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hiraganasakura · 3 months

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Hi so me being me I've decided to hyperanalyze the conversation Qrow and Raven had in Higanbana practically line by line bcus I have Many Thoughts and this is the best way I can think of to get them all out. If you can't tell I'm absolutely obsessed with these two. Btw.

Thanks to the RWBY wiki for providing transcripts for every episode, otherwise I definitely would have missed smth despite having just watched this scene recently lol

I put it under the read more for easier scrolling due to how long this post got!

I immediately noticed smth in the very first lines of the interaction:

Raven: "Hello, brother." Qrow: "...Raven."

You'll notice throughout the whole conversation that Raven never calls Qrow by his name, only condescendingly referring to him as "brother" this one time and never calling him anything else. Meanwhile, Qrow directly refers to Raven a total of three times throughout the conversation, and only one doesn't call Raven by her name (which we'll get to shortly)

On the other hand, Qrow doesn't bother with even so much as a greeting beyond simply stating Raven's name

It's different ways of communicating their distance. While Raven holds her relationship with Qrow over his head — never once, even outside of this scene, does she call him "brother" with affection iirc, only derision and condescension — Qrow doesn't seem to rly know how to greet her. He hesitates before saying her name and approaching her, as if trying to assess the situation before acting

Qrow: "So, what do you want?" Raven: "A girl can't just catch up with her family?" Qrow: "She can, but you're not. Now how 'bout we get on with it? Unless you plan on keeping these [drinks] comin'."

Again, Raven seems to bring up her familial ties with Qrow as a tactic to get him to do what she wants — in this case, stick around to talk to her despite him not seeming to rly want to. Frankly, it feels manipulative. We're gonna put a pin in this for now and come back to it in just a moment

Additionally, Qrow already knows that Raven's not just here for a friendly chat between two siblings, and sees right thru her facade that it is. Raven is here bcus she wants smth from him. But interestingly, it is Raven in V5 that says, in an almost frustrated/disappointed tone, "Family. Only coming around when they need something." There's another pin; keep both in mind

Raven: "Does she have it?" Qrow: "...Did you know Yang lost her arm?" Raven: "That's not—" Qrow: "Rhetorical question, I know you know. It's just obnoxious that you'd bring up family and then carry on like your own daughter doesn't exist." Raven: "I saved her." Qrow: "Once. Because that was your rule, right? Real 'Mom of the Year' material, sis."

Qrow dodges Raven's question about the Relic and instead brings up her hypocrisy in how she treats family. And it's a good point. Here she is lording her siblingship with Qrow over his head while simultaneously defending and upholding her rule that she is only obligated to help her own daughter a single time. Another pinpoint on our little conspiracy board

Also, here's the one time in this conversation Qrow refers to Raven as "sis". Like Raven's use of "brother", Qrow's use of "sis" is very pointed and with intent. But it's not to manipulate Raven, it's a snarky jab meant to rly hammer home Qrow's point

Raven: "I told you Beacon would fall, and it did. I told you Ozpin would fail, and he has. Now you tell me. Does. Salem. Have it?" Qrow: "I thought you weren't interested in all of that." Raven: "I just want to know what we are up against." Qrow: "And which 'we' are you referring to?"

A few things of note here. At some point in the past, Raven expressed an outright disinterest in Ozpin's inner circle, at least to Qrow. Qrow also feels excluded in the "we" Raven mentions being against Salem. To me, there seems to be a distinct possibility here that it wasn't that Raven felt personally disinterested in Ozpin's operations, but that she somehow felt excluded and feigned a lack of interest in order to protect herself. An idea that is further supported in my eyes by the following dialogue:

Qrow: "You should come back, Raven. The only way we'd beat her is by working together. All of us." Raven: "You're the one who left. The tribe raised us, and you turned your back on them." Qrow: "They were killers and thieves." Raven: "They were your family." Qrow: "You have a very skewed perception of that word."

And there it is. Raven's problem is laid out here for us, loud and clear: She feels like she was the one abandoned, not the one running away. She says it outright! "You're the one who left." To her, Qrow is the traitor, the one who left their family behind. If you ask Qrow (or, for that matter, Tai, Yang, and even Summer based on the scene in V9), it's the opposite

Bcus they have different definitions of family

Another thing to pin (I promise this will all become clear soon)

Raven: "I lead our people now. And as leader, I will do everything in my power to ensure our survival." Qrow: "I saw. The people of Shion saw, too." Raven: "The weak die. The strong live. Those are the rules." Qrow: "Well, you've certainly got someone strong on your side. I've seen the damage." Raven: "We couldn't have known the Grimm would set in as quickly as they did." Qrow: "I'm not talking about the Grimm. And I'm not talking about you, either."

Notice Raven's shift from "the tribe" to "our people". More of that guilt tripping!

Additionally, Raven is *obsessed* with rules. One save. The weak die, the strong live. Raven lives and breathes rules, even seemingly arbitrary ones. Guess what this is? Another pin!

Raven: "If you don't know where the Relic is, then we have nothing left to talk about." Qrow: "I don't know where the Spring Maiden is, either, but if you do, I need you to tell me." Raven: "And why would I do that?" Qrow: "Because without her, we're all going to die." Raven: "...And which 'we' are you referring to?"

Qrow's "either" here implies that he also doesn't know where the Crown of Choice is, which is... interesting. He's one of Ozpin's closest lieutenants, and is in the dark on where Beacon's Relic is? Wherever it is, it is such a closely kept secret that even Ozpin's best spy doesn't know where it is (maybe so that in the event Qrow gets captured by Salem he can't be forced into giving her the information?)

Meanwhile, Raven's "And why would I [tell you]?" implies that she does know who the Spring Maiden is (obviously. Raven's the Spring Maiden lol) but refuses to disclose to Qrow

A lantern sputters out after Qrow says "Without [Spring] we're all going to die." Now, I genuinely can't remember if this is headcanon or canon, but iirc Misfortune seems to act up when Qrow's upset. He's clearly tired of this little game of dancing around topics that Raven's been playing with him

And once again, Raven indicates a feeling of exclusion from Qrow's life in the iconic final line. She gets the final word in before leaving

We've finally reached the end of the conversation. Now what does all of this tell us?

And here is where all of those pins I wrote down are relevant. As I mentioned, the twins view family very differently

Qrow's view is pretty obvious: he views family as the ppl in his life who matter most to him. Unlike Raven, he does not view the tribe as family despite the fact that they raised him, disgustedly referring to them as "killers and thieves". It's implied that he was, in fact, neglected and/or likely abused by the Branwen tribe, saying in V6C4, "No one wanted me... I was cursed..." further explaining his distaste for them. Furthermore, despite not being related to Ruby by blood, they clearly consider one another family throughout the series, and he even seems closer to her than he seems to his niece who's actually blood related to him (I personally headcanon that he keeps more of a distance from Yang bcus she reminds him too much of Raven, who he feels abandoned and hurt by, but that's neither here nor there). Bloodlines and debts are secondary compared to loyalty, if they're considered at all. He is obviously furious that Raven only insists on saving Yang once and never directly interacting with her beyond that, despite Raven constantly guilting Qrow over abandoning his so-called "family" of the tribe. And yet. And yet. He still offers Raven a place back in his life, even if only to unite against Salem

Raven's view, to me, has been an enigma for a while. But after hyperanalyzing this conversation, after noting down all of those points of interest, I feel like I've finally cracked the code. Raven views family as an obligation, an exchange that always has an ulterior motive behind it. She seeks out Qrow only bcus she desires smth from him despite showing distaste when someone does the same to her; condescendingly calls Qrow "brother" more than his actual name and calls the tribe their "family" to try guilting him into doing what she wants; and feels fierce loyalty to the tribe but barely interacts with her daughter, only seeming to count one of the two as true family. She views the concept of family with cynicism and seems to feel an obligation to the tribe, as if she "owes" them for raising her

I think the two's perceptions of what defines family are all to do with the way the tribe treated both of them. This crosses a bit into headcanon territory, but as you can see by the above quotes and analysis, I rly don't think I'm just making it up entirely

As I already mentioned, I think it's implied that the Branwen tribe neglected/abused Qrow. In fact, we could probably blame their treatment of him for the deep self-loathing he has due to his "cursed" Semblance. But what about Raven?

Well, it's simple: I think she was abused, too, just in a different way. While Qrow was likely shown and told on a consistent basis that he was unwanted, unloved, undeserving of good things, Raven may have been shown and told she was wanted, loved, and deserving of good things... if she did what the tribe told her. If she repaid them for raising her and her brother, for being her "family". The way she uses her familial ties with Qrow as almost blackmail may be exactly the way the tribe treated her. Her obsession with following rules may stem from the fact that she had to follow the rules the tribe set for her in order to be accepted and deemed worth smth

As for her distance from Yang... honestly, I wonder if Raven is aware that Yang deserves better and keeps her distance as her way of doing that. When Summer confronts Raven in the V9 scene, Raven says, "...You're better at that life. Better than I was." She seems to have a fear and insecurity about being a good family member, a good mother, and maybe that's why she fled. Maybe she was scared of being like her abusers due to how she emulates them as a self-preservation tactic in so many other ways. Not entirely sure about this point tho

And I think too this is why the twins don't rly understand one another. They may have been unaware of the different ways in which the other was treated. Qrow, constantly unwanted and loathed, can't understand why Raven sticks around with the tribe; Raven, who obeyed the tribe and, in doing so, garnered enough of their favor to even eventually become leader, can't understand why Qrow can't just be "good", earn respect, and stay

This dissonance between the two experiences may also be completely intentional on the part of the tribe; abusers will often eliminate their targets' support systems in order to make them completely reliant on the abuser, so it's highly likely that the wedge was intentionally driven between the two siblings so that they could not find support in one another. This would also tie into why the twins seem to feel excluded from one another's lives and abandoned by one another: bcus they were made to feel that way by their common abusers, and did nothing to challenge these assumptions bcus they saw no reason to — and only seemed to keep proving one another right if they did

Which rly has some disturbing implications about how the Branwen tribe works. Like, do they just pick orphaned kids up off the street and abuse them into being perfect little bandits, molded to be of the greatest possible use and discarded if they're deemed worthless? Plus Qrow says his Semblance is how he got his name, which implies that the tribe also renames the kids they scoop up (possibly as a form of control or a way to make sure they can't be tracked down by any remaining family)? Plus there's the whole thing where Qrow and Raven were originally sent to Beacon to learn how to kill Huntsmen, which carries with it the implication that the Branwen tribe grooms literal orphan children into becoming stone-hearted murderers? What. The heck.

And if I'm right, if the Branwen tribe is that severely abusive, then like... wow, no wonder Qrow and Raven are Like That. They're both very deeply hurt people expressing it in different ways

I was considering adding their conversation at the Battle of Haven to this post, but I think that would be better as its own thing. Also I haven't gotten there on my rewatch yet so I may miss some details if I try to analyze it rn; it's better to wait overall methinks

But I have reached the point of my rewatch where we see Weiss and Whitley interact, and I think it would be very efficient to sum up what Qrow and Raven's relationship seems to be by using those siblings as a point of reference. Qrow = Weiss, actively trying to break free from and fight back against their abusers in different ways, while Raven = Whitley, continuing to do as their abusers want and have wanted as a method of self-preservation. Only, unlike Weiss and Whitley, Qrow and Raven have yet to come to a point where they can understand one another. I think that's a good way to briefly summarize the uh. Absolutely massive post this is.

In conclusion, I may have cracked the majority of the Branwen twins' pre-Beacon backstory purely by hyperanalyzing a single conversation. Oopsies

#original post #'hey hira why are you so obsessed with these two—' autism. i hope that answers your question!#ok but srsly. i've genuinely worked rly hard on this post for the past like. 3 days?#i didn't think it'd lead to me deducing all of this about the twins' pasts but here we are lol #this'll probably flop due to the length but like. i don't mind tbh! this is mostly to satisfy my own silly brain [affectionate] anyway #i'm genuinely looking forward to seeing them in v10 #since the storyboard for the scrapped v9 epilogue had raven in it #i hope they somehow reconcile and come to understand one another like weiss and whitley did #tho. i have a bad feeling that even if they do it will end in one (or both?) of them tragically dying before the other's eyes #but that's not rly relevant lol #anyhow i am not sry for inflicting you all with my branwen twin brainrot. it will happen again #i'm having sooo many thoughts on this rewatch and they just keep on coming #rwby #qrow branwen #raven branwen #branwen twins #rwby9 spoilers #i hope there's no glaring errors here. i read thru this post multiple times to be sure but it's so huge i may have missed smth irjnfbpbne

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gabetheunknown · 10 months

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@after-the-end-times

Ah, there it is! I saw a post like this the other day and I could not, for the life of me find it back, so I'm glad I get to share my thoughts about this after all (not that anything would've stopped me) Prepare for the essay, I never keep things short!

The Rockrose and the Thistle, is in my opinion a love song of sorts, but a different kind of love song that Extraordinary Things is, focused on the first part of it. Both songs are very similar in more ways than just recurring notes. Both songs are written in Dminor. (wheras Extraordinary Things has Minor Melodic elements that raises the 6th note to create the G major chord he plays when he sings the lyrics ‘extraordinary things’ and sings an A on top which sounds really pretty and immediately caught my ear)

The notes everyone is referring to are in the intro of Extraordinary Things, D C D E F E F G A B♭ A G A (I put it on a scale because I can and I’m a nerd. I also love the harmonies)

And it doesn’t just come back in the Rockrose and the Thistle, there’s two other songs written in Dminor in the Horror and the Wild and that is The Horror and the Wild, where the repetition of these tones are beautifully audible in Madeleine’s ‘You are the son of every dressing up box’ and Farewell Wanderlust, where they immediately accentuate that B♭ (which is the 6th note of the Dminor scale) in instrumentals. In Farewell Wanderlust they also play with more chromatic elements as they add a flat second note and a flat seven. The use of chromatic elements (half note distances) isn’t new for Joey and Madeleine and in my opinion it just adds a lot to the musicality of it all, it’s clever, it immediately catches my ear, it’s subtle things like that that make me keep coming back to their music. Rather than a melodic minor scale, Joey could’ve just added that half note distance to add a major G chord to his scale, because the use of major chords in minor scales is just chef’s kiss in my musical opinion, especially in combination with the words he sings. The notes he uses are not uncharacteristic for Joey’s music.

NOW LISTEN, I LOVE this ask because it means I can break down every aspect of what I love about Joey’s singing and what different things I love about Jaskier’s singing. Because oh my god the TALENT, to still make people go ‘wait I just found out that Joey Batey sings both in the Amazing Devil and as Jaskier in the Witcher’ to this day astonishes me and I’m never surprised when someone stumbles upon that realization. The breathiness he uses on his voice in both the Rockrose and the Thistle (and more TAD songs) and Extraordinary Things blows my mind. But there’s a difference to the way he uses it in both songs, let me try to explain. He sings with an aspirated voice (Which means to sing with a breathy voice) in The Rockrose and the Thistle, but in Extraordinary Things, it feels like sometimes he is just breathless and it’s so beautiful and small and soft and intimate, considering the words he’s singing. We, as singers at the conservatory, were taught to make our breaths as inaudible as possible, to remove as much breath from our voices as possible, when singing on record. So needless to say it is a DELIGHT to hear Joey just put his whole heart and soul into every breath he takes, he’s considerate of every syllable, the volume of his voice, the clearness or lack thereof, the shakiness of his breaths fucking kill me dead… ALSO what astonishes me the most about the difference between his TAD songs and his Jaskier songs is the change in vibrato. Jaskier uses more vibrato in his voice than Joey does in the Amazing Devil and I go INSANE about that because my teachers have always said that vibrato is a hard thing to control and requires a lot of training and he’s just out there, mending it to his will as if it is no big deal, like :-) King? I’m jealous, hello?

I’ve nothing else to say about this for now (lies) it’s already become a full on essay, so I hope this satisfies your needs for now lmao

#yike #lmao laughing at myself wtf is wrong with me #also I was almost finished typing this when I clicked on something and everything was fucking gone lol #'draft saved' lies #bitch where #I hope this answers your questions :-)#gabe replies #joey batey #madeleine hyland #the amazing devil #jaskier #the witcher #the witcher spoilers #music #gabe yells #quite a bit #extraordinary things

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habken · 1 year

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How do you think up poses? Especially full body 💀

The best way to think of poses, is to already have an idea of what you want in mind, not just going in blind. Everything from action to emotion influences what a pose will look like, so think about what you’re trying to convey before you start drawing.

Don’t be afraid to use references and don’t be afraid to look at other artists’ work for inspiration! You don’t have to pull a pose out of thin air, it can be influenced by outside sources.

Practice A Lot, it becomes much easier to think up and churn out poses when you've already done it thousands of times lol. Life drawing sessions are great for building up your understanding of anatomy and offer you the chance to draw poses while directly referencing a real live model, which I personally find is better than referencing from photos. There’s tons of other resources for figure drawing/posing out there on the internet as well!

Also, I often do upwards of five poses before I get to the final drawing, I don’t usually ever go with my first idea because often my first sketches suck lmao, for instance, the bunny bkdk stuff I made:

I did a lot of exploration before settling on poses I liked, and these few are just the ones I didn’t end up deleting :’) You won’t always have a solid idea the first few times around, so don’t be afraid to do copious amounts of sketches until you have something you like

tldr: have an idea of what you’re drawing already in mind, practice over and over again, use the resources available to you, don’t think you have to come up with one single finished idea

#Hope that helps ? I’m not always the best with advice lol #but I hope that what I’m saying makes sense and answers your question a bit #ask #art advice #art tips

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msmargaretmurry · 3 months

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Anon doing ratnovel reread again - it's an absolute pleasure to (re)immerse myself in this world and these characters, and I know I'm not the only one who loves these extra little insights into haw-verse! Rereading it and knowing the general shape of Leon's side (poor guy with his soft little heart that he gave to Matthew and then...) makes it so much more hurty. Which I love. And speaking of (and I promise I won't bombard you with questions for each moment, probably, but I am still immersed in the feels), what is Leon's side of things when Matthew tells him to leave after the kiss?? Obviously he is heartbroken, but does he cry about it, is he very stoic German, does McDavid take on look at him and facepalm because he KNEW Leon was too much of a softie for this...?

Leon is an idiot.

Sitting in the back of the car back to the hotel, that’s all he can think. He is an idiot. He’s so fucking stupid.

He could think about other things. Matthew’s mouth against his, finally. The hot, desperate way he kissed back. That moment, lying together afterward, when Leon thought, stupidly, idiotically, that he was getting what he wanted. But if he thinks about those things, his hands start to shake and his stomach turns and he is not paying the clean-up fee for throwing up in an Uber, so he stays focused.

He’s an idiot.

He needs another shower, and he’s an idiot.

Not an idiot for thinking Matthew was feeling something even remotely similar to what he felt. No, he’s still painfully sure about that. An idiot for thinking Matthew felt enough — cared enough — to get the fuck over whatever the fuck is wrong with him long enough to have one honest moment. To think he'd see Leon putting himself out there and meet him halfway — not even halfway, a third of the way. A quarter of the way would have been enough.

At least it’s a short ride.

The hotel lobby is mostly empty at this hour, which Leon is grateful for as he stalks to the elevator, mashes the unlock on the digital key on his phone until it takes him to his floor. If he ran into a teammate right now— he can’t fathom having a conversation. He’s still burning so hot with humiliation that he can hardly see straight. The real world feels far away. Everything is white noise and his own stubborn heart still thudding in his ears.

He needs a shower. He still has Matthew’s come on him, under his clothes, drying on his stomach, sticking to his shirt. The sensation makes him want to puke, but he’s not doing that in a hotel elevator any more than he’s doing it in an Uber.

He’s such a fucking idiot.

In his room, he goes straight to the bathroom, stripping his clothes off with such determination that he pops a button off his shirt, then another as he yanks it off in frustration. He’ll care later, maybe. More likely he’ll just trash the whole shirt. He does not wait for the water to get hot, and cringes when he steps under the cold spray, but it doesn’t deter him from scrubbing himself clean. And it doesn’t take long to warm up. Faster than the water in Matthew’s shower warms up.

He is not going to cry.

Leon’s not an easy crier. He’s emotional, yeah, and he gets choked up easier than some guys, but it’s pretty rare that actual tears fall. But he’s got this tightness in his chest, this pressure behind his eyes, like there’s a dam inside him that wants to break. He rubs his hands over his face as water pours over him, streaming down his back and shoulders, hot enough now that it’s surely turning his skin red. Better than his skin being red from Matthew’s fingers digging into it. A sob tries to push its way up and out of his throat; he bites hard on the heel of his hand, turning it into a sharp, muffled sound.

And he shouldn’t care, he shouldn’t care about what Matthew is doing right now, but, fuck, Leon hopes he feels like shit. He hopes he’s still sitting there alone on his bed, staring at the t-shirt folded on his dresser, feeling like shit.

He presses his palms to his eyes, his breaths coming too fast and too short.

“Fuck,” he yells, the word swallowed up by the steam.

He’s such a fucking idiot.

If he could, he would stand in the shower until the water ran cold. But this is a hotel, so it’s not going to get cold. So instead he stands there until he can breathe without it catching in his throat. Until the pressure behind his eyes eases just enough that the danger of crying is no longer imminent. Until it hits him how fucking exhausted he is and suddenly all he wants is to lie down.

He shuts off the water, towels off, and goes to collapse onto his bed. He nearly steps on his phone on the way, so he scoops it up to take with him, but he doesn’t look at it yet. If Matthew hasn’t texted, it’ll make him want to throw up. If Matthew has texted, that might also make him want to throw up.

At least his life will be a lot less complicated now, he thinks, and that also makes him want to throw up.

He lays there miserably for who knows how long. He’s been miserable before, after losses, after breakups. The entire time they were getting swept in the conference finals last year while his ankle throbbed so badly he could hardly stand. Could hardly think. He wishes he had some kind of real physical injury right now to explain away how much he hurts inside. He’s been miserable before, but not like this.

He’s so tired, but he can’t sleep. The idea of sleeping feels completely foreign, like it’s something he’s never done before and might never do again.

He swallows his nausea and picks up his phone.

Are u still up, he texts Connor, knowing he won’t be. Connor goes to bed at a reasonable hour unless there’s a very good reason not to. He sits and stares at his phone for a few more minutes anyway, scrolling aimlessly through his texts without looking too closely at the conversation with Matthew. The temptation to tap in and backread is there, but he’s not masochistic enough for that. Masochistic enough to get himself into this mess, but not masochistic enough for that. If Matthew texted him right now, maybe. Maybe he’d open the conversation then. Who is he kidding — if Matthew texted right now with an apology, he’d take it. He’d forgive him so fucking fast. But it would have to be tonight. Maybe tomorrow. But only if it’s a real apology. Only if it acknowledges, even a little, that they were doing something real. If Matthew can’t do that, then there’s no point to any of this.

Leon squeezes his eyes closed. He’s not going to fucking cry. He squeezes his phone, willing a text to come through. Nothing.

He can’t fucking do this. He can’t lay here all night thinking about it. He’ll drive himself crazy.

It only takes a moment to find sweatpants, a t-shirt, slides — the bare minimum for leaving the hotel room. He stalks down the hallway and raps on Connor’s door. Hopefully it wakes him up the first time. Leon will keep knocking if he needs to, but he doesn’t want anyone else to hear and come ask him what he’s doing.

There is a long, excruciating minute before the door opens just enough for Connor, tousled and grumpy, to squint into the hallway at him.

“Leo?” he says. “What are you— what’s wrong?”

“Do you want to watch a movie or something?” Leon asks.

Maybe it’s the way his voice cracks, or maybe there’s something in the look on his face, but Connor’s brow creases and the sleepiness seems to dissipate.

“Yeah, come in,” he says, stepping back so Leon can do that. He’s wearing boxers and a t-shirt so old that there’s a big hole in one armpit. The ensemble makes him look strangely teenaged, like the shy, skinny kid Leon met when they first came into the league, and that for some reason makes him feel a little better about showing up pathetically in the middle of the night because some guy broke his heart.

Connor doesn’t turn on any lights, just crawls back into bed and turns the TV on with the remote. Leon follows, settling on top of the covers instead of under them. Clicking through channels, Connor eventually stops on one showing some sort of disaster action movie that Leon doesn’t recognize.

“Good enough,” Connor mutters. His eyes flick over to Leon. “What happened? You look like shit.”

“Feel like shit,” Leon says, trying for deadpan, but a lump rises up in his throat and all of a sudden he feels like crying again.

Connor looks at him for a long moment, the light from the television distorting the shadows on his face. “Weren’t you going to see Chucky tonight?”

“Yeah,” Leon croaks. He squeezes his eyes shut and is embarrassed to feel a hot tear slide down his cheek. Fuck. He scrubs it away, sniffling and sucking in a ragged breath. “Fuck, sorry.”

“Leo,” Connor says softly. “What happened?”

“Doesn’t matter.” Leon’s voice is tight, wobbly at the edges. “I just want to watch a movie.” Onscreen, some sort of storm is wreaking havoc. People are yelling, but the volume is down pretty low.

There’s another long pause.

“Okay,” Connor finally says. Then, hesitantly, “Do you want a hug?”

Leon kind of really fucking does, but he doesn’t want to open his mouth again, because he will definitely make some sort of awful crying sound. But Connor moves anyway, scooting up and over to wrap his arms around Leon’s shoulders. Leon slumps against him and tries to breathe through it, but the dam inside him feels like it’s about to crack down the middle.

Connor squeezes him, his cheek pressed to Leon’s damp hair.

“Just tell me if you want us to hate him now,” he says. “Because if he doesn’t want you, he’s an idiot.”

#ask #ratnovel #hockey for ts #i started to write a normal answer to this and then was like..... actually i think i just want to write this scene for real lol #hope this is a good answer to your question anon <3

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zetadraconis11 · 1 month

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We know what all HL characters are like personality and behavior but how do you think they behave when they are at MC's home for the first time and meet their parents?

Oh boy. So personally, my MC, Estelle, has been an orphan since she was a baby. So she doesn't know who her actual parents are, and she was raised in an orphanage for fifteen years.

Now, in the bigger picture, for all the MCs out there that have families and parents, I'm sure they'd all be polite. If MC is muggle-born, I'm sure the whole group of friends would try to not act too crazy in front of the family to unnerve. To give the family a good impression of magicfolk. They would TRY to be on their best behavior. Ominis would probably be the most proper, Natty and Amit would be delightfully polite and curious. Poppy would also be nice and probably try to acquaint with any pets MC families have. Sebastian and Garreth would be the most curious about the Muggle things, I'd say. They'd probably ask the most questions, wanting to know more about this other world.

But if Sebastian and Garreth come up with a crazy idea, then you'd best hope it doesn't end up as a fiery disaster. Don't leave them alone near a Muggle gas stove, lol.

Garreth: So this is a gas stove...

Sebastian: Apparently you just light a match and stick it close to the stove.

Garreth: ...So...hypothetically, what do you think would happen if we used Confringo instead to light the stove?

Sebastian:

*a minute later*

MC: We were gone for only a little bit! How did you-?!

Sebastian, covering in soot: Our curiosity blew up in our faces.

Garreth, also covered in soot and repairing the exploded stove and kitchen: Literally.

#It's a good thing garreth and sebastian aren't in the same house lol #I headcanon they're both smart but if they're together they share one braincell #I hope this kind of answers your question anon #Everyone would just be good company with mc families #Because they're good friends #hogwarts mc #sebastian sallow #garreth weasley #ominis gaunt #poppy sweeting #natsai onai #amit thakkar #hogwarts legacy #hogwarts legacy incorrect quotes #hogwarts legacy headcanons

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thosewildcharms · 1 month

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If Lori had lived do you think Rick and Michonne would’ve still fallen in love? I’m sure most of us do but I’m curious as to how you see an alternate universe like that playing out? I feel like either Rick mirrors Lori and tries to sticks with marriage (either a broken or healing one) and as such it takes even longer for him and Michonne to connect. Or having Lori’s presence actually forces whatever grows between Rick and Michonne to be uncomfortably brought to the surface and instead accelerates their realization of their feelings. What do you think?

hey anon! these are all really interesting questions to think about.

i mean, i definitely think rick and michonne would have fallen in love anyway, and that was before the ones who live came into my house and said yes, definitively, they are soulmates and michonne is the love of his life.

i liked lori, and i think the amount of hate she gets can be unfair and sometimes uncalled for, but i also think she and rick were fundamentally incompatible and that michonne or no michonne, wouldn't have made it in the long run either way. in the very first scene of the show, rick tells shane that he and lori have been having a rough time, that she always seems pissed at him and he doesn't know why. this lack of understanding between them only seems to build over seasons 1 and 2, no matter how hard they're both trying.

that being said, i do think rick had every intention of trying to work things out with lori. he said as much when he was talking to her (to himself) on the phone after she died. specifically, he was going to get them safe first, and then he would "put it back together" as in, work on fixing their relationship. he was angry with her, and extremely hurt, but he still loved her, and at no point do i think he had ever really given up on her. that, i think, is part of why she haunted him for so long and why he felt so much guilt. he never really had a chance to tell her all of that before she was gone.

i don't know how long it would have taken them to call it quits had lori survived childbirth but i do think the chemistry and connection with michonne would have still established itself pretty quickly, and i think rick would definitely feel that innate understanding and connection in sharp contrast to how out of sync he and lori have always been. and i think lori would probably clock it as well. BUT, rick is no cheater - in fact, he's so honorable in that regard that i think as long as he was still focused on working things out with lori he would never let himself even think about going there with someone else. and for her part (and, from what I know, unlike her comic book counterpart but don't quote me on that) michonne would never get within a hundred feet of that situation - romantically - until it was completely resolved. this show doesn't really do love triangles (even shane/lori/rick wasn't so much a love triangle as it was a vehicle for rick's growth) so i think rick and lori's relationship would end and resolve itself on its own without any interference.

so with all of that in mind, i think rick and michonne would still have been a slow burn that matched pretty closely with what we saw in canon, except this time instead of rick having to get past the grief of losing lori, it would be just be the decline and resolution of that relationship that had he'd have to work through. while that was happening, i think rick and michonne would still naturally build their relationship, which would be platonic until it wasn't, just like in canon. for example, i think they'd still find it very easy to open up to each other, still be like-minded in most areas, michonne would still bond with carl. they'd still like being around each other and understand each other in ways no one else really could. and then they'd realize they were in love once they were safe and available to examine their own feelings. i think they'd still have been quietly and subconsciously in love with each other for a long while, but unready and/or unable to do anything about it until suddenly they were. so they could very much still mirror canon in that regard.

as for exactly how it would happen beat by beat, well. i'm no fanfic writer lol but i think there could be some subconscious yearning in there as well. as a treat.

#answered #richonne #twd #i hope this answered your question anon! apologies if i misunderstood what you were asking #or if this is a very boring take lol

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barbie-nightmare-house · 1 month

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I only got into true detective about a month ago and I'm happy to find people in the same boat; if you don't mind could you share some of the deeper thoughts you've had about the show? Your interpretations/headcanons?

Fuck yes I can, goddamn I'm so excited

First, I think the first and fourth seasons are perfect reflections of one another. If you haven't watched S4, many apologies for spoilers. I highly suggest sucking it through a straw.

I’ve been reading the book Dancing in the Flames: The Dark Goddess in the Transformation of Consciousness by Marion Woodman and Elinor Dickson

In which, the philosophical concepts of self and universal consciousness are analyzed through the framework of the divine masculine and divine feminine. I believe this plays into the themes of both Season 1 and Season 4 of True Detective.

Nic Pizzolatto has expressed that Marty and Rust were written as men he could easily see himself becoming (How I Wrote True Detective - Behind the Curtain, particularly his statement at 3:20), which in essence, is an exploration of how masculinity manifests in different contexts. These are men whose flaws render them incapable of living 'normal' lives, yet enable them to demonstrate bravery in situations where most would not.

There is a lot of gendered discourse around Season 4 that I won't get into. Ultimately, I think it does a wonderful job of presenting the flip-side of the unbalanced masculinity in Season 1 by showing us unbalanced femininity. The women centered in Night Country are imperfect; they struggle with close relationships, with demonstrating faithfulness in relationships, with maternalistic nurturing, with regard for victims, etc.

So, both seasons together really solidified my understanding of the overall story. I'll be using balance, gender, time, and death as the themes here.

There are a few lines in Dancing in the Flames that stuck out to me:

“The psyche, as a self-regulating system, yin and yang in perfect balance, is a vision that historically has yet to be realized. […] In history, as in marriage, or in the individual, when a balance becomes stagnant, one or other of the energies moves out to new adventures. The spurt forces the complimentary energy to move also, until a new balance is found. So the spiral moves.”

It's kind of funny that I picked up this book right after my second rewatch of season 4. I'm big on synchronicities, just seeing shit that plainly ain't there. But here we go,

The imagery presented in Season 1 of True Detective appears to be inspired by some iteration of Cernunnos, a Celtic God of fertility, power, & blessings/weath; "god of beasts and wild places." Further, Cernunnos is the God of the Winter Solstice; the Dark Months (re: the significance of Season 4 Executive producer Mari-Jo Winkler saying, “Let’s look at season one of ‘True Detective.’ Hot, sweaty, male. We wanted to do [the] complete opposite. Dark, Ice, Cold.” in the True Detective: Night Country Podcast). "Cernunnos is the antlered god, part man and part stag. He is born on the darkest day of the year, winter solstice, and marries the goddess of spring, Beltane. About six months later, on summer solstice, he dies.

Among pagans, he is considered the god of fertility, animals, and wealth, and the underworld—sometimes he carries a purse filled with coin, for wealth. This connection to wealth and gold coins is found in the myth about Pluto (Hades), the god of the underworld, from which all wealth comes. Indeed abundance comes from what is deep in the earth and deep in our own psyche.

He is born on winter solstice and dies on summer solstice. This suggests his association with the rise of energy, augmentation, the increasing of light, lengthening of the day and peak experiences. He is a god associated with the potency and power of male sexuality, but not its completeness. Falling on the ground, broken, limp, is just as important an experience of the male psyche as standing erect. Also, the fact that he dies at the peak of light, the second half of the seasonal cycle brings, means that he does not hold the introspective qualities that the harvest brings and the completion of the diminishing of light.

Perhaps Cernunnos is balanced somewhat by his marriage to the goddess of Beltane. She is celebrated in a time when blessing comes from rubbing yourself with the dew of early May morning to soak in the blessing of Spring. Helen Chantler, the designer of our company, remembers watching the horned man in the forest on her BBC television growing up. It was an image that conveyed guardianship and the protector of the forest. Yet this image of the antlered man, so powerfully associated with Celtic myth and lore, has been widely depicted and enacted across indigenous cultures for thousands, or perhaps tens of thousands of years. Iconography of an antlered man, standing, have been found in French Paleolithic cave paintings" (reference).

Full disclosure, I am not learned in Celtic myth or any such topic. I don't know if this was the intended reference material for Season 1's Big Bad Spookiness, but I think thematically, this explains the unexplained in both S1 and S2.

I randomly picked up this book I hadn't yet read, which I bought at random in a used bookstore probably 5 years ago, flipped through, and landed on this picture.

Synchronicities dawg.

Woodman and Dickson have this to say:

"This is Cernunnos, Lord of the Animals. It is Shiva, or Dionysus archetypal energies long repressed by Christianity. Repression turned the Horned God into the Horned Devil, the root of all evil. [...] The Horned Devil is energy that is so repressed and cut off from the earth that it is best symbolized by Mephistopheles, the light and airy creature that floats above the earth. The Horned Devil is the disembodied spirit that manipulates, usurping situations for the gratification of its instinctual desires for domination-- sexual or otherwise. The Horned God, as Gary Lingen points out '...is a positive model for male power--free from the patriarchy and all other authoritative models--as he grows and passes through his changes during the wheel of the year, he remains in relationship to and not separate from the prime life and nurturing force--the Goddess.'

The Horned God, moreover, is an archetypal figure quite unlike most masculine images as they appear in culture. He is difficult to understand because he does not fit into any of the expected stereotypes, neither those of the "macho" male nor the reverse-images of those who deliberately seek effeminacy. He is gentle, tender and comforting, but he is also the Hunter. He is the Dying God--but his death is always in service of the life force. He is untamed sexuality--but sexuality as a deep, holy, connecting power. He is the power of feeling, and the image of what men could be if they were liberated from the constraints of patriarchal culture."

It's possible that Pizzolatto merely modeled the Big Bad Spooky Scary in Season 1 with paganistic imagery for fearmongering purposes, but I choose to believe that Childress, the Tuttles, and unnamed counterparts were worshippers of some bastardized version of Cernunnos.

It is indicated many times in both S1 and S2 that symbology associated with the murders is 'old', 'archaic', and looks like cave drawings. I believe the nature of the belief system associated with the Big Bad is transactional, given that it precedes Semitic religions.

What do you pray for when your primary goal is to live another day? You pray for abundant harvest, you pray for fertility, you pray for the sun to return.

What do you pray for when society becomes more collective? You pray for a bigger hut than the next guy, you pray for blessings.

What do you pray for when buildings scrape the sky? You pray for wealth, you pray for power.

I think the Tuttles and their counterparts belonged to a small group of worshippers who retained archaic beliefs and practices, which they attributed to the wealth or power their group amassed. Thus, they continued worshipping.

However, we only see the masculine aspects of this worship in Season 1. We see the vulnerable (women and children) victimized by physically and/or socially powerful men. We see this vulnerability overpowered through ritualistic abuses and murders, which demonstrates that the Big Bad have devolved to, or perhaps have always been, negligent of the inherent role of the divine feminine (Beltane, in this case, as the counterpart to Cernunnos). Thus, the Tuttles represent unbalanced masculinity, where they seek to overpower others in the name of worship. In reality, they are simply indulging in animalistic, individual desires. Truly, they may be neglecting and/or attempting to dominate the divine feminine out of innate fear.

"What is the way to appease the Great Mother, to keep her as Protectress and prevent her wrathful Vengeance? Give her what she demands-- blood! And likewise, invent a precise way to do it-- ritual! Thus, the first great ritual was a ritual of blood sacrifice, offered to the Great Mother-- to Mother Nature-- in a bartered attempt to quench her desire for blood. [...] Blood is indeed bodily life, and if you want to purchase life, you purchase it with blood. So goes paleologic; like magic, it works in partial truths; and like magic, since it is unable to grasp higher perspectives or wider contexts, it arrives at barbaric conclusions." - Marie-Louise Von Franz, Golden Ass of Apuleius: The Liberation of the Feminine in Man

Whatever, I won't get distracted by analyzing the psyche of side character antagonists. I won't! What I'm trying to say is:

They're worshipping an old religion, which requires blood sacrifice. This blood may be literal (murder), or symbolic (sexually abusing the innocent, i.e. symbolic blood of menstruation or deflowering).

As with all things, there is no inherent evil in worship, but this manner of worship represents a stark lack of balance. These are not praying men-- these are men attempting to manipulate nature, life/death, and femininity to their egoistic desires. Thus, they create imbalance.

This imbalance, in True Detective, is a microcosm representing greater imbalances of energy. Imbalance in society, in the universe, and in individuals. We are shown this lack of balance through complex characters.

Two characters, specifically, show us the energy required to correct universal balance; Rustin Cohle and Evangeline Siqiññaatchiaq Navarro.

I also won't get into the Messiah archetypes of these characters. I won't (I probably will).

This fucking long form analysis is going to be a bitch to read and is also a bitch to write, I'm struggling to collect my thoughts well enough to not communicate like we're playing Word Associations.

Okay. So. Rust = Divine Masculine. Evangeline = Divine Feminine. Hold onto that for later.

In the Southern states of America, such as Louisiana where the Tuttles have historical roots, power and wealth are generally understood as God’s Blessings. The Christian God. Which explains why the Tuttles used Christianity as a mask for their true beliefs and practices. Additionally, the immutable power of organized religion allowed the Tuttles and their associates access to vulnerable individuals to prey upon.

While the Tuttles practiced their underlying beliefs in secret, I believe Errol Childress’s murder of Dora Lange indicated his sentiments of rejection from his bloodline. Where the proper Tuttles secured social and financial power, Errol was essentially a grunt, despite enabling and participating in the ritualistic abuse and murder. He might have developed a coping mechanism of believing himself a profit. Frustrated that in the ‘real world’ the power and virility he exercised in private was not respected, he made a ‘show’ of Dora Lange’s murder. This could have been motivated by the following: - A rejection of the Tuttles secretiveness. We should be proud of our practices. Look, we’re untouchable. I won’t live in the shadows

A warning or punishment of the Tuttles. By displaying his practices proudly through Dora Lange’s presentation, Errol Childress places the Tuttles at risk for exposure.

A personal demonstration of elevated dedication to his ‘god’, i.e., an attempt to prove he is more faithful than those who practice in secret. Errol was showing the world his power.

I believe the Tuttle’s practice of murdering and abusing innocents in the name of a, conceivably, pagan god, is due to a bastardized interpretation of the god’s power and purpose. If we consider that Cernunnos alone is the divine masculine, incomplete/imbalanced without the feminine counterpart, we see the space where men may lean into this lack of balance as an opportunity to enforce patriarchal dominance over the divine feminine. By abusing the divine feminine (women and children), the interpretation of Cernunnos becomes a rat-race of man’s most basic pursuits; power, wealth, and death. They lord over the divine feminine by sacrificing its counterparts (women and children) to Cernunnos. In a patriarchal interpretation (cisgender, heterosexual) of nature, men cannot create as women can, so the most they can achieve in the way of god power is taking life.

Then comes the spiral. In the first season, it appeared to be representative of the Nietzschean circular time theme. Given the events of Season 4 as a continuation of the spiral imagery, I have deduced that the S1 spiral is another perversion of old beliefs that the Tuttles have bastardized.

Rather than being a symbol of Cernunnos (real quick: peep Cernunnos vs. Carcosa?? 'He who eats time?' and absolutely chooooke on this interpretation) I believe the spiral represents his ‘wife’ or divine feminine counterpart– Spring. Or rather, Life. And thus, She is Time itself. The Tuttles pray to something that, again, EATS TIME. I'm sorry I keep saying this, but they only worship half of nature. It's a perversion. It's wrong. It's empty. S4 gives us the other half of the story.

In Season 4, the supernatural force, or ‘god’ is referred to with feminine pronouns: ‘She is awake, she is coming, she is here’. More on this later, but I think the spiral represents a larger concept than Cernunnos/Carcosa; Balance. Eternity. The Universe. I believed initially that the spiral was jagged, as opposed to the ‘perfect’ golden ratio, because it would have been carved or drawn with rudimentary objects by prehistoric humans. Looking at the galaxy in which earth exists (and others like it)-- I mean :/ I'm no science guy, but... come on now.

(cr. NASA / STScI)

(cr. Gabriel Pérez Díaz, SMM (IAC).)

(cr. Fibbonacci.com)

COME ON NOW.

Back to Cernunnos, he is the god of Darkness, and dies when Spring comes. However, he and his divine feminine counterpart never cease existing. They are married; opposite sides of a coin, constantly flipping; inextricably bonded. They are the same thing—and separate—and the same; flat time. (Side note: also found out the universe itself is 'flat' to our perception. I'm absolutely wrecked by this)

As Rust says, “Time created Death to grow the things it would kill.” So, from hereon, I will refer to Cernunnos’s counterpart, represented by the spiral symbol, as Time.

She is the spring, where life grows. In Season 4, we may assume that she eats in the winter. Despite the spooky Big Bad, overcoming evil, vibe of Season 4, it’s important to note that there is no inherent good or evil in the universe. There's just balance. While Navarro refers to the supernatural force as a “curse” that takes her people one by one, we must acknowledge that Death is the certainty of Life. Both states are suspended within time. Circular. Cyclical. Spinning. A spiral.

Ennis is a land of extremes, where Time and Existence appear to be a more ancient/raw form (prehistoric ice and such, significance of magnetic poles, idk I'm not a science guy).

As Time’s presence in Ennis is generally acknowledged by the indigenous people, it could stand that the descendants of those who existed on this land in prehistoric times would have a more innate connection to Time. On that land, where Time has more power, occurrences such as “the dead don’t stay dead” implicates that the laws of humanity are bent in favor of the unknowable reality of time.

Whereas the Tuttle’s represent unbalanced patriarchal masculinity, i.e., acknowledging ‘old gods’ and worshiping them for self-serving gain, demonstrated by their social powers and abuses– the Iñupiaq people exhibit instinctual balance and reverence for the old ways.

The Tuttles and counterparts mark victims with the spiral, almost as if to attract the acknowledgement of their god, whereas the Iñupiaq people mark the spiral as a warning of her presence. It is stated that ‘she’ exists where the ice is thin over the sea. To me, this indicates that ‘she’ is somewhat synonymous with the sea, or the ground beneath it, as, in the prehistoric time (where her power would be more observable) the water level would've been lower (idk, I'm not a science guy). Basically, I think ‘she is awake’ indicates that she has gone dormant/is hibernating under the ice.

Thus, Time calls the Iñupiaq to areas of thin ice in order to ‘eat’ them. This practice is representative of a balance. She is existence in perfect balance. She is life and death. In her presence, time becomes nonlinear (i.e., the visions experienced by the characters in S4). Time becomes a flat circle.

The Tuttles presence in Ennis via the mine has disrupted the circle. The softening of permafrost due to the mine's pollution has both awoken her, and disrupted the balance of her domain. Life and Death. Rather than taking her justified ‘fill’ of the dead, pollution has caused an unnatural rise in deaths, exampled by the stillbirths. The Iñupiaq stillbirths represent the inherent interruption of natural course. Thus, she is not just awoken, but angered. She's PISSED.

This explains why the events in Season 4 unfold as they do. In the last episode, an Iñupiaq auntie explains that ‘she (Time)’ was responsible for taking the Tsalal men or releasing them. She chose to take them, and ‘eat their fucking dreams’.

This statement reminded me of the theme of dreaming in Season 1. A theoretical physicist, Fred Alan Wolf, claims that “dreaming is vital to our survival as a species and a necessary ‘learning laboratory’ wherein the self and the universe evolve. In brief, matter evolves through dreams.” In the book Dancing in the Flames: The Dark Goddess in the Transformation of Divine Consciousness, “the unknowable mystery we sometimes call God” can only be understood through finding individual and communal balance, which is historically and presently impossible due to patriarchal systems.

The significance of this, I think, is the overarching theme in both seasons: Time as an insurmountable force that weighs on the characters. Past, present, future are flattened and defined by suffering. We see the mostly faceless antagonists attempt to gain unnatural power over time– in Season 1, the Tuttles (and their counterparts) actions implicate a desire of procuring power and wealth through sacrificing innocent youth (balanced time), and in Season 4, they are searching for a microorganism that could provide insight into immortality, or at least further their material wealth and power– ultimately creating the imbalance of essential, unknowable truths: Time, Life, Death, and Dreaming. We also see the protagonists struggle under the weight of Time in a more intimate, consumable capacity.

The imbalance of energies is a human fault. This human fault, likely, has no true power in the universe. It is simply a disruptor, which will ultimately be self-corrected, as “the spiral moves.”

We see this correction in the form of an unlikely savior. In Season 1, this is Rust. In season 4, this is Navarro. They are both plagued with an undefined but obviously overwhelming burden of Time, and an innate connection to the unknowable.

While neither understands how or why, they have been called to a life which seems to deny human nature. Isolation, reluctant power (being a fuckin cop), and the responsibility of bearing witness to the soul-crushing examples of human failure. However, their actions and insight are ultimately the antithesis of the antagonists perversions of Life and Death. Both Rust and Navarro, though somewhat unwillingly, are called on to correct Time.

Their circular patterns become enlightened. They prevail. They balance the divine masculine and divine feminine.

I think this is most apparent in Navarro’s character arc. Particularly her statements, and the many examples of her being ‘called’ by Time. Her displacement from the community of people who share her blood, and thus her connection to the land, is significant because it has potentially inspired her to become a protector. With the social power of law enforcement, and the dual-perspective of those who perpetuate disbalance of time (cops, who ultimately are tools for high-level antagonists like the Tuttles), and those who keep it (the indigenous people), she is the perfect blend of energies to correct the balance. I think she was beckoned back to the land by Time specifically, (evidenced by her visions, like “listen”), with divine purpose. Her Inupiaq name meaning the sun’s return from darkness in itself is evidence of that. Her compassion for Annie K. has greater implications on the story than our understanding of justice.

If she was called to the land by Time, presented with the murder of Annie K. as motivation to expose Tsalal, thus exposing the mine, and ultimately the Tuttles, Navarro restores the balance of Life and Death, and ultimately Time, to the land. Her personal journey reflects the initial disbalance, the unknowable forces at play, and ultimately the correction of both. She encompasses universal truths.

God calls from places where the ice is thin.

God is talking to Evangeline directly.

In the spiritual statements that tell Evangeline to “listen”, as well as the many visions in which an individual (conceivably possessed by spiritual forces) points at her, God orders her to bear witness, which is also the purpose that Rust Cohle assigned to his existence in Season 1.

Like Moses and the burning FUCKING bush, Evangeline is plagued with visions; and is called to carry the burden of guiding others into the light.

As Rust said in the first season, “it’s the oldest story there is. Light vs. Dark” and “if you ask me, light is winning.”

Okay, that's all I have for right now. Sorry for using this as my excuse to go apeshit in the way I've been meaning to for weeks. If you'd like specific character headcanons or anything, let me know! Rust Cohle rents an apartment in my head and it fucking stinks in there.

#hope this answers your question lol #asks #true detective #true detective season 1 #true detective season 4 #true detective night country #rust cohle #rustin cohle #evangeline navarro

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