beauty-and-passion

[beauty-and-passion]

Do you think Pacifica's parents are irredeemable?

Gravity Falls taught us that no one is irredeemable. Even Bill, with all his absurd chaotic soul, got the chance to try and improve.

So, why shouldn't Pacifica's parents get a chance too? They deserve one, at least.

Then it's up to them to take that chance and actually improve or remain the same assholes they are. If they improve, better for them. If they do not, then it will be their own fault and Pacifica will definitely leave their stupid, oppressive asses, to enjoy her life as she pleases.

[beauty-and-passion]

Do you think Pacifica views Dipper and Mabel as her best friends?

Well, I don't think the two girls we saw with her were her best friends and, aside from them, we didn't see Pacifica with other kids, except for Dipper and Mabel.

So I like to think that, yes, deep down she thinks they are her best friends. She will probably never admit it out loud and, instead, say they're her lackeys or something. But she (and the twins) know she doesn't really mean that.

[beauty-and-passion]

Stupid Question: if you were to write a canon-abiding version of Pyramid Steve (more specifically of an AU where he also survives the euclydian massacre alongside bill), what would you do with him? How would you make him follow the euclydian worldbuilding that you laid out in your metas?

Maybe he was fully capable of seeing the stars just like Bill? Would he have the same kind of misplaced eye condition (inside them and not in their laterals, where it could actually see) that bill has? What could be he explanation for why he survived whatever bill brought upon euclydia?

I know we are starting from a shaky foundation given he is named after a polyhedron that wouldnt exist in the second dimension, but for the purposes of this thought exercise, let's just assume he is as much a triangle as Bill is.

What a fun challenge! Okay, so let's start by assuming that Pyramid Steve is:

part of the GF canon

Euclidian just like Bill

also survived the massacre

not a pyramid but a triangle

That means he has the same malformation Bill has - aka an eye on the face and not on the side.

By that, we can develop a ton of scenarios. Personally, I came up with two I really like and I will explain them in parallel, by dividing them into the three big moments of Pyramid Steve's life:

The premise (aka Steve as a character before the destruction of Euclydia)

The massacre (aka how Steve and Bill came into contact)

The after (aka their life together after the 2D incident, up until Bill's "death")

______________

THE PREMISE

1) Steve as the Rule Follower

Unlike Bill who insisted on looking at the stars and talking about them, Steve learned from a very young age that it was way better to listen to his family and pretend to not see the stars at all. This way, the doctor believed the medicine was working, his family was reassured and the other kids stopped making fun of him.

Steve grew up and became an adult. And now he lives his life as a perfectly law-abiding Triangle, doing everything society expects him to do like getting married and working as a Tradesman.

Steve does everything and pretends to not see what he can see: his eye is always focused on his peripheral vision - aka Euclydia - rather than on the little dots shining above him. Only at night, when he's in his bed and everything and everyone around him is silent and asleep, he can finally look at the little dots and ask himself, as always, what they are.

This version of Steve lives his life in constant fear. He lied all of his life, he lies every day about what he can see. But what if someone finds out the truth? What if someone can see that his eye did not shift on the side but it's still on the face? what if someone finds out what he does at night, when he looks at the bright dots?

The truth can destroy his life. He can lose everything - his family, his clients, his loved ones. The truth may show him for who he really is: a liar. An Irregular. A scam.

(And yes, feeling like a scam is a meta reference to the fact he really is the scam version of Bill :P)

2) Steve as the Imprisoned Irregular

Unlike Bill who was loved enough by his parents to be sent to a doctor who checked his malformation, Steve's parents were too scared and/or the optometrist was too incompetent to deal with his weird eye. So the doctor just labeled Steve as Irregular, he got separated from his parents and was thrown in jail, all while he still was a child.

Steve grew up in prison, surrounded by other inmates and prison staff members. Over time, he learned the prison's rules, the strictness of it, why he's considered wrong by society. He learned to distinguish between good and bad Shapes. And most importantly, he learned how to be sneaky and how powerful words can be.

Adult Steve is clever (even if it's much more convenient to look stupid to the prison's staff) and he has a way with words. He doesn't take part in any quarrel, he doesn't side during fights. He's the guy everyone ignores because he's just so forgettable.

However, Steve has a trick up his sleeve: unlike other Irregulars, his Irregularity is hidden from the eye of an Euclydian. And since his perimeter is regular, he can easily pass for a normal, regular Triangle.

That means Steve can, when necessary, pretend to be a visitor or part of the prison's staff. And that means having a little circle of friends (among inmates and other staff members) who know about his ability and use it for mutual gain - like, Steve pretends to be another Triangle to give something to a friend, and in turn, he gets something he wants too.

But even if these little victories and friends and happy moments are parts of his life, there is also the bad side, the repression, the limitations. Even just knowing that his entire life will be just that, four walls of a prison in which he will grow old - because his parents didn't love him for who he was, because society labeled his eye as wrong. Because his entire world decided he was wrong. And so, he will never experience what true freedom is like.

______________

THE MASSACRE

1) A scam artist can be exposed only by another scam artist

Since Bill and Steve are both Equilaterals, that means they're both members of the middle class and they're both Tradesmen. So that's how they came into contact: they basically work in the same circle.

And they didn't come into contact once, but multiple times, enough for Bill to start noticing more and more details about this apparently-so-law-abiding Triangle and enough for Steve to grow nervous around this weird Triangle who keeps looking and talking in weird ways.

Then, one day, Bill mentions the bright, tiny dots he can see shining above Euclydia. And other Shapes laugh and mock him, but Steve is absolutely, totally terrified. He knows what Bill is talking about. He knows what these dots look like. He knows, because he can see them too.

But he doesn't say anything. He doesn't even try to move a finger. And Bill notices. Little by little, interaction after interaction, Bill realizes Steve can also see the same bright dots. They have the same ability.

This brings the two Triangles closer - but it also frightens Steve even more. His worst nightmare happened: someone found out the truth. What if Bill let it slip? What if he exposes Steve? Bill isn't married and he's already labeled by the weird one, so he's not losing anything... but Steve might lose everything he worked so hard for. His marriage, his job, his reputation, everything.

He should run away from Bill, he knows that, but he doesn't do it. Because, for the first time in his life, Steve feels understood. And having someone who can see what he sees and understand him so deeply is too good to give it up.

So they keep going on with their lives - Steve by playing the role of the perfectly normal Triangle, Bill with his stubborn plans to show the stars to everyone - plans always destined to fail.

Until, one day, one of his plans succeeds and that doesn't destroy just Steve's life, but everyone else's.

2) Saved by God (more or less)

Irregular!Steve met Bill only during the massacre.

While the world is burning and everything around him is falling apart - the life he had just one moment before crumbling in front of him, Steve is the only one quick enough to run away. Thanks to always being the most forgettable one, no one notices him when he escapes and, for the first time in his life, leaves the prison.

However, he doesn't have the time to enjoy his freedom, because the world is still burning around him. He knows it's the end - and he's happy he managed to experience freedom, at least once in his life.

So he looks up, at the impossible dots he has always seen... and he notices something he never saw before.

It's a Triangle. A Triangle like him, with an eye on the face like him, who looks down at the world with a fixed, shocked, disconnected expression. He looks like he's not there, even if he physically is.

And so, Steve calls for him. He calls for the Triangle in the sky and the Triangle comes back to his senses. He looks down, notices Steve surrounded by the fire, desperately asking for help.

And the big, otherwordly Triangle, reaches out, grabs Steve and tears him out of the dying world of Euclydia.

______________

THE AFTERMATH

1) The freedom of choice

For the first time in his life, Steve is now free. He doesn't have to pretend anymore. He can be who he is and look whenever he wants, without being labeled as weird or wrong.

It's incredibly liberating, it's all he ever wanted... but it's a freedom he gained at the cost of his past life, family and loved ones. He lost everything to get it, just like Bill lost everything.

And Steve is thankful for this freedom, but he also hates Bill for it. Why didn't Bill pretend to not see the stars? Steve did it for years, why couldn't Bill do the same? If he did the same, now they would still have their lives!

At the same time, Bill's act gave them both a freedom they would never experience in Euclydia. It's thanks to Bill, that they can do everything they want now. It's thanks to him, that Steve doesn't have to live in constant fear anymore.

Steve is happy, but it's a tainted happiness. He and Bill are even closer - they're each other's family now. Henchmaniacs can come and go, but Steve is a constant for Bill and vice-versa. Bill gave him powers, a new shape, the ability to travel and see much, much more than tiny bright dots.

So when Bill "dies", Steve is devastated. He lost everything once again, but now it's truly everything. He's truly alone now.

And even if solitude is overwhelming for Steve, it's also very, very compelling. Now he has all the freedom in the world. He's free from everything - his life, his past, Bill. He can be a blank slate and, if he has the willpower, he can start anew.

Steve has to face the biggest choice he will ever make: stick to Bill's memory and lose himself to it... or experience the complete, absolute freedom the Multiverse has to offer?

2) Freedom for the first time

For the first time in his life, Steve is now free. No more prisons, no more cells: he can go everywhere and do everything he wants.

Bill gives him powers, freedom and a new, more stable shape. He likes the guy, his resourcefulness, his cleverness, his hunger for freedom. And he has the same malformation, so he can understand him and see the world like he sees it. Bill can be a teacher for him.

And Steve happily accepts. Bill is fun, powerful, all-knowing. He's the god who saved him and the friend he never had. He's like him, but also more than him. He's Steve's entire life and Steve follows and trusts him blindly.

Even when he finds out it was Bill who destroyed Euclydia, all he can do is be grateful: it's thanks to him, they're now both free. Bill can never do anything wrong, in Steve's eye. And it's thanks to his constant validation, that Bill can hide and ignore his regret for so long.

Over centuries, their friendship grows stronger and Steve becomes more and more important for Bill. He becomes the closest Henchmaniac, the one Bill likes the most and has more fun with. Everything is perfect.

And then, Bill "dies". And if Regular!Steve was devastated, Irregular!Steve is even more devastated. Bill was his everything, gave him everything, gave him life and freedom. He was his family, way more than his biological family.

And now that Bill is gone and all that's left is chaos: the Nightmare Realm is in shambles, the Hechmaniacs do not have a leader anymore, other enemies are claiming Bill's territory and the people who feared him are now trying to get more power to fill the power vacuum left by him. All Bill built is bound to be destroyed.

But Steve still has a trick up his sleeve, a trick he learned in prison long, long ago: the ability to use his regularity, to pass for other Triangles. And if he could pass for any Triangle in Euclydia, in the Multiverse he can pass for a very specific Triangle. The only one who, like him, has an eye on the face.

Now Steve has to face the biggest choice he will ever make: should he use his ability for the biggest pretense ever and pose as Bill? Should he keep up everything he built and become a false god, so the Multiverse will stay in line and no one will ever forget who the real boss is? Or should Steve abandon Bill's memory and move on, to start a new life and experience the absolute freedom he always wanted?

[beauty-and-passion]

The ship came back and took its rightful place

BILLFORD IS NUMBER ONE SHIP I REPEAT BILLFORD IS NUMBER ONE SHIP OF 2024 THIS IS NOT A DRILL

[beauty-and-passion]

Sorry to bother you again but I have more questions about Euclydia and Flatlands. I remember seeing a video on YouTube about perfect equilateral triangles in flatland being born from isoceles fathers. Is that how it goes?

And making it about the cipher family. I wouldn't mind the notion that equilaterals are born differently in this world, that equilateral marries equilateral and has equilateral children... but the name of bill's father always weirds me out. Why is he named Scalene. Scalene implies he's not even Isoceles (as he could plausibly be to have an equilateral son in flatlands), it implies he is an irregular, and I do not understand the implications of that. And I know that from the Vallis Cinneris image he was probably Equilateral too but this name still confuses the hell out of me.

If Alex was deliberate in his references to flatland, why do you think a creative decision like this one would have been made?

Oh don't worry, you're not bothering me at all! On the contrary, I'm happy to reply to these asks :D

And this ask is awesome, because it made me think a lot about Bill's parents, all I want to do is brainstorm here!

But let's start from the beginning: how are Equilaterals born? In Flatland there are only two ways:

From other Equilaterals (it happens for generations until an Equilateral gets a Square as a son. Only then, every son will have one more side than the father - i.e. a Square will have a Pentagon son, who will have a Hexagon son and so on).

From Isosceles. However, this is extremely rare and, when it happens, the newborn is immediately taken away from his family and given to a childless Equilateral family.

But as you cleverly pointed out, Scalene could be the name of Bill's father. A name that seems to imply a Scalene triangle, not an Isosceles, nor an Equilateral.

The boring answer would be quite simple: Alex Hirsch didn't think about it too much. Scalene is just a word related to triangles, he wanted to point out that Bill's parents are triangles and Scalene sounds less weird for a name, compared to "Isosceles". Or maybe Hirsch wanted to make a reference to this video because it was a great meme.

But we can get less boring answers. Like:

1) It's a common name

Since Euclydia is different from Flatland and less oppressive, maybe it's normal for an Equilateral Triangle to be named Scalene. It emphasizes how all Triangles are equal, and even the ones who should be considered Irregulars are universally accepted as parts of the society.

2) A Scalene can be part of society

Scalene is the name of Bill's father and he is a scalene triangle indeed. But, unlike what happens in Flatland, Bill has never been taken away from his family because Euclydia's society is more progressive compared to Flatland's. So Bill simply was an Equilateral born from a Scalene triangle and another Equilateral.

3) A hinted story of separation

Despite being more developed compared to Flatland's society, Euclydia still has some limits and one of them may be very Irregular shapes, like Scalene Triangles.

That means Scalene is a scalene triangle indeed, but he's also an Irregular and a pariah. Hence why, once the Shapes in command found out a Scalene - an Irregular - had an Equilateral son, Bill was immediately taken away from his real family and given to a childless Equilateral couple. The same faceless Equilateral shapes in the Vallis Cinneris image.

This would explain why these Triangles were faceless, show Euclydia's most oppressive aspects and, most importantly, emphasize how special Bill is and how he truly was a bridge between Regulars and Irregulars. His birth from a more differentiated genetic pool might explain why he's so particular and his enemies could've used his origins to discredit him, once he started talking about the stars.

Also, can you imagine the sweet angst of Bill finding out he was adopted and actually finding his real father and maybe blaming him for his ability to see the stars and for being ostracized by other Shapes with a more "regular/honorable" lineage? And maybe that made him even angrier at his world and more determined to show he wasn't a liar, when he talked about the stars? To prove to those bunch of Shapes oh-so-high-and-mighty that he was better than them, despite his humble origins? The possibilities for angst backstories are endless ;)

[beauty-and-passion]

In thisisnotawebsite.com, bills fears are stated as "venetial blinds, 3d glasses, TV statics" do you have any theories or hcs for any of this? I loved your analysis of billford and bill in general so I'm pretty curious!!

Oh, that's a great question and I would be more than happy to brainstorm a little about those fears! Of course, everything I write is the result of my personal interpretations, so you and everyone else are free to add more :D

But before talking about Bill's fears, I would like to point out two things:

1. The apparently weird and random nature of these fears

Blinds, glasses, and TV static? I doubt anyone would've ever imagined them as Bill's fears.

However, their seemingly innocuous nature works great for a being like him. Bill isn't a normal human being - or another generic 3D being: he comes from a completely different dimension and he has powers beyond our imagination. He sees and experiences the world in a totally different way compared to us. So having apparently random elements as his fears emphasizes how different and "detached" his nature is from us even more.

2. The conceptual weight of these fears

I doubt Bill fears these things for what they are. Like, if someone gives him a physical pair of 3D glasses, I doubt he would run away screaming.

It's not the object per se that scares him. It's what the object implies or represents that scares him. And, again, we should take into consideration that he's a 2D being and experiences reality differently. So maybe what for us is normal, for him is a much more powerful representation of something else.

_______________

Said that, let me explain what I think these fears represent for Bill and why he fears them:

Venetian blinds

Venetian blinds are thin, horizontal strips of wood/plastic that can be moved to change the amount of light coming through a window.

When they are down, they look like a thin, flat surface. They're so smooth, they don't let any light pass through. They almost look like one, single, uneven surface.

Maybe, to Bill's eye, this flat, thin surface reminds him of the flat, thin surface of his own world. Maybe Euclydia was as flat and smooth as a blind. And when the blinds are down, they remind him of the flat nature of his world.

But Venetian blinds can also be moved: they can be tilted, to let the light pass through the slits, or raised completely.

The act of tilting and/or raising the blinds might remind Bill of the destruction of his dimension. From his perspective, he sees a once smooth surface move, break and suddenly the light shines through - a light that could remind him of all the stars he always watched.

So every time he sees blinds being adjusted, he sees a tragedy being reenacted: a world that breaks/gets destroyed and the light of stars passing through its fragments.

3D glasses

As we know from the art therapy note on thisisnotawebsite.com, Bill draws red and blue triangles. And we all associated red and blue with his parents, thus guessing those were their colors.

3D glasses are made of a red lens and a blue lens. One lens filters out all the red in the 2D image we're watching, the other lens filters out all the blue: as a result, our brains put together the resulting two images processed through our eyes and we can see in 3D.

But if we consider this mechanism through Bill's point of view, the mechanism behind 3D glasses implies that only by filtering out blue and red (aka the color of his parents), you can see the third dimension. Only by removing red and blue, you can see in 3D. Only by removing his parents, he could see in 3D.

These glasses could be a dark confirmation, for him: your parents had to die, for you to finally see the third dimension. They had to die. And they died. And they constantly die, every time their colors are removed. Because only if they die, you can see further. It's a bit like killing them over and over.

And maybe, this is also cruel irony for him. Because 3D glasses need his parents' color to work. His parents, who never saw nor understood the third dimension, are a means to allow a 3D vision of 2D things. Only by using (and killing) them, others can see in 3D. Maybe that's too cruel, even for Bill.

TV static

Bill said that, every time he tries to talk about the destruction of Euclydia, he blacks out and doesn't remember anything. Every time he blacks out (like in TBOB), it is shown through static very similar to the TV static he's so scared about.

In the past, I supposed that the static and Bill's blackout were a way to hint that Bill actually died in the destruction of Euclydia - that's why he cannot remember exactly what happened and blacks out every time he tries to.

Therefore the TV static might be a reminder of his own death. Of what he experienced, right after his world died and everyone else along with it.

This would also reconnect TV static with all other fears, because being afraid of the first time he died, implies the destruction of his place, the death of his parents and his own terrible mistake that caused all of that. It could be a terrible reminder of his own mortality and his past sin - both things Bill isn't able to deal with (not after eons in therapy, at least).

[beauty-and-passion]

Do you think Mabel is a hopeless romantic? 💔

Yes, but not with the negative connotation the word "hopeless" might have.

Mabel loves romance, she clearly proved it. And she thinks she will find someone to love - romantically at least, because she already showed love towards her family and friends.

However, even though she believes in love and romance, Mabel is not just defined by it. She is not just "the romantic one": she is chaotic, she is immensely creative and she has a ton of hobbies. Romance might be the most important because she's in the age when hormones rage up and because it's an important element for her in general, but it's not the only thing about her. It's just one element of a bigger, more complex individual.

Will Mabel ever find someone to love? I don't see why not. She's 13, she's still a child. There's a long life ahead she has to live, there's more than enough time to find someone. So no, I don't believe in the "hopeless romantic" as "she will never find anyone / she is destined to be alone" either: Mabel has all the time in the world to find anyone who is worthy of her.

Because, let's be real, who can be worthy of her? Just like Stanley, she is the superior twin. And the superior twin is always too much for anyone. All we can do is look at them, love them and know we're never enough for them.

[beauty-and-passion]

hey hi i'm coming by again because yes i have more thoughts about exwhylia and euclydia actually i'm mostly here to show you a video!

it's a video called "I Made a 1D Game" by the channel Mashpoe, i think you'll find it interesting!

Thanks for the suggestion! I knew about some 4D games (like 4D toys) and 5D games like chess (which is mindblowing and mindboggling at the same time), but didn't know about a 1D game. It looks awesome and I am very grateful you suggested it!

In turn, I would like to suggest a video too: it's called "Simulating Biology in Other Dimensions" from Curious Archive and it doesn't just mention these 4D and 5D games, but also the 1D game you told me about and other pieces of media that explore more dimensions and how to convey them to the eye (and the mind) or 3D beings like us.

This stuff is cool and awesome, so if anyone has more suggestions, please reblog and add them, we need more multidimensional experiments! Personally, I am still trying to wrap my mind around the actual, full geometry of a 4D shape and not just the "faces" it can show in our 3D world, but it's as hard (and fun) as you can imagine.

[beauty-and-passion]

Do you think Pacifica might be a little older than Dipper?

I wasn't really sure, so I checked the wiki, which confirms Pacifica is the same age as Dipper. However, I like the idea that she might be a little older than him - maybe even just a couple of months. It would be fun for fanfictions!

[beauty-and-passion]

"EYE DOCTOR OF A DIFFERENT KIND / WHO WANTS TO MAKE HIS PATIENTS BLIND"

What would you say Bill's eye doutor being "Of a different kind" could mean? If we go by flatland rules then a doctor would probably be a square? Is that what this means?

My new Crack headcanon is that Bill's optometrist was actually Fanon Purple Square Tad Strange

Your crack headcanon is gold and I love it <3

But seriously, I think that the "EYE DOCTOR OF A DIFFERENT KIND" was just another way to tell us that this isn't a simple optometrist like the ones in our world.

Think about it: a 2D creature is shaped (a-ah) differently, compared to a 3D being like us. They are biologically and physically different. For example, a 2D being cannot have a digestive system like us, because they would be split in half by it.

But speaking of eyes in particular, we can be sure of two things regarding them:

a 2D creature has an eye on the side, to see at a 2D level. This also explains why Bill's eye was "a rare mutation": it wasn't on the side, but on the face.

Bill's eye doubles as a mouth too.

So if we take these two elements into consideration, we can safely assume that a 2D optometrist doesn't just check the sight and/or the structure of the eye, but maybe it checks the mouth too - and who knows, maybe also the eating/digestive system of a 2D creature?

Personally, I imagined that the optometrist was a bit like a family doctor: it takes care of the Shape in general, starting from the most important organ (the eye/mouth), to everything else. Hence why, the optometrist is an "eye doctor of a different kind": because it's not a simple optometrist, but a doctor in the broadest sense.

What kind of shape would it be? Oh, that's an interesting question! If we go by Flatland rules, the doctor should be a Square or a Pentagon ("Our Professional Men and Gentlemen are Squares (to which class I myself belong) and Five-Sided Figures or Pentagons."), but we are unsure if Euclydia follows the same rigid social hierarchy as Flatland.

However, I would like to see a Square or a Pentagon as a doctor. It would be nice - and implicitly confirm that there is a social hierarchy and Bill is indeed a Tradesman of the middle class.

[beauty-and-passion]

CCCC Vol.1 - Concord: end and beginning (2/2)

Hello and welcome to the final part of this analysis.

Oh boy, what a long ride it has been! But now, it’s time for the last recap, so we can finally wrap the loop - and connect it to the beginning, as Chonny intended.

So, what happened until now?

We know the story is a loop. The starting point of this loop is an event, a calamity, that leads to a split in Chonny’s mind between Heart, Mind and Soul: a failed romance (probably)

At first, the three sides tried to cooperate as one, but then Mind started to point out the flaws in Chonny’s plan to confess to his crush

Scared by Mind’s influence, Heart intervenes, tries to subdue him (the Juno Incident) and pushes Chonny to confess. Chonny doesn’t: he misses his shot and so does Heart

Overwhelmed by apathy, Heart leaves full control to Mind

Mind tries everything to get a reaction out of Heart

When he fails, Soul intervenes and they get reunited again

The joy of being whole again gives Chonny a rush of optimism and enough confidence to revisit his memories of the failed romance.

And now, here we are. Chonny remembered what happened. What will he do now? What did he already do in all of the previous loops?

<- Previous post - First post

_______________________________

Greener: declaration of intent

Right after the end of this failed romance, Chonny does the most human thing ever: he wants to talk about it. And since he’s an artist, what better way to do it, if not by using the artform he knows?

This song is a declaration of intent: Chonny wants to talk about his experience - but not just that. His mind is dark, twisted and chaotic, so why just talk about one experience, when he can let out some of this internal turmoil too? As he said in the Q&A, he wanted to talk about duality and logic vs emotions, so why not add them to the story he wanted to tell? Why just talk about a failed romance, when he can expand it by showing the contrasts in his own mind through Heart, Mind and Soul’s characters?

Chonny starts to think about this. He wants to do it and he states it with these words:

Wherever this goes, whatever ensues These songs are my own, these songs aren't for you But still, I'm so glad you're listening

Chonny reconfirms what he said since Mucka Blucka: he’s not writing these songs for the public but for himself. To better understand himself, his own mind and that duality of logic/emotions he’s (rightfully) fascinated about.

That also confirms he’s a real artist, because artists don’t make art for others: they make it primarily for themselves. Not because they’re heartless, but because making art is a need. When I write, it’s because I’m pushed to do it. It’s because I have a weight on my chest or words in my head or images that keep repeating - and the only way to calm them down (and calm myself) is by putting them on paper. It’s like breathing: you just have to do it, to feel better, more satisfied and more complete.

Even though the public isn’t the primary reason behind art, every artist wants a public and every artist is immensely grateful a public exists. Even if the art is personal, knowing that someone else got something from your work, experienced, lived it… it makes everything even more important. You’re sharing a part of yourself and someone else, no matter if it’s next door or on the other side of the ocean, accept it and react to it.

And I want to focus a bit on the last point, because art is all about human connection. You’re reaching people you will never reach nor meet and with something you created, you touched them. You made them happy, sad, angry, it doesn’t matter: you still influenced them and they reacted to it. You made a connection and I can assure you, 90% of the artists need it to feel less alone.

This is what makes art so precious: it’s not just a way for us to express ourselves, but also to get a connection with another being. To not just be in our place, alone, but find others, talk to them, talk with them.

If Chonny hadn’t made this album, cj-anon would’ve never told me about that. I wouldn’t make these posts. You wouldn’t interact with them. We wouldn’t talk, connect, have fun together. We would be alone. If we’re not, it’s only thanks to art.

_______________________________

Special: inner fears

Chonny has a plan, a story he wants to tell, things he want to talk about. So, what’s the first feeling he get right after this planning?

Asking himself if he’s special or not.

Mood.

Seriously, when has anyone started doing anything, by thinking “Man, I’m so great and this will go as smoothly as I planned it”? Of course Chonny questions himself, of course he’s full of doubts. And it’s even worse in his case, considering he’s full of dark thoughts and recently came out of a failed romance - failed because he didn’t give it a try, because why should his crush stay with him? He’s not special at all.

So, again, very understandable.

But while in the past (and in the future of the loop), Chonny would’ve surrendered to these thoughts, now he thinks he can find a way to cheer, by switching perspective (aka “the key change”).

And it works:

So maybe I'm unique and maybe not But I might as well deliver all I've got

He’s still full of doubts, he still don’t know if he’s special or not. But he’s an artist and making songs is “what I can do” (The Whole World & You). So he will do it.

_______________________________

Taken for a Ride: a perfect conclusion

I have two possible interpretations for this song.

1) This song is meta from the real Chonny

The real Chonny (not the character) takes center stage to talk about his whole album: he explains the thinking process behind the writing of every song, his goals, the problems he faced. He emphasizes how personal this whole album is, because he poured a lot of himself inside it (“my blood, my sweat, my open doors”).

And now, the story is over. He’s aware of the missing parts/explanations, but there wasn’t a beginning either. And why shouldn’t there be a beginning or an ending? He’s still young, he still has a lot of years ahead. Maybe his story hasn’t begun yet. Maybe the real obstacles will come in the future.

For now, all he knows is that he’s whole again. He told the story he wanted to tell, he reached Concord and now his artistic need is satisfied. He doesn’t need to write more, at least for now.

And yet, his public asks for more.

However, Chonny doesn’t give a straight answer. By mentioning his public, he acknowledges people want more. He’s aware of that - and who knows? Maybe this will push him to write more in the future.

For now, he knows people want more from him. Maybe, when the artistic need wakes up again, he will make more songs and tell another story.

2) This song is still part of the storyline

In Special, Chonny said he would “deliver all I’ve got” and so he did. He made an entire album, to talk about his failed romance and all the themes he wanted to explore.

So, he talks/remembers the process behind the writing, his goals, his difficulties. He makes it clear he poured all of himself in it, as he promised (“my blood, my sweat, my open doors”).

Now the album is done, the story is told.

And the public’s reactions is strong. Stronger than he expected. They want more songs, more covers, more of him.

So... what happened? Well, we can guess from the previous hints scattered throughout the album:

Chonny is a man with dark thoughts, anxiety and low self-esteem

In The Heart Acoustic, Heart said “as complacency settles, anxieties will rise/And part this Soul as Jekyll parted Hyde”

Over and over Chonny will point out all he does are covers

And this part of Time Machine:

So, look Oh God, look at what you've done now to me Locked into eternity I'll be back here one day, so they say Rumors have that I will write a different song Trying to get it right all afternoon

I believe Chonny’s mind started to spiral. What if people liked his songs, only because they were covers? What if all they wanted wasn’t him, but to listen to songs made by others? Was he even able to write anything by himself?

His anxiety rose, while his self-esteem sank: he was stuck in a loop, always making the same covers. He wasn’t able to get out, not while his mind kept spiraling down. The “me left on the shelf” (aka Mind) was put aside, while Heart and his chaotic feelings were taking control.

Therefore, this song becomes the starting point of Time Machine: a man with a confused, fractured mind. A man who wasn’t believing in himself. A man who was stuck always doing the same thing. A man closed in a loop, in which he doesn’t feel like he will go out and is forced to relive the failure that started the loop in the first place.

That makes CCCC a loop that keeps repeating over memories of what happened. The first time, Chonny failed his romance, wrote the album, anxiety took over, made him feel he wasn’t able to achieve anything by himself, and started the loop. The loop is a constant reminder of how much of a failure he is, only to cheer himself up, to fall again into a new depressive cycle.

I don’t know if this second interpretation is correct and Chonny said it’s up to us to interpret his album as we want. But from someone this skilled and clever, I like to think he played a lot with metaphors and tragedy, so I prefer this second interpretation too. Also because it connects extremely well to Time Machine and what kind of loop would it be, if the beginning and end don’t coincide?

_______________________________

In conclusion

It took me an eternity to make this analysis of the whole CCCC album - and I was trying to restrain myself. Just imagine the endless pages if I let myself ramble about every little stupid thing XD

But I really, really wanted to talk about this album. It has been a wonderful surprise and I enjoyed it a lot. It was clever, it was interesting, it was funny. And Chonny really has a way with words. Good for you, mate, I wish you a great career.

Also, there were you all. You, with your kind replies, reblogs and your incredible affection. I've been in several fandoms and, despite being small, this is one of the nicest I've ever seen.

So, for you all who stayed with me until the end: thank you. Thank you for all the time you spent here, with me, listening and appreciating my ramblings. I hope those posts have been a good reading and you enjoyed yourself as much as I did by writing them <3

If Chonny makes something else, maybe we will meet again in the future to talk about him and CCCC again. Or maybe, we will meet in some other posts soon. Who knows? If the future can still hold a lot for him, why not for us too? ;)

Thank you for your time and always take care of yourself <3

(How about a coffee? ☕)

_______________________________

📌TAGLIST: @mudpuddlenl @allmycrushesaredead @aquatedia @whatishappeningrightnow @effortiswhatmatters @bella-in-a-bag @doydoune @forever-third-wheeling @payte @hypnossanders @idontreallyknow24   @imcrushedbyarainbowoffical @patton-cake-and-crofters​  @hereissananxiousmess @purplebronzeandblue​ @cynicalandsarcastic​ @lost-in-thought-20 @andtheyreonfire @riseofthewerewolf @rosesandlove44 ​​@arya-skywalker @csi-baker-street-babes @reesiereads @dracayd-universe @starlightnyx​ @stubbornness-and-spite @averykedavra @joyrose-fandomer @mihaela-tbg @igonnatalknothing @thatoneloudowl @grayson-22 @softangryfuckingdepressed @theotherella @nevenastark @coldbookworm @boopypastaissalty @varthandiveturinn @roses-bubbles @cuter-on-the-inside @snixxxsmythe @charmingcritter @analogical-mess @emphasis-on-the-oopsie @selfdestructivecat @yangwalkerao3 @the3rddenialist

[beauty-and-passion]

So... The Vengeance Saga

Mr. Rivera-Herrans is really trying to release the entire musical by the end of this year, isn't he?

But seriously, the dedication this man has for his project is admirable. He drops song after song and even if they're not all bangers, the quality is still extremely high. He deserves all the money and appreciation he's getting - and same goes, of course, for all the talented people who gave their voices! These songs wouldn't be as impactful without those great artists, so they deserve love and recognition too.

Said that... well, this saga is even more videogame-y than the last. We get the big boss battle and the closing of a resentment that has been going on for ten long years. And even if it was great and I understand it for the overall plot and how it's gonna close in the last saga, I am also a bit perplexed by it.

But let's start from the beginning.

__________________

Not Sorry For Loving You: just like Done For was a way for Mr. Rivera-Herrans to expand more on Circe's mentality and reasons, this song tells us more about Calypso and why she acts the way she does.

Calypso is young - not physically, but mentally. She has always been alone, so she never had someone who taught her best or explained to her what love is. She never saw other people being in love or having any kind of relationship. She doesn't understand what love is.

However, she is enamored with the concept of love. The idea of having someone else to keep her company. So when she found this man on her shore, she fell in love immediately - exactly like a young girl with her first crush.

And, in a way, that's how she acts with Odysseus: she gets immediately, completely obsessed with him and ignores his life and relationships. She doesn't see him as a separate human being with his own mind and reasons: Odysseus is just her lover, that's the role she designed for him and the one he must play. Like a kid playing with a doll, Calypso plays with him and forces him inside the dollhouse she designed for him (Ogygia).

But then teens grow up and learn that other people are more than their dolls: they are their own persons, they have their own wants and needs and said wants and needs may differ from the ones the teens forced upon them.

Calypso never grew up, because she never met other people, nor had any example of human relationships: she has always been stuck in the "teen mentality". So now that the toy has been taken away from her, now she has to deal with the truth that Odysseus has never been hers. That he has always been his own human being, with his own wants and needs. And that she's not part of them.

Of course now she's angry and desperate, of course now she doesn't know what to do and how to deal with rejection: she never had a real relationship with another human being. She never had anyone, besides him. She herself said it!

And now, unfortunately for her, she has to face the harsh truth: Odysseus never loved her. And now that he's leaving, she will be alone again, left to think and ponder about what happened. And, hopefully, learn from her mistakes and mature.

__________________

Dangerous: Hermes is back and brings another banger of a song. I love all the voices of this musical, but the way he laughs and sings is just <3 <3 <3

I also noticed how Odysseus reacts with a lot of confidence and firmness to Hermes' words. Is he going to face dangerous things? He's accustomed to danger, he can and will be dangerous as much as he needs. As he said: "I'm gonna use ruthlessness".

And oh boy if he will.

__________________

Charybdis: I am a bit disappointed by the lack of voice or, well, anything else from Charybdis. It's just a random monster and the battle isn't even so interesting. It's just a monster after all and Odysseus gets past it fairly easily - he just uses his cleverness and bam, problem solved. He didn't even need the "mindset change" Hermes talked about.

I get that this song is more of a "link" between Odysseus leaving Ogygia and his meeting with Poseidon but... I don't know, I think it could've been used better. And Charybdis deserved some more attention - or at least to speak/make any noise at all.

__________________

Get in the Water: Poiseidon is back, baby. And he's still as pissed as he was 10 years ago.

Ah, the Greek gods. Huge stubborn babies.

I would also like to point out the crescendo in Odysseus' actions towards Poseidon. First, he tries to let the whole "vengeance/being pissed at him" thing drop:

Aren't you tired, Poseidon? It's been ten years, how long will this go? We're both hurting from losses So why not leave this here and just go home?

Then he tries to convince Poseidon to forgive him:

Maybe you could learn to forgive?

So the next step is supposed to be another clever trick, right?

Weeeeell... not exactly.

__________________

Six Hundred Strike: we all love a boss battle. The music is truly epic, worth the confrontation we waited for so long. The voices are incredible, both Jorge and Mr. Rodriguez have been incredible in conveying a ton of emotions into their lines.

And the Rule of Cool plays a huge role here, in making Odysseus look as badass as ever. The way he orders Poseidon to call out the storm, the "exactly" he says while he picks up the trident, his last chilling line... he's the king of Ithaca, sure, but also the king of badass.

The ultra-violence was not what I expected, but I am not complaining about that either. I understand this choice: it shows how much Odysseus changed over time, how he became the monster and it works as a great preview of what we will see in the Ithaca saga. Also, it's a clever solution for the narrative: the gods are immortal, so why not use this immortality against them?

Having said all that, what's the problem?

I just think it feels a bit rushed. The moment before, Odysseus was still trying to talk to Poseidon and reason his way out of this confrontation - like he should do, since he's famous for his silver tongue and his ability with words.

But the moment later, he gets out of the water with a goddamn jetpack and resorts to brute violence. Like... what?

I am not saying it cannot work, just... I think it should've been played differently. Maybe by giving him a bit more time to go from 'talk' to 'violence'.

Also because: how am I supposed to believe Odysseus is a monster, if one moment before he was still trying to reason with Poseidon? He didn't try to reason with the sirens, he tricked and killed them all. He didn't try to reason with Scylla, he just got past her. And he didn't try to reason with Calypso either, he was just too wrapped up in his own trauma, to do anything besides begging to die and/or leave.

But here, he tried to reason with Poseidon. And then, bam, violence. Again, it can work, but it needs more time/lines. Enough to show us, idk, that trauma overwhelmed him and because of that, he stopped reasoning and resorted to brute force? If the scene underwater with his loved ones dragging him down was supposed to convey this... well, it wasn't enough for me. It should've taken at least a few more lines.

Also, @oreramar made a great point in their post: what is preventing Poseidon from retreating and going back in the future to pursue his vengeance? He waited 10 years and we know he holds grudges: what stops him from waiting 10 more years and coming back to destroy everything as he threatened Odysseus to do? Or what, being stabbed is enough for him to drop the revenge idea entirely?

However, if we consider the original poem, the other gods basically helped Odysseus behind Poseidon's back and the revenge idea disappears once the Phaeacians bring him home... so, well, Poseidon dropping the revenge idea is coherent to canon :P

And now... one saga left. The last one! We already reached the end! It felt like yesterday when I found out about this musical and started following its genesis... soon, we will see its conclusion.

But before that, as always, shower the current saga with love, stream it, listen to it and enjoy it. It's a great work and deserves it.

[beauty-and-passion]

Do you believe there is any particular reason as to why women in Euclydia are not lines like they are in flatland? Like, Bill's mom is clearly a triangle too. Also why are women lines in flatland anyway what is that supposed to mean

I don't really remember if there was a specific reason why Women in Flatland are Lines - and if someone knows of a specific Victorian reason or a reason Abbott himself mentioned, then feel free to correct me.

Personally, I think Women are Lines because lines, half-lines and segments are all part of the Euclidean geometry. And since Abbott was talking about a 2D geometric society, he wanted to include that part of geometry too.

For the sake of the story itself, Women as Lines is a great choice: A Square, the protagonist of Flatland, spends a lot of time talking about Women and explains how their shape, despite being considered lesser than multilateral shapes like Squares, Pentagon, Polygons or Circles, is way, way more dangerous than theirs.

A Flatland Woman can potentially kill any shape: since their ends are pointy, they are basically invisible to a 2D creature's eye. So, if a Woman stands still, a Shape can potentially bump into her without noticing and, since she's so pointy, she can easily pierce through the shape (especially if it's a multilateral one) and kill it without any problem.

That's why Flatland Women have to constantly waggle their ends and signal their presence through vocalizations called "Peace-cry": because otherwise they would be invisible killers.

Also, they're subjugated to men because... well, of course they're not as mighty and multilateral as the Circles, who are the highest authority in this world. And since this world is based on the number of sides and regularity, Women can never be on the same level as Circles.

Speaking of that, I would like to cite this part regarding the Colour Bill, a historical event mentioned in the book: this bill proposed that every shape should be painted of different colors to identify them (and replace therefore the Recognition by Sight). But when talking about Women and Priest (aka Circles), the bill suggested they would be painted the same way:

"When it was objected that Priests and Women had no sides, they retorted that Nature and Expediency concurred in dictating that the front half of every human being (that is to say, the half containing his eye and mouth) should be distinguishable from his hinder half. They therefore brought before a general and extraordinary Assembly of all the States of Flatland a Bill proposing that in every Woman the half containing the eye and mouth should be coloured red, and the other half green. The Priests were to be painted in the same way, red being applied to that semicircle in which the eye and mouth formed the middle point; while the other or hinder semicircle was to be coloured green."

And yes, it's extremely ironic that the female sex, considered so ignorant and inferior compared to the high Priests, was put on their same level - if not above.

Of course this was all a satire that aimed to expose the awful situation of women in Victorian society. And I love how Abbott decided to do it: by implying women are much more powerful than the authoritarian figures - so powerful that if the Colour Bill passed, they would've easily gained status, power and knowledge, three things the authorities are taking away from them:

"At home they (Women) might hear political and ecclesiastical secrets intended not for them but for their husbands and brothers, and might even issue commands in the name of a priestly Circle; out of doors the striking combination of red and green, without addition of any other colours, would be sure to lead the common people into endless mistakes, and the Women would gain whatever the Circles lost, in the deference of the passers by."

Having said that... I really don't know why Euclydia's women are not Lines as well. Maybe it was a way to imply that, since this society is apparently more "evolved" compared to Flatland's, women and men have the same rights and social status. So there's no need to put them into a specific category and make a satire.

Also, this choice emphasizes the playful, "childish" vibe of this world: like a kid can put together two triangles and imagine they are a couple, so Bill's parents are both triangles because they have the same shape. It fits more with what we talked about in the previous ask, about Euclydia's colorful, less serious world/society.

Sure, there may be rules we're not aware of - maybe only Triangles can have Triangles as offspring in Euclydia - but for now, I think that's why women in Euclydia are shapes and not lines:

women and men have the same rights (so no need to build a satire like in Flatland)

the playful nature implied in this world

what Bill said in the AMA years ago, about his dimension having 14 billion genders: with so many genders, enclosing women into a specific shape would've been weird, I suppose

[beauty-and-passion]

I honestly think Filbrick could have found a much less radical way to separate his children. One that didn't involve turning one of his children into a homeless person who began to live in his own car since he was 17 and couldn't even finish high school. Filbrick's problem is that he doesn't think, he just does.

I couldn't have said it better, anon: Filbrick doesn't think, he just does. Best definition ever, that's it, that's him.

And maybe that's why I think Filbrick is fascinating as a character: because he grew up surrounded by stupid rules and conventions about being tough and "a real man", so when there's a problem, he acts like "a real man" should. He doesn't think, he doesn't ponder if it's right or wrong. He just does.

Even more tragic, is that he thinks this will educate his sons. By showing who "the man" is, by being strong and tough and never saying sorry or showing weakness, his sons will automatically respect him and become "real men" too. In his mind, that's how kids should be raised and become men.

And he doesn't know any better. He doesn't even question if there is another, more efficient way to deal with such kind, sensible kids like his sons. He doesn't even think there is another way. A man should be always strong and proud and never weak, so that's what he does.

And when he gets angry, since he (probably) never learned how to deal with feelings, he loses control and just acts. Stan admitted he hurt Ford? Stan out. No questions, no thoughts, just pure instinct.

[beauty-and-passion]

CCCC Vol.1 - Concord: the last piece (1/2)

Hello and welcome to the final act of CCCC!

We have finally reached Concord, so let’s do a quick recap of what happened until now:

This story is a time loop. The starting point of this loop is an event, a calamity indeed, that leads to a split in Chonny’s mind between Heart, Mind and Soul

The three sides know they’re stuck in a loop and, at first, they try to cooperate to come back into one

But then the contrasting nature of Heart and Mind makes them drift apart: Mind starts thinking about becoming the new leader, Heart develops a crescent fear of Mind’s influence

Overwhelmed by his fears, Heart tries to overcome Mind (the Juno Incident). He fails and the consequences of his action lead to apathy

Resigned, Heart let Mind take control

Mind tries to get a reaction out of Heart, first by insulting and scolding him, then with threats

Soul intervenes and obliges the two of them to try and harmonize or he will end them both. They find a way to harmonize again

The success leads to an “optimistic wave” that makes Chonny more confident and helps him accept his own imperfections

Since now they’re stronger enough to face them, his sides ask Chonny to revisit his memories.

And so, in this act, Chonny will do just like that: he will come back to the start.

<- Previous post - First post

_______________________________

Welcome to Tally Hall (Intro to Concord): deconstruction of the original

What better way to start, if not from the beginning?

Chonny immediately points out two things here:

he “butchers” Tally Hall’s songs, even in ways that are far from nice

he does it out of his own egoistical needs

In other words, he reaffirms what he already made clear during the Cacophony act: he’s not making simple covers, but he’s telling us a story. And in doing that, he “butchers” the original songs.

But, think about it: isn’t “butchering” what everyone does, when they take inspiration from something? We never take all the elements of another work. There’s something a bit of this and a bit of that and we put them together into something new, it’s never a 1:1 copy of the original. Also because, if it truly was a perfect copy, then it’s not “taking inspiration” anymore: it’s just stealing.

So yes, Chonny might “butcher” these songs, but everyone butchers what they love, in order to create something new from it.

_______________________________

Banana Man: the importance of criticism

Chonny is clearly a huge fan of Tally Hall. I mean, this entire album is made of songs from Tally Hall: it’s pretty clear he appreciates them.

However, he’s also mature enough to take off the rose-tinted glasses of a fan, look at this song and admit that yes, it is problematic and yes, Tally Hall can make mistakes too.

Does this take away something from his appreciation of the band? Does it make his love less real?

Think about the people you love: you know of their flaws, you are aware of them. And yet, you still love them.

That’s the same for every artist and art form. The perfect work doesn’t exist and every artist can make mistakes. You can love them and you can think of these mistakes as your guilty pleasures… but be aware of them. What’s wrong in admitting: “yes, I know this is shit and it has these mistakes, but I still like it”?

And, in general, what’s wrong with criticism? Pointing out the flaws of a work is very helpful:

for the artist, because they can realize what the mistakes are and improve their work

for other artists, so they know what they should avoid

for the artwork itself, because the work no one talks about is a dead one

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Haiku: the failed romance

Chonny started his recollection of memories, by talking about Tally Hall, his Muse, his source of inspiration. He made it clear he’s a fan, sure, but he can also admit when they make a mistake.

Then, Chonny moves over and talks about a previous love, someone who piqued his interest, to the point he wanted to write an haiku for them.

And yes, I am sure this is in the past, because he keep using the past tense: it’s never “It is all for you”, but “It was all for you”.

So he tried to write this haiku, to keep his Heart and Mind at bay and do it… but something happened. He failed, he “stabbed himself”.

But how? Why? And how can all of this connect to Cacophony?

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Hidden in the Sand: the missing piece

So:

Chonny likes this person.

He writes a song for them and he’s pretty satisfied: he thinks he got it right.

When he examines it through the rational lenses of his mind, he finds out all the flaws.

He convinces himself he will be rejected, if he even tries to show it.

He feels like he missed his shot.

Well, isn’t all of this weirdly familiar? Doesn’t that all remind you of something?

Night: Heart and Mind are cooperating, but then their differences emerge. Mind starts thinking he can be a better leader, because Heart is too flawed. Heart convinces himself Mind is dangerous and can destroy everything.

Ruler of Everything: Heart takes his shot and misses.

The events of these songs are way too similar to the events here to be a mere coincidence. And I have two possible explanations for this:

EXPLANATION 1

The events of Night and RoE are a parallel of the events in Haiku and Hidden in the Sand. It's the failed romance that led to the split and the time loop, so when Night happened once again, the memory of the previous events influenced the ones in the loop. This also explains:

Mind saying he was in charge before (he was referring to the pre-loop events)

Heart’s motives and fears: he feared Mind’s influence because he already saw what that influence could lead to

The circularity of time: Heart took his shot and missed the first time, so when he tries again he fails again

EXPLANATION 2

The events of Night and RoE are a metaphor for the events in Haiku and Hidden in the Sand. That means all these songs talk about the exact same event. The failed romance is the reason why the time loop exists and it’s within it. In other words, the events go as follows:

Chonny has a crush and writes a song for them. His sides, for now, are still trying to cooperate.

Mind’s influence becomes stronger: he notices the flaws in Chonny’s song, he starts to think he can be a better leader than Heart.

Chonny starts to think if he confesses to his crush, he would be rejected. Parallel to this, Heart starts to fear Mind’s growing influence: if it grows even more, Chonny might never confess his feelings.

Heart tries to convince Chonny to confess to his crush. This is metaphorically represented in RoE with Heart taking the gun and trying to shoot Mind/subdue him and his influence.

Chonny does not confess, he misses his shot. Heart, metaphorically, misses his shot as well and suffers the consequences of the failed romance.

Everything that follows is what Chonny experienced, after the failed confession.

According to this second possible explanation, when the sides ask Chonny to remember (Variations on a Cloud), they’re not asking him to relive something outside of the time loop, but the reason why the loop exists in the first place.

That puts the entire CCCC into a new perspective because every time the loop starts again, Chonny relieves the romance, its failure and its consequences (Cacophony), until he finds enough strength to put himself back together. And once he grows confident again, he can relive these events (Concord), only to break apart again, put himself back together again and relieve them again in a neverending cycle.

That also implies the romance wasn’t the reason behind the split, but that the sides were already splitting before. And this is very interesting, because it’s implied that Chonny is a dark person even before he starts to talk about his crush. And yes, maybe this can serve as a foundation for Volume 2.

-> Next post

(How about a coffee? ☕)

_______________________________

📌TAGLIST: @mudpuddlenl @allmycrushesaredead @aquatedia @whatishappeningrightnow @effortiswhatmatters @bella-in-a-bag @doydoune @forever-third-wheeling @payte @hypnossanders @idontreallyknow24   @imcrushedbyarainbowoffical @patton-cake-and-crofters​  @hereissananxiousmess @purplebronzeandblue​ @cynicalandsarcastic​ @lost-in-thought-20 @andtheyreonfire @riseofthewerewolf @rosesandlove44 ​​@arya-skywalker @csi-baker-street-babes @reesiereads @dracayd-universe @starlightnyx​ @stubbornness-and-spite @averykedavra @joyrose-fandomer @mihaela-tbg @igonnatalknothing @thatoneloudowl @grayson-22 @softangryfuckingdepressed @theotherella @nevenastark @coldbookworm @boopypastaissalty @varthandiveturinn @roses-bubbles @cuter-on-the-inside @snixxxsmythe @charmingcritter @analogical-mess @emphasis-on-the-oopsie @selfdestructivecat @yangwalkerao3 @the3rddenialist

[beauty-and-passion]

Ah yes, that time of the year.

The time to B O O P

[beauty-and-passion]

also yes i think you should talk about dipcifica i love the old man yaoi as much as the next guy but i also will always crave this kind of "coming of age" love story

Glad to comply! Here are my points about why Dipcifica is canon and endgame and everything:

1) Dipper and Pacifica are a walking "enemies to friends to lovers" trope. It literally started with Dipper saying to her face he doesn't like her, what's more clichè than that? When he said it, all I could hear was "We will definitely become a thing in the future".

And guess what? After a while, Dipper changed his mind: now he doesn't think Pacifica is the worst anymore. The next step is admitting she's great, asking her out and becoming a couple.

2) "Northwest Mansion Mystery" is basically a huge Dipcifica manifesto, thanks to the introduction of more tropes like:

the characters are put into nice suits

Pacifica fixes Dipper's clothes like a good wife

these two share an adventure together - which is universally something that would strengthen the bond between two people

their daring escape ends with a hug, given out of a sincere emotional reaction

the hug is followed by some cute awkwardness (especially from Pacifica's side)

Dipper and Pacifica share a heartfelt moment in which she reveals her insecurities, something we can be 99% sure she doesn't usually do. Also because... with whom can she share them? Her parents? Her supposed friends?

Dipper changes his mind about Pacifica after understanding her a bit more (which is always the interlude for the development of romantic feelings)

Pacifica finds the strength to do the right thing, only after Dipper sacrifices himself

the episode ends with them having fun together, laughing and enjoying their time. Also, it's implied they probably spent some time after the party to clean up the mess they made - so who knows? Maybe they shared some more time together and talked a lot more.

I mean... I've seen love stories start with less than that.

3) Dipper and Pacifica have another adventure together in Lost Legends. The formula is similar to Northwest Mansion Mystery: Pacifica has an issue (caused by her shitty parents), Dipper doesn't understand what her problem is, they share a heartfelt moment in which she reveals her weakness, Dipper tells all the right things, they hug, Pacifica does the right thing.

This is another way to reconfirm what the episode in the series already told us: these two have chemistry. They are meant to be. They are a walking enemies to friends to lovers trope - with a side dish of "slow burn" too. And we all love slow-burn stories <3

But this adventure shows us something else: how things have changed since Northwest Mansion Mystery and especially how Dipper's attitude has evolved towards Pacifica. In the episode, he is still very wary of her and makes it clear multiple times that he dislikes her.

Now he says this:

This is basically the Dipcifica equivalent of "I once considered him the center of my life, the sun in my galaxy", only with less toxic old men yaoi and more wholesomeness

it shows how Dipper's attitude is more mature

it implies he can and will develop romantic feelings for her. I mean, look at it: "I've noticed another side of you", "I see the real one and you're more than a pretty face"... gosh, if Pacifica hadn't fallen in love before, she definitely did after that.

it also shows Dipper's growth regarding women: my boy went from making huge, complex plans to talk to them, to lying to get random girls, to saying the truth in such a smooth way. He's great with girls when he doesn't try, he makes me so proud <3

4) Now I know what you think: great points, Bea, but does this couple have Mabel's approval stamp? Billford got it with Mabel calling Bill a clingy ex and telling him to get a crush on someone else's Grunkle. Does Dipcifica have Mabel's approval?

The answer is yes:

Do I have to say anything else? I think Mabel already said anything. Dipper and Pacifica are. A. Thing.

And yes, I know what you might say: they are kids! Sure they are, but that doesn't mean there can't be anything in the future. There is time for them to grow and for these feelings to develop. What we saw in the series and in Lost Legends are the crumbs, the foundation of something bigger that can evolve in the future.

And this is a great foundation because it's plausible and stable. Dipper and Pacifica's interactions never sound forced or out of character: on the contrary, they are built in a way that conciliates both personalities and justifies their changes and evolution.

If we can easily imagine a future for them, it's because their change is organic, it works in the long run - Pacifica can easily become better and better, while she works out her issue and shows the beautiful person she is. And Dipper can easily become more and more aware of what a great girl she is and start to develop deeper feelings for her. It's not impossible to imagine. It works.

And yes, this proves again how well Hirsch developed Gravity Falls and its characters, if we can easily imagine a future for them just out of a few, well-built interactions.