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notjoelmiller · 1 year

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the protector

MDNI

joel miller x tess's sister!reader (not blood related) summary: Joel promised Tess he would take care of you. It's fine until he finds himself infatuated with you and Ellie accuses him of replacing Tess. wordcount: 5.0k warnings: smut (unprotected p-in-v), unspecified age gap, canon character death, spoilers up to episode 3, background character death, violence, joel is not a good person in this

Tess asks him one night as he stitches her up. Negotiations went wrong, and Joel tends to her carefully. He always does. It was his way of setting things right.

Joel had to carry her back to their apartment. Her skin lost its rosy hue in the process, and she shivered in his arms the whole way back. Joel thought he lost her. He almost did.

With the apartment illuminated by the streams of moonlight peeking through the window, he puts her back together. Needle and threat prod and pull at her skin. The makeshift infirmary that their apartment has become reeks of iron and alcohol.

He killed earlier, with his bare hands. He’s only done that a few times before. He liked using guns or knives, but he beat that man who hurt Tess. Crushed his eye socket just to watch him bleed. It was irresponsible and reckless. His hands tremble with the lingering adrenaline mixed with newfound anxiety. Tess is alive, he tries telling himself. It doesn’t quell the shakes.

He has only two stitches left when Tess speaks for the first and only time that night. Her words come out slowly, either from the blood loss or careful consideration.

“If anything happens to me, take care of my sister, okay?” She asks.

Joel pauses, needle hanging just above her skin. His fingers are caked in Tess’s blood, maybe some of a stranger. He’s sure it’s gonna be there in the morning, no matter how much he scrubs his skin raw.

“Okay,” he says.

“Promise?”

“I swear.”

They don’t mention it. Years pass before she asks him to make another promise– to take care of an infected girl. He swears to her again, and when he does he remembers: the farm in western Massachusetts circled on a map, the mysterious kid sister Tess always talks about, the promise he made with blood caked under his nails.

As smoke from the capitol building pollutes the blue sky, Joel wonders if Tess remembers it. Perhaps, while grappling with her last lucid moments before the infection takes over, it brought her peace– the thought of her sister’s safety.

Save who you can save.

Once things calm down, and distance muffles the screeches of the infected, Ellie asks where they’re going.

***

Joel doesn’t see the resemblance. Ellie says she does. It’s in the eyes, she tells him. That determination. Scary shit. Joel can’t deny it, you do have that intense Tess-stare. But the expression is about where the resemblance ends.

In fact, the moment he lays eyes on you, he realizes that when Tess said “sister”, it was an expression– a bond beyond blood. Even if you weren’t related, you were important to her.

“Tess is dead,” he says minutes after you welcome him and Ellie into your home. “Asked me to look after you.”

You excuse yourself after Joel tells you. Ellie elbows him in the ribs when you disappear into the upstairs section of the house. It was a disturbing delivery, evident by your quiet gasps and sobs in the other room, but it was fact. Tess is gone, and Joel has a promise to fulfill. Sugarcoating it won’t change anything.

You fail to emerge from your room before sundown. Ellie tells him that they should clear out and let you grieve, but something keeps him planted in your living room.

It’s cozy, not just by post-infection standards. You somehow keep the place neat, but it still looks lived in. Polaroids sit in frames on top of the fireplace. Most of them are you and Tess. In some of them, she’s younger, before Joel met her in the quarantine zone. Though, others were more recent. If Joel had to guess, the newest photo was taken in the last two years. He never knew how much Tess came out to see you. How much you really meant to her.

You don’t reemerge until the stars come out. Even then, with puffy, but dry, eyes and a monotonous voice you tell the strangers where they can sleep. Hospitable, despite the waves of grief that radiate from your frame.

As you set up the guest rooms, Joel explains that they’re leaving in the morning. He offers you the choice of staying, but tells you that you have a better chance out there than here alone, with nobody watching over you. He doesn’t know if that’s true, but he knows that Tess would have wanted you under his protection.

Ellie tries comforting you in the only way her emotionally-stunted self can. She cracks jokes, tries her best to break the tension. It doesn’t make you laugh. Hell, you don’t even smile. Ellie’s curls into herself, embarrassed, but only because she misses the way your shoulders droop and eyes soften. Joel does see it.

After the pair are settled into the spare rooms, you disappear again. When they wake the next morning, you’re back to normal. Somewhat. You flutter around the house with a backpack and a duffle, shoving personal items and essentials in. You don’t greet your guests, instead you start by ordering Ellie to bring non-perishables from the kitchen to the truck. She nods dumbly and gets straight to work. Joel frowns at her obedience until your eyes land on him.

You lower your voice, “The photos.” Your voice is hoarse at that volume, no doubt exacerbated by your night of grief. “I can’t take them all. If you want one you can– I mean, you don’t need to. Tess didn’t talk much about you, but she sent you after me, didn’t she?” You chuckle. It’s humorless. “I guess you two trusted each other.” You nod to the mantle. Only a few photos remain.

He frowns. Had Tess not told you about them? He had assumed that in thirteen years, you would have said something. His hands clench. “Photos ain’t gonna change a thing,” he states.

Your face crumples like he’s just spitten on your sister’s grave. “Maybe.” You turn away. “I’ll help Ellie with the food. Then we can go.”

You work with Ellie to clear out the rest of the food supply. She talks your ear off the entire time you pack. Apparently, she’s thrilled to have you joining her and Joel, though you fear she isn’t actually interested in your company. You think she only talks to you so enthusiastically because you're more responsive than Joel.

Despite your hesitance, you find yourself anticipating joining the pair. It’s not like you have much of a choice in the matter, though. Tess kept you stocked. She kept you safe. With her gone, and her partner heading west, you were alone. In a few months time, you would be out of bullets and meds, and with the winter approaching, the odds would be against you.

Ellie knocks on the side of Joel’s truck. “Do you know how to drive?” She asks, flipping a knife in her hands with a bit too much ease for your liking. You wonder how long she’s had that thing. Thankfully, it looks relatively unused. “Joel doesn’t wanna teach me… but maybe you could give me lessons. It’ll be really fuckin’ cool– plus I could help you guys out and take some driving shifts.”

You shrug, tucking the last pile of cans in the truck bed. Ellie’s standing on the wheel, looking at you with wide, expectant eyes. “So?” She asks, leaning forward so much, you think she’ll fall into the bed.

Joel comes out before you can make that promise. He stomps down the porch steps, telling you and Ellie to get in the car. There’s no urgency to his orders. For that you’re grateful. Driving off in that car means the end of the last twenty years of your life. No more of the farm, no more New England, no more Tess.

You wait for anxiety to come, but it doesn’t. Somehow, you’ve made peace with it all. With Ellie and Joel, your new companions.

Ellie seems attached to you. She’s been chatting your ear off for the better part of the hour. It’s nice. She keeps your mind off grief.

You wonder if this is how Tess felt, when she first found you and took you under her wing. Sure, you were less chatty than Ellie, but you find yourself feeling a strange possessiveness over the girl. You’ve never had to be a role model, someone for a young girl to look up to. You think about Tess, all she did to make sure you were well-adjusted in this world. Ellie seems like a good kid. You just hope that you’ll be able to guide her like Tess did you.

Joel seems less excited to have you, more like he’s carrying out a duty. You suppose that is the case, that Tess sent him to you in her absence. You don’t understand why she kept him around for so many years. He doesn’t appear to be the best company. He’s quiet, though when he chooses to speak it’s curt, leaving a bad taste in your mouth.

He’s not bad on the eyes, though. Maybe that’s why she kept him around.

Ellie nudges your shin with her foot. She stares at you with wide, expectant eyes. “You can sit shotgun,” she says.

You smile, “Thanks, kid.”

***

Joel dreams about Tess. He dreams she’s still with him. Everything’s the same– he's left Boston, Bill and Frank are gone –except you’re absent. Back on the farm, perhaps, doing whatever the hell it was you did there.

Ellie’s still in his dreams, at least most of the time. Sometimes she’s not. Some nights, she’s taller, with a head of curly hair. She’s got the same snark, but less of a tendency to use profanities.

The dreams keep him up. When he eventually falls asleep, it isn’t for long. The dreams come, and Tess says something too close to that day in the capitol or he catches a head of curly hair. Then he’s up, breathing heavily and sweating hard. You notice, of course you do. Tess was like that. She always had an inkling whenever something was eating at Joel. You ask if he wants to talk about it.

Of course I do.

But Joel just shrugs. He wants that companionship, that person to lean on in his struggles, but not in you. You’re not the person he wants to burden.

***

You grieve differently than Joel. You actually take time to talk about Tess, tell stories about her– good and bad. Ellie loves it, grateful to learn more about the woman she could only be with for a short time. The woman who saved her life.

It helps Joel learn about your relationship. He gathers that you came together at the start of the infection. You grew together, learning from each other. You were younger than her, he guesses by at least a decade, and had grown into your own under her guidance.

You and Tess parted ways months before she met Joel. You wanted autonomy, a place to call your own. You wanted the openness of the country and the ability to live off the land, not on FEDRA rations. Tess needed security. She needed to know that she wouldn’t be ripped apart by clickers in her sleep. She wanted a quarantine zone. So, you split up.

But there was– is –no bitterness in that disagreement, Joel finds. When you recall that parting of ways and your desires for different lives, you seem content. It irks him that you have such a strange peace with that, after knowing the fate of your sister, while you stand with him now, alive and well.

There are glimpses of Tess in you. He admits that to Ellie one night after you’ve gone to sleep, hardly a week after you joined the duo. What he doesn’t admit to Ellie is how much of Tess he really sees in you, and that sometimes, he has to stop himself from calling you by her name.

But of course, he slips up. It happens only once. You’re walking behind him, telling some story about a poor sucker who gave you trouble back on the farm. It’s a good story, but coming from your lips? Joel is captivated.

He goes to respond to some gruesome detail of the story, but her name comes out of his mouth. Not yours. Tess. Ellie whips her head around unbelievably fast, eyes so wide he can practically hear her thoughts screaming at him, what the hell Joel?

He’s quick to cover it up. “Tess… she said something like that happened to her once, too.”

Joel’s glad you’re behind him. You can’t see the way his face crumples in shame. Though, he can’t see whether or not you caught it.

When you’re out of earshot, Ellie calls it a Freudian slip. Joel tells her to watch her mouth.

***

You’re softer than Tess from all that time on the farm. Sure, you have your fair share of trouble with raiders and stray infected, and you know your way around a fight. But you’ve never stepped foot in a quarantine zone. You’ve never had to deal with the Fireflies, the grifters, or even FEDRA.

Tess had gone through all of that. She internalized it– let it change her. It roughened her edges enough that even the thought of submitting to Joel made her hackles raise. Not you, though.

You don’t just accept his touch. You practically melt at it. She let him touch her, being intimate physically in ways he could never verbalize, but she never reveled in it. She would never sigh and lean into his hand on her cheek. She couldn’t let her muscles relax in his embrace, but she’d always accept it. After all, she was his.

You’re not, but you take and cherish all that Joel has to give you. You live for it. You could forget about all of your troubles with him. He sees it in the way your hands linger on his when he helps you up after a fight, and he often feels the back of his neck burning with your stares. He likes the attention you give him.

You don’t have to kill much, but Joel’s tendency to protect Ellie from death has rubbed off on you. You kill when needed, and each time, once the body lays still, Joel notices you pause. You take time to observe the life you took, and a profound sadness overtakes you. Not remorse, though. Joel has found that you don’t regret what you had to do. He thinks you got that from Tess.

Unfortunately, that habit of yours teaches him how thoroughly fucked he is.

Joel gets knocked to the ground by a hunter. His head snaps back against the ground. Not hard enough to concuss, but it rattles him to the point that he can’t get the damn guy off of him. In the haze, he doesn’t feel the knife resting on the skin of his neck.

You see it, though, and in moments, you're on the hunter.

Joel is too dazed to realize what had occurred until you’re leaning over him, cupping his jaw gently as you examine his face.

His eyes dance between you and the hunter just inches away. He’s a pile of bloodied flesh. You don’t care. There’s blood on you. It’s thick and coats your arms and torso. All you do is ask Joel questions. Are you alright? Do you think you’re concussed? Do you need help getting up? Your eyes are on him– him alone.

He tries keeping up with your questions. Not just because they’re important, but because he wants to please you. You– who put aside your morals just to dote on him. You– the woman he vowed to protect. You– the new object of Joel’s infatuation.

***

The first time he really touches you, you’re speechless.

You’ve felt his touch before. It’s unavoidable– a graze of calloused fingertips over a wound you can’t reach, a helping hand lifting you over a high ledge, fingers lingering just a moment after handing rations. But this time, it’s different. It’s not accidental, nor the result of your forced proximity.

Ellie’s asleep, snoring softly just a few feet away.

You and Joel had an argument. A minor disagreement, really. He refuses to let you take the night watch and let him sleep. So, you sit in silence.

He’s tearing himself apart with his martyrdom. He sacrifices his sleep so he can take watch instead of you. He takes all the heat in fights, leaving you and Ellie unscathed, but him with unsavory injuries. He gives you and Ellie larger shares of food. You swear he’s lost weight since you’ve joined them. You pointed this all out to him earlier in the night. And he didn’t take it well.

You two don’t argue frequently. For that, you’re grateful. Joel’s not the best company, even by today’s standards, but you’ve come to enjoy having him by your side. He’s courteous, helpful, and has an unexpectedly good sense of humor. But when you get into a disagreement, you wonder why you joined him in the first place. He becomes something else, cold and detached. He’s so venomous and vile that you find your chest hurting with frustration.

You’re both still recovering from earlier. It was a tame disagreement by your standards. Both of you managed to get over it just enough to sit next to each other by the fire. For warmth, you both agreed.

Hours after the sun disappears, the moon and stars being the only light in the sky, Joel shifts. You almost ask what’s the matter, then he takes his hand in yours, resting it on his thigh.

You don’t tense. You don’t look at him. You don’t signal in any way that he’s actually touching you. His fingers brush over your knuckles, calluses scratching against taught skin over joints, and strangely, your heart flutters. He falls asleep like that, your hand in his.

A week later, under the blanket of night, Joel fucks you against a tree.

There’s no tenderness in it, but it’s not like you expected anything different.

He tells you to keep it down. It's an obscene request that he makes as though his hands aren’t up your shirt, grabbing at you like you’re the only person in the world. He makes it seem like the drilling of his hips into you doesn’t make it near-impossible to keep it down.

He makes quick work of you. His fingers deftly rub at your clit until you're swallowing the noises of your orgasm. Joel doesn’t last much longer, pulling out and spilling himself on your thighs.

You don’t talk about it the next morning. You keep the appearance of “normalcy”, for Ellie’s sake. You just hope she doesn’t notice the smiles you share behind her back.

***

His dreams change. Now most nights, he’s back in Boston in his shitty bed that cost way too many ration cards. That doesn’t matter though, because it’s peaceful.

Sunlight peeks through the curtain and warms the skin of his face. The streets outside are quiet. He’s warm, satisfied, and safe.

He’s alone in bed, but someone flitters around the apartment out of view. He hears it: footsteps all around the space, the quiet clang of dishes being stacked on top of each other, a feminine humming.

He can’t move in those dreams, forced to keep his eyes on the bright window– the one with the butterfly.

He wants to call her name. Tess, Tess, Tess. The syllable sits on the tip of his tongue, yet he can’t manage to say it. The word refuses to leave his lips. It’s like his body knows something he doesn’t.

It knows that something is wrong.

***

With every brush of Joel’s fingers against yours, Ellie is watching.

She’s waiting to pounce. Joel knows it. One wrong move and Ellie’s going to say it, accuse him of what he knows she’s thinking.

So, you two like a…

Pass.

Ellie wasn’t stupid. She knew what that meant. Ellie saw it in his eyes when they left Tess at the state house. As he watched it burn with Tess inside.

Not to feel the way I felt…

She read that letter from Bill.

The girl is a quintessential post-outbreak kid. She’s anxious for a fight, angry, and emotionally repressed. But the girl was also raised in a military school, and it made her observant. So every touch your way, every smile at you, and every thought he makes, Ellie knows.

Joel avoids Ellie for a long time, but she manages to get through.

You’re somewhere in West Virginia. You’ve been with Joel and Ellie for about a month, just enough time for fall to settle in.

It isn’t as bad as in Boston where, by the time the leaves turned, the days were too cold to even enjoy the beauty of it. West Virginia, though, sure the nights were chilly, but the days were pleasing.

It reminds him of Austin. Austin never really had a true autumn. The season came with the bloom of red, orange, and yellow leaves, but there was no chill of the impending winter. In Austin, it looked different, but felt just the same– or close enough. He loved it. He misses it.

Joel holds a photo in his hand. The one he took from your mantle the morning you abandoned the farm. It’s you and Tess, beaming at the camera. He keeps it folded in his pocket at all times in case he needs it to bring comfort. Currently he does.

The photo has rubbed away at the seam of the fold. If Joel ever decided to unfold it, to look at you two as one, there would be a white crease in the middle. A divide. He doesn’t, though. Joel never unfolds it and resorts to looking at either of you one at a time.

Now, it’s you staring back at him. A moment ago, it was Tess.

Ellie sits on the opposite side of the fire. You’re sleeping off the last of a fever you managed to catch.

He wants to reach out to you, pull you in his arms until the fever breaks. The urge gnaws at him, makes something twist and burn deep in his gut. He should think. He needs to think. Not with Ellie watching him, though. He needs her off his back.

Here goes nothing.

He says her name, once, curtly. Her eyes widen slightly, just for a moment, but composes herself. She sits up tall. Joel lets her speak first. It takes her a moment, but she speaks like she’s been considering her words for a long time.

“Tess said you didn’t feel the way she felt.”

“I cared for her. For Tess.” Ellie frowns, eyes squinted as she bores into his very being. “A lot,” Joel adds.

“Does her sister know that?”

Joel says Ellie’s name, quietly. It’s meant to be a warning, but as it passes through his lips he can’t help but think it sounds pathetic. Pathetic, like you fucking Tess’s kid sister. His jaw ticks as something putrid curdles in his stomach.

No. No. He refuses to let a child judge him. What does she know about relationships? What does she know about love?

Love? No, not love. Not love. Physical relationships, that’s what this is about. Not love. No, Joel doesn’t love. Not Tess. And certainly not you, not that you matter in this case, because Tess has nothing to do with you.

He looks back at the photo in his hand. Tess stares back at him.

“You’re replacing her, Joel.”

***

Joel isn’t a man to cherish. He loves nothing– nobody. You’ve seen him kill more times than you can count, and not all of those deaths were deserving.

He reveals himself in pieces and only on rare occasions. You learn of his past slowly. He was a hunter. He has a brother, one who left him years ago. He may have had a child at one point. He wanted to be a singer when he was a boy.

You’ve known one thing from the start, and it’s that he tends to you like you’re the only thing that matters.

You found a settlement. Just for the night, they let you stay in a house– a real one, with showers, working locks, nice furniture, and all. You almost cry when you rub the homemade soap bar against your skin. You feel like a new person when you step out of the shower, your skin soft and glowing in a way you haven’t experienced in years.

If you had to be honest, the separate bedrooms are your favorite part.

You’re not even out of the shower for a minute before Joel has you beneath him on the bed.

He fists a hand into your still dripping hair and tugs. His tongue pushes its way into your mouth, and you welcome the taste of him– it’s fresh, like the toothpaste you had traded for once you came to town. You chase his lips as he pulls back.

“Couldn’t wait for you to come out, baby.” He adds, “Need you.” You believe it. You believe it wholeheartedly and it makes heat wash through your body. Joel has a way of making you feel like that.

His jean-clad hips rut into your plush thigh. The buckle digs into your skin, nearly camouflaging the sensation of his cock.

The towel you wrapped yourself in has unfolded, leaving you exposed to the cold air of the bedroom. Your nipples stiffen. Joel takes one between his fingers, twisting and pulling as he groans into your mouth. His spare hand works on removing his pants. You explore the expanse of his back.

Deft fingers move from your breasts to your core. Joel’s thumb rubs at your clit, while two fingers trace the seam of your entrance. His fingers are cold, you clench around nothing as they tease you. Joel doesn’t get many opportunities to drag things out, to tease you until tears are running down your face. You love that side of him. It helps you imagine what it would be like to be with him before the infection. But tonight isn’t the time.

You swat his hand away, murmuring, “Don’t need that,” you swat his hands. “Just want you.”

Joel hesitates. You do need that, and he knows you know that fact. It’s been a few weeks since you last fucked. It was sure to be a stretch. His eyes wash over your face, searching for any uncertainty before he nods and notches himself at your entrance.

It’s not a smooth coupling by any means. You rushed into things too fast. His length rubs unpleasantly against your walls as he pushes in. Though, you pull him closer with your legs. You just needed to feel him.

He holds your hips up as he pistons into you. He moves slowly tonight. There’s no urgency, no threat that Ellie might come around the corner and catch you in the act. You indulge in the rare intimacy.

You dig your face into the crook of his neck. Every inhale you take is purely him. “Driving me crazy, Miller,” you whisper.

“Good,” Joel laughs. He’s never laughed during sex before. You figured he wasn’t the type, that letting loose like that in the act wasn’t his style. Apparently not.

You reach your peak quicker than expected. It washes over you in lazy waves, softening your muscles and melting you into the bed beneath you. It drains you. Or maybe the luxury of the bed beneath you is causing your exhaustion.

Luckily, Joel’s not far behind, pulling out and working himself to his peak. He cums on your stomach, your newly cleaned skin now dirtied with your sweat and his seed. You’re too tired and too blissed out to care though. You can always shower again in the morning.

Joel takes your discarded towel to clean your stomach. He throws it to the ground before settling himself at your side. You roll over, letting him adhere to your back.

Your eyes are drawn to the towel. Next to it are Joel’s discarded jeans. Something sticks out of his pocket. You squint.

It’s Tess– one of the pictures of her you had on your mantle. You were in that photo too, but it was folded in half, and now you had to stare at your deceased sister. The photo was one you had offered to Joel. Photos ain’t gonna change a thing, he had said back then on the farm. It irked you. It irked you for so long that you had been hesitant at the start of your relationship– if that's what you could call this. Back then, you had been afraid of getting attached to him. You were scared he wouldn’t ever call you his.

But he had the photo, and it’s… somewhat disturbing. He had been so cold then when you asked him. You only offered it because you thought he and Tess were closer. After all, she asked him to take care of you, and he listened. Then he turned it down, and you realized– assumed –you misinterpreted them. You accepted it as the truth.

He has it now, though. However many months later he has that photo.

Joel’s arm tightens around your waist, pulling your back closer to his chest. “What are you thinkin’ about?” He sounds tired.

You thought he was asleep, assuming the relative safety of the settlement and your nightly activities would be enough to knock him out. You’re tired too. Part of you wants to forget it, lean back into Joel’s arms and fall asleep. Then you see her staring back at you, her smile frozen in time.

You wonder if Joel buried her. You wonder if Joel shot her. He didn’t tell you much about her passing, only that she had been infected, and chose to end it before turning. He never said how it ended.

“Were you and Tess together?”

It’s a simple question. So simple, and yet Joel hesitates. You count the seconds it takes him to answer you. One, two, three, four, five, six–

“No.”

Six seconds.

“Okay.”

Tess smiles back at you.

#joel miller x reader #joel x reader #joel miller x y/n #joel miller fanfiction #joel miller smut #tlou fanfiction #joel miller x you

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percheduphere · 3 months

Text

LET'S TALK ABOUT "HE'LL MAKE IT BACK"

Special thank you to @mmobiuses, @starrose17, and @stevenrogered whose gifs make-up the lion's share of this post. Thank you to all the other amazing gif artists as well, without you, my metas won't be possible.

This might come as a surprise to a lot of people, but I actually wasn't big on Lokius until Season 2. I thought Loki and Mobius made a cute ship in Season 1, but that was the extent of it. In truth, I lost interest in the Loki series by the S1 finale and had 0 interest in watching S2. I didn't give the series another try until I saw positive reviews on Tumblr. I therefore started watching S2 when S2E4 dropped.

LOKI SEASON 1

Enjoying the potential love story between two characters is a deeply personal and subjective experience. So take what I say as my personal experience observing Loki and Mobius's relationship.

I fully believed Mobius loved Loki in S1 in the platonic sense. Tom Hiddleston has given a few interviews on Loki's and Mobius's relationship and seems to believe in this sentiment as well [see 5:30-7:30 and 10:57-11:00]).

That is to say, in S1, I didn't feel, "Oh, my god ... he loves him." It was more, "Yes, he loves him", there is no question, his actions prove it.

There is wiggle-room for unrequited love in the S1E4 interrogation scene, but the jealousy Mobius exhibited could have just as easily been a combination of anger on behalf of his murdered colleagues and platonic jealousy.

However, I felt the first hint of unrequited love from Mobius occurred during his goodbye scene with Loki in S1E5. Specifically, this look:

I had no expectations for that look to pay off in any way. Season 2 surprised me.

LOKI SEASON 2

S2E1 is amazing episode because, through subtext, it reframes how Mobius's S1 emotions may be interpreted with stronger evidence for romantic motivation. In this episode, there appears to be a subtle, gradual build-up to the moment that Mobius's love for Loki may be viewed as fully romantic. Let's break down the episode and look at the progression:

First, learning that Loki is at the TVA: *sigh* I can't find the "Loki's here?" gif.

Second, and perhaps the most infamous, the reunion and whole-body support Mobius provides Loki in the TVA War Room (physical comfort):

Third, Mobius bringing Loki somewhere safe and quiet, assuring him that "it's okay" (emotional comfort):

Fourth, Mobius insisting that Loki's condition must be fixed, not once but twice, in two different scenes. A third (writer's magic 3s!) instance occurs in the Heart of the TVA, just before the gangway scene (prioritizing the other):

Fifth, Mobius's admission that Loki's timeslipping looks horrible, and he can't look at it anymore. He repeatedly stresses to Loki how serious this is (emotional and physical empathy):

Sixth, Mobius taking Loki to exact right person who can help. This is particularly significant, because Mobius is the only person in MCU canon who has verbally expressed concern for Loki's physical well-being and took immediate action to stop the pain (act of service):

Seventh, the third time Mobius prioritizes Loki's wellbeing. He scolds Loki and reminds him they have only one shot at getting his timeslipping corrected before the temporal radiation becomes too high (prioritizing the other):

Eighth, Mobius interrupting Loki, insisting that he will make it back. The subtext here is that no other outcome is acceptable or thinkable for Mobius (emotional comfort):

Finally, Ninth, the clincher: "He'll make it back." (self-comfort)

This scene is everything to me. Moments 1 through 8 build-up to this singular moment. Let's do a micro-analysis on it.

After Loki timeslips, the camera stays on Mobius. It tracks him as he kneels down to pick-up the time sick, the last thing Loki touched. The camera then pans up as Mobius rises.

@stevenrogered, THANK YOU for this gifset. It's literally the only one I could find that captures the camera tracking Mobius after Loki disappears, and this is my all-time favorite Mobius scene.

Mobius stands for a moment, motionless, and the camera holds on his facial expression. He's staring at where Loki WAS for extended period of time (keep this in mind for later). He's holding his breath. He's worried, scared, and hopeful, not for himself and the danger he faces on the gangway, but for Loki.

Finally, he exhales as he says to himself, "He'll make it back".

This entire sequence--particularly the moment when Mobius picks-up the time stick and holds it in silence--made me feel, "Oh ... Oh ... he loves him."

The camera stays with Mobius, capturing his reaction to this high-stakes situation for a significant amount of time (@loki-us, maybe you can get this timed starting from the moment Loki disappears and Mobius starts to kneel to pick-up the time stick?). Cinematographers don't do this type of hold unless they want to illicit a strong emotion from the audience regarding the character we are focusing on in the moment.

My insides swooped, which rarely ever happens when I view film or television.

And this camera hold, this pregnant pause, is mirrored by Loki's stare in S2E5:

#loki #mobius #lokius #loki series #loki season 2 #loki meta #my meta #loki analysis #my analysis

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hisui-dreamer · 2 months

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😳😳 ace trappola and hibiscuses 🌺 for the bloom event……?? smth smth romance TEHEPERO 🫶 GL W YOUR ASSIGNMENTS RINNA!! EXCITED TO SEE WHATCHU GOT IN STORE

the heart's belonging

Pairing: Ace Trappola x gn!reader

Synopsis: in which ace finds you far too beautiful and can't help getting jealous when others realise that too

Tags: fluff, ace is an absolute teenager, jealously, he's also an absolute simp, basically a beach episode, slight pining

Word count: 680

Notes: thank you for requesting ashi!! you're the first too haha ˚ʚ♡ɞ˚ this interpretation comes from malaysia, and i was so inspired by it the fic basically wrote itself haha! i hope you enjoy!!

Masterlist

flower of choice: hibiscus

It is said that wearing a hibiscus flower carries a special significance: placing the flower behind the left ear signifies "I yearn to encounter love," while placing the flower on the right ear indicates "My heart already belongs to someone".

Ace believes it's the teenage boy's dream to see their crush in a swimsuit.

What he didn't expect, though, was the surge of protectiveness that washed over him and how much he wanted to hide you from everyone.

He had only been away for less than ten minutes, offering to grab you a bottle of water when you mentioned feeling thirsty. But in that short span, a group of guys had already approached you. The sight of a few guys talking to you makes his blood boil. He quickens his pace, feeling a pang of jealousy rising within him.

"Hey, is everything okay here?" he interjects, his voice steady but his jaw clenched with an underlying tension.

The guys glance at him, sensing his protective stance. "Yeah, just chatting," one of them replies, though they seem to pick up on Ace's annoyance.

Without missing a beat, Ace steps closer, subtly positioning himself between you and the group. "Well, it looks like the conversation's over," he says firmly, his tone leaving no room for argument.

The guys exchange awkward glances before nodding and backing away, clearly getting the message.

With the guys finally dispersing, Ace releases a pent-up sigh, a muttered "Tch..." slipping from his lips as he battles to quell his simmering irritation. Despite the knot tightening in his chest, he extends the bottle of water towards you, a forced smile masking his inner turmoil.

"Thanks," you respond, your eyes fixed on him with a curious intensity as you accept the drink and take a sip.

His gaze remains fixed on you, his mind swirling with thoughts of how alluring you look, now amplified by that damn red flower you plucked earlier, currently tucked behind your right ear. He finds himself entranced by the way the flower accentuates the curve of your cheek, how its vibrant petals seem to echo the flush of your lips.

But he knows that it's not the flower itself that makes you beautiful—it's you, in all your radiant splendour, that leaves him completely spellbound.

"...Aren't you bothered at all by those guys?" he asks quietly, a hint of jealousy evident in his voice.

You chuckle softly, shaking your head. "No," you say thoughtfully. "They're harmless,"

"Harmless?" Ace raises an incredulous eyebrow. "Why?"

"They're not my type."

He pauses, processing your words before curiosity gets the better of him. "... What's your type then?"

You smile knowingly, your fingertips tracing the delicate petals of the hibiscus flower nestled behind your right ear as you tuck your hair in place. With a deliberate slowness, you pivot to face Ace, your eyes locking with his in a gaze so profound that it feels as though it's delving into the depths of his soul.

He finds himself completely mesmerised as the sunlight caresses your skin, casting a radiant glow that seems to highlight your every feature; the gentle breeze tousles your hair, creating a halo of golden strands that frames your face in an ethereal light; the vibrant hibiscus illuminating the clarity of your eyes under the golden rays of sunshine.

He drinks in every detail, every movement, etches itself into his memory, leaving an indelible imprint that he knows he will carry with him long after this day is over.

Your finger playfully jabs his chest, breaking him out of his trance.

"Bleh~" you taunt, your tongue poking out mischievously. "I'm not telling you!" With a teasing grin, you swiftly dart away, leaving him flustered by your evasion.

Before he can gather his thoughts, you're already in motion, leaving him trailing behind. "Wha- Hey, wait up!" he calls after you, his feet stumbling as he hastens to catch up, determined not to let you slip away.

A whirlwind of theories are swirling in his mind, but he is intent on hearing what your type is straight from your own lips.

Masterlist

if you liked this post, don't forget to reblog!

#✧2k! blossoming bouquets✦#twstnexus #twisted wonderland #twisted wonderland x reader #disney twisted wonderland #ace trappola #ace trapola x reader #twisted wonderland ace #twst ace trappola #twst ace trappola x reader #twst ace #twst ace x reader #✧ashi🌺✦

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our-happygirl500-fan · 10 months

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Something that I think is kind of interesting is that both Leo & Raph’s actions towards the start of the movie could arguably possibly be a response to everything that happened with the Shredder towards the end of season 2.

Raph: My Tonfa’s!

In the episode Shreddy or Not, the Shredder overwhelms the Hamato Clan & the Turtles end up loosing Karai & having to leave Draxum & Splinter behind in order to escape which ends up putting a pressure on Raph to now figure out how to defeat the Shredder & protect his family.

Raph: Why can’t I do this? I’m failing you

Throughout the episode Anataway Hitorijanai Raph, is stressed at the thought of fighting the Shredder again & admits that he thinks he’s failing his family when he doesn’t know how to protect them. However even after the Shredder is defeated the fear that he won’t be able to protect his family & that they’ll face an enemy that will outmatch them again is one that Raph still has.

Raph: Stop distracting Raph! We were supposed to be training--

Which is possibly why Raph is so insistent about training towards the start of the movie, Raph might be scared that another threat that they are unprepared for like the Shredder might come along again & that he and his family will be outmatched again.

Leo: And do I need to remind you who has four shells and defeated the Shredder?

Raph: [Growls]

Leo: H-hey!

Another possible example of how Raph is still effected by the events with the Shredder towards the start of the movie is that Raph kind of only gets confrontational with Leo when the Shredder is mentioned, before Raph sort of sounds more exasperated than angry but after the Shredder is mentioned Raph kind of gets noticeably upset & even goes as far as to knock the pizza out of Leo’s hand.

Raph: The Foot Clan?

Another piece of evidence that kind of show that Raph is still trying to deal with what happened with the Shredder is the look of fear that appears on his face when the Foot Clan show up as the Foot Clan are linked to everything that happened with the Shredder.

It has only been a few months since the Hamato Clan’s final battle with the Shredder & Raph is kind of desperately trying to make sure that his family never have to go through what they did with the Shredder again which might be why he was pushing for Leo to take training & heroics more seriously.

Splinter: Oh and Blue, you are the leader now

Leo: Wait!? What!?

In contrast to Raph who wants to prepare for the next threat or the next challenge or the next enemy so that the family will be ready, Leo could possibly be desperately holding onto the way things used to be.

Leo: The whole world is counting on you... to break the pizza box stack record! One-hundred, twenty-five boxes! You know they say it couldn’t be done, but look who’s doing it

When we see the present version of Leo at the beginning of the movie, he’s trying to break the pizza box stack record & it is that kind of activity that the Turtles used to do all the time.

In the very first episode of Rise we see the Turtles sneak onto a roof in order to jump into a pool, which are the kind of activities that Leo & his brothers used to do together before they suddenly had to deal with threats like Draxum, Big Mama & the Foot Clan. The fact that there is even a pizza box stack record for Leo to try to break also shows that balancing pizza boxes on their heads is something that Leo & his brothers used to do together only now Leo is being told that it is a waste of time.

Something that I think might be kind of important is the fact that it isn’t simply Leo being placed into the leadership possession that Leo has to deal with but rather Leo has to deal with multiple other aspects of his life changing in between the events of the end of season 2 & the start of the movie as well; as the Shredder had destroyed the Turtle’s old lair & they had to find a new one.

In the movie the Hamato Clan are still moving into the new lair which is why moving boxes can be seen throughout the new lair, considering that moving can be difficult for a lot of people normally the fact that Leo’s childhood home was destroyed in such a way that it would be hard to even visit it again might have possibly made moving even harder for Leo.

Donnie: I don’t know how much longer we can keep this up, he’s crushing us!

Leo: Really? ‘Cause I thought my overall ninjocity was totally working

Raph: So what if I say he- that word a lot. It’s a good word. We need to be that word.

Leo: Relax Raph. We’ve got this hero thing wired. I mean, our ninjocity is off the charts

Not only is Leo dealing with suddenly being placed in a new position in his family as a leader but Leo also kind of literally lost a piece of his childhood with loosing the old lair, in the events between the end of season 2 & the start of the movie Leo’s life has been full of changes & it is arguably stressing him out as seen when Leo uses the word ‘ninjocity’ towards the start of the movie which is usually a word Leo only really uses in stressful situations such as in the episode Many Unhappy Returns when the Hamato Clan was facing the Shredder for the first time.

With so much in Leo’s life changing it could be possible that Leo is trying to make things go back to the way things used to be by doing the things that he & his brothers used to do & trying to act like nothing has changed.

Leo: Relax. We’ll do what we always do. Ninja in, ninja their faces, ninja out.

Even in the original plan to rescue Raph, Leo uses the phrase ‘we’ll do what we always do’, for a lot of the movie there’s a part of Leo that wants to act like nothing has changed.

It could be possible that a lot of the reason for Leo & Raph clashing at the beginning of the movie is because Raph is desperately trying to prepare for the future, while Leo is desperately trying to hold on to the past.

#rise of the teenage mutant ninja turtles #teenage mutant ninja turtles #raphael hamato #leonardo hamato #rottmnt #tmnt

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eriexplosion · 2 months

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Tech Lives: An Ungodly Long Essay

(AKA: Turns out that my Tech Lives compilation post comment was actually a threat.)

There have been hundreds if not thousands of posts since Plan 99 aired wondering if Tech might have made it after his fall - it's probably been brought up more than any other hanging plot point, even after season 2 scooped up Omega and left us on a massive cliffhanger. Now that season 3 has started, though, Omega and Crosshair are home (for now) but we have received an almost aggressive lack of Tech info. So, I've gathered up some of the stronger Evidence for why Tech might be fashionably late but still on his way back from The Void!

THE LEAD UP

So to start, let's go back to what came before the whole Incident. This will focus mostly on season 2, seeing as that was definitely Tech's season to shine, but with bits about plotlines in season 1. Which brings us to our first bit, that's not really evidence so much as some gentle push-back on a common argument.

Doomed By Character Development?

We've all seen this particular situation before - a character is slated for a tragic death, so just before it happens the writers gives them a little extra relevance to the plot to make sure the audience really feels it when the time comes. The Clone Wars was especially good at this, giving characters like Fives an arc of his own that ended in his tragic death. Season 7 gave us a better look at Jesse, first in the Bad Batch's intro arc and then again through the Siege of Mandalore, all to bring us to the chip activation that led to his ultimate death.

When season 2 started off with one of the two intro episodes spotlighting Tech and our first breather episode of the season also spotlighting him, people started to get worried. So is it fair to say that his spotlight in season 2 was setting him up for a permadeath?

Looking at it, I don't think so, for multiple reasons. For one, Tech didn't just get a spotlight episode, his development dominated a good chunk of the whole damned season, often taking priority over the other characters that wouldn't be dropped into the mists. While giving a little bit of character development to a doomed character can be a good move, giving ALL your development to a doomed character ends up feeling like a good portion of your season was actively pointless.

The Bad Batch is not an open ended show. It seems to have been planned for the three seasons it got, and they would have gone into it knowing they had a set amount of time to work with. Dedicating so much time to developing Tech in preparation for a character death takes away all of their opportunity to develop, well, anything else.

But, along with the amount of time that was dedicated to Tech as a character through season 2, they also didn't develop him in the ways that most often get used for a doomed character. Namely...

That Sure Is A Lot Of Open Plot Lines

And not one of them got tied up. Currently, Tech has two open plot lines to himself, both started in season 2, as well as a key place in the overall show narrative arc. As the overall show narrative arc takes precedence, we'll start with that.

The Bad Batch sets up a few different narrative arcs very early. One is if clones can be more than soldiers - this is the central thing that we see them struggling against from the start, they've been created to be soldiers and don't know much else about how to function in the world. Theoretically this arc can be fulfilled with one or two of them still dying as soldiers, as long as a few of them make it to find a new life for themselves.

The arc that can't be fulfilled without everyone though is the ongoing thread of reuniting the batch. Much of the show is geared towards making the viewer want this specific end result, as soon as they talk about Crosshair, Omega says they'll just have to get him back and complete their family. The end of season 1 teases us with this only to pull it away at the last moment, then season 2 teases us with it again only to yet again pull it away, this time seemingly permanently.

Ending one of your key narrative threads you've been using to draw audiences in only 2/3rds of the way into the show and without ever resolving it... well it would be a choice. If Tech is gone for good then the last time we saw everyone together would be the end of season 1. Rewatches would lack impact because something that was made to seem so vital ended up going nowhere, and the series finale would never quite reach the height that hearing the full batch theme kick in over the team fighting droids together did. It absolutely destroys the central narrative to leave him gone without ever having reunited the family.

And then there's his personal plots.

Let's start with the obvious one. Tech got a whole potential love interest this season and they absolutely did not resolve a damn thing about it.

Again, this takes a trope that we all know - the young army man that's going to go home and finally marry his girl, who has his whole life ahead of him, but dies tragically in his final mission - and seemingly intentionally subverts the beats. Because what makes the trope work is that the plot line is resolved as soon as that young man decides how he's going to move forward. He can't die uncertain of if he's going to marry his girl, he has to make a decision, and the longer we spend on the relationship to his girl the stronger the decision has to be to consider the narrative line resolved and free him up for some tragedy.

Tech/Phee is a tentative little 'will they or won't they' romance. They're flirting, they're feeling each other out, they're seeing if they're compatible. To tie up this narrative line we would have to find out if they are or not, get a yes or a no on the question. Will they or won't they? We simply don't know because the writers didn't put a resolution in.

We do get the traditional pre-mission scene with them, which would normally be when we get the first kiss or perhaps the promise of a date, either of which would have had me digging Tech's grave for him to fall into from the second it happened. Or even a 'we can't do this right now, but maybe some day it will be the right time' which would have been a kind of lukewarm resolution but would have at least represented a decision.

Instead we get a scene that almost aggressively refuses to resolve anything. They have an awkward interaction, but not one that says they won't get together, no promises are made for the future, no decision point is reached, and the plot line is still dangling wide open when Tech falls to his supposed death. If we truly leave it off here, well, what was the Tech/Phee subplot for? Why did we spend precious time on it when it could have been spent on something else, if it was meant to make Tech's death hit harder why did it not go further?

A second subplot with Tech is that he certainly made the most progress on seeing options outside of the Empire - it starts early on in Ruins of War when he meets Romar and gets his eyes opened to the idea of cultures that existed unconnected to the war. Serenno existed before the war and before the separatists, and Romar introduces Tech to that idea of an ongoing culture. He gets a taste of racing in front of a cheering crowd, leans further into his teaching of Omega and gets new insights from her regarding their lives as soldiers, his relationship with Phee picks up right when he finds out that she is interested in the preservation of cultures. It's a quiet little subplot, but Tech was seeing the full scope of what the galaxy contained beyond being a soldier in a war.

But, like the Tech/Phee, it never resolves. He never decides to settle down, he never chooses to stop being a soldier or even openly discusses the idea of what life will look like after. Rescuing Crosshair isn't positioned as a final mission that they have to complete in order to give up their lives as soldiers. Without that decision point being reached, the plot stays open, we never find out what he Would Have Done so we don't get a sense of the future that he would lose by dying, which is what the purpose of these types of plots is for a planned permadeath.

The Kaminoans don't create without purpose and writers working on a three season timeline don't typically write without it either. So if we spent the time on Tech/Phee but Tech is dead before it ever went anywhere, if we spent time on Tech's relationship with being something other than a soldier but he never really pursues it, what is the payoff?

Too Much of a Survivor To Die?

There's also the matter of how they chose to build Tech's character this season. Namely they beefed that man's skills up incredibly high making it intensely unbelievable that he's dead without seeing some sort of concrete proof. Things we know about Tech as of the end of season 2 include:

Incredible pain tolerance - Tech fractures his femur in Ruins of War and seems shockingly unbothered by it. The femur is frequently listed as one of the most painful bones to break. This is not a broken toe the man is hobbling around on, he fractured the strongest bone in the body and kept going through the woods. He physically fought and killed a man with that busted femur.

Lightning fast mental processing - this is of course on display nowhere so much as Faster where he's put up against droids and wins by taking calculated risks that no one else is willing to try.

A cool head in stressful circumstances - this one is hilarious because he outright says it, but Tech does demonstrate time and time again that when it comes down to it, he's able to keep calm no matter the circumstances.

Essentially, we spend the entirety of season 2 setting up why Tech is the perfect person to drop out of the sky and have him survive. He has the ability to keep calm and come up with a plan in seconds and he has the grit to keep moving even if he's grievously injured once he hits the ground. When you set a character up like this, you can still kill them, but you have to work harder to do it convincingly. Leaving Tech not at the moment of death but with probably at least a minute to act in and then not showing us the body is the exact opposite.

We have a moment in The Crossing showing us Tech's precise aim, and it comes up again to brutal effect when he shoots out the connection on the rail car. If moments through the season were used to set up that particular instant of the finale, then we can't discount the numerous scenes demonstrating his survival skills as being irrelevant to his chances.

Plus, looking back at Ruins of War - one of the big moments in the episode is towards the end, where Romar tells Tech, "I'm a survivor. Remember?" The camera then lingers on Tech for a long moment. It's not the kind of action that demonstrates his capabilities as above, but it works to associate the words with Tech in the viewers mind. Romar is a survivor, and Tech is a survivor too. And when you intend to kill someone off, it's kind of an odd choice to spend that whole season setting them up as a survivor.

THE FALL

Which brings us to the scene itself. Plan 99, implied to be one of the last ditch plans that they have. It's absolutely a heartbreaking scene, and one that can be tough to analyze when it's so well done, because it's rough to watch repeatedly. But, it's worth doing, because the scene itself is FULL of questions, some structural others more based in the visual presentation.

What is Plan 99?

Well, that's just it, we don't actually know.

We know what it's implied to be, a self sacrifice plan where one of the batch gives their life for the others to get away. But in show it's never actually defined, leaving the full meaning of Plan 99 up to interpretation. It could be as simple as what it's implied to be, but that brings up questions like 'why not provide any lead up or foreshadowing for it?' and 'does killing yourself actually count as a plan?'

Removing the assumptions from it gives us room to speculate. Is the plan actually that they leave him behind, dead or alive? Hunter ordered them to do so without a plan number in season 1, but he is the sergeant, so plan 99 could easily be something that bypasses his authority - if a batcher calls a plan 99, you go and you don't question his decision. It's certainly closer to a plan if there's something they are supposed to be doing from their end rather than just an announcement of intent.

It's not strictly evidence one way or another, but it is something of note when Tech's entire sacrifice is based around a plan that we're not privy to the details of. TBB has hidden its twists in ambiguity before, so it would not be the first time that it let us assume something only to pull the rug out later. But ambiguity is not the only thing that makes this scene stand out in the raising questions department.

Pacing Goes Out The Window

Generally speaking, a self sacrifice is the climax of an episode. Think Kanan, Hardcase, Gregor, Hevy, etc - Even a minor character sacrificing their life tends to make up the most climactic portion of any given episode, let alone one of the characters from the title squad. It gets to be the big central moment, the big rush of music and feeling, the pinnacle of the viewers attention.

Tech's sacrifice is not. It happens around 5 minutes into the episode, is rapidly moved past with barely a moment to think, and then the actual climax is Omega's capture on Ord Mantell. They even repeat the music when Omega is captured, except much stronger this time, making it clear that this is the emotional crux of the episode, this is the scene that is supposed to stick with you.

The opportunity to make it the climax of an episode was certainly there. The storyline could have been adjusted to put Tech's fall at the end of The Summit, allowing more time in Plan 99 for processing his loss and making it feel final. The pacing choice is one that doesn't allow the viewer to process the loss, only giving us maybe a couple minutes of time with actual emotional reactions before we're barreling off to the next plot point. Why was Tech's death de-emphasized within the episode if it is indeed our last moment with this central character?

Tarkin, Eriadu, & Saw Gerrera

A lot goes into the set-up for Plan 99. We have Tarkin's base on Eriadu as the setting they're working within, going up against Tarkin for the first time since early season 1. This is the big leagues, and something that's come up in multiple interviews is that when going into the den of one of the franchise's big bads we have to have consequences, something to demonstrate that Tarkin is not to be trifled with.

Sounds reasonable enough. Except Tarkin doesn't actually do anything in either of these episodes. The thing that actually threw them off was Saw's planning mixing in with their own.

All Tarkin does upon finding out that the batch is stuck on the rail is order an air strike and ignore that this would kill many of his own men. This is certainly evil, but it's standard Imperial evil. Rampart would have given that order. Hemlock would have given that order. The guy in Tipping Point that we know for 5 minutes before he fried himself would have given that order.

So if the point of this finale was to demonstrate Tarkin's power, then bringing Saw in both complicates the plot and devalues what they're claiming they are trying to show. So is the point to get them to Tantiss? No, because they fail in that. They don't plant the tracker, they're no closer to finding Crosshair than they were before.

By all accounts the point of the whole endeavor is in fact just to drop Tech off a sky rail for reasons unknown and injure Omega to force them to go back to Ord Mantell. These two things could have happened anywhere in any way of course, so why choose Eriadu and why choose to complicate the plot by introducing Saw rather than letting Tarkin handle the job?

They're questions we don't have answers to yet, but they're very hard to get answers to if Tech is dead and completely out of the picture. Having a dead body on Eriadu is fairly useless to the plot, having a living Tech on Eriadu though? That has potential to move them huge leaps forward in a very short amount of time once we bring him back in. Especially given his conversation with Saw prior to everything going downhill - Tech was in favor of gathering intel from the facility rather than destroying it.

And what about Saw, anyway? If he was genuinely there to cause problems and fly away, again, that's a plot wrinkle that isn't needed and took time away from everything else. If he's there because they needed someone to pick Tech up though? There's potential there.

Did Tech's Sacrifice Mean Anything?

In universe, Tech's sacrifice means everything, of course. It's a decision made in the moment to risk everything to save his family. It's a noble deed and one he does without hesitation. But pulling away from that narrow scope of an in universe perspective, what did we accomplish narratively with his fall?

Well... not much actually! They got over the bump in the road that they encountered all of five seconds ago and promptly crashed headfirst into another, different bump in the road. Tech's dramatic sacrifice didn't allow them to escape unharmed, it didn't allow them to find Crosshair, it just allowed them to move a few steps forward, after which Omega is almost killed and then captured, which is a fairly weak reason to sacrifice a whole major character.

But not every character death is exclusively about narrative, sometimes it's about the character arc itself. So does this close out anything for Tech's character development? Again, not really. Tech has always been completely loyal to the squad and would have risked anything for his family. He never had a choice not to fall, it was either just him or the whole team, and he is an endlessly logical actor. The action would have played out the same had it happened in the series premier or the season 1 finale, or any other time in the show. If anything it's a backtrack on his character by putting him solidly back into the soldier box that the show is trying to let the clones grow out of.

Maybe it's not about Tech's character though, maybe it's about everyone else's! Does his death change anyone's trajectory? Again... no, not really. We'll get into season 3's lack of mentioning Tech later, but in the immediate aftermath of his fall, no one's course or actions is majorly changed because of his loss. Hunter wants to go back to Pabu where it's safe, the same thing he wanted to do before they ever left for this mission. Omega puts herself in danger to save her brothers, which has been one of her defining traits since season one. Wrecker is following Hunter's lead, same as he always did. (We get very little of what Echo hopes to do, but the opening of season 3 reveals that they went back to work with Rex, exactly like they were doing before.)

So narratively nothing required him to die, the character's arc isn't completed, and the other characters aren't motivated to change. If Tech dies here, it's the picture of a shock value death. It doesn't complete or inform his character, it doesn't need to narratively happen in order to put Omega on the path to being captured, and thematically it exists just to give the viewer an unnecessary gut-punch when just the failure to rescue Crosshair and the loss of Omega would have been enough.

Framing is Everything

In a death scene there's nothing more powerful than our final shot of a character. The very last we'll ever see of them, the image that will linger in our minds when we think of that character from then on. This is especially important in animation where everything has to go through several iterations before deciding on what that final look will be. You want it to be impactful, you want the audience to have one final connection to the character before they're gone for good.

So why does Tech die with his helmet on?

If there's one thing TBB is good at, it's their expression work, and a death scene is a perfect place to show off their full range, which is why most deaths meant to have a heavy impact occur with faces unobscured. Crosshair loses his helmet and takes Mayday's off so we can see both of their faces as Mayday dies, Slip, Cade, even Clone X and Wilco, all die helmetless. Looking into older series you have Kanan dying without his mask, Fives, Hardcase, Waxer all dying helmetless with one last good look at their faces and expressions.

And while Tech's helmet gives us a good look at his eyes, the rest of his face goes unseen, and Wrecker's face as he watches this happen is completely obscured. We're denied a look at a lot of their expressions as the decision is made and Plan 99 is executed, rendering it less personal than it otherwise could have been. Tech could have lost his helmet in the blast that knocked him from the rail, Wrecker could have had his helmet knocked off at some point to give us a good look at his expression. TBB isn't known for pulling its punches, so why leave our final look at Tech's face back in The Summit and not here?

Then there's the framing choices. We get some absolutely amazing shots of Tech during the fall, from taking the shot to falling backwards towards the cloudy cover - but here's where some interesting choices are made. Rather than letting our last shot of him be a face up shot that keeps eye contact with the camera as he falls, they make the choice to have him flip over, and we hold the shot as the rail car goes down after him, partially obscuring him.

Which means instead of our last glimpse of Tech being something like this.

We end up with something closer to this.

Which, while we all love those Tech crotch shots is somewhat less impactful emotionally. These frames go through multiple departments and get multiple eyes on them before going through final animation, and no one thought that leaving him face up and unobscured until he disappears into the fog would stick more firmly in the viewer's memory?

The Flip Might be Intentional

And I don't just mean out of universe, as every detail of animation is often intentional, but in universe as well. If you look closely at Tech as he falls, he seems to roll his shoulders back in order to begin flipping over. It was a specific enough detail to send me searching for a reason and I found it in instructions on how to survive a long fall - the first thing that you're supposed to do? Get into the arch position like a skydiver to slow and control your fall.

The flip was important enough to not only include but to include the small detail of Tech intentionally flipping himself over into said position. It's not a confirmation but it's an interesting detail, and one that has very few other reasons to exist.

THE AFTERMATH

Image chosen because even thinking he's alive I didn't want to pull from Omega reacting to the fall on Ord Mantell. Looking at her makes me Sad. So the fall has happened, the rail car has rushed forward and crashed, and Omega fades in and out of consciousness until finally waking up on Ord Mantell to the bad news.

"What if he's hurt?"

Omega is our POV character for the show. We may sometimes see things she doesn't, but emotionally she remains the center of the narrative, the character that the target audience will see themselves in. Her ultimate thoughts on a situation are the closest we have to a clear indicator of our intended takeaway.

So it's interesting that the first thing we hear out of her, having heard that Tech 'didn't make it,' is a firm denial. He can't be gone, he might be hurt, he needs them and they need to go back for him. And, despite Hunter continuing to talk with her about it for a bit, we never actually hear Omega explicitly take it back or verbally acknowledge Tech as dead. The closest we get is 'lost' which she also uses for Echo in The Crossing.

Now, here's where the interpretation between the adult and child audience will likely differ. From an adult perspective, this is a reasonable reaction for a child her age. It comes off as very natural that she doesn't want to accept it and that she doesn't have time to really process that it's true before the scene moves on. It makes sense from an in universe perspective.

However, the main audience is still children who actually are Omega's age and who are being presented with her as their window into this world. And their takeaway, seeing that same scene, is likely to be that Omega is correct. They don't know that Tech's dead, just because an adult says it doesn't make it true and just because Hemlock says it DEFINITELY doesn't mean it's true, they have to go back and check.

If they wanted the main audience to think that Tech is dead for sure, they could have had Omega be the one to say that he's gone, with Hunter simply confirming it for her. Alternatively, Omega accepting it when Hunter tells her would also function in the same way - ultimately, as the POV character, if Omega doesn't accept it there's a strong possibility much of the audience won't accept it either, especially without other evidence.

No Body?

And, as we all know, we simply don't have other concrete evidence. Not only are the batch given no time to look for Tech's body or any confirmation that he died, but we get a whole scene with Hemlock and the goggles where he also confirms verbally that he doesn't have a body either. There's very little reason to have him say this outside of putting a bug in the viewer's ear that he might not be gone for good.

Not only do we have that verbal confirmation, but we have multiple places where a body could have been included or implied without adding much to the runtime.

Easiest place would probably be when Omega passes out - there's a trooper's corpse right there in front of her, and it would have been very easy to make that identifiable as Tech. Have one of the boys check his pulse like Crosshair did with Mayday and then be forced to leave after confirming he's dead. Would it require a little bit of fudging the details of how he landed so close to them, sure, but it would have been narratively streamlined and easy.

Have Hemlock bring his helmet rather than his goggles (and damage it in a way clearly incompatible with survival) or confirm that he did find a body but has no use for the goggles.

Put the body in Hemlock's lab when Omega is brought there at the end of the episode. Have a sheet covering him even if you want and just one of his hands hanging out, especially the one with the distinctive light on the back of it. Give us her reaction to that.

These are just the ones that don't involve adding scenes or making major changes - instead, in a franchise known for bringing back everyone and their grandmother especially if there's no body, they chose to leave it extremely vague.

Reused Score

The soundtrack for Tech's sacrifice is fantastic, I don't think anyone can argue that. In fact it's so good that it's used occasionally used as a reason for why he's dead for real. If it's a fakeout, why go so hard on the music?

It almost sounds like a reasonable argument, except that the music isn't even unique to Tech's fall. We get the same motif later in the episode with Omega's capture, and it actually comes in even harder and more impactful there than it did with Tech falling.

Reusing bits of the music has two results. It lessens the impact of hearing it with Tech if it is in fact his Death music, because it makes it clear that he is not the central feeling of the episode but rather, Omega's capture is. As mentioned before, deaths are usually the climax of their own episodes partially to avoid them being upstaged by any other plot points, but here Omega's capture is fully prioritized over the loss of one of our central characters.

The second result is that it changes the meaning of the music. It's no longer meant specifically to underscore a tragic death, but rather a more general one of loss and separation. And if it's simply about that separation, then it no longer requires Tech to be dead to have that same impact. They're apart from each other, and that's painful enough.

SEASON 3 SO FAR

Which of course finally brings us to season 3! We're five episodes in as of the posting of this, so a full 1/3rd of the season down, which gives us a good idea of how they're handling the whole grief aspect of this scenario.

They Aren't!

That's right, we simply have not directly acknowledged or dealt with the whole 'watching your squadmate fall to a presumed horrible death' thing even once in five episodes. Tech has been mentioned by name twice, we've seen his goggles once, and Wrecker makes one sideways reference to him having not made it back.

In universe, there is a several month timeskip and it seems to be implied that the majority of the grief milestones happened in that gap. For example, we don't see Crosshair finding out from Omega, we don't see Omega grieving her brother, we don't see Phee finding out (more on her in a bit) despite her fledgling romance. Months of grieving and processing skipped over and what comes out the other side is single line mentions that go by in seconds.

This is especially apparent after episode 5, where we got something to compare it to. Crosshair has a long, painful moment of grieving with Mayday's helmet when they return to Barton IV. It's deep, personal, and intimate and we take a minute with him gathering up the helmets of Mayday and his men to set them up on the crates the same way that Mayday had honored them.

Mayday is a one episode character that was important to only a single character, Crosshair - Tech is a core member of the team present through two full seasons and shown as close to every member of the squad. Yet the single scene grieving Mayday is longer and more emotionally gripping than every short mention of Tech so far in season 3.

Narrative Grief

Seeing characters grieve their loved ones onscreen is about more than just the characters themselves. It's also part of the viewer experience - through the characters' grief, we're able to process our own grief at the loss. It makes it feel real, it makes it feel personal, and the amount of grieving needs to be proportionate to the character's importance in the story.

This is especially true in a show written for children like The Bad Batch. Kids don't typically have the same experience with death as adults, and a well written main character death within a children's show will need more time and energy spent towards making the loss feel real. We see this with deaths like Kanan's; it wasn't Jedi Night that told the viewer that Kanan was really, truly dead, it was Dume, where the characters mourned him and dealt with the aftermath.

Currently, with Tech, we do see holes in the team that make us miss Tech but they remain completely unaddressed by the characters. We see Tech's goggles, but Hunter isn't looking at them, he's looking at Lula. Omega mentions Tech having taught her all the plans, but without any real sadness on her or Crosshair's part. The closest we get to actually bringing it up are Wrecker saying 'not everyone came back' and Echo mentioning the datapad would be difficult without Tech, and both of those are only seconds long before moving on. They don't serve as any kind of catharsis for the viewer, relying more on gut punch impact and keeping the wound open rather than allowing it to heal. The difference between the treatment of Tech's death and Mayday's just makes it more stark.

How Do You Like Yearning?

Interestingly, though, it strongly resembles the writing team's handling of another situation: Crosshair's departure from the team in season 1 vs Echo's in season 2. The show even drew a lot of flack for the lack of discussion on Crosshair's betrayal, as outside of a couple conversations the matter often went unremarked on. Echo leaving, on the other hand, got a whole episode dedicated to processing the loss immediately after it happened.

So what was the difference? Crosshair's departure is part of a long term plot point. We're supposed to want him back, we're supposed to want the team to talk about him, anything that would ease the tension. The writers on the other hand want that tension to remain until it's time to actually resolve the plot. So we get those slow drips in between bigger encounters, we get opportunities for Crosshair to come home that he doesn't take, and we don't get the catharsis of the team actually talking about any of it. We're left to want and imagine it, using the yearning to keep it on people's minds more than anything.

If Crosshair had been discussed on screen long enough for the characters to actually come to terms with his absence, though, that would have made the plot feel more settled and resolved early on. It might be conversations we want to see, but it doesn't keep the viewer on edge and craving a resolution. Best case scenario we're just not as desperate for Crosshair to come home - worst case scenario we accept that he won't be returning and find the fact that he eventually does to be unrealistic.

Echo on the other hand gets their absence processed immediately, because their absence from the team is not meant to be a huge plot point. It's something the team has to deal with, yes, and the viewer wants to see them again just like Omega does, but Echo returning isn't meant to be a maybe, and it's not supposed to keep the viewer wondering and worrying. It's a when, not an if.

Similarly to Crosshair, Tech has never felt like a resolved plot point. We don't get confirmation on his death, we don't get any long term grieving, and we get drip fed acknowledgements that pry the wound back open. If we actually see the team discuss and come to terms with their grief and loss, the plot point closes, the wound closes and we begin to fully accept a team without Tech in it, which makes it harder to reinsert him into the storyline if he is in fact alive.

If he's truly gone for good, what is the point of denying closure to the audience? We know that they are capable of writing an intense mourning moment that feels completely in character for otherwise emotionally repressed men such as Crosshair, so why not give us that with the team mourning for Tech? A memorial, an intimate moment with the goggles, a short scene of Crosshair finding out about the loss, or anything at all really? Once again it's something that makes sense if he's alive and we're simply not being shown yet, but makes very little sense to not capitalize on if he's dead.

What's to Come

We have ten episodes of season 3 to go, and a lot to cover. Reviews have indicated that Tech is not explicitly brought up in the first eight, so the earliest we could possibly have a survival reveal is in episode 9. Will it actually happen? Maybe, maybe not. Though interestingly episode 9, The Harbinger, is almost exactly one year after Plan 99, just like The Return aired almost one year after The Outpost. Could mean nothing, but they do enjoy their anniversary dates.

One thing we do know for sure is coming up is Phee's inclusion - she's seen in the official trailer, as well as briefly in a recent twitter spot. This is interesting as Phee is, of course, Tech's teased love interest, and her connection to Tech has been emphasized multiple times, including on her Databank entry and the official 'what you need to know about season 3' guide. When she comes onto the scene, it's very likely that more information about Tech will too.

MARKETING, INTERVIEWS, & SOCIAL MEDIA

I wanted to keep this mostly focused on what can be seen within the show itself, but it's impossible to talk about whether or not Tech is alive without pointing to the absolutely bizarre messaging from the cast and crew, as well as the marketing choices surrounding his sacrifice. (Example: the Instagram Mourning Filter they layered over him in the official trailer, as seen above) I won't get quite as detailed here as in the above, but it does have to be mentioned.

Constant Focus

In between the end of season 2 and the posting of the season 3 trailer in late January, there were several posts on various official Star Wars media. The majority of them were about Tech and Plan 99. In fact, I don't think I ever saw anything mentioning the giant 'Omega's been captured' cliffhanger, just Tech. Over and over again.

Once a character is dead, marketing generally stops caring about them. They're forward focused after all, they want you coming back for what's to come not lingering on what won't be relevant again. So why the constant focus on Tech?

And it wasn't just the social media either - a huge portion of the trailers and reels included old footage of him too. For the most part this was from Plan 99 and bringing up his fall again to rip open those old wounds, but in one case they included action footage from The Summit. This was an interesting case, because the majority of people watching wouldn't have recognized it immediately. Fittingly, the entire comment section was full of nothing but 'Was that Tech?' style comments, which they would have known was going to be the case to start with.

So why are we so focused on a man that's supposedly dead? If he's genuinely never going to show up again why keep putting him in? Everything? While not even bringing him up all that often in the show? If he's dead, this is a truly bizarre marketing decision.

Never Say Die

In interviews or in official material. For several months the word 'dead' was never used for Tech anywhere, not in interviews, not in official material, nowhere. It took until January 23rd for all of the databank entries to be updated, and among all of the main cast he's only referred to as 'killed' once, and it's on Hunter's page not even his own. Then, the Friday before the premier, an interview came out referring to him as dead - on the part of the interviewer, not the creators themselves.

Everything else seems to use a variety of euphemisms. His sacrifice, his absence, his loss, he 'plummeted out of sight', he 'fell from a tram car', he did absolutely anything it's possible to do except outright die apparently.

It's an odd choice when there's known controversy over if he's dead or not. The standard operating protocol of course, in a planned comeback, is to refer to them as dead anyway and allow fandom to fuel its own speculation, but with a fandom as devastated as TBB's was, it's quite possible that the odd behavior had to be introduced just to keep speculation going. The only interviews that sound remotely final came out right before the episodes started coming out - if they had done that from the beginning, the chances of people outright refusing to come back to the show likely would have been higher.

Much like the marketing, this is not necessarily proof of anything - but in combination with the multiple odd things in the show itself, it's certainly suspicious. Speaking of suspicious...

What an Odd Thing to Say

The cast and crew themselves have not been skimping on making strange comments when it comes to the Tech situation.

There is of course the well known Joel Aron (lighting director for the series) tweet that came out the day of the Celebrations panel (AKA when the Tech trauma was at an all time high) and in direct reply to a fan that was having a hard time with Tech's death. It's hard to take it as anything but a reference to Tech given the timing, and it was certainly taken as being about Tech in the quote tweets. If it's not about Tech, why tease the fandom with it? And the specification for it being a mid s3 episode as well...

Also from the day of Celebrations, and from the panel itself, we have Michelle Ang saying in front of God and everybody, that Tech "doesn't come back... in this episode, at least." At the time there was a possibility she didn't know and was just leaving it open, but with that only being ten months ago and the extremely long timeframe of animation, it's almost certain that she would have been done with all primary recording by that point. If you know he's not coming back, how do you accidentally imply that he is with no one correcting it?

Dee Bradley Baker, when asked for a farewell message from Tech at a con, came out with "the life of a soldier is fulfilled by fulfilling his mission and supporting his brothers. And this was the end of mine. And that's a good thing." Which was a perfectly serviceable goodbye right up until he said that the end of Tech's (life? soldier's life? mission?) was a good thing.

During an instagram interview we have Deana Kiner, one of the composers, in response to the interviewer talking about the final episode containing a major loss, saying, "It's kind of a loss... It's complicated." The claim on twitter was that this was about Omega, because everyone knows that when someone mentions the major loss in Plan 99 they're definitely talking about Omega.

So is Tech alive? Is Tech dead? We still don't know. But while one or two of the above might be a coincidence, having all of them at once coalesce around this single character death is a lot to chew over. The Bad Batch team has shown willingness to address grief and loss prior, as well as a willingness to show us death onscreen and front and center. So why, with such an important character, sidestep it all in order to keep it vague? Why keep it from sounding final for so long, if the intent the entire time was for him to be dead for good?

We won't know until he either shows back up or the show ends. If Tech's alive, all of the above starts to make sense. If he's dead... well a lot of things will just never quite add up. I feel that this team has shown enough willingness to follow up on their trailing plotlines that they've earned my trust. Fingers crossed for a satisfying resolution for all of us, and for our boy Tech, whatever that resolution may be.

#the bad batch #tbb #tbb tech #the bad batch spoilers #tbb spoilers #the bad batch speculation #this thing is some 7500 words i might have an obsession problem

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samwinchesterism · 1 month

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in re: “cas knows dean better than sam”

“cas sees dean as a whole person and sam just sees dean’s façade as his big brother slash parent” but like how and where. outside of your fanfiction. season and episode. scene and line. if it’s so obvious and apparent you should have at least 3-5 concrete examples right? “sam doesn’t know dean carried him out of the burning house” yeah but did cas? outside of a footnote in the angelic manila folder they gave him between seasons 3 and 4 so he could better manipulate him and sam into doing heaven’s bidding? like if you’re going to say “cas knows dean better than sam” than you need to show how cas succeeds where you perceive sam to be failing at the very least. but even your perceptions of how sam doesn’t measure up are so warped, blinkered, and moronic that it wouldn’t even be worth much if you could provide the textual evidence, but at least you’d have a semblance of a point. like say anything without going “as an eldest daughter…” “well my relationship with my sibling isn’t…” please say anything without fucking projecting your own self-pitying crybaby bullshit onto your little woobie dean and using the actual canon text of the show. I’m literally begging you.

like the thing of it all is and always has been that you’re so hell-bent on twisting the sam and dean relationship to fit into this narrow and almost entirely inaccurate mold which is the basis upon which you build the entire Destiel Mythos that you literally lose all sense of media literacy. you don’t even miss the forest for the trees, you miss the trees for like, the pretend invisible things you’re seeing in between the trees, the forest is a whole long way away from your current level of perception. because the Destiel Mythos is based entirely on the fact that dean is Not Seen and Not Appreciated and Not Loved and Cannot Be Himself until cas comes along, and that Family (read: sam) Is Only A Burden on Him That He Must Be Freed From In Order to Flourish, so you keep trying to warp the sam relationship into something that is only one dimension of it – and keep ignoring the ways in which dean is seen, loved and understood within it, because you need to keep lying to yourselves that there is a narrative need to emancipate dean from something that he has never wanted emancipation from because it is ultimately a net good for dean in the particular circumstances of their lives. it’s also profoundly unhealthy, codependent, evil and toxic etc. (a lot more dean’s fault than sam’s but I will nawt be getting into all that right now) but that doesn’t change the fact that sam and dean both know and understand and feel deeply that they are each other’s person – that they know the best and love the most in the world. but that – which IS true canon fact – is incompatible with the Destiel Mythos so it must be ignored and all good sense must be thrown out the window in order to do it.

anyway i digress there are two main categories of Bad Thinking that i will be addressing below

childhood/ “parent/child” / blah blah blah

every single thing people are saying in favour of the deeply stupid thesis in the title of this post is proof positive of the very silly form of ‘analysis’ I just described. a few things:

“wah sam didn’t know that dean carried him out of the burning house :( this means that dean withholds things from sam to protect him because he is a PARENT and sam can only know things about him in the context of him being a PARENT to him” – what the fuck are you on about genuinely. first of all reducing the sam/dean relationship exclusively to parent/child is in itself foolishness for so many reasons that I don’t have time for right now. but also, it’s clear that this is just something that happened when sam was a baby that just never came up. in the scene (1.09) where this is brought up, dean is mildly surprised that he or john never mentioned that detail and then states that sam knows the rest of the story (i.e. the actual traumatic stuff) just as well as dean does – which is true, demonstrably whenever they talk about it.

obviously there are some things that happened to dean in their childhood that sam doesn’t know about (or didn’t know about, until told in whatever episode they come up in). equally, there are things dean doesn’t know about sam’s childhood, e.g. the fact that he was so lonely he needed a zanna (11.08). or how dean didn’t remember that sam was friends with barry cook until he mentions it when they go back to their old school (4.13). or about the nature of sam’s relationship with amy pond (7.03). these don’t mean that ‘sam withheld these things to protect dean out of parental love’ lol, it’s just that there are details and events in each of their lives that the other happens to not have been told about.

similarly “sam didn’t even know dean wanted to be a firefighter L” girl did dean know sam wanted to be a lawyer? in 1.01 he’s pretty surprised that sam has a law school interview. the point here isn’t “neither sam nor dean know each other well,” these are minutiae that aren’t relevant to how well you know someone as a whole, and very poorly demonstrate the bad and inaccurate point that dean withholds things from sam the way a parent does a child (on a constant or regular basis). obviously the way they were raised, sam was deemed too young to know about certain things until he got older and dean had to keep that secret, but as shown in 3.08 flashbacks, most if not all of this is eventually revealed throughout their childhood when sam is still fairly young.

or possibly the dumbest one is that “wah sam doesn’t even know that dean reads books L” whenever that was he was also obviously joking because in more serious moments (e.g. 8.14) he admits that dean is smart/a better researcher than he is, literally remembers dean reading to him as a kid (8.21) so like. clam down

one of the extra annoying variants of this type of ‘proof’ covers things that are very clearly novel pieces of information about dean that dean, sam, and the audience are learning about dean in real time. like if you’re actually watching the show to comprehend it as it was intended to be comprehended, instead of funnelling everything through the Destiel Machine until it’s unrecognizable slop that fits neatly into your pre-ordained molds that Make Destiel Necessary In the Narrative (when it actually isn’t, at all) it’s abundantly clear. the top two worst offenders:

“sam didn’t even know that dean is good with kids :( he doesn’t even realize that dean raised him :(” first of all you people need to understand that parentification does not literally create a parent-child dynamic between siblings but I digress – this doesn’t make any sense bro. in 1.03 dean admits he doesn’t know any kids as an adult. dean being good with his own kid brother when they were both kids is to any reasonable person not necessarily linked with him being good with other random kids when he’s an adult. in 1.03 it’s clear that dean himself is a bit surprised that he’s able to connect w/ lucas so well because he’s clearly not dealt with a lot of kids since sam grew up. the whole point of this is that dean, sam, and the audience are all sort of seeing a new side of dean. who again is just 26. after this very early episode, there’s no question from sam that dean is able to connect w kids. sam being a bit surprised by this also has absolutely zero connection with him not understanding or realizing that dean looked out for him when they were both kids – sam is standing there at 22 years of age talking about adult dean and children – of fucking course he doesn’t mean himself are you stupid.

from the very first season, sam is very clearly aware of everything dean ~did for him~ when they were kids, see e.g. 1.21: “Dean...ah...I wanna thank you. […] For everything. You've always had my back you know? Even when I couldn't count on anyone I could always count on you. And I don't know, I just wanted to let you know, just in case.”

and 1.06: DEAN: Well, I’m a freak, too. I’m right there with ya, all the way. (SAM laughs.) SAM: Yeah, I know you are.

and then possibly even more stupidly, the one where it’s like “wah sam doesn’t even know dean can cook :( he doesn’t even know that DEAN was the one making him food as a babe in arms :(” – when sam is surprised that dean made something fairly gourmet and from scratch literally the first time they have ever had a permanent living space with a functional kitchen. in this VERY scene (8.14), dean himself points out that they haven’t had a kitchen before and when sam remarks on the irregularity of him doing serious cooking, he says “I’m nesting”, clearly showing that this is a novel development because they now have a kitchen, and that it’s irregular relative to past behaviour – both of them acknowledge this. because real proper in-depth cooking and making box mac and cheese for sam until he was like 11 and old enough to be left alone are two different things, which sam understands because he’s smart, unlike whoever chooses to make this point. dean never showed significant signs of liking to cook before this, which is what the exchange is about, but he did have to prepare food for them both when sam was too young – of course sam knows he had to, there are childhood memories referred to (e.g. 14.11) where sam is mentioned to literally help dean do the cooking as kids lol (and yes, genius, sam says ‘I didn’t know you knew what a kitchen was’ or something to that effect, but if you think he’s being 100% literal there I have an oceanfront property in Kansas to sell you)

again, obviously there are pieces that sam doesn’t know about dean, e.g. when he’s talking about his response to mary dying in 1.03. but again, Sam is 22, dean is 26, the last time they were in regular contact was when sam was 18-20, these are things that happen when people grow up, they’re able to reflect and share on childhood experiences if they’re close with their siblings as adults. it’s clearly not something that 26 y/o dean wanted to hide from 22 y/o sam. yes sam didn’t know everything about how dean felt when they were young, but that’s equally true in the other direction, and it’s such an irrelevant point in this discussion when, crucially, sam does learn these things about dean mostly fairly early on in the series (i.e. when they’re really not that deep into adulthood yet). cas was also not magically blessed w/ knowledge about dean, he also had to learn whatever it is that he knows, but somehow sam has to know everything about dean from age 7 or it doesn’t count when it’s sam lol.

“sam doesn’t know the One True Dean / doesn’t see through his facades”

the next branch of defending this flawed thesis is invariably that sam has little idea of the fronts and facades that dean puts up and is content to just believe them, whereas cas digs deep and sees the One True Dean that stupid sam always misses. there is nothing in the text that demonstrates this is true. multiple times, we see sam being very knowing of the fact that dean puts up fronts and facades. sam is also knowledgeable of the way dean perceives himself, and – demonstrated in multiple episodes before such sam lines were very poorly recycled and regurgitated into cas’s dialogue in 15.18, but keep acting like that was the first time anyone ever showed that they knew the One True Dean.

Obviously there are times where sam teases dean when he’s being more touchy-feely than usual, but 9.99 times out of 10 (as a conservative estimate in case there's something i'm forgetting otherwise i would say every time) that’s very clearly coming from a place of knowing the real dean vs. the façade he puts up because that’s the whole joke. and it’s allowed to be a joke because they’re siblings and that’s what siblings do lol. esp since sam and dean have touchy feely moments at the end of like every episode.

examples of all of the above off the top of my head (there are more than these, but these are the ones I can think of):

2.02 (about John’s death)

Sam: “I mean this ‘strong silent’ thing of yours, it's crap. […] I'm over it. This isn't just anyone we're talking about, this is Dad. I know how you felt about the man.”

Dean: “You know what, back off, all right? Just because I'm not caring and sharing like you want me to.”

Sam: “No, no, no, that's not what this is about, Dean. I don't care how you deal with this. But you have to deal with it, man. Listen, I'm your brother, all right? I just want to make sure you're okay.”

2.03 (Sam to Dean, also about John’s death): “You know, you slap on this big fake smile but I can see right through it. Because I know how you feel, Dean. Dad's dead. And he left a hole, and it hurts so bad you can't take it, but you can't just fill up that hole with whoever you want to. It's an insult to his memory.”

Note that Dean essentially admits that Sam is right in these two instances in 2.04 bc I know yall have stupid shit to say about john too that has nothing to do with how anyone actually felt about him in canon

3.07 (about Dean’s demon deal – also proven true in later episodes)

SAM: Dude, drop the attitude, Dean. Quit turning everything into a punch line. And you know something else? Stop trying to act like you're not afraid.

DEAN: I'm not!

SAM: You're lying. And you may as well drop it 'cause I can see right through you.

DEAN: You got no idea what you're talking about.

SAM: Yeah, I do. You're scared, Dean. You're scared because your year is running out, and you're still going to Hell, and you're freaked.

DEAN: And how do you know that?

SAM: Because I know you! […] Yeah, I've been following you around my entire life! I mean, I've been looking up to you since I was four, Dean. Studying you, trying to be just like my big brother. So yeah, I know you. Better than anyone else in the entire world. And this is exactly how you act when you're terrified. And, I mean, I can't blame you. It's just […] I wish you would drop the show and be my brother again. 'Cause... (can't find words; tears in his eyes) just 'cause.

5.18 [Sam figures out what Dean is doing re: his plan to let Michael possess him, tracks him down, and eventually is the catalyst for Dean ‘making the right call’, which he predicts] – e.g.:

SAM: No, you won’t. When push shoves, you’ll make the right call

DEAN: You know, if tables were turned…I’d let you rot in here. Hell, I have let you rot in here.

SAM: Yeah, well…I guess I’m not that smart.

DEAN: I—I don’t get it. Sam, why are you doing this?

SAM: Because… you’re still my big brother.

8.14 (basically the o.g. version of whatever went on in 15.18 + sam intrinsically understanding the trials are a death wish for dean): “I'm closing the gates. It's a suicide mission for you. I want to slam hell shut, too, okay? But I want to survive it. I want to live, and so should you. You have friends up here, family. I mean, hell, you even got your own room now. You were right, okay? I see light at the end of this tunnel. And I'm sorry you don't – I am. But it's there. And if you come with me, I can take you to it. […] I AM smart, and so are you. You're not a grunt, Dean. You're a genius – when it comes to lore, to – you're the best damn hunter I have ever seen – better than me, better than dad. I believe in you, Dean. So, please – please believe in me, too.”

10.22 (understanding how much dean has ~done for him~)

SAM: I'm saving my brother.

CASTIEL: You told Dean—

SAM: —I know what I told Dean. Cas, look. I've been the one out there, messed up and scared. And alone. And Dean—

CASTIEL: He did whatever he could to save you.

SAM: Yes. I mean, it's become his thing. I owe him this. I owe him everything.

10.23 (basically the o.g. version of whatever went on in 15.18, x2 – from Sam to Dean): “You were also willing to summon death to make sure you could never do any more harm. You summoned me because you knew I would do anything to protect you. That's not evil, Dean. That's not an evil man. That is a good man crying to be heard, searching for... some other way. […] You will never, ever hear me say that you -- the real you -- is anything but good.”

11.13 (Sam understanding exactly how Dean feels about Amara being his ‘deepest desire’, and confirming that it doesn’t make him a bad person)

Dean: Why? Because if she is that means that I’m…

Sam: Means you’re what? Complicit? Weak? Evil?

Dean: For starters, yeah.

Sam: Dean. Do you honestly think you ever had a choice in the matter? She’s the sister of God, and for some reason she picked you and that sucks, but if you think I’m gonna blame you or judge you…I’m not.

Dean: You know that I want her ass dead.

Sam: Yes. Of course. And I know you’ve also probably beaten yourself up a hundred times over it, but where has that gotten us? (Long silence) Just how bad is it?

13.02 (Sam perfectly explaining Dean’s psyche to Jack)

JACK: Is that why Dean hates me?

SAM: Dean doesn’t hate you. It… Look, sometimes the wires in Dean’s head get crossed and—and he gets frustrated, and then he mixes frustration with anger, and—and fear.

JACK: Why would he be afraid?

SAM: Because Dean feels like it’s his job to protect everyone. And right now, we need to protect you. But we may also need to protect people from you.

14.03 [Sam assesses Dean’s psychological/emotional response to the Michael possession; end of episode, Dean confirms that Sam’s assessment was fully accurate]

14.10 [Sam is the only one able to snap Dean out of his weird Michael mind loop by using their code word]

14.11 [Sam figuring out that something is troubling Dean just based on the fact that Dean hugs him]

15.17 (self explanatory at this point)

DEAN: Chuck has to die. He has to! Otherwise he'll keep us tap dancing forever, and I can't live like that, man! I can't live like that! I won't!

SAM: I know you feel like that right now, okay. I know you do. But you gotta trust me. My entire life, you've protected me— from Dad, from Lucifer, from everything. I didn't always like it, you know, but... it's the one thing in the whole world that I could always count on. It's the only thing I've ever known that was true. So please... put the gun away. Just put it away, and we'll figure it out, Dean, we'll find another way, you and me. We always do.

like maybe there are some cas moments w dean along these lines too. i don't know, i don't remember what the guy says or does anymore it's been too many years and he is not memorable. but the point is where and in what capacity and based on what metric other than the amount of bad fanfic you've read does cas exceed sam in these respects.

so basically just. genuinely, what are you people literally ever talking about. go watch the show instead of saying stupid wrong stuff about sam on the hellsites all day. or watch another show (please for the love of god watch any other show this one is absolutely lost on you and it’s such a stupid one too i'm embarrassed for you)

#sorry i wasnt gonna be able to sleep otherwise my blood pressure got too high #sam winchester meta #sam winchester #anti destiel #sam and dean #whatever else my tags are #haven't done this in a minute #i'm sorry for being a cunty sam stan (tm) in this but have you considered we'd be nicer if you ppl were less dumb #this is not proofread it's not real meta

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noneorother · 7 months

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The grand unified theory of Good Omens S2, Hangs on a double meaning - Answering why .5 + .5 = 25 lazerii *The end?*

Part 1 l Part 2 l Part 3 l Part 4 l Part 5 l The end?

Welcome to the end of the Bonkers Meta Series featuring your favourite Art Director/Clue detective. This is it! I'm going to wrap up this series as well as I can with what I think really happened, the final 15 and why Crowley says the things he says. Meta, Spoilers, Beware! All that. “Armageddon only happens once, you know. They don't let you go around again until you get it right.”

If you've read my Metatron post you'll know that I thought there were *at least* two time loops with tweaks to achieve different outcomes, seeing as we seemed to be presented with two versions of events a lot of the time, two similar lines of dialogue, double meanings for lines etc etc. If you want a really good recap of a lot of the Clues that have already been compiled already you can go through them here. Yesterday I added my own : The columns in front of the bookshop get stained by a demon, and the stain stays and goes. But why do we care?

Here's my final thesis using the context I'll put together below :

The Metatron is changing the past and the present on earth using the book of life. He's forced a time loop of the last few days at least 50 times over a period of (realtime) months to get the outcome he wants : the separation of Aziraphale and Crowley to allow him to complete the second coming. It only worked once. Let me explain.

1) Not time skips, but stitched loops

My theory about the columns goes like this : a demon touches the right column in the attack on the bookshop, and dirties it. The problem is, in every episode we get multiple versions of the column that are dirtier or cleaner. Why? Because a demon has been touching that column in *more or less* the same place and getting it dirty over time, but the effects on the bookshop only layer every loop and reset, instead of being erased. The layering aspect is super important and I'll get back to it. For now, if we take it that the column gets dirtier over many loops, we now know what we are seeing : a bunch of different time loops stitched together to create a sense of time moving forward in a way that we can understand the story, but that skip forward and backward through the loops. Cleaner column = earlier loop. Here's discussion about clock hands if you want evidence, some even saying the hour hand seems to be going backwards in the first episode or the last, or even that the minute and hour hands must be backwards to make sense. If we think of time skipping ever forward and actions getting deleted (as some have said), then clocks going backwards makes no sense. But if we think about it as a time loop where things and actions are ever being tweaked and changed, then OF COURSE the times won't make sense anymore. People don't show up at the same time if they don't do the same thing they did before. The biggest time discrepancies I've seen in a single scene are A) Crowley's phone and watch being an hour apart in S2E1 and B) Inside the bookshop between Gabriel's fly flashback in S2E6 and him and Beez holding hands, there's an hour difference on the clock. I think that by the time we get to very late loops, some things are happening up to an hour later in the day. A simple example we are shown up top is the Eccles cakes. They are there in the first part of S2E1, but then they are no longer there somewhere along the way. In the first loop we see an ordering action/receiving Eccles cakes action, which takes *longer* than just not doing that and going straight to the shop, so that loop will be slightly later. It gets infinitely more complicated the more loops you are looking at, and we have at least 50 of them. How do I know that?

2) A 25 lazerii miracle

If we know that effects on the bookshop are cumulative and don't reset (because columns), then let's try this idea on for size : Aziraphale and Crowley have been performing the same half miracles on the same spot for 50+* loops, and each times they are layering and getting stronger. .5 demon + .5 angel = .5 angelic miracle x 50*ish loops = 25 lazerii miracle goes off in heaven on the latest loop. Shax then confronts Crowley in his car about a mighty miracle, so we're in a loop here where we've layered quite a lot, but not the last loop because he still has the original glasses/ *but also* Crowley's sideburns are long. Compare it to the scene directly after, and how sunny and bright it is. We're in a later loop and and earlier loop simultaneously.

3) Crowley's been testing So I've been searching for a *reason* that Crowley wears a turtleneck in S2E2 and thren new glasses and changes sideburns, and he seems to be up to some pretty crafty spy stuff, seeing as 1) he seems thrilled by it, and 2) he won't shut up about it (How will our hero cope? Jane Austen, nasty piece of work, master spy) There's also this Clue :

Crowley has a secret, as we know everyone with their hands deliberately in their pocket does in the series. I think Crowley knows before Aziraphale that something is wrong, because he's getting little snippets of memory and feeling, and so he's going off to try and change things about himself, the Bentley and the shop to remind himself in the next loop and leave himself clues or change outcomes if he fails to escape. In the early loops it seems like a fun spy mission, but by the end he's pretty tired and jaded that he doesn't seem to be making any headway on his own.

It *also* explains him throwing books and canapés on the floor in the bookshop to see if it changes in other versions. The problem being that Gabriel keeps cleaning everything up and reorganizing the titles to Crowley can't tell if it's his system or not. (lolsob)

It makes this line seem like he can't fit the loop pieces together anymore, and is trying to make headway without any information, rather than a pre-fall reference.

And this line probably much later in the loops (New sunglasses, long sideburns) :

Okay so! To recap : Everyone gets reset every time, and they make different choices because of past and present edits. But, most heavenly and hellish things don't obey earth laws, and therefore things like miracles start layering, and memories start seeping through the loops. (Point 4 is optional but absolutely hilarious, so I'd like to think it's worth speculating about)

4. The flaw in The Metatron's plan

There's a huge flaw in The Metatron's plan however, and it's that Heaven and Hell don't work like earth does. He's spent so many loops trying to get the result he wants, that he doesn't know that something crazy is *also* happening in hell. Every loop, Shax is emptying out the legions of demons until they barely have enough low level lackeys to go up at all. Hell is understaffed because no new people come into hell in the loop from earth, and they're sending all the demons that aren't subject to the reset into battle. This isn't a negotiation, it's a montage.

So the attack on the bookshop isn't one attack, but waves, and the waves get less powerful each loop. Stitched loops would also explain why Shax now hands Crowley his mail again in the last attack after *just* handing it to him on the park bench, like, 4 days ago in an earlier loop.

I don't have evidence for this directly, but if The Metatron put Maggie together with Nina successfully only in the last few loops, then she's fighting in the bookshop only a few times, and doesn't invite the demons in any other times, which might be why the only evidence is the column, and not books being ruined. But, it might also explain why the demon Eric gets discorporated a bunch of times in a row, he's doing it later and later in each loop. (These are kind of contradictory thoughts, I know.)

5. Aziraphale realizes too late. When I wrote part 4 of this series I was pretty awed by the fact that Aziraphale managed to figure out the Metatron was rewriting things after only hearing him say ONE LINE of dialogue. However after more thought, I think that he's been getting close to the truth a bunch of times by communicating with Crowley in previous loops. In each successive loop he tells Crowley later and later, and it's been getting them reset as punishment each time they figure it out together. By the end they barely communicate at all, because they can feel the danger. Watch his reaction here, in what we can assume is a *very late or last loop (because of the time on the clock)*

He stops himself from interrupting and telling Crowley something important he's just realized : that he's seen Gabriel and Beez get together before. "I know what this means..." 6. Saraqael is helping both sides without them knowing We see Saraquael helping Crowley immediately with the trial when she finds him in heaven. Why would she help Crowley without having ever met him before as a demon? The exchange of "Crowley I remember you, we worked on the Hosehead nebula together" and "I meet a lot of people, (*he doesn't say* I don't remember you)" is a code. They are both trying to communicate what they remember like spies on a bench in St.James park. Who recognizes who, who's trying to stop this madness. Maybe once Crowley gets to heaven this time he's seen multiple trials with multiple endings, and Saraquael has seen them too, I don't really know. BUT she's also communicating with Aziraphale at one point. Look at Saraqael in this scene again about the 25 lazerii miracle. She *remembers the book slap* and then the *looks* at Aziraphale in regards to Gabriel.

Yeah Gabriel, IT NEVER F*&?%ING WORKS IN ANY LOOP SO STOP DOING IT. - Saraquel, probably. Are Saraqael and Aziraphale testing later/earlier in the loops as well? Is this when the miracle was weaker? Who knows! 7. The Metatron job offer was many, many offers

It's really hard to tell with all the pieces of the puzzle moving around, but I think I can count 7 job refusal loops by Aziraphale in the last fifteen minutes. Here's a summary 1) Chinwag with Crowley in the room 2) We should go for a walk instead, here's a coffee 3) You don't have to answer immediately 4) Go tell you friend the good news (This is the important one), it's the last one where he tries to convince Crowley to come with him 5) I need to take care of my bookshop 6) The Metatron puts Muriel in charge of the bookshop, but Aziraphale wants to take something with him 7) Aziraphale straight up runs out to Crowley with "I think I-" 4, again) The Metatron takes him out of the bookshop. "Ready to start"?

Trying to screenshot all that would be insane, so just go rewatch it with all this in mind, and look at how the lighting changes inside of the bookshop and the jump cuts to different angles, and how his face resets every time. It's HEARTBREAKING. 8. The argument

I'm so blown away by the acting and writing (as well as the art direction) in this show, and it all comes to a head in the final argument. Many important lines have double meanings in series 2, because everyone is trying to speak in secret code to not get caught. Especially in the final loops.

In the last loops, we have an Aziraphale who is moving ever closer towards accepting the Metatron's offer, with the straw that broke the camel's back being he could restore Crowley as an angel**/save him; and Crowley who is moving ever farther away, by having to hide all of his Clue gathering, and confiding less and less to Aziraphale in each loop.

Check out the double meanings going on in this whole exchange if you consider that they are trying to save each other using secret codes neither one of them can hear. It's so shattering. Especially when you consider they've probably made it to this argument at least twice, and Crowley convinced him the first time. Why do I say that, you ask? 9. No Nightingales

Because I think Crowley remembers a loop where A Nightingale Sang was playing when they kissed, and Aziraphael didn't leave, but he knows they aren't in that version anymore. 10) I'm a demon, I lied. I'll probably post more abut the secondary characters because Shax, Furfur, Michael, Uriel and Nina etc all have roles to play, but for now, this is it.

----------------------------------------- Thanks so much for reading the gigantic post. If you disagree with my thoughts, or think this is terribly wrong, that's totally fine! I won't be offended. Without a real season 3, everything is just ether. Fingers crossed. I'd also like to thank The Ineffable Detective Agency, @embracing-the-ineffable, @cobragardens, @indigovigilance, @yowlthinks and more for inspiring me and feeding my brain with posts. *Loop numbers could actually be 25+ if you think that .5 demon mircales + .5 angelic miracles pour register as 1 whole miracle in heaven, I just didn't want to go into that in the main review. **The Metatron's meddling in the past seems to me trying very much to highlight to Aziraphale how *good* and righteous Crowley is, despite being a demon, in order to convince Aziraphale that joining him in heaven is a real possibility, and he should push for it.

#good omens meta #art director talks good omens #go season 2 #good omens prime #good omens season two #go meta #go2 #good omens 2 #good omens season 2 #go3 #good omens spoilers #stitchedloop #good omens season 3 predictions

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onesidedradiostatic · 2 months

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I can't work out if Alastor genuinely considered Vox a friend or thought of him more as like. A cute pet that dotes on its owner and does little tricks. And then he shows off his cute little pet to Rosie and Mimzy. I don't think he ever viewed Vox as a threat to him in any way, but it makes me wonder about Vox's whole smooth, smart, scary and competent side we initially see in episode 2. Was that something he picked up from Alastor, or was it something Vox already had that might have sparked Alastor's interest? Did he actually mentor Vox in any way or did he just think it was fun to watch him try to build a tiny version of Alastor's empire.

we don't have a whole lot to go off of right now, especially when it comes to alastor's side, but personally I find it more interesting if alastor did genuinely consider vox a friend. even if in his own alastor fashion, there were probably certain walls he never let down. I think it's interesting in that, we know alastor has more of a soft spot for women, so in this pre-husk era, vox could've easily been one of his first few male friends. which kinda makes it sadder it didn't work out. it's like it just proved to alastor "right this is why I don't trust men".

things we know rn are:

alastor calls vox "old pal" at the end of episode 2

alastor allowed vox to take a picture with him at some point

alastor, who is perfectly capable of killing overlords, has not killed vox

also seen this pointed out before, but in the initial commercial alastor filmed in episode 1, although shitty, he did do some actual editing

I wouldn't expect alastor to already have knowledge of how to do this beforehand on his own, question is: did he learn it himself? or did he learn it...

...from someone else in the past?

not to mention he seems to just instinctively already know how to set up shit for filming near the end of the episode. he must have gotten some experience from somewhere.

I think this post describes what they could've learnt from each other in the past best

I like to think alastor saw him as more than just some cute pet, at least back then. it adds more depth to their relationship. obviously there's stuff like the toxic homoerotic stalker-like obsession I feel is one-sided on vox's part (points to my url), but that doesn't mean I think alastor's side of their general relationship is completely non-existent. them having a genuine past friendship that affected both of them in different ways is what adds layers to their relationship I think. they were clearly both affected by their falling out in that they both developed irrational hatred of the other's medium as a result. and honestly? really need to see more of alastor's side of this, I think it'd be really interesting. even though, he hates vox now, and I don't believe he wants him back as a friend, is there any sort of sentiment left from their past friendship? is there a reason why he hasn't killed him? or was the time he almost beat vox an attempt at that? (though I like to believe it wasn't)

obviously, all we can do now is speculate based on the evidence we have in season 1, but for me personally, I like to think they were legitimately friends at some point.

#ask #osrs.txt #idk is this comprehensible #pathetic vox being down bad for alastor is fun to talk about #but their general past friendship is also so interesting to me #hazbin alastor #hazbin hotel alastor #alastor #hazbin vox #hazbin hotel vox #radiostatic #staticradio #technically not but I've tagged general talk of their relationship as that before so I can't stop now

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motherroam-rs · 2 months

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Sleep Deprivation

Relationship: Hunter x Reader

Summary: In the search for Omega, Hunter struggles to sleep and needs a push to get some rest.

Warnings/Tags: Sleep Deprivation, Angst, Comfort, uhhh I think that’s everything

Word Count: 1.2k

Notes: The first 3 episodes have me in a chokehold, I wanna see Hunter happy again - Here’s a super short angsty lil comfort fic for Hunter set just before the beginning of episode 2 🫶🫶 Apologies for any grammatical errors!

Every noise in the Marauder seemed louder with just the three of you in it. Any hum, beep, and sigh seems to be amplified, even Gonkys small movements seemed to echo through the empty space just as loud as Wreckers snores.

Though, it’s not the only change. The ship seems too big now, and it’s hard to remember a time where it was so over-occupied that you would all fight over who got to sleep in a bunk for the night, and who had to use a sleep mat on the floor. Durasteel walls that previously made you all feel like fish packed together in a can, now seemed to stretch out impossibly, making it seem that you were planets away from the ships other two occupants.

Currently you’re sat in the co-pilot chair, preoccupied with your glitchy datapad, attempting to send an encrypted message to Echo for any updates from the clone network. You’re biting down on a sigh at how you wished Tech were here to fix it for you when Wrecker nudges your foot with his own.

You look up, puzzled at the man but your silent question is answered by the attempted jerk of his head. Behind you both sits Hunter, staring abysmally at the control board of flashing lights with his fist tightened around a horn from Roland Durand. The lights cast a harsh shadow on his features and your lips can’t help but work themselves into a frown at the dark circles beneath his eyes.

It had been well over 24 hours since he last slept.

Glitchy datapad now abandoned, you give a quick nod in thanks to Wrecker, before leaving the cockpit to approach Hunter. His chair doesn’t turn, and despite his enhanced senses and the lack of noise in the ship to cover your steps in any way, he gives no indication that he’s heard you. You follow his line of sight to both Tech’s goggles and Lula, both of the items bringing a pain to your chest.

“Hunter?” You press your hand to his armored shoulder, and he finally turns to look at you, slightly startled and you can’t even recall a time that you’ve ever caught him so off guard. Now that he’s facing you, the exhaustion is evident in more than just the dark circles under his eyes, his body seems to slump against the support of the chair in some sort of emotional defeat.

He’s been running himself into the ground over the last few days in pursuit of the Pyke needed in order to get the lead you had all been after, but at least you and Wrecker still managed to somewhat take care of your basic needs of sleep and rations.

Before you can speak, he turns back towards the controls, as if sensing what you were going to say about the neglect to his sleep schedule.

“Tech made this all seem… easy.” Gloved hands gesture to the console of flashing lights, his throat bobbing with a dry swallow as he shakes his head. “All of it takes me twice as long as it took him.”

Hunters hand pinches the bridge of his nose, the same way he does when he has an oncoming headache and your hand presses to the unarmoured section between his shoulder and neck, an area that is usually covered by his scarf. At the touch, his eyes close and lips part with a soft release of breath.

He needs to sleep.

“Come to bed, Hunter.” The whisper echoes through the too-quiet ship, amplified like every other noise, and for a moment it looks like he’s going to refuse. He doesn’t speak, but gives a slight nod of his head, and brushes your hand away to stand and begin removing his armor as he follows you on the way to your shared bunk.

After so long of racing to be the first one on the Marauder after a mission to secure your own bunk for a night, there was some sad irony in the fact that you now couldn’t sleep alone. Following the loss of Tech, and the painful absences of Omega and Echo, all attempts to adjust to the atmosphere of loneliness on the ship were almost painful.

At the start, you think you barely managed a standard 8 hours across 3 full day cycles, let alone in one night, and your restlessness didn’t go unnoticed by Hunter, who had probably slept even less than you. On the fourth night of staring at the ceiling and trying to muffle your quiet crying in the too-silent ship, he had abandoned his bunk beneath you and climbed into your own. His arms allowed you the comfort of not grieving alone that night, and almost every night since.

At some point, it delved into more than simply finding comfort in each other so you could both sleep, sending you far enough past the line of friends for Wrecker to tease you both in an attempt to lighten the heavy atmosphere in the Marauder.

Now only wearing the lower half of his blacks, Hunter lifts himself into the shared top bunk, and offers you a hand up, immediately pulling you into him once you’re safely up. In the small confines of the bunk, you’re entirely pressed to his firm body, yet he still holds you tightly against his bare chest as if fearing you’d slip away the moment his eyes closed.

He’s pulled the thin blanket over you both, but with the heat of his body it’s more than enough to keep you warm. “We’ll get her back.” You murmur against Hunters chest in assurance as one of his hands pulls your leg across his own, entangling the two of you together.

You feel his hand twitch against you, “It’s been a long time, and we still don’t know where she is, the only lead we can get right now is by handing over a Pyke to the Durand family.” His voice is heavy with exhaustion and you crane your neck up, lifting yourself from his chest to place your hand on his stubble covered jaw, forcing him to look at you.

“We’ll get her back, Hunter, but you need to sleep.” You lean in to press a kiss to the lips that seem to have set themselves into an ever present frown since that day on Ord Mantell.

Hunters hand presses to your face to mirror your own, his other arm tightening around your waist protectively as he kisses you back. Even when you pull away and rest your head back on his chest, his fingers continue to trace slow patterns on your waist, still refusing to let you go as he gives in to his tiredness.

You wait for his breathing to slow, ensuring he’s asleep before you allow yourself to close your eyes and follow him. In the night, you dream of living together in a house on Pabu, where the only echoing noise is Omegas laugh, where there are no empty spaces to make you feel lonely, and where Hunter can finally rest.

#the bad batch season 3 #the bad batch #bad batch season 3 spoilers #bad batch hunter #tbb hunter #bad batch hunter x reader #hunter tbb x reader #angst with a happy ending

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wlwcatalogue · 3 months

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Chinese GL Webseries & Shorts for the Wuxia-Uninclined

Have you ever wanted to venture into the world of Chinese GL webseries and short films, only to find yourself at a loss about where to begin, or intimidated by the unfamiliar tropes and terms of the wuxia genre?

Well, worry no more! Here's a selection of non-wuxia webseries and short films curated by yours truly. Now you too can enjoy the lavish costumes and location shoots of these Chinese productions, so rarely seen in F/F works outside of feature films and the occasional TV series~

By the way, these are all translated and subbed by the inimitable Douqi (@douqi7s), whose immense contribution to the English-language baihe fandom is surely in breach of anti-monopoly laws. Offer up your thanks at her Tumblr and Twitter!

At-a-glance list

Webseries:

Ye-Mu Season 2 (1 hr 20m total, 2023) - standalone

The Vampires (41m total, 2022)

Ye-Mu Season 1 (27m total, 2022) - standalone

The Lost World (1hr 5m total, 2023)

Short films - order corresponding to the pictures above:

A Tale of Yearning (5 mins, 2022)

"She Brought Colour Into My World" (2.5 mins, 2023)

"I'm Her Weapon" (3 mins, 2022)

Miss Shen and the Woman Warlord (6 mins, 2023)

Women's Script (5 mins, 2023)

The Caged Canary (5 mins, 2023)

The Beauty of the Law (6 mins, 2023)

Flowers Bloom; Flowers Wither (9 mins, 2022)

Commentary under the cut!

FYI, I've opted to link directly to the subtitled versions since they're probably more difficult to find than regular anime, TV series, movies etc. If a link is broken, please refer to Douqi's blog directly.

Important note for the uninitiated:

It’s a bit difficult to talk about canonicity in relation to live-action works made in the PRC, as things which would normally be used as evidence of canonicity all fall under the censorship regulations— explicit references to romantic relationships or queerness, declarations of love, kissing etc. are all off the table. So while these may not look canon in the most traditional sense, they are intended to be read as such and should certainly not be dismissed as queerbaiting or yuribait. Also, the creators can get very imaginative, so this is less of a problem than you may think – see the entries on Ye-Mu Season 2 and The Lost World in particular!

1. Ye-Mu Season 2 / 叶穆 2 (32 episodes / 1hr 20m total, 2023, dir. Zhang Zhiwei) - MyDramaList

(Note: Despite the name, Ye-Mu Season 2 is completely unrelated to the first season; the only thing the two share is the cast, crew, and focus on Penthouse-style melodrama.)

Determined to take revenge for her mother's death, Xu Baiqing (Sheng Wei) marries a wealthy and much older businessman in the hope of finding evidence to put him behind bars. But first she must assuage the suspicions of his cheerily hostile second daughter, moody youngest son, and estranged eldest daughter (Ye-Mu Zhixia, played by Wang Laoji), the latter of whom Xu Baiqing dated in university and who is currently seething at the sight of her former girlfriend marrying her father...

If you want to get a sense of the potential breadth of Chinese GL webseries, this is a pretty good place to start. It does a decent job of matching the tone and presentation of a melodrama you might catch on TV (and in fact looks higher-budget than some I can think of), while committing to something that can’t be done on TV yet— namely, featuring an F/F exes-to-stepmother storyline and delivering on the drama inherent in such a premise. Of particular note is how the framing and behaviour of Ye-Mu Zhixia is very much consistent with that of a male romantic lead; thanks to some clever writing, it’s basically impossible to deny the nature of her relationship with the main character. They don’t even lean on the plausible deniability afforded by the label of “friendship”— in fact, in an early scene she is incensed when the protagonist refers to her as “[her] only friend”. There are a few caveats – the main character ends up in a lot of scrapes that her ex-girlfriend has to save her from, the reveals are often rather unsurprising, and the story shifts more to a mystery focus around halfway – but it’s still worth checking out if a Korean-style melodrama with an F/F take on a romantic storyline sounds appealing.

(CW: violence, murder, attempted sexual assault)

Note: See The Lost World (below), from the same creative team, for an even more impressive example of Chinese GL pushing the limits of censorship.

Links: MEGA / Internet Archive (compilation)

2. The Vampires / 吸血鬼鬼盲盒 (7 episodes / 41m total, 2022, dir. Zhang Zhiwei) - MyDramaList

(Note: Spoilers for the first 15 minutes or so, because otherwise the summary would be “They end up locked inside with the monsters on board”, which wouldn’t tell you much more than the title already does)

Every night, Tianyue (Ye Miao/夜喵) has been having dreams about the mysterious cruise ship docked at the pier. Convinced that there is treasure hidden inside, she and her exorcist-cultivator girlfriend Xiao Ling (Wei Miao/微渺) sneak on board only to find that they are trapped there until the sun comes up. Things don’t seem too bad at first: although they run into two vampires – the cute, cheeky Xingming (Yang Fuyu) and her elegant mistress Su Tanya (Sheng Wei) – they are able to call a truce, on the condition that the humans help search the ship for the latter’s beloved (Fu Cha, played by Wang Laoji). But when Fu Cha wakes up without her memories, it is clear that something is terribly wrong, and that the ship and its inhabitants harbour more secrets than expected.

For a webseries, The Vampires takes a while to get started— it’s a bit difficult to tell what kind of story or indeed what kind of tone it’s going for just based on the somewhat campy and comedic first section. But after that wobbly beginning, it manages to pull itself together to tell a compelling – and sometimes genuinely tense – tale about a motley band of humans and vampires, and the truths they have to face together. While the ending is no happily-ever-after, I found it satisfying and hopeful, and surprisingly affecting. Also, a bunch of the characters have real polyam energy, and this is reflected in the narrative beyond mere flirting!

(CW: abusive parents)

Links - MEGA / Internet Archive (compilation) / YouTube (compilation)

3. Ye-Mu Season 1 / 叶穆 (12 episodes / 27m total, 2022, dir. Zhang Zhiwei) - MyDramaList

(Note: Ye-Mu Seasons 1 and 2 are standalone stories; each season is entirely self-contained and the second season is not a continuation of the first.)

The head of the Ye-Mu family has died, leaving the next generation to squabble over the inheritance. It's a web of secrets, lies, and hidden resentments, as the characters dig out old grievances and fresh accusations in a desperate attempt to one-up each other. They're tangled up together to an almost incestuous degree, and indeed, the F/F subtext here is the ambiguous relationship between eldest daughter Ye-Mu Nanzhu (Sheng Wei) and second daughter Ye-Mu Nanmo (Wang Laoji) (rest assured that they are at least not biologically related).

Those who prefer darker stories and don't mind the pseudo-incest or other content warnings will find a melodrama which makes good use of its short runtime to deliver on twists, turns, and an explosive - if tragic - conclusion. That being said, the story is about the family drama in general, so do note that while the relationship between Nanzhu and Nanmo is narratively important, it is not fleshed out in great detail and certainly not the focus of the series.

(CW: suicide, ableist trope (spoiler – disabled character turns out to have been faking it), ableist language)

Links - MEGA / Internet Archive (compilation)

4. The Lost World / 夏夜知道风的甜 (1hr 5m total, 2023, dir. Zhang Zhiwei) - MyDramaList

(Note: Spoilers for the purpose of flagging triggering content, as it’s particularly easy to trip into for this show. Also, some vague spoilers for later episodes in order to highlight in order to highlight the themes etc.)

This webseries feels like two shows smushed into one: apart from the very beginning, the first half is a gritty, bullying-focused take on university life, while the second is a true-blue romantic comedy (aside from one blip – see the note below for details). But even if you’re wary of the bullying, I would still recommend watching the back half – which is basically standalone – as it’s a very funny and heartfelt story about two childhood friends finally getting their act together. Without further ado, here’s two blurbs!

From episode 1 onwards: After saving a classmate from the class bully, popular college student Xia Huaichu (Yang Fuyu) is subjected to a lengthy harassment campaign by the latter. She is suddenly faced with having to protect her reputation in the face of false allegations and fake nudes– despite the fact that all she wants to do is focus on reconciling with another classmate, a high school best friend whom she had previously lost touch with (Mu Qingfeng, played by Wang Laoji). From episode 14 onwards: Childhood friends Xia Huaichu (Yang Fuyu) and Mu Qingfeng (Wang Laoji) are caught in a weird gay purgatory where each has feelings for the other, and suspects that the other has feelings for them too. But both are exceedingly stubborn and want the other one to take the initiative in confessing, leading to ridiculous displays of I-don’t-care-isms and lots and lots of UST. (Does anybody use that term anymore??)

As you may have guessed, I’m not too keen on the first part of this show, nor the decidedly unnecessary attempted rape segment, though that’s partly on me for not checking the content warnings beforehand. And yet I’m very glad to have stuck with it, because the second half is not only hilarious, but also a masterclass in censorship-dodging that needs to be seen to be believed. Not just in terms of the suggestive scenes, of which there are many, either— the story is literally about two women starting a relationship and having to reckon with parental disapproval, homophobia, and other obstacles which platonic friends wouldn’t have to deal with. I honestly don’t know how this ever got approved, and can only applaud. Bravo.

Note: For those who want to avoid the triggering content, I’d recommend starting at episode 14, but make sure to skip episodes 19 and 20 as there is a foiled rape attempt.

(CW for entire series: bullying (incl. violence, fake nudes), sexual harassment, attempted sexual assault, fatphobic language, homophobia

CW for episodes 14-24: attempted sexual assault in episodes 19-20, homophobia)

Links - MEGA / Dropbox

SHORT FILMS

Quick note: Click on the English titles for the subtitled versions, and the Chinese titles (which are really just the video titles) for the originals. And yes, although the majority of these are shampoo commercials, they really do hold up as short films in their own right. Give them a try, you might be surprised!

A Tale of Yearning / 一见误终生，不见终生误 (5 mins, 2022, dir. Liu Yun Rui/流云蕊) – A bittersweet story about a literature-minded young woman (Sheng Wei) and a Chinese opera performer (Ai Ye) who bond over their love of fiction, only to be torn apart by harsh reality. Tragic ending, but I liked the more literary turn of the dialogue. Shampoo ad. (CW: homophobia)

“She Brought Colour Into My World” / “她走后，我的世界又失去了颜色” (2.5 mins, 2023, dir. Zou Hui Qu Le/走回去了) – A very restrained short film (actually, more like a music video) set during the late Qing era, wherein a sheltered young woman (Xiao Yu Za/小宇咂) falls for her female neighbour, recently returned from studying abroad (Sheng Wei). Lovely use of music and visuals to create a dreamlike atmosphere. Tragic ending. Not a shampoo ad.

“I’m Her Weapon” / 我是你手里的一把刀 (3 mins, 2022, dir. Liu Yun Rui/流云蕊) – A moody, interior piece about an assassin (Ai Ye) who yearns for some sign of affection from her handler (Sheng Wei), only to be left devastated by her new assignment. Surprisingly not a shampoo ad.

Miss Shen and the Woman Warlord / 我们是孤独行走的钟，但也要做敲响希望的钟 (6 mins, 2023, dir. Liu Yun Rui/流云蕊) – I’d like to describe this as being inspired by the story of Mai Jia’s novel The Message and the aesthetics of Kawashima Yoshiko (1990), but most Tumblr users would probably find those references deeply unhelpful. Basically, a female spy (Sheng Wei) disguises herself as a male soldier and infiltrates the mansion of a Republican warlord. There, she meets the warlord’s daughter (Ai Ye), who quickly realises that there is more to the promising young officer than meets the eye. Shampoo ad.

Women’s Script / 纵使“科考”无女子，无碍红袖书香，星辰有光 (5 mins, 2023, dir. Liu Yun Rui/流云蕊) – While sailing down a river, a girl (Zhi Chun He/至春禾) catches sight of a woman writing poetry on the riverbank (Sheng Wei), and is fascinated by both her beauty and her flaunting of the rules against women’s literacy. Shampoo ad. (CW: domestic violence)

The Caged Canary / 如果这是一场骗局，那我也只愿意输给你 (5 mins, 2023, dir. Liu Yun Rui/流云蕊) – The protagonist (Ai Ye) is sent by her parents to beguile a wealthy young man into marriage, but ends up developing feelings for his modern-woman sister (Sheng Wei) instead. Shampoo ad. (CW: attempted sexual assault)

Flowers Bloom; Flowers Wither / 她们一个被铁链禁锢，一个被男装束缚，直到救赎彼此 (9 mins, 2022, dir. Qian Li Min/千里明) – Takes the romance between a cross-dressing noblewoman (Du Ruo/杜若) and her supposedly-mad stepmother (Rou Lian Cheng/肉脸橙) to tell a story about the restrictions placed on women in historical times, and how resistance, even when futile, can still have meaning. Tragic ending, obviously. Not a shampoo ad. (CW: domestic violence, misogyny, accidental misgendering, gender dysphoria)

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justakidicarus · 3 months

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Alastor has something he fears.

With how modern media has been going, well written characters are harder to come by, so I am very pleased to see how Alastor is written in the season 1 finale of Hazbin Hotel. Admittedly I did not watch the episode in full, but two major scenes are what I want to talk about.

Adam vs Alastor, and what I want to call Alastor’s interlude (his verse in the final song).

During Alastor’s fight with Adam, Alastor has clear technical advantage, but Adam’s sheer firepower overpowers him. Everyone has probably seen the “What just happened?? … Fuck.” Moment. Now most writers would write another character coming in for a save, or in the context of Hazbin a regular sinner would keep fighting.

Alastor is not your average sinner.

He accepts his defeat and slinks away before Adam can land the finishing blow. This is actually a massive thing no one really talks about, the fact that instead of staying to fight Alastor acknowledged when he was bested and left to fight another day. He is a fucking smart guy but this moment, when he chooses to lose rather than die, is super important to his character, and becomes clear in Alastor’s interlude.

Alastor is terrified of dying.

And I really do mean terrified.

Throughout the song you can hear the emotion in his voice (holy shit did Amir Talai do a good job). His facial expressions are panicked, especially during the line “died for his friends” and the close up at “The constraints of my deal surely have a back door,” that line in particular really capturing the picture of panic and terror. When he first speaks of dying, he looks more angry, but the rest of the verse he just looks terrified. Even if he may be a sinner and thus, has already experienced death, it remains his greatest fear as evident by his reaction to nearly meeting it.

Which makes sense when you look at the context of his death.

Alastor was shot in the head while occupied with burying a body in a hunting reserve. A gunshot to the brain is a quick and near instant way to die, especially since he likely wasn’t aware of the hunter and gun. To him, he heard a loud bang and was suddenly in hell. He has never experienced death properly because he didn’t even have a moment to process that his time was up until he was in the afterlife. Even in the afterlife, as a sinner he can’t permanently die, the only way possible is being killed by angelic weapons.

Weapons like what Adam wields.

Most people believe that Alastor retreated when his staff broke because he couldn’t fight without it, but I actually believe it’s because he realised that Adam could actually kill him. For the first time in his entire life, and afterlife, Alastor was faced with the possibility that he would die. For good.

And he was terrified of it.

He fled not because he couldn’t continue to fight, but because he was scared of fighting Adam and running the suddenly very real risk of dying, but hiding it as best he could. This is obviously made easier by his constantly smiling mouth (which I don’t think he can stop doing if you look at the stitched from his deal with Charlie) but there are a few signs. He loses control of his power such as his left eye and shadow. His ears tilt back as he’s getting up, a sign of distress in animals, and when he first gets up he looks around alert despite knowing the threat is in front of him, classic prey animal behaviour. Not to mention there’s almost 10 seconds where he doesn’t get up and is just on the ground with his face obscured while Vox gives his declaration. These behaviours could be pain related, he does have internal and external bleeding from Adam’s attack after all, or it could be fear based. Still, his interlude leads me to believe it’s a mix instead of solely the former.

Finally his sudden dedication to finding a loophole in his deal with his unknown contractor (I’m hesitant to say Lilith but idk).

From what I can gather by his actions surrounding the hotel and his strange dedication to Charlie and the hotel’s wellbeing, I’m inclined the believe his deal centers around protecting Charlie and the hotel. A deal he now desperately wants out of. It’s no secret that Alastor hates being on a leash (Husker found that out the hard way) but how the fuck did he even end up on one in the first place if he hates it so much?

Simple, he didn’t see it as a bad idea at the time. That or he could have died without it but we don’t know that yet

If what he got in return was a good deal of power or something else he coveted, why wouldn’t he take the deal to play secret bodyguard and watcher for the princess of hell, one of the most well guarded people in hell, and her lofty idea that ultimately will fail and likely gain no traction at all? It’s practically free power.

And then Charlie starts pissing off all of heaven. And dragging her father and whole host of powerful and dangerous beings into her charade.

Now this is becoming a bad idea he can’t back out from.

And then he almost dies.

Why would the try to escape his deal? Alastor values his life above all else and his greatest fear that I think he now knows about, is the fear of death itself, a suddenly very real risk with the people Charlie, the person he’s forced to protect, is angering. Alastor wants out because of that sheer human thing that is the fear of death.

That’s why it’s such great writing.

Alastor is scared of death and that is what makes him human.

It’s a part of his character he can overcome or fall victim to, something that makes his character relatable and 3D rather than a distant mask. It’s something that makes him human, and that’s especially important in a character that was once just that.

No matter where Alastor’s character goes in the future, if he overcomes this fear and is somehow redeemed (plausible in the way the show is going), or if he is a villain for a future season brewing in the shadows, still driven by this fear that is so central to his actions (again, plausible with how the show is so far, he still had a villain moment after all even if it was a humanising one), Alastor’s character has actually gained so much depth, and all from one little scene sharing one shard of humanity he has left.

#hazbin hotel #hazbin alastor #hazbin spoilers #Hazbin deep dive #alastor #holy shit have I been analysing Alastor from this one scene #I just love proper character writing and as cool as Alastor has been I’m glad he has a fear

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ofoceansandtombsanew · 1 year

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Tohru Honda: a Subversion of Shoujo’s Nice Girl Trope

Fruits Basket absolutely nails subverting your expectations of character tropes in anime.

Momiji is introduced as the cute childish boy but boom we are slapped with the fact that he a mother who hated him so much she had her memories wiped of him. Shigure right off the bat looks like the typical perverted uncle of anime when in reality he is one the most manipulative characters in the series. Ayame is the flamboyant, boisterous one whose bravado hides his regret and desire to repent for his past neglect of his younger brother. Which ultimately brings me to the protagonist of Furuba itself, Tohru Honda.

I'll make it no secret that I have a huge soft spot for Fruits Basket as a series. It was the first manga I read, I watched the 2001 series and I was right on the hype train when I saw it was getting a remake that would follow the manga storyline. But I did my best to be as objective as possible in this essay of sorts saying why I believe Tohru is a great example of subverting the "Nice Girl Protagonist" of Shoujo. Tohru is the protagonist of Fruits Basket and when it comes to those who don't like her, it seems she can be hit or miss due to the assumption that she is perfect.

The general consensus of those who do not like her or find her bland compared to the rest of the cast is that Tohru is a perfect and bland protagonist with no issues of her own. That all she does is wave her healing wand of warm smiles and makes everything better for those around her.

However, that opinion couldn't be more misguided. In reality, Tohru is just as emotionally broken as the Sohmas and they mend her heart just as much as she mends theirs. As such, I hope to show those who find her bland or otherwise boring that there is more substance to Tohru's character than they believe.

At first glance, Tohru does seems like your typical Shoujo protagonist. She's nice, almost to a fault. She would rather talk her way out of a situation instead of throwing hands, she doesn't get mad in situations other typically would, and she has a hard time asking for help. Oh and with a dash of anime originality, she's an orphan. However even as early as episode 1, you can see hints that Tohru is not going to be the usual nice girl protagonist with her desire to work and be as independent as possible. The mangaka does a great job throughout the series showing with hints and broad examples that Tohru is just as complex as the colorful cast around her.

Ironically enough though, when hints of Tohru's trauma are sprinkled throughout the series it is seen as annoying even when the Furuba takes time to give insight into why she does the things she does.

She mentions her mother constantly in anecdotes of whimsical stories or snippets of wisdom her mother imparted her with.

Compared to the death of parents to other anime protagonists, Tohru's situation is a bit more unique. Tohru's father may have died when she was young but the same cannot be said for her mother, Kyoko, who died fairly recently. When the series begins, Kyoko has only been dead for a few months and it is more than apparent as early as episode 1 that Tohru is desperate to keep any semblance of her mother's existence alive. Kyoko died before Tohru's first year of high school even ended and worse, was told in the middle of class. Tohru has had barely any time to heal from this loss and it is evident in how she talks to her mother's photo.

Yes, in Japanese culture, it may be typical to have photos of departed family members, making a shrine for them and leaving offerings from time to time. But Tohru takes this to a completely different level, showcasing how deep her trauma runs.

When she is digging frantically to take out her mother's photo after the landslide destroyed her tent, she cries "She can't breathe in there. She's in pain." And that's just episode one.

Nobody completely over the death of their parent would speak like this, referring to a photo as a living person. She lost her mother and she didn't even get a chance to say goodbye, even feeling guilt to an extent about the situation. Tohru didn't wake up to tell her mother that she would see her later. There is no way that simply getting up to tell her mother goodbye would have changed the outcome of her fate, but Tohru still feels that way. That it didn't matter if she had tests or work or the next day, the one she should have put first was her mother.

Anyone who has or is currently experiencing the grief of losing a loved one has likely done the same. Wondering if, if the situation was anything other than illness or old age, there was something they could have done. Things they should have said or could have said differently. What more could they have done to help and the feeling is all consuming. Even if it is unprompted, they somehow will manage to insert their lost family or friend into a conversation that didn't include them or may randomly begin talking about them. A lot of the time, these people don't even realize that they're doing it which is shown in season 2 with Tohru when Hiro asks her why she talks about her mother so much.

She is too positive.

Tohru's positivity is one of the most easily seen aspects of her character. Where others might see the glass half-empty, Tohru sees it as half-full. Her positivity is even noted upon by characters within the show, Saki (Hanajima) mentioning that she doesn't believe she could personally smile like that so soon after the death of a loved one.

Tohru doesn't like thinking about her problems. She doesn't like expressing her sadness. She doesn't want to worry those around her when they likely have their own problems to worry about. Saki predicts that this ability Tohru has to act this way is because she would scold herself if she ever showed a hint of sadness. And Saki was right because we see Tohru later on doing exactly that, crying but forcing herself to try and smile and scolding herself for not keeping it together.

Rather than let Yuki comfort her when she is in tears, she smiles and completely changes the topic even though tears are coming down her face.Tohru tells Kyo that she needs a minute to get herself together because breaking down in tears in front of him wasn't what she planned. She was supposed to smile when she saw him again.

Tohru would rather pretend everything is fine even when she is seconds away from falling apart because toxic positivity is something she struggles with.

No one can be that positive all the time, not even Tohru.

Tohru has a hard time asking others for help.

Yes, Tohru is kind-hearted by nature but she genuinely does believe that she could burden those she troubles for help. Considering how her maternal side of the family wanted nothing to do with her and her paternal side of the family talks poorly about her, it isn't difficult to see where that frame of thinking came to be. When her mother died, her paternal side of the family didn't argue over who wanted to take Tohru in, they argued over who should take Tohru in and that is an important distinction. Even more so the fact, they had these arguments in front of her. When it was finally settled that she should live with her grandfather and that was uprooted due to upcoming renovations, it makes sense that she would rather be homeless in a tent than bother her friends who don't have the space to provide for an additional person even if that.

In Tohru's mind, it was shown very clearly by her family that she is a burden. She's an extra mouth to feed and an unwanted mouth at that, as her family never holds back in disparaging Kyoko even if Tohru is present.

As such, when Tohru is in a situation where she has no other choice than to accept their help, she believes she should be extremely grateful. They're taking their time to help her when they easily could have done otherwise, so why should she want more? Why should she complain? If she has any desires, she pushes it down because of that belief because she feels awful and that she shouldn't want for more when people are already going out of their way to help an extra mouth to feed. Because of this mentality cultivated by the bulk of her paternal relatives mistreatment, she will seldom voice her wants.

She never gets angry or upset.

To say Tohru never gets angry or close to physical in her reactions is far from the truth. Tohru gets angry when the issue impacts those that she cares about.

Tohru can tolerate being mistreated but she will always draw the line at the abuse being directed to someone else. When she first meets Akito and she sees Yuki's clear discomfort and fear, she pushes Akito away from him immediately. When she witnesses Momiji being punched by Akito, she immediately steps in and places herself in front of Momiji to physically shield him. When Rin tells her not to meddle with the curse and involve herself, Tohru, without cruelty, shoots back that she will absolutely meddle and involve herself because she refuses to lose the people she cares about to someone who has clearly been abusing them emotionally and physically for years. Tohru's tolerance for mistreatment has a limit, she is just unfortunately not included in that limit. So when we finally see her get angry in a scenario that includes herselfー when Kyo tries to run away because he feels he doesn't deserve her love, it's incredible.

There is so much more to Tohru than meets the eye. Tohu's reaction to Yuki getting a cold isn't just Tohru overreacting for the sake of being a nice girl, it's because her father died from a cold he brushed off and that cold turned into a fatal illness. For Tohru, colds aren't something that can just be brushed away because what if it turns into something worse.

Tohru would rather wear clothes until they practically fall apart than buy new clothes because she knows that she can't just spend her money haphazardly. But when it came to Valentine's Day and wanting to express her gratitude for those who cared about her, she had no problem dropping an entire check to purchase the ingredients to make enough chocolate for everyone.

She disregards herself and the efforts she puts forward. When she feels she has failed in helping Arisa, she specifically says "everyone around me has always helped me and when it is my turn to do the same, I can't." These aren't problems she overcomes herself by simply "smiling through the pain" as some who discredit her argue. Tohru is repeatedly loved and helped by those around her who care for her and opens herself up to receive that love and help over time. She is taught by her grandfather and Sohmas that is okay for her to be selfish and ask for things.

Her friends teach her that she helps them so much and that in reality they feel like they are never there to help her when she needs it.Her friends get upset that the same amount of money she would spend on them, she wouldn't spend on herself.

She is told that the way she villainized Katsuya after his death because doesn't make her dirty or a bad person because she was a child that was scared to lose her mother. That her fear and desperation to make her mother acknowledge her was understandable. That mimicking her father in her attempt to draw her mother's attention probably helped more than she realized.

Tohru is not just a "Nice Shoujo Girl" Protagonist, she is a girl with trauma who would rather focus on the issues someone else has than look to her own.

Like I said before, this isn't me trying to get Tohrus haters to like her. People are entitled to like and dislike whichever characters they please, but it is a complete disservice to Natsuki Takaya's writing to say Tohru is bland and has no struggles of her own. Tohru has many problems and struggles she has to deal with throughout the series and seeing those issues she overcomes being brushed aside as her being perfect and having no problems is a complete oversight. As such, I just simply wanted to peel back Tohru's layers and showcase that just as characters such as Momiji, Shigure and Ayame are more than the tropes they are introduced as, Tohru is as well.

[i wrote this on reddit too]

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astronomodome · 3 months

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What’s Up With Those Title Cards, Anyway: An Analysis

Now that Mumbo’s second episode is out I find myself thinking about these title cards again. And as much as I realize that they’re meant to be a fun nod to previous Hermitcraft seasons and Mumbo’s place in them, the items included and the context of their presence raise a whole lot of questions for me.

First of all, these aren’t blocks, they’re real items. Many of them don’t even have equivalents in the world of Minecraft (or even in Hermitcraft). Think about that. Are the blocky forms that we see on screen mere representations of a larger, more high-resolution world? A world with stickers and stamps and keys? A world where a ticket to Hermitcraft is a physical object you can hold in your hand? This certainly seems to imply so.

What is the context for these items? Where are they? Where are we? The stylistic choice was made to have them sort of resting on a solid-colored background. The selection of items makes me feel as though this is a representation of a desk of some kind, items important enough to Mumbo for him to keep around, lots of paperwork and stuff that you might find in a private office drawer. Which just raises even more questions. How does Mumbo keep these items from season to season? Where are they right now? Do they actually exist at all? (Not to mention smaller timeline questions. When did Mumbo receive the Grumbot message? When was it sent? Does the Grumbot left in Season 7 have a different consciousness than the one in Season 9, which last saw its dads only a month or two ago?)

If you follow the Rendog school of Hermitcraft lore, I guess you could say they’re kept on the Hermetheus along with all the other season-to-season holdovers and souvenirs. But that is one interpretation of many, canon to Rendog but never really canonized on a server-wide scale. Plus… if we take that interpretation in its entirety, how do the items from season 8 even exist, given that their entire world was canonically a simulation?

I also notice the relationship between the real world and the Minecraft world, the distinction between Mumbo the youtuber and Mumbo the block man. The ‘Official Rich List’ certificate mentions a ‘screenshot of a Minecraft chest’, implying that whoever wrote this certificate knows what Minecraft is from an outside perspective and finds Minecraft diamonds to be meaningless as a measure of wealth. And yet the certificate is addressed to one Mumbo K. Jumbo. The middle initial, having its origin in a highly in-character storyline during season 8, makes me feel like it could be more of a character Mumbo thing, but there’s no hard evidence.

How does Mumbo even have a picture of real-life Grian? Is this redstone incident report out-of-universe too? Who is he reporting this damage to, anyway?

And yet these are placed alongside items that are definitely from inside the world of Hermitcraft, if only the more fleshed-out version of it. A key to a mechanical car-horse would be functionless unless it was actually used, in-universe, by Mumbo the character. The ODEA manual was an idea considered but rejected by Mumbo during Season 7 in favor of tutorial videos, but perhaps this would make sense as an alternative for a world where the characters live in their Minecraft world as reality and have no capability to access the ODEA website.

Perhaps, in Mumbo’s view, there is little distinction between what we in the fandom call c!Mumbo and cc!Mumbo. We see both in-universe and out-of-universe items side-by-side, contradictory, because they are interchangeable here.

I doubt we’ll ever get any answers to these questions because obviously Mumbo made these title cards as fun little references instead of serious or purposeful lore, but I still think it’s fun to think about. Neat little worldbuilding details like this are few and far between in most mcyt content so I was foaming at the mouth when I first saw these. Well done Mumbo!

#hermitcraft #hermitblr #astro speaks #mumbo jumbo

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kindestegg · 1 year

Text

Putting together a timeline for the Collector's backstory

Hi!! For the Future just happened!! It was insane!! Anyway as a Collector superfan, fantasy worldbuilding fanatic, and also Collector's actual chosen dad (real, not fake, he revealed this to me in a dream /j), I decided to try and interpret the crumbs we got both from direct and indirect clues in the new episode, as well as tying back to earlier episodes.

I want to start first with the paintings on the Archive halls, which seem to tell a story. I chose to interpret them, from the first shot we see them in, as chronological from left to right, as that usually tends to be how one would read things (at least in the west, don't worry, I haven't forgotten about manga and all that, but I don't think the crew was following manga rules).

Here is a picture of the hallway I am using for reference. This specific shot seems to only have unique paintings aligning (there is an animation quirk that happens later on that makes it not so but I will get to this later), which is why I have elected to extract the timeline from this. Another reason is that, as we will see, the first three pictures definitely seem to fit in a neat chronological order, which would make it hard to doubt the placement of these paintings as being chronological here.

The first seems to depict our Collector, as the smaller one of his species, and three, bigger collectors. For convenience's sake I am in fact choosing to interpret these paintings as being things that happened to him and part of his memories. It makes sense: there is an emphasis on this smaller figure several times throughout the paintings and I cannot think why Collector would put random pictures of some other child collector's life, as well as we have to imagine the crew wanted to tell a story with these, otherwise they would be as random as the sun and moon paintings on the other side of the hall.

So it seems in this first picture, the bigger collectors, perhaps his family, are observing a planet, maybe even the planet the world of the Demon Realm is on.

Here is where I take a detour to add excerpts from the book Collector had King read to him (I should eventually make an analysis post on why Collector wanted this read to him, but all in its due time):

As the book states, collectors, by nature, observe things and then collect them by keeping them in stasis.

Going back to the painting, all indicates that this would show these particular collectors, likely the family of our younger Collector, were interested in the planet the Boiling Isles is on, and this painting depicts the first stage of their plan, observing this planet.

As a quick aside, I would like to say it is likely collectors do know what families are, and they may even form familial bonds and hierarchies. One such nod to this is of course Collector calling Odalia "Mamadalia", but also, this:

It is barely visible, but in a few quick shots you can see the next page of the book. Not only does it seem to use the words "interdimensional" and "dimension(s)", likely referring to the nature of collectors themselves or their residence, but it also uses the word "Family".

So, to recap, three adult collectors, likely our Collector's family, had their sights set on the planet the Boiling Isles is on.

And one of their first contacts was the Titan Trappers.

We now know that despite the resemblance to titans at first glance, titan trappers only wear their skulls and pelts to look like them, making the hunt easier, as well as to, I imagine, indicate pride in their spoils. The indication we have this is not a titan is primarily the spear utilized here, the fact the fur does not match the rest of the body, and the yellow glowing eyes.

I will discuss this further down through showing evidence with the other paintings, but there seems to be a recurring theme in the paintings that depicts the trappers and collectors as always having yellow eyes, whereas the titans are depicted with red eyes.

As Lilith explains further on, books found in the archive detail that a titan's power can actually cancel out the collectors' powers.

She also goes on to say that this why Collector's predecessors (her words not mine) wiped out all the titans.

If such is the case, then that explains why they chose to ally themselves with the trappers. It's likely they needed an intermediator, otherwise they would have not been able to fight the titans full on. In exchange, they likely shared whatever arcane knowledge they could to help in the fights, powering up the trappers.

This would line up perfectly with the trappers' worship of their Grand Huntsman, who as we all know, derives from the Collector and his entire species in aesthetic and looks.

As for why they did not want to risk peaceful contact with the titans besides the reason of their powers being able to be canceled out by titans, there is also the crossed out passage in the book:

Though our Collector declares he tried to "fix" it, we can still clearly see what was originally written, implying that any creature who attempts to stop their work shall meet a deadly end, and maybe even the entire planet will have all of its life wiped out.

So it is likely the titans were not fond of the collectors attempting to collect things in their planet, and fought back, causing the collectors to learn firsthand of their weakness to a titan's power, and to then ally themselves with the trappers.

Which, leads again, to the second painting, depicting two collectors in front of a trapper. The taller one, which I assume is part of our Collector's family, is trying on a skull.

By their side, I will assume is our Collector, due to the smaller stature, and something curious about the body language placed here for him seems to indicate he is examining the skull before putting it on. This could indicate he had an interest on the titans from early on. This will be important later.

As a quick addendum before we move on, I have come to conclude it's highly likely collectors have the ability to change size. In the first painting, the three adults are larger than the entire planet, with our Collector being only a bit smaller than the planet itself. However, in this second painting, the adult is not even as tall as the trapper depicted here, which, if we assume trappers are common witches and demons simply adorned with pelts and skulls just like the modern ones, were not as giant. Similarly, Collector is also way smaller, hence the theory that they change size.

We have seen our Collector possibly changing sizes in canon as well, both in the Owl Beast dream as their hooded figure form seemed massive, and then when they have just broken out of their prison. It's possible collectors scale down their massive size to fit whatever planet they are on.

Next is the third painting, which depicts a familiar scene...

Indeed, this seems to be an almost one to one recreation of the mural we see in Echoes of the Past inside King's castle. We even receive some extra content to it: We now know the titan depicted here had wing like structures on their arms, as well as was protecting an egg, and was accompanied by a smaller, likely juvenile titan.

Notice also how they both have red eyes, but the trapper has yellow eyes.

This all but confirms that the mural is depicting a trapper smithing a titan (whether it is our Titan we do not know for sure), and that the collectors had a hand in this.

Moving on, we have this painting:

Again, going out of the assumption the smaller figure is our Collector, he seems to be approached by four other adult collectors. These collectors however, are slightly different than three he was earlier with: first of all there are four of them, they have no split faces, and their hats are adorned with celestial bodies on their tips. For the sake of convenience I will refer to these as "The Elders", as their difference from our Collector's supposed family, as well as possible authority denoted by their hats, makes me think they are older and more powerful than our Collector's family.

Anyway, The Elders appear to be satisfied with our Collector, one even extending an open palm to them in a friendly gesture. I confess my interpretation of this is more speculative than the other paintings, simply because of the vagueness of it and how it does not seem to tie well into any other pictures or current lore we have.

But my current understanding is that, since one of The Elders is making such a gesture at Collector, they are maybe giving something to them, offering an opportunity. Their authority would certainly denote power above even Collector and his family, so they would likely be able to call the shots in their hierarchy.

Due to this, and considering the next paintings, I have elected to interpret this as The Elders entrusting Collector full control of watching over and collecting things from the planet he and his family had their eyes on. If this happens chronologically after the deal with the trappers as well, this could indicate the Elders have deemed it safe for our Collector to take over.

It also would explain why he calls himself The Collector, he's the designated collector for that planet, the caretaker of this planet and the one meant to observe and collect from it.

Which makes this next painting all the more interesting.

Collector, is surrounded by what seems to be four baby titans. They have their arms up, reaching for him, running to him. Playing. His expression also indicates happiness, eyes wide, hands on his chin, a little smile.

Recall for a moment that in the painting depicting the first contact with the trappers, our Collector had stopped to examine the titan skull. He was interested in them, he wanted to play.

This would align with Collector's "fixing" of the book, going to the lengths of desecrating what is likely an ancient book that dictates/documents the entire culture of his species to ensure his message of playing and friendship is more important.

If we take this painting and the book addition in conjunction, we can come to the conclusion Collector, once left alone, went out of his way to befriend and play with whatever titan babies were left out there. He was likely happy with this, as nothing about this picture indicates a struggle. And once again, these are definitely titan babies due to their eyes being red.

One may be concerned considering the fact the stars here could indicate they are in space, but there are a few counter arguments to this: Collector does not seem to imagine someone could suffocate in space as he suggests people on the moon could just hold their breaths, so this contradicts the idea he would have had experience with this.

The baby titans also seem to have playful body language rather than showing any anguish. And furthermore, when discussing the painting with my boyfriend he pointed out the blue waves could be an abstraction of the shoreline, indicating they were playing on the beach. In short, it is just the simplest explanation this depicts a peaceful scene rather than one with the babies suffocating, as it would not align with the rest of the story here.

There is also the matter of Collector straight up denouncing "the others", which we can only assume refers to the other collectors. It's no wonder he would feel that way, since they were the reason for his new friends' families being all but wiped out, and were less interested in playing with the creatures they observed and rather only preserving them.

Which only makes the present of the Isles and the state of titans and collectors all the more worrying, as well as concerns us with a last, pretty elusive painting...

This is what I meant by animation quirk: Getting a picture of this painting was so hard because it's the very last one in the timeline line up I showed you in that first screenshot, but when the camera zooms in on King and he runs up to get Hooty and we SHOULD get a proper look at it...

... It's pushed back again and the last two paintings get repeated. Which makes me think this is either an animation error, or they REALLY want to make it hard for us to get it.

BUT! After a bunch of rewatches and looking at some slowed down clips again, I was finally able to find the ONE place it repeated, on the scene where Belos!Raine is walking down the halls ominously.

And it is quite the revelation.

This depicts three adult collectors, likely our Collector's parents, staring down menacingly at a titan... perhaps THE Titan this time? It's worth noting this is not the same titan depicted in the painting with the trapper hunting down one that was protecting their egg, as that one had smaller wings and a skull that covered their entire jaw, whereas this one's skull only goes to the muzzle, just like King's does.

Something interesting is that this titan is accompanied either by other very weird looking titans, or these are other creatures that inhabited the Boiling Isles at the time and were also casualties in the collectors' path.

There is also fire surrounding this picture, which makes me think again of the "clear the earth, scorch the air" verse. It's also odd these collectors are approaching the titan(s) despite the fact titan magic could easily push them back, so it could be that they are betting it all on this and going on to cause massive destruction. But the titan seems to be holding up a hand as if gesturing for them to stop, or wait... they're not fighting back like with the trappers. Why?

Well, if this takes place after the painting with Collector playing the baby titans, it's possible these titans had become accustomed to our Collector and did not expect such an attack. It's likely they may have at first understood that this Collector was a child, one that was more interested in playing and befriending them rather than hurting anyone, and cautiously took them in.

Now, whether it was a misunderstanding with Collector's family thinking they were in danger or they were angered by their refusal to hurt titans... we know how the story ends. The titans were all wiped out, safe for King's egg, and Collector was sealed away by King's dad, likely one of the last things he'd ever do.

Overall I think our Collector's backstory is both horrifying and sad. Horrifying because of what his species is capable of, but also sad because despite his efforts to make peace with the titans, it couldn't save them and cost him his freedom. It's no wonder he was so happy to see a titan again, and latched onto King: this is like his second chance.

#the owl house #toh spoilers #toh analysis #toh theory #toh collector #the collector #toh titan #Commander's orders

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