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drowsydarling · 10 months

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with love story stuff

ok ok pasting this from my notes app, but i got motivated to work on my original digimon story again! this is a bit long AND unfinished, and i can garuntee changes will probably be made in the future, but i thought itd be fun to get a draft of this out somewhere!!! thing, idk anyway- this is very slimmed down from what im actually imagining, in my head theres alot more padding and stuff inbetween and like little character interactions, but i just wanted to get all the big plot points down :3 :3 pls excuse my amateur excuse for writing 💛💛💛 ( also if ur confused abt the characters here im pretty sure i've uploaded the refs for these characters before so you can just like scroll thru my posts before or after reading to see who tf im talking abt!!)

context for terms and setting

im using the original names for evo stages (baby > in training > child > adult > mega > ultimate. and jogress instead of dna digivolving or xros or whatever!!)

this universe takes place in a universe like ours, where digimon and pokemon and allat exist as actual IPs and stuff. so its like digimon world or tamers, except digimon isnt just magically super popular 💀 BUT this has little impact on the story rn, so its subject to change.

jessie is isekaid into the digital world

maybe before that show some foreshadowing stuff to show the digital world is heavily influenced by her or sumn. im not sure how yet tho.

she is met by her partner, zurumon (evolves into a demidevimon in child stage) and a figure, who calls itself HomeoStasis. It takes the form of a Wizardmon so that it can have a tangible form (and i will refer to them as wizardmon from hereout)

after getting taken care of and camping with the wizardmon it gives jessie a quest and explains how the digital world is in danger

the quest is to find and kill a group of 4 powerful digimon

(being Clancy Toggle Jigsaw and Mars)

and he promises jessie and her partner great power.

jessie would take a while and grind her partner up to Devidramon, by loading data of digimon she kills. she eventually comes to the conclusion that by great power, he meant that she would get to load their data since they are very high level.

Jessie and her partner eventually get found by the group and they take her in, and grow fond of eachother. although still blinded by the promise of power, she keeps her motives and plays along with being their friend so that they can train her to be strong.

eventually after a while of training with the four and growing with her partner and finally evolving to ladydevimon, they finally betray the group and kill them, Jessie intended to load all of their data but only manages to load half of Mars' data (since theyre a jogress there was two sets and she only got one) but after but of celebration it is revealed that jessies partner had been fatally wounded by mars as they faced off (karma:3) and her partner dies. as the data floats into the sky, there is a glitchy effect in the sky and her partners data crosses path with another streak of data, which panics Jessie.

she quickly makes her way to the village of beginnings and retrieves her partners egg.

eventually she returns to Wizardmon to inform him that the four she was sent to kill was taken care of. He rewards her by telling her that once her partner reforms, it will gain a brand new stage of evolution to reach, ultimate level. before she leaves, Wizardmon informs her that the digital world is still at threat, since a group of impostor digidestined had arrived in the digital world. she is sent to go take care of them the same way she killed the other group.

(the rest from here isnt as solid or developed)

after a while of waiting around, her partner hatches. but this time, it's completely different. instead of her original partner, out hatches a Conomon (even though it was in a zurumon egg)

she freaks out and all, but she's too afraid to go to wizardmon and tell him about her partner in case he thinks she did something to break something in her partner.

so she decides to just raise them like she did her first partner, although alot more rough and mean since she liked her original partner better. she is a little abusive and abrasive with little praise, leading to her new partner to be very finicky and messed up mentally. she learns from Jessies example and is very easy to set off, being very violent and sensitive.

As she loads more and more data, lopmon loses herself more and more, becoming more and more animalistic with each loaded data. each time she evolves to adult level her traits begin to morph and gain traits from the data she loads, until she can no longer evolve into prairiemon, and now evolves into a messed up looking dobermon. Although this concerns Jessie alot, she is determined to get her mission done, so she ignores it.

eventually, just like the original group she was sent to kill, the new digidestined find Jessie before she can find them. they take her in, assuming shes one of them. Jessie notices that one of the digidestined she is sent to kill is someone she knows. its her ex, cheyenne. this troubles her, as she knows she has to kill them, but she still has feelings for cheyenne.

but on top of this she will have noticed that the leader of the group, Tucker, has goggles like every other digimon protanist. this is where she (and any avid digimon fans consuming the story) would realize that jessie isnt actually the good guy, leading her to question her actions.

She will spend a good amount of time with the group, probably going on little quests with each of them and getting to know about them. She does this to try and find any reason to not care about them and just finish her mission, but all she does is get attached and cant do it. after seeing just how good the other kids treat their partners, she feels guilty, and tries to get close to her lopmon. but by then it was already too late and lopmon had too much built up negativity and it all cascaded when Jessie tried a feeble attempt at apologizing. In Lopmons confusion and mixed feelings, she (dark) evolved into a twisted Gargoylemon, mirroring her previous partners Devidramon. Jessie struggled to control her, but Gargoylemon stayed true to the original goal jessie has given her of Killing the new group.

This leads to the death of one of the kids, (i havent decided which one is thematically the best to kill yet). the rest of them quickly retaliate and evolve to subdue and tie down gargoylemon.

(this is where it gets super loose and undeveloped, as i havent really spent long thinking about the story past here)

yada yada discourse happens and jessie is either sent off by herself or decided to go off alone by her own decision (i havent decided which one yet) and gives wizardmon a visit. She gives wizardmon a piece of her mind, about how he lied to her about the others being fake or something.

The wizardmon reveals that he is actually Yggdrasil and plans to end the digital world by taking down all the strong pillar figures keeping it up (this is super subject to change. might change it to be either a Hacker or a Virus, or i might keep it as Yggdrasil)

i dont have anything for the story after this, only that Jessie probably sets and informs the group of the situation and everything shes done in the digital world. itd probably lead to a bit of conflict and fighting for a while before she somehow gains their trust back. they'd come to the conclusion that there is probably a real Homeostasis, so they set out to find it in hopes that the real one can help them.

thats all i have for now,,,, criticism is welcome :3

#happy odaiba day!#hope this counts lmao #digimon oc #digimon story!!#digimon #with love

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chickencowcow · 8 months

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⚠️🫂✨️

oh. oh god. why did i think of her first. oh dear. oh no. this doesn't bode well for her.

but, my dearest friend... you ask, I'll answer!!!

Let's talk about Layla!

Leilani Kalili Cobadonne (Or... just Layla for short) is a main character is a long-time-coming original comic series The Beacon Collective. She's the older sister of the main character Brady (who,,, deserves his own post for sure) and actually serves as the deuteragonist in the first part of the comic series. She's nineteen years old and an aspiring fashion designer, and she's bright, cheerful, and incredibly witty. Most people think her to be a little bit of an airhead -- this, however, is super far from the truth. The world that TBC takes place in is a high/modern fantasy world with two ways to obtain magic. One is being born with a specific type, and the second is learning it. Learning a specific type of magic is a long and arduous process that takes people years -- even decades, to fully attune themselves with, and it is never ever to the power levels that those who were born with that type of magic are able to achieve. It's also a process that normally requires the help of an experienced tutor.

Anyways, Layla self taught herself illusion magic in the span of about a year. Though, a good portion of this can be attributed to the fact that she was still a child and children's brains can absorb things easier and... yeah.

Development

Layla was actually the last (main) character to be created -- I'm excluding Amadeus because she doesn't become prominent until the second part of the story. Layla was created to replace a different character who used to be Brady's twin sister. I wanted someone who would provide a more nurturing vibe towards Brady's quest, which is. Ironic. Considering what her main internal conflict ends up being. Technically, one could trace Layla's origins all the way back to a character who shared my deadname and was Brady's babysitter, but I'm counting Layla having not officially started being Layla until she was named that.

Speaking of the name... Layla is the only main TBC character whose name I chose specifically for the meaning. Layla was decided first, and is a bit on the nose with the fact that it means "night" or "dark" in Arabic: a direct reference to the darkness magic she was originally born with. For a while, I was content with just calling her Layla. And then I nailed down her story a little bit more, and realized how important her heritage was to her... and decided that Layla was probably just a nickname. This is where Leilani comes in: the name is Hawai'ian and means "heavenly garland of flowers" or "royal child." Since the islands that Layla originally came from are heavily inspired by Hawai'i, I knew the name needed to be of that origin. I thought the imagery of flowers was important since Layla is heavily associated with a specific flower in my brain (which we'll get to later.) Additionally, I thought the meaning of "royal child" was a nice little bit of foreshadowing about where she'd end up in the story.

Now that I've dedicated a whole ass paragraph to her name and why I chose it, I can actually talk about her. And... well, long story short, Layla was the character I had the hardest time pinning down. Her personality varied wildly in every iteration: she went from being cynical and rude to ditzy and overly kind, and these two personalities duked it out every time I tried to update her. Her visual design was deeply convoluted as well: I couldn't ever settle on a proper hairstyle or color for her! I couldn't even settle on a career for her. Was she a singer? A dancer? a seamstress? a fashion designer? a pop star? a social media influencer? I couldn't decide on anything concrete for her.

And then I realized the problem: I'd created her to fulfill the narrative, when all the other character had been made... just to be characters. I was never satisfied with her because she was so one-dimensional compared to everyone else. I needed to let her become her own person, even if it drastically impacted the plot that I'd already laid out.

And oh boy... did it.

Design

Once again, I am cursed with having not many visual refs, but I do have this cute sketch I literally just made of her for your viewing pleasure. Behold!

Alas no full-body, but still. Helpful. So, Layla isn't someone I can really analyze the Outfit of because her outfits consistently change throughout the story. Regardless, I can talk about two colors that are pretty prominent in this: pink and blue.

Pink: Layla's favorite color, in case you couldn't tell by her hair (which she did bleach and dye! Her natural hair color is a really dark black). It's a bright and peppy color, and is often associated with love -- which is great, because Layla truly is a romantic at heart. Pink is also the more innocent counterpart of red, which is something that I place great importance on, given that a.) the concept of "innocence" is important to her character and b.) there's actually... someone else heavily associated with red.

Blue: Layla's second favorite color, and the favorite color of a certain someone she may in fact be interested in 👀She also tends to go with the lighter shades of blue in her outfits. Light blue is a calming color, which is a contrast to the more vibrant pink she sports -- but still reveals that nurturing, big-sister nature she has.

In earlier concepts of her design, her eyes were green, but I didn't like that as much as the brown. Brown eyes are often seen as really pretty and sweet (like chocolate) and I felt that was a nice thing for her design to have. Also, it just looked better.

Her hair is naturally wavy and she honestly doesn't do a lot with it to make it as voluminous as it is, but in a meta-sense, I wanted to pull from those huge, poofy hairstyles from the seventies to enforce that when you first meet her she's this dreamy, almost larger than life character.

In contrast to her hair, she's someone who leans more into the "cute" type of clothing -- much more girlish than mature. She's only nineteen and she's aware of the fact that many people don't think she's the smartest, so she uses the way she dresses to feed into this notion and get people to underestimate her. That being said, she's someone who places a lot of importance on her appearance: she takes pride in looking good! You won't see a lot of wrinkled shirts or pants/skirts on her because she takes care to ensure her clothes are nice and neat. It's not ostentatious, though (unless she wants to be.) She also prioritizes practicality. She might wear a cute pair of hiking boots on a trip, but they'll still be hiking boots.

Personality

Like I said, Layla is someone who balances practicality and fashion pretty well. And I think that dichotomy can be expanded to her general personality: she's a very exuberant and excitable person but she also very obviously has a soft side, which is shown most often whenever she interacts with her brother or any of the characters that are around his age. She's... almost impulsive? She jumps to conclusions very quickly and she's not correct all the time. A lot of her actions have the potential to get her in trouble, but she's a quick thinker and can often come up with a solution to avoid consequences of most anything. She's a very sweet person and will often go out of her way to help people, but if someone wrongs her or people she's close to, she holds grudges for a very, very long time.

She's also very stubborn -- in fact, I think she's probably the most stubborn out of all of the main characters. Telling her she can't do something will only inspire her to do it more, which is the main reason she learned illusion magic at such a young age.

Layla's view of the world is (like everyone else) colored by the experiences she had when she was younger. She wasn't always as boisterous and stubborn -- she actually used to be a very shy kid. When she entered high school, though, she started realizing that people wouldn't hesitate to walk all over her and decided that she simply wouldn't take that. She's a very down to earth person, and every now and again when she gets flustered a bit of the shyness resurfaces.

She's also someone who would be called an "adventurous person." She loves trying new things and it's actually this almost thrill-seeking aspect of her that gets her sucked into the narrative of TBC. She's a big fan of amusement parks -- both for the roller-coasters and the cute things you can buy there.

For a very, very long time, Layla has been interested in textiles and clothing. She's someone who can ramble on and on and on about all different types of fabrics and patterns -- often to the point of annoying other people. She doesn't really mind, though -- she knows her friends will always listen to her, even if they never seem to quite grasp what she's talking about.

Backstory

Born Leilani Kalili on the islands of Ponokai, Layla lived in a small but very nice home with her mother, Koa. Her mother worked as an agent for the Black Calliope, an international organization dedicated to preserving relationships between multiple different countries as well as investigating any potential threats impacting those countries -- under supervision of those places' governments, of course. When Layla was eight years old, Koa was alerted to the presence of a strange bull-like animal terrorizing the main island -- a strange, almost monstrous creature that almost seemed otherworldly. The Ponokai military had tried to deal with the animal, but very few of the teams who had set off to defeat it returned. There were reports of the animal having reached the then-dormant volcano and making its home there, which was very bad news for the islanders since the animal was rumored to have both earth and fire magic. Koa assembled a special task force of people from both the Black Calliope and her island's military and set off with hopes to defeat the monster -- but not before instructing her previous partners in the Black Calliope, Malcolm Cobadonne and Juniper Lee, to take care of Layla should anything happen to her.

Koa never returned.

Malcolm and Juni took Layla back to their home country, Vezda, where Malcolm officially adopted Layla after Koa was declared MIA. Malcolm also adopted another child -- a little boy named Brady, who was only three years younger than her. Layla, both mourning her mother and wary of this new country, was a very reclusive child who spent most of her time silently playing pretend with her porcelain doll -- a prized possession given to her by Koa. With some coaxing, though, Malcolm was eventually able to convince Layla to try a new activity: dancing. In her classes, she began to come out of her shell and make friends with the others, but she still maintained her reputation of being the shy kid. Throughout this time, she was also being taught -- not in public school, but by a private tutor that worked out of the local monastery. It was there that she met a young boy named Tenn, who's getting his own post because. oh. oh dear. Tenn. oh man. that one's a doozy.

Anyway, the main reason Malcolm had Layla privately tutored instead of being put in public school was because he wanted to give her time to adjust to the new environment in Vezda as well as provide her with specialized instruction in order to learn the Vezdian language. Her brother, who was native to the country, was sent to public school immediately after being adopted. After a few years time, Layla was also enrolled in public school... right in time for middle school.

Now, objectively, her experience wasn't as miserable as it could have been, mostly due to a friend she'd managed to make in her dance classes: Nate, an outgoing boy who immediately adopted Layla into his friend group. Those two met another girl, Robin, and the three of them quickly became an inseparable trio, with Brady tagging along as often as he was allowed to. They even created a band together!

Layla often visited the monastery, both to hang out with Tenn and check out the monastery's massive library, which is where she taught herself how to do illusion magic. The monastery was also where she first met the crown prince of Vezda, Bo, who was talking to Tenn, actually. (Bo gets his own post because... he's got a Lot.) She quite literally ran into him -- after apologizing profusely, she somehow stumbled into inviting him to watch her band perform at a festival in town and he obliged. After the performance, he caught her and actually gave her his phone number. Over the years, they grew closer and closer, and Layla thinks of Bo as almost an older brother now.

Around the same time she entered high school, another person came into her life: James. She learned eventually that James was Tenn's younger brother, but was initially introduced to them as Brady's friend -- and then later, his boyfriend. She took on an almost surrogate older sister role with James, and he immediately latched onto that. Through James, Layla learned of Tenn's less-than-stellar treatment of his little brother, and this heavily strained their relationship.

And then... Tenn transferred to public school.

Initially, he'd been accepted as part of the group that Nate, Robin, and Layla (who had since become popular kids mostly due to Layla fully embracing her bubbly nature) had cultivated, but when tensions started to rise between Layla and Tenn... Well, the others chose Layla. She finished out high school without reconciling her relationship with him.

Having graduated with high honors and higher hopes, Layla chose not to go to college -- opting instead to take an internship with a local fashion designer with considerable social influence. She also used her connections, namely Bo, to get her designs showcased in a few prestigious places. This ended up backfiring on her, however, as she was inevitably accused of being in a secret relationship with the crown prince. Though this weakened her reputation (she was known more as Bo's "girlfriend" than as a fashion designer) she never let that get in her way.

Special Topic: Subverting Expectations

Yeah, she deserves this.

I want to call back to my original problem when I was first developing Layla: I needed her to fit the narrative. And... well, she didn't want to!

That's a very common trend throughout her life, both within her world and in a completely meta sense.

See, Layla really was only "scripted" to be a maternal force, but in an older sister way -- in the way that eldest daughters often are. She grew from there, but that was her little niche that she was supposed to fit in to. Now, granted, that's not to say that she was forced into that position by her family -- Malcolm and Juni were very good parents! It's just that when shit hits the fan the way it does in TBC, someone needs to step up... and someone needs to be the one to go "you... guys know it's okay to Feel Things, right? Let me take care of stuff while you go do that." Except she... has to do that all of the time, because all of the main characters are basically (if not explicitly) kids.

Also, even within the narrative, she tends to get viewed in the context of someone else's story. "Brady's sister," "Bo's girlfriend," etc. etc. She gets forced into all of these roles that she doesn't necessarily mind, but she wants to be known for more than that.

I want to take this time to talk about flowers. Namely, one specific flower that I heavily associate with Layla. The pink amaryllis. The amaryllis as a flower means "pride, strength, and determination," which are all qualities Layla has. The pink amaryllis is specifically a sign of friendship -- another thing that is very important to her, especially when talking about her relationship with Bo.

See, Bo and Layla are two very close friends who people keep mistaking as something more. Especially on Layla's end, people are almost insistent that she has to be in love with Bo -- they're just too close for her not to be! The pink amaryllis signifying friendship, and it being her signature flower in my mind is... almost defiant of that. No, she's not in love with him, no, they're not together, they're just friends. Nothing more. And being friends with Bo is perfectly wonderful as it is -- she adores being his friend. They're just not... compatible as partners, no matter what other people want to say about them.

A lot of these expectations end up compounding on her, though, and later on in the story, she kind of... well. Doesn't take it well.

Fun Facts:

Layla is a huge fan of magical girls!

When she gets a horse (which does happen in canon) she names her Apple Jack :)

Songs and music are important on both Ponokai and Vezda -- thus Layla is very, very likely to break into song at the drop of a hat.

Her favorite instrument to listen to is the piano! Brady was actually considered a prodigy when it came to the piano, so she grew up listening to him play.

Due to being born with darkness magic, she has the nice advantage of having nightvision.

Her favorite animal is a bunny.

She's canonically AuDHD <3

She hardly ever eats red meat -- it wasn't very popular on Ponokai, and she prefers fish and poultry far more.

Brady was the one who gave her the nickname Layla.

Layla has dyscalculia -- because of this, she often tries to avoid places where she has to do math. High school was a struggle for her, but she managed to pass her math classes with pretty damn good grades.

#FUCK I FORGOT TO ADD TAGS AT FIRST #character asks #Layla #beacon #the beacon collective #this one took me ages

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esther-dot · 1 year

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Hi Esther, different anon discussing the topic of the Unkiss. What a great point made by anon and loved your response to it. I know with the Unkiss, to us, we obviously view it through the lens that Sansa is burying what she's experienced (and as you point out, through a 'kinder' way of what she expected - only a kiss - and not the reality of what could have happened...) - as opposed to it being a romantic interaction representing her maturing sexuality. (To me, it is the affirmation of Sansa's ideals).

GRRM has set up the Unkiss to structurally foreshadow another type of memory rewriting. Some Sansxn fans think it foreshadows a future romance between the characters. So moving beyond it burying her trauma, what could the Unkiss specifically foreshadow for her arc through our perspective?

I was wondering if we might literally get true love's kiss in Sansa's story. I know that some Sansa fans want Sansa's story to not centre romance too heavily, but to me, the setup of the Unkiss followed by a real kiss, a fairy tale type of kiss recontextualised in ASOIAF, makes a terrible amount of sense.

It obviously won't come with the same degree of magic that it might in another story, and may be completely bittersweet (since that's the Jonsa brand), but if it answers the Unkiss in a way that's reciprocal and beautiful, that would do a lot for me.

Another point in the fairy tale Jonsa column.

(about this ask)

I find how Martin wrote about it and talked about it a little confusing, so I really don’t have anything helpful to say, other than to point to this quote to encourage people to stop romanticizing (denying) what the Hound was trying to do, and fully acknowledge how deeply Sansa was traumatized by it:

Jojen stood. "I felt you. I felt you fall. Is that what scares you, the falling?"

The falling, Bran thought, and the golden man, the queen's brother, he scares me too, but mostly the falling. He did not say it, though. How could he? He had not been able to tell Ser Rodrik or Maester Luwin, and he could not tell the Reeds either. If he didn't talk about it, maybe he would forget. He had never wanted to remember. It might not even be a true remembering. (ACOK, Bran IV)

Martin has the characters plagued by things, but here we are shown that someone might choose to not remember something, even attempt to gaslight themselves into thinking a memory isn’t real, because it is simply too terrible to accept. That’s the most important takeaway to me. The quote from Martin asks us to make all sorts of conjectures, but the one thing we know is that Sansa is so traumatized, she has lied to herself about what happened as the alternative is too horrible.

But yeah, we all wanna know what the resolution to all this is!

I wrote over here about how Sansa keeps getting assaulted on beds and how fans fixate on whether or not she should have had sex with Tyrion, when there are other mentions in the story that if we situated the wedding night in, we'd understand that not sleeping with him is a political stance, a stance that saves Winterfell, saves the North. So, the Hound's assault has significance to things other than potential relationships. It’s also about the bigger idea of how the kingsguard are dishonorable regardless of their white cloaks, it talks about the Hound and how he hates them and stands in judgment of them only to be as awful as they are in the end. It feeds into Sansa's long line of protectors failing her, of misplaced trust...so many angles to look at this from, but if we focus on that last bit, if men keep failing her and each time she has some trust for someone it is followed by a great betrayal, if we situate it in her disillusionment, well, that train of thought needs an answer, an endpoint, the positive in response to all that negative.

So yes, it may very well be what you suggest!

Martin references fairy tales a lot, and Sansa as a character is Martin's discussion of the prototypical princess, so her getting that moment -- a true love’s kiss as it would be called in a fairytale -- would make sense. I thought I had written about the frog prince quote before, but I’m wondering if that’s lost in my drafts somewhere, but it really caught my attention:

"They call him frog," she said, "and we have just learned why. In the Seven Kingdoms there are children's tales of frogs who turn into enchanted princes when kissed by their true love." Smiling at the Dornish knights, she switched back to the Common Tongue. "Tell me, Prince Quentyn, are you enchanted?"

"No, Your Grace." (ADWD, Dany VII)

Because we have a prince that is hidden (enchanted) and we’ve been waiting the whole series for the revelation of who he truly is which is part of why I thought of Jon here. And, because of some parallels between him and Snow White, I even wrote a little fic where Sansa kisses him and brings him “back to life” (link) which I don’t think will happen simply because I don’t know that the timelines match up, but at the same time, a kiss seems imminent for both of them, doesn’t it? As a reference to fairytales, as a part of Sansa moving past her trauma around men’s sexual interest in her which, to this point, has only led to molestation and assault.

Many fans would be happy for her to not have a romance due to her age, but I think the suffering is setting the stage for her to have a consensual, mutually desired, moment with someone in the future. I still don’t really get what Martin means about the unkiss in relation to another memory rewriting, but sometimes his quotes are mangled and/or we just misinterpret what he says. looking at the books tho, there will be more references to fairytales, he does have something planned for Sansa regarding romance/a kiss, and I think since every instance thus far has been foisted on her, it’s time for the pendulum to swing. I’m very hopeful, anon!

#dot chat #< tag to filter

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catboyebooks · 2 years

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another angle on the "nidai is a robot this chapter" thing that i want to talk about, although it goes well beyond just what's going on with nidai: let's talk about the wizard of oz references in this game.

in chapter 3, we all had to sit through a dreadful little wizard of oz parody film that monokuma created. if you'll recall, monokuma kills 3 people in this movie, all of whom are different versions of monomi based upon wizard of oz characters. the first two of these deaths (scarecrow and lion) were imitated by the deaths of ibuki and saionji. it's pointed out at the time this happens that it's odd that there wasn't a third death to make the reference complete, except that there fucking is and we just had to wait until this chapter to get it. nidai, after being turned into a robot (similar to how the tin woodsman in the wizard of oz was once a regular human guy before being turned into tin), is killed in a way that leaves him dismembered, similar to tin monomi's death in the film where she's smashed into pieces. i think this is especially notable because the sequence of events differs from the wizard of oz itself, where dorothy meets the scarecrow and the tin woodsman before meeting the cowardly lion; changing the order makes it clear that this is a purposeful reference.

(to further continue this reference — monokuma then meets wizard monomi and "beats the stuffing" out of her, similar to how our AI moderator nanami is going to wind up executed next chapter. remember also that the wizard in the wizard of oz was hiding his true identity behind a lot of fakery and magic tricks, and in a similar way i think monomi's AI and the "magic" she's able to do turns out to be dependent on the presence of nanami within the simulation, and on the fact that it's a simulation in the first place. but we'll get to that.)

the bigger question here is "why is this reference in the game at all?" but i think i know the answer. it's similar to the other classic western fantasy reference this game makes (to alice in wonderland / through the looking glass); it's meant to foreshadow later events. the alice in wonderland references are there to set up and foreshadow the VR twist, and the wizard of oz references are in here to help clarify the thematic point the game is ultimately trying to make.

the wizard of oz is a story about a group of people who go looking for something they had the entire time. the scarecrow lacks a brain, but he's the smartest guy in the group. the tin woodsman lacks a heart, but he's the compassionate one. the lion lacks courage, but always demonstrates bravery when push comes to shove despite the fact that he's scared (and i wanna point out that this theme has explicitly come up in sdr2 — in one of komaeda's free time events this chapter he points out that it shows true courage for hinata to want to hang out with him despite being scared of him). dorothy just wants to go home, but she had the power to do so the entire time via the slippers she was wearing, she just didn't know. when the wizard "cures" dorothy's companions of their issues, it's heavily implied if not outright stated that he's just giving them placebos. the guy can't actually do magic at this point in the series.

With That In Mind, let's have a look at the issue of hinata's talent, or lack thereof, because i think this is making A Point about how you're meant to read the kamukura thing. and i don't want to get way ahead of myself here because we're still waiting on the actual reveal, so for now i'll just touch on it briefly. the point of the "talent" stuff as it's discussed in this game is that talent does not work in the way hope's peak thinks it does, talent doesn't equal hope, it's not innate, people who "lack talent" aren't lesser or broken or missing something essential. you're not meant to read what happened with hinata as like "hinata was lacking in some vital innate quality, but hope's peak fixed him, but this also made him evil, but now he's all better" (a read i could see someone having if they took the talent stuff at face value). the point is that hinata was capable of achieving greatness all along and simply held back by his own self-doubt and self-hatred, and that hope's peak's attempt at surgically fixing him enabled him to do extraordinary things but at the cost of his entire sense of personhood, and now he has the chance to recover from that. that is what his character arc is about. the same core theme of "the power you are seeking was within you all along" from the wizard of oz is also core to this story, hence the references. we'll come back to this.

#i've got one more thing to say about the kamukura situation but then we'll put a lid on that for now. save it for chapter 6 or whenever #kes plays sdr2

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celiabowens · 4 years

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underrated SFF books (YA and Adult)

So uhm, since I keep seeing the same books on my dash all the time (and I like them too, just...there’s more! to read!) here’s a list of less popular SFF books, divided into YA and Adult. I’ve tried to mention when there is lgbt rep and the trigger warnings. Also, books written by poc will be in bold. Please point out any typo or mistake or if I’ve forgotten specific rep/tw mentions.

All of these are books that I’ve read and enjoyed (by enjoyed I mean anything from 3 stars and above), but if anyone wants to add titles please feel free to do so!!

YA:

The Star-Touched Queen by Roshani Chokshi: beautifully written, fairytale-like story rich in mythology (inspired by several Hindu myths. There’s a full list on goodreads indicated by the author herself). Roshani’s prose is gorgeous.

A Crown of Wishes by Roshani Chokshi: it’s a companion novel to The Star-Touched Queen, but both can be read as a standalone. I liked this one more than its companion and I particularly loved how the romance was written (slow burn, but specifically, the author really highlights the mutual respect between the characters, we love to see it).

The Young Elites by Marie Lu: fantasy trilogy set in a world inspired by Renaissance Italy, in which children who survived a mysterious and deadly illness ended up with strange and dangerous powers. Secret societies and a female villain!

The Kingdom of Back by Marie Lu: historical fantasy following Mozart’s sister, Nannerl, a girl as talented as her brother, but afraid of being forgotten because of the lack of opportunities she has to be seen and heard. Nuanced sibling relationship, no romance.

The Midnight Lie by Marie Rutkoski: fantasy f/f romance! Both a coming of age story set in a society with a rigid class system and a slow burn f/f romance with a lot of banter. TW: abuse.

The Weight of Feathers by Anna-Marie McLemore: magical realism. The book follows two families of traveling performers that have been locked in a feud for over a generation. This was the author’s debut and I remember getting an arc of it and being impressed by both the prose and how the forbidden love trope was handled.

When the Moon was Ours by Anna-Marie McLemore: another magical realism novel. One of the main characters is a trans boy and the book focuses on issues of racism and gender. One of my favorite YA!

Strange Grace by Tessa Gratton: fantasy romance set in a village that periodically sacrifices a young man in order to keep a deal with the devil that ensures their prosperity. Also, polyamorous and non-binary rep.

The Rise of Kyoshi by F.C. Yee: first book in a duology following avatar Kyoshi’s life. It explores the political and cultural aspect of the Earth Kingdom and Kyoshi’s past. Bisexual rep.

Descendant of the Crane by Joan He: sort of a murder mystery fantasy, as the main character finds herself suddenly thrust into power once her father has been murdered. The story has a slow build up to a last part full of twists and machinations and it features lots of court intrigue. Warning: the ending is quite open and afaik there isn’t a sequel planned as of now.

The Bone Houses by Emily Lloyd-Jones: a quite unique take on zombies influenced by Welsh mythology (it’s super cool). The novel follows Ryn and their siblings, as they try to get by after their parents’ death by working as gravediggers. Only well, the dead don’t always stay dead. The characters read a bit younger than they are imo. There is chronic pain rep.

The Magnolia Sword by Sherry Thomas: retelling of the original ballad of Mulan. The book follows Mulan, who’s trained her whole life to win a duel for a priceless heirloom, as she joins the army. There’s a lot of political and historical details, which I really appreciated. Do not go into it expecting a fun adventure though. The descriptions of war aren’t extremely graphic, but be aware of the fact that most of the book is set during a conflict.

The Candle and The Flame by Nafiza Azad: standalone fantasy set in a city on the Silk Road! It’s a quite slow-paced tale about love, family and politics. It has lush descriptions of landscapes and cultures (and FOOD, there are some really great descriptions of food). It’s a very atmospheric book and while I struggled a bit with the pace I’d still recommend it.

Forest of a Thousand Lanters by Julie C. Dao: sort of an East Asian inspired retelling of Snow White, but following the Evil Queen before she became Snow White’s stepmother. I honestly haven’t read its sequel (which should focus on Snow White herself), but I do think this can be read and enjoyed as a standalone too.

The Queen’s Thief series by Megan Whalen Turner: it’s hard to point out exactly what this series is about because it has evolved so much with time. It starts out as classic quest/adventure series with The Thief (which may seem a classic and simple book, but is actually full of foreshadowing and has a really clever set up), but develops into a complex and intriguing political fantasy in The Queen of Attolia and The King of Attolia (and then goes back to the quest theme in book 5, Thick as Thieves).

Adult:

A Fist of Permutations in Lightning and Wildflowers by Alyssa Wong: I’m cheating with this one because it’s technically a short story but I love Alyssa Wong’s stories so I’m putting it here anyway. It can be read for free and you should just...read it.

The Poppy War by R.F. Kuang: grimdark fantasy (TW: abuse, self harm, rape, drug abuse), inspired by Chinese history. It’s adult, but follows younger MCs and the unique blend of different historical periods/inspirations makes it extremely interesting. The characters are extremely fucked up in the best possible way, plus the use of shamanism is awesome. Please make sure you check all the TW before reading.

The Sword of Kaigen by M.L. Wang: a Japanese-inspired militaristic fantasy, with elemental magic, a badass housewife dealing with her past and hiding a sword in her kitchen’s floor. It has interesting and nuanced family dynamics and a great reflection on propaganda and the use of narratives.

Empire of Sand by Tasha Suri: first book in an epic fantasy duology inspired by Mughal India (TW: abuse, slavery). I really liked both Empire of Sand and its companion and I find them pretty underrated. Both books have great slow burn romance (with a focus on mutual trust and respect) and focus on culture, religion, self acceptance and politics.

Gods of Jade and Shadow by Silvia Moreno-Garcia: a fantasy bildungsroman set in Mexico during the Jazz age. It’s a great approach to adult SFF as it follows a young girl on a life changing adventure. It features Mayan mythology and a god slowly becoming human (this trope is everything!).

The Bear and the Nightingale by Katherine Arden: a coming of age story inspired by Russian folklore. The trilogy as a whole has one of the best arcs I’ve ever seen: each book is perfectly self-contained and has its own arc, but also fits perfectly in the bigger picture of the trilogy. The atmosphere is amazing, the cast of characters is extremely well developed. Also frost demons are better than men.

The Binding by Bridget Collins: historical fantasy, but with very minimal fantasy elements. It’s set in a world vaguely reminiscent of 19th century England. I’d say this book is about humans and self discovery. It’s about cowardice and the lies we tell ourselves and those we wish we could tell ourselves. Gay rep. (TW: abuse, sexual assault, pretty graphic suicide scene).

The Divine Cities trilogy by Robert Jackson Bennett: starting with City of Stairs, it follows a female diplomat and spymaster(!!). The whole trilogy features an interesting discussion about godhood, religion, fanatism, politics, without ever being boring or preachy. It has complex and rich world building and a pretty compelling mystery.

Foundryside by Robert Jackson Bennett: heist fantasy following a thief as she’s hired to steal a powerful artifact that may change magical technology as she knows it. Set in a Venice-like merchant city. Also, slow burn f/f romance.

Jade City by Fonda Lee: sort of a gangster urban fantasy, heavily inspired by wuxia and set in an Asian-inspired metropolis. It follows a pretty big cast of characters, each with their own journey and development. It features nuanced family dynamics and a lot of political and economical subplots. Not extremely prominent, but book 2 features m/m side rep.

Trail of Lightning by Rebecca Roanhorse: inspired by Native American culture and specifically by the idea of subsequent worlds. It has a kickass MC and a good mix of original elements and typical UF tropes. TW: the book isn’t extremely violent but there is death and some gore.

A Memory Called Empire by Arkady Martine: space opera inspired by the Mexica and middle period Byzantium. It focuses on topics like colonialism and the power of narratives and language. It has one of the best descriptions of what it’s like to live in between spaces I’ve ever read. Also very interesting political intrigue and has a slow burn f/f romance (and a poly relationship recalled through flashbacks). I ranted a lot about it already.

Ninefox Gambit by Yoon Ha Lee: a Korean-inspired space opera with a magic system based on math. It’s honestly quite convoluted and difficult to follow, but it also features some of the best political intrigue I’ve ever read. Plenty of lying, backstabbing and mind games. It also features lesbian and bisexual rep and an aroace side character (TW: mass shooting, sexual assault, abuse). I also really recommend Yoon Ha Lee’s short-story collection Conservation of Shadows.

The long way to a small angry planet by Becky Chambers: character driven space opera featuring a found family journeying through space. A fun read, that also deals with topics such as sexuality and race. Quite easy to go through, as the world building and plot aren’t particularly complex themselves. f/f romance.

The Empress of Salt and Fortune by Nghi Vo: an Asian-inspired fantasy novella that gives a voice to people usually silenced by history. It follows a cleric (non binary rep) as they chronicle the story of the late empress, retold through objects that she used in her life. It focuses on bonds between women and the power that lies in being unnoticed. f/f side rep.

The Black God’s Drums by P. Djèlí Clark: an urban fantasy novella, based on Orisha mythology and set in an alternate, sort of steampunk, New Orleans. I really like how creative Clark’s worlds are and how good he is at writing female characters (which rarely happens with male authors).

The haunting of tram car 015 by P. Djèlí Clark: novella set in an alternate steampunk Cairo populated by supernatural entities. It’s set in the same world of a Dead Djinn in Cairo, which is a short story you can read for free.

This is How You Lose the Time War by Amal El-Mohtar and Max Gladstone: epistolary novella set during a time-travel war. It has gorgeous writing and an amazing f/f romance. As a novella, it’s quite short but it’s beautifully crafted and so complex for such a short book!

The Citadel of Weeping Pearls by Aliette de Bodard: a novella set in the Xuya universe (a series of novellas/short stories set in a timeline where Asia became dominant, and where the space age has empires of Vietnamese and Chinese inspiration), but can be read as a standalone. It’s a space opera featuring a disappeared citadel and the complex relationship between the empress and her daughter as war threatens her empire.

One for My Enemy by Olivie Blake: self-published urban fantasy following two rival families in New York. Sort of a Romeo and Juliette retelling but with gangster families and magic. Honestly recommend all of her books, I love how Olivie writes and especially how she writes female characters.

#book recs #book recommendations #adult sff #ya literature #lgbt fiction #litblr #listen this doesn't show in tags i'm DONE #done with this tagging system lol #also if there are mistakes please tell me!!#book rec

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ordinaryschmuck · 3 years

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What I Thought About "Yesterday's Lie" from The Owl House

Salutations, random people on the internet who absolutely won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons!

Here it is! The midseason finale of The Owl House Season Two! An episode featuring Luz going back to the human realm, is hyped up to heaven about how painful it'll be for the audience, and features more anxiety by how Creepy Luz is a thing. And BOOOOOOOOY howdy were fans not ready for this. I'm sure as hell not ready for when I wrote this intro at *checks time* thirty minutes before watching the official premier. Yup, the words you're reading right now are from me in the past, when everything was still pure and simple. Whereas future me is still probably destroyed by the events that transpired. Isn't that right, future me?

Future Me: Actually, it wasn’t that bad. The ending hurt, sure, but other than that, it wasn’t too painful.

Wow, that is some neat input! At least, I think it was. I wouldn't know because I literally wrote that after watching the episode. With the words you're currently reading being written at *checks time* twenty-six minutes before the premier...this whole intro is confusing, isn't it, future me?

Future Me: Sure is.

Yeah, it's definitely confusing. In any case, let's dive into this spoiler-filled review as we find out together just how painful this episode was! Take it away, future me!

Future Me: Will do! Major spoilers ahead, folks!

Now, let’s review, shall we?

WHAT I LIKED

Luz’s Room: We only see it for a short time, but everything about it just screams Luz. The pile of weird-looking stuffed animals, the witch hat in the center of the floor, and the fact that she has bunk beds, a single child's dream (Or so I've heard). It's a small thing, but I love it.

Vee: Here she is! The character previously dubbed Creepy Luz who now turns out to be yet another new addition to the ever-growing list of characters that we, as a fandom, would give our lives for. Because holy s**t was Vee the best type of expectation subversion. Showing us all the ominous ways of how she basically took Luz's place made fans assume that Vee was an evil doppelganger. Turns out, she was just a tortured soul that was desperate to live a new and better life and lucked out in finding Luz's. What Vee does is...questionable at best, but seeing what she went through with the experiments Belos pulled on her, you understand why she would do it. And I personally love it's that same background information that makes Vee resentful of Luz of all people. Luz's life is a relative dream come true, and running away from that would be insane to someone who spent most of their existence through imprisonment and experimentation. It's an intriguing point of view, even though it's admittingly flawed given how it's mostly Camila that seemingly made Luz's life bearable. But the flaws don't matter. What matters is that you can see where Vee is coming from, and to me, personally, I think she's understandable enough to make me root for her to have some kind of happy ending. Whether as Luz or as herself, I'm hopeful to see Vee get some semblance of peace.

Camila: *Round of applause* Don't mind me! Just taking the time to love how all them sons of b**hes who thought Camila was a bad mom are now heavily invalidated. 'Cause, guess what? Camila is a fantastic mother, both to her daughter and her daughter's doppelganger! Allow me to walk you through the highlights:

How Camila looks like she’s not okay with the fact that "Luz" is clearing out her weird stuff, seemingly acting too different to the Luz she knows. Added to the fact that Camila doesn't like it.

How Camila drove Luz to camp whether than letting her take the bus

The fact that Camila takes that box of junk back in, not willing to part with the tin foil sculpture Luz made.

The way she was willing to play along with the game she thought Luz was doing, supporting her daughter's creative mind that Camila admits to being glad to see.

And, best of all, the willingness Camila had to help this poor creature, despite the lies it lived.

It's that last part I really want to touch upon, though. Because an action like that shows just how much Luz's heart comes from Camila. The kindness and generosity of helping this poor creature, who she has every right to run out on, proves how Luz learned to be everything she is today through Camila's own loving heart. Vee was scared and hurt, and the second Camila saw that she was then more than willing to help because of it. It's something that Luz would do, and it proves that even though Camila didn't exactly get everything right, she's still a great mom where it counts.

“A new life”: A perfect line.

Initially, it makes audiences think that it has everything to do with replacing Luz. It's only through future context that we know it's about escaping the s**t show Vee once lived through that it's clear she's talking about starting over. It hits us with intrigue on the first viewing, only to hit harder with the feels during a second. Really well-done.

Luz in the Mirror: A well-done surprise that makes fans curious about how this even happen in the first place. Kudos to you, writers.

The New Portal: I don't mind that they found a way to build this off-screen. Showing Luz and the gang slowly building a new portal would have been a little too tedious to watch, and it's so much better to just start this episode out with it. Besides, maybe we'll get the slow and steadier version now that we've seen how quickly building one might not have been the best way to go, given how fast that thing fell apart.

Luz Between Dimensions: I have no clue what the hell that place she was in is called, but it's awesome! The overall design of the realm is the correct type of unsettling, like it's oozing with mystery, but it's somewhere that you probably don't want to be in for too long. Whoever designed it deserves all of the credit because I don't want to even think about all the hard work that went into making this look as well-made as it was.

Luz Resisting to See Amity: What? Luz and Amity are adorable, and seeing Luz's immediate thought about seeing Amity makes my shipping heart scream with glee. Don't judge me!

Hiding Luz’s Dad’s Face: Well, that was a fun story while it lasted.

So, it turns out that Luz's dad really was a part of Luz's and Camila's life at some point, but not anymore. As for why remains to be seen, as we don't really know yet if we'll see him make an appearance. I'd say that the odds are high that he will, given how much of a point this episode made about keeping his face hidden. Shows don't usually do that unless the goal is to hype up some official reveal, and I can't wait to see what comes of it.

Luz Telling Herself to Count to Five: Hey, more evidence for how I relate to Luz! I know how it feels to be all panicky about a specific situation, and I only got better when I took the time to calm down for a bit. Sometimes, I even tried the "count to x" method that Luz used...it never worked, primarily because it made me feel worse when people told me to do it, but I still tried it! Plus, there's also some narrative foreshadowing when after Luz says five, the realm shows her Vee, or Number V, which is a pretty cool detail you'll notice on a rewatch.

Luz Helping Vee: I gave Camila praise for helping Vee in the end, but that doesn't abstain Luz from her own set of recognition. The second that Luz realized that Vee wasn't really a threat and is far from evil, our favorite human does what she can to help and even makes a deal where they're both happy. Because, of course, Luz is that perfect of a protagonist who is more than willing to help others in need. And it's why we love her so.

Looking for Magic that Eda Left Behind: A pretty cool idea that gives Luz and Vee a chance to bond and giving us an insight into Eda's past antics and misadventures in the human realm. Not much I can add to it, though.

Gravesfield: It's surprisingly not as jarring as I thought it would be to spend an episode in the human realm. I thought for sure, after all that time in the Boiling Isles, there would be something off about walking around a normal environment for a change. Turns out, it's almost easy to get used to. Or, for me, it is.

But I will say that there's this neat use of colors when comparing Gravesfield with the Boiling Isles. In Gravesfield, the coloring looks dulled down and standard, which is a stark contrast to the bright vibrancy of everything we've seen in the Boiling Isles. It's a subtle way of showing how things are different, aside from the major discrepancies we could come to expect. And I think that's why I appreciate it much more.

Eda’s Called Herself Marylynn in the Human Realm: Hang on...hang on...do you mean to tell me that the crack theory about Eda being Stan's ex-wife is actually true?

...

...What even is this show?!

Vee Making Friends with Camp Members: This shows the most apparent difference between Luz and Vee. Where we see Luz is already fearing the many ways that could go wrong with interacting with teens, Vee revealed that she adapted to her situation and had a chance to make friends. The implications of this are worth discussing another time, but for now, I'll say that it's pretty intriguing that we gain this much insight into both Luz and Vee through such a small thing.

Belos Wanting to Learn How Basilisks can Drain Magic: ...Didn't Raine say that Belos was taking away magic? If so, I think we can figure out how he's doing it. The question now is: Why?

Jacob (The Curator Guy): This guy was a riot. At first, Jacob seemed like a threat with the way he trapped Vee and was apparently stocking her, but the second he goes off about his conspiracy theories, it becomes clear what type of character he is. And was it a blast seeing how much of a crackpot this man is. It wasn't cool seeing him wanting to dissect the precious angel that is Vee, but I still chuckle about things like his "Flat Eather's Certificate." So while he's not that much of a threat, he's still fun to watch.

The Owl Beast was in the Human Realm: ...How did that happen? When did it happen? And how the hell did Eda get out of a situation like that?! Who knows, but it's still a shocking piece of news to learn.

Luz Telling Camila the Truth: Hey, she faced her fear after all! Although, the results aren't as pleasant as when Amity faced her fear two weeks ago.

Camila is a Veterinarian: ...One insignificant reveal...managed to destroy so many fanfics. I mean, we probably shouldn't have just assumed Camila was a nurse...but what the f**k else were we supposed to think?! Sorry for seeing the scrubs, and the first thing that came to my mind was "nurse" and not "vet."

By the way, that had to have been intentional, right? There's no way that Dana Terrace didn't think we'd assume Camila was a nurse. She'd had to have put off a reveal like that just to trip up her fans. And if that's the case, then that is a major d**k move...but that's why I mildly respect it.

Two Human Brothers went to the Demon Realm: Turns out we don't have to be in the Boiling Isles to learn more about it. Because now we have more information about how two humans were taken to the Isles with the help of a witch, thus setting up a grander reveal if it turns out that one of the humans was Philip and the witch was Belos. Because if that's true...then there's more of a history between those two than we thought.

Jacob has a Training Wand: This helps me believe that it's highly likely for Jacob to make a return and to have a power boost for when he does. After all, focussing all that attention on the training wand is way too convenient for it not to come up again in the future. Meaning we're most likely going to get more pain from Jacob if he shows up again.

Camila Beats the Crap out of Jacob for Vee: ...Writers, don't make me choose between Camila and Eda on who's the better cartoon mom. I know Eda's technically not a mom...BUT I STILL DON'T WANT TO CHOOSE DAMNIT!

Also, the sandal...just...

Why the f**k does Camila have a sandal in her purse? I don't know. Is it still funny that she does? Most certainly.

Camila and Luz’s Talk in the Rain: Ooooooooh, I was not ready for this...

I wasn't ready for the crying.

I wasn't ready for the hurt in Camila's eyes when she found out Luz chose to stay in the Boiling Isles.

I wasn't ready for Camila asking if Luz hates being with her that much.

I wasn't ready for Luz profusely stating how it was never Camila's fault.

I was not ready for Camila to tell Luz that she'll try to do better.

And I definitely was not ready for Luz to barely have enough time to promise that she'll come back.

This episode wasn't the twenty-two minutes of nonstop angst that I thought it was going to be...but this short scene more than make up for it.

Luz Tries to Stay Strong: Yet another thing she unwittingly learned from Camila. Camila tried to keep a brave face when Vee was with her and Luz, most likely not wanting to tear either of them down in the process. Luz does the same thing here as she avoids talking about the details of what went down in her sort-of journey back home. And seeing her clearly fake smile slowly droop into an uncertain frown, it uh...it definitely tore me up inside.

WHAT I DISLIKED

I want to say it's perfect, but there's one major issue that really bogs this episode down.

Continuity Error in How Vee Replaced Luz: Having Vee take Luz's place the same day Luz appeared in the Isles is a smart idea on paper...if it wasn't for the fact that it's impossible.

Because Eda closed the portal door the second that she saw Luz, meaning that there's no way for Vee to go to the human realm. It's a major plothole that makes no sense, and it might just be the first time ever that this series wasn't so closely knit with its story. Which ends up taking a dive in quality in the process.

IN CONCLUSION

I'd say that "Yesterday's Lie" is an A-. Everything about Luz, Vee, and Camila is incredible, combined into a story that ends in tragedy and uncertainty for the future. That plothole may drag things down a bit, but everything else is handled so well that I'm not lying when I say it's easy to forgive and forget.

(And that's ten episodes in a row without a single stinker. HOW THE F**K DOES THIS SEASON KEEP WINNING?!)

#the owl house #the owl house spoilers #toh spoilers #luz noceda #camila noceda #camila is a good mom ok!#toh vee #emperor belos #what i thought about #the owl house reviews

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bigskydreaming · 3 years

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With the Tom Taylor stuff, they released a new Batgirl costume for Babs again (different anon then before though so hopefully same issue). People are mad because, well, it's abelist. Especially because like it feels like they've been teasing/foreshadowing her becoming Oracle again (ie. noting that she shouldn't be hopping from roofs, I mean Dick adopted a three-legged dog for Christ's sake). It really seems like the perfect time for the magic disability curing chip to die, and instead they come out with this? Disappointing. Rude. Especially rude because the new costume was announced on the first day of disability pride month, and he's responded by saying - but oh look, here's a back brace on the part of the suit behind the cape. Not a good look imo.

Idk how many people would have to agree on making Babs truly paraplegic again for it to happen? Like would something like this be up to editorial, or could Tom as the writer have enough sway to make it happen? I know the original decision was ten years ago, and Didio has (thank the lord) been fired since then, as has Harras, and I've heard there's been creative turnover as well. Since you've been in the fandom for a while, do you know who else we should be pressuring?

Its literally something that only editorial and higher will ever have decision-making control over.

I can tell you that while Gail Simone was the one who initially wrote the story where Babs returned to being Batgirl - and considering that a lot of Gail's own work was instrumental in fleshing out Babs as Oracle to the degree that she was - what I can say there is that Gail was not actually a fan of the decision to make Babs Batgirl again herself.

It was 100% a decision made by the higher-ups during the initial Reboot discussions, and I do know that a number of creatives, both writers and artists, voiced their protest to the decision at the time - though I can't speak to who exactly did so and who didn't.

Gail has however expressed that she went back and forth a lot on her decision to write Babs becoming Batgirl again, because she really was not comfortable with it at all, but that ultimately the reason she did decide to do it was because it was made clear to her by the higher-ups that they were asking her to write it out of respect to the work she'd done with Oracle previously - but whether she accepted or not, they were going to go forward with it, even if with another writer.

So ultimately, she's said she only decided to take on the story herself because she could at least try to make it as aware of Babs' time as Oracle and what she represented as Oracle as possible, whereas she had no control over if DC went to another writer whose approach to it was basically to magically handwave Babs being 'cured' and being ecstatically happy about it.

Please note, I'm not trying to speak to her choice there or argue for it or against it, I'm simply trying to repeat what I know of her stated perspective on it, as the writer who actually 'did it.'

My point just being that it wasn't a decision made at a creator level at all, and DC was more than ready to go around one of the writers most closely identified with Babs in her Oracle identity, as well as a number of others who were against it, though again I don't know how many or whom specifically.

I honestly don't see any guarantee they'd be more accommodating of any writers today trying to convince them to do it. So while I don't think voicing concerns over disabled representation to writers is ever a wasted effort, I don't see it accomplishing anything here in specific. If any movement is going to be made on this matter, its only going to be done through keeping the subject centered in the awareness of the higher-ups, so basically any editors with a social media presence.

Unfortunately, options are very limited there (I'm not really on twitter these days so I don't really know what editors are even around there, currently), but yeah, in the interest of prioritizing time and spoons, and concentrating efforts.....this is one of those situations where the writers themselves are simply the go-betweens and the only even potentially effective appeals are going to be those made at the editorial level and higher. (Higher being those at the publishing exec and board of directors level, but I wouldn't know where to even begin looking for those particular names).

Sorry I can't be more help!

(Also, just FYI in general on this matter:

For the record, I do try to be very....'light' about expressing my opinions when it comes to Babs' disability, because I do not trust myself to have the necessary objectivity. I have a physical disability that greatly impacts my way of living and has for five years, but in ways not remotely interchangeable with Babs. Additionally, mine does have a surgical treatment that would allow me to resume my original way of living without significant deviations from it, and its a treatment I still am working towards and hope to get in the near future. So I definitely have opinions on physical ableism in society and how I've even been impacted by such things myself, but I've also never viewed or even approached my own situation or disability through the lens of it being lifelong.

So I'm kinda 'thematically' somewhat in a position that has nuances relevant to the conversations at hand and the 'choices' being thrown around in-universe IF and only if such things were subject to 'real world rules' and self-autonomous choices rather than being ruled by the whims of editors with agendas and biases of their own. All of which makes me uncomfortable weighing in too heavily on this subject because I'm a naturally opinionated person, and I have a tendency to center my own experiences in online debates simply because they're the only ones I can actually speak to, particularly in non-monolithic situations like this one where even people with broadly shared marginalizations have opinions that differ in degrees both large and small.

My own disability really brought to light for me that I had a LOT of pre-existing ableism myself that I'm still unpacking five years in, and frankly I just don't trust myself to be able to tell the difference between opinions I express on this subject as a kind of unconscious wish fulfillment, ableism-still-in-need-of-further-unpacking, and even subconscious overcompensation for my own ableism based on addressing current issues I have born of impostor syndrome. Its a whole mess up here in terms of ableism discussions, so if you don't see me weighing in on the Babs matter much elsewhere, that's why.

Personally, I always write Babs as Oracle and physically disabled, even in Reboot-era stuff, and I’m fairly sure I always will - so don’t get me wrong, I have a very clear stance on that front because I'm never on board with erasing, mitigating or invalidating previous representation....that isn’t my issue here at all, its more just wading into arguments for and against undoing the chip storyline that I hesitate to do. I know my stance - I just don’t trust myself to argue it in the right ways or for the right reasons.

Just know its not because I'm oblivious to it, that I approve of DC's decisions here or how their various creatives reply to criticism of it, or because I don't have opinions myself......but my own view of things is too constantly shifting in my own life for me to be comfortable contributing any lasting voice to these discussions, at least where I'm at right now. I'm not good at speaking softly if I feel a need to speak up at all, but I don't believe in speaking loudly when I can't even be sure for myself that I can commit 100% to what I voice...and even more importantly in my mind, WHY I voice it).

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dwellordream · 3 years

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A Six of Crows Review: Joost and Inej I

This marks the beginning of my review of Six of Crows by Leigh Bardugo. Before I go any further, I want to provide context for my experience/knowledge of the book and its fandom. Six of Crows was published in 2015 when I was 16. I picked it up in a bookstore and read the first few chapters idly while shopping, before putting it back down.

At the time, my dislike of what I’d read was probably primarily fueled by the realization that it was by the same author as Shadow and Bone, which I had tried to read a few years before and disliked, and because at the time I was aging out of the YA genre in general and had very little patience for many of its familiar tropes.

In recent years, Six of Crows and its companion and predecessor series, the Grisha Trilogy, have become one of the most popular YA series online. The avid fan response and promotion of it on social media no doubt led to the Netflix series being greenlit and it is obviously trending at present due to the success of the series. With all that in mind, I’ve decided to try Six of Crows again and see for myself what all the hype is about.

Some more caveats: I am 22 years old. I am aware Six of Crows is YA literature intended for a middle and high school audience. I will not be holding it to the standards I would hold an adult grade fantasy book, in terms of prose, themes, or content. I am aware that I am not necessarily the target audience for the book and these reviews are in no way intended to shame or disparage anyone who enjoys the book.

Criticism is a healthy part of any fandom and does not necessarily constitute hate. I will likely critique elements of the book in my write up. That does not mean I have a personal vendetta against the author, publishers, or the TV show. Please do not take this as a personal attack if you’ve enjoyed the book. This is just intended to promote discussion and to gather my own thoughts.

If you follow me, I am tagging this as ‘in review’ so you know what to block if you don’t want to see my posts on your dash. I will be going through 1-2 chapters per weekend. This weekend I will be looking at the prologue, aka Joost, and the first Inej chapter.

Jumping into things, here is Joost:

The prologue is our introduction to Ketterdam, the setting of Six of Crows. It’s been a very long time since I read Shadow and Bone and so all I really know is that Ketterdam is a city in an island known as Kerch, based off the map. The major countries or kingdoms of the mainland to the east appear to be Fjerda, Ravka, and Shu Han, though it is unclear how they differ from one another at this point.

Ketterdam through Joost’s eyes is a sinister and dreary place, a city under a grimy night sky and full of dangers. Joost works as a hired guard for a very wealthy man named Hoede, who keeps grishas, powerful magic users, as indentured servants. Joost is infatuated with one of them, Anya, a healer, though he knows she is not likely to return his affections and furthermore cannot wed without the permission of her owner. We also learn that grishas are at risk for being kidnapped and sold by slavers due to their value. However, the indentured servant system of Ketterdam thus far doesn’t seem to be much better than slavery, given how little freedom the grisha have.

Overall, the prologue is supposed to give us a sense for the setting of Ketterdam and interest us in the main hook of the novel, which seems to be a mysterious substance that grisha can ingest to heighten their powers for the benefit of their masters, though it has the risks of making them uncontrollable. How well is this done?

Through Joost’s perspective we can glean several things; Ketterdam is a dirty city with rampant income inequality, full of crime and corruption. Magic is an established system within Ketterdam, but the magic users do not seem to be at the type of the hierarchy despite their powers, which suggests they are a minority to the extent of which they can still be controlled by the elite class of non magic users, if they have enough money and power.

It is also very obvious through the references in the prologue that Ketterdam is heavily based off the Netherlands during the Golden Age, which was Amsterdam’s (Ketterdam… Amsterdam… not subtle) economic and cultural boom during the 17th century, aka the 1600s. Notably the world’s first stock exchange began in Amsterdam in 1602, and it was a major port and trading hub for the Dutch East and Dutch West India Companies.

It is not clear if Ketterdam is also intended to be a 1600s-esque society, timeline wise, but we know that rifles are common place and there is a thriving merchant class who rule as opposed to old aristocracy, which seems to indicate a Renaissance style setting, as well as the urban environment in general. (That said, from the advertisements for the Netflix show, they seem to have updated it to a more Victorian-era 1800s society, in terms of fashion and general aesthetics).

Overall, the prologue does its job. It gives us a vague idea of what Ketterdam is like, how the society is structured, and who holds the power. It also ends on a suspenseful cliffhanger, leaving Joost’s fate unclear. Where it falls flat is that I think a little more time could have been spent fleshing out Joost as a narrator, even if this is his only showing in the book.

His internal monologue comes across as a bit dry and mechanical, as if the author is aware he is just a means to an end to start the book off with a bang, and he quickly turns into a walking camera (just there to report events to the reader, with no internal input from him), for the second half of the prologue, as we switch to just watching Anya and Hoede through his eyes. That said, it’s not a major problem, as Joost is clearly not intended to be a main character, and his narration still effectively conveys what is happening and sets the dark tone of the novel.

What I would have liked to see from the prologue is perhaps the POV of Anya herself, or the small child she is being forced to experiment on, as that might have been a more compelling and immerse introduction to Ketterdam and its dangers rather than the fairly bland and neutral Joost, who doesn’t really feel like a character so much as a bland stand-in for the reader. If we were put in the shoes of Anya, suddenly called upon by her power hungry employer to participate in this unethical test, or in the shoes of the small boy caught up in the middle of this, it might have been both more thrilling to read and given a more gritty sense of what it’s like to be on the lowest rungs of Ketterdam’s society, at the mercy of the most powerful.

Moving onto Inej, we run into some similar problems. After Inej’s first chapter, I couldn’t tell you a single thing about her, other than that she was an acrobat as a child, that she is part of the street gang known as the Dregs, and that she intensely values loyalty. This isn’t a problem, per say, but while that’s all good to know, it doesn’t give me any sense of Inej’s actual personality, which doesn’t exactly bode well. Like Joost, she comes across more as a walking camera and occasional tourist guide as opposed to a human character with her own worries, hopes, and fears.

I think this may become a recurring problem with Bardugo’s writing - ie all tell, no show. Inej is good at telling things. She tells us where we are as we follow her to the location of a stand-off between rival gangs, she tells us that Kaz, their leader ‘doesn’t need a reason’, though she never exactly explains what that means other than that he is widely feared, she tells us that she is very fond of her knives.

But in terms of writing, we shouldn’t have to be force fed all this information via her internal monologue, which, again, entirely cuts out once the action picks up, just like Joost’s. While I don’t need her thoughts on every threat or gunshot, it would be nice to feel as if she hadn’t just vanished from the story completely as soon as the dialogue starts.

We also meet Kaz and Jesper, though I couldn’t tell you much about them utter than that Inej clearly admires, even venerates Kaz as an accomplished intimidator and chess master, and that Jesper is clearly the joker of the group.

It also feels incredibly weird that this parley between gangs in happening in front of the city’s stock exchange. Inej tells us this is because the Exchange is one of the few remaining neutral territories, but it’s also heavily guarded, which means every time a gang wants to parley, they have to pay out the cash to bribe all the guards to very pointedly ignore a meeting between rambunctious and trigger happy street gangsters on their literal doorstep.

I understand why Bardugo chose this location, wanting to contrast the violence of the gang members with the economic injustice that the Exchange and its merchant rulers represents, but it just seems a bit silly. They couldn’t meet at the docks? In an alley way? This is like picturing the American Mafia hosting a public meeting at the New York Stock Exchange with a bunch of cops twiddling their thumbs nearby.

The foreshadowing that Bollinger is the traitor (‘I’m not going to bet on my own death’) also seems very heavy handed and a little much, but I’ll let it slide.

It’s also not really clear while Inej is present at this meeting in the first place. Kaz commands her to keep watch from above, but he has also put a contingency plan in place that doesn’t even involve her, having bought out some of Geels’ men from under him. Why put Inej looking down from above if you’re not involving her in this plan? Her only role seems to be to watch, and she doesn’t even have a gun she could play sniper with. It just seems like a hamfisted way of getting Inej out of the danger zone so the author can have her as a passive spectator to the violence that follows.

This is my main problem with this chapter. It’s supposed to introduce us to Inej, but really, it’s introducing us to Kaz. Which is fine, but as he also has a POV in this book, it seems a bit lame that her own chapter is completely overtaken by showing off A. his smarts and B. how dangerous he is, despite being dismissed as a young ‘cripple’ by the likes of Geels.

Geels is also… not a greatly done villain. I get that he’s supposed to be small fry and is just a precursor to much more threatening opponents, but his every line of dialogue feels designed to show off how cool and Machiavellian Kaz is in comparison. He doesn’t seem like an actual hardened criminal who has underestimated his opponent, but a somewhat cheesy cartoon thug who unironically says things like “How are you going to wriggle your way out of this one?” with his full chest. The effect is comical, and not in a good way.

This chapter also shows off Kaz’s sadistic side in full display, which is probably one of the only interesting things about it, though it would be nice if we got any input at all from Inej on this… instead she completely vanishes from her own narration, to the point where she might as well not be present at all. Kaz has no qualms about tracking down his enemies’ weakness, such as lovers and family, and threatening them.

But the open horror and shock Geels reacts with seems incongruent, as if Kaz were the first up and coming gangster to actually consider threatening someone’s family or girlfriend. That seems pretty par for the course for violent criminals trying to claim territory and unnerve their rivals, yet Inej and Geels himself react as if no one had ever thought of sinking to the level of ‘do what I want or I’ll kill your loved ones’ until Kaz invented it. It just feels a bit silly and on the nose.

Really, my overarching issue with this chapter is that it’s not about Inej at all, it’s just an introduction to the Kaz Brekker fan club. I don’t automatically hate Kaz as a character, but his introduction is heavyhanded and comes at the cost of any establishing character moments for Inej. The most we get out of her is her brief pangs of sympathy for Bollinger despite his treachery, and her brief reference to her childhood. Maybe future Inej chapters will totally change this, but right now, it’s not a great sign of what’s to come.

I can think of about a hundred things Inej could have done or said this chapter to develop or establish her personality at all, but all we got was her briefly holding a knife to someone, and her briefly saying a prayer for Bollinger. I think it would have worked much better had this plan to catch Geels with his pants down been Inej’s invention or at least worked out between her and Kaz, rather than her just there to play lookout and admire how cool Kaz is.

Or at the very least, we could have seen the scene referenced where she searches the crime scene of the assassination, instead of that getting two lines and an entire chapter being devoted to what boils down to a pissing contest over which gangs gets rights to a certain neighborhood.

Next week, we will look at Kaz I.

#in review #six of crows #ya lit #inej ghafa

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jackoshadows · 3 years

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What are your thoughts on Jon-Bran-Tyrion & their relationship in TWoW & ADoS?

I have read that in GRRM original-idea [?] Jon was to rival Tyrion [because of their love over Arya] as well as Bran for the sake of Northern Power [& Arya apparently too, but not in the same sense??]

[No idea what Bran & Tyrion's relationship was suppose to/could look like, don't think GRRM has mention smth]

That being said, I can get behind Tyrion vs Jon, alright. But Jon vs Bran? How is that suppose to look like/work?

Even if we ignore that they think of each other fondly & miss each other, and that I don't see a reason why this would change all of a sudden... Or that Jon will likely gain the support of the North in TWoW, since he rather fit the "perfect image of an Lord", since he is a able-bodied, traditional [swords-] man, grown & proven as Leader/Lord Commander, has the same education as Robb did, is the eldest Son of Eddard, etc....

[Although I guess Lords like Manderly could prefer Rickon, so they can grap power as his custodian/regents? And the whole being-dead-but-not-anymore-&-what-about-the-oaths thing could be a little tricky & stuff😅] while Bran will likely remain longer behind the Wall, won't be able to rally allies & bannermen [Althouse I have read the speculation of Bran, The Blizzard and The Battle of Ice, my main concern is again the pacing:where Bran's plot seems on overdrive, while Jon's & all those around & in Winterfell are on hold in order for Bran to come back. It's the same problem for me with all those "speculations" about Dany & arriving way to early in Westeros] ...

But the thing that makes it so unbelievable for me is: the fricking age gap?! Put aside their feelings for each other, who is more likely to gain poltical support & all of that, Bran will be like 11 & Jon 18-19? Like... a rivalry between a elementary school student & a high school graduate? 😂🙊

I think for certain that there will be some kind of conflict between Jon and Tyrion. Them shaking hands on the Wall and calling each other friends is foreshadowing a friends to enemies arc, IMO.

As for Jon and Bran, it's hard to see this happening, but I am not ruling out the possibility - meaning that I won't be surprised if it happens. As you mentioned, a Jon/Bran rivalry/bitter estrangement was one of the major parts of the story in the original outline.

By the end of A Game of Thrones,------------------------------------- ---------------------------------g--------------- onto the iron throne with a bit----------------premature death, Bran sits free.--Yet his seat is hardly a comfortable one. In the North, Jon Snow is his bitter enemy. Beyond the narrow sea, Daenerys Stormborn prepares her invasion and on the far side of the Wall, the others are watching with cold dead eyes and gathering their strength.

Can this still happen? I think so. I have always said that GRRM likes his themes of dysfunctional families, conflict among family members and the human heart in conflict with itself and again, I don't see why the Starks should be the exception.

But I think it is a mistake to generalize about “the Westerlings,” just as it would be to generalize about “the Lannisters.” Members of the same family have very different characters, desires, and ways of looking at the world… and there are secrets within families as well.

GRRM SSM, May 01, 2001

The reason Sansa even exists as a character in the first place is because he wanted family conflict among the Starks.

Arya was one of the first characters created. Sansa came about as a total opposite b/c too many of the Stark family members were getting along and families aren’t like that.

Why would Jon and Bran have a rivalry? That I cannot speculate on, yet. We still have a lot of story to cover. But in the next book, my speculation is that both Jon and Bran would have changed a lot.

Bran is the current Lord of Winterfell/Heir to the North/Robb's Heir and King in the North. Robb's decree legitimizing Jon Stark could be a possible issue between them.

GRRM has said that death and resurrection changes a person and Jon is going to be spending time in a wolf. A resurrected Jon Snow coming back more wolfish and more hungry. Remember this?

He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. It was a hunger inside him, sharp as a dragonglass blade. A hunger … he could feel it. It was food he needed, prey, a red deer that stank of fear or a great elk proud and defiant. He needed to kill and fill his belly with fresh meat and hot dark blood. His mouth began to water with the thought. - Jon, ASoS

GRRM ties in his desire for Winterfell to a deep hunger that then connects to Ghost - his hunger for Winterfell intermingling with Ghost's hunger...

Remember the kings in the North of yore, like Ice Eyes. I doubt Jon Stark is going to hold back much. He's going to be doing some really messed up stuff.

Meanwhile, Bran's heavily involved in the magical stuff beyond the wall. Has connections to Bloodraven, the Children of the forest, can influence timelines (Hodor), unearth past truths and will be one of the most powerful greenseers. Blood sacrifice and human sacrifice is a big part of the dark magic of the north. Maybe they fight over how to defeat the Others? I think Bran's connection to the children of the forest is how they win again this time around - and his relationship with Jon suffers because of that?

Bran ends up King on the Iron Throne and Jon Snow ends up in the lands beyond the wall - just the opposite of what we would expect for these two characters considering where they are now and what we know of them (R+L=J) etc. How does this happen?

Anyways, according to GRRM, TWoW is a very dark book and if there is a Jon-Bran rivalry, we may see the seeds of it being planted in this book.

There are a lot of dark chapters right now in the book that I’m writing,” he said during a Q&A at the Guadalajara International Book Fair, according to Entertainment Weekly. “It is called The Winds of Winter, and I’ve been telling you for 20 years that winter was coming. Winter is the time when things die, and cold and ice and darkness fill the world, so this is not going to be the happy feel-good that people may be hoping for. Some of the characters [are] in very dark places.”

This is why I find all the Dark!Dany stuff slightly hilarious. Is Dany going to do things that go against the Geneva conventions (lol) in the next book? Yeah, I think so. She is going to come back from her sojourn at Vaes Dothrak and be like I have had it with these effing slavers and go all Aegon the Conqueror on them (About time I say, she should have done it a while ago). But I am pretty damn sure most of our characters are going to become darker in the next book. Tyrion is already on a downward spiral, Jon will surely go on a rampage against the Boltons, Bran most probably eating Jojen paste over there and learning dark magic, getting taught by Bloodraven, Sansa participating in the slow poisoning of her little cousin in the Vale and have you read Arya's Mercy chapter? That stuff is dark.

As for the rest, I think we should ignore the age gap like GRRM is planning on doing ( GRRM sees his young people as adults anyway - "Arya has the experiences of a 40 year old, If a 12 year old has to conquer the world then so be it" etc.) and I do think he will include some time gaps in the next two books allowing for travel etc. I am pretty sure Arya will end the books at 14.

Bran, Dany and Arya's plots have to be in overdrive in the next book out of necessity. Bran has to advance a lot in his plot, be used to build up the Others as a big threat, give us more info about the Children, Bloodraven, what is actually happening, Hodor etc. - there's just so much stuff here that GRRM has to write. Same with Dany. Dany has to wind up in Meereen, land in Westeros and start her campaign. Same with Arya. I think that's why they will get the most chapters, and time in the next book.

#Jon Snow #Bran Stark #TWoW speculation #ADoS speculation #asoiaf

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bewitching-elizabeth-olsen · 3 years

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Press: A Thorough Breakdown of All the Marvel Easter Eggs on WandaVision

POPSUGAR: WandaVision has finally arrived, and it’s chock-full of hidden goodies for Marvel fans to devour! While the series is built upon a mystery that we’ll be spending a reported nine episodes trying to figure out, the smallest details in each episode provide clues on where the show is heading. From supermarket banners to foreboding commercials, viewers have an abundance of references and callbacks to classic comic lore and pivotal MCU moments. Are they setting the stage for a big reveal at the end, or are they just fun details included for fans to enjoy? While we try to figure it all out, scroll through to see what we’ve gathered! And check back every week for an episode-by-episode breakdown as WandaVision progresses.

WandaVision Episode 7 Easter Eggs

The episode opens the morning after Wanda has expanded the border of the Hex, finding the Avenger hiding from the world under her comforter. The comforter in question has a hexagon pattern, which is both a nod to the overall theme of the show as well as a metaphor for how Wanda is literally hiding away under a hex.

Billy and Tommy run into the room to reveal that their video game console has been messing up. Everything in the house is glitching, trying to transform back to earlier versions of themselves.

Billy also tells his mother that his head hurts and things are “noisy.” Since the twin inherited his mother’s ability to read minds, it seems he’s able to hear the thoughts of everyone in the bubble (and near it on the outside, since he was able to hear his father when he was dying). It’s a sign that Billy’s powers are growing, which means we could see the little boy reach his Wiccan potential before the end of the season.

Wanda wanders into the kitchen as the news drones on in the background. The news station is called W.N.D.A. or Wanda. The newscaster makes pointed comments, noting that there’s “not a thing weighing heavily on your conscience,” and that they “hope your little ghosts arrived home safe last night. It’s always such a treat to see those creepy kiddos out and about once a year.” The comments refer to Wanda’s building guilt at her actions in the previous episode and the rare appearance of children during the Halloween episode.

As Wanda makes her breakfast of “Sugar Snaps,” a nod to the big Snap of the universe, her milk carton reverts from its modern design to the old school glass bottle and back. The carton has a missing person’s ad on the back with a picture of a little boy on the back. This could be a reference to the oft-mentioned absence of children of Westview, and what could have happened to them.

Wanda and the twins “break the fourth wall” frequently to talk to the camera in the same vein as Modern Family.

This week’s theme song sounds similar to The Office’s, which also usings talking head segments like Modern Family. The opening credits are similar to the show Happy Endings and allude to the show’s focus on Wanda, even attributing the creation of WandaVision to her with the title image. Vision is notably completely absent from the opening credits, but there’s a clue that someone else is watching in a message that reads, “I know what u are doing Wanda.”

Agnes stops by to take the boys off of Wanda’s hands, which the exhausted mother is exceedingly grateful for. The twins are visibly uncomfortable with the idea, with Tommy asking Wanda if they have to and Billy telling his mother that someone has to stay to take care of her. It seems like they can sense that something is off with their “kindly” neighbor.

Wanda sends them off with Agnes, but once they’re gone, her magic goes incredibly haywire. All the furniture begins glitching again, with the stork from the painting in episode three making a reappearance. “I don’t understand what’s happening,” Wanda laments during a talking head segment. “Why it’s all falling apart and why I can’t fix it.” The off-screen interviewer responds, “Do you think maybe it’s what you deserve?” which visibly unnerves Wanda, who notes that they aren’t supposed to speak. It’s another sign that Wanda does not have as much control as she’s been led to believe.

Cue the sixth commercial, and it’s even more pointed than any of the others have been. It’s an ad for the antidepressant Nexus, for “when the world doesn’t revolve around you. Or does it?” The drug allows people to anchor themselves to the reality of their choice with side effects that include “feeling your feelings, confronting your truth, seizing your destiny, and possibly more depression.” Whew, the pointed commentary is even making me sweat. Nexus is a nod to two things: Wanda’s crippling inability to deal with the trauma she’s been through and her depression that’s pushed her into the creation of Westview, and two Marvel comics concepts. The first is the Nexus of All Realities is a kind of gateway point between dimensions from which all universes in the multiverse can be accessed. (Remember, Wanda’s next reported appearance is in Multiverse of Madness.) The second concept is the existence of Nexus beings, people who have powers that can alter reality, probability, and the Universal Time Stream. Guess which two Westview residents are considered Nexus beings? That’s right, Wanda and Vision! The commercial can either be just a cheeky nod to the couple’s seemingly infinite power or an allusion to the bigger picture that WandaVision is leading to.

While Darcy and Vision are attempting to make their way to the house, the doctor gives the synthezoid a brief rundown of his origin story, explaining how he died twice in an attempt to save the world. Vision points out that it seems like someone is trying to keep him from getting home, which spurs him to fly off, leaving Darcy behind in the blocked truck.

Billy and Tommy are watching Yo Gabba Gabba in Agnes’s lowkey creepy home. (It tickles me that Yo Gabba Gabba is more canon in the MCU than the X-Men or Fantastic Four right now.) While Billy pets Agnes’s bunny Señor Scratchy, he notes that he likes being around the older woman because he’s unable to hear any of her thoughts. “You’re quiet inside,” he says, an allusion to the idea that Agnes can hide her thoughts from him because she has magic.

Back outside the Hex, after the super-rover isn’t able to penetrate the field, Monica decides to run through it again. As she struggles through the barrier and we watch her, a montage of dialogue from Captain Marvel plays. The voices of Maria, Nick Fury, and Carol play over Monica getting through, and as Captain Marvel says “when they were handing out little kids, your mom got the toughest one,” Monica she pushes through to the other side. She lands in the stereotypical three-point-stance of all Marvel heroes, and her eyes glow, showing that she can see energy. We just witnessed the rise of Photon, folks! (Or Spectrum or Pulsar.)

Monica confronts Wanda in her home, and as their fight spills onto the lawn, the residents of Westview watch from their own homes. The delivery man is wearing a “Presto Delivery” uniform, a reference to the magic words said by magicians before they pull a magic trick.

In the first blatant show of Agnes’s ulterior motives, the older woman stops the fight when she realizes Monica is getting through to Wanda and pulls the young mother into her home. But when Wanda gets there, she notices the green bug and rabbit in the living room and the lack of her sons’ presence. When she asks Agnes where the boys are, she’s told to head to the basement, where the big showdown occurs. The scene hints at the eventual disappearance of Billy and Tommy.

Wanda notices a book on an altar, which could be the Darkhold, also known as The Book of Sins, The Shiatra Book Of The Damned. Originally a collection of papers known as the Chthon Scrolls, the book contains all the spells and ideas of the evil Elder God known as Chthon. The book is a conduit for Chthon’s power and can open a doorway from Earth to Chthon’s dimension. If that book is in Agnes’s basement, it stands to logic that she may be working with the evil god. The Darkhold emits an orange glow, which is a distinctly different color than the purple of Agatha’s magic.

Speaking of magic, Agnes finally reveals herself as the witch we’ve known her to be. Although the show tells us that “it’s been Agatha all along,” it still doesn’t ring completely true. There’s definitely more at work than just Agatha’s magic.

In the mid-credits sequence, Monica is caught snooping in Agnes’s backyard by Pietro. Her eyes seem to glow purple, the same color that signals Agatha’s magic. Does this mean she’s now under the witch’s spell?

WandaVision Episode 6 Easter Eggs

The opening credits for episode six seem to be a tribute to Malcolm in the Middle, which ran for seven seasons between 2000 and 2006.

The entire Wanda and Vision family wear their comic book character costumes for Halloween.

There’s another reference to Thanos’s snap as Director Tyler Hayward talks about dealing with the repercussions of all the people “who left.”

The terrifying Yo-Magic commercial seems to foreshadow Vision’s future. Even though Wanda was seemingly able to bring Vision back to life, it looks like he won’t stay alive for long as it’s implied that he can’t exist outside of the Hex later in the episode.

Blink and you’ll miss the fun Disney movie Easter egg on Westview’s movie theater. The sign outside the theater shows a double feature of The Incredibles and The Parent Trap. Connecting right to Wanda’s family, The Incredibles is about a family of superheroes, while The Parent Trap is about a pair of long-lost twins reuniting.

Wanda’s changing accent has been brought up countless times by fans, and in episode six, Pietro makes a slight reference to it when Wanda asks, “What happened to your accent?” to which he quips, “What happened to yours?”

There is another reference that Agnes is actually Agatha Harkness as she is spotted wearing a witch costume on Halloween.

It appears that Vision has no memories pre-Westview, as a conscious Agnes tells him he’s one of the Avengers, and he has no clue what she’s talking about.

The episode further hints at Monica’s powers as Darcy confirms that the Hex rewrote her cells on a molecular level.

A few interactions between Pietro and Wanda have fans wondering if he might actually be Mephisto in disguise. Not only is he fully aware about Wanda creating Westview, but he makes several references to the devil and hell throughout the episode.

WandaVision Episode 5 Easter Eggs

Wanda and Vision’s brand new house, suitable for a family of four, is reminiscent of homes in ’80s sitcoms such as Full House and Growing Pains.

When Agnes comes in to offer her babysitting help, she refers to herself as “Auntie Agnes,” which is eerily close to her comic counterpart’s nickname, Auntie Agatha.

An uncomfortable break in conversation leads Agnes to ask Wanda if she wants her to “take it from the top.” Though Wanda appears confused for a moment, she readily smoothes the conversation and carries on. Vision is visibly perturbed, though Wanda attempts to redirect his attention. It seems like the facade is fading all around.

To the surprise of their parents, Tommy and Billy age up five years while the two argue over Agnes’s break in character.

This episode’s opening sequence shows Wanda and Vision growing up, which we know didn’t happen in real life for the synthezoid. The theme song sounds very similar to those from Family Ties and Growing Pains, and consists of lyrics noting that “we’re just making it up as we go along.” Sounds pretty close to how things are going with Wanda and Vision!

When Wanda’s scans come back, they’re inconclusive and show up blank. Considering Monica gains her powers due to bombardment by extradimensional energies in the comics, it’s entirely possible that the blast from Wanda back in episode three, coupled with passing through the forcefield around Westview twice, have given her those abilities. We could be seeing the rise of Photon!

While Jimmy Woo is explaining Wanda’s backstory to the agents of S.W.O.R.D., Director Hayward asks if she’s ever used a “funny nickname” like the other Avengers. She hasn’t, in fact, she’s never been referred to as Scarlet Witch in the MCU ever. Since her powers are different from her comic book counterpart, there’s never been a reason for anyone to call her a witch.

That never-before-seen post credits scene from Infinity War has officially made its debut. Director Hayward reveals footage of Wanda entering S.W.O.R.D. headquarters to steal Vision’s disassembled body. The video harks back to a moment in the comics where Vision was kidnapped and taken apart — but still very much alive. Much like that Vision, the one in Westview has his memory wiped and doesn’t remember anything before he woke up in his new world. So, the question is whether Vision is actually alive or not. Wanda’s hallucination from episode four might suggest he’s a walking corpse, but there’s more to the story.

Jimmy mentions that Wanda’s stealing of Vision’s body violates the Sokovia Accords, which haven’t been mentioned since Captain America: Civil War. Unfunnily enough, the Accords were a direct response to the mission gone wrong in Lagos where Wanda lost control of her powers and caused the death of many civilians.

Darcy mentions that Vision is playing “Father Knows Best in Surburbia,” referencing the ’50s sitcom.

Tommy and Billy find a dog that, with the help of Auntie Agnes, they name Sparky. The Vision family has a dog with that exact name in the King and Walta comics, but he’s green. Sadly, he meets a similar fate as his live-action counterpart.

Wanda blatantly uses her powers in front of Agnes, who has seemingly handled the magic around her with ease. It’s almost as if she’s used to magic.

Darcy calls the Westview anomaly the “hex” because of its hexagonal shape. Although the magic has been taken out of the phrase, Wanda’s powers are known as hexes in the comics.

Jimmy, Monica, and Darcy try to understand how Wanda can revive Vision and control the Hex, which takes much more power than she’s ever displayed before. Monica notes that Wanda has always been powerful, being the only Avenger who was close to taking down Thanos singlehandedly, which Jimmy interjects to note that Captain Marvel could as well. Both are empowered by Infinity Stones, with Carol’s Kree biology giving her a power boost.

When Jimmy brings up Captain Marvel, Monica is visibly uncomfortable and changes the subject back to Wanda. What happened there?

Vision’s office mates learn about the sweet glory that is dial-up internet! But when he and Norm open their first bit of electronic mail, it’s a transmission picked up from S.W.O.R.D. talking about the Maximoff anomaly.

Vision breaks through Norm’s conditioning, revealing that he’s under the control of a woman (alluding to it being Wanda). He directly references his family, a conversation that Jimmy mentioned in his notes in the last episode.

The twins have aged themselves up to 10 by this point and are seemingly completely aware that Wanda has control over certain aspects of life, like time. They point out that it was Saturday when they woke up, but Wanda says it’s now Monday. She apparently changed the day to send Vision to work. Is their awareness because they also have magic or because she doesn’t control them?

Monica sends an ’80s drone into Westview after working out that Wanda’s Hex is rewriting reality to suit each era occurring in the bubble, and the drone would need no era-appropriate change. Though she attempts to speak with Wanda through the drone, Director Hayward commands agents to fire a missile at Wanda instead — directly ignoring that Monica said she doesn’t see Wanda as a danger. The action results in Wanda leaving the Hex and confronting the S.W.O.R.D. agents outside. She’s wearing the suit we last saw her wearing in Infinity War and Endgame and has her accent back, although it’s much thicker than it’s been since Ultron.

Episode five’s commercial is more pointed than any of them have been. Lagos brand paper towels directly reference the city in which Wanda accidentally killed several people in Civil War by blowing up a building. Thus, the Sokovia Accords were born.

While Wanda and the twins are searching for a missing Sparky — with no one calling out the fact that Wanda disappeared for some time — the mailman tells the boys that their mom “won’t let him get far.” It seems almost like a dig at how no one can leave Westview, like the doctor mentioned during episode three.

When Agnes reveals that Sparky died after eating too many azalea bush leaves, the boys ask their mother to reverse his death. Agnes seems particularly surprised by the idea of Wanda having that ability despite having seen other displays of her power and watching the twins age up rapidly twice. Wanda tells the twins that they can’t reverse death as there are still rules to things, which almost seems hypocritical considering her circumstances. Is she trying to say that she hasn’t revived Vision? Or is she simply trying to keep her boys from expecting too much from her?

Later that night, Vision reveals that he unearthed Norm’s repressed memories and demands to know what’s going on. He tells Wanda that she can’t control him, which she cooly responds asking him, “Can’t I?” Although the credits start rolling, their argument continues as Vision unleashes his frustration with not knowing his past and his confusion over their circumstances. Wanda tells him that she doesn’t control everything, saying, “I don’t even know how all of this started.” Vision believes it began subconsciously, but chastises Wanda for letting it get that far. Wanda reiterates that she isn’t controlling everything, which gives weight to the theory that there’s someone else behind the scenes. But who could it be if Wanda isn’t the “she” that Norm was referring to?

Mid-argument, the Vision family doorbell rings, which Wanda states she didn’t do. I’m inclined to believe her because when she opens the door, she is genuinely shocked speechless. At the door is her “brother” Pietro, now sporting the face of Evan Peters. Darcy asks the question we were all thinking as the episode closes, “She recast Pietro!?”

WandaVision Episode 4 Easter Eggs

This episode opens with the heartbreaking reveal that Monica Rambeau was one of the people lost to the Snapture from Infinity War. She returns from Endgame’s Reverse-Snap in a hospital where she had been awaiting news after her mother Maria’s surgery.

As Monica is waking up, we hear familiar voices echoing in her head. It’s Captain Marvel calling her by her childhood nickname, Lieutenant Trouble.

As Monica weaves through the chaos of people reappearing in the hospital post-Reverse-Snap, she finally locates someone who recognizes her. Although Maria survived the surgery five years ago, she died from cancer three years ago in real time, having not been blipped with her daughter.

We finally have some information on S.W.O.R.D.! The acronym stands for Sentient Weapon Observation Response Division, rather than the meaning in Marvel comics, which is Sentient World. It sounds a little more ominous, right?

Maria’s badass legacy continues well past her friendship with Captain Marvel; according to S.WO.R.D.’s acting director, Tyler Hayward, Maria helped build the agency during its inception. She was the acting director until her death.

Tim gives Monica a mission to help out the FBI in the town of WestView, NJ, where something super freaky is going on with a missing person’s case. This confirms that WestView is, indeed, a very real place.

Welcome back, Jimmy Woo! Monica’s FBI contact is none other than Scott Lang’s parole officer and semifriend, Agent Jimmy Woo.

Jimmy reveals that a person in witness protection has somehow dropped off the map in a town that no longer seems to exist where no one recalls anyone who lived there. In an attempt to figure out what’s going on, Monica sends in a S.W.O.R.D. drone that vanishes inside the forcefield. It’s revealed to have transformed into the retro-style helicopter that Wanda picks up in episode two! We can only assume that since it’s an item from the outside world, it gained color when it entered Wanda’s reality to show that it doesn’t belong.

Darcy Lewis is back! Now a doctor in astrophysics, Darcy is called to help figure out what’s gone wrong with WestView. She’s the one who figured out a signal for the broadcast and is the owner of the hand we saw watching Wanda and Vision in episode one.

The mysterious beekeeper from episode two is revealed to be S.W.O.R.D.’s Agent Franklin, who journeyed through Westview’s sewers to investigate. His hazmat suit became a beekeeper’s uniform, and the cable around his waist becomes a jump rope as he travels through the tunnels.

Darcy explains that the sitcom that’s become Wanda and Vision’s life is literally being broadcast through the signals that S.W.O.R.D.’s viewing, with an audience and everything. There’s no explanation for how this is happening, but Darcy and company watched those first three episodes just like we did, credits and all.

Darcy also points out that Vision is supposed to be dead-dead, which leaves his presence in WestView still unexplained.

While Darcy and Jimmy can identity a majority of the neighbors we’ve met in WestView to their real-life counterparts, Dottie and Agnes are the only ones who are missing real information.

It’s revealed that Agent Woo was the voice behind the radio disruption, just as we suspected! But while we can see Wanda and Dottie’s reaction to the call, Darcy’s broadcast didn’t show the same thing. She explains that someone is “censoring” the visuals they’re receiving, which means someone knows they’re watching.

Back in the sitcom WestView, we see that Monica’s slip-up resulted in Wanda blasting her through the house and the energy field. It’s the first time we physically see Wanda using her powers again, so she still has them. But the lapse in her facade has consequences — when Vision returns from his talk with Agnes and Herb outside, Wanda hallucinates him as she last saw him in Infinity War, a corpse with his head crushed in.

It’s important to note that Vision seems to become more aware of the strangeness of their world with each episode. It makes sense because no matter how human he may seem, he’s still a synthezoid who has always been able to see beyond the superficial. It harks back to his “birth” in Age of Ultron. He’s omnipotent and always learning.

When Monica lands back in the real world, all she says is, “It’s all Wanda.” That seemingly serves as an answer to what’s going on in WestView, but it’s not a whole answer. Wanda seems just as confused and unaware as everyone else, but she is willing to stay in her “perfect” world. The question is, who put Wanda in the position to have her perfect world?

WandaVision Episode 3 Easter Eggs

Much like the comics, Wanda magically becomes pregnant! But this time around, things are progressing much more quickly, and her doctor isn’t Dr. Strange.

The first of the episode’s weird glitches happens with Wanda and Vision’s neighbor Herb, who is attempting to saw through the brick fence separating the two houses instead of trimming his hedges. When Vision points out that his aim has gone a bit askew, Herb’s detached reaction is a bit creepy. He thanks Vision but keeps sawing through the wall! And unlike the previous weird behavior, there’s nothing that triggers the moment, especially not from Vision or Wanda.

Wanda and Vision contemplate what to name their baby boy, with Vision suggesting Billy and Wanda throwing out Tommy. (The argument becomes moot when they have twins!) These are the names of the pair’s sons in the comic, who later become members of the Young Avengers. In the show, Wanda chooses her name because it’s “all-American,” which is also a fair indicator of why her perfect reality is framed around sitcoms. Vision cites William Shakespeare as his inspiration and uses a quote from As You Like It that seems pretty on the nose. “All the world’s a stage, and all the men and women merely players” seems like a pointed reference to the fact that WandaVision is, in fact, all a show.

Wanda decorates the nursery using Simser brand paint, which is most likely a nod to Jeremy Simser, a storyboard artist for Marvel Studios and WandaVision.

The second glitch appears when Wanda says the residents of WestView always seem “on the verge of discovering our secret.” Vision has a moment of sobering clarity where he notes that something is wrong in WestView, citing the incidents with Mr. and Mrs. Hart and their neighbor Herb. A second after his says this, reality glitches and the scene starts over with Vision seemingly worry-free. The last time this happened with the beekeeper, it was clear Wanda was the culprit in turning back time, but in this case, she doesn’t seem to do anything to force the change. This suggests someone else is pulling the strings.

Wanda mentions that their child could be human or “synthezoid,” a term that originates in the comics. Although fans like to joke that Vision is an android, he’s technically a synthetic human. He’s not made of metal or machinery — in the comics, his body is composed of the bioengineering tech of Dr. Helen Cho, while in the MCU, he’s made of organic tissue mixed with vibranium and “powered” by the Mind Stone.

Vision jokes that Billy will be just like his mom, which is funny because, in the comics, Billy has magical abilities similar to Wanda’s powers. Tommy ends up having superspeed abilities like his uncle, Pietro.

It’s time for the third commercial! Much like the previous episode’s watch promotion, this break references Hydra — though a tad more directly. It’s all about Hydra Soak, and the message is decidedly more pointed than we’ve had before. “Escape to a world all your own, where your problems float away,” the announcer says. “When you want to get away, but you don’t want to go anywhere: Hydra Soak.” Marvel: Agents of Shield fans will recall that Hydra Soak HAS been mentioned on the show. During the series’s Framework arc, Phil Coulson claims that Hydra is brainwashing people using soap, so he makes his own. Is the commercial another sign that Hydra is behind the mystery of WestView? Is it a warning that no one in the town will be able to get away? And what’s that about finding the goddess within?

The actors in this ad are the same ones as the previous ones, Victoria Blade and Ithamar Enriquez. Their recurring presence might mean they have some significance in Wanda’s life. Maybe they’re her parents?

In what feels like an ominous follow-up to the Hydra Soak commercial, the doctor reveals that he and his wife won’t be taking their trip away after all. “Small towns, you know, so hard to escape,” he mutters, pointedly. I think we’re starting to get the hint, folks! Wanda mentions she is a twin and that her brother was named Pietro. It’s been a hot minute since anyone has talked about MCU’s Quicksilver — he made his debut back in Age of Ultron, the same film in which he was shot and killed.

When Geraldine lets it slip that she knows about Pietro’s death at the hands of Ultron, Wanda interrogates her and discovers her necklace bears a familiar symbol — it’s that damn S.W.O.R.D. logo, and Wanda is apparently not a fan.

In another sign that something is UP, Agnes and Herb seem to warn Vision about Geraldine. They note that she’s “brand new” to town with no family and start to say that “she came here because we’re all —” before they’re cut off. It’s worth noting that the two figures that may be MCU versions of formidable Marvel characters are the ones who seem to understand that strange things are going on in WestView. If Agnes and Herb are the MCU’s Agatha Harkness and High Evolutionary, they would definitely be the ones in the know. But why would they try to warn Vision about Geraldine if WestView is a trap?

Agnes is wearing her infamous brooch as a necklace that could be referencing an MCU supervillain mentioned before. The necklace has three figures close together, with the center figure holding what looks like a giant scythe. Is it another clue that the Grim Reaper is on his way?

Wanda literally throws Geraldine out of town — though she tells Vision that she had to run home — and Geraldine passes through what seems like a magical forcefield. While fans have been assuming WestView is a fake town, this shows us that physically, it’s a very real place. But it’s currently bubbled off with a barrier that Wanda can apparently allow people in and out of. And the song that plays as Geraldine finds herself outside the barrier? “Daydream Believer” by The Monkees. It seems pretty appropriate for a situation that feels like a surreal dream.

When Geraldine lands on the outskirts of real WestView, she’s instantly swarmed by cars and agents all bearing the S.W.O.R.D. logo. Since we know Teyonah Parris is playing the adult Monica Rambeau, it’s safe to assume Geraldine was an alias she used to go undercover in WestView. Combined with the mystery agent watching the show within the show from episode one, we can conclude that Wanda and Vision are being closely observed by S.W.O.R.D. for some reason. But they clearly aren’t the ones in control, since Monica is so easily forced out. What will they do next?

While the opening credits of this episode are a reference to The Brady Bunch, it’s the end credits that give us another clue about the big bad coming our way. Just like the previous episodes, Wanda and Vision are framed in a hexagon as the end credits roll. The symbol is so important because it’s the preferred shape of the creators at Advanced Idea Mechanics, or AIM, who are last seen in Iron Man 3. Remember the beekeeper suits that resemble AIM agents’ clothing? It seems like the evil organization might be making a comeback.

WandaVision Episode 2 Easter Eggs

The opening credits for this episode aren’t just an adorable homage to Bewitched but a whole bevy of Marvel Easter eggs! The illustration of the moon happens to be surrounded by six stars, and we can’t help but be reminded of the Infinity Gauntlet.

When Vision phases through the floor, there’s a dark shape that looks exactly like the helmet worn by Marvel supervillain Grim Reaper hidden in the space. In the comics, he’s the brother of Wonder Man, whose brainwaves were used in Vision’s creation.

When Wanda goes to the supermarket in the opening, three references hang above the aisle! Bova Milk refers to Bova, the humanoid cow who raised Wanda and Pietro on Mount Wundagore. Auntie A’s kitty litter is a witchy reference to Auntie Agatha or Agatha Harkness, whom we’ve discussed before, and her cat-like familiar named Ebony. And Wonder Mints is most definitely a cheeky reference to Wonder Man, aka Simon Williams, the superhero who Vision’s brainwaves are based on in the comics!

When animated Wanda and Vision settle on their couch, the small figure on their side table is a statue of the Whizzer. Featured in 1982’s Vision and the Scarlet Witch, the Whizzer thought he was Wanda’s father but later discovers he was wrong. Whizzer and his wife were offered the chance to adopt Wanda and Pietro when they were kids on the mythical Mount Wundagore, but they declined.

When Wanda hears a crash outside the house, she heads out to the front, where she finds a colorful toy helicopter in an otherwise black-and-white world. Not only does the red-and-yellow helicopter have the number 57 stamped on it, but it also bears the S.W.O.R.D symbol! The number is likely in reference to Vision’s first appearance in Avengers #57, while the symbol hints to the presence of S.W.O.R.D outside Wanda’s perfect world.

The creepy, cult-like refrain spoken by the fundraiser organizers of it all being “for the children” seems to be a reference to Wanda’s involvement in the comic event The Children’s Crusade. The story follows her son, Billy, who’s trying to gain control over his reality-warping abilities by looking for a missing Wanda.

Well, here’s another blast from the angsty past! The Strücker timepiece is a very obvious callback to Hydra and Baron von Strücker. The watch bears the unmistakable octopus skull symbol of Hydra, and Strücker is the Hydra leader who recruited Pietro and Wanda for the experimentation that gave them powers. He was later killed by Ultron in his prison cell. Does anyone else hear that ticking noise? Remember good ol’ Herb? In the comics, a character named Herbert is also the High Evolutionary who runs Mount Wundagore, the very same safe haven where Bova delivered the Maximoff twins. Time will tell if the super-scientist is the same character, but it can’t be a coincidence.

Wanda and Vision’s magic show has two gems that we’ve noticed! First thing, the literal Mind Stone happens to be the design on the doors of the Cabinet of Mystery that plays a huge part in their act. Second, Wanda and Vision use the names Illusion and Glamour for their actor, which are also the names of the magicians that Vision goes to see in an issue of The Vision and the Scarlet Witch.

Though we all enjoy a good jam, The Beach Boys’ “Help Me, Rhonda” gets interrupted by someone asking, “Who’s doing this to you, Wanda?” And doesn’t that voice sound an awful lot like Randall Park’s Jimmy Woo?

While it may seem weird that Wanda shows her pregnancy in an instant, it’s in line with what goes on in the comics. Wanda uses magic to help her have children, which checks out since her husband is a synthezoid.

Oooh, that mysterious beekeeper! Not only does their presence lead to the reveal that Wanda has some control over the reality they’re in, but it also sets off some alarm bells. Even though the beekeeper’s suit bears the S.W.O.R.D logo on the back, the costume is reminiscent of the yellow costumes worn by A.I.M., a military science organization founded by Baron von Strücker. Could this be a sign that Wanda is being watched by more than one organization? And is this a hint that Hydra is back!? (Obviously, it is.)

WandaVision Episode 1 Easter Eggs

When Wanda accidentally smashes a plate into Vision’s head, he jokes about his wife and her “flying saucers,” and she comments back about his “indestructible head.” Considering that Vision died after having the Mind Stone ripped from his head, it’s a dark joke to kick off the series.

Vision’s work tie has a visual reference to his comic-book alter ego! In Tom King and Gabriel Hernandez Walta’s Vision, whenever the character dresses as a human, he wears a tie clip that emulates the diamond pattern on his chest.

Vision’s boss, Mr. Hart, is likely named after comic creator Steve Englehart, who created 1985’s The Vision and the Scarlet Witch with Richard Howell, a miniseries that heavily influenced WandaVision. It’s been heavily implied that Kathryn Hahn’s Agnes is the MCU’s Agatha Harkness, a witch who helped train Wanda’s magic back in the ’70s and ’80s.

When Wanda magically saves dinner, the bottle of wine she pours from is Maison du Mépris, which translates to house of contempt or scorn. As fans have pointed out since the trailer drop, this seems like a reference to the House of M comics storyline in which Wanda bends reality into a new world ruled by her family.

The Stark commercial break refers to two things: Avengers icon Tony Stark and his part in Wanda’s dark past. As Wanda and her twin brother, Pietro, explain in Avengers: Age of Ultron, their parents were killed by an explosive Stark Industries device, leaving the twins trapped under rubble. The Maximoffs were trapped by a Stark Industries shell for two days, expecting it to detonate before they get rescued. Even though Wanda eventually fights beside Tony in the future, there’s still some trauma from that experience and her brother’s death. If it weren’t for the Starks, Wanda could have been a completely different person.

The episode closes with a mysterious observer watching the “show” and taking notes on a pad with the logo of S.W.O.R.D. on the cover. For those who don’t know, S.W.O.R.D stands for Sentient World Observation and Response Department and is a subdivision of S.H.I.E.L.D. It’s a counterterrorism and intelligence agency that deals with extraterrestrial threats to world security. Expect to see them around more.

Press: A Thorough Breakdown of All the Marvel Easter Eggs on WandaVision was originally published on Elizabeth Olsen Source • Your source for everything Elizabeth Olsen

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