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JUST NOTICED LAST NIGHT THAT BUCKY WAS ALSO ON A DRIP IN THE ENTIRE CHAIR SCENE

I know it’s a fucked up scene, I do, but that to me just is nOPE. What the fuck are they putting into his system on top of the mind wiping and the physical abuse and the conditioning. 

The best example of the gulf between Nat and Steve that neither of them see is that Steve would absolutely not read Nat’s file that she shared with the world post-SHIELD, to prove that his friendship with her, and Nat would absolutely assume that Steve had read her file, to prove his friendship with her.

And both of them would assume that the other understood exactly the right choice and acted accordingly, and never even think to discuss it.

Because friendship.

I previously mentioned the Internet Movie Firearms Database in my journal. Full credit for the information in this post goes to the IMFDB editors who contributed to its entry on Captain America: The First Avenger.

Steve’s main weapon is a Colt M1911A1 pistol. In some scenes, he’s shown with an M1928A1 Thompson submachine gun.

Peggy’s preferred sidearm is a Walther PPK. In the final attack on the HYDRA base, she wields an M1928A1 Thompson submachine gun.

Bucky uses a customized, scoped M1941 Johnson rifle to snipe. In a deleted scene, before his capture by HYDRA, he uses an M1903A1 Springfield rifle with a scope.

Gabe’s main weapon is a Browning M1919A4 machine gun.

Morita’s main weapon is an M3/M3A1 “Grease Gun,” a submachine gun.

Dum Dum’s main weapon is a Winchester Model 1897 “Trench” shotgun.

Falsworth and Dernier’s main weapons are Sten MkII submachine guns.

I just had a thought on Steve’s initial argument against the Accords.

What if they send us somewhere we don’t wanna go?

What if they don’t send us somewhere we think we should be?

He already had a point in his life when he knew he could be helping the people who needed it, but was limited to a star-spangled costume and jaunty theme tune. He’s been put on the bench before, and he’s seen people he cared about suffer because of it. If they’d let him out sooner, maybe Bucky and his unit would never have been captured. Maybe Bucky would never have been tortured and hurt and made into Zola’s plaything.

Given the war that Steve fought in, and given that he saw how America hung back until Pearl Harbour happened, I don’t imagine he’s ignorant about how they could end up being put on the shelf while conflicts raged, until they were absolutely necessary. On top of that, he has watched his identity as Cap be used for politicking, to sell war bonds, to encourage patriotism and all that jazz, even after his death.

And here’s a thought: Tony was the one who created and unleashed his weapons on the world. Steve was one of those weapons. It’s the difference between being the seller and being the product. Tony sees it as a quality control. Steve sees it as losing his autonomy and becoming that dancing monkey again.

endgame is so funny bc they said “instead of respecting the og avengers what if we gave them endings that were equivalent to their own personal hells”

Did they ever reveal how Captain America was thawed? Because I’m picturing a bunch of Shield agents with hair dryers and I don’t think that’s quite right.

Yeah tumblr ads fuck hard sometimes

I love tumblr cause every week you'll log on and everyone will be like "it's ploobus frintle day" and you'll be introduced to an obscure character from a 1990s comic

Have a present thing throughout the rest of the comic being small panels showcasing various bug perspectives/her sense with bugs, then the water hits and it’s just her water obscured view with nothing else

Imagining a nice segment of the comic adaptation of the Leviathan fight as seen entirely through Taylor's water obscured lenses as carnage ensues

You’re right and I agree with you but I wanted to try and justify it so this is a quick and not super thought out explanation, it could be him being with Dragon and chasing the Nine are meant to be him at his peak while the Leviathan fight is his lowest point

it’s been pointed out how him being in Brockton was the worst possible option for him, stuck in a dead end position with enemies he’s not really suited to deal with, no one he’s really close to, all his shit with Dauntless and dealing with the recent ABB crisis and everything else, all just emphasizing his worst traits, the Leviathan fight is the bottom of a years long spiral with it being his seeming salvation, getting him respect and removing problems only for it to go wrong

meanwhile him hunting the S9 with Dragon is both him out of that situation but also putting his traits and abilities that got him to that point to full use, he finally has someone he’s close too, he’s making real progress using his abilities (both hunting the S9 and helping Dragon) he’s doing something that will earn him respect and glory but tempered by having Dragon there to reign him in and an actual focus on finishing the job

admittedly him and Dragon are still weirdly similar it is to his supposed trigger event but still this is all just random surface thoughts and probably wrong jut thought i’d try to justify it

i do feel like colins arc is a little weird. i don't have anything against transhumanism as a concept, past finding a lot of transhumanists as People really annoying, but I find it odd that mannequin comes to colin, goes "you and I are the same, and you should do the same thing I did and become less human", and then Colin does, and the story kind of treats it as a value neutral choice. in isolation, i would totally find replacing your body with robot parts to be value neutral, but we're not operating in isolation, we're working with a scenario where the bad guy told colin to do this thing, he does it, and it doesn't... mean anything. in fact, his identity as defiant is meant to be a better version of him, a humbler one, compared to colin as armsmaster. it's just very odd narratively -- it makes me wonder if wildbow is quietly a die-hard transhumanist and didn't want to introduce dissonance by condemning a transhumanist action even in a context where the narrative positions it as part of a corruption arc, or if he had enough transhumanist followers that he didn't want to tick off by doing that (im leaning towards the latter but i dont know when exactly yud recommended worm to his devotees within the storys publishing history)

in addition and separately to that, its super fucking weird that the PRT says that they can't account for colin because he escaped and there's this sense that he's gonna Do something and/or possibly leave the city without knowing about the s9s condition that no candidates can leave the city, only for him to.... literally never at any given point show up during the s9 arcs after his arc 11 interlude

I FEEL LIKE THE INLY REAL LIMITATION IS WHETHER OR NOT IT COUNTD AS AN ARACHNID DUE TI BEING FROM ANOTHER PLANET

COULD TAYLOR CONTROL THE SAND WORMS FROM DUNE?

THEY SEEM TOO LARGE TO HAVE THE INCREDIBLY SIMPLE NERVOUS SYSTEM THAT HER POWER EXPLOITS EVEN IF IT'S SIMPLE RELATIVE TO THEIR SCALE SO I FEEL LIKE NO BUT I WOULD BE OPEN TO ARGUMENTS OTHERWISE

You could also tie in two other common tropes with the whole “Superman-esq is trying to contain all these guys” which is the whole no kill rule everyone follows and how villains constantly break out

Basically the Superman knock off purposely enforced the no kill and purposely tries to make containment not a priority so that way there’s always villains to keep the hero’s distracted so they can’t start enacting facist coups or whatever but it’s a ticking clock of hero’s getting fed up and just putting people down and villainy getting less popular until there aren’t enough villains to keep this system going and it all comes crashing down

sorry for random addition just an idea that popped into my head based around this

A few years ago, there was a thread on r/asksciencefiction where someone was fishing for a superhero story with an inverted Omni-Man dynamic, or a setting where Homelander's initial presentation is played straight- a setting where the Superman figure actually is the paragon of morality he's initially presented as, but no other superhero is- a situation where you've got one really competent true-blue hero standing head-and-shoulders in power above what's otherwise a complete nest of vipers.

Someone in the thread floated My Hero Academia; while I haven't read it, my understanding is that that's not really an accurate read of what's going on with Stain's neurosis about All-Might being the only "real hero," that the point of that arc is that Stain's got an insane and unreasonable standard and that taking an endorsement deal, while bad, isn't actually grounds for execution. My own contribution to the thread was Gail Simone's Welcome to Tranquility, where a major part of the backstory involved the faux Justice-League's Superman analogue having a little accident because he's the only one who thought they were morally obligated to go public with the secret life-extending macguffin that the rest of the team is using to enforce comic-book time on themselves and their loved ones; while only a couple members of the team are directly in on it, the rest are conveniently incurious. And Jupiter's Legacy gets tantalizingly close to this- The Utopian, a well-meaning stick-in-the-mud, ultimately gets blindsided and couped by his scheming brother who creates a superhero junta staffed by a Kingdom-Come-style glut of third-gen superheroes, who are framed as fundamentally self-interested because only came onto the scene after most of the situations you legitimately need a superhero to handle have been neutralized. (The rub, of course, is that the comic is also highly critical of the Utopian's intellectually incurious self-righteously 'apolitical' approach to superheroism- if for no other reason than that it left him in a position to get blindsided by a coup!) While Jupiter's Legacy gets the closest, all three of these are only loosely orbiting around the spirit of the original idea, and there's something really interesting there- particularly if the Superman figure isn't hopelessly naive in the same way as Utopian. Because first of all, if you're Metaman or Amazingman or whatever brand-name alias the writer goes with, and you really earnestly mean it, and you put together a team of all the other most powerful heroes on earth in order to pool your resources, and then with dawning horror you gradually begin to realize that everyone in the room besides yourself is a fascist or a con artist or abuser or any other variant of a kid with a magnifying glass eyeing that anthill called Earth- What the hell is your next move?

Do you just call the whole thing off? Can you trust that they'll actually go home if you call the whole thing off? I mean you've put the idea in their heads, are you sure that they aren't going to, like, start the Crime Syndicate in your absence? Do you stick around to try and enact containment, see if getting all of these people on a team makes them easier to keep on a leash? But that's functionally going to make you their enabler pretty quickly, right? Overlooking "should you kill them-" can you kill them? You're stronger than any individual one of them- are you stronger than all of them? The first time one of them really crosses a line in a way you can't ignore- will that be a one-on-one fight? Are they the kind of people capable of putting two-and-two together and pre-emptively ganging up on you if you push back too hard? Do you just start trying to get them killed, or keep them at each other's throats so they can't coordinate anything really nasty? Can you squeeze any positive moral utility out of them, or is that just a way to justify not doing the hard work of taking them down? There've been works where the conceit is to question the default assumption that Superman in specific would be a good person, and there've been works where the conceit is to question the default assumption that superheroes in general would be good people. Something to be done, I think, with questioning the default assumption that everyone Superman becomes professionally close to would be good, and to explore how he'd handle it if they weren't.

post was probably by @lakesbian they do like all the Alec character analysis’

I'm fricken stupid as hell having these kinds of revelations days after the fact, but I read a character analysis on Alec that tapped into the reason his power is the way it is; that it takes 15 min to an hour to act, can only control a max of 4 at a time and that his nerve map memory imprint thing or whatever that lets him resume control instantly is basically permanent, and how all of that was because he's the kind of Master who only needs a small group to stand up for him and protect him (the other members of his family/HB's cult) vs someone like Taylor's Master power where she needed minions that could be found everywhere, which could watch everything and attack from every direction. Alec needing members of his family to physically act in his defense (rather than feel emotions for him or have his mind take over theirs) but getting an ability to force them to do so. <- All of this covered by the post, just bringing it up to give context to my thought;

DOESN'T THIS RECONTEXTUALIZE AISHA WILLINGLY GIVING HERSELF OVER TO HIM?!

All his minions during his warlord arc are probably paid for, or weren't aware that being around him 24/7 meant he could hijack their nerves.

But here comes Aisha and she's like "I want you to take over my body." and I was initially thinking ooh it's just a parahuman version of sexual experimentation, teenagers do that, I get it, I won't pretend it doesn't happen but DOESNT THIS MEAN SHE BASICALLY ASKED HIM TO GIVE HER HIS TRUST? Like, all he needed to not trigger was probably someone in his family or the tight knit cult standing up to Heartbreaker (not going to happen) but still? And Aisha is coming along and saying "I'm that someone. I trust you. You can trust me. You're not your father, you won't abuse this, I'm giving you consent under the jokey teenager, not serious guise of fooling around with you wearing my skin."

Maybe that plays into why Aisha goes after Heartbreaker, why she adopts the Heartbroken and why she makes that her mission. To continue his legacy after his death, to be the kind of person the Heartbroken needed the way Alec needed someone. She does kinda do that with Taylor too, fucking up Nero later on, though beyond those two examples I kinda struggle to nail down where she's continued a loved one's legacy. Oh, except maybe where she helps Taylor in Brian's place during GM. That could work too.

I'm still figuring out how to Tumblr but if I find that post again I'll link it here in the replies.

i think it could be interesting to have Taylor interact with a Mark who’s early in their career and only just starting to learn Taylorisms to see her as what he might end up as.

Like Cecil has Taylor working for him cause Contessa saw the only way for her to stay put was if she had a job and so she gets put on babysitting duty when Mark first starts to work for Cecil and Mark see this woman with some sort of mysterious past who’s sorta a vague mentor figure who says things he’s been thinking in the back of his mind which scares him and makes him wonder about the role he’s going down

Hey so, thought exercise, how do you think Taylor would fare if she got dropped into the invincible universe? For the sake of mechanics let's say she literally gets dropped in via doorman portal or something.

So one thing about Invincible is that I think it's setting is protagonist-centric in a way that Worm's isn't. To the extent that Invincible's setting has worldbuilding- worldbuilding that isn't, like, ported in from the books's early association with the confederated Image Comics shared universe- it's worldbuilding that exists to convey the impression of a big-two-flavor universe. Here's our spin on the undersea kingdom, here's the riff on the Martians, here are our riffs on SHIELD, on Gotham, on Themyscira, on 70s blaxploitation-adjacent heroes, and so on. This is the entire ethos underpinning the Guardians of the Globe in particular- piggybacking on pre-existing audience affection for the Justice League to convey that it's a Big Fucking Deal when the guardians get blendered in issue 7.

You have flashbacks demonstrating that there was capital-S Superhero Stuff going on in the seventies and eighties, or as far back as the thirties with Immortal, you create the impression of a status quo, a big pond in which Mark is a little fish. And to Kirkman's credit, some effort clearly went into making sure that the non-Mark capes are sufficiently fleshed out that you can believe that they've got other stuff going on in their lives. But at the end of the day, it's the Invincible universe. You don't see a lot of people talking about the Guarding the Globe spinoff. Many of the most interesting characters- Cecil being a big example here- are interesting because of the ways in which they bounce off Mark specifically, the ways in which he chooses to deal with them. The universe is less of a character in the story the way that Earth Bet is- it's just the place where Mark's story, specifically, is happening. If there's a codified setting bible, I'll eat my hat.

Now of course the world of Worm is, in many ways, equally Taylor-centric, because that's what it means to be the protagonist. But owing in part to the themes of the story, and in part to the sheer number of false-start protagonists Wildbow played around with before settling on Taylor, it's very good at conveying the idea that there are many stories happening in this setting and Taylor's is just the one this particular work happened to focus on. There's an actual point to doing OC worldbuilding for what the superhero scene looks like in Wormverse Denver or Seattle or whatever- whereas you can come up with superhero teams for Invincible-verse Denver, but what actually ties them to that universe? What are you getting out of putting them in Invincible specifically, that you wouldn't get from whipping up a barebones MASKS setting to support your OCs? Anyway. This is a really long way of getting to my real point, which is that I think the question is less "how does Taylor bounce off the Invincible setting" and more "How does Taylor bounce off Invincible the character, around whom the setting orbits even when it pretends not to."

This I'm unsure of, because where do you stick her in his life where you get an interesting dynamic? One thing that's interesting here is that Mark's overall character arc already involves learning a lot of taylorisms- the strategic ruthlessness, the shift from a good-evil dichotomy to a helping-not-helping dichotomy-so what about his arc is going to change if they spend time together? Why would they spend time together? Given the different power levels on display, what would differentiate her, in his experience, from the dozens of filler capes that exist for him at the level of "vague acquaintance?" This is assuming she's active as a cape at all, which she might not be if this is Post-GM. Mutual association through Cecil and the Global Defense Agency might be a hook- maybe they're paying for her new arm or something- but would she latch her cart to Cecil's wagon in the first place, barring some obvious crisis situation? Hard to say. If she's depowered, and present in his life somehow in a civilian context, well, that's a fast-track to not being part of the story anymore either, given how Mark's civilian connections slowly fading away was kind of a quiet plot point.

There's some configuration of these pieces that could be interesting, but I'm not quite sure what they are. Soliciting input here.

ashton moment

HE REALLY DOES CONSTANTLY CALL HIMSELF CUTE. his perspective is so funny. i know he literally just means cute in the sense of. they are all at the age where attractive boys are called 'cute' specifically instead of 'hot.' but the sheer amount he repeats it makes it so funny. hello my name is marco and it is very important you know that i am the most handsome and smart boy and everyone agrees

i’ve never seen it but supposedly the show Static Shock has something similar to this with one character having super intelligence and making machines but then one episode has him lose his powers and his equipment stops working despite the fact that in most pieces of media this wouldn’t happen

“Even my most loyal. Bitch of a thing to do. Not the actual procedure of sticking the things inside their heads. After the first twenty, I could do the surgeries with my eyes closed. Literally. I actually did a few that way.”

i'm sure there's at least some of it out there that i'm not aware of, but worm is genuinely the only superpowered media i can think of off the top of my head where technology-based superpowers feel this meaningful. tinkers in worm aren't just people toting around sci-fi weapons that feel ubiquitous in the setting, they're the only people who have those weapons, and they have them because they're breaking the rules for how technology should work on a very fundamental and unnerving level. i would like to hear someone with more complete knowledge of the genre at large talk about this (@artbyblastweave ?) because something about how tinkers are written in worm feels special to me. like, from my not-very-into-cape-media PoV it feels like in most other works people w/ the tech-based powers aren't explicitly doing anything special--it's typically presented as if what they're doing is fully plausible within the normal bounds of the universe in question, and their reliance on it might even make them less interesting or more vulnerable than people with "real" superpowers. batman, iron man, etc. and worm sidesteps this entirely by not only giving tinkers extremely inventive, iconic, and powerful toolkits, but by constantly casually reinforcing that what they're able to do is just as unnatural as someone shapeshifting or shooting lasers. bakuda doing brain surgery with her eyes closed! riley making functioning blood replacement out of shit she scrounged up in her kitchen! it doesn't matter if you take the tech away, because their schtick as a cape isn't having the money to put together a purportedly-regular power suit or bag of gadgets, it's having the ability to build a bomb with a couple of nails and the lint in their pocket in the 5 minutes someones back was turned. i simply cannot go back to media where people with gadget-based cape identities don't textually have inhuman capabilities with technology after reading worm, because worm just Does It Better

okay this is really cool, does Bioshock Infinite with its multiverses and lighthouses fit into this idea, and if so, how?

I interpret the first two Bioshock games as a cosmic horror story that the protagonists are just glancing off the outer edges of. Slugs don't do that to your genetic code, for one thing, and genetic code has very little bearing on pyrokinesis or teleportation or the ability to grow swarms of bees inside yourself. It's also mighty convenient that Ryan happened to have picked the one spot in the ocean that happens to have The Slugs That Can't Do That- it's obviously part of the mythmaking of Ryan Amusements that they put such a fine point on where he abruptly stopped the boat and declared that he was going to put down the foundations of Rapture, and there's a dash of narrative anthropic principle on top of that, but it's still very convenient. And In terms of aesthetic and narrative outcome Rapture from 1960 onward is certainly checking all the boxes; madness, mutation, moisture. Impossibly grandiose societies brought down by hubris, science run amok, "look upon my works ye mighty", horrible familial truths, the whole shebang. And of course you have that brilliant light below Persephone.

The story doesn't necessarily parse as cosmic horror immediately because it fronts the impression that there's a grounded explanation for every insane thing that happens. You're supposed to just take it as part of the premise that they can build something like Rapture with human technology in 1945. You mostly hear about plasmids from professionals doing practical research and development with them, so you get the impression that there's a well-understood body of science here that just happens to be outside of your personal understanding. But for every Professor Armitage who understands the whole shape of the Dunwich Horror, there are a hundred Massholes who just saw a barn explode for no reason and now have to cope with the very real invisible something laying waste to the countryside regardless of the full truth of the matter. And from within the exploding barn of Rapture it doesn't matter to Jack or Delta whether the foundations were laid down atop Rl'yeh or whether ADAM is actually the extracted blood of a Great Old One or whatever the fuck. Maybe there's someone down there who understands the deep lore and went mad from the revelation in the genre typical way. But nothing about the situation requires you that you dig that deep to develop a working understanding of what's going on. Rapture's downfall is totally legible as a mundane death spiral of bad leadership, shoddy ideology, economic pressures and bog-standard human greed. Impossible weapons swung in careless arcs by human hands.

hey guys why are you building a gi

so called "free thinkers" when khepri

he tries to fuck a hole in his hand so Blake “most fuckable rib cage” now has competition

so are the cum wizards also in pact or only in pale

how the hell does Blake have more votes than Avery or Verona, he’d probably trip and lose like seriously i get the those two aren’t direct combatants but neither are push overs and both are good in chaos like a huge 7 way brawl, Avery does her flanking taking out anyone at the edges not paying attention and Verona just runs around throwing potions and being a nuisance

No one reads Pale which makes me so sad cause there’s so much cool shit in there and this latest chapter has so much smart people could examine to the point that even i can but no one would listen or understand any of it

Rose is piteous she’s just confident enough and an asshole enough so you don’t realize

one thing wildbow wont tell you about blake and rose is theyre the same height shes not even shorter than him. she is also six feet and rectangular and could punch someone hard enough to severely disorientate them. and both of their hair is like 16 inches long. the only difference is rose doesn't put it in a french braid and also she has tits and also she's not as piteous.

there’s something else that’s really interesting about Scion that’s revealed in this chapter though

and that is that Scions an asshole

now that feels obvious with him blowing up Britain but specifically because of how Jack convinces Scion to start killing he tells him to do what his ancestors did which for Entities is the exact opposite of what they’re trying to do

the whole point of Entities is to stop entropy since they realized the old way of just fighting an consuming was going to cause them to die out and yet Scion decides to revert to the old ways and kill everything and there by ruining the Simulation and stopping any progress on the entropy problem which is the exact opposite of what Entities want to do

this means to other Entities specifically Scions a huge self important asshole

Very confused by sting interlude 3; don’t really get what happened

to be fair a lot of it is new user who just finished Worm wanting to express their thoughts or having just made a realization and wanting to say it which I’d say is actually nice if a bit stupid

I love r/parahumans so much. "let's get something straight jack slash is NOT that clever" WE KNOW. let's get something straight the sky IS blue circles ARE round. are we going to learn our ABCs next

honestly this whole idea of home not home sounds like descriptions of veterans returning from World War 1

people who were way to young to reasonably do everything they were forced to shoved into a strange alien hellscape before just going home having to act like nothing happened

Didn’t want to derail on a post about Sundancer, but this quote:

is also pretty notable from a Tattletale perspective. Despite the fact Sundancer hasn’t exactly gone out of her way to be empathetic to the Undersiders and that she stood by even when she found out about Dinah and might very well have stood by if the same thing happened to Tattletale herself, Tattletale is choosing to be kind and reassure her. It’s not entirely selfless— things are easier in Brockton Bay if all the Travelers leave — but there are crueler ways to get her to go.

There’s some parallels there, Sundancer going so far to save someone who’s already dead. A best friend she loves past the point of sense.

Also interesting to me— Sundancer is incredibly hypocritical about Taylor, being disgusted by her brutality in carving out eyes when Sundancer has definitely already killed people by that point and has stood by while worse things have happened. Sundancer ~doesn’t~ turn against Coil (from what I remember, though it’s been a while), even though she feels bad about Dinah. She’s willing to use Dinah and Tattletale’s knowledge if it means fixing Noelle. I almost want to draw comparisons to how Taylor is disgusted by Alec despite/because of their similarities. The biggest difference being that Alec is more upfront about being a bit of a bastard than Taylor is, and Taylor is more upfront about it than Marissa is.

I need to reread some more Traveler-Undersider scenes, but Coil is in most of them. Ugh.

I’m just saying this could’ve worked great in The Clone Wars since it did have that balance of kid show and showing pain of civilians in war.

Like I’m thinking specifically something like the Ryleth or Ondelon with War in Teo fronts where we see the civilians and can understand where they’re coming from while also having it be fucked up to stab this would be redemption in the back

Basically, we need a new clone wars aka a kids show that actually is able to get away with exploring things like this

There are, like, a lot of very good reasons this couldn’t be done in an animated children’s show, but a plot beat I’ve always wanted to see in an animated show is that you’ve got, like, the typical animated show set-up, plucky and idealistic rebels against a massive and nebulous evil allegorical empire, you’ve got all the archetypical characters who show up in shows like that, you’ve got obvious implications atrocities are being committed by the bad guys but you never hone in on it beyond the general signifiers like burning buildings in the background. (yes I am thinking about She-Ra here.)

You’ve got your peridot type or your Scorpia type or potentially your zuko-type. The clearly-antagonistic-but-obviously-engineered-to-be-likeable-enough-to-get-a-redemption-arc type of character. You have them slowly go through the motions of realizing the empire is bad,  or realizing the power of friendship, or having a moment of connection with the protagonists and realizing that they aren’t Thriving ™ under the oppressive system.

 So they do what these sorts of characters usually do and defect to the protagonists side, and the protagonists chalk up another win for team principle and compassion, and they accept the defector with open, if cautious, arms…

And then a supporting character pulls out a gun and shoots the would-be redemptee in the head, because their entire family was in one of the buildings that the redemptee set on fire in the background during a previous one-off episode. 

And, to be clear, this wouldn’t just be a mean gag or a one-off commentary on audience sympathies or out-of-universe discourse on redemption arcs. Episodes going forward would deal with the fallout of such a nakedly ruthless act of retaliation.

 It’s now next to impossible to deal with would-be defectors in good faith anymore because it’s been proven the heroes can’t stop acts of vengeance in their own homes, its not clear who among the heroes is even extending the olive branch in good faith to begin with or if it was always a trap. If things ever turn in the heroes favor, Bad guys are now escalating the stakes and fighting to the last man, because they know they aren’t gonna be forgiven if the nicest person in their ranks couldn’t be forgiven. There’s internal political tension about what to do with the assassin (nothing, they need the manpower) and how to go about disavowing the action when half the group doesn’t even want to disavow it- the redemptee might have been nice, but they also burned buildings full of innocent people, a lot of people are just glad they weren’t the ones who had to pull the trigger. Friendships end over this.

A lot of narratives about forgiveness in these kinds of shows are more about how it’s interpersonally healthy and beneficial to forgive and let people grow. I want to see a narrative about how that’s also, like, politically the only path forward if you don’t want to lock your society into an Orestian blood bath, which I have always found to be a much more compelling argument against revenge in general, just as, like, a rule utilitarianism thing. I want a bittersweet ending that’s essentially tracible back to that cathartic, unretractable decision to kill that one likable flunky.

Of course, it would be very difficult to set this up without telegraphing that this is the kind of show that does That Kind Of Thing, and the actual killing can’t really happen until season two at the earliest, so I’m having a hard time figuring out a way to execute this where it would maintain its punch.

I mean Twig has this in spades especially later on if you want to read it

A story structure Wildbow hasn’t yet attempted- which I would be very very interested to see him tackle- is the “Walking the Earth,” journey-focused Odyssey-type thing, where the protagonist and their gradually swelling band of hanger-on true companions travel from wacky side-adventure to whacky side-adventure in pursuit of some larger goal. 

The parts of his writing I’ve read tend to be very sedentary, tied to a central location in some way, treating that location almost as a character in its own right (in the case of pale, he does so literally.) The beats on the heroes journey either come to the protagonists doorstep, or the protagonists go on Sorties to other plot relevant locations before eventually returning to home base. I’d love to see him handle a protagonist that’s genuinely, perpetually on the move, defined by their fleeting connections to lots of places, and the lessons learned in each.

born from a conversation I had with @ciaran​ a while ago but I’ve been thinking about it lately SO:

based on the popularity of that one glib tweet I made once, I think that it’s not that uncommon for people to acknowledge that hua cheng probably would love to sub. less talked about but no less fun is how well I think xie lian would fit into a dominant role

xie lian has for so long been beholden to the whims of Literally Everything causing him misfortune that I feel like he would really enjoy discovering the experience of dominance, specifically with hua cheng. having these continuous little realizations of how much everything he does genuinely affects hua cheng, and how vulnerable another person can be to him, and then being able to take a little it of… lovingly malicious glee in just letting go and doing whatever he wants, even if ‘whatever he wants’ is not being very nice.

xie lian already has a habit of lovingly bullying hua cheng in canon (see: every time hua cheng pretends to be anyone other than himself and xie lian inevitably figures it out long before he lets hua cheng know that he’s figured it out, occasionally for the sole purpose of teasing him), and it would be a natural and likely positive experience for them both to bring that into their intimate life as something they both enjoy… but also as a way for xie lian to experiement with and test out the range of power that he is finding he is delighted to have over hua cheng, especially knowing that hua cheng is on his own an extremely powerful individual that is so emotionally beholden to xie lian that he willingly lays himself out. burn his mansion down again, gege, it was trash anyway!

and meanwhile hua cheng gets to indulge in the complete submission that he genuinely wishes to give xie lian, which xie lian typically has very little desire for because so much of his life has been couched in unequal relationships and having the genuine good will beaten out of him under the guide of “hubris”. hua cheng being delighted at xie lian being comfortable enough to act a little selfish and a little unkind to him because he’s so reassured that hua cheng wants it with full sincerity.