This month actually marks a year without my supposed twin flame but alas A year ago when I was still in high school I met this dude and all hell broke loose, I started to crush on him almost IMEDIATELY and couldn't get myself to stop but was in denial, once I admitted to myself that I do like him, angel numbers started to flood my eyes, and surprise surprise he also started to notice me, his friends would tease him about me and my friends would tease me about him, little shy glances at each other, then I started to see him not only in school but also at the gym that me and my friend started to go to, that's when I actually noticed how much he steals glances at me and how his friends, if they're in the same gym location as me, text him to come over to the part where I am at, mind you I didn't know his name, last name, birthday, birth year but it felt like the Universe herself handed me all of that info through a series of coincidences that were almost scary, even my friends told me that from the vibe he is just like me, like two drops of water, finally at the end of my graduation year I built up the courage to ask his friend for his contact info, I got it, followed him but he didn't follow me back or even texted me, started to act all distant but would still look at me, then a few days before my graduation party we shared probably the most intimate "goodbye" through eyes, I guess he convinced his friend to get on one of the machines that they never used just so that he could steal glances at me, I was running on a treadmill, stopped (because I had to burp and didn't want to get an acid reflux) and something in me told me to look to my right, and there he was starring or maybe really gazing at me (arms resting on the machine, head on them staring at me almost like trying to communicate with me through his gaze), after that and a painfull separation (had a breakdown about not being able to text him but surprise! actually could but was too drunk to notice:)), in July I get a video from my friend and it's him but with another girl, suprisingly I felt calm and I mean VERY calm something at the back of my head was saying to me 'don't worry he'll come back' and I was well partially right, because in August I see him again and he sees me and we both recognize each other immediately, and funny thing is that he held eye contact with me for so lomg (mouth agape lol) that I thought he was about to hit something while on his bike (he was making a turn and there was a road sign and a stone) and then he made sure to turn around to purposelly drive past me again, with this look like 'yeah look at me', there was also an incident where I was visiting my brother in school and ran into him again in the store while in a line, and his friends teased him about me lol, Then fast forward a few months and we come to my old school to visit my teachers and guess who is sitting in my teachers classroom and then gigling about me coming into said classroom with my friends, his friend also was starring me down like he knew something and wanted to tell me. Fast forward to this winter and I feel like crap because of finals and uni, lost weight stopped taking care of myself etc, well this was scary but my friend saw him at the same gym and told me that he ALSO lost a shit ton of weight and was looking very unkept, mind you by then im seeing and hearing his name everywhere I go, and the angel numbers haven't stopped, cut to spring and I'm seeing 1111 A LOT with other angel numbers like 1313, 444, 1212, 1919. then I had the most VIVID dreams about him I think only like 3. first one - he was smilling at me and his face was very clear, second - we tried to speak to each other but he was shy and third - he was oppening the door for me to his apartment and I saw 1111 in that dream too, mind you I never had such vivid dreams of other people, and these were as clear as that one dream that helped find my lab coat that I lost for about a week and just like he saw my friends I started to see his friends and now I am here and missing him a lot without even really knowing why but I do have a feeling that we will reunite after summer when and where I don't yet know but it feels like next year around the same time I will get approached by him. one thing that did get on my nerves was that all the special eye glances only happened when there were basically 'no witnesses' so I always had to replay these moments to my friends and always sounded like the crazy one

Hi all,
For the longest time I have been into femdom porn which over the years has morphed into tease and denial, orgssm denial, ultimately findom and since 2020 or so gooning.
Quitting gooning seems hard enough but for me it's intermixed with deep findom fantasies. Like many others here I have fetishised going worse than getting deeper and for me spending more.
You can probably see why this is so destructive as I have sexualised not only gooning and porn addiction but also paying. I'm finding it impossible to stop, craving more and more, I believe it's the feeling that comes from being denied for days, completely horny and becoming even more reckless as I goon to what I know is essentially poison to me. Eventually becoming so mindless that I my submissive urge to pay wins. I have spent thousands buying clips related to this, paying and developing far more submissive and destructive fetishes than I ever had before. The cycle keeps repeating and the more I try to resist the better it seems to feel when I finally give in.
I'm really struggling with what to do. Anyone else have similar or any advice? Thanks

To clarify, I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

So it’s like this, I have a group of friends all playing games (we are nerds that goes out). I will speak about 3 people: -first friend (M-bully) -second friend (M-victim) -third friend (F-bully) Under twenty mean 17-18yo.
At first I created the group fine and all, with 3 members included M-bully, we were very mature, being in our twenties, except M-bully who just begins musculation, he tend to flex by repeatedly telling us at every topic, but we considered it was great to promote good health, and he was under twenty so isn’t that normal to be a little childish ? M-bully was tbh a bit shy, but he worked on it, and we could feel that he become more and more outgoing so it was a great thing.
Then time passed we recruited more friends, come the M-victim, he meet M-bully and became friend, also under twenty, he was extremely nice like all our members, and astonishingly he loved speaking with other, making lots of friend, and recruiting new game members, he is however not very socially skilled (he think so).
Then the F-bully come, she is shy, she just get recruited by M-victim, they become friend and speak about game and nerd thing. She is also under twenty so they can speak about a lot.
Here everything is great and all. Except, until the meeting between M-bully and F-bully. Their personality’s exploded… it’s hard to describe, but themselves named themselves degenerate, welp we are a group or nerd so it was totally common but yeah… they do tend to break the bottom line. Nvm, we are all like gossip, "are they a couple" some say "nah" welp "they just got the bff chemistry" "they are not a couple" and tbh yeah I can understand that 2D make our criteria of the other significant half way harder, like way way harder, but it’s another subject.
Then the bullying begins, at first everyone was fine, (now it’s only online, irl they won’t do it) the M-bully said the M-victim was gay, (not because of homophobia or anything else) at first we were like he is teasing right? Then F-bully started to follow and worsened the whole thing, calling M-victim Femboy, (it wasn’t really nice), and it was very regular, (at least 1 time per day) and we were already speaking about this on both the M/F-bully. I spoke about the fact that it make M-victim uncomfortable. Everyone say M-victim is a sensible person so don’t do it. Then there is an problem appearing, one of the F-bully friend (she is also nice) did an error, she said that M-victim was very very sensitive and M-bully when speaking the TRUE TO CORRECT MISTAKE?! shouldn’t be so rough.
So big problem, people misunderstood, think M-bully wasn’t bullying but is correcting mistakes be being rough?!?? I don’t understand what and why this happened, welp so I did speak with M-bully about stop "teasing" so much M-victim coz he take it seriously. M-bully reaction was denial, he said that: "it’s just teasing", "other do the same", "why are you all speaking as if I did nazi thing”, "I am only criticizing roughly coz it’s my personality I can’t change it", "I am always honest" , except all the outrageous thing he did say, he also includes a weird comment "criticizing to make people change" why did he put an entire different argument ? I can’t understand.
Well I was hoping that it get better afterwards, (they did stop) and irl they are like different person, the trio are very good friend speaking until 6ATM (mornings) we only speak about game, manga, movies and hobby.
But sometimes passed and they just begins again, now the main bully is mainly F-bully, we put so much attention on M-bully that the F-bully in reality did worse… I won’t say what she did but she do put a lot of effort to make 3min meme, only to say that M-victim is a femboy whore and gay(she is a fine lover of BL so yeah) welp it began again.
I directly called this cyber bully, it did stop them for 3 days, but it seem that it’s becoming less useful
I tried to make my group of friends more gray that black and white what is your pov in all that?

Too long that my friends are teasing me saying that I haven’t moved on yet; but it’s not really that, it’s bcs I chose not to, I chose my solitude, i found peace in myself, and I view that love isn’t something that you push to happen, hindi siya minamadali and you can’t just feel or have it with any person. No matter how many flings I had, no matter the number of men that tried hitting me up, if you don’t feel it, then it’s not it. kaya (no offense) im nagtataka sa mga ppl who just went from break up then enter love again, like how do you do that? or is love even present when you do that? is it genuine? — tho I can’t deny, that some part of me were afraid of risking it again, I even lose my paniniwala of what love really is. there where many what ifs — what if it happens again, will I be able to endure it? — I lost trust with people, I questioned their intentions and didn’t expect anything with anyone, even questioned my capability of loving, it was too long that I forgot how it feels and how I’m supposed to give it. And when I finally found love again, it was with the most unexpected person, whom I knew nothing about. We have lots of differences and experiences; it was unexpected and peculiar of me to enter it in such a short time. Who would’ve known that a girl who took long enough to finally open up would risk it, with a person, she barely knew, in less than a month? — It was really unusual of me being in that situation, from experiencing the meet up thingy. I even remember how anxious I am during that day; asking my self “gawa nalang ba ako ulit ng dahilan?” (to delay the meetup again until hindi na mangyari) I remember asking my friend pa, “cha, anong gagawin ko?” “samahan mo’ko” then she replied “hindi kana bata” and yeah right, hindi na ako bata so why am I so anxious na para akong minor na makikipag meet up TT. why does this all feels unfamiliar and new to me? but everything during that day, I still remember, from what I feel, kung gaano ako ka-awkward, yung lagay ng panahon, everything. I still remember panga kung paano yung kabog ng puso ko when we held each other’s hands, at kung gaano ako ka-awkward habang iniikot ko siya sa mendiola na ako mismo, hindi kabisado. — after that meetup, I didn’t know how to feel, my friend ask me how was it and I didn’t know what to tell her. Do I like the guy? How was he? Due to many years of being isolated from the experience of loving, it was impossible for me to express my feelings. I was not comfortable of doing things in public, it was all too much for me to the point that I said na I won’t do it again. I was thinking of the ways to ghost him, but I just can’t, he was too pure and genuine and some part of me is telling me to risk it with him. He was really honest about his feelings which I liked about him. Makwento siya and he doesn’t let the conversation dies. Moving forward, we became a couple. But still, I was doubtful, “tama ba ‘to?” “isn’t it too sudden?” “are the feelings even pure?” There were many questions in my head that it led to our first break up. My reason was that I’m still unsure about what I feel. Then I realized na all those time questioning my feelings, I was just afraid, I was just in denial. And he helped me realize all those, he was patient and bore with me until I can finally express myself fully. It all became clear to me, and I can finally tell what I was feeling. Months go by with challenges, problems, and uncertainty. There were many times it almost ended for good, but we've persevered until today. After all, love isn't just about happy days. It might’ve been hard for me to express myself, but when I do, I mean it. I took the risk with him, and I'll continue to do so. No matter the challenges, if I will be given the chance to choose again, I would still choose him. I'll keep my word and hold on. Despite these cold days, there were times when we were genuinely happy and inseparable. Promises were made... and I think that we should keep that. I’ll hold onto that. I hope you’ll remember that despite these cold times, we were once a warmth to each other. Maybe we are forgetting the real value of love, why we really love. I firmly believe that it’s not something you should easily give up just because you’re tired. Or is it just me, who will be willing to fight for it until the very last moment? It may have taken me a long time to love again, but when I do, I do it deeply. So when you’re reading this, know that I love you; and I hope that you’ll keep your word too.

My car's transmission is on the fritz, so it's in the shop and I'm working from home for at least today. Thank goodness I can even work from home, or things would be a lot more complicated. Anyways, that's just a bit of a vent. I've also decided that I might do little lore-esque prechapter bits for some extra flavor. Hope you guys enjoy them! I find them to be fun little thought experiments on how people might perceive the world I've created from within vs from my own perspective. Enjoy some crafting and some romance!
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We know that the spots that are caused by looking at a source of light are, in fact, damage of some sort to the eye. This is confirmed by the spots rapidly disappearing should someone be healed whilst experiencing them. But why? Is there a divinity within light, beyond what our mortal eyes can withstand? Is there some sort of invisible emanation that comes alongside the light that damages us in some way? The discovery of light damaging the eye has opened more questions for me than it has closed.
-Musings on the Relations of Light and Fire, by Jarwic Leftun
\***
Xander carefully opened the door, finding Gabrelle already asleep, and sat down on a chair. Maybe he could get that adaptive camouflage to work right on bright colors. Surely he had some colorful things in his inventory.
He did in fact have a few colorful things in his inventory, and he whiled the rest of the night away making small adjustments to the runic array that was embroidered into the cloth. He was satisfied before dawn, the cloth now performing as well with light colors as it had with darker colors. Now he just needed to make a cloak out of it. He briefly considered coating his armor with the array, but discarded it. There might be times where he’d want to be seen. Besides, a hooded cloak would better break up the outline of his figure, the ripples of fabric, especially if he were to crouch or lay prone, obscuring his outline even more. In little time at all, he had a long, deep hooded cloak of the color shifting, runed cloth in his hands. He stashed it in his inventory for now, as he had no particular need to sneak up on something right now. The rest of the time before dawn he spent silently sitting in the chair he’d chosen, trying to keep his thoughts to a minimum, just daydreaming. Night dreaming? He couldn’t sleep anymore, but that didn’t mean he couldn’t try to let his mind wander.
As the dawn came and the sun began to shine through the window of the room, Gabrelle slowly awoke, once more finding Xander sitting in a chair rather than in bed.
“Mmf,” She grunted as she stretched. “Morning, Xander. You got back late.”
“Morning, yourself,” Xander said, turning his head to look at Gabrelle. “Yeah... Yeah, I guess I did.”
“What were you doing, anyway?” She asked, curious. “You didn’t mention that you’d be out late, just that you were going to go to see Valteria at her shop.”
“I uh... went on a date.”
“I knew it! ‘Comparing notes’ was a date!” Gabrelle exclaimed triumphantly.
“It was not!” Xander complained. “But we went to a tavern in the evening and it sort of... turned into a date on the way there.”
“Awhh, that’s so cute,” Gabrelle said. “Did it go well? Is she nice? Did you kiss?”
“I think it went well. We talked a lot about different projects and ideas we had. I also got to meet another [Godsmarked] - he owns the tavern we went to. I think she’s nice. Maybe a little shy. I think she’s gotten used to being treated differently by people. I don’t think she really believed that I wanted to go on a date with her, at first. ...And yes. We kissed.”
“Ooooh, look at you! You’re growing up so fast!” Gabrelle teased.
“Oh hush. I’m older than you!” Xander huffed, then returned to seriousness. “But ah, if I’m going to be dating someone... we need to have a conversation, Gabrelle.”
“We need to stop sleeping together?” Gabrelle quickly deduced before Xander could say it himself.
“Yeah... It doesn’t feel right, even though it’s just platonic between us. I don’t think I would appreciate being in Valteria’s situation and knowing that the person I was seeing was sleeping with someone else at night.”
“Well, I figured this would happen eventually,” Gabrelle said. “Either you or I were bound to find someone eventually. Don’t worry, I’m not upset. Don’t get me wrong, the snuggles were nice, but like I told you a while ago, I don’t have nearly as much trouble sleeping when I’m with the team.”
“Thanks for not being upset, Gabrelle.”
“You know this means you have to start paying for your own room, though, right?”
“Ah, shit, you’re right. I forgot.”
Xander left the room to allow Gabrelle some privacy to get dressed and meandered back down the stairs to see if any other members of the team were already up. Looking around, he spied Graffus eating breakfast at at table and moved to sit with the dwarf.
“Mornin’” Graffus greeted Xander through a mouthful of bread.
“Morning,” Xander greeted back.
“Glad to see you made it back, we were wondering if you’d be out all night,” Graffus told him, after swallowing his bread.
“I was out a bit late, I suppose. I let the time get away from me.” Xander said, not really wanted to be teased again about going out on a date. “So what are you planning to do today?”
“Bah, Frazay has roped me into helping her do research for the drakeling. So reading is what’s in store for me.” Graffus tore himself off another piece of bread from his plate and slathered it with jam. “You going to be going back to that [Tinker] you’ve been spending time with lately?”
“Yeah, that’s the plan. I’m supposed to learn more about converting mana types today, and also help her fix the suit of armor that I wrecked.”
“Welp,” Graffus said, now on his last piece of bread, “I hope ya learn something new. Never had much to do with [Tinker]s – not saying I dislike them, just that I haven’t had much experience with them – so it don’t make much sense to me. Using a hammer is about the only overlap in our professions.”
“I think your hammer is significantly larger than the one most [Tinker]s would use,” Xander chuckled. Thinking about what he should be doing before he headed to Valteria’s, he asked Graffus, “Hey, I might need to buy some monster parts or elemental cores, something like that, for practice. You know where I would go to find stuff like that?”
Graffus shrugged. “Dunno. My guess would be an alchemy and reagents shop. That’s generally what we’ve sold monster parts to that didn’t go to a smith or leatherworker.”
“Thanks, Graffus.”
The two of them chatted for a while longer, catching up on what each other had been doing. Graffus excused himself to finish getting ready for the day, saying he needed to tend to his beard, leaving Xander downstairs. Deciding to be productive and proactive, Xander stood as well and headed out of the inn to find an alchemy shop.
It wasn’t long before he found one, a familiar scene of an eclectic collection of powders, liquids, crystals, and strange organic things floating in jars inside the building. The proprietor was a dwarf, seated at a workbench. They were grinding something into a powder as Xander entered. He received a distracted greeting before the dwarf returned to his work.
Xander wandered about the shop for a few minutes, looking at the various materials throughout the shop. He identified what he thought might be an elemental core, a jagged piece of crystal looking material that seemed to have an inner flame. As for the monster parts in jars, Xander had no idea what was what. He finally felt he’d waited long enough and moved closer to the worktable that the dwarf was still sitting at, working away at the mortar and pestle.
“Excuse me,” Xander said, grabbing the shopkeep’s attention.
“Mm?” The dwarf said questioningly. “Can I help you find something?”
“I was wondering if you had any elemental cores. Something small, I just need one to practice with.”
“Aye, I’ve a few of them around the shop. You want something to practice with? So a relatively weak core, then – not all the small ones are weak. Do you need any particular type?” The dwarf stood up and stretched, moving to one of the shelves.
“Uhm no, just whatever is cost effective, I suppose.”
The alchemist rifled through the various bits and bobs on one of the shelves nearby before producing a small chip of what looked to be a semi-translucent stone. It was tinged slightly yellow with streaks of white. “This here is a chip off a lightning attuned core. Pretty weak, but it does still produce mana.”
Xander could see the dwarf’s arm hair standing up as if from static electicity as he held up the stone. “How much?” He asked.
“Twenty gold.”
Xander shrugged. Twenty gold wasn’t an issue for him anymore, and he didn’t feel like haggling. He always hated haggling. “Sure.” He fished out the coin and handed it over to the dwarf.
The dwarf handed over the stone to Xander and the pop of a static electric shock could be heard as a tiny arc passed between the two of them. The dwarf grunted and shook his hand. “Thanks for the business,” he told Xander. “Anything else you find yourself in need of?”
“Not at the moment, but thanks for asking.” Xander waved goodbye to the dwarf and pocketed the tiny elemental core. He continued down the street in the direction of Valteria’s shop, thinking about how he was going to undo the welding job he’d done on Valteria’s armor. He’d need her to guide his repair efforts.
Xander returned to the inn momentarily to grab one of his golems. He settled on Atlas for now, as it was the most basic of the humanoid forms he’d created. No extra arms or weird feet on him, no sir.
Arriving at the building that contained Valteria’s home and shop, Xander knocked before opening the door. “Morning,” he called out.
“Xander! Hello!” Valteria called out. She was at the same work bench she’d been at yesterday. Jarrett didn’t seem to be in the shop at the moment, as Xander wasn’t able to spot the man.
Commanding Atlas to follow him in and closing the door behind him, Xander started walking towards Valteria. “How’s it going?” He asked.
“Good, it’s going good,” Valteria responded as Xander brought a stool over to her workbench. “How about yourself?”
“Not bad. The upside of not sleeping is that I never struggle in the mornings now. I used to hate waking up.” Xander laughed. “I even ran an errand before I came here! Picked up this.” Xander fished around in his pocket until he found the small chip of elemental core and held it up for Valteria to see.
“Core?” She asked distractedly, staring at Atlas. She tore her eyes away and looked closely at the small crystalline stone. “Lightning attuned?”
“That’s what the [Alchemist] at the shop said,” Xander affirmed. “Said it was a very weak one, but that it did still produce mana.”
“Mmm, a good practice piece, then.”
“I thought it would be, too. Not that I know what to do with it, yet.”
“Well, how about this: I teach you to set the stone and make some conduit, and then you can help me fix my armor. All the glue has turned to dust by now, thank the gods.”
“Sounds fair enough. So, how do mana conduits work?”
“Well, the concept is simple enough. It’s a tube which conducts mana,” Valteria began to explain.
“Mmhm.” Xander nodded along.
“What you need is a setting – usually of silver, as it has good mana conductivity – which will be the first step of conduction, taking the mana from the stone. Simply wrapping the core in silver wire can work well enough, drawing in the mana that the core puts out through its surface, but for a more effecient setting, small holes are usually drilled into the core to set the wire into as well, giving more surface area to draw from.”
“So we care about the mana conductivity of the material, then? That makes sense, I just hadn’t thought about it. I actually did a little experiment with my rune work to test which fillings were the most conductive.”
“Oh really?” Valteria said, interested. “What were your results?”
“Well, gold and silver were high up there in conductivity, and probably make the most sense for someone who has to physically manipulate material without use of a skill – both for a core setting and for inlaying a rune – but I did find that sapphires and rubies were even more efficient at transferring mana than gold and silver.”
“Mmm... interesting. I’ve heard of gemstones being used in very high-grade settings, as well as various other exotic materials. I read an account of one [Mechanist] who used tubes of mercury to conduct mana, though the relative effectiveness compared to silver wasn’t mentioned.” Valteria cleared her throat. “Uhm, now, where was I? Right, basic settings. Once you have your core – or monster organ, if you’re going that route – you connect it to the conduit. Usually, this is also silver wiring. I like to braid several smaller wires together, personally. I find it to be sturdier and hold up to flexing better. From there, it needs to be tied into a device. Which is a topic for tomorrow.” Looking around the shop, Valteria seemed to identify something on one of the shelves nearby. “I have a core that you could watch me set, and then you could try setting your own, if you’d like.”
“That sounds good to me,” Xander said. “I always love to see a master as work,” he added, opting for a little flattery.
“Follow me, then.” Valteria said, standing up from her stool and waving for Xander to follow.
Xander followed Valteria as she walked over to the shelf she’d been looking at earlier and took a palm sized, bright green stone from it. “Nature attuned core,” She explained, holding it for Xander to see. “I’m told it was taken from some kind of moving tree.” Valteria then moved to another worktable, on which were several of what looked to be drill bits to Xander. There was also an apparatus that look like it was designed to hold the bits, which was confirmed for him when Valteria slotted one of the small drill heads into the device. “This thing,” Valteria said, waving the drill a little bit, “is a life saver. I used to have to drill holes with a hand cranked one. Worth every single coin I paid for it to get an enchanted one.” She turned a dial on one side of the handheld device, which Xander was coming to think of as a magic dremel tool, and it began to come to life, the drill bit beginning to spin with a quiet whirring sound.
“Neat.” Xander commented. He watched patiently as Valteria drilled a series of shallow holes in the stone, the distinct screeching of metal on stone echoing through the shop floor. “So where’s Jarrett today?” He asked.
“Oh, he has the day off today. He asked for it about a week ago, not sure what for, though,” Valteria said distractedly. Soon she was finished with the holes she was drilling into the core, and moved to another workbench. “Now we create a setting for the core. This is a fairly simple way of doing it, mind you, but it is effective.”
Xander watched as she took sections of pre-braided silver wire and fitted the ends into the holes she had drilled. Once each hole was filled with a section of wire, Valteria began to pull wire from a spool, wrapping the stone until it was completely covered with silver wire and binding the braided sections to the stone in the process. “There,” she said, setting the stone down on the workbench. “A perfectly serviceable setting."
“So, if I understand correctly, you coat the core in a mana conductive material – the more surface area, the better, hence the holes – to create a setting?”
“Mmhmm,” Valteria said, nodding.
“Seems fairly straighforward. And then you connect the silver wiring that’s wrapped around it to more wiring, and attach that to your device? Why the distance? Why not just connect the setting directly to the device?”
“You absolutely can, if space isn’t an issue. Technically, the connection between the mana battery and the device, even if it’s just a single point with no distance, is still referred to as a conduit, though, so it’s considered a three part creation.”
“Oh, I see.”
“Do you want to try making your own, now? I don’t mind lending you a little wire.”
“Sure, but I should be good on material, I can produce it with my skills. Doesn’t last without a source of mana, but I guess the core itself might provide enough. Think this little chip is a bit small to put holes in, though.”
Xander looked at the small piece of crystal in his hand. If he just need as much contact as possible with a mana conductive material, his best bet would be to embed it into a sapphire or ruby. He decided on ruby, for no particular reason. Still holding the chip of core in his hand, he concentrated on his [Creation] ability. Valteria watched, amazed, as a ruby began to take form and grow around the piece of core until it was completely coated in a thin layer of gemstone.
“So, you can just... make things?” Valteria asked, sounding jealous.
“Well, it costs mana, and anything I make that isn’t provided a source of mana that leaves my person disintegrates in a day, but, yes. I can just make things with my skills. But,” he added, cutting off Valteria’s complaint of unfairness, “I have never received a skill that actually lets me improve a material. Sure, I have runes, which generally makes up the difference, but I don’t have any skills that improve the things I make. So, if you made a mana battery, and I made a mana battery the same way with identical materials, yours is going to be better, I assume, because you have skills that passively improve the things that you make, am I right?”
“Okayyy,” Valteria huffed. “I guess that does make it a little less unfair. But ugh! It would be so nice not having to source materials.” She looked at the ruby with a piece of core set inside it that Xander had made. “Well, I guess that about does it for making a setting... I thought it might have taken you longer to make one. I guess we can move on to fixing my armor even sooner! It’ll be nice to have it up and moving again.”
“Sure, sure, we can do that. Where is it, anyway?” Xander asked, looking around the shop again like he somehow would have missed the eight foot tall suit of armor.
“It’s in a shed behind the house,” Valteria explained. “I have it on a hoist so I can work on it.”
“Ah, that would explain why I haven’t seen it around.”
Exiting the shop, stopping for Valteria to put a small ‘closed’ sign on the door, the two of them made their way around the building, where Xander saw the small shed that presumably held Valteria’s armor. It looked like it could just barely hold the armor and one person – two, if they were comfortable with each other – inside it.
“So this is where the magic happens?” Xander asked.
“If by ‘magic’ you mean maintenance and upgrades, then yes,” Valteria agreed. She opened the door of the shed, which comprised most of the front of the tiny little building, revealing her suit of armor, which was currently hanging from several chains attached to pulleys on the ceiling. Plates of armor were laying strewn about the suite, leaving the joints and inner workings more exposed.
Xander whistled, looking at the inner workings of the suit. He could see gears, cogs, and joints, and throughout the entirety of the armor were running filaments of silver wire, which he assumed were mana conduits running to and from elemental cores and the various mana powered aspects of the suit. “This thing really is impressive. Almost as impressive as the woman who made it,” he said.
Valteria giggled, “Stop it! You’re supposed to be fixing this mess, not flirting with me!”
“Awh, can’t I do both?” Xander asked, trying to sound as saccharine as possible.
“Mmm, I suppose that if you are sufficiently skilled at multitasking, I might allow it,” Valteria said in a mockingly thoughtful tone.
“Well, I just so happen to be an expert, so flirt away I shall,” Xander replied. “Now, how about the beauty in front of me shows me exactly where the other beauty in front of me needs some repairs?”
Valteria sighed at Xander’s antics, but he could see the slight flush in her face. “Well, you welded the wrist joints, elbows, and knees. They aren’t welded all the way round, it’s more like you smoothed over a portion of it like it was wet clay. So if you could just... put it back? Shape it back to how it was, that’s should be all that’s needed.”
“Pretty straightforward,” Xander said, standing behind Valteria as she pointed out each joint. He could see the misshapen parts where he’d slapped a weld onto the metal. He leaned over her and put his hands on the elbow joint that they were closest to and began to shape the metal back to its original form.
“You’re... very close,” Valteria murmured to him as he formed the metal.
“Would you like me not to be?” He asked, carefully.
Valteria was silent for a moment before answering, “No...” quietly.
Xander carefully shifted to be a little closer, but still not quite touching, as he moved on to the wrist joint of the same arm. The process itself was simple, but he was enjoying taking his time. As he finished the wrist, he turned to look at Valteria. He found himself looking right into her eyes, as she was staring back at him. Unable to resist the temptation he leaned in a little closer, gauging Valteria’s reaction. When she, too, leaned towards him, he closed the small gap between them, drawing her into another kiss. Valteria pressed herself against him, the shed hiding them from any prying eyes on the street, and let out a small noise as Xander squeezed her tight. She was breathing a little bit harder than before the kiss as they separated again.
Valteria let out a breath. “You’re… a really good kisser.”
“Yeah?” Xander said, pleased with himself. “You’re not so bad yourself.”
“And you’re a tease, looming over me like that in this tiny little shed,” Valteria continued. “Now you’ve got me all flustered, how am I supposed to work now?” She mock complained.
Xander was glad to see that Valteria was comfortable enough with him to joke like that. “Forgive me,” he said formally, making a deep bow, “How ever can I make it up to the lady?”
“Oh stop it, I will tolerate no bowing and scraping, even in jest,” Valteria said, slapping him lightly on the shoulder, as he was still holding the bow. “You can make it up to me by fixing the rest of these joints! And by taking me out to dinner?” She added, hopefully.
“I think that can be arranged,” Xander said. “Is there anywhere you have in mind? I will admit, I haven’t become very familiar with the local restaurant scene, what with my… dietary restrictions.”
“It doesn’t… make you feel bad to go out to a restaurant, does it?” Valteria asked softly, watching his face for a reaction.
“Nah, don’t worry,” Xander said, waving off the question with one hand. “It doesn’t bother me too much. Sure, I miss the taste of a good cut of steak, but I was never that into food. Eating was more of a thing I did because I had to, so I’m not completely devastated by the loss. And I can still get some vicarious enjoyment out of watching someone else enjoy their food. Really the worst part is awkwardly having to refuse ordering anything,” he said with a laugh.
“Alright, if you say so,” Valteria said, letting out a slight breath of relief. “I was just worried that it might be upsetting to you, is all. I know I would miss eating.” She paused for a moment, something clearly on her mind. “What do you miss? If you don’t mind my asking. I just… well, I’m curious what it’s like for you.”
“Mmm, in a lot of ways, life is still the same, and in other ways, I’m technically doing better than I was before. I’m incredibly resistant to damage now, even without my armor. I do miss sleeping, though. I try to give my mind a rest and just sort of daydream and let my thoughts wander or do some meditation during the nights, but it’s just not the same. Also means I’m the one that pulls guard duty through the night,” he grumbled. “Let’s see, what else, what else. Ah, right. I can’t smell anything. Or taste. I haven’t worked out how to recreate those senses, yet. Though no sense of smell can be handy sometimes, I suppose. I don’t know if you’ve done much merc work – you mentioned being surprised that I’m not just moonlighting – but uh… the smells that you encounter on a battlefield are… unpleasant. To say the least. It was weird not having a sense of touch either, but I’ve resolved that. It’s a little bit different than my previous, natural sense of touch, but I’ve become accustomed to it to the point that I don’t much think about the difference anymore. I think I’ve even got the density of receptors down in certain areas compared to others, so I'm more sensitive in some areas than others now, just like I used to be. I’m still immune to being tickled though, so don’t even think about it – that’s a fight you’ll lose.” Growing a bit more somber, Xander continued on. “I think… the biggest thing I miss is just the feeling that I fit in more. Now I always worry about being different, there’s that nagging fear that anyone I get to know well is going to reject me once they find out what I am. Like I’m secretly lying to everyone around me with this façade I have going on.”
Valteria nodded sadly. “I get that. I’ve been… rejected before, too. At least it happens or not right from the beginning for me. I get to know if they look down on me for being different immediately instead of fearing they might later down the road.”
“Yeah,” Xander said. “People can really suck sometimes. But at least I can just, like, not tell people what I am if I so chose. You, my teammates, and the guild, since it’s on my status sheet, are really the only people who know. I keep it pretty private. You can’t do that, so I think you probably have to deal with a lot worse than I do. Not that I’d want you to hide what or who you are,” he added. “I happen to be quite enamored with who you are,” he said, teasing a smile from Valteria’s sad face.
“Sorry to bring up such a dour topic,” Valteria apologized. “I didn’t think much on it before I asked.”
“No worries,” Xander told her. “Honestly, I think it’s good to be able to talk about it with someone. It’s healthy to be able to get you feelings out there. And it helps that I feel like you understand where I’m coming from with it, though from a slightly different perspective.”
“You’re surprisingly thoughtful sometimes,” Valteria said, only half teasing.
“Only sometimes?” Xander asked with a faux expression of hurt on his face. “By the way, you didn’t react much to my comment about moonlighting as a merc. Do you ever go on contracts?”
Valteria shrugged. “I certainly wouldn’t describe myself as a professional mercenary. Moonlighter is an apt descriptor, for me, I think. I have gone on a couple, here and there, mostly on kill contracts that would net me a core or organ that would be useful for my work.”
“Mm, that makes sense. I suppose it could be handy having access to the ability to take contracts that would give you access to specialty materials,” Xander said.
“It’s also good for business,” Valteria explained. “Mercs tend to like to buy from someone who has at least been out on a contract or two before.”
“Ah, that makes sense. What kind of things do you sell to mercenaries, anyways? I saw Jarrett with a crossbow yesterday, but I imagine you make other things, too.”
“Oh all kinds of little things. Portable, flameless heaters for cooking. Water purification sieves. Mm, let’s see… I’ve made a few custom order devices, too. One customer wanted to be able to shoot a jet of flame from their gauntlet, that was a fun one.”
“Ooh, that does sound fun… reminds me of my flamethrower.”
“Your flamethrower?”
“Yeah, it’s basically a big tank with a hose attached to it. At the end of the hose is a pump that causes the flammable liquid – I use dragon’s tar – to shoot out. Add a flame that the tar passes over and bam! You’ve got a giant stream of flame that will coat anything it hits with sticky, flammable tar,” Xander said, excitedly describing the device.
“That’s… impressive. And kind of horrifying,” Valteria responded.
“Mm… I guess you’re right. I mostly use it on giant spiders. Blugh,” Xander shuddered. “But yeah, I suppose it’s not the nicest of ways to go. Very effective for area denial, though. Ah, actually I have an idea for crossbow bolt head that would ignite when it shatters! We should make that sometime and see if it sells.”
“Hmm, I think that would draw some buyers. A flaming bolt head you didn’t have to light first could be desirable to certain buyers.”
“Put that on the list and we’ll get around to it sometime.”
“We have a list?” Valteria said confusedly.
“We should!” Xander said with a laugh. “Now let’s get the rest of these joints done.”
The repair of the other arm and the leg joints that Xander had locked into position during the tournament was a short affair. Looking over the bare metal frame of the armor still hanging from the ceiling, Xander clapped his hands together, mimicking dusting them off. “Good as new!” He exclaimed. Looking over to Valteria he asked concernedly, “It is good as new, right?”
Valteria had been staring at the armor as well, lost in thought about how she was going to improve it next. “Hmm? Oh, yes. It’s right as rain again, ready for use. Thank you, by the way. For fixing it,” She said awkwardly.
“Well I’m the one who broke it, so it’s only fair that I fix it. So what do you want to work on next?” Xander asked. “I could do some rune work for you. Orrr… we could kiss some more?”
Valteria flushed at the question, but didn’t immediately say no.
A few minutes later, she found herself on her tip toes and lightly pressed against the interior wall of the shed, her lips pressed against Xanders.
Once the two of them were done acting like teenagers parked in a secluded parking lot, they made their way back into the shop. Stepping inside and closing the door behind them, Valteria let out a breath. “I think… you are going to have to do a lot of rune work to make up for how much you just kissed me, Xander.”
“What, you didn’t like it?” He said with a raised eyebrow.
“I didn’t say that,” Valteria said with a smirk.

Just a question for the community. I see alot of disdain from streamers toward the three characters listed above, during playthroughs.
I find it kind of confusing, to be honest. They are all pretty average high school guys:
-Junpei is struggling to define himself and wants positive attention; leading him to act like a clown. He also is a kid who switched schools, so that is often tied with clownish behavior to get acceptance. His character arc shows him learning, the hard way, that constantly joking around, flirting with everyone, and not appreciating what you have will eventually leave you isolated and failing. He also learns to actually treat women like people the same way most guys who grew up without positive adult role models do, by meeting a woman who didn't put up with his nonsense and developing mutual respect. His struggle with inferiority complex is also developed in a realistic way; he attacks the protagonist a few times, knowing it doesn't help. When he finally admits his problem, he confesses he doesn't like admitting it. To the groans of every streamer I have looked at watching the scene. So... most people with this serious of an issue would not even admit it, let alone admit it and honestly say they are still struggling with it. It took a world of guts, and the guy is trying.
-Yosuke is your typical wanna be cool guy, clown. The key aspect of him, that varies from Junpei, is that he appears to be closeted, or somewhat struggling to define his sexuality. He reacts in a pretty average (and yes, unacceptable) way to a very flamboyant situation. Let me clarify, I am not straight. I am pansexual. At his age, I knew that and I still would have probably reacted that way to such an uncomfortably flamboyant situation. Unfortunately, it is part of growing up and facing yourself. I don't think the portrayal of how he acts was idyllic, i think it was fairly realistic. Whethere he was straight, bisexual, gay, or just unsure, his most infamous scenes with Kanji simply played out like a typical teenager screwing around with someone he liked, but also enjoyed teasing. With an undertone of potentially being in denial himself. Kanji is sensitive, but can easily get his own licks in. That is how teenage guys act in groups; it ain't right, but it is realistic. He clearly cares about Kanji, and his friends. He has... unpleasant... downsides, but that is something he will likely mature out of once the hormones stabilize. And he has friends around who absolutely will pressure him to make those positive changes (looking at Chie's galactic punt being a pretty good insentive).
-Ryuji. The jock, struggling to cope with the end of his promising sporting career, his hate for his exe coach and losing his sporting friends. Covers it up through angry outbursts and lack of respect. Ou boy, can I relate to this kid. I have been there, witnessed that, and experienced his pain. And oh god, does it hurt. He clearly has a crush on Ann, and is aware that Morgana has one to. I hate to speak the truth here, but Ryuji, through his background experience, is going to be hyper competitive and have a more 'alpha' tone. Is it right? No. Is it hypocritical, since he went after Kamoshida? I mean. Abit... but Kamoshida is a grown ass man going after teenage girls who he teaches. Ryuji just has a crush on a friend and isn't very good at masking it, or flirting properly. I also had an attractive, female, best friend, who I sometimes struggled to frame my feelings for. It is selfishness, bjt his character arc shows him realizing that selfish desires for things aren't the way to go, and he grows into more selflessly acting on bad situations. I have been there. This guy was me, at 16-18. And his plotline hurt my stomach. It is hard to step away from your hopes and dreams, which were driven by competitive nature, because of a twisted old man. It is even harder when his shitty views of the world were what you knew for over a decade. It clouds your eyes in alot of bad ways. But Ryuji clearly took multiple steps to grow.
I guess, what I am saying in such a long winded way, is most persona characters are plotted to have major flaws, scars, etc, and to develop over time. I just don't understand why these fairly typical guys, who have some typical crappy teenage guy personalities, that they desperately need to grow out of, receive more hate than other characters that also display fairly typical teenage, toxic, behavior. They are teenagers, who have been through alot, they will grow up. Because they have a solid safety net in their friends. Which is somewhat the point of the games.

I'm back with another post! I apologize about the length of time it's been. Nothing particular has happened - just been tired and a little uninspired. But I do still have enough to post, so here you go! As always, thanks for all your engagement and for reading!
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“Well hello to you, too, Charles,” Valteria replied. “The ‘giant cat’ is named Freyja, firstly, and she is the bonded companion of Xander, here. He said I should tell you that she’s an emotional support animal.”
Charles barked out a laugh at the absurdity of the statement. He made his way from behind the counter, leaving the bar to one of the other workers in the tavern, to continue speaking with Valteria and Xander without needing to shout over the din of the tavern. “An emotional support animal? I take it you’re a [Godsmarked], eh?” He said, turning to face Xander.
“Uhm, yes. I am. Nice to meet you. Valteria told me that you’re also a [Godsmarked]?”
“Sure am,” Charles replied. “Pulled right out of Denver, not that you could tell from an accent or anything. You might not have noticed, but that language skill you got? Kinda strips you of any accent, makes you talk just like a native. Where are you from?”
“Atlanta,” Xander replied.
“Ah, another American! Course, [Godsmarked] come from all over. Some of them aren’t even from Earth! I met a Vorn [Godsmarked] once. Few dwarven ‘marked, too. So it’s always nice to meet someone who can appreciate what a beer, hotdog, and screaming at your TV for a sports match really mean.”
“Well, I was always more of a fan of wine, personally. But I’ll admit to getting frustrated at the people on my TV.”
“What’s a TV?” Valteria chimed in, not wanting to be left out.
Xander and Charles both looked at Valteria and started trying to explain what a TV was at the same time.
“It’s like my phone, but bigger and just for moving pictures,” Xander started off.
“It’s a big rectangular box that shows paintings that move and tell a story,” Charles said at the same time.
Valteria looked a little frazzled by the simultaneous explanations but seemed to get the gist of it. “Why would you be screaming at it?”
Xander looked to Charles, who said, “Should I explain or do you want to?”
Xander shrugged. “All you.”
“Well you could watch different sports on the TV, and they were broadcast live – that is, in real time. There was a usually alcohol involved. You ever seen someone spectating a duel who shouts what they think their favorite should be doing?”
“Mmhm,” Valteria said with a nod.
“Well we’d do the same thing, except since we weren’t actually there, we’d just shout it at the TV.”
“So they could hear you through it?”
“Nah,” Xander chimed in. “But that didn’t stop people.”
“Odd.” Valteria commented, a bit confused by the idea of shouting at a bunch of players who couldn’t hear you.
“People just tended to get really excited about it,” Xander tried to offer as an explanation.
Changing the subject, Charles said “So, I have two burning questions for you two. One, what brings you to my establishment tonight? It’s been quite a while since you’ve been by, Valteria, and I can’t say that you’ve ever brought someone with you before. And two... can I pet the cat?”
“Uhm...” Valteria started and trailed off, looking embarrassed.
Xander answered his question with more ease, saying, “Sure, she loves to be scratched on the chin and behind the ears, but really she likes being pet anywhere.”
Charles stepped closer to the huge, smoke colored cat and held out a hand for her to sniff. Freyja immediately rubbed her cheek against Charles’s hand, anticipating getting pet by the man. Encouraged, Charles began to pet Freyja in earnest, thoroughly scratching her chin before moving to her ears, earning himself a pleased grunt from Freyja. But that didn’t stop him from noticing Valteria’s lack of an answer.
“’Uhm?” He asked Valteria, turning to look at her, but not stopping his petting of Freyja.
“Xander said I needed to have a drink at the end of the day and I was inclined to agree with him,” Valteria finally answered.
“Ahhh, a date then,” he teased his violet friend. Noticing Valteria’s lack of an immediate denial, and a slight smile that he took as Xander’s acceptance of the statement, his eyes widened a little and he said, “Oh, oh I see. A real date.” Valteria’s blush came back as strongly as ever as Charles continued on. “Well I’d hate to keep you two from each other! Come, sit, I spy a free table just over there. I’ll bring you two some ale in a bit.”
“Oh, uh, I can’t drink,” Xander interjected. “It’s a... medical condition? But bring two anyway. I think Valteria could use it.”
Charles shrugged before saying, “Fair enough I suppose. I won’t pry too much, at least not on our first meeting. I do hope to see you again though. [Godsmarked] are always welcome here. Now go get that table before someone else does!”
Xander led the still embarrassed Valteria along with Freyja to the small, empty table near one of the corners and they both sat down, Freyja taking up part of the floor between the two of them. For a little while, the two of them just stared at each other, not sure where to start.
Finally, Xander thought of something to say. “You know, I still haven’t helped fix your armor. Do you want to work on that tomorrow?”
“Oh yeah,” Valteria said, remembering herself that her armor was currently defunct. “That would be nice. Feels a bit weird to know that I don’t have access to it, now that I think about it.”
Xander nodded. “I can understand that. I’d feel vulnerable without access to my armor, too.”
“Exactly,” Valteria agreed. “I’m also realizing that we only went over a little bit of your runework and I didn’t teach you anything about cores, or converting them to different mana types.”
“That’s okay,” Xander said. “I guess you could give me a lecture now, if you want. I like listening to you.”
“Oh hush,” Valteria chuckled. “But I suppose it’s only fair to give you at least some detail. Let’s see. The most important parts of a mana battery that involves a shift in mana type are the core of the battery itself, and the filter that you pass the mana through to change its type. These are almost always parts of a monster or elemental. So, if you had, say, a core from an earthen elemental and a some hide from a creature that was attuned to lightning in some way, you could pass the mana from the earth core through the hide of the lightning attuned creature to create lightning mana. I’m a little less versed on why it works like that. Something to do about how monsters are able to absorb ambient mana around them and convert it into mana of their attuned type. If they have one. Not all monsters are attuned to a type of mana, of course. So you have your battery, mana conduit –which I’ll show you how to make later- running to your filter, and then from your filter you have more conduit which runs to the apparatus that you want to power. Which is a beast in its own right, as you have to have at least a basic understanding of how a type of mana works to get it to power something. We can go over that kind of thing once you get the hang of just converting mana.”
Xander nodded along as Valteria spoke. He hadn’t been lying earlier when he said that he enjoyed listening to her talk. When she was on a topic that interested her, he could see the gears turning behind her eyes as they put pieces together that showed she really knew what she was talking about. Plus she seemed to enjoy talking about her work, and Xander liked to see that. Her happiness was infectious, giving him a vicarious sense of enjoyment. “I see... I guess I need to go shopping for some monster parts. And start looking out for what to pull out of monsters when I’m out on contracts, too.”
“Mmhm, that would certainly be the cheaper way to go about it, though I suppose there’s a lot more luck and danger involved in it. If you have some kind of way to measure mana density, then you should be able to use it to locate the core or organ of a monster that it uses to power its abilities.”
Xander frowned slightly in thought. “Hmm... I can’t say that I do, but I think I could design something with some research.”
Valteria’s ears practically wiggled when she heard the word research. “Speaking of research, what kind of things have you researched and done with your rune work?” She leaned forwards toward Xander in interest.
“Well, a few major things, I suppose.” Xander said thoughtfully. “Let’s see... well there’s the golems for one, as well as uhm, my body,” he said. “And my armor, my wings and my backpack, too. Those are all rune work. My weapons are also runed – the one I usually use wasn’t really fit for the tournament. I figured a mace designed to increase force and dissolve metal or anything else it touches was a little bit... deadly for a sporting tournament. Oh, and there’s my gun, too. And the bombs.” Xander purposely left out the soul rippers. He didn’t want to talk about them right now.
Valteria was clearly interested. “Gods above that is a lot of rune work. Bombs? And a gun? What exactly is a gun? I’ve heard Charles reference them in passing before.”
“Well the bombs are pretty straightforward. They’re filled with an explosive mixture, and then I use a ranged gathering array and a flame rune to trigger the explosive. I’ve also designed ones that detonate on impact, too. As for the gun, it’s a tool that’s designed to accelerate a piece of metal to high speed very rapidly, which you use to shoot something with. Back on Earth, an explosive powder was used to propel the bullet – that's the name for the projectile – out of the gun. I have a few that I can show you. I think you’d like them. They’re completely mechanical, no magic involved. The one I mostly use now is based on the same design, but uses a runic array to propel the bullet instead, which makes it much quieter. There’s also no kickback and I made it larger so that I can take down bigger things, too.”
“I think I would like to see those guns you mentioned. Is it better than a crossbow?”
“A lot,” Xander said. “At least the ones I have. They have a much faster rate of fire than a crossbow. The old ones, where you had to load each individual bullet might not hold up to a skill user using a bow or crossbow, though. Well, when you start throwing skills around, I’ve seen arrows that will blast a hole in something that should have completely ignored an arrow. But my current project is, perhaps, a little bit less exciting.” Xander pulled the small piece of cloth he’d been working on the day before, which shimmered as he held it up.
“It’s pretty, but, what is it?” Valteria asked, staring at the square of fabric that was inexplicably shifting colors in front of her.
“Well, when I’m done with it, it will be an adaptive camouflage, something that changes to match its environment. Right now it’s just a test piece instead of a whole cloak. I’ve got the darker tones down,” he demonstrated by laying the cloth down flat on the table. It immediately took on the color and pattern of the wood under it. “As you can see. But on more vibrant colors, it doesn’t quite work right, yet. In fact, it makes them even brighter. So it still needs a little tweaking. I think I need to tweak how much light the arrays are putting out.”
“That does sound like it would handy… especially in your line of work. Though I’m not sure what exactly light has to do with it.”
“Ah, it’s a bit of a complicated explanation, but the short of it is that it’s a bit like a light created illusion overlayed on the fabric to match what’s near it.”
Charles appeared briefly, having managed to sneak up on the two of them, distracted as they were by their conversation.
“Gods, Valteria, I didn’t think you could bag a bigger nerd than yourself, but I think you might have come close,” he joked, apparently having caught at least some of Xander’s explanation of his project. He placed two mugs down in front of Valteria. “I’ll put them on your tab.”
“Hey!” Valteria exclaimed. “I thought it was interesting!”
“Of course you did, because you’re a nerd!” Charles teased her as he moved to give other customers their drinks.
“Hmph,” Valteria huffed. “I am not a nerd!”
“If you say so,” Xander chuckled. “There’s nothing wrong with being a nerd, though, you know. In fact, I like seeing you get excited about things you think are interesting.”
“Really?” Valteria said as she took a sip of her ale. The cup looked excessively large in her small hands.
“Mmhm! It’s cute,” he said with a smile. Valteria sputtered on her drink a little bit at being called cute, but managed not to choke.
“You know,” she said slowly, putting her drink back down, “if you keep calling me beautiful, and attractive and cute, I might start to believe you.”
“Good, you should, because you are,” Xander replied seriously.
The rest of the evening continued on in much the same manner, the Valteria and Xander taking the time to get to know one another better, and discussing various ideas they had for projects. Xander regaled Valteria with an account of his team’s fight with the sea drake. Then if was Valteria’s turn to relay her experience of traveling from one continent to another and the various and occasionally terrifying sea creatures and storms she had encountered on the voyage.
As it drew later and the tavern became emptier, the two of them continued to talk. Valteria was several ales in – more than she usually drank, if Xander was any kind of judge of tipsyness. He wished he could still get drunk. Valteria stretched her small frame and yawned.
“Maybe it’s just the ale, but I’m a bit tired.” Looking around at the significantly less lively tavern floor, she commented, “Or maybe it’s just actually getting late.”
Xander smiled at her and said, “It could be both.”
“Yeah, maybe both.”
Freyja had long ago decided that her time would be best spent taking a nap, her body parked halfway under the small table that Xander and Valteria were seated at.
“Would you like me to walk you back to your house?” Xander asked.
“Oh I wouldn’t want to trouble you with all that,” Valteria lazily waved away the suggestion. “I’m sure you’re eager to get back to your own bed.”
Xander shrugged. “I don’t mind a bit, in fact I’d like to, if you’re amenable to it. Frankly it feels rude to send you off in the dark like that. And, well, I also just don’t need to sleep anymore,” he added. “I’ve started to find it rather soothing to take a stroll through the city at night. And Freyja could use the exercise.”
Freyja half woke at hearing her name and groaned slightly.
Valteria seemed pleased with the offer. If Xander was capable of reading minds, he would know that she had been hoping he’d want to walk her home even after she’d told him it was okay if he didn’t, but he wasn’t, so he didn’t know. “Well, if you insist, then I shan’t stop you,” she said happily.
“Ah, also, let me cover your tab for the night,” Xander told her. “I don’t know if it’s the same here, but where I’m from it’s a bit traditional for the man to cover at least the first few dates.”
“Ohh, how old fashioned of you,” Valteria teased. “But I’d feel guilty since you didn’t have anything at all. Can we at least split it, instead?”
“I think I can live with that,” Xander assented.
The two of them made their way to the bar, Valteria a bit unsteady on her feet, where Charles was still working, cleaning a few mugs. “Time for us to pay up,” Xander said, grabbing the other [Godsmarked]’s attention. “How much do we owe?”
Once Charles tallied up the amount of drinks they’d had and did the mental match to calculate the total cost, he let them know. Valteria paid her half from a small coin pouch that had been tucked somewhere in her clothes while Xander’s coin came from his inventory. Charles took the coin, not bothering to count it again, and stashed it somewhere behind the bar. “Make sure you get her home nice and safe, now, you hear?” He told Xander.
“Charles! I can take care of myself just fine!” Valteria half exlaimed, half whined.
“I’m sure you can,” Xander agreed. “But I’d feel terrible if something happened, and I’m sure Charles would too. He’s just looking out for you is all.”
“Maybe I just want to make sure you and loverboy there get to spend a little more time together, eh?” Charles joked.
“Ugh, you’re always teasing me, Charles!”
“Well, you always give me a reaction.” Charles said with a smirk.
Valteria huffed, but it all seemed to be good natured quarreling to Xander. The same kind of ribbing that he and his teammates would give each other.
“I’m not complaining about spending more time with you,” Xander chimed in.
“Xander you are not helping!”
Xander walked arm in arm with Valteria on their trip back to her home and shop, Freyja sleepily following along. The big cat was frequently letting out long yawns, which Valteria would giggle at. They walked at a leisurely pace, taking in the city at night as they headed back, Valteria holding herself closer to Xander to help her balance. Xander decided not to tease her about it. He told himself it was because he didn’t want to be mean, but really it was because he was enjoying the closeness.
Finally, they reached Valteria’s doorway. The two of them stared at each other for a long moment.
Evidently, Valteria still retained some liquid courage from her ale because she finally spoke and said, “Would it be rude of me to kiss you?”
Xander, very slowly, said, “I think... It would be rude not to.” Wrapping Valteria in his arms and feeling her return his hug, Xander leaned in. It was a good kiss, if tiny a bit awkward due to their height difference. But between Valteria standing on her toes and Xander craning his neck downward, it was achieved. Xander found himself idly wondering if his lips felt odd. Valteria’s certainly didn’t.
Eventually, the two of them pulled away, both a little frazzled and flustered.
Just slightly breathless, Valteria said, “That was... it was good.”
“It was. It really was,” Xander agreed. “I’ll... see you again tomorrow?”
“I’d like that,” Valteria agreed.
Xander watched Valteria unlock the door to her shop floor and enter, locking it back behind herself. He stood a little bit longer, just staring at the door, lost in thought. Shaking his head to clear his mind, he started walking with Freyja back to the inn. He was glad Freyja was with him, as it removed the temptation to fly back to the inn. He gave the large cat a pet on the head. Walking would help him sort his thoughts out.
What were his thoughts? Even he wasn’t sure at the moment, still feeling a little flustered. He shook his head again and tried to gather his mind. He’d just had a date. He’d broken down and started flirting with a woman he found attractive and turned a friendly outing into a date. He let out a sigh. Should he be upset with himself? He was, a little bit. He’d told himself that he was a married man still when he had arrived on Tillania, and yet here he was acting like he was single. He was split into two modes of thought. Objectively, he knew that there was essentially zero chance of him ever returning to Earth. And that even if he had the option, his new body would probably cease to function in what he assumed was a mana-less environment and he’d immediately die. Emotionally, though, it felt disrespectful to the memory of his marriage to even entertain the idea of another romance, let alone do... what he’d just done. Even if he did think that Helen wouldn’t hold it against him if she knew that, somewhere out there, he was still alive.
So much had happened in the last three years to Xander, even if two of them had been spent unconscious, that he wondered if he’d even be able to relate to Helen anymore. How would he go back to a life of going to work at an office job, going to drill once a month. The most dangerous aspect of his life being the prospect of being in a car crash. Now, a car crash wouldn’t even phase him or even damage his body beyond, perhaps, cosmetic damage. He was a different man, wasn’t he? Similar, in many ways, maybe even most ways, to the man who had come to Tillania that day, but not the same anymore. He’d never fought anything or anyone before that day. Now, he had lost count of how many creatures, monsters, and even people that had fallen to him and his teammates. He’d created things that he could only dream of back on Earth. Golems, wings, magical weapons. He was going to have to come to terms with the fact that he had changed. And while he wasn’t sure he was ever going to fully move on or get over being pulled away from his marriage and from Earth, he was going to have to accept that he wasn’t going to be going back to them. He deserved companionship, didn’t he?
Feeling a bit more resolute and less frustrated with himself, Xander finished the walk to the inn, which he was sure had a name, but he’d never bothered to remember it, simply referring to it as ‘the inn’ in his head, in relative mental peace. He quietly put Freyja back into her stall in the stables and made his way into the inn, which held only a few patrons at this hour, none of whom paid him any attention.
Xander climbed the stairs and walked to Gabrelle’s door. He paused for a moment, realizing something. Gabrelle’s door. Fuck. He was going to have to stop sharing a room, more importantly a bed, with Gabrelle, wasn’t he? He didn’t think that he should be dating someone and sleeping with someone else, even if that sleeping was actually just sleeping and nothing more. He knew he’d feel weird to know that Valteria was sleeping with another man, and he’d only been on one date with the woman! He hoped Gabrelle didn’t take it too hard. Though, ever since they’d rendezvoused with the rest of the team, he had noticed that she slept much more soundly. He wasn’t really a needed crutch for her to be able to sleep well anymore. It was still going to be an awkward conversation. Also, Gabrelle was going to tease him about going on a date.
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No, Ezra and Sabine would not be a “ship”
To qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. A “ship” is a relationship that’s rushed and/or forced with no real development. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

Just, dropping the whole “trapped in a VR world” concept and just accepting the world/new life as the reality?
Or just saving the whole “solving the mystery” for the final episode?
I can imagine the season finale (there’s no way there won’t be at least a second season) pulling a whole, tease and denial. Or bait and switch. Like, it seems the answer is about to revealed, but it’s just a “The Void was just an unfinished area and now it’s just another part of the circus, or maybe a secret bonus adventure, but still part of the digital world, and they aren’t a single step closer to escaping or figuring anything out, and it kind of implies they really are just AI part of a simulation, or at least they are/were real humans, but really trapped in there, at least for another season, or two…..”
I can’t imagine the whole “putting on a headset and getting stuck here” thing will just never be acknowledged again, even if it’s ignored until the season/series finale.
Just the idea of abandoning lore, fills me with disappointment, and breaks my heart……

Inspired by Game Theory but without the resources to make my own theory video, I've chosen to take to this subreddit to share my theory on something related to Mortal Kombat 1: the divisive discussion of Homelander's voice actor.
As anyone who's kept up with Mortal Kombat even the smallest amount will know, earlier before the game's release was a reveal trailer of the first Kombat Pack with six characters, one of which ended up being Homelander from The Boys, donning the appearance of Antony Starr's portrayal of the character in the Amazon Prime TV show. If you keep up with Mortal Kombat more, you'll know that they've had DLC characters from other IP since 2011, and each time they've gotten the original actor to reprise the character's role in the game, like how they got Sylvester Stallone for Rambo in MK11 and JK Simmons for Omni Man, who was the first DLC character to release in MK1.
The only time the development studio behind the franchise, Netherrealm Studios, has failed to have a character reprised by their original actor was when introducing the T-800 Terminator in MK11, as Arnold Schwarzenegger was busy on the scene for the new Terminator movie at the time. To make up for this, NRS hired an impressionist actor named Chris Cox who did a pretty good job of replicating the Terminator's voice, and was even chosen by Schwarzenegger himself to play the role! However, when Antony Starr was asked at a panel if he too was reprising Homelander's role like the other actors before him did for their characters, he responded with this: "Hey, have you seen Call of Duty? I voiced Call of Duty; go play that!"
Obviously, this response has been puzzling for fans, as this was a cryptic answer to say the least, but it can be assumed that it's a denial of the possibility. But is that truly the case? Well, from the theory I've concocted, I think I have the answer to that! As I mentioned before, Arnold Schwarzenegger was unable to reprise the Terminator in MK11 because he was too busy on the set for Terminator: Dark Fate, and a case could be made to say that the same is true for Antony Starr. You see, The Boys Season 4 was teased all the way back in December 2nd, 2023, and the show's Head Writer and Developer Eric Kripke, who also created the original comic books that The Boys TV Show was inspired by tweeted out last month that Season 4 had been finished with filming, but that it still needed to be redubbed for dozens of languages and several other things which would take Amazon until June 13th to finish so they could release the new season globally.
Based on that information, from the teaser back in December to the announcement by Kripke on TwitteX that the show had finished filming and editing in early April, that's at least 2-3 months of work on the part of Antony Starr for portraying Homelander, and that's not even factoring in the time it took the shoot the scenes for the teaser. However, looking back on the day the Kombat Pack trailer was released for MK1, that was all the way back in July of 2023, a whole 5 months before the Season 4 trailer was even released! In comparison, that's around twice the estimated amount of time that it took for Amazon to film Starr's performance of the character! So then, is that it? Is it really as simple to say that he of course is voicing the character because he had so much time to do it before working on the new season of the TV show? Well, not so fast.
While it is indeed a lot of time inbetween the Kombat Pack reveal and the S4 teaser, that doesn’t necessarily mean Starr had that much time, because five other characters were announced for that DLC bundle, and that’s just on the game’s Main Roster. If you don’t know, Mortal Kombat 1 has 2 rosters: the Main Roster where you pick your main fighter, and the Kameo Roster where you basically pick a sidekick you can summon in to assist you while you fight, and not only were there 5 other Main Roster characters announced alongside Homelander, but there was also another 6 Kameo fighters, one for each corresponding Main Roster character. While most of the Kameo fighters have basically no dialogue, they do still need a voice actor to make them make noises so they sound like they’re actually fighting, and some of them do actually have dialogue to go through. Then of course, all the other Main Roster fighters have plenty of dialogue to go through as well!
This isn’t just limited to their banter with other characters, of which by the time Homelander releases for the game there will be 2 and a half dozen to go through, including himself, but each character has to make noises; grunts, groans, panting, etc., as well as dialogue for a mechanic called “Brutalities” where they can deliver one of a few pre-recorded one-liners. They also have to scream a lot in agony as they get brutally killed by Fatalities. On top of all of that, each character has an individual Tower Ending, where they have to deliver approximately 80 seconds worth of dialogue. Needless to say, it’s a LOT to go through, and Netherrealm Studios has to go through that SIX TIMES OVER for the Kombat Pack! That’s all gone so far without even mentioning the release schedule they have! You see, soon after the Kombat Pack was dropped, several people well-known in the Mortal Kombat community were sent and email with a rough timeline of when the characters would release; this included a handful of content creators like unCAGEDgamez.
Even in the last moments of the Kombat Pack video, they have the list of characters in the order they would release, which is the order they’ve been releasing in, and Homelander was listed as second-to-last and set to release in Spring. This likely will end up being the very tail end of Spring right before the new season of The Boys comes out on the 13th. What I’m getting at here is that NRS has had a lot of work to balance with getting the acting done for these characters, especially if they’ve been having them all voiced in the same order of release; there simply wouldn’t be enough time for Starr to voice the game character before acting in the TV show. Even if he started working on voice acting immediately after he was done acting for the show, he would barely have 2 months to go through ALL the work he’d need to do that I talked about. Even if he got it done in record time, it still would need to be compiled and integrated into the game, which would still take lots of time for the department responsible for those duties with the audio.
In short, the timeframe is just too short to be able to make it work for Antony Starr to be the voice actor for Homelander in Mortal Kombat 1, so it isn’t going to be him. But that just leaves one question: who IS going to voice him!? If not Homelander, who else could there be, right? Well for a moment, it was believed to be the voice actor for another character that’s been in the game since the beginning, that being Andrew Bowen who voices Johnny Cage. Why? Well, after the Official First Look at Homelander was released on Sunday, Bowen made a post on Instagram that read as follows: “Been looking forward to this f**ker finally dropping, since we recorded it.” Obviously with that choice of words, everyone believed that he was voicing the character. This topic is covered in more detail by MK Youtuber Dynasty in his video which I’ll leave the link to. It’s also in the comments of that video that Dynasty says that Bowen later confirmed to in fact NOT be voicing the character soon after his previous Instagram post blew up.
So that already rules out 2 candidates for Homelander’s voice actor, so…what then? Are we simply meant to wait until the character finally releases to learn who it is? Well, perhaps, but perhaps not. You see, there’s one more candidate here: Chris Cox. Like I said, he’s an impressionist actor who was already chosen to voice Terminator in Mortal Kombat 11, but why would I list him here now? Well in the credits for MK1, Chris Cox is listed among the English Voice talents, along with JK Simmons and John Cena who reprised their roles of Omni Man and Peacemaker, but nowhere could I find exactly what role he plays in the game. The only listed cast role he has in the game is IMDb, and that does say that he portrays Homelander, but again, that is the ONLY website with information on his cast role in the game; without more evidence to support that claim, I just can’t be fully confident in it.
Furthermore, when Alex Bittner, a Senior Animator for Netherrealm who worked on MK1 was asked if they were allowed to reveal who Homelander’s voice actor was, he had this to say: “Given how people on the internet can be, I think it’s his choice if he wants that spotlight or not.” While this statement does support the theory of Antony Starr not reprising the role, it neither supports nor contradicts the idea of Chris Cox taking on the role currently. Though if it was him and he truly is refraining from announcing it out of fear for how the Internet would respond to that information, I fully understand that; there are plenty of unstable people across various social media platforms who expel gratuitous toxicity on things they may just not agree to or prefer, sometimes if not often hurling insults and threats at people just because they have an opinion they disagree with. In that aspect, I can certainly understand if Chris Cox is just trying to keep this under wraps for as long as possible to avoid the inevitable toxic reactions to him being the voice behind Homelander instead of Antony Starr, no matter the circumstances or performance, which I have no doubt will be amazing based off of hat we’ve seen so far from the First Look Trailer.
But then again, none of this is truly confirmed, (except for Andrew Bowen not being the voice of Homelander,) so who knows who it could be? Maybe it’s someone who hasn’t been discussed or brought up yet, be they an actor we don’t know or someone else in the game’s main cast. Maybe it IS Chris Cox just keeping quiet for as long as possible. Or maybe this whole thing has just been one big dupe on Antony Starr’s part, and he’s just been convincing us he won’t be doing it for the longest time to distract us until the moment he swoops in and reveals that this has been his plan all along, and it’s all just been one big act to further prove how incredible of an actor he is. BUUUT HEY, that’s JUST a theory! A GAAAAAME THEORY!!! Thanks for reading!!
TL:DR, I'm highly confident Antony Starr's not gonna voice Homelander in Mortal Kombat, but it JUUUUST MIGHT be Chris Cox, an impressionist actor who did another DLC character in Mortal Kombat when they didn't get the OG actor, but who knows, lol?

When I was ten, I formed a junior detective squad.
Mom bought me the entire box set of What's New Scooby Doo, and I was inspired to start my very own detective gang. I held auditions outside the gymnasium at recess (serious enquiries only) after a number of kids tried to apply for the role of Scooby Doo despite me reiterating I was not interested in playing make believe.
When I was laughed at in class, I made posters strictly asking for SERIOUS wannabe detectives, even going as far as using my Mom’s printer to make flyers, sticking them all over the school.
Auditions were simple. I asked them to solve a simple riddle.
Whoever impressed me got to sign their name down, and I’d get back to them.
I spent three days sifting through kids who definitely had charm, but they lacked the intelligence of a junior detective. Most kids were only auditioning to make fun of me, anyway.
Still, though, I didn't give up.
My flyers had five requirements:
1). You had to be smart.
2). You were not allowed to be a scaredy cat.
3). You had to accept your inevitable death at the hands of our town’s evil villains.
4). You had to have a fully registered driving licence (I quickly changed this to a bike).
5). You cannot have a criminal record.
(I later scribbled this one out, writing over it. *“You cannot have any tardies.”
Narrowing the applicants down to three kids, all of whom failed to share my enthusiasm for solving cases. The kids I picked didn't even know how to make plans, and when I invited them to my house, they stole my Mom’s necklace.
I didn't even need to solve the mystery of who stole Mom’s necklace. The girl was wearing it at school. I punched her in the face, and was immediately sent to the principal’s office. When I was being given the mother all lectures, the door quietly opened, a head peeking through.
It was Ben Callows, a freckly kid with overgrown brown hair hanging in his eyes. Ben really needed a haircut.
He was always wearing the exact same baseball cap, and I found myself wondering if it was permanently glued to his head, stuck on top of unruly brown curls practically matted to his forehead.
In class, Ben was also known as Bloody Ben. In the second grade, the boy had a nosebleed in the middle of a spelling test, bleeding all over his paper.
It's not like he didn't try and detach himself from the name.
Ben brought in Digimon cards, so kids would call him Digimon Ben instead.
Then he “accidentally” spilled yoghurt down his shirt in hopes we would call him Yoghurt Ben. But no. The kids in our class were relentless in reminding him of his name. No matter what he did, he was still Bloody Ben, and when anything related to blood came up in class, fifteen pairs of eyes would swivel to him, like he had invented the concept of bleeding.
I feared the nickname would follow him to junior high.
Ben didn't wait to be let in. He didn't even knock, striding in with his arms folded. Over the years, Bloody Ben, had definitely soured his personality.
He smiled rarely, and when he did smile, someone was falling over or hurting themselves.
Which definitely strengthened the claims of him being a sociopath.
The rumor mill was churning, with the latest claiming Bloody Ben killed his cat. That wasn't true. Ben’s cat was seventeen with cancer, and that was why he was sobbing all the way through reading time.
According to Ellie Daly, however, Ben had killed and dissected his kitty, and buried her in his Mom’s flowers.
Now, my principal did not like being interrupted, especially when she was in the middle of screaming at me.
Principal Marrow was old old (like, thirty, in my ten year old mind) stick thin like a pencil, and always wore the same stained sweater.
She used to be pretty, but I was convinced she had kissed a frog and been cursed. After our old principal suffered a stroke, she stepped in as a temporary replacement, and since becoming principal, had banned my favorite book series, colored shoe laces, and hamburger helper, even officiating a uniform.
(vomit green shorts and a tee, and plain white sneakers).
Kids were convinced she was a witch, and I kind of believed it.
Principal Marrow’s whole existence was built on sucking the fun out of school.
I was already reprimanded for my mystery gang flyers.
Her office smelled of peppermint and she was definitely sneaking sips of whisky in her coffee cup. I could see the bottle sticking out of the trash.
She straightened up, folding her arms across her chest, squinty eyes narrowing at the boy. I had spent the whole time she was lecturing me trying not to cry, my fists bunched in my lap.
I took the distraction as the perfect opportunity to swipe at my eyes, allowing myself to breathe.
Ben Callows was her victim now.
I was right. The woman's voice was like a thunderclap in my ears.
“You better have a good reason for not knocking, young man.”
Ben wasn't fazed by her tone. “You took my Switch two weeks ago,” he said, “I want it back, or I’m telling my Mom.”
At first, I thought I'd misheard him.
No, I was pretty sure he'd threatened our principal.
I swore I heard all of the breath sucked from the room.
“I'm sorry,” Principal Marrow cleared her throat. Her soft tone was dangerous.
She wasn't being nice. The lady was about to explode.
I could see visible veins straining in her temples, her right eye twitching.
It was straight out of a cartoon.
“Did you forget something, Ben?”
Ben sighed, like she was inconveniencing him.
He held out his hand. “Please can I have my Switch back? It counts as stolen property. Give it back, or I'm telling my Mom.”
The kid put so much emphasis on the word please, I couldn't resist a smile.
I think our principal was too shocked to get angry.
“Get out.” She said, firmly. “I don't have your gaming device.”
“It's in your drawer.” Ben nodded to her desk, “Under your divorce papers and the restraining order ordered by Jake Willow, the seventeen year old boy you've been having math ‘tutoring sessions’ with.” He quoted the air, his gaze lazily rolling to me. “Tutoring”
Principal Marrow went deathly pale, her eyes darkening.
“Benjamin Callows–”
“The school already knows about the restraining order, but your uncle is the head of the Board of Education, so all you get is a slap on the wrist and a warning to leave the boy alone."
Ben continued, and I found myself mesmerised by his words. He was a natural, his expression stoic, mouth curved with satisfaction that wasn't quite a smile. “However.” He held up his phone, pulling it away at the exact moment the teacher attempted to grab it. “You were outside Jake Willow’s house at 6:12am, drunk, and trying to climb through his window, which, I think violates the restraining order, does it not?”
Ben pretended to think real hard, his gaze flicking to the ceiling.
“I mean, I'm just a kid, right?” His mouth curled into the hint of a smirk
“What do I know, huh?”
Principal Marrow’s expression twisted, her lip wobbling.
“Mr Callows, remove yourself from my office, or I am calling your father.”
Leaning comfortably against the door, Ben’s lip twitched.
“Why? Are you planning on telling my Dad about your relations with a teenage boy, or will I have to tell him instead?”
I was enthralled, and fully disgusted, making a move to inch away from the woman.
“But it doesn't end there.” Ben continued. He straightened up, taking slow, intimidating steps towards the woman's desk. “You don't even want Jake, do you? Because, once upon a time, you were in love with his father. Jason Willow. You despised him for rejecting you, so you decided to defile his son.” Ben leaned over the principal’s desk, slipping his hand into the drawer, and pulling out his switch.
Painfully slowly.
She stood there, speechless, her shoulders trembling.
Ben smiled, and I found myself liking it.
“Thank you!” He said, waving the console in her face. Ben mimed locking his mouth and throwing away the key.
“My lips are sealed.”
Ben’s half lidded eyes found mine. “Are ya coming, Panda?”
I forgot my own nickname.
Panda.
I wore my Mom’s eyeliner because I thought it looked cool.
It did not.
Finding my breath, I snapped out of it.
Jumping up, I followed him out of the office, and when the two of us were safely on the hallway, I burst into hysterical giggles. “How did you know all of that?!” I whisper- shrieked.
Ben surprised me with a splutter. “Wait. You believed me?”
Something very cold trickled down my spine.
I stopped walking. “You lied?”
He shrugged. “I had a dig around her office before she caught me a few days ago,” Ben swung his arms, a smile curling on his mouth. “There's no restraining order, but there is prescription anti-psychosis medicine, and an extremely detailed story on her laptop about a teachestudent romance, which I presume is a self insert.”
Ben shot me a sickly grin. “The school refused to make her condition public.”
He prodded at his own cotton shirt embroidered with the school emblem.
“Why do you think she's made all these dumb rules? The woman is a certified Looney Tune.”
I nodded slowly. “Wait. What about Jake and his dad?”
“I made them up.”
I choked out a laugh. “And… the video?”
Ben walked faster, pulling out his phone and shoving it in my face. The video was real. Principal Marrow was walking around in circles, draped in her nightgown. “It's her own house,” he explained. “She locked herself out.”
Nodding slowly, I was in awe. Bloody Ben was kind of fucking amazing.
“But the restraining order isn't real.”
Ben raised a brow, coming to an abrupt halt. It was his smile that cemented his place in my gang. His lack of empathy for a woman he had gaslit into being a disgusting human being. Ben Callows wasn't exactly what I was looking for, but he fascinated me. Maybe for the wrong reasons. “Her filing cabinets are filled with tinned cat food, Panda,” he said with an exaggerated sigh, “I’m not psychic, but I thiiiiink we’ll be okay.”
I turned to him, unable to stop myself jumping up and down with excitement.
“Will you be my first?!”
Ben inclined his head. “Will I be your what?”
I shook my head. “Sorry. I mean, will you join my mystery gang?”
The boy’s eyes lit up, and I shoved him playfully.
“To solve real cases,” I corrected myself. “Not make them up.”
Ben wore a real, proper smile. But there was something in his eyes, a darkness that was so hollow and polluted and wrong, I pretended not to see it for the sake of his smarts and intellect. “Well, if you insist, sure!” Ben held out his hand, and I shook it. I'll be your first.”
We found our second member, who was, ironically, looking for her glasses under the table in class. Lucy Prescott, the quiet girl, was born to be with us.
The class eraser went missing, and she found it in the blink of an eye.
When questioned, Lucy’s face turned as red as her hair. “I asked everyone in the class and followed the clues to the last person who had it,” she pointed to Chase Simpson. “Which was Chase, who was throwing it at Marcus Calvin.”
Twisting around in my chair, I aimed to get Ben’s attention. But he was already looking at me, chin resting on his fist, eyes ignited with excitement.
The two of us cornered Lucy after class, and when she motioned for us to get back, I dragged Ben (who was a little too excited) to my side.
Lucy looked mildly horrified when I said, dangerous cases, though her expression pricked with intrigue.
She agreed, her gaze lingering on Ben, cheeks smouldering.
Our last two members were a surprise.
Violet Evergreen was what you would call popular on the middle school hierarchy. Not just because her mother was the mayor, but because Violet could get away with murder. The girl refused to wear the school uniform, coloring a single purple streak in her hair to cement herself as the it girl.
She was also one of the girls who started the Bloody Ben rumor.
Ben, Lucy, and I were sitting on the grass during recess, trying to come up with a name for our detective service, when Violet came storming over, hands planted on her hips. She was copying how her mother held herself during town meetings.
“What are you doing?” Violet demanded.
Lucy opened her mouth to answer, Ben nudging her to shut up.
“Making a mystery gang.” I told her. “Why?”
Violet inclined her head. “Oh.” She folded her arms. “Well, can I join?”
Ben stood up, stepping in front of the girl. Violet didn't move, stubbornly standing her ground. “Sure.” Ben flashed a grin that didn't quite reach his eyes. He stepped closer to her, his smile widening. “If you can pass the test.”
Violet’s lip curled. She took a single step back. “What kind of test?”
Ben nodded to me. “Meet us at the swimming pool at 8pm.”
To my surprise, Violet nodded. “Do I need to bring anything?”
“Nope!”
8pm. The four of us met outside the local swimming pool.
Violet was already on the other side of the fence, waving.
“Hey guys!”
I noticed Ben’s expression, his eyes darkening, lip curling.
Still though, he maintained positivity, vaulting over the fence.
“You made it!”
I followed him, helping Lucy, who was immediately freaking out. I didn't blame her. The pool looked cold and dark, a hollow oblivion carved into the ground.
Ben and Violet stood on the edge, the two of them shoulder to shoulder.
Violet Evergreen was braver than I thought.
Standing with her arms at her sides, Violet's hands clenched into fists.
“What's the test?” Violet said, her gaze glued to bleeding black depths.
“I don't know,” Ben murmured, his voice teetering on a giggle. He leaned forwards, arms spread out. “I didn't think you'd actually come meet us.”
Violet hummed, stretching out her leg, teasing it across the surface. “Was that the test?”
The boy leaned back. I caught the glint of a grin under the floodlights. “Nah.”
Before I knew what was happening, he shoved Violet into the pool. The girl didn't scream or shriek, she just hit the surface, sinking into pitch dark nothing.
“Sink or swim,” Ben said in a low murmur, when Violet’s head bobbed under water. I could see her shadow under the surface, imagining the freezing cold depths pulling her down.
“Drown, and you can't join us.”
It was so quiet, suddenly. The three of us staring into rippling water.
A minute passed, and my tummy started to twist.
“Fuck.” Ben’s expression stayed stoic. I wasn't expecting him to say a bad word.
He cocked his head. “I thought she could swim.”
I hit him, holding in a cry. “You need to get our parents!”
But he didn't listen to me, taking a single step, and dropping into the pool.
I fell to my knees, scanning the water.
Lucy was crying. “Are they dead?!” she shrieked.
“Shhh!” I was watching two shadows lingering under the water.
Violet broke through. I expected her to be crying, but her expression was unwavering. She was silent. I thought the splashing underneath her was her legs trying and struggling to tread water, before Lucy shoved me. Hard.
“Panda! What do we do?!”
Looking closer, Violet was perfectly still, her gaze on the sky.
While she shoved Ben under the water, drowning him.
Violet’s eyes sparkled, and somehow, I knew she belonged in my gang.
Her gaze found mine, glinting with that darkness, that poisonous streak I found myself drawn to. It was a starving, insatiable need to understand a fractured mind. Know your enemy.
“Do you want to see if Ben’s a witch?” Violet asked me, her tone something else entirely. This girl did not make sense, using barely her finger to drown Ben Callows. I knew she was wrong.
I knew there was something loose, something unlocked and unbridled and drowning inside her mind and heart.
But I wanted more of her. I wanted Violet Evergreen in my detective gang.
I think that is why I stood there, frozen.
When the thrashing stopped, Ben broke through.
He wasn't coughing or spluttering, his head inclined. “You didn't drown.”
Violet climbed out of the pool, offering her hand. “And you're not a witch.”
He declined her hand, taking the steps instead.
I asked Violet in a shaky voice. I was trembling with terror, but I was excited.
Exhilarated.
“Violet, will you join my gang?”
She didn't answer me until we were sharing hot cocoa in my house.
I told Mom we fell in the pool, and she believed me. I should have told her that my friends were sociopaths, and I was kind of maybe in love. Violet sipped her cocoa, nodding with a smile I didn't recognise. Violet never smiled at school.
Well, she did. But it was always the prick of a cruel smirk.
I don't think her smile was genuine, but she was definitely enjoying herself.
Our last member came to us, instead of finding him.
Jules Howell, a straggly brunette pushed his way in front of me in the lunch line. I didn't really know the kid.
He sat at the back of the classroom and slept through most of class. I did like his accent though.
Jules had moved from Melbourne in the second grade. He didn't talk much.
When he did, I found myself enveloped in his voice, which sounded like water to me, a bleeding cadence to his tone.
Jules piled his plate with fries, smiling widely at the lunch ladies.
“I saw you last night.” He murmured through that perfectly moulded grin.
“Saw me where?”
“At the pool,” Jules said. “You, Bloody Ben, Violet Evergreen, and that Lucy girl. You were doing a suiciding pact.”
“That's not what we were doing.” I said, “What's a suiciding pact?”
“When you kill yourself together.” Jules said. “I saw it in a scary movie my Mom was watching.”
I grabbed a fork. “We weren't doing that.”
His eyes were strange when I took the time to notice them. The excited gleam had fizzled out. Jules’s hands tightened around his tray. “Then what were you doing?”
I didn't reply, making my way over to our usual table. Ben was already waving me over, Violet and Lucy holding up the flyers we were making.
THE REDBLOOD DETECTIVES.”
Do YOU need our help? We can find/solve anything! Contact us on the number below. (We take donations!)
When I bothered turning around, Jules was lost in the crowd of kids.
We were on our first official case, searching for Mrs Lake’s missing mail, when Jules appeared seemingly out of nowhere. And with him, a golden retriever puppy he introduced as Arlo.
It took a dog jumping up at them for Violet and Ben to find their real smiles, their real selves slowly seeping through these facades they had built around themselves. Ben dropped to a crouch, ruffling the dog's ears, his smile faint.
“Who's a good boy?” He chuckled.
Arlo didn't move, tail wagging, eyes bright.
Ben motioned the dog towards him, but Arlo stayed put.
Jules joined us…quietly.
I don't remember asking him, or even him asking me.
He just became part of us, side by side with Arlo.
We soon came to quickly realize that our town was boring.
There were no monsters or thieves, or soul sucking demons. No criminals or serial killers. Not even one missing person. We did, however, get calls about missing cats. I turned eleven years old, patiently waiting for a murder or a kid going missing. But there was nothing.
All we did was chase cats, and the occasional dog. Maybe a budgie if we were lucky. Twelve years old, our detective club became a joke.
The five of us (and Arlo hiding under the table) were trying to pinpoint Mrs Tracy's lost hamster, when three girls came over, dumping their soda all over us.
We watched crime shows for inspiration on catching killers.
Ben’s favorite crime was one that happened in the 80’s in our town.
2 girls murdered.
Their intestines stuffed into envelopes and mailed to family members.
“That's what we should be solving,” he told me one night, “Not missing cats.”
Thirteen years old, we lay in Violet’s backyard under the cruel glare of the summer sun. We called it working and didn't like to admit it was hanging out, or that we were even friends. However.
That didn't stop us growing closer.
Even if it wasn't quite the way I’d expected.
I proposed a plan, standing up, wobbling a little off balance.
“I've got it.” I said, my voice kinda slurry from Violet’s special summer cocktail, which was just random alcoholic beverages we found, thrown into a blender, and diluted with water.
The town wasn't taking us seriously.
So, we were going to make our own mysteries.
I ordered a full-scale assault on our small town. One that they could not ignore. Ben stamped on Mrs Mason’s flowers, and Lucy threw mud pies at people's cars. Jules trashed the high school gym, and Violet and I spray painted threats and warnings on every store window. Now, this did cause panic, but also an official curfew.
Thirty minutes before curfew, we met in our usual spot, deep in the forest near the lake. Ben yelled at me when I was three minutes late. He was real passionate about finding a real mystery.
“You're late.” Ben was sitting on a rock waving a stick in Arlo’s face.
The dog still wasn't going near him, whining softly.
I took my place, muttering an apology. “I had to lie to my Mom.”
Violet, sitting with her legs crossed, idly digging her manicure into the dirt, suggested we buy mannequins and masquerade them as dead bodies, hanging them from the school rafters.
Lucy, who had slowly grown out of her shell, becoming a lot more outspoken, nudged her. “That's a stupid idea.”
The girl groaned, leaning into her. “Urgh. You're right.”
Jules was the only energetic one, standing on the tireswing.
He jumped down, definitely twisting his ankle.
But his smile only widened, kind of like he enjoyed being in pain.
“Why don't we pretend to be kidnapped?” He said, pulling the hood of his sweatshirt over blondish curls growing out. Jules did a dramatic spin, his eyes shining. “We can ‘go missing’ for like a week, and then when our parents are really scared, we can turn up, and tell them we escaped a kidnapping.” His lips split into a grin.
“And then we solve our own kidnapping!”
Ben awkwardly patted Arlos head, only for the dog to pull away with a snort.
“I like it,” he murmured. “I'm in.”
Jules’s idea was stupid.
But.
It was worth a shot.
The five of us agreed to meet the morning after with enough food and supplies for a week. Then we were going to hike to the next town, and hide out for a week. It was an almost perfect plan, using ourselves as victims of our own mystery.
Packing as much as I could, I kissed my mother goodbye (I told her my pack was for a picnic) and set off to the rendezvous we agreed on.
When I arrived, I was the first one there. I checked and re-checked my pack.
I waited ten minutes, unable to contain my excitement.
Then 20 minutes.
It was getting kind of cold.
One hour.
I sat on a rock for enough time to watch the sky change color.
When the clouds were orange, I stood up and stumbled back home. They had gone without me. Mom lectured me when I got home, and I stuck to the plan of pretending my friends had gone missing, even if I they had betrayed me.
Ben said he'd text me when he arrived at the redervous. I at least expected him to text an explanation, but there was nothing. I was in the dark, and after three days of nothing, our town finally began to take us seriously.
“Our children have been kidnapped!” The adults were screaming.
Mom was crying in the kitchen, praying to a god I knew she didn't believe in that I wasn't taken next. I was interviewed and stuck with the exact same story I came up with when I was with the others. Our plan was to return after a week, claiming to be locked up in a dark room with a masked man.
I told my Mother and the other parents that I didn't know where my friends were, repeating the same thing over and over again until I was tongue tied.
“I saw them the day before they went missing, and… yes, everything seemed okay.” I slowly sipped my glass of milk provided, looking the sheriff directly in the eyes.
“No, I didn't notice anything suspicious, sheriff. Yes, I'm sure, sir. No, they didn't tell me anything.”
It was Ben’s mother who shattered my mask.
“Did I know about… what?” I whispered.
Something warm filled the back of my mouth, foul tasting milk erupting up my throat. I leaned forward, trying to look Mrs Callows in the eye. “No, I… I didn't know about Ben’s…condition.”
Mrs Callows was screaming at me about her son’s troubled past when I barfed all over myself, my eyes burning.
In the privacy of my own room, I sobbed until I couldn't breathe.
I tried to tell Mom, but we had come so close.
One more day, and the others would be back.
But that day came. I sat cross legged at our usual spot, which was now covered in police tape. I waited for their thudding footsteps, their laughter congratulating each other for coming up with a great plan. I waited, my face buried in my knees, for my friends.
It was dark when my phone vibrated, and I'd fallen asleep.
I wasn't scared, forcing myself to my feet.
“Where are you?” Mom yelled down the phone.
“Coming home now.” I muttered.
“Sorry.” I paused, holding my breath against a cry. “Mom.” I broke down, forcing my fist into my mouth to hide my squeak. “Mommy, did they come back?”
Mom didn't reply for a moment.
“I'm so sorry, baby.” She whispered, ending the call.
I took my time walking home that night.
There were no stars in the sky.
When a hand clamped over my mouth, I could smell him.
When he dragged me back, stabbing a kitchen knife into my throat, I stared at the sky and looked for stars. His arms were warm around me, violently pulling me into the back of a pickup truck. The pickup truck he'd said he was bringing.
It was his grandfather's, and he could just about drive it.
Hitting the backseat, my body was numb, my thoughts in a whirlwind.
The pickup flew forwards, and I remembered how to move.
I rolled off the seat, my hands pinned behind my back.
Twisting around, blinking in the dim, I could feel something warm, something seeping across upholstery seats. Blood.
It was everywhere, sticky on my hands and wet on my face when I struggled to get up. I was lying in someone's blood.
A scream clawed its way out of my throat.
The pickup flew over a pothole, and something dropped off the seat.
Arlo’s leash.
I screamed again, this time his name gritted between my teeth.
I didn't stop screaming until the jerking movement stopped. The doors opened, pale light hitting me in the face.
Flashlight. Warm arms wrapped around me, pulling me from the car, and then, pulling me by my hair, into our old tree house. It was always our secret place, our saving grace on the edge of town.
The flickering candlelight caught me off guard, illuminating my surroundings.
Two bodies slumped over each other, lying in stemming red.
I felt suffocated, like I was going to die. I screamed, and that warm hand cradled my mouth again, gagging my cries.
Violet and Jules.
There was something wrong with them. And it was only when I forced myself to look closer, when I realized their insides had been carved out, heart, stomach, everything, pulled out.
There was paper on the floor.
No, not paper. Envelopes.
Envelopes stuffed with gore, bright red leaking through white.
Shuffling back, my brain was too slow to react, while my body was trying to vault to my feet, only to be violently pulled back by my ponytail.
I felt his fingers twining around my hair, revelling in my screams.
With another tug, my head was forced forwards.
Orange candlelight felt almost homely, this time lighting up a third body.
Lying on their back, curled up, pooling scarlet dried into the floorboards, their wrists restricted with duct-tape.
I could feel blood underneath me, sticky, a congealing paste.
“Do you know what happened on October 3rd, 1987, in our town?”
Lucy Prescott stood over me, her arms folded across her chest.
I managed to shake my head, when she grabbed Ben’s legs, dragging him under the candlelight. I dazedly watched her stroke the blade of a carving knife, the teeth already stained scarlet. “The intestine murders.” Lucy hummed, tracing the knife down the floorboards.
“A man murdered two high school girls, carving out their insides and sending their pieces to their loved ones.”
Lucy's eyes found mine, ignited in a familiar gleam. I saw it in Principal Marrow’s office. Then the swimming pool. The cafeteria. “It was the sheriff's only murder case, Panda. Ever since then, our town has been boring. There's no mysteries to solve. Nothing to find.”
The girl jumped to her feet, retrieving a blood stained envelope.
She held it up, a smile curved on her lips. The girl turned around, and I heard a horrific squelching sound. Lucy held up a bright red sausage, ripped into it, and slipped it into the white paper.
“But I can change that.” she said, in a giggle.
“I can create a real serial killer, who we can hunt down together.”
Lucy stabbed the blade into the floor, laughing.
“Or! I can bring a fan-favorite back! I can bring the intestine killer back from the dead!”
Her gaze flicked to the others. “There are casualties, of course. The story is, I was kidnapped with Ben, Violet, and Jules. The scary intestine killer killed them, and I managed to get away.”
Lucy shuffled over to me, her eyes wide. “Then! He came back and struck again!”
With those words, she shoved me onto my back.
“First he took Violet,” Lucy hummed, tracing the blade down my shirt.
“Then… Jules.” I squeezed my eyes shut, pulling at the restraints around my wrists. “Then Ben.” her breath tickled my cheek. “And finally… Panda.”
Lucy lifted the knife, and I accepted my death.
Until a low rumble in my ears.
Shouting.
Thundering footsteps, followed by the pitter-patter of paws.
“Lucy!” The sheriff was screaming, and the girl stumbled to her feet, the knife slipping from her fingers. Lucy stumbled, tripping over Ben’s body.
“He got away!” she shrieked. “He…he killed them! Oh, god, please help me!”
I don't think Lucy even realised the traces she'd left behind.
The blood slick on her fingers, her manic, grinning smile full of mania.
I was looking for stars when an officer crouched over me.
I couldn't understand what she was saying.
Her voice was white noise.
“Rachel? Hey, try and sit up, honey. You Mom is on her way.”
Instead of listening to her, I curled into myself.
My gaze found Arlo sticking his nose in Ben’s hair, trying to nudge the boy awake.
I didn't fully register the next few days.
They went by in a confusing blur.
Part of me tried to eat, and spent hours with my head pressed against the toilet seat.
I could still see the slithering, scarlet remains of my friends every time I closed my eyes. There was so much red, soaked in that hunting orange light.
Blood that I could still see, a starless sky that stretched on forever.
Weeks went by.
Then months.
I think I turned 14. I wasn't sure. I didn't feel alive anymore.
I stood at my friend’s funerals with a single rose I dropped into their casket.
Violet’s mother was quick to cover the whole thing up.
Lucy's plan didn't work after all.
Our town’s murder cases stayed stagnant at one.
It's been four years since my friends were murdered by our ’Velma’.
Now, at seventeen, Mom asked if I wanted to visit Lucy in juvie.
I'm not even upset or angry anymore.
I want to know why.
Ben picked me up. Arlo was at his side, wagging his tail.
Ben was…different. He'd dumped his baseball cap and gotten a haircut, swapping his old wardrobe of drab colors for an attempt at changing style.
That day, he looked awkward in a short sleeved tee and shorts.
At school, Ben is no longer Bloody Ben.
Now, he is Survivor Ben.
I’m still Panda.
Every time I was with him, I felt like my soul was being sucked out.
Guilt so deep, so fucking painful, I lost my breath.
I live knowing that I immediately assumed it was him that day.
Ben was barely alive when I found him. Lucy had started to carve into him before remembering she needed me.
After admitting it to him, his lips formed a small smile.
“Can I tell you a secret?” He said to me, at sixteen.
"Yeah?"
Whatever he was going to say, Ben never told me.
Presently, I nodded at the dog’s new collar.
“Peppa Pig themed?”
The boy shrugged, ruffling Arlo’s ears. “FYI, he chose it.”
“It's cute.” I said. “Very… chic.”
We didn't speak the whole ride, but Ben did entangle his hand in mine.
We spent half an hour outside the detention centre. I was panicking, and Ben was trying to hide that he was panicking. In the end, we joined hands, and strode through the doors together.
Lucy greeted us with a wide smile. Just as psychotic.
The orange jumpsuit suited her, though I had zero idea why.
“Hey Arlo!” she giggled at the dog, and Ben pulled the pup onto his lap.
“Ben.” She sighed. “I wish I got to finish you. I would have loved to solve the mystery of your gutted corpse.”
Ben’s smile was wry. “Nice to see you too.”
Behind a glass screen, I asked Lucy one simple question.
“Why?”
Lucy didn't reply. Or she did, but it was just nonsensical bullshit.
But there was one thing she said has stuck with me, chilling me to the core.
I am fucking terrified of Lucy. Of what's she's done, and what she's capable of doing.
It was a throwaway line, and I don't even think Ben noticed.
Or he did, and was in denial.
Lucy's smile was wide, her eyes empty pools of nothing.
The exact same glint in Ben’s eyes.
Jules’s eyes.
Violet’s eyes.
Like something was gnawing away at their psyche, twisting and contorting it, filling them with darkness, poison, that was so vast, so endless, I had craved it as a child. I still don't know what it is.
But I'm going to find it.
Lucy's laugh was shrill, and next to me, Ben didn't move a muscle.
“I don't even wear glasses!”

Reposting this from a comment of mine, jsyk.
Michael is sweet and bubbly yet also a bit naive kid-at-heart, and Prince is the more grounded voice of reason that’s there to bring Michael back down to earth. Like the sun/moon lesbian dynamic but male.
Prince is playful and flirty while Michael is shy and nervous. Prince teases Michael because he loves his incredibly flustered and panicked reactions.
Altho, do keep in mind that the two dynamics above are prone to switching roles every now and then(since I see them as switches)
They both are fairly troubled and emotional. They can relate to each other’s struggles, they’re very open to each other and are always there to support and comfort each other in though times.
Both are mischievous pranksters, and they’re both very affectionate/touchy-feely and protective of each other.
Unfortunately, due to the judgemental press surrounding both of them, the public viewing them as enemies/rivals, their aforementioned traumas (especially from past relationships), and them both being raised in religious households to believe that homosexuality is sinful and being somewhat sexually confused/in denial, their relationship starts out pretty tumultuous and feels a little forbidden. But they do eventually find happiness and it’s the best relationship they could’ve ever asked for. It’s a slow burn. They’re like Romeo and Juliet, but gay, yknow?

When I was twelve, I formed a detective gang.
Just like Scooby Doo.
Stella Howett was my Daphne.
I found her searching the principal’s office for her confiscated phone.
Ben Callows was my Fred, who at first refused because Scooby Doo is a kids show! But he did join for the free cookies.
I found my Velma, who was, ironically, looking for her glasses. Lucy Bridget, the quiet girl who was born to be my Velma. In the summer, we trailed around our town looking for mysteries.
But our town was boooooooring.
There were no monsters or thieves, or soul sucking demons. All of our cases turned out to be missing cats.
So, inside our local diner, drinking my favorite milkshake, I proposed a plan.
We were going to make our own mysteries.
Stella stamped on Mrs Mason’s flowers, and Ben threw mud pies at people's cars. But people still weren't taking us seriously. I met up with the others at our usual place. “We need to do something really scary.” I announced.
Ben stood up, waving a stick.
“Why don't we pretend to be kidnapped?” He said, pulling the hood of his sweatshirt over his hair. “We can ‘go missing’ for like a week, and then when our parents are really scared, we can turn up, and tell them we escaped a kidnapping.” His lips split into a grin.
“And then we solve our own kidnapping!” He laughed, lounging on the tire swing.
“You're stupid.” Stella chased him teasingly, Lucy laughing.
Ben’s idea was stupid.
We went back to solving missing cat cases, and I started watching more adult crime shows, which were way better than Scooby Doo. My favorite was the case of the intestine killer, who scooped out the intestines of three girls, and then mailed parts of them to their loved ones. Three weeks later, I was covered in blood, screaming, crawling through dirt. All my friends were dead.
Stella, half buried in dirt.
I tried to save Lucy, sobbing into her chest.
Ben was dragged away by their killer, his body thrown into the lake.
The hiker who found me immediately called the police, and once I was in my mother’s arms, I sobbed into her shoulders. When Ben’s body was pulled from the town lake, I was in denial.
Lucy and Stella were found a day later, and I sat next to my mother, choking through my traumatic experience. When Mom was gone, I was still sobbing, stabbing at my eyes with my fingernails to make more tears. “I miss them so much.” I whispered, slowly ducking under my bed and pulling out a plastic box.
Resting it on my bed, I pulled out a long, slithering red sausage, ripped it in two, and slid it into an envelope.
I licked the envelope shut, sniffling, writing with my favorite pen.
“MR AND MRS CALLOWS.”
*Don't worry guys,” I said, smiling at the envelope in my hand.
“I will find your killer.”

Trigger warnings for threats of violence, talks of suicide, and emotional abuse. (Also mentions covid 19)
And it's long.
So I, 19 F, developed depression and suicidal ideation at the very young age of 10. (For a couple of reasons, the main one is that it runs in both sides of my family)
When I came to my parents saying I wished I was dead, my mother started helping me manage it and started me with therapy. My father personally told me that I could always tell him if I was feeling suicidal. (I've been passively suicidal mostly, so I always wish I was gone instead of planning to hurt myself, with about two exceptions over 10 years.)
One day, I was really struggling, and my father happened to knock on my door. When he saw I was crying, he asked what was wrong. I thought back to what he had said about confiding in him, so I decided to open up and be vulnerable and ask for help.
He screamed at me that he was not going to spend money or ruin his reputation by taking me to a mental hospital, and that I had to cut it out right there and then, before leaving me there, crying, and heart shattering. I had been vulnerable, and he spat at me, and unconsciously told me that what I was feeling was bad and that it wasn't okay. And it also told me he was two-faced because he'd promised he'd listen, and instead, he stomped on my heart.
I never really saw him the same way again, after that. I struggled with depression for 6 long, hard years, and I never once told him anything more, relying on my mother (who is amazing, and I love her. If any of you are worried about role models, know that she is my favorite person on earth, and I would move heaven and earth for her.)
With each year that passed after that incident, he slowly changed. Since then, he's been more distant. He's gotten angry outbursts that would scare everyone in my family. When he'd lose a job, he'd go into a cycle of treating everyone in the family horribly before getting a new one and suddenly being happy again.
I still live with my family, (older brother and sister have moved out. The abuse started between 2014-2020, so my brother didn't rectally experience it, but my older sister did, and left as soon as she could.) I have disabilities. I have ADHD, depression, anxiety, and social pragmatic communication disorder. (the last one is a disorder that makes it hard for me with social situations and social cues, and also sometimes makes my tone of voice come out in a completely different way than I want) I struggled with jobs, until I got one that taught vocational skills. I'm happy to report that I now have a new one starting soon.
But I haven't moved out, and I'm turning 20 soon. I've stayed for a couple of reasons. The first is that I'm not ready to move out. Both emotionally and realistically. My room is a mess most of the time, and I don't have the skills to live with people quite yet. I still have much to learn.
The second is that I help my little sister. Both my mom and father work far away. So I help out by driving my little sister places and picking her up and dropping her off. Third, I just registered for school, so I won't have to pay rent while in school, as per the rule that my parents set.
Lastly, I don't make enough money to sustain myself in this economy. I will be getting a job after school, and moving out, and telling my dad I never want to see him again, and going no contact.
I haven't heard anything nice come out of my father's mouth in years. He often yells at me, and I don't remember the last time he told me he loved me. I struggle with subtle things, so often I do best when someone straight up tells me "good job," "I'm proud of you," or "I love you." He also is often negative, to the point I don't like being around him.
Two years ago, my mom and little sister were on a trip, so It was just me and him. I had a funeral to go to, and it wasn't until after I attended that I discovered he had tested positive for covid. And he didn't tell me. My mom did. Over text.
I hurriedly took a covid test, and thank God it was negative. I apologized to my best friend (the funeral was for her little brother) and explained I would have taken precautions if I had known I was exposed. She assured me I was okay because I hadn't known.
When my mom and sister got home, we deep cleaned the house. For some reason, my dad said he just needed to wash his hands and stay safe, but my mom made him quarantine anyway. (He also had been very strict in the past about covid, so his insistence about being fine was confusing)
I opened up and said I was frustrated he never told me, and he responded with the excuse that I would have just worried too much and asked what I would have done anyway. I told him I would have worn a mask to the funeral, and I definitely wouldn't have hung around him. I even told him that I went to work with a mask. (And I told my manager I was exposed, but negative)
He then started yelling at me that I was immature, and was never going to understand life and that I needed to grow up. When I countered that he needed to man up and left, he got even angrier. My mother stepped in to try and calm him down, and I listened with tears falling in my room as he threatened to kick me out before going on to yell at my mother instead.
My mother realized not too long after that my father's relationship with us kids was so damaged and broken that he needed to start doing better. He refuses to go to therapy, but we often talk to a therapist ourselves.
He treats me the worst of all. My mother and sisters still get treated badly, but for some reason, he hates me the worst. And he's even said to my little sister's face that she is his favorite child. Because of this, she often is anxious about staying in his good graces, continuing to play the violin, because he wants her to, not sharing about her social and general anxiety‐because she thinks it's because out of all his children, she has the least mental health struggles.
Recently, I've grown increasingly frustrated with him. He refuses to understand my sensory issues, and while he's not overtly cruel, he's still unkind. But it all came to a head last night, and I scared myself with how I reacted.
Last night, he was snacking on grapes when my cat, Everest, started sniffing them. I asked Alexa if grapes were okay for cats (a common occurance. Everest likes to eat human food for some reason) Alexa responded that grapes were poisonous for cats. I panicked and demanded my father stop trying to feed them to him.
He instead took a grape and tossed it to my cat to eat. Everest is not very bright, despite being very cute, so I was worried that he'd actually eat it. My father thought it would be funny. However, because I don't understand social cues (like teasing), I honestly saw it as my father trying to purposely poison my cat. (Who is my emotional support animal)
I screamed at him that if he killed my cat, I would personally kill him. Looking back, I'm very afraid of how irrationally I acted. I'm very impulsive (an ADHD thing, sadly), especially when I'm acting on emotions. I have never threatened anyone like that before, nor do I ever plan on acting on what I said. I am very sorry and afraid of what i said. I think I reacted because I was irrational, impulsive, and after years and years of abuse, I've grown sick and tired of being treated horribly by the man who is supposed to love and support me.
Today, my mother sat us both down, and I apologized for what I said. My father said he thought I needed help. That what I did would get me in trouble. And he didn't say it in a kind way. He said it in an "I can tell police, and I can ruin your life." Kind of way. While I agree what I said was wrong, he didn't seem to accept my apology, and he took no responsibility for what actions he had taken, too.
I told him that I no longer wanted to call him dad. For years, I have stayed silent. I have pretended to go along while leaving the room to cry. I have put up with so much for so long, and I have finally hit my breaking point. So I broke my silence.
When I told him how I felt, saying that he doesn't treat me right, and hasn't for years, he denied doing anything wrong, and repeatedly said that I was the one who threatened him. I was the one in the wrong. And while I agree I did overstep, I still know in my heart that he should never deserve the title of dad (from me, at least) I told him he wad In denial, and left, tears streaming down my face.
I don't know what to do. I've been afraid to break my silence in fear he'll pull the "I'm kicking you out" card. But I'm tired of being treated like shit.
I'm sorry this got so long.

Filipa Type: Psychic Age: 21 years (F) Height: 174cm Weight: 80kg Built like a Mewtwo from Pokemon, but with D sized tits (She asked us to put that here). Desc: Excentric and energy pumped, very binary when it comes to picking between Hedonism to being responsible. Has a life peppered with incredibly coehrent and smart moments (when feeling like it) mixed with some one brain cell moments as well. Wants to be a mother and is plotting for that goal everyday. Let me tell you her story: There is this girl called Filipa. She is 20 years old. She is the average height for the age. She has really strong legs due to her hyperfixation in working them out. She trains her core alot because she wants to protect her baby "when it finally arrives". She has several obcessions: Programming, Physics, Football, Sex (practice, theory and... playful... exploration) and moving really fast and for very long. People who spot Filipa look at her like: "Damn....cant just stay still for like.. 2 seconds?!". She is not just resiliant, or gritty: she is rubber-like. Mentally, way more mature than common sense may lead us to believe. Carries herself like a child on her third life. Has autism, is clumsy and if she really has had 3 lives, her impulsiveness did not tone down one bit. Most of the time, she just looks like a goofy young woman who is completly unaware during formal settings. Trips all over the place. Easly teasable. Easly stressed. Low defense, but Very blunt. Gets annoyed at "Casuals" who dont fully understand the complete nuances or know all the details of her incredibly rich interest pool and internal worlds. Unintentionally insensitive. Low self awareness. Creative. Loud. Playful. Non conforming. Easly mistaken as naive. Has psychic powers. Cant control them very well. Used to be good, but then got rusty. Flashy in terms of demeanor, personality, tastes, words and hobbies. Dismissive of her own appearance. Wastes potential there. Has blue eyes, black chest level hair, surprisingly, no dark under eyes, due to unexpectadly healthy sleeping habits for a 2020s bedroom programming, restless, hyperactive autistic girl. Thick legs and strong core. wears hoodies in summer. Comes of as irrational. Listens to sewerslvt. Enjoys challenges. Independent, Inflexible thinker. Straight forward. Bisexual. Had a crush In everyone in class for almost all of middleschool. Unreasonably resents her rigid, although caring parents. "Im right until I feel like admiting otherwise. I just "conform" when I feel like being left alone". Has enough kindness to spare for everyone, all the time, for this life, the three previous ones and following deep inside her heart. Very observant. Carried a childhood full of teasing and denial of individuality, but everyday wakes up thinking: "Lets do this". Tsundere turned protagonist.

Sorry i didnt know what fair to use..Just wanted to share my story here because I felt that it can be quite inspiring to see God working in our lives. If you're struggling with relationship issues, just trust that God is always with you and things will always get better :)
I am a very compassionate person who can see people's inner beauty easily and just fall in love with them without caring so much about their outer looks. And God has blessed me with this gift of mercy for others.
This is gonna sound weird and cringy, but my whole life, I used to look up a lot to adults since I kept getting harassed and bullied by the people my age since kindergarten. Something about older wise people attracts me to them, and I love hanging out with them. So I used to have this teacher who left my school and I grew closer to her after that because I really loved her classes and she would help me with my work since the teacher that took over kinda sucked at teaching. Over time, as I got to know her better, I came to realise that she's not as good as she seems in terms of moral values. She would cut people off and potentially avoid relationships where the other person can't seem to meet her standards. I was so blinded by my love for her good qualities that I brushed off the fact that I was like "worshipping" her, telling her that I wanted to be more like her.
Out of curiousity, I asked her if she believed in Jesus, but she told me that even so, she doesn't go to church because she is too lazy. She mentioned attending a methodist school in my country, but her parents are against Christianity. Soon, I found myself drifting far far away from God under the influence of her negative actions, causing me to overthink a lot and get anxious very easily. I was scared of losing her because nobody understood me or validated my feelings like how she did. There were so many red flags in our relationship, but I just didn't wanna think about it since the more I did, the more it hurt. I knew it was Jesus telling me that it has gone too far to the point where I couldn't imagine my life without her. I always had this ability to tell when God disapproves of my actions as He places these visions in my head of the future.
At last, the most pain inflicting thing moment finally came where she totally shut me off. And I guess she was driven by her raging hormones to just ghost me and not communicate directly with her feelings. What broke me was that she went onto reddit and told everyone how I was needy and annoying (anonymously). I was in denial, and I couldn't possibly share this with anyone because they would think that I wasted all my time and I shouldn't have started it in the first place. Fearing of being judged and the embarrassment, I just bottled this up, which ended me up crying every night. I was so angry at myself that I just isolated myself from the world and didn't wanna interact with anyone, not even my closest friends. I guess I just didn't wanna be hurt again like how I was. I couldn't even process what was going on anymore. I felt that God was punishing me, and my life only kept getting worse and worse.
Recently, I attended this programme where we learnt about our purpose in God’s kingdom and how we were made to have intimate relationships with other human beings, not just romantic. How church is first family. One of my mentors reminded me of that teacher, but it was only the good qualities that I saw in her. I grew closer to her, and she decided to take me into her arms despite all my baggage from past traumas.
I guess she also saw something special in me, as she ever told me that she hoped that nothing in this world would dim my light and joy that radiated for others. She kept teasing me of how cute I am, constantly poke my cheeks, and accepting me for who I was despite all the weird and quirky things I did. I wouldn't say that initially I wanted to get attached to her due to the fear of getting hurt again but she just knew how to comfort me and reassure me that she wasn't gonna hurt me even without saying anything. Despite us squabbling sometimes, I didn't feel like our relationship was being threatened. In fact, these funny memories brought us closer. I told her about this whole situation that happened and how I felt safe with her, which she replied "aww that's so sweet" and leaned on my shoulder. I viewed her as my spiritual mum, and she indeed brought me closer to God. She listened to me, understood me, validated me, comforted me, took care of me, and loved me. Maybe God also put me in her life to be that child that she never had due to her longing. And I think we both kinda healed each other in areas that we really needed. I'm so grateful that God blessed me with this relationship, which glorifies and is pleasing to Him.
As of my previous situation, God might have put me in my ex-teacher's life just to let her know what love is like and for me to love myself more.