has this parallel been made before

Mikasa meets the cruel world: Attack on Titan in a nutshell

More intelligent people than me have probably pointed this out long before me, but it still amazes me how much Mikasa’s upbringing truly is a metaphor for the entire series.

We start of with this carefree, peaceful family living in this isolated cabin in the woods, distanced from the outside. A comfortable existence, but their family is well aware that beyond their warm home lie problems: the Ackerman clan is still thought to be prosecuted, and Asians are sought by traffickers for their rare appearance and blood–they’re a different race, and this is useful to some.

And then one peace is interrupted: three men break in, destroying comfort and killing innocent people, and they’re there solemnly because of the physical aspects of the family, their rare appearance. Through this experience, Mikasa lost her hope and will to live, and also got to understand the cruel nature of the world she lived in. 

And then, a sudden event that changed the course of that day. The young Eren Jaeger barges in, takes out the oppressive intruders, and most importantly, restores hope to her. Just like the kidnappers, Eren came from outside of her world…but instead of bringing her more cruelty, Eren brought Mikasa a way to go against said cruelty–to fight back. The world is cruel and brutal and it crushes the weak–thus, the only way to survive is to fight back against the oppression–and that’s what Mikasa proceeds to do.

This precise event can be translated with total accuracy into the entirety of the story–it’s the exact same thing the walled world went through. The walldians lived in peace and comfort (more or less), isolated from the rest of the world, because the outside meant danger for them. We’ve always known this danger to be the titans–the basement taught us the reality though. The entire outside world has a pre-determined relationship with the walldians–not because of who, but because of what they are. Some see them as danger and want them extinct for safety measures, some see them as useful tools for their own purposes. 

Does this sound familiar? Ackermans are prosecuted because they’re a danger to the kings rule, and Asians are sought after because their origin makes them different. Mikasa’s family is a metaphor for all walldians, for all those wanted dead by the world or used as weapons in Marley’s titan army. Their situation is identical too: they live excluded from the outside world, in a pseudo-peace, which is one day interrupted by the arrival of three outsiders (kidnappers, RBA). Through their actions, those outsiders remind the inhabitants of the cruel, oppressive world they find themselves in (a grim reminder). And then, another outsider appears, restoring hope and teaching the oppressed how to free themselves: to fight. This is Eren when he barges into the cabin, and Grisha, originally from beyond the walls. when he entrusts the founding and attack titans to Eren, who would later become humanities hope and, in some way, inspires them to fight back. Both of these stories are perfect parallels.

It’s also definitely not a coincidence that the Eren-saves-Mikasa flashback was included in Isayama’s first draft of chapter 1, in flashback format. All the dialogue about Mikasa being part of a nearly extinct, different race, and Eren telling her to fight back, were there from day one. In the present time she even says that she believes Eren has the strength to overcome the world’s issues and bring hope to mankind–an even stronger parallel between her situation and all of walldia. 

Heck, it certainly isn’t a coincidence either that, during ch 14, primordial desire, aka humanities first ever victory against oppression and the first climax of the story, Eren flashes back to that very moment

On one hand it sets up other humans, aka Marley as antagonists, who’re oppressing Paradis due to the blood flowing through its inhabitants. At the same time, it redraws all the parallels mentioned beforehand by straight up comparing humanities struggle to that struggle in the woods. 

These two panels really affirm everything I mentioned above–Mikasa’s “origin story” is it’s own microcosm that foretells the entire core struggle of the series: Eldians seeking freedom from oppression. And the fact that such an early scene remains a total metaphor to the story even 90 chapters and a ton of plot twists and revelations later, just goes to show how much of a thought out story attack on titan has been for the longest time. 

A Study In Contrast

So I came across this post and I can’t help but be amazed at the play in contrast between Zayn and Liam’s Twitter layout:

Night and Day. Urban and Rural. Black and White. Left and Right. Their icons seemingly gaze into each other.

This was in Nov 2014. Fast forward just over two years (Jan 2017) and it looks like they’ve done it again:

It’s not as blatant as the Twitter layout but the play in contrast is still present. Them seemingly to gaze into each other through their icons has been pointed out in this post but what I’m also excited to discover is that they’ve done it before. And in addition, both their 2014 and 2017 icons bear some similarities with their contrast:

Zayn’s icons both face right while Liam’s are facing left. And in both pics Zayn is wearing a white top while Liam is wearing a black top. And if you take a look at the colored version of Zayn and Liam’s 2017 icons you’ll discover that their pics were taken during day and night respectively!

(So the pic I’ve provided for Liam is not the same as the icon. I’ve discovered that Liam’s icon pic is really set to B&W so for comparison’s sake I chose a colored pic from the same event where Liam’s pic was taken)

Don’t you just love these “coincidences”? 😏😏

A while ago, I had this ask about my Klance parenting headcanons, so here are some more.

  • Child: *babbles something at Keith*
    Keith: Is that so?
    Child: *babbles more*
    Keith: Oh wow! *turns to Lance* what did our child just say to me?
  • Lance is the parent that sees his child do something like run and is like, “I can’t believe my kid is going to compete in the Olympics one day.”
  • The idea of being the tooth fairy kind of freaks Keith out a bit because “What if they’re laying directly on the tooth? What if I can’t find it? WHAT IF THEY WAKE UP?” so Lance has to do it.
  • Lance: No more sleeping in mine and dad’s bed anymore, okay? You’re all big kids now.
    Lance: *lets them into their bed that night*
  • They both like it when they get to spend time with only one of their kids. It’s a way for them to see what they’re like by themselves and let them speak without getting interrupted by another sibling. Every kid gets a day to spend with them every once in a while and do whatever they want.
  • Keith got sad when he realized that it was getting harder for him to carry his kids up to bed because they were getting so big. He wishes they could be babies forever.
  • Imagine Keith jogging while pushing a stroller.
  • Lance gives the best piggyback rides.
  • Lance has definitely used the baby monitor as a walkie talkie.
  • When their first kid was potty training, Keith didn’t understand why Lance would get so enthusiastic when their son would successfully go.
    Lance: Babe, this is a milestone in his life!
    Keith: It’s just poop? It’s kind of gross.
  • When their second son/third kid was learning how to walk, he would only do it if he was supported by something, like a hand or hanging onto furniture to guide him. One day, Lance was sitting in the living room doing whatever and his son crawled in and stared at him for a few moments. Out of now where, he stands up, which he could already do without any support, and runs a lap around the living room without holding onto furniture and darts out of the room. Lance sits there in shock for a few seconds and is then like, “KEITH OUR SON JUST RAN A LAP? WITHOUT HOLDING ANYTHING??”
  • One of the kids has a bug catching phase, so that means they’re bringing in a bunch of containers filled with different bugs and Lance and Keith aren’t too amused, but support them anyway.
  • Keith is the parent that turns on the light while waking the kids up for school.
  • As said in the last post, their daughter is very attached to Keith, so when she started going to school, he felt a little empty because he’s so use to her clinging to him and it was odd knowing she wasn’t there.
  • They were both pretty calm while teaching the kids how to drive. Lance made sure he was the one to teach them how to parallel park because, “I’ve been a pro since day one.” Keith would be silent most of the time except for small comments like, “You should’ve take that turn slower”, “Break a little sooner”, “Pass this person why are they going almost ten below the speed limit”.
  • Imagine Lance rocking a baby in a rocking chair in the middle of the night, humming softly, and looking down at them with so much love in his eyes.
  • Keith has now seen a bunch of Disney movies he’s never seen before because of the kids.

anonymous asked:

What would your response be to ppl saying that Clarke betraying the Grounders in the last episode is exactly like Lexa leaving the skaikru in Mt. Weather? I haven't watched this season so idk all the details of what went down with that bunker business and my hunch is that those ppl (i.e. blarkes) are once again twisting/over simplifying things to demonize Lexa/prop up blarke (they think the purpose of the "parallel" is to bash Lexa and present Bell as the real hero who will "correct" Clarke)

My response would be filled with very impolite words but I’m not gonna do that. Instead, I’m just gonna explain how that parallel not only is wrong, but it’s nonexistent. People are so busy demonizing characters that they miss what the show has been literally screaming at us for a few episodes now.

So, if you pay attention, you’ll notice how evident it is that the parallel everyone is looking for isn’t with Lexa, but instead, with the Mountain Men.

But let me go in order. Throughout this season (and even before if we consider all the interviews on this topic) it has been made clear what Clarke’s approach to the upcoming apocalypse would be: try to save everyone. No more Grounders vs Skaikru, us vs them. She transcended tribalism, as it was repeated more than once. Now, while I do believe this is something Clarke already had in her (not as much as some people in the fandom seem to think, but that’s a story for another post), this progress has been shown as a consequence of her relationship with Lexa. Even ignoring the romantic aspect of it for a moment, they did change each other for the better, and Clarke witnessed Lexa’s vision of unity and peace. 

Now, we get to season 4, and not only Clarke is grieving for Lexa, she wants to honor her as well. Throughout the season, Lexa is mentioned multiple times in relation to Clarke, and in a positive light. To make some examples

– She and her legacy are recognized and honored even by past enemies. (x)

– Clarke wants to try to save not only just her people but everyone, as many as she can. Admirable aspiration, which is recognized as something Lexa believed in as well, something she would be proud of. (x)

– We’re yet again reminded of Lexa’s vision. She made the Coalition. She wanted unity because she wanted peace and safety for all clans. Also in this same scene, Indra mentions that if Lexa were there, the other clans might have followed her, and also that Lexa was the only reason a war hadn’t happened before. So, we see that Lexa’s presence could have avoided several conflicts and problems during such a critical situation. So again, a positive mention. (x)

Now, we’ve seen Clarke being very much in line with Lexa, which has been shown a good thing. But there is another scene Lexa is mentioned in that is worth talking about. The discussion between Clarke and Roan in 405. (x)

The first time in s4 we see Clarke possibly reverting back to tribalism, it is portrayed negatively. Roan literally calls her out. And yes, it was a backup plan, but Clarke’s face during Roan’s speech makes it pretty obvious that there is some truth about her in what he is saying.

Now, why did I mention all this? Because I needed to make clear how Lexa and her vision and her legacy are being showcased. Again, in a positive way. Because what Clarke chose to do in 410 wasn’t influenced by Lexa, it wasn’t a parallel to Lexa’s betrayal in 215. It was a parallel to something else, to someone else. Who?

Dante Wallace. More in general, the Mountain Men.

Honestly, it’s right there. Literally spelled out by the show, and more than once.

Clarke has good intentions. We’ve seen it throughout the season. But also the apocalypse is coming and the stakes are insanely high and she keeps on losing hope. We see how all this is taking a toll on her, how it’s literally eroding her, and the harder it gets the more she slips back into a “we have no choice” mentality. We’re not supposed to see that in a good light. We’re supposed to be disturbed. And here comes the negative parallel. 

First, episode 408. Clarke decides to test the nightblood and radiation on the grounder scavenger, finding some sort of moral consolation in the fact that he’s a horrible person who tortured Emori (she doesn’t know it’s a lie). When the truth is revealed, Emori is chosen as the next one to test/sacrifice. This time, Clarke has no excuses. Nothing other than humanity will die if they don’t find a solution. Now, what other people would have been doomed to death (by radiation nevertheless) without committing unspeakable acts in order to ensure their survival? That’s right. The Mountain Men. The parallel becomes even more evident when Luna refuses to give them other bone marrow and they knock her out, strap her down and take it by force. As Raven says (x)

In this particular case, the final outcome is less grim than it could have been. Clarke doesn’t go all the way, she decides to inject herself instead of doing it to Emori. Through the episode, we see her being plagued by what she is about to do. She can’t even look at Murphy, we see her doubting her own choice, meditating on it. And eventually, she chooses not to do it. I don’t think it’s a coincidence that she ends up changing her mind after Roan mentions Lexa. Lexa is a reminder of what she’s been trying to accomplish, of who she’s been trying to be. At least, that’s how I see it. 

And once we get to Clarke injecting herself, she repeats Dante’s words. “I bear it so they don’t have to.” In doing what she does, she retains some of her morality, but also, it’s the first sign of the direct correlation being established between Clarke and Dante. When you think about it, she is doing what he was planning to do if his people had eventually left Mt Weather. He wanted to stay inside, to sacrifice himself. Here, Clarke is sacrificing herself as well.

And finally, we get to 410. Clarke’s “transformation”, so to speak, is complete. Now, I’ll try to make this as evident as possible going step by step.

  1. At the beginning of the episode, she’s still holding on to her plan/ethic (we have to try to save everyone). 
  2. Enters the threat of Luna.
  3. Jaha instills fear about the death of their people.
  4. Clarke initially ignores it and goes to talk to Roan but he won’t listen.
  5. Clarke makes up her mind and decides to steal the bunker.

This is 410. Now look at 215, from Dante’s perspective.

  1. Dante has been refusing to have any part in the killing of the 48, which means he’s holding on to his ethic. 
  2. Enters the threat of Lexa and Clarke, ready to break into Mt Weather with an army.
  3. Cage instills fear about the death of their people.
  4. Dante initially ignores him.
  5. Dante changes his mind and suggests a plan to save his people (deal with Lexa)

It’s so incredibly linear. Clarke and Jaha become a mirror image of Dante and Cage. And to make sure it’s clear, at the end of the episode, Octavia literally says

This is the parallel. This is the negative influence. Lexa is nowhere to be found here, if not in the fact that by doing this, Clarke, who wanted to honor Lexa’s legacy, is now literally betraying it. She has turned into what used to be the Grounders’ and Lexa’s greatest enemy. 

That’s it. This is what I think that scene and Clarke’s arc are supposed to mean. To analyze it further, we can only wait for next episode, when we’re going to see the repercussions of this choice and we’re probably going to delve into Clarke’s psyche much more.

In regards to Bellamy, again, I think the best thing to do is to wait for the next episode to air and then see.

But this is my answer. I hope I made my thoughts clear enough.

Raw, Untamed, and Truly Special.

The official trailer for The Last Jedi pushes Rey and Kylo Ren’s connection to the forefront.

The video begins with a focus on Kylo Ren. Snoke is speaking praises to him.

“When I found you, I saw raw, untamed power.”

Snoke had targeted Ben/Kylo Ren before he was born, and in the novel, he goes on in much the same way as he does here, telling Kylo that he is something strong, pure, and unbreakable, made from both the light side and the dark – raw, untamed…  essentially untouched – he claims Kylo as his to sculpt into a masterpiece.

Fade out and back in, and Snoke’s focus shifts.

"And beyond that…”

Beyond that, there is Rey whom Kylo’s DESTINY is said to be intertwined with.

Although it’s been stressed repeatedly that they’ve never met before, that they are separated by worlds, circumstances, and years, they do share “…something truly special.”

Described by Star Wars’ official Databank as a "mysterious/strange connection,” not just Snoke, but Luke also recognizes Rey and Kylo Ren as sharing in something beyond their comprehension.

“I’ve seen this raw strength only once before. It didn’t scare me enough then. It does now.”

With Luke’s rejection of Rey, more parallels are sure to be made as Rey’s struggle offers a glimpse into the helplessness Ben Solo must’ve endured as a child, a wound that never fully healed.

Evidence of this is given as Rey expresses how lost she feels, that she wishes to be shown her place with a candidness reminiscent of Kylo’s plea to his father, and it is Kylo that is the first to extend his hand despite her violent rejection of him on Starkiller base.

Kylo has been through what Rey is now experiencing. He is aware that Snoke has lead him astray, he is aware that, despite intention, Rey is essentially being left to fend for herself by his family.

Parallels would diverge here, though, as Kylo Ren, unlike Luke and Snoke, actually has the means, the understanding and desire, to help.

“I need someone… to show me my place in all this.”

Rey and Kylo Ren are both isolated by their power, naturally driven apart from others, they’ve either been exploited or abandoned. Rey has longed for a family that never came, and Kylo relegated himself to the company of ghosts.

And although those with the best of intentions have surrounded them both at some point, none of them could give them the sense of belonging both are starved for – they lack the knowledge of how they coexist with the force..

It seems obvious that it is with each other that they could ultimately find  acceptance that exceeds the realms of convention.

I think the deepening of their relationship is all but inevitable.

anonymous asked:

Hello Nipuni, i don't know if you answered that already, but have you ever romanced someone else beside Solas? Your heart ached for someone besides him? The cute & smirky Cullen, the grumpy & polite Blackwall or/and the mass of muscle iron bull?

Hello! I must admit that I’ve replayed the game I think three times and in all of them I make the exact same choices only the mods change haha. I’ve seen all the romances tho! I watched both my partner and a friend play the entire game next to me and they romanced Josie and Sera respectively, then I watched the other romances online. 

My favourite one that isn’t Solas is Sera, it may be my elf bias talking but I really love Sera as a character, I just wish the game didn’t force me to be such an ass to her most of the time because I think she makes a lot of sense, shes smart and cute and well meaning and you learn so much more about her when you romance her, but it felt like the game just wanted me to be angry because she wasn’t eloquent enough or something. 

but I found all the romances very cute!! like a respite from war, still none of them hit me even remotely as hard as Solas romance did. Maybe because it was the first, but it was all questions and riddles, moral dilemas, a lot of lessons and problems, I just found it so so interesting!! 

There is this mythical quality to it, I was already in deep before the reveal but then the story suddenly changes the SCALE so dramatically, you fell in love with a god and he loves you back and everything is terrible and I felt like I was so much more, I was thrilled!! I didn’t see that coming and it was the best turn of events ever!! it made me want to solve all the puzzles find all the clues read all the things!! It also has a ton of my favourite tropes in it, you can draw a lot of parallels and it has endless art potential I’m just so invested it’s been years and I’m just as in love with them as I was before if not more!! I…didn’t mean to write this much I have a lot of feelings _(:’>」∠)_

What was Touka doing at the Hospital?

A lot of people has speculated who was Touka visiting at the hospital in chapter 16, but all could be a trap made by Ishida to make us think in the first place that she was visiting someone.

1) Hide’s possibility:

Unlikely, knowing that at the end of part one his status was ‘‘missing'‘:

Also if it was him, in ch 124 Touka while listening Kaneki would have tell him that he was hospitalized:

2) Kimi’s possibility:

Very improbable based on Nishiki’s reaction knowing that she was working with Kanou, it seems like he has taken the decision to totally distance of her for her safety:

Also knowing how his relationship with Touka is, she would have never go to visit her and put her in a difficult situation.

3) Shinohara’s possibility:

Unlikely too, based on the inexistence relationship between the two of them, even though he most probably killed her father, there are no motives for her to visit him:

4) Random person possibility:

It would be unlikely based on that it hasn’t had any mentions still in the manga.

However, the mystery of the broken mask of Touka hasn’t been resolved, and has been foreshadowed in the Tokyo Ghoul calendar 2016 (i love this calendar so much), so it could have some chances.

5) She wasn’t visiting anyone in the first place:

Most likely, and the clue could be in the original series.

A few chapters before, we can see how Sasaki told Touka that he was an investigator and the mentor of the Quinx:

Maybe Touka without doing anything impulsive, decided to take a look at this people that were living with him (the Quinx), and like that made sure that he was ok and living a peaceful life.

This could result from a parallelism with the same chapter and volume of the original series, where Touka decides to follow the two investigators who caused the death of Ryouko, Hinami’s mother:

Also, that could explain two things, why was the bouquet of flowers really similar to the Shinohara’s one (because she was following them) and also could explain this scene:

In this scene Saiko and Shirazu are talking about how Haise is working still late, and then we can see how she suddenly looks behind him and then remains silent, in the next page we can see how Touka starts walking and leaves the corner:

Saiko could have noticed her presence but decided to do nothing based on her personality.

So in my opinion, there are two big possibilities, she was visiting a random person or she was following the Quinx. However, one thing is sure, she was doing something there and will take importance in the future based on the detail of the panel.



Ya’ll wanna talk about something?

JUST look at these awkward sugarplums trying to introduce themselves ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°)  ( ͡° ͜ʖ ͡°)  ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°)  ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) ( ͡° ͜ʖ ͡°) 

12x22: Raising Sammy and Seeing Dean

It’s review time!!

First of all WOW. What an episode. Berens knocked it out of the park and just… man, I could flail about this forever.

There’s so much to talk about, so I’m going to start off with some broader observations before getting into the real meat of the episode.


  • I liveblogged a little so, check my 12x22 tag for anything I mentioned before but not here.
  • Lol. Roy and Walt. Seriously?
  • Garth is alive!
  • Claire is alive! (as far as we know)
  • Toni: I’m glad to see her gone. Do I feel for her son? Sure, but there was pretty much nothing she could to redeem herself in my eyes. They went WAY darker with that character than I was expecting at the beginning of the season/end of last season and she just gets an all around NOPE in my book. That being said, I did love her rant about how Sam and Dean are action-movie-loving, cheeseburger-eating, American lunatics. And how Dean was just like YEP.
  • Ketch: What a bastard. But he will be missed. Ok, more like DHJ will be missed. (If I didn’t have so many other things I really desperately want for S13 after watching 12x23, I’d be cashing my chip for Ketch’s super sweet Canadian shifter version to join TFW just so we could keep DHJ around.) As much as I disliked Ketch as a psychopath, I really enjoyed his character. I think what made me like him better than Toni, even though they were equally as dark, is that Ketch knew he was an evil bastard…he just didn’t give a shit. Toni somehow thought she was still in the right, still better than the (other) psychopath.
  • Dr. Naomi Umbridge: The fact that she didn’t know the different between Sam and Dean was just a great reminder about how utterly clueless the BMoL truly are. And so much of that is context – they have some facts, but they don’t really see how they fit together. (I’ll talk more about the Sam-Dean thing later.) Also, I am curious to see if the BMoL will make an appearance again – it’s not like they’ve been entirely wiped out, which Hess reminds us of with her phone call.
  • JODY MY QUEEN. Fuck I love this woman probably more than I should (no, that’s a lie…there’s no such thing as loving her too much). I loved all of her moments with Sam and Dean and Alex. Anyone who thinks the brothers don’t need anyone else in their lives can fuck right off because this episode and 12x06 and really every episode she’s been in has been a case study of how having family is a good, grounding, positive influence. (Also, if you want my thoughts on Jody as a “mother”, click here.) 
    • Other Jody moment: A+ having her shoot Dr. Naomi Umbridge. This whole season has been about motherhood, and if anyone says that Mary is the ultimate dark mirror to someone like Jody, well then you haven’t been paying attention to the Kendricks School of the Fucked Up. Dr. Naomi Umbridge is the mother of the BMoL and Jesus did she REALLY fuck up her kids. (There’s a part of me that really wants to compare her to Dench’s M, especially in Skyfall and how that relationship gets twisted, but it’s been a long time since I’ve watched that and I have way more to talk about.)

So…now onto Sam and Dean…

Keep reading

When the witch manifests a compass of the path, standing at Oudeira, and surrounded by Adraxen, ze manifests the present. The witch zerself becomes a focal point of zer current manifestation within space / time, the inflamed ‘now.’ The compass is therein seen as zer current cosmos; with the witch, spirits, and deities evoking, manifesting, and directing energies to determine both how that selfsame cosmos shall change (both now and in the time to come), and where the witch should trod next.

Beneath the witch, both figuratively and literally, lie the dead. To the Stardust Compass, the dead are the pasts: lives, decisions, and unpredictable events which occurred - since the dawn of space / time - to make the witch of the present moment stand in zer compass of now. The realm of the dead contain not merely a single set of events, but each possibility and choice that ever could have been made. While only one sequence of events has led to the witch of the present moment, numerous other choices lead to parallel compasses - alternate worlds spread out across space / time where a nearly identical witch practices zer art… and several where ze was never even born. The pasts contain an ever-expanding web of possibilities stretching back to long before the planet was forged.

As though a mirror to the lands below, when the witch gazes skyward ze finds the innumerable stars of the celestial realm - the futures. Within the Stardust Compass, each individual star is a potential future: a unique life to be lived, if the witch follows appropriate path upon Oudeira. From the compass, the stars can be interacted with to gain wisdom, receive omens, and navigated towards (or avoided) accordingly. Some feel that the stars glow for they are all future reflections of our spirit spread out above us; to others they are each future versions of the Earth, alight with the brilliance of all the spirits traveling upon zer; and to some they are each a spirit, a guardian and guide of that potential timeline. The darkness between the stars is often seen as void of potential futures - whether due to events which didn’t come to pass (e.g.: born in a different part of the world, focused on different subjects or hobbies, etc); futures where the witch (or the planet) ceases to be (or never was); or simply the dark primal void within which all creation once sprang.

Yet, just as a journey to the realm of the ancestors often reveals a relatable landscape unto the witch, so too does the celestial realm. Instead of appearing as the future worlds the witch might expect, ze will often find a beautiful and wild landscape when visiting the stars, a haunting land both strange yet familiar.


Within the Stardust Compass the night sky is seen as a landscape upon which a practitioner can trod - terrain akin to our own, solid and firm, but a world made entirely of pure night. Few structures dot this primal landscape, with it’s majestic, raw beauty taking center stage. Hanging above this midnight land is Moon, and the shimmering blue-green planet Earth.

While the landscape of the celestial realm may manifest as darkness, this is neither due to shadow, pigmentation, nor the lack of illumination - everything is simply made of night. Mountains, rivers, plants, animals, and more appear as pure black. Were the witch to light a candle its flame would burn with the selfsame darkness of the terrain which surrounds it.

This darkness does retreat, however, whenever a celestial is near. The vivid luminance of a celestial causes the landscape to erupt in all directions with the brilliance of a crisp spring dawn.

Braeh Azara

Within the celestial realm, the land itself is known to its denizens as the body of Braeh Azara. The night materia which makes up the trees, birds, stones and more is deified. The land which erupts into light from the presence of a celestial is the flesh, blood, and bone of the stellar manifestation of Ka’braeh Zet. Further, Braeh Azara is known to manifest to those who summon forth the Scarlet Beast amongst stars and darkness - at times appearing in a form made of shadow, nebulae, and stellar flame.


Within this midnight landscape, the celestials thrive. Beings which have been known to take on any shape (though often appearing in animal, vegetal, or humanoid forms), they radiate light from within - displaying a myriad of colors as they so choose. Yet, an Earthbound witch gazing at a star isn’t actually seeing a single celestial, they would be too faint to perceive. In truth, a star as seen from Earth is usually a large gatherings of celestials - be they in towns, festivals, or more. Frustratingly, many celestials have been known to refer to themselves and their kind as ‘stars’ - unsure why it causes Earthly visitors such confusion.

It is suggested that the witch interact with the celestials in a similar fashion to other denizens of the Otherworld. The use of caution, patience, wisdom, kindness, and prudence are all encouraged. Celestials are neither inherently benevolent nor inclined to interact cordially with the witch. Ze is encouraged to be gentle with zerself, as well as the celestials, during the initial engagements.

Celestials themselves are regularly known to retreat, hide, or otherwise obscure themselves long before a witch is able to interact with them. Celestials will occasionally even hood their light entirely, allowing them to move undetected within the celestial realm - causing neither themselves, nor the land around them, to glow. It should be noted, however, that amongst the celestials there appears to be a general distrust for celestials which perpetually obscure their radiance. 

“Never trust an unlit star.”
— Celestial Saying

Radiant Land

While it is true that a celestial casts their own radiance into the world, the landscape surrounding them will often glow as brilliantly as they do. This light is not due to the illumination that they cast, but rather erupts from within the terrain & life itself. Unhindered by natural or artificial barriers, everything from rock to rose will burst with vibrant light when a celestial is near; with the glow lasting long after they have retreated from the space.

Land which one or more celestials regularly inhabit will retain its vivid radiance nigh-indefinitely. Countryside surrounding the home of a celestial, as well as the domicile itself, will glow vibrantly from their continued presence. While a single celestial, viewed from Earth, might not be perceivable - the glowing land of their homestead most certainly would be.

Moon & Sun

Within this midnight land the Sun is never seen. To the celestials, it does not exist. The celestials only know if it’s existence from the tales they have heard over time.

The Moon appears overhead in the celestial realm, often with the self-same phase as the witch would see from zer Earthly vantage point. This placement often means the Moon is seen as existing “between” the celestial realm and the witch’s compass.

This location further emphasizes the Moon’s role as a gate through with stellar energies move during its open (new moon) state, or are muted during its closed (full moon) manifestation. The open gate (new moon) brings the stellar energies closer, increases their potency, and allows for swift travel; and the closed gate (full moon) will cause the celestial realm to become more distant, less potent, or entirely unreachable.


Historically the Ancient Wanderers were seven unique celestial bodies viewable from Earth with the naked eye. The eldritch trait which gave the Wanderers their name, of course, was the fact that they moved against the static backdrop of their luminous siblings. The two headliners were Sun and Moon: massive celestial forces which dominated the night sky both energetically and physically. The remaining five were the planets visible with the naked eye: Mercury, Venus, Mars, Jupiter, and Saturn.

When a witch of the Wandering Coterie visits one of these ancient wanderers, they discover a gathering of countless celestials, all members of a radiant caravan, trekking across the midnight realm as one. Each caravan consist of endless wagons, carts, tiny houses, tents, sleds, huts with animal legs, and things much stranger; all spreading their unique offerings wherever they trod. Not only do the caravan’s domiciles glow with the radiance of their celestial owners, but the surrounding countryside becomes illuminated wherever the caravan roams.

No-one truly knows when the caravans began, nor what celestials were the first to wander the now well-worn path the wagons follow: the Midnight Road. Some celestials will visit a caravan in search of the specific aid being offered, others to marvel at the mystical wonders that travel within, and some will even undertake a great pilgrimage to join a caravan’s wandering ranks. Even today there are celestials who joined their caravan’s companie so long ago they have forgotten when, or why, they did.

The Five Caravans

The swiftest among them, Al’shez Ez’chet (Mercury), is the great traveling bazaar. Its resident stars thrive in commerce and trade, constantly buying and selling exquisite items from whatever stellar regions they pass through. Visitors to Al’shez Ez’chet speak of the endless selection of wares available, from the familiar to the exotic. Be wary, however, for a vendor might disappear the following night - or even if you turn your back! The center of the caravan’s ranks holds vendors selling exquisite items of exceptional rarity, typically with price-tags to bewildering to comprehend.

Na’chay Is’im (Venus) is a orgiastic carnival of lust, love, and indulgence. Ecstasy can be found within every wagon - from fine culinary delicacies, erotic delights of the flesh, or even tents serving the bliss of total solitude. Na’chay Is’im is a caravan focused on quenching one’s thirst, no matter what they long for. This caravan’s center typically manifests as a (consent required) orgy of all varieties. Poetry recitations happen betwixt sexual encounters and culinary delights. Naturally, overindulgence occurs in all caravans - even this one. While some of its pleasures can be deadly in excess, most will simply turn the spirit toxic until they are purged. This painful lesson is a hallmark of Na’chay Is’im - a wisdom that it’s residents have been teaching for aeons.

The banners of Im’sha Poo’el (Mars) offer numerous opportunities for combat. Battles of infinite variety can be found here - ranging from the physical, to mental, or even stranger. Engagements will happen both within the caravan’s ranks, as well as in the surrounding wilds. Travelers tell tales of occasionally stumbling upon dark celestials hiding in the wilds, steathfully hunting their opponents. Masters of every arte can be found here, alongside their eager seekers. Further into the caravan’s core the fighting intensifies, with the center often manifesting as an all out brawl to be ruler a bloodsoaked banner and crown.

The footfalls of Ja’kin Woo’ah (Jupiter) land with a precise, measured stride. Scholars, sages, and mystics alike will wander to this caravan; all students in the artes of order, laws, systems, and their expansion. The witch should understand that this expansion applies in all ways, but most notably that of the spirit and energy. Learning to improve upon what exists, then evolve it, is the binding exploration of this host. While this evolution can often manifest with exponential results, it can also be so explosive that it causes structures to grow outside of one’s control, or even blow up in their face. Deep within the caravan’s core lies a perpetual council editing, modifying, and changing the way the caravan (and potentially the cosmos itself) runs; attempting to perpetually grow and perfect it’s manifestation.

Just as Ja’kin Woo’ah is the caravan for expansion and evolution, Se’jin Za’een (Saturn) manifests limitation, boundaries, and the wisdom which comes from finding (and pushing against) the edges of the cosmos. This caravan moves slowest of all, wagons often barely shifting position as the days roll by. A regular visitor to the caravan’s nearby landscape might believe the space to be a permanent settlement, rather than a moving cluster. One signature method to gain wisdom from this caravan is to recognize, contemplate, and learn from the past. Some even say that if one looks up towards Earth from Se’jin Za’een they can see the pattern which flows from the stars, through the Gate, to the Earth, and beyond that - to the ancestors, their ancestors, all the way back to the creation of the planet itself… and beyond. This star’s core is somewhat of a mystery to those who seek it. Journeys within appear to be unique for each who trek betwixt the wagons; often involving powerful lessons in sacrifice and self-reflection. 

Regarding Gnosis

Naturally, gnosis should guide the witch when meeting the caravans and their denizens. It is notable to remember that while each caravan has its focus, the individual celestials within are unique. Approaching a caravan as though zer population was ‘all the same’ would be a grievous error.

Further, the caravans have been known to manifest in radically different ways to other witches (including, but not limited to: roaming giants, mighty dragons, or  something stranger). No matter how a caravan appears, proceed with care and compassion.


As with any Otherworld location, be wary of any entities in the celestial realm which offer you something too good to be true. While deep magic frequently comes at a steep price, tricksters abound - entities ready to scam any rube for a quick offering. These spirits might be a nuisance, but they also can be lessons in our own ignorance, hubris, greed, lust, etc. As with any spirits, the witch is encouraged to build trust with entities of the celestial realm, forging a relationship of trust over time.


House Through the Caravan

Most caravans move slowly through the celestial realm (save Al’shez Ez’chet, the swift of feet). While each day the caravan moves to a new location, it often hasn’t moved far in comparison to the previous evening. Further, the Midnight Road is both well worn and intimately known to both the caravan’s denizens and the celestials in the surrounding countryside. With this ceaseless march in mind, some intentionally construct dwellings directly in the path of an oncoming caravan. Slowly a caravan will come upon a dwelling, overtake it, then eventually leave it behind as they process towards the far horizon. Each domicile and owner - no matter the size - is always changed by this (with those in the middle of a caravan’s path often changing the most). 

Some homes are destroyed by the passing masses; others metamorphosize so dramatically that they appear nothing like their former selves; and some stay precisely as they are, being treated as an eidolon of reflection for the numerous celestials who pass by. Some homes will remain occupied for the passing of a single caravan, either being abandoned or destroyed after its conclusion. Others will remain, standing strong as caravan after caravan make their way across the home’s threshold.

After a witch has spent time sufficient becoming deeply familiar with a caravan and zer denizens, creating an Otherworld dwelling for its passing can be a deeply enriching experience. Utilize gnosis when determining how far ahead of the caravan the home should be built - be it a short distance, or traveling until the caravan is a speck upon the horizon. Here, after asking permission from the spirits of the place, the witch should construct a structure which feels appropriate based on both the energies of the caravan, and the intention the witch holds for its passing.

Gnosis can be gained during each stage of this praxis, so the witch is encouraged to visit the structure regularly - be it during construction, before the caravan arrives, through its passing, and even after its departure. Take note of changes that occur, both to the self and one’s cosmos, throughout the experience.

Staying Within the Caravan

It should be noted that prolonged exposure to the energies of the caravans can be toxic to the witch (or other spirits) over time. A solitary celestial radiates powerful energies, with groups of them often emanating energies which can be punishingly intense. Short exposures are always recommended - for even “A House Through the Caravan” will change a practitioner. These changes can manifest throughout one’s life - be it body, mind, spirit, or more - with uncontrolled or overwhelming manifestations occurring if the witch is not regularly engaging in self-reflection.

If a witch is exposing themselves to celestial energies regularly, ze is encouraged to perform the Arte of Prime on a daily basis. Further, it is advised that the witch utilizes a journal to track and address any behavioral changes which may be occurring. As with all things, the witch’s body (physical and spiritual) will be the best gauge of ‘what is healthy’ - so regularly check in with it, and act accordingly.

The Future, Manifest

Within the Stardust Compass each point of light above the compass round represents a future, but within the celestial realm the light comes from celestials and the lands they inhabit. This approachable manifestation allows the witch to both experience insight, and gain wisdom, from a part of the cosmos that often feels outside one’s reach - the future. The celestial realm teaches the witch what could be, and whether or not ze really wants to wish upon a star.


So some Danny Phantom phans on slack.com encouraged me to post my rant about natural portals. So now you’re going to be subjected to my rage. Enjoy.

For the sake of my argument, man-made portals like the Fenton portal will be called permanent portals. 

Let me start by saying this: I don’t mind natural portals. It makes sense that there are natural rifts for ghosts to go through other than the main permanent portals. Though, this is another headcanon that can be explored another day, the idea of non-human made portal has been used throughout inter-dimensional travel stories time and time again.  

What doesn’t make sense is the time traveling crap they pulled in Infinite Realms. 

The Ghost Zone works as a parallel dimension to the Human World, which is fine. Really it is. However, your logic in setting a parallel dimension has to be consistent in order for it to work. Before natural portals were a thing, time traveled worked consistently where if it was one time in the Ghost Zone, the same amount of time passed in the Human World. The only time this rule was broken was with Clockwork, but his tower is wonky anyway, so we’re not even touching that. 

The fact that time passes equally for both dimensions is why a permanent portal could be made. It made a consistent, ever lasting portal that ran at the same time as the Ghost Zone and Human World. For the sake of the rest of this discussion, imagine permanent portals as a string connecting the two worlds. They are consistent, connecting, and able to keep the two together because they are moving at the same pace. 

However, because permanent portals work on consistent timelines, the fact that natural portals jump through times disrupts the entire dimensional theory of the Ghost Zone. 


Time traveling portals don’t make sense if the timeline is linear. Think of it as the difference between something be a constant and something being all around you. If time traveling portals were a thing, the Ghost Zone would be omnipresent at any time anywhere and a person could visit the Ghost Zone in any part of either history. So, in theory, Danny could visit the Ghost Zone during Pariah’s Reign because a natural portal from the past could appear. 

However, this means there could never be a consistent time. If a linear timeline is like two objects traveling besides each other then the time traveling portal timeline would be as if the Ghost Zone and Human World were constantly rotating and orbiting each other. There would be moments where a connection could be made, but only briefly. As a result, a natural portal could be created, but as soon as the moment ended, the natural couldn’t exist since there isn’t a place to make a connection. 

This is all fine and dandy, and if done right, could be a cool concept in enough itself. Sure. 

However, again, permanent portals can’t exist in non-linear timelines. 

If a portal is a connection, then permanent portals are like string. Since linear timelines go with each other, keeping the connection is easy. Here’s the issues, natural portals use a rotating model. If you try to use the rotating model with a permanent portal, the string can’t connect since a rotating system would cause the string to tangle or break, meaning, either a permanent would be impossible to make, or if they did manage to make one, disrupt the entirety of the inter-dimensional connection and actually make the world into a linear timeline.   

Basically, in short, you can either have time traveling natural portals with no continuity b/w worlds OR have permanent portals that create consistent timelines between the two. YOU CAN’T HAVE BOTH.  

So yeah, that’s my rant on how the entire dimensional theory of the ghost zone was changed just for one freaking episode and destroyed everything. Hope you enjoyed, and I hoped I explained well. Now excuse me while I go nurse a headache. 

anonymous asked:

I'm kind of worried that the minute Oliver gets rescued they are gonna have him run right to Susan and that they are going to use Oliver's kidnapping and his torture to push him and her closer together even though he realized this past episode that he should never have gotten with her in the first place.

Take a deep breath, sweetheart. I’m going to tell you why that is not going to happen. 

  1. The writer’s know that Susan/Oliver is not popular. There is no way to escape that fact. It’s not just the Olicity fandom that doesn’t like her. She doesn’t resonate with the audience like other characters do. She has the same problem that flashback girl had last season. (I don’t even remember her name that’s how unimportant she was to the story). 
  2. I’m not even sure Carly is still filming. 
  3. Like you said Oliver himself admitted that he shouldn’t have been involved with her. That entire episode he was distancing himself from her while trying to rescue her. He cared about her, sure, but the feelings do not run deep. 
  4. She is (as @eilowyn1 put it) a disposable love interest. She does not matter. 
  5. 5x19 and 5x20 are going to have a focus on Olicity. 5x20 more than 5x19 I’m sure, but that’s okay. Stephen said that all of the scenes he had during 5x20 were with the same person. We know for a fact that this is Emily because he posted a photo with her a couple days before tweeting about the last day of filming for the episode and referencing his scene partner.
  6. They are working towards building this relationship back up. Oliver and Felicity are going to be at ends with each other, but we’re finally going to see what has led to how they’re behaving right now. We’re going to see a parallel to the present that gives an idea of where they are going in their relationship. 
  7. Why do I say that as if it’s a known truth? This season has been heavily paralleling season 3. - the notes i made a couple weeks ago. If they are going down the same path then they are going to at least be beginning a reconciliation by 5x23. 
  8. The Olicity episode is happening during sweeps. They know that this ship is going to spike their ratings just in time for it to really matter. The focus is shifting and pulling away from Susan/Oliver to focus on what the viewers love and what makes the money. 

I also want to say that Stephen stated that Oliver is going to be changed when he’s released. Defeated. He’s not going to jump into bed with someone, that let’s face it, probably doesn’t want to see him again. From her point of view, it probably feels like this is all Oliver’s fault. 

Anyway, breathe, think about the good things, and get hype for Olicity sex.

Headcanon: Samus is trans

My Evidence:

In every flashback to her childhood Samus has short boyish hair and overall an androgynous look.

In the original game it was made a huge secret until the end of the game that she was a girl when she took off her armour, to the point most people just assumed she was a male. This parallels coming out in a few ways, and people had a similar backlash to this that they do to trans people coming out. 

She was raised by basically genderless*  bird alien hippies  who wouldn’t care one way or the other and had super freaking advanced science and medicine that could help her transition. * (exactly one ever has presented female) 

 When she was training to be a soldier her Commanding Officer “Adam Malkovich” would call her “Lady” and she points out that he was the only person who made it sound endearing where everyone else would have been insulting. 

During this time under Adam she also had middle length hair instead of her iconic long golden locks, and has noticeably smaller “assets” than she does nowadays - both things would parallel common traits with transitioning young adults. 

Also if you really want to reach,  Metroid co-creator Yoshio Sakamoto apparently  said in an interview once that Samus was originally going to be male, but they decided to change this to surprise players, so she literally has changed genders before in the series history, even if it was before launch of the first game.

In conclusion I know this isn’t a strong argument but it’s enough for me. I really like the idea and I’m sticking with it as my own personal story. I’m not here to change your mind, but I thought it would be fun to point out my train of thought on this character. :)


Like my father before me.

Toxicity Is Becoming Supergirl Season 2′s Theme

I mean, seriously, though, are they trying to send a very heavy-handed message? Or is it a complete and total accident that so many of the storylines and ships this season end up being really toxic or revolve around the idea of control and consent in relationships?

Let’s look at some of the examples of this. 

Karahell being the most egregious one, of course, but clearly Winn/Lyra is trying to give them a run for their money. I can safely say I didn’t see that coming. 

I actually didn’t particularly care for Winn/Lyra, but that was mostly because of how rushed it felt and how… weird the relationship was. I mean it starts with them just sort-of immediately hooking up after she saves his ass from a beating at the alien bar and they later bond over a book they’ve both read and commitment issues? And then we find out she’s been playing Winn but only to save her brother who got caught up in some bad shit, so while it’s not a good thing to lie in a relationship it is still mostly forgivable given that she was under duress. I just didn’t really understand what I was supposed to be feeling for these two. That they were soulmates? We barely know anything about Lyra and she barely gets any screentime or real personality. She’s just… kickass? Mysterious? Anyway, I didn’t HATE the ship, I just didn’t really like it. They weren’t writing it well and that’s been a big problem this season too, but not the point of this post. 

Anyway, this episode? Dear God, where the fucking hell did that come from? She’s never been outright abusive like this before nor has she ever shown signs of possessiveness. She claimed she had commitment issues back when they started because she didn’t think any human would want to date an alien and then she revealed that she and her brother had essentially been kidnapped and escaped to Earth or something. But she seemed fairly genuine in her care for Winn and didn’t get irrationally angry and violent even in 2x16 when her secret came out and he was running after her with armed agents. 

Has anyone made gifs paralleling the bar scene with Winn/Lyra to the DEO scene with karahell? Because those would be pretty fucking close. Insults and yelling in a public space. Irrational anger and jealousy. Blaming the partner for their own mistakes without taking any responsibility. She gets up and walks away, but she threatens Winn with harm if he’s not out of the bar when she gets back from the bathroom. Man-Ew doesn’t let Kara leave the argument at least twice, though there was no explicit threat of violence or breaking of items the way Lyra does. 

And Lyra never apologizes. You know who is made to feel bad about the whole thing? James. The Black guy. The guy who nobody thought could be a superhero because he’s only human and doesn’t have powers. The guy who has been trying to prove himself as a viable superhero this entire season is now essentially being forced to work with someone who could very easily give him a bad reputation if she hurts someone and he gets blamed for it because no one knows he has a partner or even who Lyra is and he’d be too good to throw her under the bus. Musty-Fail doesn’t apologize for his own behavior in 2x13 either. Not once that I can recall. You know who ends up feeling bad at the end of that episode? Kara. 

Anyway. So that’s that bit. Let’s head over to Lena.

Lena’s had plenty of issues with people she cares about/trusts taking advantage of her/betraying her this season. She’s cleaning up Lex’s mess and trying to keep his company afloat and he sends assassins after her. Lillian is constantly trying to use Lena to her own ends by manipulating Lena’s desire to be loved by her mother. Lionel lied to her about her true parentage. Even Kara is lying to her, whether Lena is completely aware of it or not. I know it doesn’t compare to either of the other two nor is it intentionally hurtful or manipulative on Kara’s part, obviously, but Kara is definitely still lying to her and Lena would have every right to be hurt by that whether she’s in the know or not about Kara’s identity. And now Lena’s forced to see a guy she obviously cared about and loved being literally physically controlled by a person he probably trusted and she can’t even save him. She even nearly gets subjected to his same fate herself, only saved by at the last moment by Kara. 

Add to that Rhea’s entrance at the end of the episode, clearly showing us where Rhea’s plans to end Supergirl once and for all are going to start (and wow, is she keeping an eye on Kara in secret and if so, I kinda love that her first thought to get to Kara is to go through Lena. Not Alex or James or Winn or J’onn, but Lena. Says a lot about how much that relationship has progressed, doesn’t it?). Rhea’s definitely manipulative, so she’ll likely manipulative Lena even more.

Lena’s obviously got plenty of her own agency and she tends to beat everyone who tries to control and manipulate her, but it’s still clearly a reoccurring theme with her character.

Jeremiah, the storyline we all thought was going to be WAY bigger and more important when it was first introduced last season, is being manipulated into hurting people by Lillian in order to keep Kara and Alex safe. He’s been physically changed, probably without his consent, and likely been experimented on and brainwashed in the years he’s been with CADMUS. 

Maggie was forcibly outed to her family and now has severe trust issues which causes her to lie to Alex about her past sometimes.

This theme is just so prevalent this season with the characters and that’s not even taking into account some of the minor storylines that have emphasized control and consent. The alien fight club where J’onn gets forced into being a gladiator against his will? The slaver taking humans to another planet to sell them off? Mr. Mxyzptlk trying to force Kara to marry him? Aliens being forcibly kidnapped and deported (almost)? The musical episode where Kara and Barry are forced to follow a script and can only be saved if specific people kiss them while Kara and Barry are unconscious? Tonight’s episode where the nanobots can heal you instantly but also allow for someone in charge of the nanobots to completely control you?

I don’t truly believe the CW is doing this intentionally to send a message about toxic relationships and control/consent (they’re not good enough writers for that), but it is definitely a pattern I’m noticing this season. If it’s intentional, it damn well better go somewhere really good with a very very very obvious message about how awful karahell and Winn/Lyra are and both of those relationships ending. If it’s not intentional, it’s really fucking ugly and this show is so going down the toilet and there’s really no saving it. 

Beth 2x13/Carl 6x9 Parallel

I’m not sure if this parallel has been made before but I noticed something really interesting during my rewatch of the season 2 finale, Beside the Dying Fire, that I thought was notable.

So as the farm is getting overrun and people are beginning to split up, Beth, Patricia, Lori, and Carol go to get into T-Dog’s car. As they do that, walkers get a hold of Patricia and rip her from Beth, who she is holding hands with. Beth just BARELY gets away, as the grip from Patricia is tight. This reminded me a lot of the season 6 mid season finale, No Way Out, where Jessie getting attacked and is holding onto Carl’s hand so tight that he can’t let go, but he eventually gets free with the help of his father.

This parallel is especially interesting because of the other comparisons that can be made between the two. Beth and Carl both get shot in the head (by accident in both cases, with a shot that was technically meant for someone else, Ron’s was for Rick, and I believe Beth’s was for Dawn). What if all these comparisons are leading us to the thought, if Carl could survive, then so could Beth.

Just something to think about!!

It's Also a Scythe

Remember those gears on Ozpin’s cane?

The only other place we’ve seen gears in a weapon like that is in the mechanism for Qrow’s scythe transformation. I wonder who could have taught Qrow that?

The cane also has a relatively thick handle, with a strange secondary handle that looks like it could rotate around act as a lever in the mechanism*. The secondary handle works as a finger-guard when the cane is being used to parry blows and/or poke the crap out of someone, but that also suggests that if the finger-guard were to move and activate a transformation mechanism, it would probably need to rotate away from its current position, toward the cane end. Otherwise, any blow to the finger-guard, or a mishandled grip of the handle, would risk activating the mechanism.

Rotating the secondary handle downward also suggests that there’s a catch in the circular gear mechanism that would be released to activate the rest of the scythe transformation, and since the wielder would then be holding the cane end of the scythe, the scythe blade would need to be in the handle itself to prevent it from taking the wielder’s fingers off.

Let’s take a closer look at the main handle, then.

It’s an embellished silver cylinder, beveled on both ends, with a golden ring below and a narrower golden cylinder above.

It seems to me, though, with that ring at the bottom (following gravity) and the golden part at the top being flush with the silver part’s bevel, that the silver portion may actually be hollow, with the golden cylinder going inside the silver part and actually comprising the length of the handle. That is, it looks like the silver part may either be wrapped around, or be able to slide along, the handle.

Right now, the handle is too short for any real movement of the silver portion, but I think that’s where the now-activated gear mechanism comes into play.

I think the gears move a mechanism that pushes out the center shaft of the handle, allowing it to telescope outward a bit and revealing a thin scythe blade that is either collapsed into or wrapped around that part of the handle (possibly it’s the source of that bevel on the silver portion). Fully extended, I think the weapon would look something like this:

So, why is Ozpin’s cane “also a scythe” instead of “also a gun”? I think it’s because his cane is very, very old. Given that Ozpin has been around for an extremely long time, he probably made his weapon before Dust-based ammunition even existed.

As a lore bonus: Father Time is often depicted holding a scythe. In addition to the Wizard, it seems Ozpin parallels him quite a bit…

(* imprecise wording from an older draft that I forgot to correct, sorry!)


I haven’t posted a fic here yet.  So here it goes.  This is an “oldie” from AO3.
“Fox, for once, maybe you should just shut up.”

A laugh. A chuff, really. “I have no idea what you are talking about, Mrs. Scully. I just know I need to talk to her.”

“Bill and I… Ahab. We were married for over thirty years you know. Together for two before that. Thirty-five years with the man and it took me nearly half that to realize that sometimes, I just needed to let him talk.”

“Oh, she talks,” he mutters. “I let her.”

“You argue. You challenge. Dana and her father, they both come from the sea. You can’t fight the tide, Fox, any more than you can change it.”

“So you let him talk. He came back, obviously. More times than she lets herself come back to me.”

She smiles as she stands from the kitchen table. She runs her hand affectionately through the man’s hair as she goes to pour him more tea. This irritating man who’s ingratiated himself into their lives, mostly through no fault of his own. “The Captain sailed on big ships, Fox. They were out longer, but in longer as well. And took longer to get underway. Dana’s the same personality on a smaller platform, and you are caught in the riptide. Just let go and you’ll pop up right where you need to be. Try to swim parallel for once.”

He doesn’t speak in metaphors. All he knows is there hasn’t been a day in their lives together they’ve moved in the same direction. Somehow, they both end up on the right path anyway. One phone call, one visit to the hospital, that’s all it will take. He’s convinced her for the past twenty-two years, in one way or another. He will again.He tries. This time she doesn’t come back.


In the end, people never really die the way we want them to; the way we imagine them to die. We can work in or near hospitals our whole lives: doctors, nurses, vendors - but when we sit in the ICU ourselves, on the cold, plastic, hard chairs, circumstances never follow the rivers and currents we envisioned when we imagined how we would cope.

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