#I LOVE. IDENTITY AND ALLEGORY FOR IDENTITY. AND LITERALIZED METAPHOR.
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anyway more es. ARE U GETTING. THAT ALTMODE MIGHT BE.... allegoric. of things......
[ID: Transformers Earthspark clip of Jawbreaker interviewing Elita-one on a camcorder. There's scanline and recording ui affects. Jawbreaker is a young terran transformer with squat preportions in his protoform (white, grey, and blue, non discript body). Elita is a large cybertronian transformer with a pink SUV alt mode, clear car parts like wheels, headlights, and grill visible on her robot mode body.
full transcribe below
Camera over JB's shoulder, looking at a city skyline with the sun behind it.
JB: It's so... pretty.
Camera whips to Elita as she speaks: This whole planet is. I... like to end my work outs by reminding myself what I'm trying to protect.
JB graps the camera and turns it around, setting it up: I want to keep it safe too. [Sad, comtemplates the camera] But how can I do that without an alt mode.
He sets down the camera and we exit the camcorder view. The camera is very small in his hands
Elita sitting behind, twisting to look at him: Kid, you don't need an alt mode to do that.
JB: But, I'm a transformer. I'm suppose to transform!
Elita gives a breathed laugh/huff: Jawbreaker, lemme let you in on a little secret, hmm?
She tap the space next to where shes sitting on a shipping container. We see in camcorder mode the profile shot JB set up, he walks over and sits. We exit camcorder mode, and see JB and Elita from head on.
Elita: Scanning your alt mode isn't some kind of magic. There's a special compotent inside of you, [hand to her chest] Inside every bot, called the T-cog. It's what lets us change shape.
JB points to his chest with his one large finger. Speaking deliberately: The T-cog. Wow... [normal speech] Oh! But I'm not cybertronian. How do you know I... have one?
Elita, prompting: Some of your terran siblings have changed form, right?
JB: But what if I'm... [voice break] different?
Elita, looks toward the city: You know it took me forever to find an earth alt mode too? Nothing I saw ever felt right. So I waited. I waited, and waited, and waited.
JB: And then?!
Elita, turns to JB, points to her chest again: My spark, told me what was right.
JB: BUT- [somber] what if I'm broken or something? When I look at- cars. I feel nothing.
Elita puts a hand on JB's shoulder: Then maybe... you weren't meant to be a vehicle.
JB, suprised/awed: You can scan other things?
Elita: Almost anything you want. It's up to you.
JB: Thanks, Elita.
#some shit#its not called cisformers#crying crying crying#myyyy boy my baby baby boy#I CERTAINLY. think u can read this in a lot of way.#but the first time i was so focused on JBs mannerism and ways of interacting with the world i was like. right.#my stardard non vehicle alt disability and aneurotypical reading#BUT then im like. WAIT. its kinda like shes giving him 'the talk' isnt it?????#this is a part of your body you have and its special and its yours and you dont need to rush. youll know when its right#JBHJFJH DFJ#I LOVE. IDENTITY AND ALLEGORY FOR IDENTITY. AND LITERALIZED METAPHOR.#AND CHARACTERS GETTING TO TALK ABOUT THEIR FEEEEELINGS#jbbbbbbb u make meeeee cryyyyyy
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1: Magic is a Metaphor < 2: Morgana is a Lesbian < 3: Merlin is Gay < 4: Arthur is Bi
Do you remember when you were bullied in middle school? Because if you're reading this, I think it's fair to assume that you were. And your parents would say to you, 'that boy is just being mean to you because he likes you'. That's what this is.
Arthur is just so repressed. He has really bad daddy issues, and he doesn't know how to express his emotions, and he's really uncomfortable with physical intimacy, especially with other men, especially with Merlin. And this isn't me trying to psychoanalyse away his heterosexuality. It is a very evident part of his character.
And another big part of his character is that he has inherited all of these bigoted ideas about magic from his father that he has to work to overcome. Because, of course, Arthur himself is born of magic, but his dad is so ashamed of it that he hides the true circumstances of his birth from Arthur. Honestly, I don't know exactly how that would fit into this whole metaphor. I do have a half-formed theory that it could be interpreted as an allegory for intersex identity, I know that a lot of people headcanon Arthur as trans, so idk there could be something there. But regardless, it is only through his relationship with Merlin that he is able to overcome this magicphobia, because he realises: how could it be wrong when everything about Merlin is so right. And I just feel like there's a metaphor in there somewhere.
Of course, I have to mention this iconic quote from the audio commentary of the final episode: when the executive producer refers to Arthur taking off his royal seal to give back to Guinevere as passing over "the last vestige of his heterosexu- oh sorry, I mean his marriage." So, they knew exactly what they were doing.
I also thought I would just draw your attention to the fact that at one point Arthur says, "I only care about my men, they're more than friends, more than brothers." Now, I think we can all agree that out of context, that is a very gay thing to say, and yet somehow the context is even gayer, because Arthur is pretending to be talking about the Knights of the Round Table, but he's actually talking about Merlin, how Merlin is the only person he cares about, more than a friend. And then Merlin responds, "I understand. I wish I didn't, but I do." It's barely subtext at that point. This of course, brings me to my final argument:
Arthur risked his life to save Merlin at least eight times. It could be more than that, I genuinely lost count. And you have to keep in mind that Arthur is the King of Camelot and he doesn't have any heirs. It is quite important that he stays alive. And yet anytime that Merlin is in the slightest bit of danger, he will just drop everything to protect him.
And it's really only in those moments where he's faced with the thought of losing Merlin that he shows him genuine emotion. Such as in this scene (which was cut out of 4x02 purely because it was too gay) where Arthur is planning to sacrifice himself to protect Merlin, again, and he gives Merlin his mother's sigil, the only thing he has left of his dead mum and he wants Merlin to have it as something to remember him by. Also, apparently in medieval times giving someone your family crest was basically a marriage proposal, so that's pretty gay.
You know what else is pretty gay? Telepathically communicating with Merlin and then immediately leaving Gwen in the middle of an active war. This is literally the last time that Arthur and Gwen ever see each other. Poor Gwen.
In conclusion, Merlin is the story of gay sorcerers and bisexual knights getting into love triangles. Everyone in this show is queer and you cannot tell me otherwise.
#because I realise this is the first post you'll see on the dash: this is all taken directly from a tiktok I made over a year ago#my thoughts on this point especially have developed a bit since then. and this is written for a more entry-level tiktok audience#so it's very lukewarm takes to my fellow soldiers in the trenches#but I'm not expecting this to get much notice and idc/idk how to articulate my thoughts better so just take it for what it is#arthur pendragon#merthur#bbc merlin#merlin#merlin meta#the magic of metaphor
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Crowley the Fallen Angel is genuinely one of the best metaphors/allegories for being a transgender person that I have ever seen in media. (Or: an attempt at a Good Omens meta post borne from a rant over the phone earlier with a friend, and hopes that my ramblings make sense.)
He started off happy, innocent, naive; thinking only the best for himself and the world, creating the stars and reveling in it. His identity was a servant of the Lord; the Starmaker. Making beautiful things, as his own Creations. Being happy, and being carefree; happy, and innocent, and so painfully naive, not knowing what the world would truly offer.
And then, he was brought with the realization (through Aziraphale, a constant to each time Crowley sheds his skin) that nothing he knew about himself or his Creations was true. It was all a farce, something unreal. Something unsustainable. His happiness, his innocence, his naivete; it all came crashing down around him, just as his stars would in only six thousand years.
The Starmaker was not the Starmaker. He had no identity; it was lost to him. He did not know who he was.
And so he questioned. He questioned, and for that, he was rejected. He questioned, and for that, he was tossed into the pits of Hell, simply for questioning (that we know of, of course; unreliable narrator and all that, but for the sake of the metaphor, the Starmaker questioned, and the Starmaker became Crawley, the Fallen Angel, the demon, the Serpent of Eden). He questioned, and was, literally, demonized.
Crawley the demon. Was that who he was, now? It was certainly who he tried to be. He tried to fit the label of demon, evil, Hell, bad; crawl on your belly and grovel, for all the days of your life. He was no longer the Starmaker, but he could be the Serpent.
And yet through that, he met Aziraphale again. An angel, but not one who rejected him or his questions. One who was kind to him, who was understanding, at least to a degree that he himself did not fall into questioning. He was good, and he was kind, and he allowed Crawley to be himself. And so Crawley chose to be Crowley.
He gave himself an identity. He gave himself a name, and he shed his skin. He took the curse of Serpent, and made it his own; he took the Starmaker, and laid claim on those stars. He formed himself.
Over six thousand years, he and Aziraphale, the only one to accept him as Crowley even before he was Crowley, grew closer and closer, to the point that Crowley was so very close to understanding their love. Even in rough patches, when they worked together to stop Armageddon (when Crowley saved his stars through saving everything else; when Crowley once again became a Creator, because they could demonize him, but they could never make him a demon if he didn't want to be a demon, nor an angel if he didn't want to be an angel, because he was simply Crowley), they were always on Their Side. The fight at the bandstand had been temporary; Aziraphale was everything to Crowley, his new stars and his new apple, and Crowley, finally having broken free permanently from the shackles of Heaven and Hell, felt that he could finally feel. Truly and irrevocably feel, in a way that is terrifyingly wonderful.
And then, just when he had begun to get comfortable (just when he was finally starting to be happy again) Crowley was lurched right back to Before the Beginning, with the one he had trusted the most trying to stuff him back into the very first skin he had shed.
"We can be together. Angels, doing good. / Like the old times, but only better."
Aziraphale hadn't meant what he had said. Crowley knew Aziraphale, or so he had thought, and he knew that the angel did not actually want him to go back to being the Starmaker; to being who he was, that happy-go-lucky, innocent, naive angel. He knew, or thought he knew, that Aziraphale knew that 'the old times' had never been good for him, at all, not after he began to question. He was sure that Aziraphale hadn't meant it. He was sure that Aziraphale still loved him. Not an illusion of him. He was sure that Aziraphale loved Crowley, and not the Starmaker.
...But who was he to make such claims, when Aziraphale was standing in front of him pleading for him to become that angel again?
It's such a perfect trans experience allegory, because sometimes, even the closest of people will never see you for who you really are. And honestly? Sometimes, it's not even their faults. They've known you and loved you as one way for years and years and years, and it can be very difficult to let go of that other person -- that shed skin. But shed skin cannot be climbed back into and worn. It is shed for a reason; because it is gone, and dead, and buried. That can be difficult, and painful, but not as much as the one who is being forced back into it.
And it hurts, that those people don't see you for who you are, because they love you, but they don't love you.
And who are we to say that Crowley doesn't think that that's how Aziraphale views him... ?
#this is so so so incompreensible but so sos o important to me#good omens meta#meta post#good omens textpost#good omens trans#trans crowley#crowley good omens#trans allegory#aziraphale#good omens symbolism#neil gaimen
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I think it's predominantly the excitement of Monster High returning, but I wanna talk about "Growing Ghoulia" and "Spell the Beans" (especially since I've seen other people talking about the new episodes). Just a bunch of random points that I really appreciated. So, yes, this post will include spoilers for the episode "Growing Ghoulia" and "Spell the Beans" :)
All the new episodes this month have been wonderful so far, but I honestly really loved this one and "Spell the Beans" (but knowing me, the clankie episode tomorrow will likely come out on top <- pun intended. Don't be surprised if I post all about that one tomorrow too jhsjssjh).
No, but honestly, I appreciated the use of "allegory" (if you'd like to call it that) in regards to Ghoulia's need to top the horror roll. Ghoulia says, "it's hard for zombies to get points. We're not as fast as other monsters. I wanted to be the first zombie to be number one and show everyone they misjudged us."
Many could interpret it as disability allegory, or generally, any minority group that is prone to being judged solely on the basis of stereotype. And Draculaura pitches in with her own personal example. Due to her love of witchcraft (something that is shunned in monster society), she feels the need to prove herself as a means of "showcasing" that she is a responsible and kindhearted person amidst the act that she practices what society deems as a "filthy human habit".
In the episode "Spell the Beans", Draculaura states that she uses witchcraft to create, and that it is a fun hobby. Being a witch is her identity, and she wishes to prove to other monsters that witches can be good people. It is entirely dependent on what you use the powers for. Through these two episodes, we get to see Ghoulia and Draculaura's identities even more deeply, as well as the fact that they care so much about serving as pioneers (within the groups they identify with) towards a better, more accepting future. I imagine, even if kids aren't reading into the episodes as much as I am JJSJJ, that this underlying theme about identity and acceptance means a lot to so many people watching.
Also, can we talk about Ghoulia's reaction to Draculaura practicing witchcraft?? It's so wholesome! She's immediately like "that's so cool!" and then quickly realizes how unfair it is. Not because it's a "human" practice, but because of her goal in the episode: to be at the top of the horror roll. She is not bothered by Draculaura practicing witchcraft. As a matter of fact, she finds it very impressive and intriguing.
Also the visuals?!? Like, as a writer and filmmaker, the whole heart-to-heart scene with mid-falling, suspended tree leaves around them made me like "OMG CINEMATOGRAPHY", even though it's literally animated JSJSHJ. But still.
ALSO "Spell the Beans"!! With Dracula and Draculaura sitting with their backs to the tombstone. Like.... ooooo damn I love myself a good heart-to-heart scene, especially when the characters use the space in that way. There is so much that can be gathered through just their position during that scene. A sort of metaphorical (and literal) wall stands between them. It's a space where they can't exactly face one another, but can still engage in their conversation. LIKE OOF. FEELS.
And then of course, a definite highlight...
MONSTER HIGH CANONICALLY HAS AN LGBTQ+ CLUB!!
GUYS. MONTHS AGO I MADE A LIST OF G3 FRANKIE HEADCANONS AND ONE WAS THAT THEY ATTEND A QUEER CLUB BUT LIKE--
I DIDN'T THINK THEY'D ACTUALLY INCLUDE IT, BUT I AM SO HAPPY THEY DID!!
And they said "queer" too! Just like Twyla said "autism". I know it sounds small, but the writers (in order to avoid angry, homophobic parents) could easily have been like "this is the Ghoul Wraith Alliance, a place where people can celebrate identity". Sure, it would be sweet, but it would leave too much to the imagination. That is typically fun, but as a queer person myself, it is such a joy to hear these words being spoken aloud in children's media!! This made me so happy, and I have nothing but absolute respect for the Monster High team working on this show!
Nah, but overall, I'm so glad Monster High is back. They do such a great job not shying away from topics and communicating these topics in validating ways. Pumped for tomorrow's episodes (watch as I shit my pants at school, cause I'm gonna be there at 5 for theater production callbacks hehe).
#lol sorry this is a lot#and I didn't even really reach a conclusion#I just wanted to talk hehe#monster high#g3 monster high#monster high g3#gen 3 monster high#monster high gen 3#mh#growing ghoulia#monster high ghoulia#ghoulia yelps#draculaura#monster high draculaura#monster high episode
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Scrolling through ao3 and seeing that there’s a whopping 47 works in the ДМО fandom with the pairing Anton/Olezha only realise that every single one is in russian.
I feel like Putty when Kratkij told him that the contest has literally just ended.
I mean I don’t know what I expected really. (I mean not all of them are in Russian, two of them are in Chinese, but that I understand even less of). Is it feasible to learn yet another language just to read fanfiction (and consume the source material with a better understanding I guess).
Whatever, let me talk about the real reason behind this post.
Anton and Olezha’s past relationship.
1. Olezha is gay. (And this is not just a ‘fandom does what fandom does to sate their hunger’.) There is subtext, there are legitimate clues, it’s subtle but it’s there. Maybe they’ll settle on an allegory to further skirt past the censors. But Olezha is such a closeted homosexual.
The fact that his connection to Anton is apparently a complete secret, even after his death.
They were close, that much is very obvious. The scene at the gravestone solidified it. The question is really why it was such a secret. While it has an obvious answer of ‘Anton is the diplomator and it is to help keep that secret identity’. But if that was all there was to it wouldn’t it be simpler to pretend to be friends. If someone saw them together, to have a backstory.
There’s also some interesting metaphors on how Olezha has found himself hiding other parts of himself. Wanting to be an actor but having disapproving parents. Being taught knitting but only because his grandmother was teaching his sister.
In his life he has always tried to be perfect. Maybe because he was hiding a part of himself that no matter what would not go away, and maybe if he never acted out of line nobody would ever suspect him. Maybe if they found out if he was lucky they would overlook it since everything else about him is perfect.
I think Anton and Olezha left off on a bad note as well. The Christmas comic seemed to imply that. Which makes it all the more tragic as Anton never gets the opportunity to make amends. The gravestone scene was already quite the poignant one, and it’s heartbreaking considering what happened in episode 5.
There is a lot to say about this show, I have more thoughts but that would make this post very long.
Ah, it’s such a great show I love it. It always has such an underlying melancholy even in it’s more light hearted scenes. Also the voice acting! Especially during the gravestone scene, (I’m going to have to make an entirely separate rant for that scene/episode alone)
I can’t wait for the next season. (Which I hope will also be released on youtube, as it will be a bit of a nightmare to get access to for people outside of Russia otherwise)
#my student spirit#дух моей общаги#дмо#олежа душнов#антон и олежа#антон звездочкин#agh I do not know what the ship tag is#also I do not particularly like the fact that олежа’s name was translated to Elijah
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this is a little random BUT: imo Ed having Catholic guilt/religious trauma is basically canon. he has lines in s2 that point in that direction anyway (wanting a "cure" for his powers, etc. being a meta-human isn't a one-to-one allegory for any irl minority but in ED'S case it def reads like a queer metaphor), but in s3 he outright states he used to pray to try and get rid of his powers. there's no way the guy doesn't have baggage tied to (canonically, according to Greg) growing up Catholic
this is such an overdue answer of mine especially because at the time it was crazy i was literally drafting up a post the same week before u sent in the ask so i was originally going to try to answer immediately lol here’s a SS within a SS of it 😭😭😭
both times i didn’t finish my sentence is cause DC took me out before i had the chance omg
okay LOL but fr apologies for the delayed answer! this sounds a bit silly but i genuinely rlly like to always answer asks especially these ones which i find so interesting properly and that ends up with me just taking forever
back to the actual topic though:
I entirely agree !!! I think it’s incredibly reasonable to characterise Ed with catholic guilt exactly because of the outlined reasons. Him explicitly stating in Outsiders that he used to try to pray his powers away was just a little too on the spot for it to NOT be interpreted as an extension of religious baggage and growing up Catholic.
also totally agree with ur understanding of his S2 attitude!! Especially with the whole “meta-gene being an extension of minority” aspect because I feel like it only really shines as an allegory when it’s used in combination with real-world minority identity exploration/issues. Because these r the exact people who r very familiar with those type of struggles and complexes.
Eduardo starting off by being steadfast on wanting to have a cure for it as his immediate reaction to something that is clearly inseparable from one’s being, it reads all too easily as like u said a queer metaphor only in combination with what we know of his background and being gay. It’s a very natural way of story telling that people can interpret it as, so it rlly does make sense.
It’s also rlly cool that by S3 he says that “he used to”, he’s clearly done a lot of growth since S2 and having that extend to his catholic guilt and how he has overcome it to an extent during the time skip and being more at peace with himself and be happy for a change, we love that for him.
thank u for sharing ur thoughts with us <3 i love these type of discussions and analysis so much, especially when it ties so nicely together with his development
#YJ asks#eduardo dorado jr#el dorado#young justice#young justice invasion#young justice outsiders#yj
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I’m sure that you’re getting just an insane amount of hate for daring to be gender critical in a fandom space but I got to say it’s just lovely to see. It’s crazy the amount of hate appears when you even attempt to acknowledge some of mental gymnastics involved in trans cycles.
Tlt actually manages to do gender really well in my opinion: most of the time it doesn’t actually matter. Gender roles seem to have almost been completely eliminated from the culture of the houses, which is actually what most gender critical people want.
But of course people aren’t going to acknowledge that 99% of the stuff spread around Tumblr about ‘terfs’ is complete bullshit. They’re too busy saying JK Rowling is calling for the death of every trans woman.
Any way I hope you don’t let the hate get to you!
Thank you for the comments. I don’t let these people get to me. It honestly all just looks really bad on them.
I say it over and over; they do not seem to understand that in the real world, their views are the minority. They would know this if they actually talked to people…in REAL LIFE, and in a way that doesn’t automatically make people want to hide their actual thoughts and beliefs from them when they sense a red flag. Nobody wants to talk to these people honestly because they’re fucking snitches lol.
I’m a GNC, Butch, gay woman. But I’m not a fucking lunatic and so I can have discussions with people not in the LGBT community that are honest because I’m not going to jump down their throats for understanding that if you chop off a man’s dick, that doesn’t make him a woman. Add on top of that marketers who grab on to any new, hot thing without actually understanding it for the sake of pandering for profits, and you have a recipe for some very misinformed people.
So, they become very disillusioned about who actually agrees with them and who doesn’t.
I think the books do a great job of eliminating gender. Some other user seemed to be convinced that some of the characters are literally trans - which they aren’t - and seems very confused that I am capable of reading this book and saying “I understand how you can view Paul and Pyrrha as metaphors or allegories for trans identities.” And still enjoy it. Like, it’s an analysis. What is there to be mad about lol?
The irony is they’re trying to make a (fandom)space exclusive by attempting to remove me…because I advocate for spaces exclusive to women. Of course engaging in fandom is much less invasive than being in a change-room with a man. But, don’t expect them to see that kind of obvious logic.
Either way, it’s kinda funny.
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Agreed on ava’s vibes
not my main hc for her (tho honestly my main hc for her is just that regardless of gender identity she likes called beatrice’s boyfriend/girlfriend/husband, etc, as long as she’s being called beatrice’s, and she’s well, nonbinary, no other notes beyond that)
but i love hcing ava as a transmasc woman, simply because transmasc women & transfemme men are such underrated genders
and fuck, now i’m getting teary eyed over the thought of beattice getting to just getting to be and experience gender euphoria and/or contentment
beatrice handing out treats on halloween for the trick or treaters, some kid being like “thanks uh-“ and struggling as they try to guess how they’re supposed to gender bea
“thanks ma’am-sir? miss? mister?” beatrice impulsively shrugging for ? reason, the kid taking it as some sort of cue and finally settling on “thanks mister!” or “thanks mister-miss!” and beatrice can’t stop smiling for the rest of the night
also same hat on the autistic bit, will be sure to check out that fic soon, and also please do elaborate on the autistic beatrice thoughts 👀
i love how autistic vibes beatrice is, not just in the show but in many stuff by the fandom as well, my fav fics are the ones where the autistic beatrice vibes are ^1000
Also yeah, lilith is so nd, love how her story can be so easily read as a metaphor for autism
like lilith’s line about her mother “being unable to accept the reality of the woman in front of her”, sounds an awful lot like a convo between an autistic child & their ableist parent
lilith being successful but being rejected bc she isn’t fitting this unobtainable ideal (being the warrior nun/being neurotypical) that she’s literally died for
seeing & experiencing the world differently (being nd/lilith’s wraith vision), being obviously different from others (being nd/lilith being a demon), desperately trying and failing to repress those differences
but then accepting them making you better than ever (no longer trying to be neurotypical/lilith accepting the demon stuff)
and then aside from the obvious ways lilith’s arc can be read as an allegory, lilith’s whole 🧍♀️(menacingly) energy she has so often in the show
like girl obviously has absolutely no idea what to do with herself when she’s not being a menace and it shows
also i saw her dragging her nails and doing yhe nail clack thing on the walls of arc tech and then her noticing what she’s doing and being like 😧 as her subconsciously stimming and it bothering her because she’s used to, supposed to repress those behaviors, but then ever since she came back from the dead, she can’t do the repression anymore, in more ways/aspects than one, and stuff like her stimming & neurodivergency is one of em
like yeah ik she was 😧 about the demon claws ig, but no reason it can’t be both
i am kind of drawn to the idea that Ava expresses her gender in relation to things/people. like yes, absolutely - she is with Beatrice in any (every) capacity.
but also that she approaches gender as something nebulous and shifting and as complicated as dressing sometimes in really feminine clothes because for so long she basically wore a hospital gown so dressing up and having that experience of getting dressed up as a teenager, the weird giddiness of girls sharing their clothes and their accessories and going ‘ah shit, this does look better on you’ - *strips the shirt off and flings it across the room unceremoniously* & also sometimes Ava dressing in a shirt and a suit jacket and looking masc and handsome & really just existing as herself, orbiting gender elipitically so sometimes she’s closer or further away or curving dramatically thru space.
picking the male avatar in video games bc she likes the animation better. being just really drawn to long-haired Link in Breath of the Wild. like yeah, Ava’s relation to gender as ‘idk?’ but in a typically Ava way which is also somehow effortlessly compelling & honest & true.
tearing up at the image of Bea giving out halloween candy with Ava next to her going ‘make them sing a song’ but Beatrice just giving way too much to each person & complimenting their costumes and taking whatever form of address comes her way which - yes - varies wildly bc she’s rocking short hair & half the time comes to the door with the hood of her hoodie pulled up (by Ava, who is doing ‘hood surprise attacks’ in the spirit of halloween). the peacefulness of that image & gender as peaceful…
gender + autism being so good and Beatrice getting to escape from the rigours of social gendered-ness & just exist without being pressed into these various contortions of gender. something about authenticity and being as an act of radical self-love. also defiance.
oh yeah i def think that Lilith’s whole story is very neurodivergent-coded. it might be another ‘casper can’t write neurotypical’ but my ligaments Lilith is veeeery neurodivergent. doesn’t like touch as a general rule but likes it very much from specific people. the way she is just in general echoing so many autistic experiences.
the way that she occupies space inconsistently and uneasily. the very visible ‘signs of otherness’ in her demonic wings and the scales and i guess i’m thinking about masking and her inability to mask. she is consistently outside looking in, relegated to the borderlands of the narrative.
how i think in s1 she is so wonderfully alternating between this playfulness (lounging on the car outside the orphanage, her laughter when she and Mary are beating each other to hell, the way she interacts with Ava - 'it's a stick') and then her absolute intensity at other times. how revealing that is of the fact that there is a Lilith stacked underneath the mask-version she has so carefully construed to help her and keep her safe. what i am raised to be vs who i am.
how soft she is and how caring with those she loves, & i think how the narrative itself misunderstands her (deliberately) and how we gradually see that NOTHING she does is really selfish, but that she’s let down - so often - by those who are supposed to be her family, and because she masks so well her needs aren’t appreciated. i think ppl take care of Beatrice and Camila and they don’t take care of her in the same way. she ends up alone and isolated. she is tricked by people, used by people (Jillian, Adriel, Duretti)
this is a mess of thoughts but just how she is constructed, and how much it speaks to being an ill-fitting thing. not fully belonging in a world built for others and around their needs. how she clings to the first person to acknowledge her difference “you are something entirely new”. & her energy of i think very badly wanting to reach out and be SEEN but not knowing how, being overshadowed and forgotten and discarded.
how i think in a way she saw Beatrice as the Mary to her Shannon, what it must have been like to see that fall apart in front of her, to watch Beatrice go with Ava after the Vatican. to be finally divested of every hope she had for her life.
& i am always every day feral about Lilith’s background. i am always tempted to hc her as an only child - last scion of my house & so on - but also thinking that from the very beginning she is not living up to expectations. i do hc her as having some learning disabilities growing up, & her mother making her suffer for it, terribly. the convo they have sounds like an old wound being picked open.
Lilith growing up with not one person in her life ever believing in her, being sent to the slaughterhouse anyway. the expendable one - the one we shall not allow to have children. Lilith with cousins who share her name but not her fate. so she makes everything about the halo. trying to fit into this box (coffin) that has been built for her since birth. dying for it, and even that is not enough.
i really wish we could have seen Lilith grow to love and accept who she is. like yes, the fact that she is framed as liminal by the narrative, caught between two worlds, two sides of a conflict.
she is neither/or. her scales are spectres of inner difference, but they are also beautiful. Lilith learning that what she sees and feels and what she is - they’re all different but not bad or worse. Lilith using her demon sight to help the OCS. learning that she doesn’t need to be the halo-bearer (but also that she doesn’t need to be valuable. she just needs to exist).
Lilith being permitted to take up space and time and energy, instead of folding herself away to nothing. the teleportion as a metaphor for self-erasure, for masking and making oneself still and silent.
writing Lilith as neurodivergent (probably autistic +) is really beautiful because it opens up all of these possibilities for exploring what is gorgeous about neurodivergent existence, and what it means to unmask after YEARS of suffocating inside of a body that was controlled by the expectations of others. & let’s not forget that when you start stimming after not being allowed to for your entire life it DOES feel scary and it does make you uncomfortable because it sets off alarm bells and there are a million instances of people saying ‘stop it that’s annoying’ or ‘what is wrong with you’ & Lilith’s initial horror being THAT, too, but how eventually it will be okay and good and easy.
i just LOVE Lilith to pieces bc her whole story just aches but it’s also this incredibly difficult and worthwhile journey towards self-acceptance. & when you start to see HER slip through the cracks of the walls she’s put between herself and all of the things that have the potential to hurt her it’s just searingly beautiful and SHE is searingly beautiful and neurodivergence is poetic and fantastic and good.
anyway tysm for these thoughts. i rlly appreciate them.
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I love themes
THE THEMES! @sonicasura pointed out the disability angle for the little blue guy and I am in love.
Not only are their artificial parts a physical reminder of having lost their culture and part of their identity, as I originally thought, but also of straight-up having lost body parts! And now relying on artificial limbs.
I'm going to make this joke again:
*slaps Yinmin* this bad boy can fit so many metaphors in it.
Let me try to set the stage here: Knack and Yin both come from a civilization considered dead, and in Yin's case they have lost many of the parts that were originally designed for them. In order to revive them, the Team models new parts after Knack and chooses new colors to set them apart. I don't know whether Yin had already been active at one point or not. In any case they can feel like they're not themself, or like they were robbed of their identity due to being a recolored clone. Knack's appearance is as-intended, but Yin is somewhat broken. Or so Yin might think. Their limbs are not their own, but they need them to function. Even their eyebrows and ears, very important for expression, have been replaced.
I'm not sure whether they are literally disabled, since as far as I know they can do everything Knack can (though I haven't played the second game yet). But the allegory is there. Maybe working with imperfect parts could leave them fatigued?
Ironically, Yin has a leg-up in terms of uniqueness due to the new intrinsic colors - in my world, Knack and his kin are not made individually unique, sort of, but are based on eras. Yin is from a slightly older era than Knack. That's just a headcanon. But then so is everything else.
Yin might feel like their colors and appearance were imposed on them, along with their name. Knack is utterly enamored with the fact they exist and is just as excited to know them as Lucas was with Knack. But maybe Yin has conflicting feelings about Knack and sometimes harbors undue resentment.
So their character arc would predominantly deal with loss. Which would make them such a great fit in my story! grr...
Part of the resolution of their arc would be learning to view these artificial parts as, well, part of them. Maybe swapping them out for ones that look more natural, have different proportions, or that they like the look of and can choose. And they can choose a new name that feels more right to them. The past ever-informs the future, strides in science include archaeology, and this person has a family that loves them, right now.
#Ououghhh#discoknack (me)#sonicasura#I hope tagging you (in both senses of the word) is alright#text post#knack 2#knack 2 player 2#player 2#I dunno what to call this au.#Feeling Blue AU#shrug#Yinmin#knack knack#knack's kin#Alas I am not sure I can maintain more than one or two universes in my art. Yin would make quite the change. I'll think about it.#Anyone wants to pick them up then be my guest! They're basically just player 2 with added lore.
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yes i love to think of them as being terrified of each other! i also love taking it in a more gothic direction bc there is also an element of disgust and of revulsion in that fear, disgust with themselves (internalized homophobia arc😓😓) and with each other for what they do and what they don’t and i think it’s often impossible for them to view the other one removed from this plot that they have and this world that they’ve created and just as an individual, just as themselves in front of the other and i think that thought—just you and just me and who we are alone without the metaphors and allegories—it’s terrifying because then there’s a truth that needs to be confronted and that truth is the scariest thing of all
This is all literally so true and correct I love that you phrased it as gothic. This is why I like the idea of them in exile with only this horrifying truth between them and what could come from that. If you strip away Camelot, strip away rhians supposed identity, strip away these dreams that they've had since they were boys, what remains is scary because it's unknown to them. That's why I think that despite the unloyalty and the distrust they still really need each other because what they did have in the beginning was pure and trusting, and what they have now is better than the unknown opposite.
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whenever i’m having a bad day i remember that i’m getting to witness live the best slow-burn childhood friends to lovers gay ship to ever exist on television AND in my favorite genre AND the show literally revolves around this ship and allyship and queer people all together AND so much of the show is a metaphor/allegory for queerness and homophobia. like what the fuck i am so lucky to have such incredible, thought out representation right now. like i would love ST regardless of it having queer characters or not, that’s not why i started watching the show (i started bc of jancy) but having my favorite show (again, in my favorite genre) provide me with queer characters and stories is so validating. usually i have to watch shows that i would never watch otherwise just bc i know there are queer characters (and then they get cancelled) and i almost always like it regardless because of those characters, but sometimes i just don’t (first kill) and it sucks bc i feel guilty when it gets cancelled bc i should be supporting queer stories regardless of quality or genre. but i also shouldn’t feel that i have to support any show just because it’s the only place i can get adequate representation, y’know what i mean? so yeah, it’s really special that the show that i’ve loved since 2017 (before i even knew i was bi) has not only followed me into impending adulthood, but has grown with me and my identity. it feels so gratifying, and i am so grateful for this show and these characters. thank you duffer brothers for providing me with characters that truly make me feel safe and seen, and allowing them to grow with me. it means a lot.
#stranger things#i love this silly little science fiction coming of age show#will byers#byler#mike wheeler#robin buckley
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Charmed reboot fan: OG Charmed was a show about the every day woman living in the suburbs. Everything on OG Charmed was simple, help out the every day innocent in trouble that lives in your town. OG Charmed rarely got political except for The Source storyline and The Avatars.
The Halliwells lived in a seemingly high-end area of San Francisco. That doesn't seem very “suburb” to me.
As for “OG Charmed rarely got political”:
“It’s the 21st century. It’s the woman's job to save the day.” (S2E18 Chick Flick)
S2E2 Morality Bites has the main plot centered entirely around witches (a minority group) being persecuted by a powerful conservative white male politician, with 2009!Phoebe dying painfully and her execution being aired on live TV.
S1E13 From Fear to Eternity has Phoebe’s (temporary) female boss cheating on her husband, asking Phoebe to cover for her if her husband shows up or calls, and Phoebe refuses to do so.
S1E1 Something Wicca This Way Comes has Prue quitting her job at the museum because her ex-fiancé Roger screwed her over and took all the credit on her project for himself, while claiming he was doing her a favor. That same episode also has the sisters discovering their destiny and powers on their own and vanquishing their first serial killer warlock without any outside help (which is far more than can be said for the reboot).
S1E5 Dream Sorcerer outright has the antagonist be a white male incel stalking his victims and murdering women solely because they rejected him. The subplot has Piper and Phoebe realizing that love spells are essentially a magical form of roofies or date rape, and it’s unethical to have sex with someone who did not consent and was technically incapable of consenting.
S1E17 That 70s Episode has Nicholas the warlock posing as a cop to get close to Patty, and the scene where he attacks her in the hotel room definitely has sexual assault vibes, especially since he lured her there and she thought she was meeting Victor.
Matthew: “If it pleases you to look, look.”
Hannah: “I wasn’t looking... much.”
(He walks over to her.)
Matthew: “Why the false modesty? I, I don’t understand.”
Hannah: “Well, it’s a very complex issue these days. I mean, there’s political correctness, sexual harassment, um, don’t get me started.”
Matthew: “Hmm, what a strange time this is. So open, yet so closed. Where even a warlock feels shame.” (S1E9 The Witch Is Back)
S2E5 She’s a Man, Baby, a Man is an attempt at exploring gender identity during a time period when that wasn’t a topic that was often discussed on primetime TV dramas. Especially considering this was an Aaron Spelling production and his personal values were very much stuck back in the 1950s. YMMV on how well it was handled, but they tried.
S1E21 Love Hurts is all about a woman fleeing from an abusive/toxic relationship, using magic and Alec being a Darklighter as an allegory/metaphor.
S7E2 The Bare Witch Project literally has Phoebe-as-Lady-Godiva riding naked through the streets of San Francisco, which in itself is a heavily political statement. One episode also has Phoebe taking on a jerkass restaurant owner who tried to throw Piper out for breastfeeding her infant son in public.
S4E2 Charmed Again nearly has Paige kill a man she believed was abusing his son, only for it to be revealed that the wife was the child abuser.
S8E8 Battle of the Hexes is all about how society needs both men and women in equal positions of power to survive, not one over the other.
It’s very much not a coincidence that the Cleaners (played by white men) use Darryl (a black man and Inspector who has served as the sisters' friend in the San Francisco Police Department for years) as a scapegoat and very nearly have him executed in prison to cover up the Halliwells exposing magic, and then he refuses to help the sisters further after that. (S6E19 Crimes and Witch-Demeanors)
Prue, Piper, and Phoebe all eventually had high-paying jobs and successful careers, with Piper owning her own nightclub and at the end of the series finally opening up her own restaurant. That in itself is a political statement, especially for the time period. None of the reboot sisters can say as much, as Mel was forced to give up her job as a TA due to rewriting history and getting a job as a bartender, then being forced to give that up in S2 and essentially being in hiding for the whole season before somehow in S3 getting yet another job as a professor at a uni... which is promptly forgotten about over the course of the show. Maggie is a college student during the whole show (mostly), with a brief stint as manager of SafeSpace. Macy was a geneticist in S1 before, like her sisters, being forced to give up that job in S2 - S3 and their whole lives were taken over by their Charmed duties. And Kaela is an artist living out of a bus-turned-home when the Veras find her and make her a Charmed One.
Grams was a walking feminist-bordering-on-misandrist whenever she appeared, and there was much made about how wary she was over Wyatt being a male witch and very powerful according to the Twice-Blessed prophecy, when for 300 years all of the witches in the Warren line were female--to the point she initially refused to perform his Wiccaning ceremony.
There's much more, but this is what I can name off the top of my head.
The original Charmed was VERY political and feminist for its time, and I personally would argue that it still is. To say otherwise and that the reboot is more political makes me wonder if you even paid attention to the original show. The reboot is only more in-your-face and on-the-nose about it--and even then, the reboot has consistently shown that it is performatively feminist only. Furthermore, the original Charmed broke records as the longest-running hour-long female-led show in existence until it was surpassed by Desperate Housewives in 2012. The reboot definitely cannot say that, since it lasted only 5 episodes longer than Shannen Doherty’s tenure on the original (and we all know she left after season 3).
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I posted 6,296 times in 2022
That's 6,296 more posts than 2021!
35 posts created (1%)
6,261 posts reblogged (99%)
Blogs I reblogged the most:
@soloh
@fluent-in-lesbianism
@firebirdbs
@hotwenchesummer
@elderring
I tagged 1,874 of my posts in 2022
#aloto - 468 posts
#art - 211 posts
#mood - 72 posts
#did you mean me - 72 posts
#drawtectives - 68 posts
#aww - 60 posts
#gaming - 53 posts
#faves - 48 posts
#ffs - 44 posts
#the accuracy though - 43 posts
Longest Tag: 111 characters
#you get the feeling if one more thing went wrong for her thatd be it and shed be a serial arsonist or something
My Top Posts in 2022:
#5
I want to go get starbucks on my way to work tomorrow but we have a covidiots protest in town that I want to avoid with no way of knowing how far into town they'll spread
A protest is fine but last time it was literal abuse and torment of a city for multiple weeks and I'm so sick of their shittttt
3 notes - Posted August 22, 2022
#4
Chapters: 1/1
Fandom: A League of Their Own (TV 2022)
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Greta Gill/Carson Shaw
Characters: Greta Gill, Carson Shaw, Lupe García, Jess McCready, Beverly (A League of Their Own TV 2022)
Additional Tags: Drunk Greta, This is pure fluff, like seriously, Love Confession, Post-Canon
Summary:
As Carson took each of the pins out, as each of the meticulously placed curls fell around Greta’s shoulders, she could smell the shampoo she loved so much. The smell she would miss nuzzling her face into when she awoke over the next few months while they were sleeping separately. Before she shifted Greta’s position, she brushed the hair away from the back of her neck and laid several kisses just above her neckline.
------
The first night of the second season, Greta gets very drunk and Carson has to take her home. She battles a very touchy and flirty Greta to get her ready for bed, before being sworn to secrecy about her love.
8 notes - Posted November 8, 2022
#3
If A League Of Their Own doesn't get picked up for season 2 despite all the good vibes and good press and general *vague hand waving* internet storm it created in just the last week I'm straight up calling lesbophobia
50 notes - Posted August 20, 2022
#2
Is it just me or would Eugene Finch absolutely kill at the Met Gala
192 notes - Posted May 3, 2022
My #1 post of 2022
Thought Conrad came out of nowhere? He was hinted at in Episode 7…
TLDR: Julia is a symbolism genius, S02E07 is an allegory for the relationships and identities of the main characters.
Like many viewers, I thought Episode 7 (the episode with Villainius) was a fun ‘filler’ episode, until I realised that there must be more to the character design than just aesthetics. My theory is that the ‘God Punisher’ game is an allegory for the relationships between the main players in the Celestial Spear experience and confirmation of the identity of the ‘mastermind’ behind everything. I got as far as working out the metaphor before the finale but not the identity of the master mind so I’ll take this as a theory win!
Let’s start with Villainius.
Firstly, his helmet and shoulder pauldrons are very reminiscent of Felix’s/The Ticket Taker’s helmet. The main areas of interest here are the curves/horns and the one central eye.
Secondly, he is referred to as the protagonist’s ‘childhood best friend’, just like Felix is to Eugene.
Thirdly, he goes in between the protagonist and Liticus Guysus (more on him in a bit), just like Felix/TTT did between Eugene and Conrad.
Finally, his name is Villainius the God Punisher. Up to the final episode, we thought The Ticket Taker was the villain and we were told that his main job was to punish those who misbehaved during the experience.
Now on to Liticus Guysus. This one is a little bit tricky, but now knowing that Conrad was behind everything I can see there was a hint to his identity all along!
Liticus Guysus was the ‘evil’ advisor to Villainius, just as Conrad was instructing Felix/TTT. This gives us confirmation that to confirm the identity of the ‘mastermind’, we should have looked at Liticus Guysus.
Now I was thrown by the red gown/armour as I assumed this referred to Harvey’s waistcoat, however, Liticus Guysus clearly has four stars on the front of his gown/armour. Where else do we see those exact four stars in that arrangement? On the very front of Conrad’s uniform. Liticus Guysus’ helmet also follows very similar lines and angles to the front of Conrad’s uniform.
See the full post
268 notes - Posted August 3, 2022
Get your Tumblr 2022 Year in Review →
#tumblr2022#year in review#my 2022 tumblr year in review#your tumblr year in review#somehow nonw of this surprises me#like not at all
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[pretend there's a tea emoji here] vampires?
Oh baby I can talk about vampires forever! I love how vampires were constructed to be nobility that were, literally and metaphorically, draining the people they lorded over, often becoming a power struggle between the bourgeoisie VS the proletariat. The image of the classic rich, pretty, and ultimately strange vampire is so burned into the collective consciousness that the concept of the mysterious royal languishing in his bedchambers is pretty universal, but the more recent trope of the post-80s vampire is one I'm more interested in watching.
Vampires during the 80s-90s turned from strange recluse into mysterious queer - the polyamorous mess of The Hunger (1983), the friendly neighbours Jerry Dandrige and his servant Billy Cole in Fright Night (1985), the curious Michael Emerson and the alluring David Powers in The Lost Boys (1987), the overtly queer but toxic Lestat and Louis in Interview with the Vampire (1994). The new vampire didn't have to come from money, but they were older, more dominant, and held power over the main character, representing temptation and manipulation for them.
This is due in part to both modernisation, and the HIV/AIDs epidemic. Some directors wanted to show what eternal life would mean for the modern city-dweller - what one's sexuality would be, coupled with the inherent intimacy of feeding off another and what the bond between vampire & victim would be (albeit still only depicted via lingering eye contact and pinning each other to walls and wearing an awful amount of leather). Other directors and artists responded to the times - vampirism was coded as "a disease you contract only under specific circumstances" that was passed between "people who live in cities that go out late at night" as well as the lingering idea that vampires were seductors, able to use hypnotism to "lure in innocent minds" to be hurt or infected.
Horror is, perhaps unfortunately, a genre that can get away with representation because it can still be seen as evil. We can have characters of all types of backgrounds, sexuality, race, gender, and socioeconomic class, but the catch is always going to be either "this character is The Other and is therefore inherently evil" or "this character is an innocent that has been corrupted by The Other." The turning of the vampire into a gay allegory is one that, in many circumstances, makes me happy to see people like me on screen, but it has been used in so many ways to hurt us at the same time.
All in all, I think vampires have have come a long way, and I certainly enjoy the decentralisation of the rich vampire into a variety of identities and positions in power - they still represent a type of hierarchy over others that I think is an important thing to keep vampires a monstrous creature in cinema. They aren't my #1 monster but they sure are interesting as hell!
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I know I already made a post about the superhero thing, but I can't stop thinking about it, so I am going to elaborate on why I am so obsessed with it.
The thing about Nick is that he wears a mask. He's not himself around the other rugby players and popular kids at school. And I don't just mean in terms of his sexuality but in terms of who he is in a much broader sense. Nick at school is the cool, charming, rugby player that all the girls like. But the real Nick is soft and sweet and emotional. He's unsure of himself and still figuring out who he is and where he belongs (just like everyone is at that age). He likes to bake and he loves his mom and he's kind of a disaster.
I think the contrast between these two versions of Nick is easily seen in the difference between the scene where Imogen asks if he'll invite her to Harry's party, and the very next scene, where he chooses to invite Charlie to the party. With Imogen, he comes off relaxed and easy-going, the back and forth between them is very natural to him. This is a script he knows well, and one he's not particularly invested in. With Charlie, though, Nick is clearly nervous, and the whole thing is a bit awkward because of it. Nick actually really wants him at the party, actually wants to spend more time with him.
So, okay, what does any of this have to do with liking superhero media? Well, masks. Nick wears a metaphorical mask, and superheroes wear literal masks. One of the core aspects of superhero stories is the concept of a secret identity, of having to hide some aspect of who you are. It's ubiquitous within the genre, to the point that when superheroes don't struggle with that, it's a big deal (ie, Tony Stark's "I am Iron Man").
Not all superheroes with secret identities are intentional allegories, but some of them are. And even when the allegory is unintentional, the story can still resonate, can still speak to queer experiences of being closested and hiding ourselves. I love superheroes for exactly this reason. So Nick, someone who puts up a facade, who hides his true self, also liking superhero media (this is more evident in the graphic novels, but I think he does have some Marvel stuff in his room in the show), and further, the show deciding to have him read an article that mentions superhero media as something that is popular with queer people, is really an amazing detail.
It probably doesn't speak to all queer experiences. I'm sure not every gay person likes superheroes, and obviously plenty of straight people like them. But it definitely speaks to a queer experience. It speaks to my queer experience, and I'm sure I'm not alone in that. I just feel so incredibly seen by every aspect of Nick's journey.
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RWBY Roman Holiday Spoilers, and some basic explanations
It's actually kinda sad that out all of the reviews and readings I have seen for this book, especially at Youtube and other social media, just one person at Tumblr (besides me) has been able to point out correctly that the main theme of Neo's history, and therefore most of the symbolism, imagery, and metaphors spread through its entirety, is about the battle of the ego, super ego, and id. Even Lady Beat spells it out for the readers in one of the chapters, and it still went over most persons' heads. Neo's current emblem, the triskelion pins, the three criminal factions that gather at the Vanille mansion, the three Vanille family members, the three girls that bully Trivia in one of the early chapters of the story, obviously the neapolitan ice cream colors, Trivia/Neo's hair changing colors subconsciously ... the rule of three is all over the place. The book is an allegory of how Neo is trying to find balance between her three inner sides, to form an identity of her own. Not to mention be accepted and seen as an equal, and not be diminished, discriminated, nor belittled by others.
The tragedy of Neo's life is that out of all the persons that she met through her life, which most happened to be criminals in disguise anyway, just a very earnest, face to face, and pretentious low ranked thief like Roman didn't treat her like a freak nor as a tool, and valued her in everyway to the point of seeing her as his partner. Not as an asset nor sidekick (words that clearly piss off Neo). Her father made her sleep on top of explosives he was stealing from Xiong, hidden under her bedroom for years, plus kept her locked away mostly because he didn't want to go around paying ransoms in case one of his "business" moves with other criminals went wrong... which they did. And the reason he didn't hit Trivia wasn't actually out of love, rather due to not wanting to be reported for child abuse and have the police come over to his house, which could result in them finding the stolen Dust storage. While the mother was actually an intel spy working for the Spiders that just married Trivia's father to manipulate and get info out of him, which would help The Spiders take down Xiong and rule Vale's underworld and control the kingdom's Dust imports. Plus, the mother just wanted for her daughter to be brainwashed by Lady Beat into becoming an intel spy for the Spiders anyway. The Vanille marriage was a fake, an illusion, with Trivia/Neo's birth being the result of a war between two criminal syndicates trying to gain the upperhand over each other.
The point of the climax at the end, is that the father (Xiong's side), the mother (Spider's side), and Neo/Trivia (Roman's side) all in a way contribute to the big explosion. The father was the one who brought over Xiong and was illegally collecting Dust under Neo's bedroom, the mother was the one that brought the Spiders with their missile-armored bulkhead, and Neo tricked everyone with her illusions to trigger the explosion, which gave her and Roman a chance to survive the gangster war. It wasn't really that chaotic nor hard to follow once you realize the rule of three and pay attention to Neo's inner psychology and the physical imagery, which are purposely tied to each other... since the literal first chapter and paragraph of the book.
#rwby#roman holiday#roman torchwick#neopolitan#neo politan#rwby spoilers#rwby spoiler tag#roman holiday spoilers#trivia vanille
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