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bestworstcase · 1 year

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jaune is the hatter

if your exposure to alice in wonderland has hitherto only come from pop culture and/or high profile film adaptations like the 1951 disney cartoon or (through gritted teeth) burton, then you are probably and fairly going “…huh?” right about now but, hear me out.

firstly, to get this out of the way: 1. the creature jaune’s doppelgänger rides isn’t a rabbit; it’s a hare, or more accurately a jackalope, and appears to be modeled specifically with reference to the winter coat of a white-tailed jackrabbit (jackrabbits being hares, not rabbits); and 2. clocks and timekeeping are actually the hatter’s thing—the white rabbit’s perpetual lateness and constant temporal anxiety is a massive pop culture exaggeration. and as it pertains to rwby, it’s really obvious that the ever after is taking its cues from the carroll books, because right off the bat there are a lot of references to things in the books that never filtered through into the wonderland of pop culture. so my inclination is to give a lot more weight to what’s in the books.

so!

the hatter and the march hare are sort of unique among wonderland’s cast in that they appear in both alice’s adventures in wonderland AND through the looking glass. in aaiw, they’re hosting the tea party when alice first encounters them, and the hatter is later summoned as a witness during the trial at the end of the book. in ttlg, they’re called haigha and hatta, and they act as messengers for the white king. (slightly modified names notwithstanding, there is zero ambiguity about their being the same characters.) this has the effect of giving the hatter, in particular, something akin to a character arc, so there’s a fair bit to go over.

alice first encounters the pair in chapter vii of aaiw (the mad tea party). after a bit of rude back-and-forth (and delivery of the “why is a raven like a writing desk?” riddle), the hatter pulls out his watch and asks alice to tell him the date; it’s may fourth, his watch is “two days wrong!” and—after alice comments on the peculiarity of his watch (it marks the date but not the time) and fails to guess his riddle, the hatter admits he doesn’t know the answer, and alice replies “i think you might do something better with the time than wasting it in asking riddles with no answers.”

this initiates a fairly long digression regarding the hatter’s complicated relationship to time. namely:

up until a few months ago, the hatter was on such good terms with time that he could rely on time to do “whatever [he] liked with the clock,” for example rushing from nine o’clock in the morning right to half-past one and then keeping it half-past one until he felt hungry enough for dinner. in march, however, the hatter sang at a concert given by the queen of hearts and performed so badly that she accused him of “murdering the time,” and since then time won’t do him any favors and has made it permanently six o’clock at the hatter’s table. hence, it’s always teatime; the hatter and the march hare are stuck going round and round the table with no time to even wash the dishes.

after the hatter relays this history the scene goes on; the dormouse tries to tell a story, alice exasperates it by interrupting with questions, and the hatter and the hare exasperate her in turn by remarking rudely on anything she says, until she leaves in a huff.

the hatter next appears in chapter xi (who stole the tarts?), where he’s called as a witness in the trial of the knave of hearts. he still has his tea, not having had time to finish; he has been having tea since the fourteenth or fifteenth or sixteenth of march (the jurors write down all three dates, add them up, and reduce to shillings and pence); the king asks him to remove his hat, and the hatter replies “it isn’t mine,” provoking an accusation of theft (“stolen!”) to which the hatter retorts “i keep them to sell. i’ve none of my own. i’m a hatter.”—and of course identifying himself as such gets the queen’s attention. the remainder of the hatter’s examination takes the form of indirect back-and-forth between the increasingly nervous hatter and the queen of hearts as she tries to place him in her memory, with him bolting out of the courtroom an instant before she puts the pieces together and orders his execution (again, having already done so once at the concert).

that is the last alice sees of him in aaiw, but he reappears—as hatta—in ttlg chapter vii (the lion and the unicorn), although he is mentioned but not named by the white queen two chapters prior:

“For instance, now,” she went on, sticking a large piece of plaster on her finger as she spoke, “there’s the King’s Messenger. He’s in prison now, being punished: and the trial doesn’t even begin till next Wednesday: and of course the crime comes last of all.”

“Suppose he never commits the crime?” said Alice.

“That would be all the better, wouldn’t it?” the Queen said, as she bound the plaster round her finger with a bit of ribbon.

Alice felt there was no denying that. “Of course it would be all the better,” she said: “but it wouldn’t be all the better his being punished.”

“You’re wrong there, at any rate,” said the Queen. “Were you ever punished?”

“Only for faults,” said Alice.

“And you were all the better for it, I know!” the Queen said triumphantly.

“Yes, but then I had done the things I was punished for,” said Alice: “that makes all the difference.”

“But if you hadn’t done them,” the Queen said, “that would have been better still; better, and better, and better!”

by the time alice catches up to hatta himself he has been released from prison and is terribly hungry and thirsty because “he hadn’t finished his tea when they sent him in, and they only give them oyster shells in there.” he’s eating too feverishly to speak at first, but begins to cry when haigha asks him about his time in prison (“Hatta looked round once more, and this time a tear or two trickled down his cheek; but not a word would he say.”); he only manages to choke out a few words when the white king demands it, and is shortly thereafter sent off to signal for the drums that are to drive the chapter’s titular lion and unicorn out of town.

and while that is his final direct appearance in the story, the hatter is referenced one last time in chapter ix (queen alice):

“Don’t let us quarrel,” the White Queen said in an anxious tone. “What is the cause of lightning?”

“The cause of lightning,” Alice said very decidedly, for she felt quite certain about this, “is the thunder—no, no!” she hastily corrected herself. “I meant the other way.”

“It’s too late to correct it,” said the Red Queen: “when you’ve once said a thing, that fixes it, and you must take the consequences.”

“Which reminds me—” the White Queen said, looking down and nervously clasping and unclasping her hands, “we had such a thunderstorm last Tuesday—I mean one of the last set of Tuesdays, you know.”

Alice was puzzled. “In our country,” she remarked, “there’s only one day at a time.”

The Red Queen said “That’s a poor thin way of doing things. Now here, we mostly have days and nights two or three at a time, and sometimes in the winter we take as many as five nights together—for warmth, you know.”

“Are five nights warmer than one night, then?” Alice ventured to ask.

“Five times as warm, of course.”

“But they should be five times as cold, by the same rule—”

“Just so!” cried the Red Queen. “Five times as warm, and five times as cold—just as I’m five times as rich as you are, and five times as clever!”

Alice sighed and gave it up. “It’s exactly like a riddle with no answer!” she thought.

…which of course echoes directly her frustration with the hatter’s unanswerable riddle.

now, with all of this laid out, i would like to highlight two things:

first, notice the consistency with which the hatter appears or is mentioned in connection with time going funny. it’s in every scene! and even after he escapes his table, the hatter remains stranded at six o’clock—in ttlg, six months after aaiw, he still hasn’t finished his tea. (in contrast, the white rabbit is running late when alice first encounters him, but in later appearances he’s anxious about a variety of other things. it’s not a Thing for the rabbit like it is for the hatter.)

second, notice the theme of accusation and punishment here. the hatter is unmoored from the normal passage of time because he is an accused murderer; the king of hearts unfairly accuses him of theft; in ttlg hatta is imprisoned to punish him for a crime he hasn’t yet committed because the white queen remembers things backwards. the relevancy of this aspect of the hatter’s character to the guilt and self-loathing jaune feels because of his role in penny’s death speaks for itself.

so that’s the hatter. how exactly does the V9 op draw a connection between jaune and the hatter—as opposed to, say, neo, who actually wears a hat and drinks tea in a shot that is clearly intended to evoke the classic pop culture image of the hatter? WELL,

the thing about neo’s presence in the op is that she’s also very overtly identified with alyx—the image of neo at the bottom of the “rabbit hole” fades into a shot of alyx lying in the same position as she wakes up in the ever after. it’s established in roman holiday that “the girl who fell through the world” is one of neo’s favorite stories, and she identifies herself with the character of alyx. neo knows this story! she loves this story! and i think it’s very likely that she, like blake, will piece together that she’s in this story and make decisions based on her knowledge of the fairytale. i think it’s possible that she might fleetingly adopt the superficial roles of many different wonderland characters. what else is a woman with a fragile sense of self and an overactive imagination going to do, upon finding herself literally in the shoes of the main character of a fairytale she loves?

jaune, on the other hand, is tied overtly and only to the hatter—but in a way that really isn’t obvious unless you’re familiar with both aaiw and ttlg. the main thing is his association—or at least his doppelgänger’s association—with the jackalope, who can only be the hare. (i might believe that the jackalope is meant to be the white rabbit despite not actually being a rabbit IF the op weren’t also so clearly positioning alyx as the white rabbit; as it is, that role is unambiguously filled and the jackalope has to be the march hare.) that the jackalope also appears to be galloping through the marketplace of the town where yang’s arm got stolen supports this reading, because that town seems to be drawing its inspiration pretty directly from ttlg vii. the march hare and the hatter being a pair that always appears together—even in the trial scene, the march hare is mostly silent but still accompanies the hatter—close affiliation with the hare necessarily suggests the hatter.

more importantly, the presence of the town from ttlg vii—and the jackalope’s presence there—locates the primary reference in through the looking glass, not alice’s adventures in wonderland. hatta retains his teatime purgatory and [in tenniel’s illustrations] his hat, but he is no longer identified primarily as the hatter; he’s the king’s messenger who stands accused of a crime he has yet to commit. those are his foremost characteristics, and that’s how rwby can get away with a helmet instead of a hat. the hat is not the important piece.

as for our other glimpses of jaune in the op: in one he is crying silently (as hatta does in ttlg vii), and in the other he’s standing before an array of clocks—all identical, reading two o’clock, and having two twelves. and. ok.

the clock imagery alone is enough to evoke the hatter, especially in combination with the jackalope, but remember how the hatter is stuck at six o’clock?

there are six clocks here. the clocks have two twelves—and if you halve twelve, you get six. the second hands point to the numeral ten, which makes sixty; similarly adding together the hours of the three fully visible hour hands makes six. and six is the only numeral visible on the rightmost clock.

this image is a fucking. nesting doll of visual puns on six o’clock.

anyway.

having laid all of this out, what might this connection suggest about jaune’s upcoming arc? here are the things that most interest me:

first, the hatter’s peculiar relationship to time opens a lot of possibilities for temporal fuckery—both in the sense of jaune experiencing time very differently from team rwby, and in the reversal of causality by way of hatta being punished before committing the crime. the latter strikes me as a potentially fascinating means to explore the notion of destiny and choice, both of which are very salient for jaune individually and the broader narrative. (in particular, i don’t think the story is going to answer “whether or not they’re equipped to stop salem” without dissecting the ideas about destiny and heroism baked into the huntsmen institution.)

second, the crime and punishment stuff is again, obvious for how it connects generally with jaune’s emotional state and self-perception when he falls, but here’s where it gets really fun: the natural equivalent, for jaune, of “murdering the time” is the role he played in penny’s death. in theory, this leaves the baseless accusation of theft and the undefined crime foreseen by the white queen still in play as things that might happen to jaune during the course of V9. one possibility, if the brother gods turn out to be present in any capacity, is for rwby to mingle this with jaune’s role as a heroic narrative foil to salem and bring the gods back into the story through this doorway; another is for rwby to leverage this theme to examine the self-blame jaune inflicts on himself.

third, hatta’s role as a messenger creates, potentially, an interesting space for jaune (and his doppelgänger) to be integrated into the ever after—right before he fell, jaune’s chief responsibility during the evacuation was to deliver the message to the atlesian and mantelian people. he has also twice now sent a message pleading for help only for help to arrive either too late (for pyrrha) or not at all (for penny). and he—or his doppelgänger—now appears to be galloping around the ever after astride a giant jackalope. might he perhaps be somebody’s courier?

#rwby v9 spoilers

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serpenteve · 3 years

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I'm having the horrible realization that Aleksander never actually did any serious wooing of Alina in the books. It's all just Alina her self being horny attracted to him. But this is supposedly???? His grand scheme???? Of manipulation???? Implications! It seems like the girls in these books wasn't the only one slut shamed. I'm- ☠

Leigh wrote a man sexy and captivating and said "it's his fault, actually, that Alina got a crush on him. He shouldn't of.... uh.." Flips through papers. "Ah, had such pretty eyes."

Okay! 👀Yes, we are finally doing this!

I'm flipping through my copy of Shadow & Bone and noting down all the interactions between the Darkling and Alina which I've put in chronological order beneath the cut.

First of all, the Darkling and Alina are only alone together in about a handful of scenes. Most of the time, the are surrounded by other Grisha or Baghra or are in a public place. A lot of the Darkling's actions and words are clouded by Alina's own insecurities. She constantly voices how she feels like she's not good enough, not pretty enough, not strong enough and he takes it in stride and gently encourages and placates her. There are a few lies he does tell her (that the Black Heretic was his ancestor, that he wants to destroy the Fold, and he doesn't know what Baghra's power is, etc) but if we extrapolate the trajectory of her ill-fated romance arc, I think even book!Darkling would have told Alina about his real plans if she seemed like she'd accept them.

A lot of speculation has been made about the Darkling's seduction of Alina and honestly???? Aleksander literally just exists and Alina is thirsting for him because she's desperately looking for validation and re-assurance. I initially head-canoned his first kiss by the lake as being pure calculation and the kiss at the Winter Fete being 100% accidental (because Dark Lord Sasha played himself lmao) but on this re-read, I don't even know anymore. He already came close to almost kissing her after they have a tender moment, catches himself and then immediately leaves before he can catch feelings. Then when they share another tender moment at the lake, he kisses her and then is surprised by it and before he can really process it, Ivan comes by to cockblock.

Like, even Leigh (as much as she has shit on this ship) said at one point that the Darkling has strong feelings for Alina, even if he may not necessarily quantify them as love. So looking back, I don't read anything the Darkling did as manipulative seduction. He obviously lied about some stuff and wasn't transparent about his real plans for the Fold, but as a military commander who sees Alina as an opportunity for a coup, it makes sense that he'd play that a little close to the chest---especially when Alina has proved to be wary of his powers and has a very black-and-white sense of morality. If anything, this is less "the Darkling seduced Alina to manipulate her into being used!!11" and more "local dark lord tried to encourage his protege and accidentally caught feelings and it was a mASSIVE FUCKING INCONVENIENCE TO HIS EVIL PLANS"

But you know who does slut-shame Alina a lot? Baghra. Seriously, Baghra makes Alina feel like shit for her crush on the Darkling numerous times. She has all these lines:

"You want to be [his pet]...Don’t bother lying to me. You’re like all the rest. I saw the way you looked at him."

"Dreaming of dancing with your dark prince?"

"Foolish girl." (After Alina shamefully admits the Darkling might come to her that night)

At one point Baghra creeps on Alina and the Darkling's interactions and even though literally nothing happens between them and when the Darkling leaves, Alina catches Baghra giving her a snooty look. ("For no reason at all, I blushed")

She is determined to shame Alina for her feelings and make her feel like a lovesick idiot for daring to crush on him and this is in addition to all the slut-shaming Mal does. The narrative revealing the Darkling is the bad guy all along while leaving Alina no compelling arc to discover this on her own feels very much like Leigh hitting us all with Baghra's stick, like "Foolish girls! You thought he cared about Alina just because he has a sexy jawline??? HAHA HE LIED YOU SLUTS"

Scenes with Alina and the Darkling in Book 1

Their first scene together is in the Grisha tent. Based on Alina's description of him, she already thinks he's hot as barely any other character in this godforsaken series gets so many descriptions of their grey/smoke/slate/quartz eyes as Aleksander does 😏

The next time they're together he saves her life. Alina is traumatized from seeing a man sliced in half and the Darkling instructs her to keep her eyes on him instead. She is disturbed that he killed the person about to murder her and this aversion seems incredibly contrived and arbitrary on behalf of the author. It's almost like she wants Alina to be vindicated and shamed for not trusting her initial bigotry against him or something 🤔The Darkling admits even he can make mistakes and then he touches the back of Alina's neck (with some secret Heartrender/Healer abilities?) and she falls asleep riding on his horse.

They spend the next few days traveling. Alina notes that the Darkling hasn't spoken to her (probably because he's focused on getting her to the Little Palace without any more assassination attempts) but Alina is a paranoid she's offended him somehow. Again, this is just Alina's insecurity painting a narrative that simply doesn't exist based on what actually happened so far.

They exchange a few words by the stream and Alina fishes for pity points by saying she's ugly and can't possibly be Grisha. Aleksander appears 100% done with her stupidity and says she doesn't understand but he's not in the mood to explain at the moment and walks off ☠️

Alina joins the Darkling and his men for a meal. She notes that the grouse they've killed is meager shared meal but that the Darkling doesn't want to put his men in danger by sending them out to hunt in the forest at night 😌He also sits on the floor to eat like they do and he doesn't take more than the regular portion than they do 😌. Sorry, how is this man the most ~evil~ wizard on the planet? He is obviously a good and fair commander and beloved by the Grisha.

Alina has been checking Aleksander out the entire time so when he catches her, he walks over to talk. He fishes around for information on what Alina has heard about him. He seems sad when Alina mentions she has heard that Darklings are born without souls, though not surprised. He then spins the story about the Black Heretic being his ancestor and how the Fold was a mistake and how every Darkling since then has tried to undo it and how Alina is "the first glimmer of hope" he's had in a long time.

Because Alina is still on that "Grisha are unnatural monsters" agenda, she asks him about the Cut and he explains it but she's still distrubed. He asks her if it would have been better if he used a sword and she replies: "I don't know". The Darkling gets offended and leaves. Alina tries to convince herself she can't have possibly hurt his feelings (because Darklings don't have souls or feelings?) and then feels paranoid that she's failed some secret test. Yeah, the test you failed is called "empathy", Alina 🙄

Two days later, they arrive at Os Alta. Aleksander roasts the Grand Palace as the ugliest effing building he's ever seen. He leaves immediately after dumping Alina at the Little Palace and Alina actually seethes that he isn't paying more attention to her? I understand that it's overwhelming to go to a brand new place, but Alina expecting him to constantly hold her hand and explain everything to her after she basically insulted him is a bit strange.

The next time Alina sees the Darkling, they are scheduled to appear before the King and Queen. The demonstration is a surprise for Alina and Aleksander's lack of transparency of what's expected of her means she's forced to rely on him and trust his instincts. This might be his underhanded way of getting Alina to see that she can trust him; that he will not make her look like a failure or humiliate her; that they are in this together and it will only work if she trusts him.

After the demonstration, Genya and the Darkling trash the monarchy for a bit (Alina is horrified) and then the Darkling orders Genya to get a black kefta for Alina, to which Alina infamously wants a blue one. The Darkling doesn't really put up much of a fight, merely wanting to know why. Alina decides he doesn't approve of her choosing blue and wonders to Genya if he's angry.

After Alina's first day, the Darkling calls her to his quarters to ask her how her day was. Alina is surprised that this is all he wanted to know because she was paranoid he was going to torture her??? She says: "Why shouldn't I be afraid of you?...You can cut people in half. I think it's fair to be a little intimidated." If the Darkling is offended or angry about this, he doesn't show it and merely indulges her. He notes that she has a habit of running her hand across a scar on her palm and asks her about it, tracing the scar himself. Alina gets distracted by his touch but manages to answer his questions: she got the scar at Keramzin, Mal is also an orphan, he is good at tracking. He shows her a secret passage back to her rooms to avoid the main hall.

Alina starts her training and at one point laments that the Darkling is rarely at the Little Palace and when he is, he never speaks to her or barely looks her way and she is convinced it's because she's a failure and can't summon light on her own. It could also be because, you know, he's the commander of the Second Army and is usually seen in talks with other military advisors and the fact that Alina kinda lowkey insulted him with her wariness about his powers???

The next time they are together, Alina interrupts him and Baghra arguing. He politely asks her how she is. Baghra antagonizes her. The Darkling defends her. They talk about amplifiers and because Baghra is being a snarky little shit about it, they take their conversation outside.

Aleksander complains about how annoying his mom is and then asks Alina what stories she's heard about Morozova's herd. At one point he laughs for the first time and Alina practically creams her pants at the sound. Alina expresses her concerns that she can't summon any light and the Darkling says he's not worried and it will happen when it happens and worse case scenario, it will happen once she has the stag. They have a quiet intimate moment, gazing softly into each other's eyes and then suddenly Aleksander realizes he's catching feelings and steps back suddenly like "GoodLuckWithYourLessonsOKayBYE". Baghra watches this interaction from her hut and gives Alina a slut-shaming look.

Alina eventually does learn to summon light on her own. Baghra gives her grief about how it's not enough. The Darkling shows up during one of these lessons and says as much. Alina says she's useless. The Darkling corrects her (“I don't think you're useless, Alina....No Grisha is powerful enough to face the Fold. Not even me”) and then he apologizes for letting her down ("I've asked you to trust me and I haven't delivered"). He wonders if his mother is right and he's crazy to hunt the stag. They have a nice bonding moment, Aleksander lies about Baghra's power, and then he asks if Alina would think him crazy for still wanting to find the stag. She asks why he cares what she thinks, he seems genuinely surprised himself that he cares. Then he kisses her. He seems not to have meant to kiss her because then Ivan shows up for his 5 o'clock shift of cockblocking and the Darkling immediately pretends like nothing happened and walks away with him. Like dude is acting like a fucking dork who's allergic to feelings at this point. I should note here that Alina practically has an orgasm from how giddy she is about this moment. She can barely think of anything else.

The next time they're together, it's at the Winter Fete. They do their demonstration and Alina accidentally reveals her insecurities about how he had kissed her and then disappeared. He responds, "Did you really think I was done with you?" and then they enjoy some steamy kisses and thigh grabbing in an empty room before a random round of Grisha show up for their 6 o'clock shift of cockblocking. Aleksander is annoyed at his own attraction to Alina. He asks if he can come to her that night but Alina doesn't get a chance to respond.

and then the Darklina romance arc falls off a giant cliff and dies a terrible death 😭😭😭

#viv answers #god this ended up being so long WOW #i had a lot of feelings i guess #cw: purity culture #sab meta #grisha discourse #darklina #viv metas

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hamliet · 3 years

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What Does It Mean to Save?

I keep seeing it said that Deku, Ochaco, and Shouto will “save” Shigaraki, Himiko, and Dabi, but that there will be no redemption and/or no survival for them. I’m truly not trying to vague these posts and everyone is entitled to their opinion, but literary criticism is fundamentally responsive so I’m writing this anyways.

I personally think that’s not BNHA’s definition of saving nor of redemption. So here, have a deep dive into literary tropes related to redemption, genre, and character arcs as they pertain to BNHA and the question of: what does it mean to save Shigaraki, Touya, and Himiko?

Before we begin, let me say that while we might be personally uncomfortable with redemption (there’s a redemption arc in BNHA I am personally quite uncomfortable with), that doesn’t inherently mean the narrative won’t go there. The key principle I’m operating on here is BNHA’s message that heroes save people. It’s held up as the highest ideal.

So let’s talk redemption in BNHA-verse. With this guy, whose redemption arc I dislike in principle but accept as part of the story so don’t come for me stans and/or antis. I’m analyzing because it shows us what redemption means in BNHA-verse, whether or not that is satisfying to you personally as it fits/does not fit with your own morality/philosophy.

If Endeavor can be redeemed and live, and he’s Bakugou’s negative foil, I highly doubt Shigaraki and Deku as well as Touya and Shouto and Ochaco and Himiko will be any different. Why? Because Enji is an adult character. The others--well, Himiko’s age we don’t know, but we do know that Shigaraki and Dabi are technically adults. But does the story consider them adults?

(It doesn’t.)

Child-coded characters are generally more likely to survive a redemption, which I’ll explain more later. First I have to define what I mean by child-coding, because I DO NOT mean this in the way it’s often (mis)used in fandom wank. Child-coding is a real thing, but it is not done to infantilize and it has nothing to do with shipping.

Child coding frames the character as a child for a few narrative purposes to convey a story’s theme or purpose. For example, if it’s a coming of age story coding a character as a child even if they legally are not emphasizes their journey to an understanding of self-actualization, or a true understanding of self with self-awareness and an understanding of self-value. An example of an adult coded as a child is The Kite Runner, wherein Amir is a legal adult for half the story, even married for fifteen years so we’re talking 30s-40s, but he does not truly become an adult until he returns to his homeland and takes responsibility for a childhood sin. In Attack on Titan, the main characters are now nineteen, but are still struggling to take responsibility as adults and have only started doing so now that their mentors/parental figures have started dying.

Along those lines, in any kind of story, you can code a character as a child of someone, regardless of biological relationship, to convey the type of relationship they have (usually a mentor one). For an example of this, see Bungo Stray Dogs’ Dazai and Akutagawa. Despite their two year age difference, Dazai recruited him to the mafia, abandoned him, and Akutagawa desperately seeks his approval. Usually in these stories a character will “overcome” their parental figure. This can be done through overcoming their need for the parental figure’s approval in stories where the parental figure is kindly (such as in Harry Potter, when in the final book Harry, Ron, and Hermione leave the Weasleys to find the Horcruxes despite Mrs. Weasley’s please) or through like, killing/stopping/leaving the parental figure when they are abusive (see fairy tales like Rapunzel and Cinderella). The parental link to self-actualization is because it is childlike (and a part of actual psychology that is reflected in literature) to see yourself as a part of your parent; self-actualized person would see yourself as a distinct person from your parent, but also acknowledge the ways in which they’ve shaped you.

So, how do you code a character as a child? BNHA isn’t subtle about it, because Horikoshi seldom is subtle about anything. The villain trio are all coded as children.

Shigaraki Tomura:

Who cannot achieve self-actualization so long as AFO has access to his body, as he’s literally trying to possess him. He’s trying, but it’s not gonna work because Shigaraki can’t keep AFO and become an adult at the same time. It’s a choice the narrative is setting up: your dream of destroying, or your freedom? (To get the latter, he’ll probably have to destroy AFO).

Todoroki Touya, who is repeatedly emphasized as a small child when compared to his siblings, and yes, I know he’s now tall. Specifically he’s spotlighted as the child of Endeavor:

And he’s the least self-actualized one in a lot of ways, contradicting himself constantly. I’m not Endeavor, DUH! But these are Endeavor’s flames! He’s gonna have to choose one or the other, because the tragic irony is that the more he takes out his rage on those around him, the more like Endeavor he becomes.

And Toga Himiko (who might well literally be a legal child), who is actually the most self-actualized one thus far, because she rejects Curious’s child insistence (Curious holds her in a Pieta pose, based on Michelangelo’s statue wherein Mary holds a deceased Christ):

She’s still got, like, a way to go though:

Because Himiko also wants to be like the people she loves to the point where she loses her own identity in them, which is er, not self-actualization. So she’ll have to choose whether or not she really wants to be like the people she loves or whether she wants to live her own way, which she herself tells us how that would end (death):

Deku said it himself: it’s good to focus on what someone is doing now. And look, I have issues with this statement and how it’s framed. I’ve talked about it at length and it was doomed to fail because Shouto himself told us long ago that it was annoying to hear a righteous speech by a stranger when you hadn’t gone through the same, plus Endeavor kinda failed by choosing being a hero over a dad here. But, the principle is that if the past doesn’t preclude Endeavor from seeking a better self, why would it preclude three characters coded as children, one of whom is literally somewhat the product of Endeavor’s sins? BNHA doesn’t think the past keeps someone from a better future.

So what about Dabi’s counterpoint, which is indeed valid? Well, redemption doesn’t mean the past forgets, either. It’s complicated and nuanced, and we can debate how well Horikoshi strikes this nuance (it’s got its flaws), and admittedly I don’t know how this will go down in the future. But it is asking Endeavor: how do you redeem yourself to the people you’ve hurt? And we have Endeavor asking this question to Touya’s shrine. I mean, the foreshadowing is obvious. Endeavor has to redeem himself by trying to save Touya. However, it will still probably come down to Shouto to save Touya.

For our three villains, it’s a little harder to predict... well, sort of. For Shigaraki it’s extremely obvious: he has to help take down AFO. Dabi probably has to do something to help his family (siblings probably), but it’s vague. Toga needs help and not condemnation, but presumably she’ll help Ochaco with something.

So, is this redemption? I’d define it as redemption in the eyes of the narrative. To address what makes a redemption is another essay unto itself, but if we bring in the oft-compared Star Wars example: did Darth Vader get a redemption? Did Ben Solo? Everyone says yes to both. However, only Luke witnesses Vader’s redemption, and only Rey Ben Solo’s. So the rest of the galaxy? Doesn’t think so. When I say they’ll be redeemed, I’m defining it as their role in the eyes of the narrative, not whether or not society will accept them or even whether their victims will forgive them (of note, in canonical novels, Leia never forgave Darth Vader despite learning he was her father and obviously knowing Luke’s account of his redemption was true).

So, redemption in a narrative doesn’t mean all of society has to forgive and accept them. Dabi has still like, murdered 30 people--many of whom were thugs, but he himself acknowledges they didn’t deserve to die. Additionally, he himself also acknowledges that the families left behind--their feelings matter:

But why does that mean they have to die? Why even does it mean they have to languish in prison forever? (If there’s even a safe prison at the end of BNHA which I kinda have doubts about.) Heroes have also killed: see Hawks as Exhibit A. In fact, some people want revenge on the heroes precisely because they arrested or killed their loved ones (jail isn’t held up as a rehabilitative place in BNHA’s world. In most countries it isn’t in real life, either, but again that’s for another essay). So why don’t the League’s feelings on Twice’s death matter just as much as the feelings of unnamed and unseen (and thereby less important narratively) characters?

Additionally, regarding death... the villains routinely get called on their death wishes. Himiko’s determination to decide how/when she dies is called out because this is right before Twice overcomes his trauma to save her, and the next arc they appear in is when Twice dies trying to save her again. Dabi’s suicide wish keeps him from getting close to others, and it keeps getting thwarted. Shigaraki’s obsession with destruction and death is clearly not a good thing, and his rejection of his family’s desire for them to join him in death this past arc is growth.

In other words: what Dabi said and what Snatch said about families and how they feel matter for the villains too. The villains are their own weird found family (Dabi as the deadbeat prodigal brother of both his families). Their deaths--Magne’s and Twice’s thus far, and I’m not ruling out further deaths in the future--affect the others. People’s feelings on losing loved ones matter. The villains are people, as Himiko said herself this arc:

Their feelings about each other matter:

How would Touya dying affect the Todorokis? At least they saved him spiritually, I guess, but that’s absolutely lame narratively, and if you have Enji eventually do a sacrifice to save Dabi (pretty likely, even if I personally think Enji will survive said sacrifice) then what’s the point of Dabi dying? How would Himiko dying affect society? As a martyr like Curious wanted her to be, even a redeemed one? A tragic warning story? What even is the point of Ochaco saving her if that’s the case? If Shigaraki dies, well, who would mourn besides Deku? How would Shigaraki dying affect the surviving members of the league? He just couldn’t be saved physically?

It’s not impossible some of this happens, but it doesn’t seem like great writing, especially with panels like, oh, these that show us BNHA’s perspective on death:

Sacrificing something is a type of death that occurs in stories; this should happen in a redemption arc, which is why I’ve been saying Enji needs to sacrifice his hero reputation to help save Touya and even then it’ll still be Shouto imo who does the saving. But physical death?

If you want further analysis of the latter two panels and how they relate to the ending, see here.

We already have another villain who will definitely die redemptively (Kurogiri--an adult coded character--because he’s already, like, dead), and Spinner and Mr. Compress aren’t coded as kids so I hold them with anxiety towards the end. But again, this isn’t me being ageist or saying this is the way things ought to be in fiction or real life: it’s me looking at writing tropes and saying that child-coded characters tend to survive their redemptions. See: Zuko. Why? Because the death of children or child-coded characters is a tragedy. When a child-coded character dies redemptively it doesn’t feel like a happy ending and if framed as such, it’s often criticized for bad writing (see: Ben Solo). Curious even called this out in her fight with Himiko. I would hope Horikoshi doesn’t end the story being like yeah Curious was right that’s the best use of Himiko’s/Dabi’s/Shigaraki’s arcs:

Additionally, as for the believability of a character getting a new chance after so much destruction and murder... well, it’s kinda a thing in shonen and even in seinen? For better or for worse, it’s a thing. We have Vegeta in Dragon Ball Z and Kaneki Ken in Tokyo Ghoul (Kaneki, by the way, is absolutely an inspiration for Shigaraki). We can debate how well-written these redemptions are (I personally have been quite critical of Kaneki’s despite wanting it to happen narratively), but it can be done. BNHA’s Japan especially isn’t as harsh a world as Tokyo Ghoul’s Japan, so it would make even more sense for something like Kaneki’s ending.

The reality is that the cycle of revenge via hurting people and then leaving hurting families and loved ones has to stop somewhere. Someone has to be the bigger person and step up and be like “naw.” That’s heroic. That’s brave. That’s sacrificial itself. Justice itself doesn’t really exist in its purest form without mercy.

There’s another genre-reason I don’t see death or jail as likely (I could see, like, maybe a mental health ward like Rei’s? But it’s too soon to speculate).

If saving is considered a good thing for the story, if it’s truly the highest ideal, then saving someone should be rewarded by the narrative. The characters who save should have a positive result to show us this a good thing.

This is why it doesn’t work for the heroes’ end journey to be accepting that some people cannot be saved. The notion of just accepting that you cannot do something, you cannot save everyone, you cannot, cannot, cannot, is called out as a flaw of society. Determination, on the other hand, is rewarded.

We see it with Deku as well as with Mirio.

So, what if they save them and the redeemed characters then go on to sacrifice themselves in their redemption and die (come to the same end)? If saving changes absolutely nothing for the saved person, if it’s too late for the saved from themselves to change and/or do anything that matters besides die, then the narrative theme of saving as important is left unemphasized at best and undermined at worst. Simple intrinsic knowledge that the kids “did the right thing” doesn’t cut it for a story with so much focus on physical saving when the kids are already doing the right thing; moral struggles about whether to choose to be good aren’t really Deku, Ochaco, or Shouto’s arcs. It works for Aizawa’s arc with Kurogiri, but not for the kiddos. If BNHA was more of a philosophical/spiritual text, that would indeed make sense, but it is not. Genre-wise, BNHA is a fantastical superhero optimistic story, not a gritty real-world set drama.

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sineala · 3 years

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Tony Stark and Arthuriana

Coming to you by special request, a very long post about 616 Tony's interest in Arthuriana, with a focus on all of Tony's run-ins with Morgan le Fay!

I feel like I should disclaim the extent of my knowledge here, which is that I still haven't managed to read anywhere near every issue of Iron Man -- at least, not yet, anyway -- so I'm just going by the things I know I've read, and Morgan le Fay's Marvel wiki entry is frustratingly under-cited, so it's very possible I've missed something relevant, but I'm pretty sure I've got the big stuff down. My other disclaimer here is that I'm not as big an Arthurian nerd as Tony is, which is to say that most of my familiarity comes from modern retellings -- T. H. White's The Once and Future King, Marion Zimmer Bradley's The Mists of Avalon, Mary Stewart's The Crystal Cave, Rosemary Sutcliff's Sword at Sunset -- and not so much the usual classic sources on the Matter of Britain, though I've read bits and pieces of them.

(This is because I wanted to read versions of them that were as close to the original as possible but so far have not ended up finishing any of them because, well, that's hard. So I've never read the Mabinogion because I do not know Welsh. I've got the Norton Critical Edition of Malory's Le Morte d'Arthur, which is probably the best student edition if you're looking for something without modernized spellings, as I was. I've also got -- well, okay, it's my wife's but I'm borrowing it -- a relatively recent Boydell & Brewer edition (ed. Reeve, tr. Wright) of Geoffrey of Monmouth's Historia Regum Britanniae (History of the Kings of Britain), which is, you guessed it, in Latin with a facing English translation. I haven't gotten very far in it because, in case you didn't know this about Latin texts, the beginning is pretty much always the hardest, so I gave up and read some Plautus adaptations instead. Anyway, if for some reason you too want to read Geoffrey of Monmouth in the original Latin I'd recommend that one, but I can't recommend any particular English translations because I've never read one by itself. I bet you didn't think you'd be getting Latin prose recommendations in this post. I mean, maybe you did; it is me, after all.)

Okay. Right. King Arthur. Here we go.

We've got:

Flashbacks to Tony's childhood in late Iron Man volume 1

A brief discussion of Morgan's origin story and Avengers #187

Iron Man vol 1 #149-150: Doomquest

What If vol 1 #33: What if Iron Man was trapped in the time of King Arthur?

Iron Man vol 1 #249-250: Recurring Knightmare

Iron Man: Legacy of Doom #1-4

Avengers vol 3 #1-4: The Morgan Conquest

Civil War: The Confession

Mighty Avengers vol 1 #9-11: Time Is On No One's Side

In terms of universe-internal chronology, we know from Iron Man #287, from 1992, that Tony has been a fan of King Arthur since childhood. This is an issue of a fandom-favorite arc which features Tony having a lot of childhood flashbacks, including the famous "Stark men are made of iron" line (in #286) that for some reason MCU fandom decided it loved; I mean, seriously, I've seen that quoted in way more MCU fic than 616 fic. But slightly later, in #287, we get an entire page devoted to Tony's love of King Arthur.

The narration reads: "Over the next few years, I learned as my father intended. Discipline of body. Strength of character. But in what free time I was allowed, I worked my way through the school's library. At thirteen, I discovered Mallory [sic], who showed me a whole new world. A world of dedication to a cause greater than oneself. Of chivalry and honor. And the fantastic deeds -- of armored heroes."

The art shows Tony as a child sitting under a tree, reading a book labeled Mort D'Arthur by Mallory [sic] -- no, don't ask me why nobody at Marvel checked how to spell either the name of the book or its author -- and daydreaming of King Arthur, the Sword in the Stone, knights, et cetera. Just in case you somehow missed the extremely blatant hint that we are meant to understand that Tony's knight obsession heavily influenced him becoming Iron Man as an adult, we see one of his armors mixed in with all the drawings of knights. So, yes, canonically Tony is Iron Man at least partly because he's a giant King Arthur nerd, which I think is so very sweet. I love him. He's such a dork!

(This issue is currently in print in the Iron Man Epic Collection War Machine, should you need your own copy.)

This isn't actually the only reference to Tony as a King Arthur fanboy in this era of canon, either; a little later, in IM #298, we see that one of Tony's passwords is actually "Mallory." (Yeah, no, they still couldn't spell. But it's cute.)

But in terms of actual publication order, this is definitely not the first time we have seen in canon that Tony is into Arthuriana, as I'm sure you all know. I would assume, in fact, that giving Tony a childhood interest in Arthuriana is because Doomquest is one of the most beloved Iron Man story arcs of all time, and that all started at least a decade before IM #287 here was published.

The villain of Doomquest -- the one who isn't Doctor Doom, at least -- is Morgan le Fay. Yes, that Morgan le Fay. Yes, Arthur's evil half-sister Morgan le Fay. Yes, all of this King Arthur stuff is canonically real history on Earth-616. Morgan's first appearance in Marvel, per the wiki, was in Black Knight #1 (1955), which I have not read, and judging by the summary I feel like this is probably just supposed to be a straight-up comic retelling of Arthurian legends for kids; I don't think Marvel really had the whole Marvel Universe in mind as a concept in 1955, so I'm not sure this was meant to connect to anything else. I feel like this is another one of those instances of Marvel discovering that they can write comics about characters in the public domain for free -- like, I'm pretty sure that's how we also ended up with, like, Norse, Greek, and Roman mythology wedged into 616.

As far as I can tell from the wiki, the first time Morgan tangled with the Avengers (or indeed the larger 616 universe) in any way actually predated Doomquest -- it was in an early arc in Spider-Woman (#2-6) and then Avengers #187, which came out in 1979, actually right when Demon in a Bottle was happening over in Iron Man comics. If you read #187, Iron Man is not in it because he's off the team due to his drinking problem and also his accidentally murdering the Carnelian ambassador problem. So Wonder Man's filling in instead. This issue is part of Michelinie's rather sporadic Avengers run, which makes sense, I guess, considering where we see Morgan next.

Anyway, Avengers #187 is the classic issue where Wanda is possessed by Chthon, but what you may not remember from Chthon's backstory (I sure didn't!) is that he was summoned by Morgan le Fay because she was the first person who tried to wield the Darkhold to summon him. As you can imagine, this did not work out especially well for her and her followers and they had to seal Chthon away in Wundagore Mountain, which was where Wanda found him. (The Spider-Woman stuff is only slightly earlier and also appears to be about Morgan and the Darkhold; the Darkhold is not one of the areas of 616 canon I am especially conversant with, alas. It's on my to-read list.)

Doomquest, as you probably know, was a classic Iron Man two-parter in Layton & Michelinie's first Iron Man run that set up Tony and Doom as rivals; Doomquest itself was IM #149-150, in 1981, and then in their second IM run they came back and did a sequel in 1989, Recurring Knightmare (IM #249-250), and then the much later four-part sequel to that was the 2008 miniseries Iron Man: Legacy of Doom, which was also by Layton & Michelinie but generally does not seem to be as popular as the first two parts. They've all been reprinted, if you're looking for copies; I have a Doomquest hardcover that collects the first four issues and then a separate Legacy of Doom hardcover. Currently in the Iron Man Epic Collection line there's a volume called Doom, which confusingly only collects the 249-250 part of the storyline (as well as surrounding issues), because for some reason the first Layton & Michelinie run isn't in Epics yet but the second one is. So the beginning of Doomquest isn't currently in print, as far as I can tell. I'm sure you can find it anyway.

So what's Doomquest about? Okay, so you remember how Doctor Doom's mother's soul is stuck in hell for all eternity? Well, Doom's obviously interested in getting her back, and the strategy he has embarked on is to try to team up with other powerful magicians who can help him out, and he thinks Morgan le Fay would be a good choice, for, uh, his quest. Doom's quest. A Doomquest, if you will. (If you've ever read Doctor Strange & Doctor Doom: Triumph & Torment, you're familiar with the part where he later ends up waylaying Strange for this and they go to hell together. And if you haven't read Triumph & Torment, you really should, because it's amazing.)

So Doom is off to his time machine to go team up with Morgan le Fay and Tony thinks Doom is up to something -- Doom has been stealing components for his time machine from a lot of people, including Tony -- and he follows him and it turns out one of Doom's lackeys has a grudge and wants to trap Doom in the past forever, and Tony gets caught up in it. Now they're both in Camelot. Surprise! #149 is actually all setup; they don't get to Camelot until #150.

IM #150 begins with Doom and Tony thrown back into the past; there's a fandom-famous splash page of them locked in combat, only to realize that they have found themselves in Camelot.

They are then discovered by knights; Doom would very much like to attack them, but Tony, who naturally would be happy to LARP Camelot forever, persuades him to play nice. Also Doom thinks Iron Man is only Tony's bodyguard so he keeps referring to him as "lackey," much to Tony's annoyance. Somehow everyone thinks they're sorcerers. Can't imagine why. The knights take them to meet King Arthur himself, and Tony has clearly had his introduction all ready to go, as he introduces himself in a timeline-appropriate manner, says he's here to apprehend Doom, and demonstrates his "magic" by levitating Arthur's throne. Doom's response is essentially "I'm the king of Latveria," which is, y'know, also valid. So they're guests at Camelot for the night while Arthur figures out what to do with them.

We then have a page devoted to Tony alone in his room, musing sadly about how alien he feels, how he doesn't know if he'll ever get home, how he could never fit in here without his beloved technology. Then a Sexy Lady shows up to keep him company for the night, and he decides maybe it's not all bad. Thanks, Marvel. I guess they can't all be winners.

Doom is using his evening much more productively; he compels one of the servants to tell him where Morgan's castle is, because he's still interested in having that team-up. Then he jets off. Literally. He has a jetpack.

The next morning Arthur's like "one of you is still here and one of you has punched a hole through the castle wall and flown off to join Morgan so I guess I know which of you is more trustworthy." He then explains to Tony who Morgan is, because Tony professes ignorance, because clearly we had not yet retconned in Tony's love of Arthuriana. Tony offers to go fight Doom and Morgan with Arthur; meanwhile, Morgan and Doom have teamed up and Morgan has offered to help get Doom's mother out of hell if he commands her undead armies against Arthur because for Reasons she can't command them herself anymore. So that's a thing that happens.

So, yes, it's Tony and Arthur versus Doom and Morgan. Fight fight fight!

Tony tries Doom first but then decides to hunt Morgan down, and in the ensuing fight we get what I think is Tony's first ever "I hate magic," a complaint that we all know he still makes even to this day.

Anyway, Tony freezes a dragon with Freon (mmm, technology) and Morgan gets upset and disappears, so the battle comes to an end, and of course Doom is extremely mad at Tony because he blames Tony for Morgan not sticking around to save Doom's mom, because I guess Doom trusted her to keep her word? Weird. (Like I said, for the next chapter of Doom saving his mother, go read Triumph & Torment.)

Doom says if he and Tony work together, the components in both of their armors can send them both home. So Tony has to trust Doom. Which he does, because he really has no other choice. They build a time machine and Tony makes Doom agree to a 24-hour truce when they get back, so they can both get home. So it all works out okay, and they end up in the present, and Doom tells him, ominously, that they will meet again. Okay, then. That concludes the original Doomquest. It's fun! You can see why fandom likes it.

So that's all well and good, but you might have noticed that Tony's ability to get home hinged on Doom actually being trustworthy. And Doom was. But what if Doom hadn't been? What if he'd just stranded Tony in Camelot forever As you may have surmised from the form of that question, that is in fact a question Marvel asked themselves, because, yes, there's a What If about this! What If v1 #33 is "What if Iron Man was trapped in the time of King Arthur?"

The divergence point from canon, as you can probably guess, is the very end of Doomquest. Instead of Doom bringing Tony home, he deceives him and leaves him in Camelot. And since Tony cannibalized a lot of the tech from his armor to make the time machine, he doesn't have a way to go home.

This is not a story where Tony comes up with a way to go home after all. He really doesn't get to go home. But instead of drowning his sorrows in mead -- because, remember, Demon in a Bottle has already happened and Tony is sober now -- he decides he might as well just play the hand he's dealt. So with what's left of his armor, he defeats some enemies that Morgan rounds up to send against Camelot. And for his services, he's knighted. He is now Sir Anthony.

Tony acknowledges that he is both living the dream and would also like very, very much to go home.

He does end up having some fun in Camelot; it's not all miserable. But he obviously doesn't want to be there.

So if you're at all familiar with King Arthur, you know how this goes, right? Arthur fights Mordred and Mordred kills him. And that does happen in this version. Except Tony is right there, and with his dying words, Arthur asks Tony to rule Camelot... and Tony agrees.

So, yes, Tony Stark becomes king of the Britons after Arthur's death and he never goes home again. The end. Man, I love What Ifs.

Heading back to main 616 continuity, there is still more of this arc to go. The original Doomquest was only two issues, yes, but it was popular enough that Layton & Michelinie did a sequel a hundred issues later, in their second run of Iron Man, and that's Iron Man #249-250, Recurring Knightmare. (In the intervening issues were Denny O'Neil's IM run, specifically the second drinking arc (#160-200), and then Layton & Michelinie came back and most famously gave us Armor Wars (#225-232). I would have to say that Armor Wars is definitely the standout fandom-favorite arc of their second IM run; for their first one, I think a lot of people would have a hard time choosing between Doomquest and Demon.) But anyway, yes. Recurring Knightmare.

Recurring Knightmare is... well, the best way I can describe it is "a trip." It is definitely a sequel to Doomquest, and it is also definitely not a sequel you would ever have expected to see for Doomquest.

Much like #149, #249 is pretty much just setup. Fun setup, but the big action is in the next issue. We open with Doom in Latveria, on his throne, pondering which of his servants he should have disintegrated. Anyway, he's just hanging out there when a mysterious object appears. In California, Tony is suited up and entertaining the crowd at a mall opening when the same object also appears! He takes it to his lab. Please note that this is after the Kathy Dare incident, so Tony is still recovering and is walking with a cane. Doom sees on the news that Iron Man has found the same object, which cannot be carbon-dated, and he shows up at Tony's house. He criticizes Tony's taste in art.

Anyway, Doom basically orders Tony to work with him. Tony refuses, and then Doom sends some robots to attempt to steal Tony's version of the object because he thinks if he has them both he will be powerful. Doom manages to steal it, and when he puts the pieces together, both he and Tony disappear.

So where do they go, you might ask? Camelot?

Not exactly. The future! There is a great callback to the Doomquest splash page.

It turns out they are in London in 2093. Merlin brought them there. Tony still hates magic. And in the future, King Arthur is still there, except he is now a child, because he has been reborn. But he does remember Tony from Doomquest, at which point Tony kneels. Doom, of course, is not impressed. He asks why they have been brought to the future.

The answer is that things are going wrong in the future. If you do not personally remember United States politics in the 1980s, I need you to google the words "Strategic Defense Initiative" right now. I'll wait.

Back with me? Okay, so this is a future where Reagan's Star Wars program actually happened the way he wanted it to, and the satellites are still hanging around the Earth in the future and messing everything up, and Arthur and Merlin need Tony and Doom's help to stop them. Doom once again flies away with his jetpack, of course.

Tony is game to help, but he's not in an armor that can stay in space for long. This is when Merlin takes him and Arthur to the mall and Tony manages to get everything to upgrade his armor at Radio Shack. You see what I meant about this issue being weird.

Tony is out in space trying to disarm the SDI platform, which is where he runs into his future descendant, Andros Stark, who is in armor you will probably recognize from Iron Man 2020. He is referred to as "the resurrected spawn of Iron Man 2020" so I assume he's actually directly related to Arno rather than a direct descendant of Tony; Wiki confirms that Arno is his grandfather. This is all from way before Arno was contemporaneous with Tony in canon. Anyway, he's fighting Tony.

Oh, by the way, Future Doom exists. Future Doom would like to rule this future Earth and for some reason Andros would like to help him. Meanwhile, Present Doom finds out from Merlin that he can't leave except by magic and he can't leave without Tony, so he is reluctantly on Tony's side.

They need help from the Lady of the Lake, except the lake has been paved over and is now a parking lot. Merlin makes the lake come back and then of course they get Excalibur. Arthur is a kid, so he can't wield a longsword; Doom assumes he's going to take it because he is basically a king, and he's pretty grumpy when the sword picks Tony. Tony then uses Excalibur to destroy the space lasers, and I bet that is a sentence you never thought you would read. It's pretty cool. Tony concludes that magic has its good points. Tony stops Andros and Doom stops, uh, himself, and the world is saved and they get to go home. Also, Doom finds out Tony is Iron Man, but when Merlin sends them back he conveniently erases their memories, so neither of them remember anything about this and Tony's secret is still safe. And that's the sequel to Doomquest.

And if you think that's weird, wait until you see Legacy of Doom.

Iron Man: Legacy of Doom is a four-issue miniseries from 2008, also by Layton and Michelinie. Even though it's from 2008, it's set during a much more classic time in Iron Man, continuing on from where we left off in this Doomquest saga. We start with a framing story in 2008. Tony, who has Extremis now, is busy scrapping some of his older armors and reviewing his logs when he suddenly remembers that there was a whole thing with Doom that happened that he seems to have forgotten about until right now. So the whole thing is narrated by Tony in flashback.

Tony's in space fixing a satellite when a hologram of Doom shows up and summons him to Latveria. It's not really clear why Doom needs Tony's help in particular here, but Doom tells Tony that he's discovered that Mephisto would like to bring about the end of the world, which Doom finds, and I quote, "presumptive." So Doom has his Time Cube, and with it he takes Tony to hell.

(Yes, I promise this is relevant to Doomquest. There will be some Arthuriana shortly.)

Doom brings Tony to Mephisto, and it turns out it's a setup! Doom trades Tony for an item he wants from Mephisto, leaves, and Tony's going to be trapped in hell forever! Oh no! (I mean, he's not. But it's quite a cliffhanger.)

At the beginning of issue #2, we find out what the Arthurian connection is, which is that we learned that after the events of Doomquest, Morgan had been granted sanctuary by Mephisto in exchange for a shard of Excalibur that she had somehow stolen. Doom still wants Morgan's help with some magic -- he doesn't mention what it is here, but he says he needs someone of Pendragon blood, and that'd be her -- so he traded Tony to Mephisto in exchange for, I'm guessing, Morgan and the Excalibur shard.

I have probably mentioned this elsewhere, but Legacy of Doom #2 is one of my favorite issues of Iron Man ever, solely because of the next scene. We return to Tony in hell. Howard Stark is also in hell, and he is now a demon, and Tony has to fight him. Mephisto brings popcorn and watches. This is the one time in canon when Tony actually confronts his father, and okay, yes, it's a fistfight in hell and Howard is a demon, but that's comics for you. Howard spends several pages insulting Tony -- specifically insulting his masculinity, but that's a whole other essay -- until he finally insults Maria too, and that's when Tony fights back, because his mother taught him to be good. Honestly if you're a Tony fan I'd recommend this issue just for that scene.

Anyway, we go back to the Doom and Morgan plot, and Morgan casts the spell Doom wanted, which was fusing the Excalibur shard with Doom's armor. Then Doom sends her back to Camelot rather than hell, because he's still mad that she never helped him get his mom out of hell like she said she would.

Tony freezes Howard with Freon -- yes, the same trick he pulled on the dragon back in Doomquest -- and tells him, "You're no father of mine." It is immensely satisfying.

(I had been going to mention that I thought it was a shame that neither canon nor fandom seems to have really engaged with this confrontation, and I know canon never believes in narrative closure but fandom sure does -- and then, anyway, it occurred to me that since the framing story of Tony remembering this is set when Tony has Extremis, there's a very good chance that he no longer remembers remembering it. Goddammit, Marvel.)

(If I got to retcon one canon thing about Tony, I think "the entirety of World's Most Wanted" is up there. I mean, okay, a lot of things are up there, but WMW is definitely on the shortlist.)

Okay. Tony has now engineered his way out of hell, and he's back with Doom in Latveria. Doom has Excalibur. Doom would very much like to fight him. While wielding Excalibur. You get the sense that this is going to be bad. Another cliffhanger!

Legacy of Doom #3 opens with Tony destroying Doom's lab to buy time and running away from Doom and Excalibur. I should probably mention that Doom still doesn't know Tony is Iron Man (anymore), so he thinks he is dealing only with Iron Man, Tony Stark's lackey. Meanwhile, some scientists at SI think there's something weird going on with space. Meanwhile meanwhile, Tony is in a forest taking a breather when a mysterious old man walks up to him.

It's Merlin! Surprise! Merlin wants Tony's help to stop Doom from doing whatever he's doing with Excalibur. The sword makes you invincible and the scabbard makes you invulnerable, so Merlin sends Tony to Scotland on a fetch quest for the scabbard. Doom has now magically sent the sword in search of the scabbard, so the sword flies away to meet it and Doom follows. Turns out the thing that's wrong with space is a thing that's going to hit Earth at the exact place Tony and Doom are. What a coincidence! So Tony and Doom get trapped in a stone circle and fight some stone warriors and then Tony ends up with the scabbard. And by "ends up with," I mean it fuses to his armor. Next issue!

Legacy of Doom #4 is when things really, really get weird. A giant demon made of eyes (???) appears, and this demon is apparently what Doom had been preparing to fight (because it's mad that Doom stole one of its spellbooks), and now he can't, because the sword and the scabbard aren't together. Thanks, Shellhead.

That's when Merlin shows up and says all is not lost. They can defeat the demon... if they put the sword into the scabbard.

"But I'm the scabbard now!" Tony says, uncomprehending.

"Yes," Merlin says. "You are."

Then Tony gets it.

So, yes, Doom has to, um, penetrate Tony. With Excalibur. I love comics. I love comics so much.

So that's a thing that happens.

And then Tony flies off and, I guess, resolves to never, ever think about any of this again.

We head back to the framing story, in which Tony, now having remembered all of this, flies to Britain, buys the land the lake is on, and paves it over, presumably so it will be there for Merlin to bring back in Iron Man #250. The end.

Whew.

Okay, yeah, I know I didn't have to summarize the whole thing, but Legacy of Doom here really is one of my favorite Iron Man miniseries. And I just want to share the love. Please read it. It's great.

But the Arthuriana fun doesn't end there! In fact, now we get an Arthurian-themed arc that actually isn't in Iron Man comics. It's in Avengers! Iron Man is involved, though.

(There is also apparently a Morgan arc in Avengers #240. I actually haven't read it. It seems to be yet another Spider-Woman arc. I get the impression that this isn't really Arthuriana other than having Morgan in it fighting Jess, though, so it doesn't seem quite as relevant. Morgan also apparently has some appearances in FF, Journey into Mystery, and Marvel Team-Up, but those seem like more of just basic villainy. Also, probably not involving Tony.)

Kurt Busiek's 1998 Avengers run, volume 3, is in large part the kind of Avengers run that is a nostalgic love letter to older comics. Heroes are heroes and villains are villains and good triumphs over evil. The Avengers all live in the mansion and are BFFs. I love it. It does assume that you are already a fan of the Avengers, because it starts out by summoning pretty much everyone who has ever been an Avenger and is available to the mansion, and that is... a lot of people. Thirty-nine, by my count. Also, when the entire team is magically whisked away, we are treated to the following narration, as Steve disappears: "And Captain America's last thought, as the world goes white around him, and he with it -- is that Iron Man would hate this."

The narration doesn't tell you why Iron Man would hate this, or how Captain America would know that Iron Man hates this. This is not explained later on. But if you have read comics -- or if you have read the above summary of Doomquest -- you know that Tony is absolutely, one hundred percent, thinking, "I hate magic." And Steve knows it.

The reference is not relevant to the plot; if you don't get it, you'll be fine. But that's what I mean when I say this is a nostalgia run. There are definitely Easter eggs for people who have read a bunch of comics. Busiek does this a whole lot in his work -- there's a reason you can buy an annotated edition of Marvels -- and, yeah, it happens here too. Just know that there will be references you're not getting, if you're new to comics.

Anyway. So Busiek's run actually starts out with an Arthurian arc, #1-4, "The Morgan Conquest." The name is a dead giveaway. Yes, Morgan le Fay is back. Again. For once, Doom is not involved.

The Avengers are all back from their sojourn on Counter-Earth after fighting Onslaught -- don't worry about it -- and mysterious things are happening. There are a lot of monster attacks. So pretty much everyone who has ever been an Avenger is summoned to the mansion, at which point we learn from Thor about some mystical artifacts that are being stolen. (They are the Norn Stones and also the Twilight Sword. That sounds like something from a Zelda game, doesn't it?) The Avengers go to try to stop this, end up in Tintagel, and then they run into Mordred. He wants to capture Wanda, presumably for Magic Reasons. Morgan le Fay casts a spell on all of them, reshaping reality. Yes, all of them. Surprise!

So now all the Avengers are living in a medieval castle and/or town; Morgan is their queen, and thanks to the power of mind-control they are all basically living in Ye Olden Times. The Avengers are all some variety of knight, except for Wanda, who is chained up in the dungeon so Morgan can steal her magic and use it to fuel all this reality-warping.

Wanda calls for help, and that snaps Steve (Yeoman America!) out of the mind control (or altered reality or whatever you want to call it) pretty fast, because Steve's always been very good at resisting mind control, and then Steve promptly goes and snaps Clint out of it, because I guess Steve is also good at inspiring people to snap out of mind control. "Oh, man!" Clint says. "Not another alternate reality! Not again!" (I assume he's referring to Counter-Earth? Maybe?)

So Steve and Clint go around reassembling the Avengers and orienting them as to reality. They get Jan and Monica easily, but then Steve insists on trying to get Tony because, I guess, he likes Tony and would really like to hang around Tony, who is half-naked and asleep in his bedroom, and certainly I am reading nothing whatsoever into this. Clint tells Steve it's not going to work. Tony has historically been fairly susceptible to mind control; it was only pretty recently at this point that he'd been doing Kang's bidding in The Crossing. But the more serious impediment is that this is Tony Stark and he would obviously like to LARP being a knight forever and ever. Tony, therefore, does not believe Steve, and throws him and Clint out of his bedroom and into the barracks.

"Iron Man's a good guy, normally," Clint says. "But he's waaay too into his whole nobleman/lord of the manor trip. That spell musta hit him right where he lives!"

Clint speaks the truth, clearly.

Anyway, they go around and manage to make pretty much every Avenger in the room other than Tony snap out, and attempt to rebel against Morgan while Tony is stil fighting them because he is Still A Knight. There's a lot of punching, because some of the Avengers still aren't free; they weren't ones Steve found.

The day is saved when Wanda manages to channel Wonder Man and break free. This gives the Avengers a fighting chance against Morgan and the Avengers are all lending Wanda their power when Tony finally snaps out of it and is on the side of good.

Then they take Morgan down, go home, and attempt to figure out which of these thirty-nine people should be on the active Avengers team. Hooray.

But that's not the end of Morgan le Fay showing up to screw around with Tony's life! There's more to come! Not much, but there is one that I know of, and at least one more memorable reference.

(I haven't read all her appearances or anything, but one of them definitely involves Tony; I can't swear that he doesn't appear in any of the other books Morgan shows up in, but it'd be a cameo for him, because I only know of one more arc that she's in in a book that Tony stars in.)

In a few more years, we have now entered the part of Marvel Comics history where Brian Michael Bendis writes all the Avengers books at the same time for, like, seven years running. It was sure A Time. There were a lot of word bubbles.

And the thing about Bendis is, Bendis looooooves Doomquest. If you're familiar with the very end of his tenure at Marvel where he made Doom be Iron Man after Tony got knocked into a coma in Civil War II, you have probably figured out already that he likes Doom. But he also likes Doomquest, specifically.

I mean, if nothing else, the giant splash page in The Confession where Maleev redrew the climactic Doomquest fight while Bendis had Tony talk about how deeply meaningful to his understanding of the world this all was -- and how it allowed him to predict Civil War -- was probably a big clue, right?

As far as I am aware, Morgan le Fay makes exactly one more appearance in Tony's life. And that's in Mighty Avengers vol 1 #9-11. Only one of those issues is named, so I'm going to assume the arc is named after it: Time Is On No One's Side.

You remember Mighty Avengers, right? The deal with the Avengers books at the time was that after Bendis exploded the mansion and made the team disband in Avengers Disassembled, the main Avengers book was no longer called just Avengers. Instead, the main Avengers book was New Avengers, and that was the only Avengers book. Then Civil War happened, Steve got killed, and New Avengers became the book about what was left of the SHRA resistance (i.e., Steve's side) after the war. So about halfway through New Avengers, Mighty Avengers starts up, and Mighty Avengers is about an extremely fucked-up and grief-stricken Tony Stark trying to run the official government-sanctioned Avengers team, with Carol's help. This is the comic with the arc where Tony turned into naked girl Ultron. You remember.

So, anyway, there's this Mighty Avengers arc where Doom is Up To Something (there are symbiotes and a satellite involved) and somehow Tony and the Avengers end up in Latveria, punching Doom. Also, by the way, Doom is visiting Morgan in the past because he likes her. The Avengers attacking his castle made him have to come back to the present, so he's kind of cranky. And he fights Tony, and in the course of the fight, his time platform explodes and sends Doom and Tony and also the Sentry to... the past.

This is one of those times where you should definitely look up the comics if possible because the way the past is visually indicated here is that it's colored with halftone dots the way you would expect old comics to be colored, although they have modern shading and color palettes. It's very charmingly retro.

So the three of them are stuck in New York in the past, and naturally they would like to leave. There's one person in this time who has a time machine and it is, of course, Reed Richards. Doom and Tony have a lot of banter in this arc; I think it's entertaining.

Sentry has to be the one to break them all into the Baxter Building because of that power he has where no one will remember him. So they do that, travel forward in time, and end up in Latveria in the present again except Doom is gone and also things are currently exploding where they are.

Doom, of course, has made a side trip to visit Morgan again and he asks her to help him build an army, because I guess this is what their relationship is like. So the rest of the Avengers are captured by what look to me like Mindless Ones and are in a cave in magic bondage, because comics. Jess comments that at least they aren't naked, because she too is remembering that memorable New Avengers trip to the Savage Land. Doom threatens Carol in some creepy sexist ways and eventually it turns out that Tony and the Sentry are fine and everyone kicks Doom's ass. Business as usual.

And the last page of the arc is Morgan alone, wondering where Doom is. So technically Morgan and Tony don't come face to face here, but I think she counts as being at least partially responsible for ruining Tony's day here. And then Secret Invasion happens and Tony has a very, very bad day.

There are a few more Morgan appearances after this, but, as I said, I don't think any of them involve Tony. She shows up in Dark Avengers, apparently, which was one of the post-Civil War Avengers titles I didn't read, and I know that recently, on the X-Men side of things, she's been in Tini Howard's Excalibur one, which I have only read a little of. No Tony there. Just a lot of Morgan and Betsy Braddock and Brian Braddock and the Otherworld.

If you are interested in Morgan's other appearances, you might like this Marvel listicle that is Morgan le Fay's six most malicious acts. I pulled some of the Darkhold backstory from their discussion, but it's not really focused on Morgan and Tony.

So there you have it! That's everything I know about Tony's love for King Arthur and every run-in I know about that he's had with Morgan le Fay! One of two terrible people in Tony's life named Morgan! Actually, I don't think we've seen Morgan Stark in a while. I wonder if he's alive. There should be a Morgan & Morgan team-up. I should probably stop typing and post this.

The tl;dr point is that you should all read Doomquest and its sequels, especially Legacy of Doom. They're great!

#posts i actually wrote

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winterscaptain · 3 years

Text

figure it out.

Aaron Hotchner x Gender Neutral Reader a joyful future fic

a/n: this has been in my wips for literal months as i’ve done my best to get it just right for yall. i hope you enjoy it, and tell me what you think! There’s an addendum to this one, and i’m already working on it, but we’ll see a few more things before that’s ready :)

words: 3.5k warnings: sex mention, sex implication, language

summary: “love is like a backache. it doesn’t show up on an x-ray, but you know it’s there.” - george burns. au!january 2012.

masterlist | a joyful future masterlist | ajf faq | requests closed!

You roll over in bed when your alarm goes off, but you don’t get very far. Aaron throws an arm over you and pulls you back to him with a grumble.

You huff a laugh and wiggle up against him. It’s all a tease and you both know it - there isn’t any time to get up to anything fun before work, but it’s far too entertaining to rile him up.

“Don’t start something you can’t finish.�� His voice escapes his lips between your shoulder blades and you can feel his smile.

“Oh, trust me, babe. I can finish.”

He hums, his smile breaking out into something real. “I noticed.”

+++

When the two of you finally make it out of bed (surprisingly still on time), you grab one of Aaron’s scarves and a hat on your way out. It’s your turn to drop Jack at school today on your way into the office, and the task serves two purposes.

The first? It’s nice to spend time with Jack, just the two of you, when it’s your turn and you’re not on a case. It’s the same for Aaron, who always leaves a little earlier so he and Jack can sit down somewhere and have breakfast together.

The second is pure logistics. You two can’t show up to work in the same car at the same time, so a convenient excuse to separate and stagger your arrivals is welcome.

“Really?”

Aaron’s question stops you at the threshold and you look over your shoulder “What?”

“My hat? My scarf?”

It’s almost too tempting to cave when he’s looking at you like that - his tie hanging around his neck, shirt untucked, arms crossed, and playful frown hiding a smile.

“Yeah. It’s warm and it’s here and we’re late.”

Jack squints up at you and says, “We’re not late.”

“You’re not late.”

The observations come within split seconds of each other and you laugh.

“Fine. Not late, but warm. And you have more hats.” You scamper back into the house to plant a kiss on his lips, smoothing the hair at his temples.

Jack’s laughter is the underscore to your next quip. “You’re very handsome and I’m sure you’re very smart so you can figure it out.”

“Yeah, Dad,” Jack chirps. “Figure it out.”

He has nothing to say to your retreating forms as he catches a glimpse of your smile through the crack in the closing door.

+++

Emily and Spencer are away at a conference-book-signing thing, so it’s just the five of you and Penelope this morning. You’d normally figure that would be Rossi’s purview, but apparently -

“My book-signing days have been put on hold indefinitely in favor of -”

“ - He’s back.” Garcia interrupts, tossing case files at all of you. The conversation is cut short and you suppress a smile. “The Marin headlands last night.”

You can see Aaron’s lips pull as well.

It’s the little things.

Penelope gestures with the notes and crime scene photos appear on the screen. “David Atley and Nicole Puli, both 24, both grad students at Berkeley, shot multiple times in their vehicle-- wait for it--” She clicks again and a familiar sigil appears.

“The Zodiac?” Morgan’s shock is almost sardonic in its delivery.

Rossi snorts. “No way.”

“Come on,” Derek says, amused, while JJ chimes in as well.

“It's gotta be the 2.0 version.”

While neither of you speak, you share a glance with Aaron. You’re kidding.

He only raises his eyebrows for a split second and shrugs.

There’s some part of you a little paranoid that you’re the most obvious couple to exist in the history of the universe. Sure, the team has been teasing you about your friendship for years, the will-the-won’t-they of it all, but now that it’s real you’re almost terrified that they know everything.

Thus, the overcompensation has been wretched. You and Aaron barely look at each other in the field if you can help it (which you usually can’t) and he tends to put you with Derek more often than not.

In truth, the others have noticed, but are far too interested in the spectacle to say anything. Emily’s almost certain the two of you have slept together, and Dave may or may not have suggested the possibility of a secret marriage during your period of suspension.

However far-fetched and ridiculous their theories, they know you two well enough to know that something happened. The tension is gone.

Derek almost finds himself missing the tension. There hasn’t been much to tease you about lately in its absence.

“Yeah, you would think so, except for the crazy similarities in the MO.” Penelope clicks through the photos as she talks.

“I'm talking same victimology, same geography. And,” she adds. “Two souvenirs were left at the crime scene.” She clicks once more and stands back for the full effect.

“He left a photo?” Rossi asks.

She hums in the affirmative. “Local police say that is Marcia Miller. She was found near Napa in 1971. Strongly suspected that she was a victim of the Zodiac, but police never confirmed it and they didn't publicize the case.”

Morgan’s still squinting at the screen. “So the Zodiac took this photo at the killing and then saved it all these years?”

“The Zodiac's last confirmed victim was the cabdriver Paul Stine,” Dave notes devolving into a conversation about The Zodiac, his timeline, his signature.

It’s nothing new - The Zodiac Killer’s case details are common knowledge in your line of work, nevermind the sheer number of copycats that try their hand at the highly-ritualistic murders before inevitably getting arrested.

There’s a reason this guy hasn’t been caught in forty years.

After a few minutes of bouncing between you all, Hotch pushes back from the table and stands. “Have Reid and Prentiss meet us in San Francisco. Wheels up in 30.”

He heads straight to his office to collect his things and you swing in by the tips of your fingers for just a second. “You wanna call Jess or do you want me to?”

In the middle of throwing files in his briefcase, he doesn’t look up when he answers. “Can you, please? I was supposed to meet with Strauss this afternoon and need to stop by her office before wheels up.”

You smile at him, tapping the door frame twice. “You got it.”

+++

It’s boots on the ground right away when you land in San Francisco. You drive to the crime scene with Aaron in the passenger seat beside you and JJ in the back. The radio’s on, and you sing under your breath, tapping your fingers on the steering wheel as you make your way up to the crime scene.

Before you get to the local FBI agents, JJ catches you by the sleeve. “It’s nice to have music in the car again.”

You just smile at her. Aaron looks a little puzzled.

The three of you wipe the looks off your faces by the time you get to Agent Lynn.

+++

“What did JJ mean?” Aaron asks you.

The two of you are alone for the time being, posted up in the conference room with the old Zodiac case files. You look up. “Hmm?”

“What did she mean when she mentioned the music earlier?”

“Oh.” A little flush of embarrassment shoots down your gut. “Derek pointed out to me last summer that I didn’t play any music in the car.”

...while you were gone is the thing you don’t say, but he knows that’s what you mean.

“I didn’t really notice.” You shrug to cover your fib. “I guess I’ve reacquainted myself with the radio in the last couple of weeks.”

Aaron hums, returning to his work. Something’s off, but you’re sure it’ll come up later.

+++

“You don’t think it’s really him, do you?” You ask, unbuttoning your shirt and throwing your pajamas on.

Surprisingly, this case seems to be one of those that allows for sleep at regular hours. For that, you’re grateful. It’s much harder to find time to wind down with Aaron at the end of the day when you’re all forced to sleep in shifts.

Aaron shakes his head, “No, I think Reid’s right. We’re looking at a particularly sophisticated copycat.”

“Isn’t that kind of worse?” Hopping up on your bed, you curl up and look at him over your nose - a clear invitation to join you.

With a huff down his nose and a little smile, he flops down beside you and props his chin on his arms over your belly. “Could be. Luckily, we have Reid.”

You almost think he’s going to say something else, but he gets that pensive look on his face again.

“What?”

With a sigh, he says, “I’m just thinking about what JJ said.”

“Oh, Aaron -”

He doesn’t let you finish. It’s probably a good thing. You didn’t know what you wanted to say anyway.

“I knew how hard it was on me, but I’m realizing more and more how hard it was on you, too.” He shakes his head. “I feel ...I don’t know. I feel like I should have known better… or something.”

Winding your fingers in his hair, you sit in silence for a moment. He doesn’t have anything more to say and eventually he crawls up your body and settles in under your arm, his head on your chest and legs wound between yours.

Sometimes, you’ve found, he likes to feel small.

“You’re safe and you’re home. That’s what matters.” You kiss the top of his head. “And I love you.”

He hums, arcing into your touch and wrapping an arm around your waist. “I love you.”

+++

You spend much of the next day chasing Spencer around the city, keeping notes handy (for yourself, not for him - he doesn't need them) and reporting back on his discoveries to the team like some kind of overwrought and hyper-trained secretary.

Stepping off to the side, you answer a call from Aaron.

“Hit your limit yet?”

You look over at Spencer, who’s flipping through a newspaper like a man on a mission. “It’s actually kind of entertaining.”

And that’s actually true. Watching Spencer push the limits of his intelligence is always a treat - it happens so rarely you almost forget how much you enjoy it every time.

He huffs into the phone. “Hang in there. We’ll all meet back at the precinct once Reid’s done -”

“Doing magic?”

“Exactly. Keep me posted.” There’s a pause. It’s an odd little habit you two developed in the field to leave space for the words you can’t say in front of the others.

I love you.

“Me too.”

+++

You’re almost asleep when a sliver of yellow light shoots across your room, promptly disappearing as the door to the hallway closes.

He pads across the room and slips under the covers. “Hi.”

A little smile crosses your face as you roll over to face him. “Hi.”

Before you can say anything else, his hands are on you and he’s half on top of you as he captures your lips.

Needless to say, the lack of sleep is worth it.

+++

Emily, long after she and Aaron are the only ones left in the precinct conference room, squints as she notices something right under his collar.

He’s already loosened his tie and unbuttoned the top button of his dress shirt, no longer standing on ceremony now that all the local police have retired and the rest of the team gone up to their hotel rooms. There’s not much to do, but the compulsion to get ahead for tomorrow is one neither one of them can shake.

What Aaron failed to remember when executing his wardrobe adjustment was the rather...spirited romp in your room the night prior. The little purple swatches painted on his skin just under the line of his collar stood out stark against the crisp lines of his dress shirt.

Fortunately for you, there was no way in hell the rest of the team would find anything he left on you last night.

Emily reaches into her purse and pulls out a tube of concealer and a powder compact. Though he’s more olive-toned than she is, it’ll be good enough in a pinch. “Hey, Hotch.”

He looks at her over his nose, his eyes tired.

“You might want this for tomorrow morning.” She pushes the crisis control kit across the table to him, but he only frowns and deepens his squint.

By way of explanation, she reaches across the table and presses the tip of her finger into one of the visible bruises in the hollow of his throat. He flinches, freezes, and then immediately drops his head into his hands.

It’s easy to say Emily is amused in the extreme. “Those look...really fresh.”

He shakes his head, insisting as he picks up a file at random, “They’re from before we left.”

It’s only because it’s Emily that he’s even humoring this conversation.

“No they’re not.” She sticks her tongue firmly in her cheek. “These ones are though.” She points at yellowing marks on his collarbone and he smacks her hands away.

“And I know what fresh hickies look like, Hotch. Those are fresh fresh. Like, last night fresh. And we’ve been here for four days.” She frowns, tracking back through the day. “When on earth would you have time to -”

A series of images flash through her head, random wayward connections flashing together in an alarmingly clear picture.

You, avoiding her at the office back in September with quickly-covered marks painted across your neck.

You, flirting with Sean and having way too much fun doing it, looking over his shoulder at ...someone else.

Hotch, in a perpetually good mood (for him, anyway, and despite looking ill-slept) for the last five months.

The way the mistletoe kiss at Dave’s Christmas party looked way too easy, too familiar.

And now, the obvious indicators that Hotch is not only getting it, he’s getting it good.

If he got those last night…

Wait.

Their hotel rooms are right next to …

Oh my God.

Hotch watches the realization flash across Emily’s face, and he knows you’re both busted. Instead of losing her shit like he expected, Emily just leans back in her chair - smug.

“So. Are you still Not the Boyfriend, or has there been an update?”

He sighs.

The corner of her mouth tips up. “How long?”

“For which part? The not-boyfriend part, the boyfriend part, or this part?” He gestures vaguely to the space behind his tie, and Emily snorts.

“Just spill it.”

Holding up a finger, he pulls his phone out of his pocket, dialing the first number on his speed dial.

You’re hardly asleep, sitting up in bed waiting for him with a case file in your lap, when you get the call. You’re not sure who’s listening, so a “Hey, Hotch. What’s up?” will have to do.

“Emily knows.”

You straighten. “How?”

“Doesn’t matter. She knows.”

There’s a scramble, and suddenly Emily’s on the other end of the phone. “He’s got very questionable and very fresh bruises just under his collar. Care to explain?”

There’s another shuffle.

“Ignore her,” Aaron says. With a hand pressed to your forehead, you understand the question implicit in his phone call.

“Just tell her. It’s basically her fault, anyways. If she hadn’t ditched it then we’d have our heads up our asses for another five years.”

“Alright,” then, after a second of realizing you don’t sound sleepy at all, “Go to bed.”

“I’m in bed.”

He rolls his eyes. Emily can only look on with amusement, gleeful in the extreme. “You know that’s not what I mean. Go to sleep.”

“Alright, alright. Fine.” You reluctantly close the casefile and put him on speaker so he can hear the light click off. “I’m going to sleep.” Then, “I love you. Come up soon.”

“Okay.” He shoots a glance at Emily. Because he’ll never hear the end of it anyway, more ammo won’t hurt at this point. “I love you too. Now, really. Go to slee -”

You hang up on him. He double-takes at his phone for a moment before shoving it back in his pocket.

He’s met with Emily’s surprisingly moved eyes. “You’re...okay.”

What she means is, You’re happy.

He knows.

He nods. “I’m okay.”

She puts her files down and leans forward, resting her elbows on the table and lacing her fingers. “Tell me.”

So, he does.

He tells her about the way you stuck to him like glue through the divorce, the way you wiggled your way into Haley’s heart, captured the love of his son, and earned the trust of his entire family.

He tells her what Haley said in the hospital, the tenacious care you showed his unyielding and unwilling ass when he was healing, the way your grief soothed his in the wake of Haley’s loss.

He tells her about the moments of euphoria in the years of want and doubt and fear.

He tells Emily about the day she died, how there was nothing more painful than that necessary lie. He tells her how easy it was to lie to the others, how it ripped him in half to lie to you.

He tells her about the day he left for Pakistan, about the fight the night before, the kiss he pressed to your cheek on the tarmac, the endless, wretched nights missing you in the desert.

He tells her about the fight when he finally came home, skims over the following days, jumps and meanders around to Christmas, to moving in, to the bliss that now seems to follow him wherever he goes.

Emily watches the smile that plays at his mouth when he talks about you, the softness in his eyes as recalls the look on your face and the words you said and the way you are with Jack. There’s a kind of peace in him that she’s never really seen before.

Maybe, she imagines, it was there before she met him (the second time). Maybe this peace existed with Haley. Maybe this is the most she’s ever heard him speak at once. Maybe it makes her smile.

Maybe this peace is what his love looks like.

If that’s the case, she thinks, you are very lucky indeed.

It could have been hours, it could have been minutes, but at some point he stops talking.

“Hotch?”

He looks over at her, the softness lingering in his eyes.

“I’m really happy for you.”

His lips twitch. “Thanks.”

“And you know it’s my God-given right to tell everyone else once this case is over, right?”

+++

You actually are asleep by the time Aaron gets back to the hotel. He leans against the wall in the dark with his hands in his pockets, enjoying the peace before the inevitable shitshow.

He crosses the room and crouches at your side, running the back of his fingers over your cheek. You stir, sleepy noises leaving your throat as your eyes crack open.

“Aaron?”

“Yeah. Just me.”

You smile a little and close your eyes again. “How’d she take it?”

“Remarkably well.” He kisses your forehead. “Get some sleep. I’ll see you in the morning.”

“No,” you whine, drawn-out and slurred. “Don’t leave. Stay. I set an alarm.”

With a resigned sigh, he strips and slides into bed behind you, wrapping you in his arms and holding you close.

+++

You and Aaron sit on proverbial pins and needles for the rest of the case, but Emily keeps her word. The only indication of her knowledge came the morning after her chat with Aaron, when she pulled you to her and hugged you so tight you could hardly breathe.

She seizes her moment on the plane, about halfway home.

“Derek, you owe me fifty bucks.”

She hardly looks up from her book as she speaks.

He takes off his headphones and wrinkles his brow. “What?”

She repeats herself, slower, as if she was speaking to a child. “You. Owe. Me. Fifty. Bucks.”

“...Why?”

Emily finally looks up from her book to pointedly stare at you and Aaron, seated next to each other and sharing a bag of Goldfish you stole from Jack’s snack drawer. You’re both reading from the same file, absently reaching for crackers as you go along.

Derek’s confusion continues to smother his face until it finally clicks in.

He steals a page from Reid’s notebook and balls it up, tossing it across the plane and breaking your concentration. You look up, only a little startled, to find a face-splitting grin blinding you across the cabin.

Derek’s small ruckus has drawn the attention of the rest of the team - well, all except JJ, who’s fast asleep on the couch.

There seems to be a collective sigh of relief as money exchanges hands. You’re not quite sure what the bet was, but Emily seems to have won handily.

Aaron takes your hand under the table, waiting for the other shoe to drop.

It doesn’t.

Everyone simply returns to their tasks, little smiles on their faces.

+++

tagging: @quillvine @agenthotchner @hurricanejjareau @rousethemouse @criminalsmarts @genevievedarcygrangerwriting @ssaic-jareau @davidrossi-ismydad @angelsbabey @hotchsflower @hotchslatte @risenfox @mrs-dr-reid @captain-christopher-pike @dwellingsofrosie @pan-pride-12 @sunshine-em @word-scribbless @jdougl-love @sageellsworth05 @dreila03 @forgottenword @aaronhotchnerr @ssa-morgan @tegggeeee @abschaffer2 @ellyhotchner @lotties-journey-abroad @mrs-joel-pimentel-23-25 @laneygthememequeen @mooneylupinblack @ssareidbby @violet-amxthyst @bwbatta @roses-and-grasses @lcvischmitt @capricorngf @missdowntonabbey @averyhotchner @mandylove1000 @cevanswhre @qvid-pro-qvo @jeor @spencers-hoodrat @infinity1321 @zizzlekwum @popped-weasels @evee87 @nuvoleincielo @this-broken-band-girl @reidtomestyles @hotch-meeeeeuppppp @winqhster @arthurmorrgans @the-falling-in-the-danger @softbibxtch @iconicc @mangoberry43 @andreasworlsboring101 @kerrswriting @mac99martin @itsalwaysb33nyou @baumarvel @kerrswriting @messyhairday-me @ssworldofsw @deagibs @crazyshannonigans @moonshinerbynight @jhiddles03 @teamhappyme @mendesmelodies @starsandasteroids @unicorn-bitch @ambicaos

#aaron hotchner x reader #hotch x reader #aaron hotchner imagine #criminal minds imagine #criminal minds x reader #criminal minds fanfiction #aaron hotchner #criminal minds #hotch #tali writes fanfiction #tali talks cm #a joyful future

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sakkac · 3 years

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re: fumetsu no anata e as of chapter 139.2

this started as a response to @bestbonnist‘s post on chapter 139.2 but now i’m just dissecting differences and similarities between tonari, mizuha, and kahak like im writing an essay for a uni class. i interchangeably use he/they pronouns for fushi and my writing may be clumsy (bc im not actually writing for uni ❤️).

mizuha is a broken mirror to tonari (and kahak a foil to the two aforementioned) in this modern-day arc, especially in their expressions of love for fushi. tonari’s love for fushi is aged over hundreds of years and mizuha’s, at first glance, is an infatuation just based on how long they’ve known each other. im the biggest kahak stan ever, but even i understand kahak’s love started as an infatuation for parona’s form. though, i’d consider the word infatuation compromised when it comes to defining mizuha’s love, bc u cant be sure if her love for fushi is entirely her own, seeing as it had been passed from generation to generation of guardians.

(chapter 134, read right to left)

tonari and mizuha aren’t that different once you look deeply into the both of them. mizuha’s personality and actions are factors in tonari’s dislike of her, but what ultimately repels tonari from mizuha is that she knows they’re similar, and that manifests most clearly in how she reacts to fushi being with mizuha. i.e. resenting fushi for using her friends’ vessels to help their “love life” in chapter 135.5. she can’t stand mizuha bc mizuha is able to express her love for fushi and fushi does not reject (or accept) it; tonari still hasn’t fully admitted to herself that she likes fushi romantically (perhaps because she can’t separate it from the devotion that led her to harden her body to poisons and to promise her corpse to rest at fushi’s feet), so seeing mizuha appear to progress further than she has irritates her. as for kahak, tonari only has the biases of the other pseudo-immortals and her own of past hayase reincarnations to rely on. (this is not as plot-related, but these two also both like books. kahak read tonari’s fushi book, so i wish they actually met, but in a world where tonari didnt hate hayase beyond death.)

tonari as a child seemed like she thought herself superior to others, perhaps a natural result of her upbringing. she was raised on a prison island, but she herself never committed any crime; banding together w other kids like her, writing about her life in her book (which keeps her separate from or above others in a way). but this thinking ceases at her relationship w fushi. however, i believe this started before they even met. tonari’s childhood dream at seven years old was to write a book her father would be impressed by. she also used to believe in god, while her family was still whole. she even prayed to god when he decided to participate in the tournament in chapter 35. however, she stops referring to god by the time her father had shown tarnish. coincidentally, she meets fushi, who would “upend everything... jeannanda and [her] fate.” she ends up, instead of writing for her father, writing a book to allow a peaceful existence for fushi for whenever they decided to come back. this act shows that the adult tonari has written fushi to a level above her, out of her reach.

(chapter 35)

here i’ll quote ray’s words about kahak and tonari: “she also has a surprising amount in common with Kahaku, too, with the ‘I want to protect you even if you disagree.’” the way tonari had waited and honed her body for fushi resembles kahak’s attachment; she had finished living for herself, so now she was only allowing herself to live to further create an ideal vessel for fushi (which also brings up one of hayase’s goals). the difference is that kahak lived for fushi because, as raikkousaki said, fushi was the only thing he was “ALLOWED to live for.” however, while tonari is unquestionably devoted to fushi now, what pulled her to him was black hood’s coercion. as a result of black hood’s words to her, she manipulated fushi into helping her solve her problems, to save her from the island. this first “meeting” also revealed that she was attracted to their white hair; she later admits that she admires their fair skin, contributing to the idea that she could view fushi as the equivalent of a god or at the least, a vision of purity (which is :/ imo, bc of her dark skin). we should also keep in mind that, this, technically her first impression of fushi, and his later display of violent immortality in the arena would further his image as a “legend.”

mizuha was exposed to fushi’s immortality and reveres him like tonari and kahak respectively do and did. instead of the specific word “legend,” it’s “immortal monster.” her first formal exposure to fushi’s fabled power was not unlike tonari’s, since mizuha had went into her grandfather’s library and read on fushi in chapter 124.1. after this, she manipulates fushi to save her, again paralleling the beginning of tonari’s relationship with fushi, but it’s from her overbearing mother and herself. both tonari and mizuha forced their problems onto fushi, but mizuha doesn’t have black hood stepping in front of her saying “you must lead him.” instead, she may have been influenced by the left hand, but i believe mizuha’s thoughts are majorly her own (left hand lies in wait within mizuha’s consciousness like a predator), and what they appear to say is that she’s leading fushi until he decides to follow her willingly. as for kahak, we only have a few pages on his childhood and what we can make of it and of his actions as an adult is that he was willing to follow fushi wherever they went, until left hand betrayed them both.

mizuha’s superiority complex comes from a different place than young tonari’s; she was a prestigious child from young, in addition to her fear of her uniqueness fading as she aged. this caused her to feel separate from other children. when she meets fushi, she sees how different he is from everyone else and uses subtle ways to keep him with her, while never directly admitting she wants him to stay with her, except for ch 125′s “i’m scared. stay with me tonight,” after her mother’s sudden murder. she usually uses excuses instead, like cutely demanding fushi to walk with her after school and go on dates with her.

(chapter 36 vs. chapter 128.2)

as fushi was introduced to the people around tonari and mizuha, they received similar reactions, i.e. “your hair is so pretty!” and “woah, his hair is white!” in the pages following these, the similarities continue into tonari and mizuha gaining ownership over fushi: in ch 36 oopa declares “tonari found him. so he belongs to tonari,” while the islanders try to get on fushi’s good side, and in ch 128 fushi goes out of their way to ask which club mizuha belongs to when asked to join a club (vocalizing her claim on them so she doesn’t have to directly do so).

(chapters 38, 106, and 139)

when the opening comes for mizuha to actually admit her feelings in chapter 139, she tries, but demands instead, “so... love me.” this recalls kahak’s confession to kai in 105.3, that he wants to “protect fushi’s humanity.” kahak and mizuha were both covered in blood when they spoke, but the atmospheres and characters are different; mizuha is clever w her words, but still too immature to let go of her pride, whereas kahak was the exact opposite. he rid of himself of his pride for fushi when he was a child, but said a lot of the wrong things to fushi when it came down to it. additionally, mizuha, when she wants something, she’ll phrase her words so that it seems like there’s only one choice: to follow her. this has been the case for others including fushi (chapters 120.2′s testing of hanna with “if i died, would you cry for me?” and 132.1′s “i’ll teach you about love” and the following guilt-trip). tonari is more direct with her words and meaning than either mizuha or kahak, bc of her personality. she directly confronts fushi when she realizes he had felt betrayed by her in chapter 38, because she still needed him for his plans. but mizuha is more direct with her actions; in chapter 129.1, she latches herself onto fushi, while trying to get information out of him. after the failed marriage proposal, rather than physically attaching himself to fushi like mizuha, kahak used acts of domesticity and protection to subtly appeal to and maintain his space next to them.

(chapter 38 vs chapter 139)

tonari’s “there are people in this world who are better off dead” above isn’t far from the knockers’ reasoning behind “wishing for death is paramount to being dead” and the reason for mizuha’s mother’s death: left hand decided to “eliminate the cause of [mizuha’s breaking point’s] stress.” what this shows is that tonari can also justify murder, though granted, this is from a hundred chapters ago. however, this black and white thinking comes back in the modern era where tonari holds prejudice against mizuha because of her relation to hayase. tonari knows her dislike of mizuha is unfair, she can’t get around it. tonari is still as prideful as she was when she lived on jeannanda; it’s just that she is able to use fushi to justify her opinions now. i also want to bring up mizuha’s reaction to her mother’s death and funa’s knocker’s “purging and guidance.” mizuha seems comfortable with the sight of death, despite having a more normal childhood than tonari, because her actual main concern overwhelms it; she is always thinking on how she can appeal to fushi (almost like kahak), or in other words, how to salvage her pride. so instead of being concerned over being the actual murderer, she is concerned with appearing as a murderer to fushi.

so to actually answer ray’s question, objectively, tonari’s love is as excessive as kahak and mizuha’s. but personally, i think tonari’s love for fushi right now is also unhealthy, though it comes out of good will. kahak’s love also ended in fushi’s benefit, but it was undoubtedly unhealthy. and ofc, mizuha’s love is also unhealthy; she reaches for fushi for perfection, tonari reaches for fushi for humility.

#fumetsu no anata e #kahak #fnae spoilers #🔖#long

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alexandria-millie · 3 years

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BLACK WIDOW: 24 EASTER-EGGS AND MARVEL FILM REFERENCES

A simple american family

The film has a very interesting opening set in the 90s, which shows us how Natasha Romanoff had already lived in the United States in her childhood. Not only that, she was joined by Alexei Shostakov, Melina Vostokoff and Yelena Belova, all living as if they were a family. This idea is not new in pop culture, as there are several films, series and books about Soviet agents infiltrating the United States, united as if they were a traditional American family. On the internet, many are seeing strong parallels with The Americans series, which has this premise.

Ducktales

Black Widow is, after all, a Disney production - so it's only natural that the film has its many references to other productions and works from the studio. A beautiful example of this is at the opening, when Natasha's entire "family" gathers for dinner. On television, we can briefly see an episode of Ducktales, the classic Disney series focused on Uncle Scrooge and Donald Duck's nephews. This goes to show how they went out of their way to impersonate an American family, including consuming US culture.

Red room

After this electrifying opening, we have the most incredible opening credits ever made by Marvel Studios, as they are very reminiscent of the openings of 007 and 2000s action movies. However, while we have the credits, we also see some details about the origin and the past. of the Black Widow. For example, it's during these credits that we get a great deal of exploration into how the Red Room worked, co-opting young girls from a very young age, brainwashing them and preparing them to be the perfect spies. Historical figures and songs In this opening, we can also see a bit of how the "order" of the Black Widows worked, as we can note several important historical figures who appear alongside General Dreykov. They appear with their faces scratched, as if they were targets of spies. In addition, it is important to draw attention to the film's musical choices. In the beginning, we heard American Pie by Don McLean, one of Yelena's favorite songs. Next up is a dark cover of Nirvana's Smells Like Teen Spirit by Malia J. during the opening credits.

Civil War echoes

Considering the general context of Marvel's Cinematic Universe, Black Widow's solo film is the only one that deals very well with the events and aftermath of Captain America: Civil War, as it continues from Natasha Romanoff's escape after betraying the Man's team of iron. Therefore, the beginning is full of references to the events of the film and throughout the story, we have mentions of heroes such as Captain America, Falcon and even Ant-Man. In addition, we have a brief guest appearance by General Thaddeus Ross, played by William Hurt.

Winter Soldier's Fighting Style

In the first scene where we see Yelena Belova as an adult, on a mission as Black Widow, we can see that her fighting style is much rougher and heavier than Natasha Romanoff's, as she doesn't waste time using all her strength to ruin your opponents. However, one moment in particular stands out when she is fighting a former Black Widow. She uses a knife and makes a move very similar to Winter Soldier - which makes a lot of sense, since in the comics, Bucky Barnes was once one of the Red Room instructors.

Trainer Training

Another reference to Captain America: Civil War - and this time, it's nothing new, as the scene was present in the trailers. At the beginning of the movie, we can see the mysterious Trainer being "activated" to face Natasha Romanoff and Yelena Belova. However, he first appears in a room, watching a monitor that carries several footage of the Civil War airport battle. We can see that he is studying the movement of each of these heroes - something he employs to perfection later, when facing Natasha on the bridge.

Rick Mason

Although many believed that O-T Fagbenle would be the Trainer, his role is much more restrained and he appears little, despite having a recurrent presence. Here, he plays Rick Mason, a private contractor who is always helping Natasha Romanoff get what she wants. In the comics, he is a mercenary known as The Agent, who is also the son of Phineas Mason, the villain Fixer - who has even appeared in Spider-Man: Back to Home. In the film, it is never mentioned if Rick has any connection with Phineas.

007 Against the Rocket of Death

While fleeing the US government for refusing to participate in the Sokovia Accords, Black Widow hides in an isolated trailer in Norway. There, she spends her days in normality, and we can see in a scene that she watches 007 Against the Rocket of Death. The choice of the film is right - not only because it is a feature film of spies like the entire James Bond franchise, but because it features the secret agent investigating a space capsule and a plot that could cause the genocide of all humanity.

Budapest

After almost ten years, we finally have an explanation for what happened in Budapest, exploring the past of Black Widow and Hawkeye. When the heroine finds herself as Yelena Belova in the city, she says that she was on a mission there many years ago. In the mission, she had to kill General Dreykov - this would be the baptism of fire in the S.H.I.E.L.D.. However, to complete her plans, she also ended up "killing" Dreykov's daughter in the explosion, and this murder still haunts her in her memories.

Special participation

Later, when Yelena and Natasha run away from Coach, we are taken to a hideout in the Budapest subway, where Natasha claims to have stayed with Clint Barton for a few days. There, she has a flashback of her mission in Budapest and we have a "participation" of Hawkeye. In fact, the hero doesn't actually appear in the flesh, but we can hear his voice through Natasha Romanoff's communicators. This shows us how Clint Barton knew of the Black Widow's "dark past" and still accepted it wholeheartedly.

Heroic poses

A recurring joke in the film begins when Yelena Belova draws attention to the various "heroic poses" that Natasha Romanoff is always doing during combat - especially when she "lands" on the ground and raises her head, always pouting. According to director Cate Shortland, this joke was included to comment a little on the sexualization of heroine in films since her first appearance. And throughout the film, we see Yelena reminiscing about this over and over - and even trying to do the same pose.

Vest

Throughout the film, we have an explanation for a detail that many fans had already noticed in the trailers and promotional material: the green vest that the Black Widow wears in Avengers: Infinite War actually belonged to Yelena Belova. Natasha's "sister" uses the item throughout the movie as a way to distance herself from the other Black Widows. She sewed the vest herself, putting in several pockets so that she could have several items at her disposal at once. At the end of the movie, she herself gives the vest to Natasha as a souvenir.

Obsession with Captain America

Halfway through the movie, we see Natasha and Yelena need to rescue the Red Guardian in a gulag. And when we meet the Soviet hero, he's bragging to other prisoners about how he was an archenemy for Captain America. In the comics, the character has always been obsessed with Steve Rogers. Here, he says he even fought the Captain in the 1980s - which we know is a lie, since at that time Steve Rogers was frozen to the bottom of the ocean.

Ursa Major

However, this same scene brings the participation of a very curious character. In prison, the Red Guardian fights an arm wrestling match with a prisoner named only Ursa - and this ends up going very wrong for the opponent, who loses badly. This appears to be an easter-egg for Ursa Major, a Russian hero who, being a mutant, had the power to transform into a humanoid bear. In the comics, this character was part of the Soviet Super Soldiers, who were basically the "Avengers of Russia".

White costumes

In the scene where Natasha and Yelena are looking for the Red Guardian, we can see them wearing white outfits, which were well used during the promotion and promotional material for the film. These clothes are made to camouflage better in white and snowy environments. However, this costume is not an invention of cinemas. In the HQ Black Widow: Fatal Origin, we can see a white look with the same functionality - camouflage in icy environments. In fact, the movie seems to be quite inspired by this particular comic book arc.

The iron Lady

After rescuing the Red Guardian, the spies go after his "mother", who they believed was dead. Melina Vostokoff is a scientist and lives isolated on a farm, raising pigs that she uses to do her mind control experiments. In a brief moment, we can see behind her some masks and some details that appear to be an armor, which is an easter-egg for her secret identity in the comics: the Iron Lady. There, she was a Black Widow's villain who wore a tech costume and a silver mask.

Scarlet dynamo

When Yelena Belova has a very emotional conversation with her "father", the Red Guardian, she ends up calling him by the name of Scarlet Dynamo, purposely missing her alter ego to hurt the man's ego. However, this character exists in comics. The Scarlet Dynamo was basically the "Russian version" of Iron Man, and turned out to be a big enemy of the comic book hero. He was also part of the Soviet Super Soldiers, alongside Ursa Major. He was one of the inspirations for Iron Man's Black Whip 2.

The New Red Room

Right at the climax of the film, we discover that General Dreykov survived Natasha Romanoff's attack on Budapest and rebuilt the Red Room, this time on an airbase above the clouds that is beyond the range of ground radar. This is also a reference to the Black Widow: Fatal Origin arc, where the heroine ends up facing a villain at an air base that looks a lot like a SHIELD airship. In the movie, we also get some glimpses of the Black Widows training ground.

Dreykov

At the end of the film, the Black Widow finally reunites with her greatest arch-enemy, General Dreykov - who is played by Ray Winstone. The scene is very interesting because we see Natasha using face mask technology to impersonate Melina (as she has used in other films). However, most interestingly, this scene carries echoes of another very memorable scene from The Avengers, which takes place when the Black Widow interrogates Loki without him knowing. The same thing happens here, and it ends with Natasha saying, "Thank you for your cooperation".

The Coach's Secret Identity

By the way, talking about this specific Loki scene, it's important to remember that the villain mentioned something about "Dreykov's Daughter" in his speech - and through the heroine's solo film, we believed it had to do with the fact that she killed the girl in Budapest. However, at the climax it is revealed that the girl survived and her father made her transform into Trainer, the perfect weapon, which has some brain implants and goes through the same brainwashing process as the other Black Widows.

Reflections of "Captain America: The Winter Soldier"

When we look at the movie as a whole, it's not hard to see that it looks like a huge mirror of Captain America: The Winter Soldier (considering that, for many, this was the Widow's best movie so far). The entire structure of the film is very similar to the Captain's feature. This gets even more intense at the climax when Natasha Romanoff and her allies must invade this air base while fighting soldiers, stealing information and making the entire structure plummet from the sky. Even the end of "Coach" is very reminiscent of the Winter Soldier.

New look

Before the credits go up, we can see Natasha Romanoff's last encounter with her "family". She already appears here with a new look that she would wear in Infinite War, with platinum hair and Yelena's vest, before saying goodbye and leaving on a new mission. As the scene reveals, she's about to help Captain America rescue the trapped heroes on the Ferry, a scene that takes place at the very end of Captain America: Civil War. Thus, we know that she has always been involved with the underground heroes.

Valentina Allegra de la Fontaine

In the film's post-credits scene, we see Yelena Belova pouring out her feelings at Natasha Romanoff's grave after her death in Avengers: Ultimatum. And soon, we find out that she works for Valentina Allegra de la Fontaine. The character first appeared in Falcão and the Winter Soldier and must have a great future in MCU. Here, she appears sending Yelena on a mission of revenge against the "responsible" for the death of Natasha, Hawkeye.

#black widow #natasha romanoff #yelena belova

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the1stn0elle · 3 years

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Attack on Titan Analysis Prt.1

This analysis will contain MAJOR spoilers for the AoT series, so if you wish to not have anything spoiled be warned now. This is also not a FULL analysis of the series since it is so ridiculously plot heavy. It would take probably over 100 pages for me to get to everything I'd want to, so this is all for now :)

Summary:

Attack on Titan (AoT) follows the story of a civilization of people forced into living trapped behind walls due to the fear of the giant human-like creatures called titans who thirst for nothing but human flesh and blood. Titans have terrorized the remainder of humanity for many years and the population has been kept safe behind the 3 walls Maria, Rose, and Shina for an entire century. The main 3 characters of the story Eren Jaeger, Mikasa Ackerman, and Armin Arlert witness the end of a century of peace as the colossal peeks above the 60-meter tall walls that have successfully protected humanity for 100 years and kick a giant hole in it, exposing all of the civilians to the horrors of the bloodthirsty titans. The 3 friends strive to become members of the survey corps, a group dedicated to protecting the people from titans and uncovering the many mysteries of the existence of titans; in order to reach their goals, they must complete grueling training to prepare them for venturing outside the walls to slaughter titans and bring the creatures to their extinction, but the duty of a corps member evolves being prepared for one’s likely and untimely death while fighting against the titans. AoT is a thought-provoking story that is based around perspectives and discovering the mysteries surrounding the near extinction of humanity. Questions are posed throughout as the plot is filled with twists and surprises, and morals are questioned as the viewers grapple with themes such as “do the means justify the ends?” and “who is the real enemy?”.

Analysis:

Part I: Erwin Smith

(MAJOR SPOILERS)

The Monstrous Commander

AoT is very morally complex in the sense that when an entire group of individuals risks their lives by going outside the walls to save humanity, an individual must lead the herd. Said individual goes by the name Erwin Smith, the commander of the survey corps. Erwin is an individual who must send thousands of his soldiers to their death during each expedition outside of the walls; Erwin’s a pretty morally gray character since his job is to ultimately save humanity but the question is at what price? Immeasurable sacrifices are made in the form of human lives as a successful expedition may result in the loss of more than 40% of the soldiers due to being devoured by titans. At an outward appearance, Erwin is a strong leader who is willing to become a monster in order to provide the eventual win of humanity over the titans, but when diving deeper into his character he is a man who is caught up in his childhood desire to learn all the answers to the mysteries about titans and the world that he lives in.

In these few panels, Armin Arlert picks apart how commander Erwin is an amazing leader despite what many people may believe since he has the ability to make sacrifices even though the outcome may be devastating as many lives will most likely be lost in the process. Armin’s opinion of a great leader is brought around again at different points in the story to emphasize its importance.

Part II: Eren Jaeger

The Boy who Wished for Freedom

Eren Jager is the main character of AoT and might be one of the most dynamic characters in his amazing character development throughout the story. Eren starts as a hotheaded teenager whose only desire is to eradicate all the titans after witnessing his mother and hundreds of people die after the collapse of wall Maria by the colossal and armored titans. His bloodthirst for killing the titans is unnerving in its intensity but he’s become dedicated to the cause because he no longer wishes to live like cattle enclosed in walls for the rest of his life. Eren’s core value throughout the entire series is freedom. Each and everything Eren does is to attain freedom in the hellish world he was born into. His value of freedom is most notably portrayed when Eren is out with his father Grisha Jaeger to visit the Ackerman family; Eren finds Mikasa in her home with the dead bodies of her parents accompanied by dangerous individuals attempting to kidnap her. Eren’s solution to the situation is to aid Mikasa in killing the individuals who have murdered her parents. The turn of events is quite frightening as both Mikasa and Eren were only 10 years old at the time, but it highlights Eren’s desire for freedom. He saw that Mikasa’s freedom was being threatened and he felt so passionately about this that he was not fazed at the prospect of killing the kidnappers who were trying to steal someone’s freedom.

Eren and Armin are able to bond over an illegal book that has drawings and descriptions of the world outside the walls and both boys instantly develop the desire to travel outside the walls to go see the vastness and beauty of the ocean. It serves as a goal to mark their eventual freedom from the terrors of the titans.

After the breaching of wall rose by the colossal titan the cadets experience their first real mission and witness many of their comrades die in the jaws of titans. Eren has headstrong and confident as ever lands himself into the stomach of a titan after protecting Armin from being eaten. Eventually, it is revealed that Eren can turn into the creatures he despises with his whole being. A titan. Following the discovery, Eren, Mikasa, and Armin are tasked with the challenge of trying to convince the leaders of the military factions that Eren is on humanity’s side and will not resort to killing more people. The major event is followed by many trials and questions in whether or not Eren is a threat to humanity until he is finally taken into the care of the survey corps where commander Erwin and “Humanity’s Strongest” Levi Ackerman are finally able to convince the military police to give them custody of Eren. It is concluded that Eren is to be kept alive as a comrade of humanity as he claims that his childhood home in wall Maria has a basement that holds secrets about the titans.

A Life that Carries Weight

As the story progresses, Eren goes from a headstrong hothead to a boy that carries an immense amount of weight on his shoulders. Eren realizes that his very life holds a great weight; many soldiers and civilians die for the small thread of hope that the Jaeger home’s basement holds important information about the titans that will lead to the victory of humanity. The world of AotT is nothing short of being bleak and void of hope so it is understandable that Erwin and other members of the corps are willing to take the risk because what do they have to lose? Up to this point, Eren has faced numerous great losses ranging from the death of his mother, learning how he caused the death of his father, his most trusted comrades being uncovered as traitors, etc. Eren’s mental state is in tethers as he tries to come to terms with the meaning and value of his life and begins to wonder if he was ever “special” to begin with but has been burdened by a special path of life by his father. All of these events take place in the royal government arc of the story. Historia Reiss (formerly known as Krista), a character who was previously only in the background assumes an important role as it is revealed that she is some of the last bit of true royal blood left in the world.

Following Historia’s growing importance to the story, we learn more about the titans and where they come from. I won’t get into all of the technicalities of the 9 titan powers and whatnot but the most important fact to note is that all titans existed as humans at some point in time. Due to the complexity of the topic, I will only graze the surface and state that humans become titans with an injection of spinal fluid from an individual of Eldian descent, this includes almost all of the humans that reside within the walls (I will come back to this sometime later). Rod Riess, Historia’s father has received help from the interior military police to capture his daughter and Eren to have Historia inherit the power of the attack titan which is currently held by Eren (was given to him by his father Grisha). Eren snd Historia learns that the 9 major titan powers are passed down when one consumes the individual possessing the power; this means Rod wishes to have Historia eat Eren so she gains the attack titan power, meaning the power will be in the hands of a pure royal and only those of royal descent can fully harness the power of the 9 titans.

Eren’s capture by Rod is marked by the total collapse of Eren’s mental fortitude as it all but crumbles when he discovers the crimes his father has committed and the consequences of his actions that have led Eren to shoulder such an enormous burden that the once confident boy has lost all hope in himself and his existence.

Now before I get into the next few parts of Eren’s development I have to address the powers of the attack titan, the power that Eren currently possesses. The individual who carries the power of the attack titan can see the memories of their future inheritors which equates to the user being able to see the future. Up to this point, it has been confirmed that only those of royal blood can fully utilize the 9 titan powers. can

Following the events between Rod Reiss, Eren, and Historia, Historia is tasked with taking the throne as the current king is a fraud. At Historia’s crowning ceremony and the ceremony to commemorate the few survivors of the battle at shiganshina where the corps was finally able to uncover the truth about the titans with the information in Eren’s basement, a simple touch of Historia’s hand grants Eren to fully use the power of the attack titan and the future is revealed to him.

The scene marks the complete loss of the Eren Jaeger the viewers are familiar with and marks a new chapter in the story because at this point forward quite literally everything changes.

#aot manga #aot spoilers #aot analysis #aot season 4

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usagi-dreams · 3 years

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Higurashi: When They Cry AU: Confusion Arc

Summary: Satoshi murdered his aunt.... Didn’t he? Satoshi struggles with what is real and isn’t as his friends try to help him. Only one person can truly put his mind at ease: Keiichi Maebara

CH.2: A Place to Stay (Previous CH.)

Satoshi walked silently with Keiichi, retracing his steps. Keiichi seemed awfully quiet, and Satoshi knew something was wrong. “Hey Maebara-san,” Satoshi started, slowing his pace down.

“You can call me Keiichi, y’know,” Keiichi said, also slowing his pace, “Everyone else does.” Satoshi felt his face flush, and he nodded. “What is it?”

“Why are you still helping me?” Satoshi asked sincerely. “It’s been a few hours, and we still haven’t found it, I’m sure someone took it…”

“Your uncle is mad at you for losing it, right?” Keiichi asked, and Satoshi looked at him in surprise. How did he know his uncle was upset? Satoshi quickly thought back to what little conversation they had while looking, and he was sure nothing he said should have given Keiichi the impression that his uncle was upset. So how did he know? Satoshi came to the conclusion that he must’ve been an open book, that or Keiichi was great at reading people. Maybe it was both. “Anyways, I figure you’ll be in more trouble if you go home without it.” Keiichi finished, looking down to the ground. Satoshi was quiet for a moment, before smiling.

“You really are a nice person Maeba- Keiichi.” Satoshi corrected himself, and Keiichi beamed at him.

“Let’s keep looking. We still have a little time before we need to head back for dinner.” Keiichi said, beginning to walk again. Satoshi frowned, staying in place.

“Maybe you should just head home, I don’t want you to miss dinner, and this is definitely a lost cause.” Satoshi said, he would just have to walk around for the rest of the night, and then hopefully get some sleep at school the next day.

“Why’re you trying to get rid of me?” Keiichi asked, “You’ve been telling me to go home since we left my house.” Satoshi shook his head.

“It’s just…” Satoshi began, “I really don’t think we’ll find it.”

“I’m going to keep looking as long as you are!” Keiichi said, with determination in his voice. “Plus, you’re coming home with me, you’re staying for dinner, remember?” Keiichi asked, and Satoshi felt his cheeks heat up again. Why was he blushing so much?

“Then you’re going to be looking all night. I can’t go home until I have his money.” Satoshi mumbled, kicking a rock on the dirt road. Keiichi frowned.

“He kicked you out for losing your wallet?” Keiichi asked, the anger clear in his voice. Satoshi winced at his tone, looking up. Keiichi took a deep breath, calming himself. He knew he should be more careful with his words and his emotions, Satoshi didn’t know he knew, and Mion had asked him to keep quiet about it.

“Yeah…. I guess.” Satoshi admitted, “It should all blow over in the morning, I was still hoping I’d find my wallet before nightfall but..” Satoshi looked at the sky, the sun setting. “That doesn’t seem likely.”

“... C’mon. You’re right, we aren’t going to find it. Let’s head home.” Keiichi said, turning and walking in the other direction. When he didn’t hear footsteps behind him, he looked back. “I already told my mom you were staying, so she made extra food.” Satoshi sighed, finally giving in, he walked towards Keiichi.

“Do you like this village?” Satoshi suddenly asked as they walked, taking Keiichi by surprise.

“Yeah… I think so. I like you, and Mion, Rena, Rika, Satoko too.” Keiichi said, putting his hands behind his head and stretching a little. “I never had friends like this in the city.” He finished. “What about you?” Keiichi asked, and Satoshi shrugged.

“I used to… But now there are a lot of bad memories here.” Satoshi said softly.

“Are you talking about the Dam War?” Keiichi asked, and Satoshi nodded.

“It feels like that stupid war took everything from me, and still is.” Satoshi explained. “My parents… When they died, I blamed this entire village.” Satoshi continued, Keiichi nodded. “It felt like they pushed them into a corner, until the only way out was…” Satoshi trailed off, clenching his hands into fists. “Now I feel like Satoko and I are being pushed into the same corner.” Satoshi said. “Most folks don’t like us because of our parents. You’re a nice change of pace.” Satoshi said. “I wish everyone could see we aren’t the enemy.”

“Don’t worry, I’ll help you.” Keiichi assured, and Satoshi tilted his head in confusion. “I’ll show everyone that you and Satoko aren’t your parents. That their choices had nothing to do with you.” Satoshi smiled, he couldn’t help but believe Keiichi when he said those words, he sounded so sure. Satoshi had to admit it would be nice not to be hated.

“Thank you very much!” Satoshi said, a wide smile spreading across his face. Keiichi had given him a sense of hope, something he hadn’t felt in a long time. Even if Keiichi couldn’t get everyone to stop hating him, in that moment Satoshi thought he wouldn’t mind as long as Keiichi liked him. Keiichi blushed, quickly turning away from him.

“Errr, uhh! Yeah no problem! Really….” Keiichi scratched his head, trying to hide his embarrassment. His heart was thumping wildly in his chest, had Satoshi’s smile done this? His genuine smile was so warm. Keiichi decided he would do anything to keep that smile on his face. “We’re almost back, I’ll race you!” Keiichi said, silently patting himself on the back for his quick thinking. If they ran, then he could blame the red face, heart racing, and sweaty palms on that! “Loser has to do the dishes!” Satoshi laughed a little, and broke out into a jog. Keiichi quickly followed, making sure to keep his pace slow. He wanted Satoshi to win. Keiichi wanted to help him be happy, even if his home life was awful, Keiichi would do his best every day from now on to help Satoshi smile. Really smile. Maybe once he had seen it enough, he wouldn’t get so flustered, but something in the back of Keiichi’s mind told him otherwise.

While Keiichi washed the dishes and Satoshi dried, they made small talk. “Then milk came right out of Mion’s nose!” Satoshi laughed, and Keiichi snorted, handing him a plate.

“Man! I wish I could’ve seen that!” Keiichi said, chuckling softly as Satoshi dried the plate and put it away.

“I could probably get her to do it again,” Satoshi said, before a frown appeared on his face. “Once Satoko is back, that is.” Keiichi felt his face fall too. He could tell how much Satoshi missed his little sister, and was determined not to hang out with the club until she could too.

“Hey, maybe you can make milk come out of her nose too!” Keiichi joked, handing him the last plate, and Satoshi smiled, drying it and putting it away.

“Yeah, maybe…” Satoshi said sadly, and Keiichi let the conversation drop, not wanting to cause him any more distress. “I should probably get going now..” Satoshi said, and Keiichi reached out and grabbed his arm, shaking his head.

“Actually, just wait here a second.” Keiichi said, running out of the room. A few moments later he came back, a wide smile on his face. Satoshi tilted his head.

“Is everything alright?” Satoshi asked, and Keiichi grinned widened.

“Better than alright,” Keiichi said, grabbing his arm and pulling him towards the stairs. “You’re staying here tonight.” Keiichi said as they ascended the stairs.

“Wait, I am?” Satoshi asked, confusion clear on his face.

“And every night you need to until you can go home.” Keiichi said, opening the door to his room. Satoshi stood in the entryway, nervously fidgeting.

“Uh, are you sure? I really don’t want to impose, and like I said it should all be fine by morning.” Satoshi said, as Keiichi pulled out an extra futon from his closet.

“Then you’ll stay until morning.” Keiichi said simply, “My parents said you can stay as long as you need.” Keiichi explained, sighing. He walked towards the door and grabbed Satoshi’s arm, pulling him inside. “What? Did you think I was going to let you sleep outside?” Keiichi asked, and Satoshi stared.

“I don’t know what to say..” Satoshi said quietly, as Keiichi shoved a blanket into his hands.

“You don’t have to say anything,” Keiichi replied, smiling. “This is what friends are for. They help each other.” Keiichi said. “I know if I were in your situation, you’d let me stay the night, right?” Keiichi asked.

Satoshi laughed, a darkness lurked under it. “I don’t think you’d want to stay.” Satoshi said, “You’d probably prefer to sleep outside.” Keiichi felt his heart ache, how bad was Satoshi’s home life exactly? Keiichi started for a moment at Satoshi’s injuries and sighed, pretty bad he guessed.

“I’m sorry! I didn’t mean to sound like I wouldn’t let you stay!” Satoshi quickly said when he saw Keiichi’s sad expression. “Of course you could stay if you needed to!” Satoshi assured, and Keiichi smiled a little.

“Thanks. It’s good to know you have my back,” Keiichi said, adding on, “And I have yours.” Satoshi blushed. Even though the two of them hadn’t interacted much since Keiichi moved to Hinamizawa, Satoshi felt closer to Keiichi than the rest of the club. Maybe it was the aura that Keiichi had, one that screamed ‘Hey, you can trust me!’ Satoshi felt like he and Keiichi had been close friends for years rather than just a day, and he secretly hoped Keiichi felt the same way.

After the two got ready for bed, and Satoshi borrowed some of Keiichi’s pajamas, they laid down in the dark room. Satoshi brought the collar of the shirt up to his nose and breathed in, the smell of freshly washed laundry reminded him of better times. Satoshi stared at the ceiling, his mind racing. Tomorrow he would have to go back home and face his uncle, who would still be pissed at him for not having the money, but tonight he was safe with Keiichi, and with that final thought Satoshi drifted into the first truly restful sleep he had in weeks.

#higurashi no naku koro ni #higurashi when they cry #higurashi #higurashi when they cry gou #when they cry #keiisato #higurashi fanfic #fanfic #satoshi houjou #keiichi maebara

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cynthiaandsamus · 3 years

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Custom Toonami Block Week 79 Rundown

Code Geass: Lelouch is establishing the official United States of Fuck Imperialism which is like the UN but actually does stuff, plus he has to deal with the fact that CC’s lost her memory and is acting like a demure slave girl harem choice from a VN. Charles is still trapped in the Human Instrumentality Shadow Realm so everyone figures this is a great time to unify everyone against Britannia. Kallen beats the shit out of Suzaku for being a dick to her all this time and the Knight of Ten is making his rounds because they realize they forgot to give him any buildup and he’s going to be a miniboss later so they have to cram all his being a dick personality into like five minutes while all the Knights of the Round assemble to prepare for an attack on Japan once the National Federation is formed. Llyod and Cecile for some reason enhanced the Guren for Suzaku even though he’s clearly more used to the Lancelot but apparently they enhanced it too much and made it a death machine like the Talgeese in Gundam Wing so Suzaku has to stick with the Lancelot. Looks like the Guren will have to sit and collect dust unless a certain pilot is rescued and then immediately has a convenient upgrade. Amazingly all the countries go along with everything Zero says and give up their militaries and have the Black Knights be the official military of the Federation. I don’t know how that works given that the Black Knights have been struggling to fight off one nation’s military idk how it’s supposed to substitute for a dozen nations’ military but I guess they conscript support and troops from the other nations or something. Charles comes back on the tv after the Federation is formed and is all “Awww what a cute little UN you have, fuck off bro.” which you’d think this’d be the perfect time for him to just out Lelouch as Zero and wreck the Black Knights’ morale but he doesn’t for some reason and they’re just gonna fight. Lelouch is freaking out and knows that having everyone want to murder the Britannian royal family includes Nunally so he calls Suzaku who just straight up goes “Bro cut the crap are you Zero or not?” and after so much plotting and scheming Lelouch just comes right out with it. Suzaki agrees to protect Nunally as long as Lelouch meets him alone at the Kururugi Shrine where this all began.

Inuyasha: This is another one of those Modern Day filler episodes which are always fun. There’s just something about Inuyasha running around in modern Japan being Spider-Man and saving people and catching bank robbers on the way to deliver Kagome’s lunch that’s so thoroughly entertaining. Basically Inuyasha spends this whole episode jittery that everyone’s so chill and ready to relax after Naraku just got away and is probably an inch from death but after a big adventure in the modern era where Kagome is as usual unprepared for her test, he ends up passing out on the bed after insisting a little battle with Naraku wouldn’t exhaust him. It’s a really cute little episode to let everyone bide some time and reflect on the past arc now that we’re starting a new wave of filler before we get to the Band of Seven and Mt. Hakurei stuff.

Yu Yu Hakusho: The first match of the tournament is about to begin and Botan, Shizuru, and Keiko come in with Koenma who is sick of baby jokes and puts on his bishonen disguise to impress everyone. There’s some neat lore about how they gave Koenma the guest team every year to bribe him into not shutting down the tournament without giving him anything of value and how the bloody show of the Dark Tournament pacifies the demons so they kill fewer humans, so that’s cool. Since Yusuke is still passed out, Kuwabara is de facto Captain and decides on simple one on one matches while the other team Captain just kinda roasts an eight of the crowd to see if it’ll wake Yusuke up. Kuwabara’s in the first match versus Prototype Killua, complete with afterimages and yo-yo tricks. They size each other up for a while and Kuwabara shrugs off getting his fucking neck broken surprisingly well while they go back and forth with “Well I can track YOU better” for a while. Togashi really loves his yo-yos of death so those have Kuwabara on the ropes and turn him into a fucking kite ready to slam back down into the arena, so yeah, Kuwabara’s having a rough time of it.

Fate Zero: Waver’s been having strange dreams about Iskandar, and not the ones people usually have about him. So he goes to get a basic history lesson on the historical figure that’s been chilling on his couch for a few weeks and spending all his money on xbox live arcade. They also go through all the ridiculously obvious historical inaccuracies and Iskandar’s just like “idk bro, I’m here so the book must be wrong” which is hilarious because Fate also does this with more modern historical figures that we have pictures of and shit so they basically sit there saying all historians have no idea what they’re talking about and gaslighting the field of history as a whole. On the way back Waver’s upset that Iskandar’s so awesome that it basically takes any effort on his part to win and it won’t be an actual achievement despite the fact that they’ve taken out like… one servant, MAYBE, and most of the other historical figures are equally over the top. But still Iskandar says that if your aspirations are big enough it doesn’t matter how big or small you are, everyone’s tiny in the grand scheme of things and clawing at greatness you can’t truly perceive is what matters. Also Caster and his boy have found the wreck they made of their workshop of dead bodies and are kinda fucked up about it but also ready to fuck up more people because God sucks or some shit. So Caster summons a Bloodborne monster which you think more people would notice and mention during Shirou’s time, like nobody in UBW ever said “Hey remember like seven years ago when a giant Bloodborne monster appeared in the river?” so I’m guessing there’s some kind of perception blocking going on. But yeah everyone’s gonna jump on the Bloodborne Monster next time for the season premiere.

Konosuba: So we pick up where we left off and Kazuma is working off his debt by… killing more toads. Wow this world really is like a video game, we get the same five enemies over and over again. However they’re fucked without Darkness throwing herself into monster orifices looking for a good time so Yunyun has to save them. We already met Yunyun in the OVA so it’s kinda weird to be re-introduced to her here in basically the same way but their relationship is basically like Gai and Kakashi if they only did the lame dorky challenges Kakashi suggested when he’s too lazy to think of a good one. Also there’s a cat now, I don’t think that really comes to anything, just a scene of Megumin going “we have a cat now” and everyone’s like “kay”. Kazuma and Megumin play Naked Chicken to see who can get more naked before the other backs down and end up taking a bath together because they’re both stubborn assholes. Also we get a quick snippet of Yunyun and Megumin’s backstories which you can basically make Yunyun’s the swing scene from Naruto (idk why Yunyun is bring out the Naruto references in me today) and Megumin is stealing bread like Les Miserables in increasingly bizarre and disgusting ways because she’s ridiculously poor or some shit.

Sailor Moon Crystal: So turns out that Usagi and Mamoru BOTH had their shots with the ‘fucks everything up’ sword with a pocketwatch and… the discarded gems of the four knights? Idk how that works given they were humans and also dead but what baffles me more is that both Usagi and Mamoru very obviously did not get hit by the sword but decided to fall down dead and not move for a couple minutes despite their shots very much being blocked and there being no blood. Anyway Queen Metalia has the crystal, bullshit is happening, 1000 years of darkness, you’ve seen Xiaolin Showdown, you know the drill. The remaining four Guardians get a cute little flashback of Usagi saying what she likes about them and then they give up their lives to revive her inside the dark energy blob of Queen Metalia and crystals and lights and shit happens and swords and wands are pulled out of nowhere and you know how a final boss goes, they beat it with the power of believing in themselves and shit like that. Also apparently the only difference between sealing Metalia away and killing her is hitting the giant bullseye on her forehead so yeah, hopefully she’s down for good this time. I don’t want to complain because this show was genre-defining but it’s hard to find things to say about something so generic and milktoast, it’s the Seinfeld problem where there’s been so many more interesting iterations that it’s just kinda “get on with it already” at this point. The only real markedly noticeable thing about it is how plainly and unashamedly it is about being a power fantasy for teen girls, and there’s something to that, harmless power fantasies can be fun but it just feels like the physical mechanics of this kind of progression being “She feels this shit REALLY HARD” is less exciting than some of the alternatives

Durarara!!: It’s the big Masaomi backstory episode and we get the whole deal of how he formed the Yellow Scarves and got into a relationship with Saki because Izaya wanted to orechestrate a gang war because that’s what Izaya does all day is orchestrate gang wars. It’s kind of amazing how many kids in this show are like “I don’t know how it happened but one thing led to another and suddenly I was at the head of one of the largest gangs in the city” like they kinda really yadda yadda over how that actually happens. But anyway Saki gets hurt in the gang war and Kadota’s gang has to save her because Masaomi’s adrenaline wears off at the last second and he can’t try and rush in and save her. I mean Dota’s van got there first anyway so how much he’d have been able to help would be doubtful but he feels bad about not even being able to try and Izaya says that fear and failure of his past will dominate his future actions which is exactly what he’s doing by letting his paranoia and frustration lead him to a war on the Saika army. Dota-chin tells him to face up to it and stop running or live with the shame of lying to Saki but Masomi can’t do that and his shame and determination to reverse the situation leads everyone into chaos as Anri discovers his secret.

#ooc #Toonami #Custom Toonami Block #Code Geass #Inuyasha #Yu Yu Hakusho #Fate Zero #Konosuba #Sailor Moon Crystal #Durarara!!

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thirstythylacine · 4 years

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Stress Relief

Alright. This damn band and fandom has got the best of me finally.

Haven't written in over 10 years. Definitely never written smut before.

I've given in! There are pages and pages of smut notes in my journals, phone, and computer so I guess this is my new hobby in quarantine.

Relatively unedited so apologies there.

Yell at me here, or yell at me on AO3 under the same name.

Also I have a very limited knowledge of how the hell this cursed site works despite being on it for most of its existence. So if there's shit I didn't tag correct here let me know.

Also Tumblr apparently hates making the italicized bits appear here so I’ll reblog this in a sec with the AO3 link if you, like me, really like seeing the emphasis :)

I am otherwise too lazy currently to figure it out or fix it and I’m already reposting this since Tumblr also apparently hates outside links! Thanks Hell Site.

STRESS RELIEF

He’s been working on this project for a week straight and as usual it’s cutting into personal hours. Though that doesn’t faze him, scribbling notes in the margin of this current translation and completely forgetting to call for dinner. It’s 10:30 at night and I’ve brought him ever meal today as well as coffee multiple times. At this point it’s half just so I can make sure he’s still awake and breathing.

His dinner looks untouched and he’s got ink on his cheek. I don’t even think he noticed me come in until I was right behind his chair with my hands on his shoulders. He only startles a bit and I lean forward to peek at his progress. “You’ve gotten far today” I note, “Though dinner was over two hours ago you know.”

He sighs sitting back against me. “I know Tesoro, I know. This one is just.....very difficult. And she wants it earlier than the rest.” He drops the pen and stretches his fingers. “If I can get this one to her before Friday I think we can have a few days off finally.”

It would be a relief for us both to have a few days off. He squirms as I press at the knots in his shoulder.

"I will literally stand guard outside this office to fend people off if it will help. I was starting to think I might have to tie you up somewhere to keep you from coming into the office this weekend.” He breathes in sharply once and there's a moment of stillness before he’s laughing quietly. Interesting.

I’m solidly around the front side of his desk before I notice the flush on his face. Double interesting.

The last paper in front of him has been moved aside in favor of the dinner plate. He’s frowning at it. The dish isn’t one that would be particularly appetizing cold. “I think......perhaps a trip to the kitchen might serve us better?” I offer. “You can find something better than that and I can find something for desert. I think Papa mentioned there was pie tonight.”

Pie makes a good dinner.” He says with a quirk of the eyebrow. Problem solved.

———

“Hey!” I gasp as his teeth scrape down my neck. “Hey, I told you, none of that tonight. I have a ton of important meetings tomorrow. You know, the kind with people from Outside This Church whom I need to view me as respectable, buddy.” He isn't looking at me but growls a little against my skin.

I tangle my hands in his hair and tug sharply back to meet his wild eyes with mine. “No biting.” “You’re gonna have to save those hickeys for tomorrow, Cardinal...”

He’s adorably huffy about it but also doesn’t falter as he ruts against me. His hips grind sharply into my thighs, pressing me hard down into the cushions of his couch. His arms have me caged in below him and he rests his forehead against mine with a low moan.

At some point we’ll have to decide if we’re moving to a bed, or at least stopping long enough to take off literally any clothing instead of writhing on the furniture like teenagers. It’s so good this way though.

I came by to drop off the last few papers for him to finish and somehow convinced him they could be done in the morning. I meant to also convince him to come have another late dinner in the kitchens but he's in a mood and I can't complain. Having him over me, desperate and needy is better than any drug. I busy myself with the buttons on his jacket and shirt, impatient to get my hands into his chest hair. He hums as I run my fingers through it, and lower. His mouth is at my ear, his nose in my hair. I tug at his belt as he arches over me.

“We should go go to bed” he whispers “we should go to bed so I can fuck you into the weekend. I want to wrap you around me and make you cum until you can’t remember your name”. The words coming out of his mouth are getting deep and breathy. That voice.

Even his perfectly normal, reasonable Latin lectures make me want to get on my knees for him. I'm pretty certain the whole class feels that way. Technically, I know I’m not the only one he sleeps with either but recently I seem to have lucked out.

“You can’t” I growl back as he presses me down. “As much as I’d love to have you buried in me from now until Sunday, you still have 'homework' for tomorrow and I.... I can’t bag out of my important meetings. Sister will literally have me murdered if I leave her alone with those delegates.”

He moans low and deep grabbing at my thigh to pull me further under him, tighter against him. We press back and forth rocking against each other and making out. He’s driving against me over and over in a way that will have me undone very shortly. I have to bury my face in his shoulder to keep my whimpers quiet. Office hours are over but the door isn’t locked and Ghouls have a way of showing up when shit is about to get good.

I'm starting to lose it. “Please, Copia, please, pleaseplease” I beg. He grinds into me slower and slower pressing closer and longer and I think I could die from needing to cum. His breath is in my ear choppy and hot. Little wines, murmurs spilling from his mouth as he gets closer to the edge.

My body arcs up against him, my hands trapped against his chest as an orgasm washes over me. Head thrown back into the cushion I cry out when he sucks at the skin at my collar. I’m gasping as I come down. And then I realize.

Yanking my hands from between us to grab at his head. “COPIA, Satanus! What the fuck did I just say!” He’s a bit of a mess this close to an orgasm and only whines at me when I scold him. His rhythm is getting lost now and though I'm mildly pissed about the bite, I don’t think there’s a better time to test my new interesting theory than now.

I wind the fingers of my left hand tight into his hair and grab harshly at his hips with my right. “Bite me again and see what happens Cardinal. Don’t make me tie you down next time.”

He comes hard. Face buried in my collarbone despite my hard grip on his hair. He’s arched so hard into me I think I’ll be feeling it well into next week. We collapse slowly into the couch. It’s hot and sweaty not to mention the utter mess he's just made. Whatever. He must own 20 pairs of those black pants anyways.

I stroke his hair and laugh softly into it as he tries to regain some steadiness of breath. “Well then, Cardinal.” I arch my eyebrow at him and he's absolutely blushing. He won't quite make eye contact and I can't keep this crooked smirk off my face. He buries his face back against me and grumbles “Maybe time for a real dinner, Tesoro?” as the office door opens. A silver face peeks through, checking the desk and then turning to see us tangled on the couch. “Oh! Sorry, boss. Just, uh, making sure the, uh, lights were off in here. Yeah.” “But um, never mind if you’re still in here working!” The voice fades as the face retreats quickly.

Copia makes a tired sound. “Ghouls.”

———

The free weekend has been axed.

Delegates from the Unitarian Church apparently liked our pitch enough that they decided to hang around for a few days and view the abbey in it’s working state. On the one hand it’s great. Not completely bonkers church allies would be incredibly helpful to us. But I'm mentally tapped out from the socializing. Copia too, has been dragged into the fray. Unlike our Third Papa he can be counted on to treat our guest well without shamelessly flirting with each and every one of them. Unitarian Universalists might not immediately kick a bunch of Satanists out of church club but they still probably view married couples as a little less fair game than Terzo does.

They leave just in time for us to jump right in on the next round of translations. Some books from our archives can only be opened for a few nights a year or a decade. Some can only be opened for a few hours at a time, or only in the perfect humidity, or only by a woman, or a ghoul, or Papa. It’s a particular kind of puzzle game to schedule the translations of these texts. Plus very few people can translate them at all let alone as quickly as the Cardinal.

Imperator schedules, I ferry book and papers. He translates. I return books and papers and organize translations by type and date so we can digitize them later. It’s part of the push to get this church into a modern century. Making an effort to have other church allies is as well. Nihil is totally against it even though his sons are all for it. Or maybe that’s because his sons are all for it.

Everyone is tired. Everyone is busy. The congregation is much bigger than it used to be but still there isn't a lot of down time. We've got a horde of siblings at our disposal to help with all the cleaning, data entry, filing, etc. but someone still needs to steer the ship.

It turns out that managing people is a pain in the ass and regretfully I'm good at it.

Thankfully I still end up spending most of my day filing and organizing piles. It's boring but methodical and leaves me with enough brain space to let my mind rest or wander as it chooses.

I'm deep into sorting notes from the early 30's so we can see if anything matches up with books from that era but my mind has wandered back to the Cardinal's ass in his red pants.

He stepped away from the monstrous paper pile for coffee this morning but two moments later was back leaning across the front of his desk to scribble a note in the margins of whatever he's trying to decipher. It's a very nice ass.

It's been over a week since we've been able to do anything more than snag a kiss between meals, sleep, and work. It's fine, except that it really, really isn't. Stress relief is important. And doing it myself is currently feeling a little subpar when the alternative is so incredibly attractive.

Also. There's this whole other aspect of him that I really want to get another glimpse of. We have been mostly on equal footing or he's been in charge since we've been seeing each other, but I know that's not all there is. Not just because of the way he blushes when I boss him around but also because of that dinner months ago where a wine drunk Terzo whispered in my ear all sorts of things about how delightful and versatile a bed partner Copia is.

I think I want to know all the ways to make him whimper and beg.

Unbeknownst to him, Thursday night we're going to catch a break. Imperator is headed out of town with a few of the Emeritus family for some swearing in of a little sect or two a few cities over. Copia and I have been excused to finish up one really time sensitive book and they're going to be gone for two whole days.

Of course, I know that the book is finished already. He did the last bit around 2am and I just couldn't bring myself tell her in case she decided to dump another stack on us as she walked out the door. Two days isn't enough for a real vacation but it's definitely enough for a little rest and stress relief.

______

I feel like I'm laying a trap. Getting us out of work, convincing him to come back to his rooms to change for dinner.

There's a tiny unmarked bottle of lube tucked on the hallway table next to the Baphomet statue where he hangs his keys. Normally he never looks at that table, just drops his keys across it, puts his hat on Baphomet's head, and comes to collapse on the couch or bed.

There he is though, looking at the bottle curiously, fingers starting to unbutton the top of his jacket unconsciously as his brow creases. I have to move fast. I walk up and my hands take over for his. Unbuttoning the jacket and pushing it back over his shoulders but not taking it off of him. I push at his chest gently until he steps back all the way against the heavy wood door.

"Tesoro, I... " He looks down at my face as I'm unbuttoning his shirt. My hands work downwards and I see as he completely forgets about the bottle. "Hello there" he says with a smile and slides his hands into my hair to turn my face up towards him. I get an arched eyebrow, a little half smile, and then, a little hitched breath as I tug open his belt.

I lean in to rub my nose under his jaw and breathe him in. His arms come up to pull me close and I can feel the rumble in his chest. We stand for a moment in peace, enjoying the closeness before I tug his hands down to lay flat against the door. "Keep them there, alright?" I whisper in his ear.

He breathes out an unsteady yes while I lay kisses down his neck. His trousers are undone and he hums through his teeth as I take him out and stroke him. Lightly over and over. Teasing gently. His head is back with eyes closed which is perfect.

When I ease my lube slick hand down his dick his whole body jolts and his eyes fly open to stare at me. "Oh! Ohhh...." Hands tight against the door his hips push forward into my hand and he screws his eyes closed again as I stroke him a second time.

"F...uck. Oh. Fuck. Tesoro..." he whimpers and the sound strikes deeply hot at the center of me.

I keep my touch firm but slow. A steady torcherous pace. I wonder how long I can keep him here. Trapped between my body and the door, gasping and moaning as I tease him higher and higher.

I want to talk to him but I'm a little afraid this will end too soon if I do so I settle for brushing my lips across his, across his face, against his sideburns until he's begging. "Tesoro, pleeease. PPlease. Ah. Ah. Oh, lord, Tesoro. I need....ah, please."

His face is plastered to my neck and I dig my free hand into his hair to hold him there. He hasn't moved his hands an inch though I see them tremble and grasp.

"You're doing so well, yeah?" I whisper. "You sounds so good like this. I love it. I love hearing how badly you need this." I can feel his knees knock a little as I speak to him. "I've been thinking about this for weeks. Making you come undone for me like this. Did you think I hadn't noticed how pink you get when I tell you what to do?"

"Ah, Satanus. Por favor...." he wines. "por favor....." His hips are trying to press forward, but I've got him tight against the door. I up the pace of my strokes until he can hardly speak. Low gasps and whimpers escape him as I bring him higher.

"Are you close love? I need you to tell me when you're close. I want you to tell me when you’re going to cum." That pulls a little wail from him and he gasps, crushing his face deeper into my neck. "Oh, Santanus. Oh, Lucifer. "

"You gonna beg me, sweetheart?" I husk in his ear. "Come on. Say please?"

He doesn't manage it, curling tight over my body as he comes. His arms forget the door to crush me against him. Fingers grip my back and shoulder so hard it almost hurts and I can hear his breath stop completely for a moment. I let him hold me, pressing myself tight up against him, toes to head.

It hardly feels like he is going to stand on his own so I just clean him up with a conveniently located cloth and pepper his face with little kisses. I brush the damp hairs back from his brow and when he lifts his eyes to mine he still flushes a even brighter red.

I must look entirely too pleased with myself because he quickly closes them again and lets his head fall back against the door with a solid "thunk."

"Fuck", he breathes, "I...ah, just.....Fuck."

I am pleased with myself. Humming softly I tuck him back into his trousers and pull the edges of his collar down so I can kiss him long and hard before patting his chest and moving away back into his rooms. He doesn't follow me and I look back to see him still leaning against the door staring.

"Dinner?" I ask with a bright innocent smile.

He growls with narrowed eyes and launches himself into the room. Shrieking with laughter I race to the other side of his couch. "Come here..." he murmurs. And when I don't move he crooks a finger at me. "Topolino. Come on. Come. Here. "

It's so goddamn hot. I want to.

But.

"Make me." It's impossible to keep a grin off my face knowing that the whole wing of this abbey is definitely going to hear about when he catches me. I have the advantage of steady feet, but his eyes are dark and his smile dangerous.

I am super, super fucked.

#the band ghost #thebandghost #cardinalcopia #cardinal copia #ghost bc #papa emeritus iv #papa emeritus #popia

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crimetattle-arc · 4 years

Text

a sloppy timeline .

s1. our introduction to freddie shows her as self serving, she breaks into the shrike’s nest, uploading multiple photographs of the untampered crime scene before anyone else can. gaining herself an exclusive advantage. she uses agent zeller to get information about graham. ( as well as information about the shrike’s nest most likely. ) she shows her distaste for will, writing a smear campaign against him, and the competence of the fbi. she then meets will, and furthers her stance on his instability, after a meeting with abigial, as he threatens : it isn’t very smart to piss off a guy who thinks about killing people for a living.

she lies to protect agent zeller, putting the blame on detective pascal during the mushroom murders, this results in pascal being fired, when he comes to her hotel to confront lounds, paul stammets shoots pascal in the back of the head at close range, before asks about will graham. ( this that could, inadvertently / subconsciously further her distaste toward will as it connects him to her trauma. )

she meets up with nick boyle for an interview, and informs him that abigial is alive / has just been released from the hospital. her motivation being unclear. ( this inadvertently leads to the murder of nicholas boyle. )

freddie is escorted off the hobb’s property by local police. in passing she mentions she isn’t the only trespasser, offering quid pro quo, an interview for information.

later in the season, she works with the fbi and alana bloom in order to interview abel gideon, writing that he is the chesapeake ripper even when jack and co allude to the idea he isn’t, in order to bring the real ripper out of hibernation. a mix of her desperation to be recognized as a real reporter, and her skewed moral compass, as this article could have gotten others killed. ( which everyone in the room is guilty of. )

during the course of this season, she is invited to hannibal’s home to have dinner with him, graham and abigial hobbs as she has begun helping the young girl to write a book describing her life with her father, and her perspective during his killings.

she is eventually lured into a trap by abel gideon pretending to be a psychiatrist wanting to work with her on a paper, which results in her being kidnapped by gideon, and forced to write articles about his murders as he commits them. this is when witnesses the mutilation of chilton. when gideon leaves her and fredrick in the observatory, she has a chance to flee, and every chance to do so in her panic, instead she waits with chilton, pumping air into his lungs to keep him alive.

will is arrested for the suspected murder of abigail hobbs.

s2. further proving her distaste for will, she testifies against him, saying abigail had told her she was afraid of will, which may or may not have been true. it is revealed during this trial, she has been sued for libel six times, and has settled each time. making her statements unreliable.

an anonymous tip leads fred back to the observatory where she and chilton had been held captive in the season prior, here he learn freddie has begun carrying a gun, it is also where she finds the vertically section body of fbi agent beverly katz, displayed in tableau. she photographs the scene before calling the fbi, outside of the observatory she runs to intercept jack crawford, begging him to send someone else inside, and warning that “she’s one of your’s.” will is called to the crime scene, and freddie snaps a few pictures of him in restraints.

she takes a handful of candid photos of hannibal lecter as he is seen leaving the baltimore state hospital for the criminally insane. they have a short and ultimately unimportant conversation, during which freddie admits she is there to interview will at his request. he offers her the exclusive rights to his story in exchange for the interview which is a calling card, a way for will to get in touch with a copycat killer, drawing his attention to graham.

the next appearance of freddie is after will is released from the bsh, she is investigating graham’s house, breaking into the barn where she finds the animal suit and ( after picking the lock of his deep freezer ) the jaw of randall tier. slamming the freezer closed, she finds will watching her from the other side, after a short and rather one sided conversation, freddie fires a warning shot, causing will to duck back behind the freezer, she attempts to flee. as she runs, will manages to catch her by a handful of hair, pulling her back, she accidentally fires a second shot toward the ceiling of the barn, dropping the gun in their struggle, graham slams her against a metal shelving unit, giving her a bloody nose. fred does however, manage to mace will, giving her another chance to flee, he blindly attempts to catch her, pulling out a handful of her hair as she manages to momentarily escape.

she attempts to call crawford while running back to the safety of her car, she manages to make it into the jeep, locking the door and starting it before will catches up, breaking the car’s window with a tire iron, and forcefully pulling the struggling lounds through it. that night, graham has dinner with lecter, claiming the meat is “long pig” and alluding to the idea it could be lounds.

alana bloom and will are seen at freddie’s funeral service.

in the next episode it is revealed that freddie is in hiding, conspiring with the fbi in an attempt to catch lecter.

s3. freddie is not seen until the second arc, she is apparently well established in her field and doing rather well after the publishing of her book lounds is married to wendy “windy city” lounds, an ecdysiast she met some time between this season and season two.

freddie catches will leaving the bsh where hannibal is imprisoned, and again at a crime scene where he berates her for trespassing and writing that he and hannibal were co-conspiritors, freddie apparently coined the term murder husbands. he refuses to give her a statement. she responds by pointing out that they did run off to italy together.

it is revealed that tattle crime has inspired the toothfairy to contact lecter, meaning he regularly reads the articles. this prompts will and crawford to call in a favor, needing her help in getting the tooth fairy’s attention. she interviews both graham and chilton who describe francis as ugly, impotent and the product of incest, the idea being to anger him to the point he may make a mistake. ( contrary to the novel ) it prompts him to disfigure and burn chilton in freddie’s place.

#i did glance at the wiki for this #but the entire section for s1 #is done from memory #asdfghf #* ⟢ 𝐓𝐀𝐓𝐓𝐋𝐄𝐂𝐑𝐈𝐌𝐄 ❮ 005 ❯ ━━ ❝ DOSSIER !

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yeniayofnymeria · 4 years

Text

Answers for Jonerys

The arguments put forward for the X theory are level by level. Level 1 arguments often contain the strongest sign. Second level arguments support level 1, but alone have only "thought-provoking" effects. Third level arguments, on their own, have no effect, and are additional arguments that support level 1 and 2.

> Her silver was trotting through the grass, to a darkling stream beneath a sea of stars. A corpse stood at the prow of a ship, eyes bright in his dead face, grey lips smiling sadly. A blue flower grew from a chink in a wall of ice, and filled the air with sweetness… . mother of dragons, bride of fire …

The strongest argument naturally ranks first. In fact, the whole theory is based on this argument. There are two problems with this argument.

The first problem is that this is the only level 1 argument. No other level 1 argument was presented, whereas a strong theory must have more than one level 1 argument. (It is not completely necessary, though.)

The second problem is the misinterpretation of this quote.

We need to understand what a shipper theory is. Both sides have to fall in love with each other, have a relationship together, and something (even if it doesn't end with a happy ending) at the end of the day.

For example, one-sided love or forced coexistence can never be a shipper theory. Or something like a one-night romance. (An example is Arya and Gendry on the show. This is not a ship.)

Let's go back to the argument. When interpreting this argument, Jonerys fandoms overlook a fact.

Dany is warned by the Undying Ones. They told her that some events would happen and that it would be her disaster. Dany didn't understand the jigsaw words. So Dany asked them to explain and show her and they did.

This vision is an image shown to explain those disasters. To show Dany things and people that will hurt in the future ... The blue flower on the ice is Jon Snow. This flower emits sweet scent into the air. This is not a "love" sign, but a "death" sign. In books, the word "sweet" appears to be a sign of death in weight (or to face death). In addition, the word sweet and death are used side by side. So we need to pay attention to the places where this word is used.

For example, Sweet Raff, nicknamed "sweet", shows that GRRM sentenced this person to death. He died in his Mercy POV. Dany remembers Sir Willem smelling "sweet" when he was on his death bed. (Sickness)+dead=sweet We see that later. Bran's fall. Before fall he felt sweet pain in his body and also he used "sweet peach" word and he almost died, he was in coma. Who gave poison to Jon Arryn? "A sweet old friend."(Lysa and LF). Varys calls Lancel as "sweet boy" And Tyrion too in second book. He almost died in Battle of Blackwater and he may die in the future. Dany's wine was described as "sweet" The wine was poisonous. Drogo's wound smeel "sweet" He died. Jorah even gave Dany a sweet peach. Just like the Renly and Stannis scene (both brothers are dead, will die) (These are just a few examples, more dozens. https://www.reddit.com/r/asoiaf/comments/cr8me0/a_death_mark_in_asoiaf_sweet_spoiler_main/ )

If we pack it all up, Jon Snow will have a direct or indirect stake in Dany's death in the future. So, Jon Snow = dead for Dany.

No one can draw ship theory from such a fate.

> These quotes make a subtle connection between Dany and Val. Jon as we know is very attracted to Val. He first describes Val’s hair as pale silver; Dany of course has pale silver hair. In fact it is one of the most distinguishing features about her. So the connection here is that Val is a substitute for Dany. Also, note that the moon is mention, which as we know is strongly connected symbolically to Dany throughout the series, ex. “Moon of my Life”.

Val's hair is blond. Just once looked like silver hair because of moon. Okay, this is a second level argument. Available.

Dany's contact with the moon covers her relationship with Drogo only in book 1. No one except Drogo calls him "my moon" and has no reference to the moon in the future. So we cannot say that there is a "very strong" moon reference. Ned also calls Arya "the moon" in the first book. By showing this; Can we say Arya = Moon? No, this alone cannot be used. However, for 5 books, Arya has many moon references, unlike Dany. (https://www.reddit.com/r/asoiaf/comments/eo3ghb/arya_stark_and_braavos_moon_and_water_spoiler/ )

This alone does not matter. The word moon shows signs similar to death as the word "sweet".Even though it does not cover all the words of the moon, there has been a death many times before or after the moon appears. Moon Door is a dead place, the moon and moonlight are mentioned all over the place in AGOT’s prologue. The Others appear after a half-moon rises, and there are multiple references to the moonlight reflecting off the Other’s blade. There is a moon icon all over the FM house, even at the door. FM = death. Braavos is a moon city from the beginning. They are enemy of Valyria and dragon lords, and probably all Braavos played a role in the Doom of Valyria (with FM) So Drogo called Dany all the time “my moon” and Dany killed him with a pillow.

That's why it's hard to use the Val and Jon scene for Dany and Jon. At least we can't use it for Jonerys.

What does the moon and sweet weather mean for Val? Death. Twice a death mark. (Jon smelled sweet in book 5 before he died.)

> In these quotes we find a connection between a dream lover of Dany and Jon Snow. In her dream/vision Dany’s lover is a comely young man whose face is hidden in shadows. Jon is described by Ygritte as having a sweet face (comely) and in the two additional quotes below we see Jon describe himself as being in the shadows and we see Mel describe his face as hidden in shadows. These descriptions associate the young lover Dany sees with Jon Snow.

Maybe it's available but I'm not so sure. This sound a bit like a pushing.

The word dream used in the quote of Dany is not a dream seen asleep. This word is a dream used to imagine. Something you do consciously while awake. Here, Dany naturally (awake) dreams of a younger and handsome man for herself. Jorah is old and ugly for him. The word shadow comes naturally from Dany not thinking about a particular man. Because there is no type of man she desires around. Already later she met Daario and found the man she desired. That shade now has a face, and Dany fell in love with him. She constantly thinks about him, and we even see Dany thinking about him in her last POV. (Just like Jon thinks about Arya and Rhaegar thinks about Lyanna. ;) )

> Although the timeline is unclear, Jon was stabbed and presumably killed within the same time that Dany found herself alone in the Dothraki sea. Dany hearing the wolf howl could be the author making a connection between Jon’s death and how Dany would feel about it.

>If Dany knew who Jon was to her, his death would be incredibly sad but most importantly it would be lonely. Jon of course is Dany’s last living relative, although she does not know this. That this wolf howl brought such strong emotions to Dany is definitely something of interest.

Jonsa fandoms also used the same argument. Sansa heard a howl of wolf, and they interpreted it for the same thing. Which of you is correct to interpret?

I'll say it. None of you. There is one to four months between Jon's death and the scenes of these two characters. Another important detail is that in the scene where Jon is dead, the Ghost is not howling in any way and making a sad voice.

In the second book, Jon has the Bran scene, and the Ghost is howling sad and long. A few chapters later, Arya hears the howl of the wolf, which is described in the same words while in Harrenhall. (Here: https://www.reddit.com/r/asoiaf/comments/5cw18j/spoilers_extended_something_strange_about_aryas/d9zw29r/ )

> There would have been a sixth, but the Usurper’s dogs had murdered her brother’s son when he was still a babe at the breast. If he had lived, I might have married him. “

Yes, Young Griff is probably is fake Targaryen and Rhaegar’s son is Jon. But this level 3 argument doesn't mean anything for the Jonerys ship alone.

Dany is not talking about a love subject here, but a traditional “political” Targ marriage. We also see in the same book that Rhaegar's son has a character named Aegon, and he is(was) coming to her to marry Dany. So it's all about the two character stories that Dany and we think are real Aegon ... We will not see a happy marriage anyway, as we know Dany's arc end. So this argument is invalid for Jonerys in any way. (Even if we assume that Jon is in psychology who can marry his aunt)

Most likely, all that is done is the GRRM throwing a fishing rod to us(Dany-Aegon.. or not and we can see those two can marry, maybe, i do not know. Not sure when i think about Euron, whatever).

> Here the author winks and nods at us as Jon is wishing for the very same thing Dany has, three dragons.

> “He might as well wish for another thousand men, and maybe a dragon or three.”

Yes, I smile when I read this scene. I just couldn't understand how you interpreted this for Jonerys. It's hard to say even a level 3 argument. It seems a little bit of pushing again.

Jon asked for 1000 men and then he took it, Jon also asked for 3 dragons. Maybe he will take all Dany's dragons? He's a Targaryen and probably a powerful warg. He can take it all for himself. Or as a matter of "alliance" for the danger of the Other, it is more correct to accept it as a weapon. Already, at first, Jon wanted 1000 men for defense, just as he wanted to defend all three dragons. There is no romantic reference from this.

> Finally, this pair of quotes is both a parallel and a connection between Dany and Jon. Both find themselves laying next to the person they love/are attracted to, as Jon ponders his lost of Ghost and Dany wakes from her nightmare not even the presence of these people they care about can drive the deep loneliness that they both feel.

Parallel scenes can be used as arguments. Sometimes level 2, level 3 ... However, they do not make sense on their own.

Remember, level 2 arguments are to support level 1 strong arguments, but there is no level 1 argument. You put forward one, but that is also completely misinterpretation.

Parallel scenes do not mean anything by themselves, because logically all characters have parallel scenes, life stories. Jon and Arya; Arya and Dany; Jon and Tyrion; Dany-Tyrion-Jon and Dany-Arya ... this is how it goes. For example Arya and Dany https://www.reddit.com/r/asoiaf/comments/ew2z2y/ice_and_fire_two_sides_of_a_coin_spoiler_main/ and even Dany and Davos: https://www.reddit.com/r/asoiaf/comments/gj1wnp/spoilers_extended_a_big_parallel_between_davos/ Should we call a new ship “Daverys”? :D

Parallel scenes may be a reference, but never a FS. “You are going to marry a King...” This can be FS. “My heart sometimes like a stone...” (Cat) is a FS. Sweet and Moon signs maybe can be a FS.

If this is the case, we can produce ship theories for all characters by looking at all these parallel scenes. There are too many parallel scenes between Arya and Bran. Shall we write another incest ship theory? For example, we can make a very crazy romantic ship theory between Dany and Arya, their life stories and their psychological developments are so similar to each other .. it's almost hard not to say their fate is one. Jon and Arya have similar parallel events too. If we can say Jonerys, we can say JonArya, right? How many characters will Jon have a romantic relationship with? I hope I was able to explain what I mean?

I have read the pov of Jon and Dany many times. I could not see a FS that there would be a romantic relationship between these two. If something is going to happen between two important characters, we cannot say that GRRM does not mark it. He does that. When I read Sansa povs, many signs for SanSan are laid before me without the need for a search. Or Jonarya signs.

First of all, it is necessary to wait for an infrastructure for a love relationship. Foreshadowing sentences are a sign for events that will happen, but is there any meaning unless there is character and story development?

In his speech, Jon and Ygritte, we saw that Jon had no problem with his love affair with foster sibling if he had no blood ties. So have we seen Jon volunteer to have a relationship with his own aunt? No. He can never be comfortable with incest because he wasn't raised that way.

This could happen without Jon knowing his identity, you might think. Just like in the show ... Possible. But we know that Dany will come in the 7th book, and they will probably meet in the middle of the book at the earliest. If you especially believe that the 2nd Dance will be between Dany and Aegon, the other kind seems hard to me.

So I'm asking, when will Jon learn about his real identity? At the end of the book? It is not possible. He needs to learn either at the end of Book 6 or at the beginning of Book 7. For his other danger, Jon is the real weapon and leader ... His family history will be his strength and superiority in this war. That's why he needs to know. Lord Reed knows everything, he will warn and inform Jon about everything. So when Jon meets Dany, he will either have learned his identity or will learn soon after meeting. So it's hard to wait for Jon to have a romantic relationship with a Dany. Another issue is that when these two characters meet, there is no suitable environment and time to form a love relationship between the two. Others have come and war has begun, death is everywhere and will these two find time to fall in love? Will it be possible to develop a story in this way? How? This book is not written by D&D, so let's not expect a disgrace like the show's script.

Thank you for read(Sorry for may bad English).

#jonerys #anti jonerys #jon snow #danerys targaryen #asoiaf #theory

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kylo-but-not-to-me-ren · 4 years

Text

Thoughts on The Rise of Skywalker

Just a disclaimer that this post contains TROS spoilers

Hi there, it’s me again sharing my views on the latest Star Wars as a Reylo, fan and former film student (the latter may show at some point but it’s mostly a fan view).

I had pretty high expectations for this movie and I was not not happy leaving the screening, but I had some things that I thought would go down differently so here’s what I think.

Rey

I really like how organic Rey and Kylo’s connection and intimacy is portrayed in The Last Jedi, and J.J. expanded a bit on that which I think it’s very nice (and apparently they can teleport things via ForceSkype now which is an interesting take but I understand the reasoning).

One thing that I didn’t really like is that Rey is a Palpatine. I’ve seen one theory on this and it makes sense now, yet I was a great supporter of the theory that Rey was really a nobody, that she came from nothing like Kylo said. She could’ve been just like Anakin who didn’t have either Jedi nor Sith ancestors.

On a more positive note, Rey’s conflict with herself is an ongoing theme in this trilogy and I believe it was really well developed and has come to a satisfying conclusion. I felt like she was a bit lost in the beginning and I thought it was going to be an issue later on but thankfully it got better before it was too late.

Also Rey is so goddamn powerful and strong with the Force I love her so much.

When Rey and Kylo are battling in the old Death Star and she stabs him with his own lightsaber but then she feels Leia’s gone and immediately realises what she has done and without second thought she kneels to heal Ben crying. My heart exploded I felt so many things at once I can’t explain.

“I wanted to take your hand. Ben’s hand.” hsdcsgfyufgyufgeryfcgeif i died.

The ForceSkype teleporting feature I ALMOST FAINTED BECAUSE I GENUINELY THOUGHT SHE WAS GOING TO KILL BEN INSTEAD OF PAPLS WHEN THEY EXCHANGED LOOKS I WAS SO RELIEVED AND HAPPY WHEN SHE GAVE HIM ANI’S BLUE LIGHTSABER.

DARK REY WITH HER DOUBLE RED LIGHTSABER.

THAT YELLOW LIGHTSABER. I WANT IT. NOW.

Also maybe that “I am all the Jedi” line is a nudge to Avengers: Endgame? (*cof* hi Disney *cof*)

Kylo Ren/Ben Solo

Next up is ma boi Kylo Ben, who has been my favourite character this whole trilogy and hell Adam Driver portrayed him so wonderfully. In TLJ he grew so much as a character, not only as a villain but a person who went through a lot, has an abusive master and is constantly being haunted by the guilt of killing his father.

To start this off, I want to talk about those first scenes. OH MY GOD KYLO TAKING ALL THOSE PEOPLE IN THE FOREST IN SLOW MOTION AND HIS SOLO JOURNEY TO EXEGOL. After that I got mad at Palps when one of his first lines was “I have been every voice you have ever heard inside your head” because it means Ben has been manipulated his whole life and didn’t really have a choice other than turn to the dark side.

Kylo’s arc is by far my favourite and in my (completely biased) opinion the best written one. When he’s introduced in TFA, he’s a promise of a new Vader but he’s not quite there yet. Kylo has conflict inside him, a spark of light still, and to put out that spark once and for all he’s instructed by his master to kill Han Solo, but as we’ve seen it has “split his spirit to the bone”, to quote Snoke.

Later on in TLJ when the ForceSkype starts we begin to see more of Kylo’s vulnerable side, specially when Rey is talking to him in the hut. Kylo takes his fcking glove off to take Rey’s hand and that’s when Reylo became canon and you can’t change my mind.

Fast forward to TROS, Kylo is already the Supreme Leader and he’s as strong as Rey (but most likely more skilled because he had extensive training while Rey had only a few lessons and read some books?) and they are Force Dyads which makes them absurdly powerful together.

One thing I noticed is that every time Rey and Kylo claim to have seen the future both of them are always on the same side, either Dark or Light, but always together. They’ve never mentioned a future where they are apart and/or on different sides. *all the Reylo feels*

Then when both are battling in the old Death Star and Rey stabs him but heals him shortly after and Ben is ready to let Kylo Ren die to become Ben Solo again is brilliant. And that dialog with Han made me shed a tear or two. (a random side note is that I got a tiny bit upset when he threw his lightsaber away because his lightsaber is so cool and I just got one myself but I absolutely understand the need to get rid of it).

I WAS SO HAPPY WHEN MY BABY BEN SOLO BURST INTO PALPATINE’S CHAMBERS (?) WITH ONLY A BLASTER AND LOOKED SO GOOD. Also I almost cried when he took the blue saber and beat the shit out of the Knights of Ren.

LITERALLY THE RISE OF SKYWALKER.

BEN HUGGING REY’S BODY RIGHT BEFORE RESURRECTING HER.

“Ben”

THE KISS. THAT SMILE.

BEN SOLO DESERVED BETTER.

And yes, I believe Ben Solo isn’t truly dead and Rey can help him come back and they can live happily like they deserve to be.

Thank you Adam Driver for being the highlight of this movie (and dare I say, trilogy) and bless us with amazing acting.

Poe Dameron

I love Poe, he’s great and I loved that they gave him more screen time and I get they were trying to build another trio like in the OT but maybe making Poe, who was already a great pilot like Han also be a former (spice) smuggler is a bit much? We could use new characters and it’s okay if you wanna recycle the idea but please don’t make them identical.

Another very important point is why do you need to make up a female love interest for Poe when there’s clearly one already? During the whole movie I felt a sexual tension between Finn and Poe just not to have them together in the end, I was very disappointed. MAKE STORMPILOT CANON YOU COWARDS.

Finn

To be honest, Finn is not one of my favourite characters and I believe it’s mostly due to poor writing. Finn is a great character and had so much potential being a deserter of the First Order but his arc wasn’t so well developed in the trilogy as a whole and one of the arcs I least enjoyed in TLJ was Finn and Rose’s adventure in Canto Bight. It all felt like a distraction even though they were doing something seemingly important but failed at the end.

In TROS, Finn finds a group of other Stormtrooper deserters and I thought maybe it’d push his storyline forward but not so much. I was a bit disappointed but there were also lots of other things happening that I didn’t pay much attention to Finn, one of the reasons being that I already didn’t care much about him before so now it was kind of meh.

I said it before and I’ll say it again, MAKE STORMPILOT CANON.

A positive thing on Finn is that now they explored how Finn is Force-sensitive and now he finally realised he doesn’t need to run away and is willing to fight.

Rose Tico

As I’ve mentioned before, her arc with Finn wasn’t my favourite in TLJ but that’s okay because you can’t make everyone happy all the time, yet I saw many people complaining about her character and even Kelly was attacked that she left social media. And now there were so many complaints that they decided to basically ignore Rose and she’s in like three scenes.

I don’t think they even gave a plausible explanation why Rose couldn’t come along with Finn, Poe and Rey other than the fans didn’t like her character and they were trying to recreate the original trio.

General Hux

Well, to be honest I was almost certain he would die at some point but killing him off like that? He deserved a bit of dignity. But his scenes were funny, which I’m not sure if it’s good or bad because he’s a First Order general so... he’s supposed to be more serious, I guess?

As weird as it is, I kinda get his motives for being the spy, to see Kylo Ren fall so he could ascend to the Supreme Leader position, but things didn’t work out but at least we got a bit of that Kylux tension, right? *sigh*

Knights of Ren

One of my great disappointments of this movie.

They didn’t say a word, were only referred as murderers (not sure about the word exactly but it was something like that), had a couple of fight scenes and died. I wish they made an appearance in TLJ but they were only mentioned in Rey’s vision and Snoke mentioned them once but that was it.

They had some really impressive costumes and weapons, though.

Overall a great movie, lots of nostalgia, would recommend.

So there it is, my thoughts on The Rise of Skywalker after watching it for the first time. Please feel free to share your thoughts as well and let’s talk :)

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