew and seen things that will always send you seeking shelter before the bars even begin to bustle with evening noise.

He felt your sincerity but cared not as you were already deceptive and up to no good. “A young maiden alone…” he was not one to be made a fool. “In the dead of night…” he began to slowly, eerily descend the stairs. Your wolf clawed through screaming you needed to scram. A bone deep desire to flee overcame you as his physique, face, and mood of pure annoyance actually intimidated you. “In a dress of such quality…bejeweled…clean…” Oh no. You realized what was happening. He knows I’m lying. He caught me. “How might I believe you are hungry…only in need of rest…where did you come from?” He is now at the last step before being equal on the floor with you. You babbled nothing as you had to look up to face him. “You must think me stupid. As if a mere commoner woman, thief…” he says with a certain venom. “Would be able to make a fool of Dracula’s son.” He hissed this time disappearing before closing the door harshly behind you. You leapt away from him colliding with the floor. “Dracula??? He’s dead??!” You screamed. “There’s no way your Dracula’s son. I apologize.” You bend your head to the floor on your knees. “I beg of you spare me.” The despair at your possible end turned you into a proper beggar. Rubbing your hands pitifully together. You were strong, you weren’t necessarily fully human but…this was beyond your comprehension.

“Sir I beg of you. I beg of you. Spare me. I am nothing more than a hungry wanderer. I lied. I lied. I’m sorry. Please do not hurt me.” Your mortal pain did touch this dhamphir before you. He would never kill you…why would you need to die when you are hungry? He could only understand you but a bite rose in his mouth. How he had trusted Trevor, Sypha…those other two…he could only resent himself for how easy he was. But tonight you will not disrupt him or his solitude or his impending desire to end his life. Your eyes pooled with tears as you watched his booted, leathered feet planted firmly in front you.

All you needed was food right? A couple hours sleep? Then leave and never return. His mind has been made up. “I do not consume as you mortals do. The garden is actually for the community. I do not horde what people are in dire need of…” he couldn’t help the disgust he felt at your trembling crying frame robbed of all the confidence you just had. How disgusting he was. Scary, unwanted, and forever cursed with his Father’s resentful countenance and his mother’s wondrous love and consideration. How deprived to sink his eye site in the lapse of fabric your dress caused in this pose. From your face to your lower belly visible as your hunched over figure exposed you. Once he was upon you the dress was so ill fitting to your size he almost laughed aloud at you pretending to be of some wealth and awareness.

Honestly tired of your very mortal woman fear he bent to a knee, offering a hand to you saying. “Ma’am? If you could consider my earlier behavior that of a brute…you may eat as you wish and rest until morning.” You began to protest. “No-No that’s absolutely okay. I will leave and it is as if I never bothered you.” You rose without raising your head. “I will leave as fast as I arrived.” But as you looked up directly into his eyes your stomach twisted and your mouth agape. He was immaculate. Gorgeous. Perfect. Son of Dracula? He huffed a chuckle and an incredibly weak smile. He’s trying, you thought. Caught up in the poke out of his fangs, he closes his mouth self consciously offering “Would you like maybe more comfortable clothes? A beautiful dress completely unsuitable for your stature.” He was judging. “Uh-I mean the dress isn’t actually that bad.” You choke out defending your outfit. “No no it’s not the attire at all…” it seems his eyes wandered too low there. “It’s you in it…” Oh okay ouch? “I have had many a traveler seek here for shelter. The kitchen is through the lower foyer on the right. Whatever is there is what you may use. It will have only what anyone has decided not to take. Do not do anything more than that. First and final warning.” He rose from you without another word ascending the stairs soon disappearing into the blackness of the upper hallway. The moment his aura depleted you could breathe again taking a couple of minutes to collect yourself before heading towards the kitchen. You threw a fearful glance up at the staircase walking under it and through to the expansive ground floor. Unable to get the image of the master of this home out of your mind. Scared of him but weirdly yearning deeply to know more.

༉‧₊˚🕯️🖤❀༉‧₊˚. ༉‧₊˚🕯️🖤❀༉‧₊˚. ༉‧₊˚🕯️🖤❀༉‧₊˚.

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#castlevania imagines #castlevania #castlevania nocturne #alucard castlevania #alucard x reader #x black fem reader #adrian tepes #Adrian tepes x reader #castlevania x reader #black fem reader #non-binary reader

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horse-girl-anthy · 8 months

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beneath the cut is an essay I've titled "Ikuhara Fandom, Shoujo Manga, and Eroticism." it discusses potentially upsetting subject matter.

when I first encountered RGU in 2014, I was largely baffled, though I thought the ending was very good. after that, I didn't rewatch more than an episode or two of the show again until 2020. Ikuhara was inaccessible to me as a teenager, but I spent years studying media, so when I returned to RGU, it was like discovering a goldmine. by the end of 2020, I'd watched all of Ikuhara's original shows.

the thing is, I still found Ikuhara challenging. there were things about his works which were seemingly contrary to my value system. I would read interviews of his and he would say things which sounded alarming--to use cliche terminology, he wasn't very politically correct.

if we're being honest, there is a party line in a lot of left-leaning fandom spaces. I used to be a part of that more than I am now; I had rigid ideas of right and wrong. today in the Ikuhara fandom, I often feel like the elephant in the room is that his works aren't the kind of "queer feminist masterpieces" that people portray them as. now, by that, I don't mean that those words don't apply to his works: what I mean is that the way people frame them, the way they discuss their meaning, doesn't bear that much relation to Ikuhara and his oevre.

RGU gets this treatment more than his other works. in fact, certain fans want to claim it as the work which truly aligns with their values, while Penguindrum, YKA, and Sarazanmai actively subvert RGU's message. a lot of other fans just stick with RGU, claiming it as a work without critiquing it. by critique, I don't mean negative criticism: I mean critique as in actual engagement with the text.

I remember that there was a point when I was afraid to engage with more Ikuhara interviews/works, since I thought I would find something out about him that made it so that I couldn't enjoy RGU. after all, when I would hang around in RGU spaces, every so often I'd see someone say that Ikuhara was super problematic. then I realized I was ignoring one of RGU's main themes, facing the truth rather than trying to stay in an idyllic past, so I took the dive. I had my ideas challenged, my values changed, and my entire approach to media shifted by doing so.

it's been strange to be in the English-speaking fandom, where everything is taken very seriously and there's certain universal assumptions about RGU's meaning, when many of the things held as absolutes are simply not so in the Japanese fandom. equally, the creative minds behind RGU are often in conflict with the Western fandom as well. once or twice, I've seen someone point this out and say that RGU is actually problematic/patriarchal, but mostly, it is ignored.

for instance, the character Ruka is massively hated in the western fandom, while as far as I understand, Juri/Ruka is one of the most common Japanese doujin pairings. Mamoru Hosoda, who storyboarded many Juri episodes, claimed that Ruka was in love with Juri. turning to Ikuhara, he often phrases things in a way that could leave you wondering if he's as much of a "feminist ally" as people want to paint him as. of the women's liberation movement, Ikuhara said, "On the one hand you had this social movement, but then in their heads I think almost everyone was thinking: this is lame (laugh), I don't wanna do this (laugh)."

consider this exchange from the same interview for a demonstration of just how differently people in the western fandom approach media compared to Ikuhara and a contemporary of his, art critic Mari Kotani:

Ikuhara: Speaking of sexuality, after Utena I wrote a novel which features lots of hermaphroditic characters. It's a collaborative work, a book called Schell Bullet. Kotani: It is a fantasy world? Ikuhara: It's a future world. Humanity has divided into roughly two groups, Majors and Minors. Because of gene manipulation the Majors are hermaphrodites without male/female sexes, and they have a monopoly on good genetic material. The Minors are humans who have fallen away from the monopolized gene material, they look basically the same are present-day humans, and have two sexes. Kotani: Sounds interesting! Are the Minors kind of like slaves, like in The Human Livestock Yapū?

later:

Ikuhara: The boss is visually female, a Major with a very bold beauty. From the start I wanted the main character's boss to be a hermaphroditic woman. That's because, the way I see it, even the Major women in the real world, that is to say women who are competent workers, seem to have an intense male side.

what I find most interesting in this exchange is how Kotani casually brings up the idea of sexual slavery as a fun angle for Ikuhara's hermaphrodite novel. it's not to say that this kind of attitude is universal in Japan, just as leftist fandom spaces aren't universal here in America. however, there is obviously a huge difference in values between these two worlds.

so, what world is Ikuhara occupying? where did he come from and what are his influences? exploring these questions is what helped me to come to peace with his works, and in the process, I changed my own thinking.

I'm not really qualified to speak in depth on Japan, its history, culture, or values. however, I have looked into specific trends which I know were influences on Ikuhara specifically, so that's what I'll focus on here.

Ikuhara was born in 1964 and became a teenager in the 1970s. it was a period marked by a lot of social movements. he describes in many interviews feeling completely disillusioned when, rather than change society, the movements were crushed or simply collapsed in on themselves. "oh, maybe there's no way to change the world after all." however, one way or another, he seems to have pulled himself out of that despair. his works are all designed to give modern people a way out of the end of history brought on by the failure of radical change and the onset of the neoliberal global order.

as a young creative, he was into the dramatist/director Shuji Terayama and other artists who were pushing boundaries. in the Kotani interview, he stated:

Ikuhara: Terayama's words are interesting too, but what I find the most kitschy and cool is his theatre. Suddenly a completely naked actress would appear, without even a genital cover, and this was in Kinokuniya Hall! The police might barge in saying "Hey, wait a second". I guess this is why they say it's a fine line between a hero and a criminal (laugh), but until then I had never thought that showing your panties or showing your willy could be anything but shamelessness, and now the Asahi Shimbun was treating it as superb culture. I found that gap extremely mysterious and fascinating, and personally I felt a cultural nuance there.

clearly, the libertine values of 20th century countercultures left their mark on him. more than that, he is interested in the conflict between sexual repression and sexual expression, which has only escalated in Japan and in the West up until today.

turning to the anime/manga sphere, I know that RGU has a reputation as being very triggering, but to be honest, compared to its predecessors, RGU is mild and restrained. J.A. Seazer, a musician who Tereyama collaborated with, wrote songs for both RGU and the the 1992 anime film Midori. the story is old, dating back to the beginning of the 20th century, and it's been adapted as recently as 2016. Midori is an exploitation film: full of child rape, set in a freak show, featuring countless horrors in its 40-minute run. I've watched it and would not recommend it unless you're interested in the ero guro genre.

I bring up Midori as an example of the media landscape Ikuhara began his career in. he was working on Sailor Moon, so obviously, there was less heavy content in the world of anime and manga, but Sailor Moon is represents only one side of shoujo. Ikuhara is more aligned with the Year 24 Group, who revolutionized shoujo in the 1970s. the group produced a wide range of works, many of which had obvious influences on Ikuhara.

I know that Ikuhara is often associated with lesbians, but in fact, I would say that shoujo BL is one of his largest anime/manga influences. the early work Kaze to Ki no Uta is an acknowledged influence on RGU, and Ikuhara did an interview with its mangaka, Takemiya Keiko.

many of the early BL mangaka were inspired by western literature. Demian is not only referenced in RGU but also in Kaze to Ki no Uta. most important for BL is the 1912 German novel Death in Venice, as well as its 1971 film adaptation. for those unfamiliar, the novel is about a man in his 50s stalking a young teenage boy, becoming completely obsessed with him and other underage kids. it is a sexual obsession, but there are other angles to it, and the story has been analyzed in various ways. the fascination seen in shoujo and BL with beautiful young boys, as well as pedophilia, can be in part traced back to this story.

taking inspiration from Death in Venice, shoujo's fundamental character dynamic was established, one that can also be seen in a film such as Midori: innocence versus experience. the ever-present theme is corruption, how abuse and exploitation corrode personalities and create societal damage.

how this is handled can vary from work to work. I understand that grotesque depictions of child abuse or failure to condemn pedophilia hard enough make some people not want to engage with these works at all. I will say, whatever one thinks of Death in Venice, Kaze to Ki no Uta, along with the BL manga of Takemiya's contemporary Moto Hagio, are certainly not child porn. I think there is no excuse for CP, and even if there are things in Kaze to Ki no Uta that I question, it is overall a work of artistic merit, beyond holding interest to me as an early work in the genre.

as I've said, RGU is mild compared to much of what came before it, as well as a contemporary manga like A Cruel God Reigns. however, the core of its character dynamics are in line with shoujo/BL. the twist is that the work focuses on relationships between women.

Kotani: ...Watching it, the relationships between women, including the dialogue, were very sexual, very vivid, right? Ikuhara: But I think what it is expressing is simply yaoi. To do that using shōjo "royal road"-like characters, and with two women, is somewhat rare I think.

Utena and Anthy are easy to compare to BL couples who came before them, like Serge and Gilbert or Ash and Eiji. rather than approach gender issues through projection on to pretty boys, Be-Papas chose to use women, creating their own version of a gendered social system. of course, other Year 24 Group members used lesbians or GNC women to explore similar themes, with Rose of Versailles being another major influence on RGU. however, Ikuhara claiming that RGU is essentially yaoi has fascinated me for years.

Anthy and Akio are experience, knowledge, and corruption, while Utena is innocence, youth, and purity. like many predatory shoujo characters, Akio is obsessed with innocence and purity while also seeking to destroy them. the drama centers on Utena's struggle with corruption, as well as Anthy's conflicted feelings towards her friend's naivety, as she both identifies her past self with Utena and resents her for her ignorance. the story also features intense power dynamics, which, over the course of the narrative, are upset. all of these elements are standard for BL and shoujo.

to dig deeper into the value sense behind these works, here is a passage from the Takemiya/Ikuhara interview:

Takemiya: What I wanted to ask is about “crossing the line” for a girl [implicitly losing one's virginity/sexual purity]. I thought Utena crossed it unexpectedly easily. Ikuhara: Ah, I’m not thinking very deeply, right? Actually, I just wanted to suggest that it doesn’t matter. Because a lot of people seem to get caught up in issues of purity, I wanted to show that it didn’t matter. Takemiya: But doesn’t it seem like more kids these days don’t care about those things? Ikuhara: Yes, and that’s another reason I did it. But I think there are still many people who would try to put it in a box and say purity is important because it is an animation. Takemiya: Actually I think it’s more likely a lot of people will try to use the purity as an index of understanding. I guess you are an adult if you can overcome that. Ikuhara: That’s true, there are a lot of people that want to put a line between justice and absolute evil based on purity. I didn’t want them to do that. Whether manga or anime, I think it can become a motivation for the viewers and the readers in real life. I don’t like when people draw lines, out in society, equating absolute evil with impurity - in an animation which is nothing more than fiction, drawing a line between those that are carnally pure and those that are not.

I think we can all agree that Akio was in the wrong for trying to make Utena feel guilty for sleeping with him in episode 38 of RGU. but going further, Ikuhara and Takemiya say that they want to reject purity as an index of understanding altogether. to me, what this means is not jumping to immediate judgments, not treating issues of sexuality as if they are so deep as to sully the soul.

this is NOT to make some kind of excuse for pedophilia or child porn. I know from my own life how harmful those things are. to close out this discussion, I am going to try to explain what I mean by touching on the use of eroticism in art.

years ago, I was watching Naoki Urasawa's Manben, a show which gives space to mangaka to show off their process. Junji Ito went on it, and I was troubled by the following moment from the episode:

before I got into Ikuhara, I didn't have a grasp on the erotic. when I watched this, my thought was, why are they talking about a toddler being erotic?

after having gained an appreciation for eros's place in art, I understand what they were saying here. eros is hard to define, but it relates to sensuality: a way of interacting with the world which is beyond the intellect. the erotic is not pornographic: it is evocative, a way to make any work of art touch its audience on a deeper level. it is related to sexuality but is not the same thing as it. for Ito, exaggerating the erotic aspect of this character helps him to create even greater horror. the point is not to make a toddler sexy.

RGU relies heavily on this kind of eroticism for different purposes, both within the series and in the promotional art. whenever I see someone trying to ban a specific kind of fan art, I roll my eyes for this very reason. it's not as if there's any significant numbers of people making RGU exploitation porn or anything; most of it is in line with the show itself. for instance:

official art of characters all 13 and younger

Anthy having sex with her brother in the series proper (episode 31)

I have seen RGU called exploitative and fetishized, though not as often as I've seen the same criticism leveled at later Ikuhara works. however, more often than not, the disturbing eroticism of RGU is left uncommented on.

to come full circle, the reason that I now have a lot of admiration for Ikuhara is that I've come to see that the "problematic" aspects of his work help him to tell meaningful stories. all of his anime are designed to spark self-revelation/self-transformation in their audiences. additionally, I now appreciate erotics for what they are, feeling them on the sensual level rather than intellectualizing about them. viewing the above images, various readings can be drawn, arguments made about the impact of their eroticism on the themes they express. however, there is a more primal appeal to them, something which draws the eye. that aesthetic quality, by itself, deserves to be defended. those who dislike it should probably not engage with Ikuhara works. from RGU commentary, episode 38:

Hideki Mori: Are you always trying to work in this type of erotic undertone? Ikuhara: Yes, well... if it doesn't have that kind of stuff... it's not very interesting! Either I'm doing it to make it interesting or maybe I just wanted to see that.

I will finish with two final points. firstly, I think that letting go of one's automatic response of moral judgment is essential when approaching Ikuhara anime. this is not the same thing as advocating for a laissez-faire, anything-goes approach; it is simply saying, before applying preconcieved notions, let the work's textual, aesthetic, erotic, and sensual levels wash over you. if you give the work time and find some aspect of it offensive, that's one thing, but I am glad that I didn't let my kneejerk reactions turn me off of Ikuhara. along with that, don't immediately apply some kind of feminist, queer, or leftist lens to explain everything either. just let the work breathe.

lastly, I want to share Ikuhara's words on what affect he thought RGU had on its audience:

Ikuhara: I didn’t want 'Utena' to become a nice story. A story can be pretty, but it feels like a lie. From the beginning, the story was going to be about saving a friend, so in that sense that was the goal, but it can easily become a nice story, so to break away from that I made sure that it was a foolish story. I think it’s this foolishness that makes ‘Utena’ so popular with adults. Not in a sexual way, but more that watching it at that point makes it more relatable.

to re-emphasize, my point with this discussion was that much of Ikuhara's artistry is ignored because his approach and influences are considered problematic. that being said, it was never his intention to make a work about "sexy teenagers" who adult viewers can masturbate over. none of his works are that: they feature students because anime often features students, and because he has an interest in the threshold between childhood and adulthood. although I am now 26, I can see myself in all of his casts, and the eroticization of the art makes me more invested in the story and themes, not titillated.

#ikuhara #commentary #it's 5am #ive been writing this for 4+ hours lol

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grapenehifics · 3 months

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Making of Monday: Can't Stop the Suns Part 1

(I am thinking SO positively rn that I am calling this part 1, like I will remember to actually write more. YMMV; we'll see how I do.)

I'm hard at work on the concluding chapters of Pick Up the Pieces right now, and working on Pick Up the Pieces means I also need to do a fair bit of rereading An Uncivil War, so it's very much on the forefront of my brain, and also I have yet to participate in a single MoM, so: here's some backstory on An Uncivil War.

Okay I actually need to back up even farther than that, all the way to Solsbury Hill and February 2020. I started Solsbury Hill - it wasn't called that, then; it didn't have a name, just 'weird doc file/outline I'll probably never finish because I don't have a track record of finishing creative writing projects, ever' - and then the very next month I started working from home AND season 7 of Clone Wars premiered.

To get ready for season 7 - and because I was home a lot more during the day, now, and didn't have to commute to work - we decided to do a rewatch of Clone Wars season 1 through 6. And you know how we joke about plot bunnies, and why they're called that? That the hardest idea is your first one and once you have that the ideas just keep multiplying? So, I'm sitting on an outline for what would become Solsbury Hill, and we're watching Clone Wars, and we get to season 5, and the episode with Ahsoka's trial, and I think to myself, huh. That's weird. Why is Obi-Wan acting like that? Why is he not sticking up for our Padawan? If he had, I bet things would have turned out differently. Ahsoka might not have left the Order. Anakin might not have turned to the Dark Side. Clone Wars is full of all these little things that individually might not be enough to push Anakin over the edge, but they start stacking up, collectively...

From there, it was a pretty easy leap to, 'what if Obi-Wan left the Order instead of Ahsoka', and that created this whole domino effect because Anakin would obviously leave with him, right, and Ahsoka was getting kicked out anyway, and now I've got this scenario with three Jedi on the run in the middle of a war.

And that was fascinating to me. Once I started thinking about it I couldn't stop. But I was also getting really into Solsbury Hill, at that point, so this new story needed to take a backseat. I dumped a bunch of notes into a Word doc and went back to my AU.

It turns out, though - and this was the first time I'd learned this about myself - that I liked having both an AU and a canon project going at the same time. Solsbury Hill and An Uncivil War both used such different parts of my brain and required a different skillset and researching vastly different things, and if I got bogged down in one it was nice to be able to switch to the other one and hack away at that one for a while. So I ended up, from early 2020 until August 2022 when I posted the first chapter of Solsbury Hill on AO3, working on both projects nearly simultaneously, although obviously Solsbury Hill (despite being three times longer) got to the finish line first.

For a long time - almost three years - An Uncivil War was just called, An Uncivil War. And it had this expansive outline that I just kept cracking away at, and whenever I came across something cool in another piece of Star Wars media or another show premiered or I read another book I'd think 'Ooh, that's neat! That's going in the fic!' and I'd add it to my to-do list. And at some point I looked at my word count and realized I was pushing 100k and not anywhere close to the end of the story I wanted to tell.

So, I started thinking about sequels, and series. I had (still have) this outline, fortunately, and there was one pretty obvious stopping point at what was then the mid-point of the plot. (I say, 'then' because it has since, of course, expanded. It turns out I'm very bad at guessing word counts.) So I took half my outline, dumped into a brand-new doc, called that one Pick Up the Pieces, and wrote the 'ending' of An Uncivil War, as much as possible, as if it were the ending, just in case I for some reason never got around to writing Pick Up the Pieces.

Because it was important to me that An Uncivil War be able to stand on its own. It's got a beginning, a middle, and an end, and the end calls back to the beginning, and the main threat to the characters is resolved, and they talk about what they're going to do next but even if that was the only story you had, it should still be a satisfying conclusion (or, at least, I hope it is).

But it isn't the entirety of the story I wanted to tell. Because they originally were one big story, I actually had maybe half of Pick Up the Pieces already written by the time I started posting An Uncivil War, so while the first part took me three years to write, the second has technically only taken me a year, but I was definitely not starting from scratch.

I also - and this should shock absolutely no one - was once again wildly off in my word count estimate. Pick Up the Pieces is, right now, already as long as An Uncivil War (120k), and I've still got three chapters left to go...plus a bunch more things in my outline I haven't gotten to yet.

So, in true Star Wars tradition, I'm now plotting a part three! Pick Up the Pieces, like An Uncivil War before it, has a logical ending point, so it will wrap up there, but the plot will move merrily along to the next thing on my to-do list, which is in fact the same to-do list I've had since March 2020. (It's a good thing I love this story so much or I would have quit long ago.) Part Three, at the moment, is tentatively titled Sometimes Fate Steps In, and I'm really, really sorry to have to admit that that's where all the smut is going to be. (I know. It's Solsbury Hill all over again.)

(I do love it, though. I feel like I should...apologize, to my fics, somehow, for having a favorite? I do have a favorite, though. It's this series. I love it so damn much. This is the one thing I write where, if you told me right now that I would never get a single comment or kudos on it, I would still write it anyway, because I just get so much enjoyment out of researching and writing it and re-reading it.)

(Which is not to say you shouldn't comment on it. Please, please do! You will absolutely make my day, week, month, year! But I love it enough to do it anyway.)

#making of monday #obikin #an uncivil war #pick up the pieces

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phykios · 4 months

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Review: "We Visit the Garden Gnome Emporium"; "I Plunge to my Death"; "A God Buys Us Cheeseburgers"

Hey y'all! I'm back. It took a while to write this review, and not just because I had a busy holiday season. The more I tried to consider episodes 3 and 4, the more I realized that a lot of my critiques of them were things I had already touched on in the last two–poor exposition, bad lighting, rushed plot, etc–and so it felt a little redundant to say the same thing all over again. Luckily (or unluckily, depending on how annoying you find me), episode 5 was such a cut above over the rest of the season, I finally have new things to say! With that in mind, the format of this review will be a little different, as I will compare the episodes side by side, rather than consider each one individually.

For a brief, brief recap, the three episodes follow fairly similar plot beats: the trio travels a little, meets a mythological being that tries to mess with their heads, then they all try to sacrifice themselves for the good of the quest before figuring out an alternate way to win. This isn’t a criticism, by the way–the book chapters have similar formats, and repetitive framing is a great way of demonstrating character growth. And of course, there’s no better way to spruce up a travel montage with a little lore dump.

What makes for effective exposition? It’s a delicate balancing act between making sure that the information you need to get across gets to the viewer, but not letting them know that you’ve done it. “Show, don’t tell” is the most common expository technique, and for good reason–information is better retained and more effective when it’s not delivered to you like someone reading off cue cards. And it’s most effective when it’s withheld until just the right moment. PJO TV is not… great at this. It’s mostly little things, one-off little lines, like Luke saying “I’m the best swordsman” or “Annabeth is the smartest,” but there are some more egregious examples, mostly with Chiron explaining the world to Percy. This, I get, and it’s not like Riordan did it that much more elegantly in the books. But I’m more annoyed about Luke info-dumping than anybody else.

I was re-reading The Lightning Thief for several reasons, and one of the things about Luke is that he keeps things very close to the chest. It’s partly to conceal his villainy, but it also makes sense from a psychological standpoint, hiding his emotions not only to keep everyone from finding out the truth about him, but also to recruit kids for the upcoming war. Luke only opens up about what happened to him and Thalia once: at the very end of the book, just before he tries to kill Percy. It’s a powerful moment–the specter of Thalia haunts Percy throughout the book, the ideal of a hero he’s afraid he’ll never be able to measure up to, and we find out that she’s been haunting Luke as well, but for very different reasons. (She haunts the TV show as well, which I like very much–I just hope it pays off!) We are shown hints of his darker side earlier, but withholding the heel turn until now, and pairing it with the first time we see him actually talk about himself, is part of what makes this scene so good and so heinous at the same time. The first time we get glimpses of Luke’s true self, his motivations and what drives him, is the same moment where he crosses the line. And in the meantime, TV!Luke just lets it all hang out.

Consider:

Before camp, I was on the road. Me and a forbidden kid I met along the way. Her name was Thalia… A long time ago, Zeus, Poseidon, and Hades agreed their children were becoming too powerful, so they made a pact not to father any more. And it held for a long time, until Zeus broke that pact. Until Thalia. A forbidden kid attracts trouble. Monsters everywhere, it's just a constant battle to stay alive. One day, we, uh, find this little girl hiding in an alley. Annabeth. We were worried about taking her in, exposing her to all that danger. Then we saw her fight. Thalia didn't make it. But Annabeth and me... we did. And we've been family ever since… Annabeth is the strongest warrior in camp. The only way left to prove herself is to go on a quest. [S1E2, “I Become Supreme Lord of the Bathroom”]

Why is he saying all this? Is it for Percy’s benefit, or the audience’s? What does this reveal about Luke’s character? What about this monologue reveals what Luke actually thinks about the pact, or Thalia’s death, or even Annabeth? We’re told he sees her like family, but what does he do to show us?

For contrast, here’s Ares’ lore dump a few episodes later:

You're new to the family, young one, so let me fill you in on how we work. See, years before I was born, my grandpa Kronos ate my aunts and uncles. Yeah. Then my dad made him puke them back up, then chopped him into a million pieces and chucked 'em into a bottomless pit, so that kinda set the tone right outta the gate. Olympians fight. We betray. We backstab. We will push anyone down a flight of stairs to get ahead. And that's why I love my family so much. My dad knows he's not getting this bolt back with quests or goose chases. He knows there's a war coming. And in reality, I think he's okay with that. I think he feels it's just time for a war, so we're gonna have a war. Isn't that great? [S1E5, “A God Buys Us Cheeseburgers”]

What does this reveal about Ares’ character? That he loves violence, and that the threat of war is exciting. That he doesn’t exactly hold his family in high regard. That this is something that is central to who the gods are. All of this is supported by Adam Copeland’s performance, which is flippant, funny, and immature. The details work in concert to show us who Ares is and what he wants, all without ever having him say it out loud.

For all of its clumsiness, though, I actually really like Grover’s little monologue about the nature of questing as we follow the kids into New York City in episode 3. It has a very Fellowship of the Ring vibe (which I’m pretty sure is deliberate) which fits on a meta-level too, with Percy Jackson in conversation with epic stories of the past.

But you know what wasn’t in conversation with the past? The shortest Medusa battle ever recorded.

I’m being a little hyperbolic for comedy’s sake, but genuinely I hated the Medusa fight. Not the Medusa backstory–sidestepping the sexual assault in a middle-grade book was the correct choice, and it’s not like a post-#MeToo Medusa is a shocking or novel idea–but not only should the fight have been at least twice as long, it was missing a full fourth of the mythological ingredients. The mythical Perseus has four gifts: the sword, the mirror shield, the helm of invisibility, and the winged sandals. The book reinterprets the shield as a glass ball. And the show doesn’t use it at all. Is this a nitpicky critique? Maybe. But some of Percy Jackson’s strongest moments are the reinterpretation of mythological scenes, and for those to work, you should incorporate the key details.

Also, again, cannot stress this enough, it was way too short. At least the Echidna fight scene had some blocking involved. And acting.

Speaking of acting, I will say that it’s very consistently well done. I think the kids are more than holding their own against the adults, and they walk the line between playing maturity and still being young very well, which is a very difficult thing to do. In fact, rarely is the acting ever a problem. Because, once again, it’s the writing that makes it fall short.

Let’s do another comparison: Percy sending off Medusa’s head and Percy and Annabeth with Hephaestus’ chair. One is from the books, and one is new. Both are given the appropriate amount of weight in the episode’s runtime. Both are well-acted, well-blocked, well-scored. But the new scene feels out of place to me. Part of the problem is that, being a scene lifted from the books, Percy sending off Medusa’s head feels earned and supported by the material of the last few episodes. He’s pissed at his dad for ignoring him, and pissed that the gods are forcing him to do all this nonsense for reasons he only barely understands. Of course he’s going to foist a magical WMD on them.

But the chair scene doesn’t have that prior support. Consider:

Eat or be eaten. Power and glory and nothing else matters. Ares is that way, Zeus is that way, my mother is that way. He isn't that way. He's better than that. Maybe I was that way once. But I don't wanna be that way anymore. I won't be like all of you. I just won't. [S1E5, “A God Buys Us Cheeseburgers”]

In a vacuum, this would be a great scene. Walker’s fear is palpable and real, and Leah delivers a heartfelt performance in anguish at her friend’s supposed fate. That’s all well and good, except that these characters have known each other for… what, three days? A week? And for all her talk of glory, Annabeth dispensed with that idea pretty much right out the gate, as she killed a Fury rather than hand Percy over to Alecto. She tries to sacrifice herself for the quest all the time. What power and glory is she seeking?

This is an excellent scene that unfortunately doesn’t belong in this season. This scene, as my dear @frenchswissborder pointed out, does not belong after the Thrill Ride of Love (before the Zoo Truck scene as well!) but instead feels like it should be in the Battle of the Labyrinth’s Mt. St Helen confession scene. Putting it there at least would build on three years of friendship, rather than a handful of days of not annoying each other.

I don’t mind new scenes. I want new scenes. If I wanted a one-to-one adaptation, I’d just read the books again. But the new scenes have to matter. They have to bring something new to the table. Let me put it this way: when The Lightning Thief musical said, “Fuck it, Cerberus is a DJ,” it was both leaning into its own medium as musical theater and riffing on the idea of the underworld being under a recording studio. When PJO TV says, “Fuck it, exposition time,” it feels like they’re reading off Mythomagic card stats.

What makes an adaptation great, in my opinion, is how well it speaks to the subtext of the original work. The musical is excellent at this, in particular how it uses the conventions of musical theater to highlight the parallels between Percy and Luke by giving them variations on the same “I Want” song. Where PJO TV shines is how it speaks to the subtext of abusive adults. Abuse of children is sadly not always so obvious, and I like how the Mist lets Alecto, Echidna, and Ares act pretty much with impunity. They are predators, and they are able to move without fear of detection. This even applies to Medusa, too, having her pretend to offer Percy a way out, when she really is only interested in herself and her needs.

But, as the show tends to do, this only causes the story to kneecap itself by neutering Gabe as an abusive figure. I understand why it is this way, as book Sally, for all her kind and loving nature, wasn’t exactly written with a backbone. Part of this, I assume, is just that The Lightning Thief was published in 2005, and that a) the conversation around intimate partner abuse simply was not in the mainstream, and b) Riordan just got better at female characters over time. So the trade-off is that by making Sally a more formidable, dynamic character in the show, they had to dial down Gabe’s uglier, abusive nature–which is going to be really awkward in a few episodes when Sally kills him just for the crime of being annoying.

Stray thoughts:

Just taking a moment here to say that I think the set design has been really gorgeous so far. Shout out in particular to the attic in the Big House!

I’m only just noticing this now, but the trunk of Thalia’s pine tree looks like there’s a human in there–bent knee, arms outstretched, head bowed–and I think that’s awesome.

The idea of monsters sensing a demigod’s weakness and responding to that is so good, and I’m taking it.

Earlier versions of this review had a long and annoying rant about Medusa’s origins, so allow me to tl;dr: there is no original Medusa myth. Ovid’s Medusa myth in Metamorphoses comes about 800 years after Hesiod’s Theogony, which comes after Homer’s Iliad. It’s not a question of Ovid against Hesiod against Homer, it’s a question of these authors plus thousands of pieces of pottery depicting hundreds of variations on the Medusa myth, and we cannot definitively say which one is the source of the myth. That said, I don’t dislike a #MeToo Medusa, I just mostly hate the discourse around it.

It’s nice to see some architecture nerd Annabeth, but between the way the show glosses over it, and the lack of crippling arachnophobia, her character is being reduced too much to “prideful” for my tastes. It’s not that Annabeth isn’t prideful, obviously, it’s just that she has more dimension to her than the show is currently presenting.

Annabeth and Grover throwing water on Percy like a beached whale is very funny, but it did make me realize that they haven’t introduced nectar/ambrosia in the show. Maybe they’re saving it for the finale?

Ares calling them all cousins makes me extremely happy. This was something that Riordan did in the early books, but he kind of petered off, presumably so as not to imply weird pseudo-incestuous things once Percabeth started, but I always loved it.

I’m saving the Percy and Annabeth relationship breakdown until after the season, but it is coming! (But I am sad that “seaweed brain” came out of nowhere :( we just rolled right over it!)

The lighting is really bad, especially in the dark, and I am learning to live with it, but I am not happy about it.

Aryan is the breakout actor of the trio, in my opinion. Playing awkward is so, so easy to overdo, but he brings a sincerity and a quickwittedness to Grover that I absolutely adore–he’s a sweet kid, and he’s clearly scared, but he knows when to summon his courage and do the brave thing for him and his friends.

Also here are some screencaps that I like. They don’t have anything to do with the review, I just think they’re neat :3 (IDs/thots in the alt)

#pjo tv #pjo spoilers #pjo tv spoilers #sasha review #this is a long one lads!

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crowncrown · 11 months

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MORE GENLOSS BRAINROT LETS GOOO

!!!MAJOR SPOILER WARNING!!!

Generation loss’s ending is so incredible I can not STAND IT OH MY GOD I need to write out my thoughts before my brain explodes because I haven’t been able to think about anything else since.

The first episode was an absolute curveball to everyone who’s been keeping up with the spooky ranmail and everything and I’m not gonna lie I was a little nervous about what this show was really gonna be when I was watching it. But the thought process it took behind every detail to make something so goofy actually be horrifying once you understand the context of the next two episodes WAS BRILLIANT. Every piece of the puzzle just adds more and more to the storyline and it makes me want to dissect every detail of the vods for hours.

But I think the most bone chilling part of this-very intentionally I must add- is the final sequence. We witness every one of the characters sacrifice themselves for GL!Ranboo and GL!Slime isn’t any different spending his last breaths being killed by the wire creature (for lack of better words) to make sure Ranboo hits the finish line. But as soon as you feel any level of triumph you realize that Slime is just like Sneeg in the episode before sacrificing himself to ensure the show goes on.

Because it was never about the hero.

Ranboo isn’t special. He’s just another pawn in the game with the illusion of being the protagonist to make it more interesting for the desensitized viewers watching these people die over and over.

He was never meant to win.

And then that leads to us.

The audience.

Given the illusion of choice.

Do you publicly execute this man? Or do you let him live to be tortured the rest of his miserable existence until he is inevitably killed by Showfall for breaking the rules. If you spare him, is it a fate worse than death? We fight with this moral dilemma, trying to decide if it’s our decision whether people live or die.

But he’s a murderer! He killed people and showed no remorse! Showfall metaphorically whispers in our ear that he earned this fate for the terrible actions he committed. But was it him? Did he have any control over the actions he committed throughout the show or is he a victim?

He begins begging to be let go. To just escape from this snare he never asked to be trapped in the first place. The audience heavily leans towards letting him live because maybe being alive in this horrible show is better than the execution. But he knows that was never an option for him. He watches as a cartoony figure jokes about his demise and a audience poll decides his fate. And in that moment he realizes his choices were never his own.

So he gives up.

Begs to just be put down because being part of the cast means he will hurt more and more people the way he’s been hurt. That he will be the cause of more and more pain, and very likely more murderers.

And the audience decides death is the best route for him to take.

Maybe he died believing this is his fault. That the audience decided he should be dead for the horrific things he chose to do. But did he ever really choose?

His story was a tragedy before he could even pick up the pen.

And then there’s Showfall. Once again the ever present voice in our ear. Whispering that we are just the same as he is.

You just chose to murder a man. Is that not any different than him killing the innocent to progress in this game? Showfall now has the audience in the same grip as the man in the guillotine.

Your story as an audience is a tragedy long before you will ever pick up the pen.

#crown drabbles:)#genloss brainrot #genloss #generation loss #ranboolive #looking way too deep into things because it’s late at night #Ranboolive is rotting my brain

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motherofplatypus · 11 months

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Miraculous S4 Review: Representation

And so, here we are, one episode before the finale. Out of order, but we're no stranger to that. Can't believe it's almost over, and boy am I glad because this insanity finally come to an end.

The episode, as per usual, was bad. But it's not the usual kind of bad, and was pretty much decent compared to the last 4 episodes. So, it's an improvement, I guess(?).

So, in short, this episode confirmed that Felix and Adrien are sentimonsters, and Kagami as extension, but I'll talk about that in another post. While there are people who seem to dislike the idea of Fe and Ad being senti, i personally like it. Mostly because they did really well in teasing us about this, until they just drag it out so hard and hardly even trying to do so in S4-5.

So, anyway, the review. Apparently, there's an election for the new mayor between Bustier and that fencing mustache (I remember his name, but it's a pain to write it down).

So they do have election. Huh, who woulda thunk? Feels like just one episode ago they ignore this crucial part for plot convenience to make a teenage girl even more like satan for absolutely no logical reason. Ooh, right, it was one episode ago. Well, two, but my point still stands.

Oh, Miraculous, you just love making things convenient for you, don't you?

Then we see Adrien being Sad Boy™ like he always was, and Plagg had to comfort him. And I really love Plagg here and so far he's been getting consistent development with his relationship with Adrien, that's more interesting than the Love Square tbh.

Then, Adrien down bad for Mari and wanted to reveal himself and fly all the way to Paris because he hated being there.

I appreciate the effort and dedication for love, but wouldn't it be better if you just, idk, ran away before you're in London? Just a thought.

Yeah yeah, there's the ring and stuffs and every single reason why Adrien cannot grow a spine for himself or anyone that's not Marinette. Tell me something I didn't know about Adrien.

Bonus: Here's what That Guy do whenever we demand Adrien to grow as a person.

Moving on, I'd love to talk about how everyone glorifying Mari for the 500th time, but it's nowhere near how pissed I am when they tease Julerose and Marcthaniel. Yes, it's cute to see how Marc and Nath looks like they're "bonding" in secret and Jules being protective over Rose. If this were happening 2 seasons ago, I would've scream in fangirl, but like every other things in miraculous, its either overdue or irrelevant.

Look, I appreciate their sorry excuse of an effort to give us representation (roll credits), but if you actually mean it, either actually doing it or stop teasing it for 5 seasons and make them so much of a side characters that we literally couldn't care less about them. Seriously, this is a serious case, especially with Nath and Marc that I honestly don't see why they even got a miraculous, to the point i thought Lila would get one since those two are so pointless and irrelevant.

Onto the next one, we have Gabridiot Agreste. The man with two brain cells who's fighting for third place. He realized Adrien was gone, barged into Nathalie's room while she's watching his dead wife video, and took the wedding ring from her.

First off, it's quite hilarious that the red part of Nathalie's hair turned white. I know this symbolize that she's dying, but the way it looks, it's like she's purposefully dyeing her hair white to show how dead she is.

Second, I'm getting real tired of watching Emilie saying the same line, on the same phone, for the 50th time this season. This is the equivalent of Gabe talking to her corpse whenever he's about to do a criminal activity that ended up in him failing in the most embarrassing way. Yes, we get it, she wants Gabe to be a good father, you don't need to remind us every single episode how much of a failure he is at becoming one. Also, if your role after 5 seasons is to be a broken record on a phone, just go back to your coffin.

Also, it's probably just me forgetting and i refuse to check every episode to prove it, but what's the reason for Nathalie not to show the video to Gabe? Or has Gabe seen it but ignore it? Please remind me.

Either way, still with Gabridiot, who apparently lacks the bare minimum intelligence to even be classified as a jellyfish, who think that Adrien, who's in London, somehow managed to escape and went allllll the way back to Paris in less than a day. This jump into conclusion stupidity almost match the one we got in Ephemeral, but at least not as outrageously stupid as that episode. Still can't believe that episode even exist.

So he akumatized himself into Nightormentor, and I must say I quite like his costume. Sure, it's basically Collector dress in a drag, but it kinda looks good. Except for the face, that traffic cone head and glasses are a huge no.

Still talking about London to Paris, how the heck did Argos get himself and Kagami into Paris at the same pace as Chat with flying cat add ons? Did he make a jet sentimonster to fly them there? Nah, no way. The whole reason he got the peacock was to prevent anymore sentimonster getting created and killed. Heck, he was absolutely devastated when he had to snap that Red Moon from existence. So there's absolutely no way he'd be doing that, right? Right?

Sigh, who am i kidding.

So, he created a new sentimonster, a tripod, to give Mari a cheap show of his origin and Adrien's, and basically confirmed they're feather boys. Wow! This is big, right?! Right?! But, of course, with the abundance of brain cells in the show, Mari didn't connect the dot and only take it as Felix's story that I'm not even sure if she realized Felix is a senti, let alone Adrien.

Okay, maybe she did realize Fefe is senti, but my bet is that she's still doesn't know Adriboy is a senti. That's literally too much to ask for the show standard, speaking from experience.

Speaking of didn't connect the dots, Felix literally blatantly told Mari that Gabe is Monarch in the video and she didn't get it? Does Adrien filled up that much space in her head that she ignores the very obvious info presented in front of her? Hello? Brain cells? Basic common sense? Toddler level of intelligence? Where are you all?!

Back to the point, what happened to the tripod? Oh right, it got snapped out after it send the message to Marinette to fight for Adrien. To fight Gabe for love.

Remember folks, murder is okay as long as it's for Adrienette.

Also, if the whole purpose is to just give Mari a message, why would he need to take Kagami there as well? It's not like the message is on live. Heck, they didn't even stay until the message is over, so it's clear that it's pre-recorded, or just some magic bullshit, but basically they're not needed to be that close.

"But the amok is in Kagami's ring, and she needs to be there to control it."

Like I said, she's not needed to be there.

Okay, that's not exactly important. Since we're still talking about Kagami, let's talk about plot hole number 451: Kagami knows Mari is Ladybug since Perfection.

Remember a certain blue haired boy going into voluntary exile because he knows the identity of the heroes? No? Neither do the writers.

If she knows Mari is LB since that very episode, why hasn't Monarch learned about that crucial info? She got akumatized TWICE after knowing that, and neither of them meant anything until now. That piece of knowledge should've been in Monarch's ear since ages ago.

"But Kagami wasn't sure if Mari is LB."

My point still stands strong, tall, and mighty. They made Gabe jump into conclusion that Adrien is Chat by him saying "My Lady". I'm just using their stupidity on them.

Then we got Anticat, or I'd like to call it Walmart Chat Blanc. Aside from the hideous blue hair and eye wrecking visual of the dream sequence, this pissed me off real fucking bad, because this can only means one thing: Chat Blanc is irrelevant.

We waited 2 seasons, one of which caused Chat Noir getting depressed because Ladybug refuse to speak about the white world destroyer cat, and the moment he knows about it, it's not from Ladybug and not even what exactly happened. It's just a nightmare. It's not real. He still doesn't know that that event actually real.

We were, once again, robbed of seeing something we have been waiting for years to happen.

Sadly, that's not the end of it.

On side note, I find it hilariously ironic that when Chat wake up from the nightmare, the first person he saw was Kim. "Hey, that's the person i tried to kill a few days ago. Now I have infinite Cataclysm to do so."

Dude woke up from a nightmare into another nightmare, lmao.

So anyway, Gabe lost to a bunch of teenagers once more, they win, and he kept the akuma in a jar so that LB can purify it. I mean, what's a Miraculous: Tales of Ladybug and Chat Noir would do without Ladybug appearing, right? Like how the show could not go on without Chat Noir appearing in the episode, right? Of course.

Anyway, remember the whole reason LB needs to purify the akuma is because it will multiply if left too long? Like, idk, an hour at most. And how long did Chat left the butterly? Why haven't that flappity flap flap not self-reproducing like rabbit on steroids during mating season?

Also, can't he just Cataclysm the akuma? We know in Chat Blanc it's possible and have no side effect whatsoever. Plus, he can now use multiple Cataclysms. Just get rid of it. You have no qualm when you tried to Cataclysm Scarabella, your principal, and your friend whose face is the first thing you saw when you wake up from your nightmare, so what gives?

Oh right, it's the villain. He has qualms only when it comes to hurting the villain. I forgot.

Also, let's take a moment of silence for Chat, who finally got an episode where he's the one shining, where he's supposed to be the one who save the day, but ended up being utterly useless and needed help from a bunch of teenagers.

Look, I'm not saying he shouldn't get help or anything, but how hard are you going to glorify Ladybug for being able to win a fight by herself and never let Chat do the same, not even once?

And then both Adrien and Kagami came back to their abusive parents. Just, why? I get why Adrien came back, aside from the nightmare and his inability to grow a spine, but Kagami? You have your own freedom, you got balls bigger than Adrien could ever have, and you're independent. Just stay with Felix, hide, and Amelie most likely already know your circumstances too, or at least she'll let you stay for Felix's sake.

"But she might not feel comfortable doing that."

You know who else should not be comfortable doing something? Chat Noir when he's down to murder people that he knows.

Also also, don't any of them gonna ask how the hell they ran away? No? Of course not. And Gabridiot and Tomoron decided to become a very reasonable and good parents and put their kids inside an entirely white, mental asylum-esque room where the only color they can see is their clothes and hair.

Seems familiar?

Yep, they are batshit insane.

And please don't tell me that square on the corner is their bed. Good lord, I know you're angry they disobey you, but treat them humanely at least.

All in all, this is 6/10. Lots of dumb moments as per usual, but it's not blatantly moronic like half of the episodes this season has. I quite like Nightormentor's costume and how Plagg comfort Adrien in that small scene. I'm surprised that I'm not furious at all, just mildly annoyed. Overall, it's decent.

Then again, this has been my opinion, and now it's your turn. Do you like it, or hate it? Is this a good build up for the finale? Leave your thoughts down below, and I will see you in the next one. Byeee.

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