Alright wise guy, what are your thoughts on the theme(s) of the first Mistborn book. This is literally an excuse for you to ramble about it, have fun.

VOID I LOVE YOU SM

So spoilers for Mistborn: The Final Empire! If you haven't read it, please beware because under the cut, Here There Be Spoilers (and also beware, Very Long post under the cut!)

The big running theme in The Final Empire is trust. Who can one really trust? Is it worth it to put your life in the hands of other people? What says they won't betray you as soon as it becomes favorable to do so?

Honestly this really is what Vin's character arc in the first book is about. At the beginning of the book, she's trapped in a low-level street gang where everyone is always out to get everyone else. Heck, the second time the audience ever sees her use her powers is when she is helping her boss betray a business partner.

Vin's brother has beaten into her the idea that she can trust nobody, not even him. Everyone is always out to hurt her or take advantage of her, and if she does not prove her immediate worth to her group, then at best she will be kicked out.

This, of course, is not helped by the fact that she is part of the literal slave class! Which is a whole nother essay tbh.

Then Kelsier takes her in and everything changes. There's a scene early on in the book, after vin formally joins the crew, where Kelsier and his men are all laughing and enjoying themselves while plotting their Big Plan™. And Vin, who does not trust any of them, is on the outside, quite literally. She's outside the room, watching them plan, wishing she could be included but not allowing herself to, because at this point in the book she still thinks they could betray her at any time.

I think now is a really good time to mention that being a Mistborn is built on secrecy and paranoia. Mistborn are literally the nobility's assassins. They hide their identities under hoods that blend into the mist so as not to be seen. So their powers cannot be used against them or their Noble Houses. In broad daylight they have to pretend to be normal people, or at best, regular Mistings. They can't trust anyone with the truth that they are Mistborn.

(Heck, even a quarter of their powerset- Copper and Bronze- create mistrust. With Bronze, after all, one can hear the allomantic pulses of burning another metal. Copper, on the other hand, blocks that; the use cases for these two metals lies in paranoia that someone else can use their Allomantic powers against you.)

Anyways! So we've explored some of the different aspects of mistrust in Mistborn, so what's the counterargument?

In a word: Kelsier.

Kelsier shakes up everything that Vin believes about how relationships work. He introduces his crew as something different- despite being a thieving crew, they operate under a principle of trust and camaraderie. "My crews rely on trust," Kelsier says at one point. In direct contrast to the dirty, paranoid crews Vin worked with before, Kelsier's crew is welcoming, understanding, and trusting of her.

But Kelsier's trust isn't just talk, either. When we learn that the crew believes Mare betrayed them in their last heist, Vin asks Kelsier how he could love Mare even though she betrayed him. Kelsier answers that given the choice between loving Mare and being betrayed or never knowing her, he would choose loving her. "I'd rather trust my men than worry about what will happen if they turn on me."

In the same passage as above, Kelsier poses a question to Vin: where has she been happier? with the old crews that we built on lies and suspicious, or with Kelsier's crew, who trusted each other and let their guards down? It's a rhetorical question, and the meaning is clear: Vin and Kelsier both are happier for risking themselves in order to be loved.

I don't think I've nearly done this topic justice. There are a million more points I could pull out and point to, but I want to end with my favorite quote from The Final Empire. It's from Vin, in Chapter 32. She says:

“Once I may have thought you a fool, but… well, that’s kind of what trust is, isn’t it? A willful self-delusion? You have to shut out that voice that whispers about betrayal, and just hope that your friends aren’t going to hurt you... Distrust is really the same thing, only on the other side. I can see how a person, given the choice of two assumptions, would choose to trust.”

I get what you are trying to say but Darkling did not love Alina. He loved her power. He saw not value in her as her own person. Yes, the Darkling and Alina’s dynamic is complicated but it’s not supposed to be seem as a “romantic undertone” is abuse, is gaslighting, is a man using his power on a vulnerable teenager. The OP was asking the right questions. That phase should NOT be romanticized because it’s pure evil and disgusting. It should not be interpreted as “grey”. Abuse is abuse. There’s not layers to consider, especially coming from the darkling. This is a years old being that has mastered the arts of manipulation, not a teenager or a simple person.

** TW ABUSE**

Hi nonny. Not gonna lie, the first thing I did when I read this ask was laugh because I spend every day trashing the darkling as a person, and suddenly I’m defending him? What is happening? It’s much more complicated then that though. I’m gonna link you to this post if you’re interested because I think it’s very relevant.

I want to start this off by saying that if I say something that comes across as controversial, I am speaking from my own personal experience with abuse in real life, and not because I think the darkling is an innocent baby.

I mentioned liking the romantic undertone of d/arklina in the books BECAUSE it was very problematic. One of my favorite themes in Shadow and Bone is power and corruption. If Mal represents Alina’s old life, and her tether to humanity, then the Darkling is the opposite. He is immortality and unlimited power no matter the cost. It’s a complete disconnect from the average human population, from little poor orphan girls. I like that the darkling manipulates her, and attempts to seduce her because that’s what power does. Absolute power corrupts absolutely. It tricks you into wanting more and more until you’ve crossed a line that you weren’t even aware was there.

I personally don’t believe in the idea of “pure evil” in real life, and by extension realistic characters. I think ideals can be evil. Behaviors can be evil. I do not believe humans are born evil, and whatever behaviors they are exhibiting are likely something they have learnt from the world around them. Does that make the behavior okay? Of course not. They are still a person though.

In real life I completely understand why it would be comforting to view something like abuse as very black and white, and it’s really not my business how someone deals with something that traumatized them. For myself though, one of the hardest lessons I’ve had to learn in my life is that abusers aren’t evil, they’re just people. If there are no layers, and the abuser is just inherently a bad person, I am not holding them accountable for all of the choices they have repeatedly made.

I have to disagree, I think the Darkling did love Alina. I believe he yearned for nothing more than an equal and a companion. The hero to his monster, without which neither could be complete. But what he was yearning for was a lie.

I like Baghra’s quote on this being “Know that I loved you, know that it wasn’t enough.” She learned how to love from a toxic family, and a toxic environment towards all people like her. Aleksander learned to love from Baghra. You can love someone and still abuse them. You can love someone and try an control them. You can love someone and choose power over them.

It’s all very ironic. Love can be toxic and all consuming to an unhealthy degree, and that’s the very thing that lead to the Darkling’s downfall. I don’t see this as romanticizing abuse (again from someone who’s been through it). Real people are grey. He should have wants and goals and feelings as a character, that doesn’t mean he’s even redeemable. It’s tragic.

The darkling wasn’t able to stop the cycle of generational trauma and violence. He was once a young boy who wanted love and equality. He grew into a centuries old man who abused those around him to meet his goals. He perpetuated violence.

But who does succeed in breaking that cycle? Alina. Like it or not, the entire point is that she could eventually grow into the mirror image of the Darkling. It’s all about individual choices. She does not have to return the darkling’s love and team up with him just to make herself look brighter. She does not have to risk it all for power. She does not have to throw every part of that little orphan girl away until she’s unrecognizable. But she so easily could. And that’s terrifying.

Mercy is at the end of the day, Alina’s true super power. She does see that scared little boy inside of Aleksander, and that’s a good thing!!! Not so she can be in love with him and live behind some white picket fence, but so she won’t repeat his mistakes. She sees the darkling as a human just like everyone else. If she didn’t, I think that might be very bad for everyone.

did i really just read with utter sincerity someone imply that harry losing his gun is a symbolic castration (as in literally analogous to his dick being cut off) and did i seriously just nod and go "yeah, sounds about right"

it’s 2022 and i still have new shit to say about twilight

I ABSOLUTELY ADORE YOUR SQQ HE LOOKS SO FUCKINH DONE WITH LIFE

The recipe for SQQ is: calm on the outside, screaming on the inside.

(i feel like analyzing stuff again so here we go) kaz is smart because he knows people. he loves puzzles, loves locks, loves taking things apart to figure out how they work. he says in soc that you figure people out like you figure anything else out, by taking it apart. kaz is smart because he finds enough out about people to make assumptions.

he knows what people will do, and often times it leaves the ones being duped going "how did he do that? how did he know?" kaz never truely knows something will 100% happen, he's just assuming it will and is almost always right.

in the begining of soc, when the crows are breaking matthias out of hellgate, kaz assumes wrong, though. he knows that jesper has a reputation for being late, so he assumes that jesper will take to the task of releasing the animals like he will anything else he does, and be late doing it. he has, in some sense, taken jesper apart. he knows what jesper does, and he plans around this assumption, however ends up being wrong. nothing extremely consequential happens because of his assumption, but it proves that kaz will assume things with confidence.

a huge aspect to why kaz is so successful in his planning and overall schemes is because he knows how to make a good assumption. he has inej gathering him intel, which enables him to make such confident and correct guesses about how people will act.

one instance of kaz's assumptions being correct is the whole geels and 19 burstraat situation in the beginning of soc. when kaz threatens to burn down geels' lover's home, geels could have not cared, could have shot kaz right there, but he didn't. geels doesn't, and kaz continues very boldly facing him. why? because kaz knows how geels will act.

another instance is in ck when kaz kidnaps alys and uses her to get inej back. at this point, kaz knows how van eck will act. van eck has already duped kaz once, and i imagine after this one of the things kaz does to insure it never happens again is over analyzing and taking him apart. it works in this instance, because kaz has already seen how much van eck cares about a "worthy heir," and alys is literally holding that. kaz has taken van eck apart, and had figured him out enough to make a bold and correct act based on assumption.

all this to say, kaz thinks and thinks and thinks and is always thinking and picking everything apart, and that is the key to why he can get away with everything he does. and maybe one day his assumptions that make him so smart will fail him, and maybe one day they'll be fatally wrong.

POV: You are a pirate who has captured 19-year-old Julius Caesar. He got offended by how low the ransom you asked for him was, and told you to double it. This is probably the only reason you haven't killed him yet, because he insists on making you listen to his lawyer speeches and bad poetry in the meantime.

Plutarch, Life of C. Caesar, 2.

you're reading homestuck? why would you do that to yourself?

it's a fairly culturally relevant piece of media at this point. i want to understand its impact and be able to have an informed perspective on it. also it apparently has some characters and narrative themes that i'd enjoy.

Okay so, I wanna preface this by saying that I have not read Sanderson’s other books so this is not a discussion about his actual abilities as a writer, and I’m not saying that he’s in anyway a bad writer. I do not envy the situation he was in At All, it must’ve been incredibly difficult to be given the responsibility of finishing such a long and beloved story as Wheel of Time. Trying to honor RJ’s story and characters when you are jumping in at the climax and expected to finish it in a way that the fans find satisfying when there is no way to make Every fan happy with the ending. Okay with that out of the way let’s talk.

So i have a lot of feelings about the final three books of Wheel of Time. There were many parts I enjoyed and there were also parts I was disappointed by. Personally, I felt like many aspects of the last three books felt rushed and incomplete and the pacing a bit odd in places and a lot of that comes down to the fact that it was originally meant to be one giant book, but like- that would’ve been ridiculous and I agree with the choice to break it up into multiple books. However I honestly think they should’ve just broke it up into more than three books to properly to pace them. There were a lot of things that Needed to happen that I think ended up causing certain things to get cut, for instance I do believe a big portion of both Mat and Min’s storylines in those last books were cut for time, specifically I think there was probably originally a lot more time dedicated to dealing with the Seanchen. What I believe to have happened is that Sanderson was given the notes about where the Black Tower needed to be and decided to dedicate the time to it and in exchange he cut the Seanchen plot line for pacing since the Seanchen were Technically already solved. Technically. Now controversial opinion but I did actually like Androl, however, I think he and the rest of the Black Tower suffered from having their storyline rushed. The plot line in the black tower should’ve started after the Ashaman with Rand betrayed them as we got to see the corruption already seeping into the Black Tower. Sadly that’s not what we got, but it honestly deserved an entire book to properly introduce it and it would’ve benefited from having pre-established characters that we cared about be more involved. Other parts of the story I think deserved more time dedicated to, the actual process of stealing the horn of Valere back from the White Tower, I wanted a heist mission with Faile and the Band but that is just personal preference lol. More time learning about Slayer and the red veiled Aiel, they were introduced and then promptly stopped actually mattering outside of being enemy fodder. Literally everything about Faine and the Evil of Shadar Logoth, Faine dying so quickly will forever disappoint me, he was a main antagonist since book one and his death felt very quick and unceremonious, like just tying up loose ends.

Next is issues with characterization. Once again I do not envy Sanderson’s job here at all. This type of thing isn’t easy but I can also see exactly where the issues were. Sanderson by his own admission didn’t understand Mat, and he Did get better at writing him but the damage was already done unfortunately and there wasn’t enough time to properly fix the issues with Mat’s characterization. Mat was not the only character whose characterization was flattened however, Aviendha and Tuon for instance also lacked a lot of their original nuance. I think it’s very clear where Sanderson struggled and that is with unreliable narrators. Characters that Sanderson seems to both enjoy the most and successfully write in a compelling way are characters who very straight forward and honest, their internal monologue matches their actions, and they reliably narrate their stories. Characters like Perrin and Galad thrived under Sanderson’s writing style. Androl is a very obvious example of this archetype being one that he’s comfortable writing. The issue he faced with both Mat and Tuon is that their unreliable narrators who act inconsistently to an outsider perspective and I think for Mat especially Sanderson struggled to get past his first impression of Mat. The biggest issue with Sanderson’s version of Mat is that his character arc was reset, Sanderson’s Mat was still running away from his destiny and trying to avoid Rand, something Mat had already worked past in books four and five with Melindra and the Rhavin incident teaching him to accept his destiny and embrace his role as Rand’s General. This meant that Mat and Tuon’s relationship lost a large part of its nuance and Mat’s actions felt out of character and immature for the point in the story we reached. There’s also the difference in how RJ wrote Mat’s “flirtatious play boy” status versus how Sanderson portrays it and it can feel a bit jarring at times, and just in general, I feel like Sanderson often wrote Mat as “stupid” where he very much isn’t. He’s reckless and mischievous but never stupid and I think Sanderson equated his recklessness with stupidity in some places.

Writers play favorites, and it does show, RJ’s favorite was Mat and Sanderson’s favorite was Perrin and both are very obvious preferences. Poor Rand was neither writers favorite but it’s okay because as the protagonist he at least got consistent page time dedicated to him. RJ definitely paid more attention to Mat than Perrin and Sanderson did vice versa. So I’m not complaining just because I wanted Mat to get more page time. My issues with it are that Mat ended up feeling a bit underwhelming during the last battle. Where all other characters got to have their spotlight moment during a Memory of Light, Mat didn’t; and perhaps that’s because Towers of Midnight was originally part of a Memory of Light so Mat had got his big moment in the final book during the original draft. The Seanchen overall felt like it was resolved in an underwhelming manner, as did the Shadar Logoth plot line and it just so happens that both of those plot lines were Mat’s and I do think Sanderson’s bias informed his decision at least subconsciously when choosing which storylines to trim down.

In summary I would’ve rather Sanderson made it five more whole books if it meant that all the plot lines could be given enough time to be resolved in a fully satisfactory way.

Old Man Yaoi May Not Be So Old

So there’s a segment in the DSaF fandom that beleive Dave and Jack are visibly old men. I’m fine with it, I used to, and in fact love the designs especially because there’s seems to be an almost taboo of drawing old people to a point and it’s homely really great that people here are doing it, but I don’t think that’s actually true canonically like I used to. I must stress though DRAW THEM HOW YOU LIKE. They can be old or not it doesn’t concern me.

Both of them are corpses. In terms of age, yes, they are quite old, but corpses don’t tend to age. And we see this in DSAF with the Phones not aging visibly, perhaps it’s just that it’s stock photos but Harry, despite being Gen 1, is physically not old. Why? Because Harry isn’t alive. None of the phones are. The phones are just well preserved and act like living creatures.

You know what else isn’t alive but acts like it? Dave and Jack. While they’d be in terms of numbers, old, in DSAF 3, given their ages at which they died it’s unlikely they’d physically get any older. And don’t say some kinda magic thing because we know for a fact that both behave like corpses, especially Jack. Jack paints himself orange to look alive (a weird colour choice but I digress), he does this because his body is rotting, likely turning black or purple (this also means any cursed colour swap between the two, the Jack side may just not have put on his makeup yet lol). Jack is rotting, definitely not alive body behaviours. Dave also does not behave like a living person. How many of those do you know that can do what he does. There seems to be a consensus that Davetrap is rotting but Dave is too nothing happened to Davetrap to kickstart the process that would mean Dave could not have before, it’s likely the pests just got in because he was stationary and likely far slower.

Let��s also talk about their behaviour. It’s not great to go off of but Jack doesn’t act like a mature adult and neither does Dave, they act like they’re rather young adults still figuring themselves out. Jack especially is quite childish, as if he never got a chance to mature. You could bring up Dee, but Dee’s situation is far different. It doesn’t seem like Dee has actually mentally matured so much as she has been put in a position in which she has no choice but to take on a more mature role and tries to fit that, she has no reason to mentally age, and none of the other children have meaning if she actually got older there would have to be more to it. Dee is as old as she always was, any maturity added is not due to age but due to her situation. Dave and Jack are immature people, and with this in mind it paints a somewhat grim picture of the fact that they never got to mature.

One could mention the ending in which Jack dies of old age… but the phones also have beards here and Jack is actually established to be semi immortal so dying of old age just doesn’t make sense, he can die, but it seems like he gets back up. So let’s be real the beards are fake, and Jack probably ate something weird, and will be fine in like 12 minutes. The game probably ends when you die because it would be weird if it didn’t even if you do get back up.

The only time I’d say Jack permanently dies is when he’s burned. Which leaves no body behind, which by the same principle as the others, means there’s nothing left to come back which sucks for him because oops no soul either.

Jack can also get rabies but… this also doesn’t feel like a sign he is alive.

Dave actively does rot in the game as Davetrap, Jack rots constantly, it’s safe to say their bodies do not work like human ones especially considering not having organs is not something that kills Dave. At least not that we know.

With all of this in mind, yeah. They are corpses. And as I’ve said before, corpses do not age in DSAF physically or mentally, even Blackjack is incredibly immature if you actually look at his behaviour. He’s also an asshole who never gets character development but that’s a story for another time.

It actually makes more sense if they don’t age given the very little change in their behaviour or character between games even after a massive Timeskip nothing seems to have changed at all which makes sense logically too, because why would Fredbear give Jack the ability to age? Let’s be real here if Jack can age eventually that will become a problem given that he is immortal seemingly as long as he has a body to return to. There’s no reason to give him the ability to age and plenty of reasons not to.

Now that’s not to say their bodies don’t change, they do. And if you realistically want to draw DSAF 3 Jack in his most canon possible form… which I doubt many do… Jack doesn’t age he rots he’s probably just a lot worse for wear if he hasn’t found a way to stop rotting yet. Him being an old man is unlikely, but a very decomposed zombie? More likely than you’d think.

And before anyone brings up the tapes, Dave may just look like that, pretty much every piece of art in that game is by a different person who is not Doggo, while Dave seems to be a bit older Jack does not. The tapes are in the past if we are saying that is Dave’s age in DSAF 3, sorry no.

DSAF 3 has incredibly inconsistent art to a point I’d say fans can largely disregard it but that’s an essay for another time just know art in that game isn’t as canon as people seem to think it is. At least not by my observation.

Dave and Jack are old men in age, but not in body. No in body they are most likely the age they died at which seems to have been pretty young for both of them like we know Jack was in his early 20s and Dave is a few years older but also died at the very least a few months before Jack. They aren’t old men, at least not canonically.

I must stress I mean they probably are not canonically old because honestly the DSaF fandom needs to take a chill pill and stop being angry at people for making their own designs, literally do what you want as long as it’s not illegal or like super fucked up. Don’t make Jack 12 and Dave 60 and ship that, but if you want to draw them old be my guest. This essay was just my observation of the idea that the fandom calls them old men and people seem to think they are canonically but it just seems unlikely.

GOD I AM NOT YOUR STRONGEST WARRIOR/j

***Glorious Masquerade spoilers beneath the cut!!***

ROLLO LORE ROLLO LORE ROLLO LORE 👀

ROLLO FLAMME UNIQUE MAGIC REVEAL, I REPEAT: ROLLO FLAMME UNIQUE MAGIC REVEAL>>>?!?!?!??!?!??>!>@@ WE GET THE INCANTATION FOR ITR TOO?????

“Crimson flower, scorch my soul and guide me. Dark Fire!” (Translation generously provided by @mysteryshoptls, who is currently on hiatus)

Note that the line itself says “身”, which more closely translates to “physical body/myself”. “Scorch my soul” is a phrase lifted from the lyrics of Hellfire, the Disney song, and fits with the “salvation” tone and theming.

Please also note that the “crimson flower” he’s referring to in the incantation is NOT literally referencing the crimson flowers (the magic sucking plant he cultivated in the waterways); he’s not controlling or influencing the flowers in any way (other than having grown them). The “crimson flower” of the incantation is metaphorical and likely refers to the fire that covers his body afterwards (as the actual flowers are described to closely resemble real fire).

“くすぶる欲望”, the name for Rollo’s unique magic is spoken aloud as “Dark Fire”, but it is written as “Burning Desire”. Again, this is a lyric lifted from the lyrics of Hellfire.

Rollo’s UM literally engulfs his body in flames, which he can freely control firebending lol. The magical fire is fueled by others’ fear and uneasiness.

ROLLO’S IN HIS RIDDLE ROSEHEARTS ERA, HE’S FINALLY EMBRACING HIS INNER ARSONIST I KNEW HE COULD DO IT I KNEW HE COULD LOSE HIS SHIT 

ALSO, WE WERE SUPER CLOSE WITH THE DEAD LITTLE BROTHER THEORY 😭 Apparently Rollo’s little brother died very young. He unlocked his magic before Rollo did; he played around with his magical abilities and acted recklessly with them. He performed a fire spell he couldn’t control… which ended up claiming his life. Rollo wasn’t able to help him, as he unlocked his magic AFTER his little brother was already dead (and he claims that he is absolved of fault because he didn’t have magic at the time but come on, I think we all realize he probably has internalized guilt over it). Because of this, he resents magicians for not doing anything to help moderate or to restrain his brother’s magic use.

HE’S CRYING, ROLLO IS CRYING

BRUH 😔 YOU REALLY GOT TA HIT US IN THE FEELS LIEK THIS????????????? I FEEL MY HEART BREAKING I’M NOT MADE OF STONE I’M NOT MADE OF SOMETHING STRONGER I’M LITERALLY GLASS RIGHT NOW

(THIS PART IS THEORIZING + ANALYSIS but there’s a flashback to Rollo’s past… and when his little brother calls out to him for help, there are rising flames in the background. This implies that his little brother died burning alive because he couldn’t control a fire spell… and Rollo couldn’t help even if he wanted to because he hadn’t gotten his own magic yet. As Azul points out, he must have been so conflicted when his own magical abilities awakened. THEN ROLLO LEARNS THE MAGIC THAT MAKES HIM “UNIQUE” IS ASSOCIATED WITH FIRE 🤡

Imagine how fucking traumatic that must be if his little brother was lost in the flames… And if that’s true, then it explains why Rollo has dialogue which implies he’s unhappy with himself, that he views his own magic as being “cursed”, on top of forming a disdain for magic (and particularly those who overindulge in it as his brother once did). Losing his brother would have made such a big impact on Rollo that it literally SHAPED what his unique magic would be… That death was an extremely traumatic formative experience. Then, in a cruel twist of fate, Rollo sees his own magical abilities are a constant reminder that he could not save his loved one, and the form it has taken is like a sin and the guilt he cannot scrub from himself. Rollo’s body literally sets on fire when he uses his unique magic—a horrifyingly reminder of his little brother’s body burning to a crisp before his eyes.

What must Rollo be thinking in that moment when he discovered his unique magic and every time he uses it after that? I can control the fire that my brother couldn’t. I survive when this fire consumes me, and my brother didn’t. Uh, no wonder why he describes his magic as “repulsive” 😔 and no wonder why he’s not scared to lose his own magic. He, in fact, believes it will be liberating.

And the fact that his Dark Fire is powered by negative emotions????? That’s… such a scary manifestation of Rollo’s own dark thoughts and emotions. The worse people feel, the worse the flames become… the stronger Rollo’s internalized guilt, the more hateful he became, until it ultimately culminated in this plot to steal all the magic from Twisted Wonderland. In his eyes, any amount of magic is dangerous—too little, and mages becomes jealous. Too much, and they become arrogant. Magic is that evil, the unease and the fear, that propels Rollo and his unique soul-defining spell.

Dark Fire fittingly defines him, his obsession, and his ambition. Most importantly, it gives him drive, and a cause to work toward. It is Rollo’s guiding light in an otherwise dark, sin-drenched world. This is reflected even in the incantation: “Scorch my soul and guide me.” Rollo’s “sin” is also, very ironically, the hope that propels him toward is own brand of “salvation” at the expense of all other magic users. Like Idia says, Rollo tries ro justify his actions by claiming it is for the good of all when, in reality, Rollo is just seeking salvation for himself. He wants to come to terms with all the guilt he has been burdened with: seeing his brother burn, coming down with the curse of magic, the blight of his unique magic… GOD HE’S. SO AWFUL OTL BUT ALSO SO DARK AND COMPLEX)

asgk dihasbioasbiadfbiadfbafds Anyway, back to canon!!

SO THEY BEAT THE SHIT OUT OF ROLLO AND. His punishment for all of this is… Well, none of his crimes are shared with people outside of NRC (like how they try to contain news of Jamil and Vil’s OBs in the main story) 😂 so Rollo still remains “pure” in the eyes of the NBC mobs that adore him, BUT he has to deal with the internal moral dilemma and turmoil.

Truly fitting for a villain who has already internalized so much self-hatred and guilt… Oh yeah, and he dances with Malleus at the end 😂 Happily ever after, I guess??

i think what's really compelling about tsh is how out of the main players (and really out of everyone) there isn't one Good Person (in the sense of moral right/good vs wrong/evil story dichotomy type Good Person). Like,,, henry vs bunny alone. I feel like there's an instinct among readers (at least those I've seen on tiktok, which, i know, im sorry) to go Henry is Good and Right and Bunny is Evil and Wrong particularly upon first reading and then when you think critically it turns to Bunny is Actually Good and Right and Henry is Evil and Wrong to make sense of the story but both are Shitty, Terrible People.

Henry is a self-important, elitist serial-killer who is completely detached from the world around him from no one's fault but his own and Bunny is a leech who considers biogtry and a guiness world record catagory and blackmails his friends over a murder not because they killed an innocent man but because they didn't include him.

I think this is what makes tsh so compelling. You're not there to take sides, no matter how hard Richard (unconsciously?) tries. You're there to watch a series of terrible events unfold and to consider the complexity of human morality. Not one person is either Good or Evil. It's impossible and destructive to look at people that way and I think that's how tsh messes with you and I love it. I don't think Donna Tartt wants you to forgive or justify anything that anyone does, but to simply perceive them and your reactions to it

was watching DS9 with the roommates earlier (first watch-through of the series for one of them) and today we got to "Far Beyond the Stars," unquestionably one of the greatest sci-fi episodes of television ever made, and since we're fresh off all things Twin Peaks, we were delighted when the episode answered Monica Bellucci's question:

turns out it was Captain Sisko all along

seriously tho, the Lynchian-like stuff in this episode is really fun if you pick at it. Sisko is having something of a psychogenic fugue, which is something that is all over the place in Lynch's work. You're left wondering and questioning: who is the real man? Is it Sisko, is it Benny Russell? The metatextuality of it all! Lynch loves to be metatextual, and you literally have Sisko discussing at the end his own questioning of what is the true reality, that last shot of Benny looking back at Sisko in the reflection is haunting, plus there's the very real truth that DS9 actually *is* a dream of the future. Not Benny Russell's, but Gene Roddenberry's, Ira Stephen Behr, Robert Hewitt Wolfe, Ron Moore, et. al

There's been reams written on the excellent social commentary in this episode but the exploration of identity and the self and the reflexivity of the metatextual bits is a little underexplored, I think? The cast being transformed into sci-fi writers to make commentary on sci-writing, as written by actual sci-fi writers.

Benny is the dreamer, Sisko is the dream. We are all dreaming with him. Sometimes you cherish a dream so much you will risk everything to see it through, at great personal cost

anyway, I could ramble on about this show forever. It's so wonderfully textured. What a ride season 6 especially is: today we went from "Waltz" to "Who Mourns For Morn?" to "Far Beyond the Stars" to "One Little Ship." If that sequence doesn't perfectly encapsulate what makes DS9 so multifaceted, I don't know what does! It's such a joy to binge watch a show that changes its tone up week to week while still maintaining a strong serialized story.

David Lynch's work seeks to point out the importance of balance: I can't think of a show that is much better balanced than DS9? It covers every genre, it's comedic, it's intense, it's philosophical, it's artistic, it's spiritual, it's tragic, it's familiar, and it's heartwarming.

Modern tv, especially of the serialized variety, is such a drag.

also as an aside: the sets on this episode are stunning? Benny's apartment is especially wonderful: it's the lived in, chaotic apartment of a bachelor writer. Nothing is arranged but you can feel that Benny knows in his head exactly where everything is.

Okay so basically I got to do a presentation about chapter 30 from The Dream Thieves in my Creative Writing class and I got way to carried away writing a full analysis so I thought I'd post it here

I think this passage is so great because it's packed with symbols that completely encapsulate the character of Ronan Lynch. Firstly, we have Ronan’s tattoo, which holds a lot of significance in terms of its literal purpose and what it figuratively represents. We learn here that the literal purpose of the tattoo is to instill fear and intimidation among others. Ronan is a very damaged person, and uses his physical appearance as a warning sign for others to steer clear of him after his father dies. He has a shaved head, a permanent scowl, and most intimidating of all: a tattoo which stretches from the back of his neck all the way down to his waist. His tattoo has a lot of grotesque, frightening imagery in it, which is interesting considering its design is made up of “things from his head.” The fact that the dark imagery portrayed in his tattoo is from his head reveals the struggles and dark things that come out of his own mind. His tattoo is a literal manifestation of Ronan’s inner self portrayed in a scene on his back. He’s quite literally wearing his heart on his sleeve (or on his back rather). It’s also mentioned that Ronan has never been able to see the tattoo fully, because it’s on his back. It can only be seen by others standing behind him, and also, when he’s naked (which is something I’ll come back to later). I think that the placement of his tattoo specifically is a really important metaphor alongside the idea that Ronan’s tattoo represents his whole character and inner self. The fact that Ronan cannot see the whole picture of himself and only “bits and pieces” seems like a large indicator that Ronan doesn’t know fully who he is. In the prologue of The Dream Thieves, it’s stated that Ronan has three secrets, all of different natures; the nature of the second secret being one you keep even from yourself. So essentially, Ronan has a part of himself which he doesn't even truly understand, and I think that this is really accentuated by the fact that he can't see his whole tattoo (his inner self) because it's always behind him. However, others also can’t see the whole tattoo unless he takes his shirt off to show them. (BIG THING FOR LATER!)

In the epilogue of TDT you find out (along with Ronan himself) that he’s in love with one of his best friends, Adam. During this chapter, the reader hasn’t been told yet that Ronan is in love with Adam; mostly because the book follows his point of view, and he doesn’t actually know this about himself yet either. It’s made into a plot twist of sorts in the epilogue, and many readers said that they weren’t aware that it was coming at all. A lot of people felt that Ronan’s crush on Adam came out of nowhere. But if you’re me and love to look WAY too deep into every single line of a book, you’ll know that this isn’t the case at all. This dream is a dead giveaway of Ronan’s feelings. First of all, dreams–especially the way that they’re portrayed in this book–are a look into one’s inner conscience. Your dreams are able to display your deepest feelings and desires, even if you’re not consciously aware of them in real life. Ronan especially is a character who has walls built up, and doesn't verbally communicate how he feels to any other character. He doesn’t even allow himself to examine his own feelings/desires, and has a lack of self-vulnerability and personal emotional intelligence. So in his dreams, his most inner part of himself comes to the forefront of his mind and shows him things he didn’t even know he wanted. To validate this idea, we have the fact that Ronan can fully see his whole tattoo in this dream. His tattoo represents his inner self, and he is finally able to see this part of himself within his dream. The dream begins with Dream Adam tracing his tattoo, and in Latin (which I’ll unpack later) he says,“Scio quid hoc est” which roughly translates to “I know what this is.” Once again, returning to the idea that Ronan’s tattoo is a manifestation of himself, we have Adam physically touching it and telling Ronan he knows what the tattoo means. He understands its whole purpose; why Ronan got it, what it’s really depicting. Dream Adam isn’t intimidated by the tattoo like most people because of its gruesome imagery, but instead he knows that it’s really made up of things from Ronan’s conscience, that it’s a representation of who he is inside. What’s really being portrayed in this scene is Ronan’s desire to be truly known by someone, which is a common theme in the series. The fact that the person shown “knowing” Ronan in his dream is Adam specifically is really important as well. Up until this point, we know that Adam and Ronan are friends, their relationship is shown to be tense and is characterized by squabbles which are resolved by the end of the day. We don’t really know exactly how they feel about each other yet based on their surface level interactions. Therefore, this chapter is extremely important in developing their relationship. We now know partly about how Ronan truly feels about Adam. Not necessarily what their relationship currently is, but what he subconsciously wants it to be. Ronan wants to be known by Adam and believes that he has this capability, since it’s Adam who fills this role in his dream. 

In the dream, Dream Adam then transforms into Kavinsky, who’s the antagonist in this installment. Kavinsky is an adrenaline junky who’s presented to have an infatuation with Ronan. He gets him to do crazy things: dangerously drag race in the streets, take questionable dreamt-pills, and throw molotov cocktails at white Mitsubishis. He’s infatuated with Ronan mainly because of Ronan’s outward reputation and appearance, his mutual love for perilous activities, and the fact that they share the supernatural ability to take things out of their dreams. Kavinsky wants someone to enable him; who he can be an enabler to. Kavinsky thinks that they’re one in the same, and that Ronan is an exemplary candidate for a self-destructive partner. In Ronan’s dream, when Adam turns into Kavinsky, Ronan disappears entirely. He becomes only his tattoo, which gets smaller and smaller until it's simply a tiny Celtic knot. The notion that Ronan disappears and that his tattoo (all that’s left of him, a manifestation of his conscience) gets smaller when Kavinsky appears, shows that he literally feels small when he’s with him. Kavinsky belittles Ronan. He misunderstands who he is, and boils him down to his wildness and rash spontaneousness. He quite literally swallows Ronan whole in the dream; he destroys all that he is. Dream Kavinsky tells Ronan in Latin, “Scio quid estis vos'', which roughly translates to “I know what you are.” WOOOOOF. OH, IT'S SO GOOD. I GOT CHILLS. This could have SO many meanings. “I know what you are” could mean that Kavinsky knows that Ronan is a dreamer, just like himself, or it could also mean that he knows Ronan is gay (if we’re revisiting that idea of this dream bringing to the forefront parts of Ronan that he doesn’t know about himself yet). Adam and Kavinsky are complete opposites in Ronan’s dream, and furthermore, his life. The dream versions of the two represent what he wants, versus what he’s settled with. Currently, Ronan doesn’t think that he’s worthy of someone who truly knows and loves him. Instead, he’s resigned himself to a homoerotic unlabeled relationship with Kavinsky—who doesn't actually care about who he is, and only wants someone who he can destroy his life with. The exact phrasing of the things Dream Adam and Kavinsky separately say to Ronan are SO significant. Essentially they’re telling him the same thing: what they think they know about him. It's the words which they use to say this which makes these statements wildly different. Dream Adam says “I know what this is” about Ronan’s tattoo, meaning that he knows Ronan’s inner self. He knows this thing which he can’t normally see all of himself display of terrible things from his own mind. Dream Kavinsky says “I know what you are” which displays his assumption of Ronan’s outer character.  It’s a bold assumption and an incorrect one. The difference between Adam and Kavinsky to Ronan, is that Ronan wants Adam because he’s different from himself, and doesn’t want Kavinsky because he’s too similar to him. To an extent, I think Ronan fears Kavinsky because he’s who Ronan would be if he didn’t have Gansey or Adam in his life to keep him sane. Initially, Ronan does like to have someone to let off steam with, but he eventually realizes doesn't want an enabler to ruin his life with. He wants someone like Adam–his polar opposite–to know him, to ground him. He wants to feel alive, and awake. 

Another interesting element to this chapter is that Ronan’s dream seems to be erotic in nature; it’s a wet-dream. This is a little jarring for a YA novel, but I personally think eroticsm and sex used in literature as metaphors for conveying relationships and character vulnerability is really beautiful and clever. The significance of it being a sex dream is the fact that Ronan, as previously stated, isn’t someone who verbalizes his love for people. He shows it through physical intimacy and acts of service. Intercourse is literally as close as one can be with another person, and Ronan is completely vulnerable and laid bare in this moment. In it Ronan is naked, which we know because the dream begins with Adam tracing the tattoo all the way down his bare back. Remember, Ronan’s tattoo can only be seen fully when he’s naked, which adds another layer to this. Here it’s assumed that he had allowed Dream Adam to see his tattoo, because he had to have taken off his shirt to see it. Circling back Ronan’s tattoo placement, it’s something that not only can’t be fully seen by himself, but also can’t be fully seen by others unless he decides to strip naked for them. Here he allows Adam to see it and even trace the lines of it down his back. He felt comfortable enough to be vulnerable with Adam like that, and to inspect his whole being. The fact that Kavinsky then appears and the tattoo becomes smaller represents Ronan's uncomfortability with Kavinsky. He didn’t mean for him to see that part of himself and shrinks away in shame until Kavinsky devours the tattoo without permission. It really enforces the idea that Ronan wants and chooses Adam, but Kavinsky forces himself into his life and takes from Ronan without asking. Finally, Ronan awakes from his wet dream “euphoric and ashamed.” This could either be about the fact that it was a sex dream with not one, but other boys, or the confrontation of his true desires. He’s ashamed to admit what he really wants, and doesn’t allow himself to fully comprehend what this dream means. Ronan even thinks that he never wants to sleep again, which really means that he doesn't want his dreams to confront him with his true feelings again. This can tie into the metaphor about Ronan’s sexuality in terms of the fact that he got off to Adam and then Kavinsky, or that he doesn’t want to let his guard down and admit what he truly wants. 

It’s now finally time to unpack the use of Latin! Hooray! Throughout the series, we’re shown that Ronan is really flippant about school. He’s constantly on the brink of expulsion from Aglionby because he doesn’t go to any of his classes or do any of the work. However, the one class he has consistent attendance in as well as the highest overall grade is Latin—second to his proficiency in the language is Adam. They’re both in the same class, and are said to be able to almost fully understand and speak perfect Latin. The use of this dead language is a common theme in the series, and almost all of Ronan’s dreams are in latin. There’s an underlying meaning in that alone. A fun tidbit if we’re looking into the meaning of latin phrases we have the imagery of “claws and beak” described about the imagery of Ronan’s tattoo. The latin phrase “Unguibus et rostro” translates to “claws and beak” and is an expression about fighting with everything you have for something you want. It’s idiomatically comparable to phrases like “heart and soul” and “with all one’s strength” (thanks to ravenclawsandbeak on tumblr for sharing this finding with the fans).  In the final book in the series, there’s a short chapter which is essentially a call-back to this chapter, and follows the format in which it’s written pretty clearly. However, Ronan is awake this time rather than dreaming. 

This chapter is more or less a sex scene between Ronan and Adam, and is essentially the exact opposite to Ronan’s wet dream in TDT. Here, Ronan’s desires are no longer a fantasy that came to him in a dream, he finally has exactly what he’s wanted all along. in which they admit their feelings for each other, which is done indirectly and not through words. The fact that it's through a sex scene is significant because it's showing their intimacy. Intercourse between people is literally as close as two people can get. As a couple, Adam and Ronan rarely verbalize their feelings about each other, and so this intimate act is really them letting down their walls and allowing themselves to be completely vulnerable to each other. Here, we have Adam studying Ronan's tattoo in real life this time, just like in his dream (Something he’s only able to do because Ronan allowed him). He sees all the fine details in its design, and interestingly enough, speaks aloud this latin phrase “Unguibus et rostro” (This also begins a common theme of Ronan and Adam speaking in cryptic latin phrases rather than just actually telling the other of how they feel about each other, but that's a story for another time). This, as everything else does, has multiple meanings; it shows that not only Adam correctly interprets the imagery on tattoo, showing that now he does truly know and understand Ronan’s inner self. But also it reiterates the meaning of this phrase: that Ronan has appropriately fought with all he had for what he wants. He was able to reject Kavinsky and stay true to himself and his principles, and he realized his feelings for Adam, and was able to let his guard down enough to reach out to Adam and let him know how he actually felt about him. And similarly, he allowed Adam to love him back. 

So why did Maggie Stiefvater include the chapter in TDT? It completely breaks the flow of the main story, interrupts two other character’s POVs, and comes seemingly out of nowhere. It's not described where Ronan is, who he came to sleep, when it’s happening. It feels as if the placement of this chapter didn’t matter; it could appear anywhere and still have the same effect. My theory? I think that Stiefvater specifically placed this chapter here because she thought it was an appropriate time to learn more about Ronan, and she wanted the chapter to stick out due to shock value. Because it’s at such a seemingly random moment, and its content is brief and strange, it’s a stark outlier from the rest of the chapters. For me, this strategy totally worked. When I think back to this book, this chapter is by far the most memorable one. I remember it almost immediately when I think about any specific line/chapter from this book. Even though the dream seems random and complex, it has so much meaning packed into it about Ronan’s inner conscience and character. Stiefvater wants to reveal all of these things about Ronan previously analyzed without directly telling us. 

every time i see someone call tron 'cyberpunk', i lose ten years off my lifespan

RELIGION? IN MY DSMP? MORE LIKELY THEN YOU THINK

Anyways would you like to have a debate like Ancient Greek scholars about religious imagery on the DSMP

“…and every revival only births a perversion of the original, and yet a return to form and renewal of the mission. Wilbur brought back to ambition, Tommy to fear, Techno to anarchy. This is because they were not properly revived through holy means, instead in symbols associated with satanic imagery; a grimoire, a totem. The revival book’s association with Dream echos ideas of Satan offering power that ultimately corrupts. Other symbols of Christianity show up beyond souls, revival, and satanic imagery, likewise tied to Dream. In the garden of Eden—”

“Golden apple as a symbol of the temptation of power! Of course of course! Knowledge as power, the fall of man from grace. This shows particular on the summit meeting between Techno and Dream, wherein a god apple is given by Dream. This falls neatly into parallel with Eden, where Eve is lured with the promise of having the same wisdom and thus power as god. It is the temptation presented, power promised in the same breath as suffering and conflict…”