#[ analysis ]

[moonlace]

Gotta agree with a lot of people in the notes that Outlast was headed on the right track but really fell flat in the end. Made the biggest villain of the game the corporation that experimented on vulnerable and forgotten people for their own gain, yet still relies on the same “oooh mentally ill people scary” tropes as every other asylum-based horror media.

The worst thing is that there is so much potential for exploring the horror of psych wards from the angle of medical abuse, ableism, forced treatment/drugging, loss of autonomy, power imbalance, demonization, dehumanization, etc, and YET the horror genre keeps defaulting to "insane asylums and psych wards are scary because there are mentally ill people in there"

[shadyr4m]

REWATCHING SEASON 2 EPISODE 7 OF ARCANE

+ some of my highlights and notable moments that I enjoyed bc people can’t understand media anymore

This is mostly an infodump of stuff I can fit into a twitter thread/didn't rly want to make into a thread. I'm not great at words so I apologize in advance, I am sure there are many people much better at analysis than I.

I want to start off by saying I am heavily invested in timebomb so this is very much going to be a ship analysis. If you're looking for someone unbiased i am very much not the person for that 😭

FIRST OFF:

The disc on the music box is adorable!!! It features au Powder (who I am going to refer to as just Powder for the duration of my analysis) and au Ekko

Compared to the normal Disc

This is very obviously because it takes place in a different universe, one without Vi or "Jinx".

The first scene starts off with AU Ekko writing in his notebook. (Cute mention is Powder's doodle in his notebook!!) Then we see flashes of the wild rune. This is when AU Ekko switches to canon Ekko.

Also one of my favorite silly images from this episode is this one.. Powder is being so adorable and Ekko is just scared out of his MIND. it's so silly.

In the Last drop, Powder asks Ekko. "What is up with you? You've been out of it all day?". One thing I noticed in my rewatch is that i think Powder is aware this Ekko isn't HER Ekko. This is just one instance of many that makes me think this.

This hideout seems so much more vibrant and loved, similar to Jinx's hideout after Isha. It's colorful. There are guard rails that I like to think was pushed by Vander. We can see Ekko's art scattered around. It just shows how much more support and family Powder has compared to Jinx, which i mention a lot.

Id also like to note Ekko being shocked au him went to powder for help. In his mind at this time he believes Jinx to be all that is left, no more Powder. Through out the episode we see that change.

Notice how Powder gets upset at Ekko in this scene. However, she doesn't react explosively like Jinx would've. She handled it in a way that shows she had support. She told him to leave instead. Again, the main difference between Powder and Jinx isn't only Vi but also the existence of multiple support systems that Jinx simply didn't have.

THIS FLASHBACK! Oh my god this flashback. The fact it happened after he upset Powder? I think it shows just how much he truly cares about Jinx/Powder. He remembers VIVIDLY the day that he thought he killed her. Jinx was his childhood best friend, and I don't think that kind of feeling ever truly goes away. He doesn't want to hurt any version of her, not even the alternate universe her. We see that showcased more later on. Also, random probably insane note. He is interrupted by small children playing, having fun. This isn't a coincidence, it shows he does miss the moments from when they were kids.

While talking with Heimerdinger, we see Ekko look at Powder multiple times. Watching her laugh and be expressive, he smiles. When she doesn't return it we see him get upset. Once more this brings me to my point that he doesn't want to hurt her. Considering he hasn't known this Powder very long you can see where I gather my point that he doesn't want to hurt her in GENERAL. Any version of her.

THIS SCENE!! He is such a bad liar it's adorable. This brings me to my earlier point, Powder knows what's up!! She suspects something 100%. He is talking about this dream her like it was real.

"You aren't the kind of person who helps other people with their projects. Your ideas change the world. I can't shake the feeling that that's who you're supposed to be."

Are you LISTENING TO THIS? He is obviously talking about Jinx. You can tell this by the first sentence because obviously Powder IS that kind of person. He's starting to see that Jinx is just a part of Powder, one that is unavoidable and that he unknowingly appreciates in a sense. Like two sides of one coin he can't see Powder without Jinx and that is good. I think it is here he realizes truly just how much he cares about Jinx.

This whole montage is beautiful but I want to zero in on two things. Powder's reaction to the notebook and how she looks at Ekko after. NOW THIS. This is the nail in the coffin for her. She knows that this is not her Ekko. She has fully gathered that he isn't from this universe.

Also heimerdinger totally knows how Ekko feels you cannot tell me otherwise. Pushing him to go to the party? yeah he knows what you are.

THIS WHOLE SCENE. I AM NOT ANALYZING THE WHOLE THING HERE BUT IT IS GORGEOUS. I saw someone talking about how it was animated on 4's to signify the way Ekko can only go back 4 seconds and I honestly shed a tear. THE SONG TOO? I encourage everyone to look at the lyrics because they're beautiful.

Okay now for my favorite part of this episode so much to dissect and i'm totally going to mansplain but yk..

"I used to dream the undercity could be like this" — That sets the tone for the whole conversation and just what world he is talking about. The canon one.

"But somewhere, I got consumed by all the ways it wasn't. I gave up on it. Gave up on YOU." — Heavy emphasis on this line. Once more he is talking about Jinx. He is talking about how he got so consumed by the way that Jinx wasn't good, and he gave up on her. Believed she was irredeemable. Powder showed him that Jinx is capable of love and happiness, it's just under that tough protective shell. The undercity in the metaphor is Jinx, from my interpretation.

"I promise i'll never forget this." — Now time for my insanity. He doesn't forget this. That's why he saves Jinx from ending her life in the first place. He remembers Powder and knows that with the right support Jinx doesn't have to be the way she is. It's not that she "needs to be fixed" she just needs to be LOVED, like Powder. He sees that now. He sees how in the au the love that everyone shares for one another shaped the undercity beautifully, and made everyone in it much healthier mentally despite going through hardships. That is beautiful. People with mental illness are not unlovable they just need more support, it can't be cured, or fixed just healed. Mental illness is always there it is how you DEAL with it that matters.

Nothing too major to talk about with the kiss. It's sweet I love it, but nothing too notable for me to say about it.

Finally, Ekko leaves the au. I have seen people say that this is a sacrifice, he could've had everything he wanted and he gave it up to save the people at home. But i take insanity to another level. I see this as him appreciating his home. He knows he can never truly love this Powder because she isn't the version he fell in love with. He learned to appreciate Jinx even through her flaws, and that while this world has everything he could want and more he can have that home too.

I am experiencing HEAVY timebomb brainrot if you can’t already tell. I was tired of people taking things in the complete wrong way with this episode, if anyone has different views pls tell me I love hearing how other people took certain scenes. there are a few scenes I love but I would’ve made this post way too long..

[shantechni]

Natsume's Fear of Thunder

I'm gonna be honest, this can hardly be considered an analysis. It's more of a "sporadic and unnecessarily deep observation" of how Natsume's astraphobia has been presented in the series over the years, both in the anime and in the manga. So, please for the love of God take all of this with a grain of salt.

Yes, I'm using the term "phobia" very loosely, but I'm not about to get into that rn. Natsume has an irrational fear and strong dislike of thunder, that's an undeniable truth.

Before I dive in, I'd like to briefly explain why, of all the little bits of information Midorikawa has given us about Natsume, this one is the one to ceaselessly bump around in my brain like a DVD logo. This series is not in the horror genre (it's serialized in LaLa DX after all), but it does get suspenseful, and pretty disturbing depending on whatever topic it touches or the types of situations the characters may find themselves in. I don't fault anyone, particularly Natsume, for growing up with valid fears and preconceived misconceptions about most youkai; they can sound scary, they can look scary, and they can do some scary stuff if they really feel up to it.

That's why I'm so fascinated to see Natsume develop and still harbor an irrational fear for something like the everyday phenomena of storms. He's landed himself in all sorts of trouble and has come face to face with many beings, both natural and supernatural, who didn't have his best interests in mind, and yet the clap of thunder somehow keeps its spot on the list of things that has him scared stiff.

Aight, spoilers for both the anime and the manga beyond here, you've been warned👏🏽

Our first introduction to Natsume's fear is near the beginning of chapter 42, when he and Tanuma accidentally stumble across Taki's home while seeking shelter from a sudden shower. He questions how Nyanko-sensei ended up at her home as well and the youkai, much to Natsume's visible dismay, cheekily explains:

That doesn't end up happening since the rain remained light until its swift end, and the mention of Natsume's fear is glossed over rather quickly to save him the embarrassment, but it's an interesting mention made by Midorikawa nonetheless since it adds another layer to whatever image the audience has of Natsume and the series itself. Nyanko-sensei, having been around this kid long enough to know a lot of his vulnerabilities and insecurities (even the ones his dreams unwittingly reveal to the youkai), has seen and grown accustomed to a side of him that the audience had yet to be formally introduced to for once.

Right about now, you may be wondering how the anime adapted this scene. It didn't💀.

While the start of the episode (S3 EP5) is a one-to-one recreation of the chapter with virtually the same dialogue and scenery, any mention of Nyanko-sensei following Natsume to pick on him when it thunders is nonexistent and entirely skipped over so the gang can go straight to cleaning out the storeroom.

Most fans who have read the manga will tell you how notorious the anime is for excluding some of the characters' lines or scenes that take place in the manga, or just straight up rearranging or changing up those same factors. Sometimes those alterations work wonders, and other times they leave more to be desired, mainly if you know what happened in the manga counterpart of the episode. This such example is one of the times that'll leave people scratching their heads and wondering what warranted getting rid of a scene so insignificant that it'd have no effect on the plot of the episode whether or not it stayed. The only answer I can think of for that is the directors likely wanting a smoother progression of events to make for a viewing experience better tailored for an anime episode rather than a manga chapter.

Or, they genuinely didn't have enough space in the episode to squeeze in that little bit, which I highly doubt, but what would I know, I don't work for them. At the end of the day, we didn't get to see that scene in the episode.

After some more anime switcheroo shenanigans go on behind the scenes, along with an original episode pulling a retcon during a lightning storm, we receive our next moment in a surprising scene from the anime team in S3 EP10 (adaptation of chapter 28). Though the scene itself is short and not exactly an example of Natsume's astraphobia, I feel it should still be included because of its relation.

The chapter originally starts with Natsume and Nyanko-sensei searching for a tree that was struck by lightning during a storm the night before. However, the anime makes an addition of their own by rewinding time to that very night and showing Nyanko-sensei excitedly watching the storm take place while Natsume is tied up with his homework.

Nyanko-sensei goes on to tease him by suggesting that he doesn't want to watch the storm because he's scared, but Natsume dodges the youkai's mocking and begins to tell him to close the curtain before a crack of lightning cuts him off and illuminates his room.

Not only does Natsume not simply deny Nyanko-sensei's claim of him being scared, but his reaction to the thunder is seemingly more sudden than Nyanko-sensei's. Both of these points could subsequently lead the audience to interpret this entire sequence as the anime's first acknowledgement of his phobia, and it'd make for a very intriguing choice on the anime team's behalf after taking their ommitance of the previous scene into consideration. It could be a stretch though ngl, I tend to stretch like crazy, it makes sense to close a curtain when a pet is being noisy—

Finally moving on from S3, we eventually reach the most overt instance of Natsume's astraphobia, and potential origin or exacerbation of it, in the S4 finale (adaptation of chapter 46). This three episode arc is a largely intimate and heart wrenching one as it focuses on Natsume's journey to revisit his childhood home before it gets renovated by its new owners, a task he initially denied himself the permission of doing before realizing Touko and Shigeru would never deny him something so personal. Of course, he wouldn't be Natsume if he didn't attract a youkai along the way, and he's being pursued by one that seeks to feed on the tragic memories he formed while staying with the Aoi family, who was strongly implied to be the first family (if not, one of the first families) he was taken in by after his father's passing.

One of those memories shown to the audience is a younger Natsume relaxing in a shrine while memorizing where his childhood home is located, all in the hopes of gaining more discernible memories of his father and no longer being a burden to Miyoko and her parents.

Unfortunately, he falls asleep at the shrine and consequently loses track of time before having his slumber disturbed by a violent boom of thunder. He's so frightened by the ordeal that he can't even bring himself to rush back to the Aoi family's place, and his exhaustion puts him back to sleep until he's eventually found by some of the neighbors who went out searching for him.

The anime, with the natural strengths it has over the manga, goes the extra mile by not only keeping this portion relatively untouched, but further setting up the scenery and depicting just how rapidly the area goes from peaceful to turbulent. The character animation and voice acting make for a splendid combination and do a wonderful job of capturing this image of a helpless childhood version of Natsume.

What comes soon after this scene is a depressing sequence of events on its own, even more so when we can see he's still reeling from the storm and believing he caused the Aois to get into trouble by not getting back before dark. The adults obviously don't fault Natsume for getting stuck in the storm, but he doesn't see it that way in his shocked state.

The way Miyoko reacts by throwing her frustrations onto him doesn't help either.

And so, after aimlessly running off in his last unsuccessful attempt to find his childhood home, the memory fades away with a somber note as his present self recalls the moment he finally stopped calling for his long gone father.

Now, one could argue that Natsume had his fear of thunder prior to his time with the Aois since we don't have much reference material to work with when concerning his short period of time with his father, and they could be right for all I know. It's common for children to be startled by loud noises and bright flashes since they just aren't quite accustomed to those loud noises and bright flashes being customary for weather disturbances. Natsume, who we know grew up to be pretty sensitive to the things that go on around him, may have been one of those children who felt apprehension anytime a bad storm rolled in, and his father may have been the one to quell his fears back then. So, if we go with the conclusion that his fear didn't originate here, then this scene likely could've aggravated it. But I'm personally leaning a bit more towards the concept of this being the cause of it (partly due to how appealing that conclusion is to the obsessive part of my brain).

His initial reaction to the thunder is seemingly one of surprise rather than fear, and his behavior suggests that he's more concerned with making it back down the mountain before the thunder halts his progress. Although he's seen trying to talk himself down and fails to do so with how relentless the thunderstorm is proving to be, he doesn't need to have preexisting fears or anxieties over thunder to resort to calming himself down.

The dialogue differences strike me as something to consider too, but they're likely irrelevant.

Setting aside everything I just ranted about in the above paragraph, I should specify that I'm not simply pointing to the storm scene as the singular root cause for his future woes. Many psychological problems often aren't so black and white that someone can definitively point to one person or thing as the sole reason for the existence of their psychological problems. And phobias obviously don't always develop as a result of going through or observing a traumatic event; people can grow to fear or strongly dislike something merely by its association with an unpleasant memory or stressful situation. I know I'm starting to stretch hard rn, and this part of the post is getting awfully wordy, just hear me out—

Going back to that aforementioned short period of time with his dad, it's plain to see just how innocent of a time that was for Natsume. He was playful and affectionate with his dad like many children growing up in a healthy environment would be at that age. He doesn't even appear to have an awareness of youkai (if so, only slight enough for it to not become a problem for him just yet). We're shown later on that he would commonly draw around the house too, as evidenced by the nearly two decade old pieces of artwork his father never removed from the kitchen area and closet.

Natsume even proceeds to make a comment about this childhood version of himself likely being the mischievous type for him to run around drawing on surfaces without a care in the world.

He undeniably had his own troubles at that stage of his life though, with one of those troubles being his mom and the empty spot left behind by her passing away. Apart from his heartwarming portrait of a family with both parents, he's also shown lamenting to Miyoko after the death of his dad about not being able to remember his mom. We've seen with those two examples that her absence indeed left an impact on him early on in his life, but he doesn't stay too broken up over her considering how little he got to bond with her, and he doesn't openly despair about the loss of his dad until his growing sense of loneliness and longing becomes too much for him to smooth over.

The point I'm trying (and admittedly struggling) to make here is that after moving in with Miyoko and her parents, the worries on Natsume's plate increased tenfold and weighed him down far more than he was willing to accept at first. Suddenly, this kid had little to smile about in life, taking a glance at his only picture of his parents causes grief and envy to flare up in his chest, he's afraid of being a burden to those who took him under his wing, he's eating less than Miyoko because he's concerned with coming off as too greedy, he feels responsible for Miyoko getting picked on because of his relation to her, he's still learning the way back to the Aoi family's home, and now he's surrounded by all of these weird creatures that apparently no one else can see.

Suddenly, he's no longer that carefree toddler we saw sitting on his dad's lap as the two of them watched over his late mom's garden.

I feel moderately certain about Natsume's experience with the storm, coupled with this pivotal and devastating shift in his life, being the plausible cause for him developing his irrational fear of thunder as a child.

After this arc, we aren't greeted with another scene featuring or centered on his astraphobia until chapter 85 (which doesn't appear to be adapted in S7 judging from the PV😭), and it focuses on Natsume, Tanuma and Taki viewing a limited exhibition at an old inn that has a deep history with youkai. Not too long after the owner engages in conversation with Taki, Natsume and Tanuma briefly comment on how peaceful the inn is making the both of them feel, and a sudden lightning strike cuts through the tranquility of the inn.

It catches everyone off guard and, unsurprisingly, has Natsume frozen in place as Tanuma asks him and Taki if they're alright.

Much like Nyanko-sensei's first time mentioning Natsume's fear, the moment doesn't last long as the gang soon realizes they'll have to spend the night at the inn while they wait for the sudden storm to pass.

By this point in the manga though, Midorikawa has evidently decided to make Natsume's astraphobia a recurring element of the sorts. She could've easily left his astraphobia as another facet of his that we get to see once or twice and never again since it's not serviceable to the story as a whole, but she's started using his phobia as an additional means of displaying his discomfort in any given situation. Having a thunderstorm suddenly appear during a moment of serenity, immediately after Natsume tells Tanuma the place is making him feel strangely good, was a brilliant move of jarring him. And it works especially well here as a sign of the looming threat that'll find its way into the inn over night and slowly creep upon the group the longer they remain there.

Midorikawa pulls this same stunt again to slightly greater effect in chapter 117, where Natsume, Tanuma and Nyanko-sensei happen upon the Kisaragi Manor and find themselves taking part in a ritual for summoning youkai.

It starts with the trio meeting up in the evening to view the bamboo lanterns, but a woman claiming to be in search of a mansion requests their help to find it before it gets too dark, as well as to avoid getting caught in a downpour should the drizzle grow heavier. While Tanuma shows interest in the ritual, and the people they meet are treating them somewhat cordially, Natsume is disconcerted by the arrangement they've found themselves in. He's surrounded by five women he's never met in his life, is once again in an unfamiliar place that feels weird in Nyanko-sensei's own words, and is thrown for a loop by everyone's enthusiasm with the idea of meeting youkai rather than being put off by them.

The group isn't even a minute into their summoning ritual when a huge boom of thunder shakes the room and causes a power outage, sending them into a brief stint of darkness until Hitomi relights the candle.

While waiting for the candle though, Natsume answers Tanuma's question by for once admitting that he's bothered by thunder, leading to Nyanko-sensei characteristically picking on his phobia by calling him a chicken.

Again, the moment is subtle and restricted to one corner of the page, but it sticks the landing. Instead of using the lightning or thunder as a sign of things to come as she's done before, Midorikawa uses them here as an integrant of an already somewhat concerning scene slowly veering towards being disturbing. In addition to selling just how uncomfortable of a situation this is for Natsume, it also depicts how far along he is in his friendship with Tanuma to be honest about an irrational fear we know he'd rather not speak of.

Alas, chapter 117 was our last time seeing thunder scare Natsume, at least until the next time Midorikawa chooses to use his fear to her advantage, unless the anime miraculously surprises us with its own original take as we've seen it isn't afraid to do. What we've been given so far though is plentiful in comparison to many other plot points or quirks that get reused or called back to far less than this one. I won't throw a tantrum if his never gets referenced to or utilized again (which I doubt will happen knowing Midorikawa's writing), but I eagerly anticipate seeing it again should it reappear.

It's captivating to watch this minor detail frequently make it's way back into the story somehow, to the point that it eventually cemented itself as a miniscule yet effective way of shedding different shades of light on the many complexities of Natsume.

[vryfmi]

i like that the more times you reread The Hollow Boy, the deeper and more complex the answer to “why did Lucy leave L&Co but kept the skull?” gets.

at first it's because skull confirmed Lucy’s talent and she says so herself in TCS. then it's because she knew she couldn't hurt it or bring it to its doom with her talent unlike Lockwood and others.

but ultimately the answer is that she was afraid that her actions would lead to Lockwood's untimely death, but it was Lucy who was rapidly approaching the other side, as her talent grew stronger as well as her connection to ghosts and the world of the dead. and, thinking that skull's the only one who understands being in two worlds at once, she, ironically, chose her companion to be the most life desiring character in the series, who didn't let her spiral during those months apart from L&Co.

[bobauthorman]

It's not about 3D vs 2D. The fact is that 'Realistic' art styles can't replicate the exaggerated characteristics you get with the more cartoony designs. Animation studios are built on Romanticism, the emphasis on imagination and emotion. Taking that away and you get something akin to eating popcorn without salt and butter.

Since we keep getting "live action" CGI remakes of already perfectly adequate animated movies, and because people need to understand that animation is a medium and not a genre, I have prepared this primer about the importance of Visual Language for Conveying Information.

Can you tell what the personalities of these two mice are?

Can you tell now?

Which of these two tigers feels safer to be around?

Which of these three dogs is the funniest one?

If you can answer these questions, then you already have experience with the idea of visual language and stylistic choices being used to impart narrative meaning. If you can understand why these choices were made to impart meaning, then you can understand why animation is a medium for telling stories that has its own inherent value, and is not merely a "placeholder" for the eventual implementation of photorealistic presentation (aka "Live Action" CGI). Animation does not need to be "corrected" or "legitimized" by remaking it into the most representational simulation of observable reality.

[suchawrathfullamb]

No, the flannel and the wolf cut don't make you look like Will Graham. I see a lot of people trying to emulate Will's style or hair but of course it doesn't satisfy them because they're not fully getting what they actually wanted, which is the Will VIBE. So here's a guide, for you, because I love you, and fashion and aesthetics and the codes of physical appearance.

How to Give Will Graham

(oh and do check out my vibe analysis where we go into the spiritual code of Will Graham using astrology and numerology).

Now, I'm sure you didn't aim to give "plaid and kaki" vibes, right? Maybe you did, in that case you can move along. But if not, you were aiming for Will by just copying his clothes, which would never work because he doesn't give plaid and kaki guy, he gives sexy confident motherfucker with a gun who isolates himself because he thinks he's too cool but also because he is a menace and has no patience for people.

In other, better lol, words, he has the codes of disinterested academia. I made that up. But it's accurate.

It's the code of intellectuality but without the academic flair of formality.

Sam Winchester has almost the exact same wardrobe yet the vibes are different (the character arc is the same, interestingly enough), Sam is softer and kinder, and Will is more fuck everybody get out of my sidewalk vibes.

So there's an arrogance to Will. He isn't interested in what most are, he thinks most things are boring. And he's also hiding his true self, which comes out a bit more in Season 2 when he have the Slut Fashion Transition, which is excellent. Translating that to his style, you have outfits that carry a bit of an edge, although concealed to avoid exposure, and lack of attention to detail. So Will would not care to choose patterns because that is too much detail, or belts, or too many layers. His mind is busy with other things, he cannot focus on styling details.

So you can evoke the vibe without copying his exact outfits. As long as it has the elements of a put together but simplistic academic "southern" style. Which is also known as rugged americana.

(post prison inspired)

(twitchy man, season one inspired)

[imsosleepyofyourbull]

I think the parallelism that exists in Twisted Wonderland’s Leona&Ruggie and Kalim&Jamil dynamics is absolutely fascinating.

The former only exists because the inherently mixed class nature of the school allows them to interact in a closer capacity than they typically would at home, while the latter is explicitly the product of a historical power imbalance in their families that followed them to NRC. As such, the kind of work that Ruggie and Jamil offer their respective “masters” and why they offer their services at all naturally conflict with the other.

Ruggie chooses to serve Leona for his and his family’s own benefit where Jamil is forced to stifle himself by his family for the sake of Kalim’s personal happiness.

Ruggie clears the way for Leona to do as he pleases (whatever that may be) where Jamil has to carefully manage Kalim’s life to keep him safe even when Kalim makes it difficult.

When Ruggie and Jamil claim that they couldn’t imagine serving the other’s master, that’s not some off handed joke — it’s a direct comparison to the kinds of people Ruggie, Leona, Jamil, and Kalim are as a result of their backgrounds. Jamil wouldn’t be able to stand being the errand boy in Kalim’s grand plans the way Ruggie has clearly grown comfortable with acting as someone else’s hands and feet, and Kalim is too flighty to keep a proper scheme in motion. Ruggie doesn’t have the time to check for poison in all of Leona’s food and drinks and tutor him and plan parties and play house the way Jamil has always accommodated, and Leona would sooner kick him to the curb then let him try. That’s why Jamil’s attempts to work with Leona in Chapter 7 of the main story result in such dismissive irritation.

Jamil is trained to think of Kalim’s wants above his own needs and to protect him with his life, but in what universe would Leona Kingscholar ever need that kind of utterly selfless protection?

He is well aware that Ruggie originally approached him with the intent of taking advantage of his wealth and power for the sake of his own survival, and that motivation didn’t change even after the hyena grew genuinely attached to him. There is a mutual transaction there that doesn’t exist in Jamil&Kalim because Jamil has been taught to sacrifice for his master where Ruggie wouldn’t have ever bothered to associate with Leona if he knew he would have to give and give and give but never take for himself. Which is not to say that Jamil can’t be selfish or that Ruggie isn’t selfless, as proven time and time again.

Jamil betrayed Kalim despite being trained to stand by him where Ruggie believed in Leona all the way to the end despite originally approaching him for his own gain, which is almost definitely intentional in light of the level of independence Jamil and Ruggie had in their relationship to their masters and their duties. It’s really no coincidence that Jamil’s Unique Magic strips the target of their independent thought where Ruggie’s only forces them to mirror his own movements in action.

[madarasfloofyhair]

what sets katsuki bakugou apart as a character for me, has got to be his intelligence amongst the entire range of his character development. he's good, he's really good at what he does. and it's not genius.

he's just this mix of deeply agressive but insanely effective. he knows what it takes to be great. he studies well, he clearly starts working out more after first year begins, aiming to cover his bases. he analyses well, and his entire character arc is about what he's not seeing and how this is holding back someone so incredible otherwise. that emotional depth, and his self-image in respect to those he sees as weaker, the arrogance that blinded him. and he actually overcomes this. behind the volume and antics, there's someone calm and laser focused. he's drive, frustration, confidence, and he's made sure he's effective, no matter what people say about his personality.

the show focuses on highlighting the duality behind his behaviour. he can cook shockingly well, he's particular about manners, he sleeps early, he breaks down completely. you're supposed to be initially surprised by this. but he's the sort of character that requires a double take. he needed to overcome himself and that was never going to be pretty, but he's always been striving for his goal, and this was another step along the way.

[marmota-b]

I've just realised where part of my sense of humour must come from.

Am I the only person who thought this was really fucking funny

[coloredlion]

Okay so I’m just now seeing posts about people claiming that Grace brought Max to the house with the intent to murder him bc she has the bleach and hatchet and tape during Bury the Bully…and..no..just no.

LET ME EXPLAIN HEAR ME OUT

Grace has NEVER started out in any story with the intent to harm anyone, that wouldn’t be very good Christian girl of her. The whole point of her character is that she’s pretty innocent and naive until power falls into her hands, in which she’s easily corrupted and moldable bc of her own strong sense of morality. For example, she very much disagrees with the counselors decision to lock Steph away as punishment, because then she wouldn’t be actively learning anything. Grace doesn’t want people to get hurt, she genuinely wants to help others in what her own definition of helping is. It’s not until Lumber Axe gives her the axe that she realizes that power can be used for her own gain to “help” others. Paralleling Jägerman, she likes the control.

Grace genuinely did just want to scare Jägerman, bc that’s all her mind was capable of thinking as a good “revenge” at the time. When Max falls through the floor she’s just as shocked as everyone else (and we all know how bad she is at lying..I mean come on she sucks at it). When he dies, she GENUINELY sees it as an act of god, not something she went seeking out.

I think what people aren’t realizing is that Bury the Bully could easily be jumping through time. It’s a musical, and they don’t have the time to show them going to the store and buying the materials to dismember a body. It’s there for the shock value and the comedy of how quickly the situation did a 180.

Grace has always taken what’s thrown at her and gone with it, she’s not much of a planning ahead kind of person, let alone plotting an entire murder.

To me, if you believe she HAD planned out Max’s murder, it almost ruins her entire character arc and wouldn’t match up with her arcs during the Nightmare Time episodes. It’s all about her falling into corruption, not her already being “corrupted” secretly from the beginning. It’s something she’s capable of that she has to unlock through the consequences of her environment.

HOLY YAP,, sorry I just love Grace let me know if any of this makes any sense at all

[kingofthewilderwest]

Hell I just want them to actually adapt the ‘How To Train Your Dragon’ books — that biz was EPIC.

I'll say it before and I'll say it again:

You could make a beautiful HTTYD book adaptation through a one-season 2D animated TV show. The charming, childlike whimsy, the quirky dragons, the wonderfully weird world, the epic larger-than-life scenes and characters, all this screams 2D animation as the best adaptation. That would capture the tone, the heart (Cowell's illustrations!!), the imagination. Most books would be a single episode. The last few books would be two. Don't drag the story out, don't bog it down with unnecessary additions, but tell it in precisely the amount of space it needs to be told. Don't try to realism anything. Let the world be itself and let the magic shine.

[homestuckreplay]

Today Is A Gift, That’s Why They Call It The Present: Who Is Jade Harley?

Character Deep Dive 4 – 11/26/2009

Jade Harley, the silliest and most unknowable of Homestuck characters. Jade’s first pesterlog appearance was way back on page 110, and her existence and involvement in forces beyond our real world comprehension has been teased ever since – but it took hundreds of pages and months of real time waiting for Jade to finally become a point of view character. Just like with Rose and Dave, what we learn from Jade’s pesterlogs isn’t a complete picture of who she is. Jade is excitable, bubbly and supportive in her conversations, aware that she’s seen as mysterious and working to cultivate that. As a point of view character it’s harder for Jade to maintain her own mystery, and we see a fuller spectrum of her emotions, as well as a picture of her day to day life. In many ways Jade’s life is easier than her friends’, but she has a few of her own challenges.

Organized by the list of Jade’s interests given on page 789, here’s a discussion of what we learn about Jade during the early part of act 3. It's about 5k words below the cut and only covers up to page 916 of Homestuck.

1 - You are an avid follower of CARTOON SHOWS OF CONSIDERABLE NOSTALGIC APPEAL.

Jade doesn’t spend a lot of time on this interest, but she surrounds herself in it by falling into her plushy pile before she uses her computer. She has posters on her walls for Squiddles and Green Slime Ghost, both of which were invented internally to Homestuck, unlike John whose bedroom posters are all for real world media. Jade also has a large number of Squiddle ‘Tangle Buddies’, and a squiddle and (blue) slime ghost are symbol options for her shirt.

Owning so much merchandise, Jade clearly isn’t embarrassed by this interest. As Rose’s shirt is a doctored Squiddle, Rose may have previously shared this interest, but moved on from it – Jade describes these shows as ‘nostalgic’ on both page 789 and 790, so she’s trying to hold onto these articles of her youth. They also give the sense of an eclectic taste; as they’re unfamiliar to the reader and no wider fandom is established for them, they feel like cartoons found only on budget TV channels or dusty corners of the internet. MS Paint Adventures being the only modern media we see her consume only enhances this.

Jade’s nostalgic media extends beyond board games, as her fetch modus options are common childhood board games. As well as retaining these childlike interests and playfulness, Jade is described by the narrative as ‘silly’ – a silly girl with silly antics and a silly name (p.760), a silly flute refrain (p.769), an awfully silly idea (p.774), and a silly girl with silly fortune telling knickknacks (p.802). As well as setting up a contrast between Dave (regularly described as ‘cool’, which by some logic is an antonym of ‘silly’), this feels like it diminishes her importance, casting her actions as entertaining but ultimately meaningless. Between pages 838 and 860, the story flips back and forth between the peril of Rose’s imminent meteors, and Jade whose only goal is to feed her pet.

There’s a surface impression that life is easy for Jade. She has a large, comfortable house, a sylladex she’s confident with, a guardian who she doesn’t hate and isn’t outright cruel, toys, space, safety from danger, mastery over all her own hobbies. From day one, John had to struggle with sylladex mechanics and retrieving his own arms, but Jade is unaffected even by the inconvenience of stairs, and is later shown as having more knowledge than the player. It almost feels like she’s spoiled by the narrator with this easier existence, which isn’t necessarily good for her, just like being spoiled by a parent might not be good for a kid. Ultimately, if there’s no sense that Jade needs to learn or overcome anything, she becomes less compelling – so I’m invested in noticing where she has room for growth.

2 - You have a profound zeal for marvelous and fantastical FAUNA OF AN ANTHROPOMORPHOLOGICAL PERSUASION.

In addition to her cartoon show posters, Jade has two pieces of furry art on her walls, plus a picture of Sweet Bro and Hella Jeff as furries. This of course was a gift from Dave, the friend Jade sometimes discusses her furry tendencies with. These plus her FurAffinity account show an enjoyment of the furry aesthetic, but her relationship with being a furry is complicated, and something she adopts far less uncritically than her other interests.

Jade insists that she does not have a fursuit as they are ‘raggedy synthetic tufty piece[s] of crap’ and that dressing up like an animal ‘seems ridiculous’ (p.802). We don’t learn whether Jade has made a fursona or makes furry art of her own (vampireprincess007, the FurAffinity account Jade is looking at on page 834, doesn’t seem like a username she’d pick), but we get a sense of the ways Jade distances herself from the furry community. She thinks of combining the ‘finest qualities’ of humans and animals, wishing for ears and a ‘proud snout’ to ‘assist… in the hunt’. She also seeks a ‘more visceral sapience’ that is ‘untouched by the concerns and burdens of the upright’ (p.797). When she imagines being an animal, she wants to ‘run wild’ or ‘purr and frolic’ (p.802).

Jade collects Manthro Chaps, dolls with assortments of human and animal body parts who may have hands and flippers, snouts and mustaches. They have human names and attend events such as balls, need vaccinations, and take care of bodily needs in animalistic ways. Much like Jade’s desire for animal senses and experiences, Jade’s Manthro Chaps are a true physical merging of the human and animal. Jade does not want to wear the trappings of an animal if she can’t also have that biological change, and if she can’t develop that instinctive behavior of eating bugs, hunting, and losing the language and inhibitions of human existence.

Jade has a pet named Becquerel who is also her ‘best friend’ (p.791), and while we don’t know his species, it’s possible that spending so much time with him has fed into the desire to live like him. He also may not be a regular animal – both Dave and the narrator refer to him as a ‘devilbeast’ (p.382, 800) and he eats his steak not just well cooked, but irradiated. This could also be why her rifle’s ‘cross-hairs would never settle on an innocent creature’ (p.790). Jade is likely an animal lover in general, as she has this deep and considered understanding of how it must feel to be a different creature, and is very in touch with the natural world.

3 - You have an uncanny knack for NUCLEAR PHYSICS, and not infrequently can be found dabbling in RATHER ADVANCED GADGETRY.

Jade’s forays into gadgetry are all over her room, and she’s downplaying her own skill with ‘rather’. So far we know about Jade’s Wardrobifier, Atomic/Electic Bass with portable amp, Sonar boxes transmitting her music into the atrium, Cookalizer, Refrigerator, and Lunchtop. Her house also has several Transportalizers, although their designer is unknown. Jade’s orb and spire bed, the atomic cabinet beneath her room, the strange flat window device whose design she borrowed from her grandfather, and a host of other objects on her gadgets table are unknowns but it’s clear that just like Rose with her knitting, Jade is prolific, dedicated and puts a lot of time into her hobby.

Jade doesn’t feel constrained in the design of her technology. Sometimes she uses squares and cubes like those in the Skaianet labs, sometimes she’ll play on common designs by giving a refrigerator a rotary interface or adding extra heat settings to a cookalizer, and sometimes she’ll invent something with no relation to existing tech. Jade hits all the design notes – smooth and sleek vs greebled, futuristic vs retro vs encased in a lunchbox – so she’s willing to try different things.

We learn that for Jade, ‘experimentation is not a particularly exact science, and [she] lean[s] heavily on SHARP INTUITION for consistently and eerily optimal results’ (p.790), so she’s basically living the scientist’s dream of fucking around without having to find out. It’s a lot easier to take risks and experiment with an intuition that guarantees success. To what extent does Jade understand the theoretical principles of nuclear physics? When she can’t get something to work, like right now with the window device, what’s her troubleshooting process like? Is she used to working through this emotionally? Jade did claim to have worked on a present for John ‘for years!!!!’ (p.442) so I think that even if Jade has an intuitive understanding of design, she still has to do the work to put these gadgets together, which can be time consuming and technically difficult.

Jade’s interest in gadgetry is tied to an interest in music. Like her friends she is highly proficient in an instrument, but Jade’s is ‘heavily customized to accommodate a high level of musical virtuosity’ (p.821) – its ‘advanced setting’ has two sets of strings and three keyboards, which Jade can apparently handle from a musical perspective. I think this is something she’s worked at, because when she attempts to play the flute, the narration comments, ‘Maybe you should try playing an instrument you actually know how to play instead’ (p.770). If Jade’s music was entirely based on her intuition, picking up the flute would be easy. She’s also limited by her own physical form; the advanced bass cannot be played ‘in person’ (p.821), so only having two arms and five foot something of height feels like a bigger limitation in this hobby than her brain.

Despite being generally competent with technology, Jade is surprised by its misuse, shocked and angry when carcinoGeneticist trolls her despite her blocking them and logging out. Jade is not a gamer, knowing Sburb by reputation but not by name, and saying that John and Dave are ‘way more into all that stuff than i am!!!!’ (p.442), and therefore she’s not immersed in the gamer culture that leads to cruel online behavior. It’s nice to think that Jade, despite being an internet user, has escaped the cynicism and hatred that is common online and has found positive spaces for herself.

Jade is a proficient sylladex user, easily mastering technologies she didn’t make too. While John struggles with remembering how many cards he has free, Rose doesn’t realize she can pull the leave instead of the root, and Dave has to use Y as a consonant to get the hash map to work, Jade is educating the player on correct sylladex management and can perfectly guess the memory modus on the first try. But this has limitations, too. Jade captchalogues a pumpkin on page 778 and by page 785 it’s vanished, so Jade’s sylladex isn’t a safe storage place. In fact, her house is a hotspot for other people’s strange technology as well as her own, which I’ll discuss more later. Additionally, there are some problems that Jade can’t solve with technology. Any issues with her grandfather, for example, or with her remote location. Jade sends a parcel several months before its delivery date (p.442) and receives mail via hot air balloon (p.822) but for some reason has never invented a disappearifier that could instantly take her to a friend’s house. Despite her many talents, she remains stuck at home.

4 - You enjoy sporadic fits of NARCOLEPSY;

Jade is sleeping when we first meet her, so this is technically the first interest we see her engaging in. And the word ‘enjoy’ is crucial here. Most people do not enjoy their medical conditions, and regularly, uncontrollably dropping off to sleep can cause serious problems, but Jade treats this like many intentional nappers do, slumbering ‘peacefully’ such that it’s ‘a shame to wake her’ (p.760).

Jade doesn’t know the details of her condition. When she wakes, it’s sudden and ‘as usual, [she] ha[s] no recollection of having falling asleep’ (p.768) and in a conversation with Dave, he asks ‘do you even know if you are [asleep]’ (p.829). Jade is driven by impulse and intuition, and doesn’t question those impulses much. In a more extreme example, she doesn’t question her sudden falling asleep in inconvenient circumstances, but figures out how to work around it.

When John takes a rooftop nap between battles, Jade’s silhouette appears in his dreams (p.644) and when he wakes, she tells him ‘i really think you need to wake up first!… not literally, well ok maybe KINDA literally!!’ Jade’s connection to sleep goes beyond her narcolepsy, and she places importance on sleeping, waking, and possibly the balance between the two. Jade is defined by her faith in a higher power, so she probably trusts this same power with deciding when she should move between sleeping and waking. It’s also likely that Jade’s orb and spire bed has something to do with this interest.

It’s not possible for Jade to be woken with the player’s cursor (p.762) but it is possible to both put her to sleep and wake her up while she’s playing the flute (p.769) by pressing the Z key – which highlights how quickly she sleeps and wakes, because any other button has her bouncing right back up.

Sleep is crucial for health and relaxation; gardening and gadgetry both involve some manual labor, and Jade valuing sleep ties in with her enjoyment of nostalgic television, lying down in a pile of dolls, and carrying fresh fruits and vegetables. Despite her exterior silliness and forgetfulness, there’s a strong sense that Jade has internalized her grandfather’s lectures, and knows how to take care of herself and her pet – she cares about health and safety, and even though she programmed an ‘explosion’ setting on her cookalizer, she refuses to use it. Having such state of the art technology helps with taking care of herself, but it still takes work, and by cooking steak for Bec Jade is the only kid who’s helping with personal and household maintenance. So, Jade’s enjoyment of sleep stands in for a more general understanding of daily necessities.

5 - your love of GARDENING transcends the glass confines of your ATRIUM;

Long foreshadowed by her chumhandle, when we caught our first glimpse of Jade on page 665, she was already surrounded by her plants. Jade grows a variety of fruits, flowers and vegetables, and doesn’t have much concern for their typical growth conditions. Peas, for example, grow best in a cooler climate, while squash likes it hot and humid, but Jade has these next to each other. Jade’s vegetables are best suited for temperate climates while her citrus fruits prefer things more tropical. Some quirk of Jade’s atrium or gardening methods means she doesn’t have to worry about this.

Gardening is another hobby Jade has tied to her gadgetry. When Jade plays her bass, it transmits sonar into her garden atrium, causing the plants to grow rapidly. It’s possible that these speakers are amplifiers for Skaian technology, and turn Jade’s house into a beacon, and a target for appearifying pumpkins. Some of Jade’s plants are ordinary, but her fruits have faces and are able to bounce around on the table (p.812). This is uncommon for us, but to Jade these are just regular fruits. This could be another effect of the sonar, or more generally, of the environmental conditions on the island. We know that volcanic activity creates a geothermal power source on Jade’s island (p.801) and can guess that mystic activity surrounding the frog statue creates a similar Skaian power source. And that places her as the (0,0) coordinate that all Skaian technology gravitates towards, and is maybe even the ‘default location’ for technology such as appearifiers.

Jade has plants in her bedroom, but she also has a large, four-wing garden atrium dedicated to this passion (p.780). It’s another big difference between Jade and the other kids that Jade’s interests are allowed to spill outside of her room. Her grandfather does control the aesthetic of most of the house, but giving Jade the garden atrium leads to a slightly more balanced relationship between the two.

Gardening as a hobby is something that requires regular input, something where results can’t always be seen right away, something imprecise as it involves living things that will behave surprisingly, something very messy, and something historic, engaged in by humans for millennia. Much like sleep, it links to the idea of routine, as plants often need watering on a set schedule. Plants are a way of providing food; especially on a tiny island where packages take months to deliver, Jade’s gardening must play a big part in keeping her healthy and alive, so again this ties into Jade’s responsibility for herself. Jade won’t hunt animals so this is her way of being a provider.

Jade is also connected to the messier, more unpleasant sides of nature. The player temporarily names her ‘Farmstink’, she will happily ‘squeal like a piglet and fertilize some plants’ (p.775), she’s delighted by the Manthro Chaps with their slop troughs, and she cares for a pet, which is always messy business. Clearly Jade isn’t afraid of getting her hands dirty, and understands the messy realities of giving life.

6 - and you are at times prone to patterns of PRECOGNITIVE PROGNOSTICATION.

Seemingly affecting all aspects of her day to day existence, Jade has spent her whole life tapped into a source of esoteric knowledge. Broadly, this gives her the ability to know certain events in the future, intuitively understand various games and technology, and possibly to understand the fourth wall and her place within a story. This ‘interest’ in prognostication is really more of an uncontrollable habit, and subsumes all Jade’s other interests, as it alters the experience of them so much.

Jade dispenses knowledge to her friends through pesterlogs, with varying levels of specificity. Jade has clearly given Rose a lot of information on their upcoming Sburb session – the fact that John and Rose begin play first, that it will happen on April 13, 2009, and that the game has the potential to revive the dead – and Rose describes her predictions as ‘frighteningly accurate’ (p.838). So she’s very honest with Rose, but maybe less so with John, as she gives him a vague ‘maybe this is your destiny’ (p.293) and asks him if he’s received a package when she knows he hasn’t. So not only does Jade have knowledge her friends don’t, but she’s careful about when to share it and with who.

Currently a lot of Jade’s visions involve gifts, which is funny because they don’t only relate to the present. In a flashback, Jade asks Rose about a different package, but gives Rose a future tip instead of sending her something – sharing her gift (as in talent) in place of a gift (as in present). Jade uses colorful reminders on her fingers to remember her own predictions, which is another limitation on her powers – predicting the future is great but it’s important to remember what’s been predicted, at the time it will be relevant. If Jade lost these reminders somehow, she might struggle to make sense of her predictions.

Jade’s visions appear specific in their timing and detail – at the end of conversations, Jade tells other people when they have to go, and sometimes tells them the reason (p.652, 838) although it’s uncertain whether she makes these predictions in advance or in the moment. Jade doesn’t only know that her friends will play Sburb, she also knows that Rose will lose her internet connection and that John will battle a pair of ogres – minutiae that are only available to the reader. And her predictions can understand people’s interiority, they’re not just visions from an outside observer - ‘you will have your questions answered, but they will be the ones you havent thought to ask yet!’ (p.838). Ignoring in-universe time, Jade’s predictions get more specific as the narrative progresses, so there’s a sense that she always knows slightly more than the reader or player and is staying one step ahead (even though this can be best explained by the author crystallizing their plans as they continue writing).

However, Jade’s predictions feel largely passive, always phrased like an unconscious understanding. She is a conduit for information, but there’s no sense that she could ‘choose’ to know the answer to a specific question, especially as she doesn’t know how these powers work. So if Skaia wanted to hide something from Jade or was itself incapable of knowing something, that would place another limitation on her abilities. We may have already seen this with the window device that Jade can’t get to work, despite gadgetry usually coming so easily to her.

Jade previously had an oracle’s trunk, but is slowly turning it into a gadget chest, as its contents were ‘completely bogus’ (p.802) – a crystal ball, velvet pillow, tarot deck, magic 8 ball, magic cue ball, and copy of Problem Sooth, mostly standard equipment for somebody interested in the occult. Jade dismisses the magic 8 ball as she has tested it against her own knowledge, but she is still superstitious about breaking it, suggesting a more general belief in supernatural powers, even while she sees them as inferior to her own.

Jade presents herself as all knowing, but she’s not sure why things keep appearing and disappearing around her atrium, she’s not sure why she falls asleep and importantly, she imagines John as ‘undoubtedly gallivanting around his house in a state of barely restrained birthday mirth’ (p.827) – so Jade’s knowledge is sometimes incomplete, sometimes inaccurate. But Jade turning her fortune telling chest into a gadgets chest shows that she sees her predictions scientifically, as more akin to understanding radiation or the atom than to tarot readings or horoscopes, without acknowledging the uncertainties that are still present in hard science. In fact, the way Jade talks about occult paraphernalia and fursuits are fairly similar. She is, or wants, the ‘real deal’ of everything, and doesn’t have time for what she sees as cheap imitations.

I believe that Skaian power breaks down the barriers between technology and reality, allowing creations such as Jade’s lunchtop, but also allowing Jade to see the fourth wall between herself and the readers’ computers. When we first meet Jade, she’s holding a note directed to the player, slightly offended that she will be/has been named Farmstink Buttlass (fair enough). Jade addresses the player directly during the ill-advised sylladex escapade where she gives a non-seer a chance to play the memory modus. She’s the first kid to refer directly to the author of the in-universe MS Paint Adventures - ‘looks like he was just finishing up some sort of weird tangential intermission’ (p.831), the ‘he’ presumably being Andrew Hussie. And Jade gains a sudden awareness that 413 years in the future while flying over the Pacific, the Peregrine Mendicant is asking ‘Don’t I know you?’ (p.900). Part of Jade’s prognostication involves knowing about all these different forces that are surveilling and controlling her, and being able to talk back. Jade is prepared to assert her dominance, whether that’s about knowing her sylladex better than the player does or frying PM’s command station with lightning because she doesn’t like being mind controlled. In this way Jade is more than a passive recipient of knowledge, she’s willing to look at the source of that knowledge and hold her own. Right now Jade feels like the most likely character to mess with the narrative itself – if she decides she wants to change something that’s predestined, it’s easy to see her arguing with the author directly.

7 - But you quickly realize this is only one half of your room, and is therefore host to only half of your INTERESTS to choose from.

This line from the end of page 789 is mostly a lie – the following page mostly recaps Jade’s previous interests, only adding her strife specibus and relationship with her grandfather. It is curious how Jade’s interests overflow from the page the same way they overflow from her room, the same way Jade’s introduction isn’t confined to her room and her existence spills out of the narrative. It gives the sense that Jade can’t be constrained by any force we yet know about. That’s a fun feeling – a wild card character makes everything more exciting.

Jade is a ‘skilled markswoman’ (p.790), owning four old fashioned looking guns. Two of these are long rifles for her riflekind specibus, and two are smaller and more portable. One is a hunting rifle, although it’s uncertain what Jade is hunting, as Jade’s ‘cross-hairs would never settle on an innocent creature’. It’s possible that she’s likely to encounter dangerous creatures if she leaves the house, or thinks she might in the future. Target practice is also a physical activity like bass playing or gardening, and one that can’t be taught through prognosticative powers, so it’s possible that Jade has honed this skill to have hobbies that take actual work, practice, and failure.

Although Jade claims to be a ‘great admirer’ of her grandfather’s (p.790), her actual feelings seem more complicated. He’s the person who taught her to hunt and lectures her on leaving the house without a rifle, but they differ ethically, with Jade really disliking the big game trophies he displays around the house. She especially dislikes his Typheus trophy, which he won’t move from the transportalizer even for practicality’s sake. Jade reluctantly supports his valiant knight collection, cannot stand his decrepit mummies, and seems confused by the Daughters of Eclectica, uncertain of why her grandfather likes them so much. Jade also describes her grandpa as ‘a little strict’ (p.772), giving ‘stern lectures’ (p.790), and especially ‘intense’ (p.382, 790, 916).

Like the other kid-guardian relationships, I think there’s a lack of understanding between the generations. Grandpa Harley has only been seen in silhouette, but from his home decoration, his monopolizing the grand foyer, and his apparent job title of an explorer-naturalist-treasure hunter-archaeologist-scientist-adventurer-big game hunter-billionaire, he comes across as someone bragadocious who likes to be surrounded by his own success and is in love with his own mythos, someone who has high expectations for Jade to live up to his own standards, and is controlling but in a hands off way. Needing to display so many of his achievements feels like he’s putting on the same act of coolness as Dave’s bro, but Grandpa cares about what was cool in 1909, not 2009. Jade’s grandpa has traveled a lot and been shaped by many years of adventuring, while Jade has likely never left the island or met many other people, so there’s a gulf in their experiences that’s hard to bridge. Jade can’t know what it’s like to live under the weight of her own history and celebrity, but her grandfather similarly can’t understand growing up in that shadow and in the expectations of eclipsing it.

If Jade is full on, excitable, a prodigy and a polymath, it’s clear who she gets it from. And Jade is maybe 50% between buying into the public image of her grandpa that he’s surely put across in media coverage, and 50% understanding the reality of him as a human being, the way somebody famous and star-studded can also be difficult, inconvenient, and make life harder when interacting on a day to day basis.

Final Thoughts

With a life much harder to relate to than John’s, Rose’s or Dave’s, I’m fascinated by what it’s like in Jade’s mind – to hold knowledge about the past, present and future all at once, to be certain what tomorrow will bring, and to communicate with an entity centuries in the future is a radically different experience to my own, and must really affect how Jade engages with the world. The main characters have gotten progressively weirder as we’ve been introduced to them in turn, but Jade is the only one to feel truly fantastical, guided by her powers as she is.

I can’t think of another piece of media that introduces characters so starkly, with no artifice, just a cleanly presented list of their interests. I love this framework; it paints an immediate picture of where these kids are in their lives as of April 13, 2009, leaving space for these interests to take on greater or lesser roles as the narrative progresses, but still shaping their perspectives and giving them texture from the first moment.

It’s also really interesting seeing the narrative work in introductions for these characters while the main story is still happening, allowing the new character space to explore without grinding the story to a halt. With around 75 consecutive pages, Jade’s introduction is much more leisurely than Rose or Dave’s, as they only had around 25 pages each. Slowly, and in narratively satisfying ways as Jade thinks about or talks to each of her friends, the other characters have been worked back in, turning Act 3 from Jade’s story into an ensemble piece.

As I get further into Homestuck, I’m finding myself with fewer burning questions, and more faith in the story’s method of revealing itself. But here’s the things on my mind as our fourth and final Beta Kid takes her place in the narrative.

What is Jade bad at? What are the skills that don’t come easily to Jade, or the everyday tasks where she struggles and makes mistakes?

Under what circumstances does Jade receive her knowledge, and in what form? Would she still have access to these powers in a different location? Is what Jade knows at all tied to what the player or reader knows?

Does Jade’s grandfather know about Skaia, and is this why he chose to live on this island, or is this coincidence? What exactly are his expectations for her, and what does he lecture her about beyond carrying a rifle and becoming a Daughter of Eclectica?

What does it mean for the narrative when a character knows more than the player? More than the author? How does an author even write a character like that? When does everything start falling apart?

Will these be our four main characters for the rest of the story, with WV and PM as secondary characters? Is this the end of major character introductions? Or are there more to come?

[angstandhappiness]

Interesting

":')))))))) you realise that gen AI is available to everyone though right??? Queer creators can use it just as much as anyone else??? I just don't understand this post... It really feels like a cheap way to get on the 'AI Bad's bandwagon, and coming from such a thoughtful and insightful creator that's incredibly disappointing... It's okay to not comment on subjects you're not an expert in y'know...?"

Y'all know the drill, I am replying to this publicly but that is not an invitation to send any negative messages to the person I am replying to.

Anyways, let me start by saying that the original context of the post you're replying to is discussing an event where a queer org used generative AI to steal an interview with Keri Hulme. So let's start there. To be clear I don't even know if the original interviewer was queer so let's put the identities of stealer and stolen from to the side. I want to explain the harm done in this example specifically and I hope this is illustrative of what harm generative AI can (and does) do.

The original place I saw generative AI was a queer org that explicitly says they are using generative AI "for good", and as a way to bring more queer history to light. So let's take them at their word, and assume they are not out to cause harm. This is the best example of generative AI that I can imagine, so I hope that makes it clear that I am not coming at this issue from bad faith in any way.

Here is the harm they are causing:

Decontextualizing and rephrasing an interview: I am not going to pretend that I am an expert in academic best practices, but I do believe one thing, if a person is speaking on their own identity and lived experience, it is always much better to directly quote than it is to rephrase. As I read this source, I initially didn't know that it was AI, and I was already upset. An interview that is widely available on the internet with no pay wall, was poorly sourced and made more vague than it was in the initial text. By creating one degree of seperation between the original words of A WRITER (whose literal job was largely based in choosing the right words to describe experiences they had) harm is already done. It makes vague what was once clear, and removes Keri Hulme's voice from her own narrative.

The original interviewer is not paid, or given proper recognition: I get it, sometimes just copy pasting an interview doesn't feel transformative enough, but something that one would learn if they worked in the queer history field and weren't a literal robot rehashing what has already been said, is that not everything needs to be transformed. In those cases, we give credit to the person who said the original words (in this case Keri Hulme), and the interviewer who facillitated the conversation (in this case Shelley Bridgeman). This case (again a best case scenario), takes the attention and byline away from the original interviewer and gives it to an AI.

The original publisher of this story is deinsentivised from paying interviewers in the future: The original publisher of this interview has ads on their website. As a person who also has ads on their website, taking an article like this and rephrasing it for no good reason (the orginal word count was not prohibitive and the rephrasing did not make it more readable), takes money from the publisher. It's pennies, but it's also removing numbers could have been used to justify further interviews with asexual people and archiving of asexual stories. The org that stole from this publication does not interview people themselves so the money and numbers that could have gone to continue to preserve asexual stories goes to stealing them instead.

These are just the active harms that I saw in this specific case. As you said, I am not an expert in generative AI, and will not be speaking as if I am. But I will say that asking me not to speak out on active harm that is being caused in queer history spaces, is disrespectful to my many years in this field.

To illustrate this even clearer: if you were a patron, you would know I recently took down an old article. I have been rereading and editing our backlist of articles, and I found one that no longer fit my standards of sourcing. My standards had recently raised due to a video made by HBomberguy about someone in the queer history space who was stealing from other creators. I watched this video not as a work project, but because I watch most of HBomberguys videos, and this one made me think more critically about sourcing. An AI can't do that. All an AI has is what has been inputted, and it is right now impossible to input every available peice of information about ethics into an AI and get a coherent ethical basis on which it will function.

It is a distinctly human trait to absorb information and change in that way. AI can rephrase information that already exists, steal it, recontextualize it even, but it cannot create something altogether new.

Do I believe that there one day might be an ethical use for Generative AI? Maybe. Do I believe that coming into a queer history space, stealing the words of a Maori asexual author, rephrasing them, and giving the original interviewer and publication no form of compensation for their work, is accomplishing that? No.

On a more personal note: I am coming at this issue with a bias. As a queer history creator, I do not want AI in my space, because it is literally damaging to my financial prospects. It has been like pulling teeth to try and get patrons in the current state of the global economy. I don't blame anyone from that, but I feel very disrespected that I am being asked to compete with a machine now. Not only that, but I am being asked to shut up and be fine with it? No, absolutely not. I cannot and will not stay quiet as space that I have fought tooth and nail to create in mainstream discussions is taken and given to AI.

AI was not supporting me when I was sent gore to try and scare me off of discussing queer history. A person did that. AI was not there to tell me I had written too many sad stories, and I needed some happy endings to remind myself of the good in the world. A person did that. AI was not there when I was being harrassed for supporting and including asexual stories on my website. A person did that.

And after all that, I am being asked to lie down and take it when my ability to pay the people who supported me in those ways, is being threatened. Nope. Not going to happen.

An AI doesn't have to make rent. An AI doesn't understand what it feels like to have to stop holding their wife's hand in public. An AI didn't get calls from people needing comfort in reaction to the election. Pay me for my work, and get this AI nonsense out of my face.

[suchawrathfullamb]

controversial but I actually am always right so whatever but I kind of...think the whole "you only did that because I rejected you" scene is super duper misinterpreted heehee sorry but I am god so I'm right. no but seriously, it's because I don't think Will, who constantly showed just how he couldn't accept that Hannibal could love or have this type of feeling, specially towards him, could've predicted that Hannibal fucking Lecter would've surrendered to the fbi.

I think when he says that to Hannibal, in prison, he just meant "stop trying to get me to take you back, I know you only surrendered because I rejected you, you fucking flight risk, you won't let me have you unless I keep rejecting you and chasing", he literally says "I knew you would keep running if I kept chasing", but I don't think he meant oh yeah I totally counted on you FUCKING GIVING UP YOUR WHOLE LIFE TO PROBABLY GET THE DEATH SENTENCE like no guys hold up there is zero evidence for that in fact there's opposite evidence, being that Will just kept turning a blind eye to Hannibal's "better nature" as he said in his dream, "I wasn't aware you had one". Maybe he thought Hannibal would've settled somewhere but fucking surrender his whole LIFE? no and I think that fucking face Will makes and then just walks away is a fed up face like UGH WHY YOU FUCKING WHORE I MEANT FOR YOU TO SURRENDER TO MEEEE NOT THEM UGH FUCK YOU BYE

anyway this is my opinion law the absolute truth

[thependancer]

An essay on why The Voice of The Cold and The Broken can handle Fury breaking them apart.

**Spoilers for Pristine Cut!!**

The Voice of The Cold and The Broken are one of the few voices able to survive being torn apart by the Fury. Of the Voices that make it to the Fury, The Contrarion leaves first due to boredom. The Hero is next to go as the pain becomes unbearable. The Stubborn perseveres through still however even he can't handle much more.

However, The Cold and The Broken are able to outlast the torture. They manage to even tire out the Fury. So the question is simple, how come these two voices survive? Even when you're just atoms, they are still there, but how?

Lets start with The Cold. The Cold is, in his own words, "unfeeling". He isn't completely detached from feeling, he is just able to disregard it no matter how big or small it may be. This ability is also seen in The Moment of Clarity where despite enduring endless torture, he still acts as himself while the other voices are thoroughly broken.

The Cold is able to endure the pain of the Fury reducing you to atoms as he can simply disregard it. He is completely detached from his body. Hence, he can confidently answer yes to the Fury's question "Are you still here? Are you still you?" Being detached from the body means that he is still here and he is still him. He never thought of himself as the body so why should his identity be threatened by affecting the body? This allows him to withstand the pain. And this detachment is also visible with his attitude after the torture. He is still as "unfeeling" as ever. He does not learn anything from this. He sees the Fury has given up and instead of comforting her, he justs exclaims that the Fury is just like him. That they both just want to feel something. She wanted to see if she would anything if she tortured you and The Cold wanted to endure the torture to feel something. Only when the role is reversed, that you inflict pain on her that when they both can actually feel something, whatever that something is. I believe it is regret. The Cold regrets his inability to feel but quickly disregards it as he does with every emotion, while the princess regrets her torture and we do not get to see what happens to her after she experiences this something. However, that is just my interpretation.

Now moving on to The Broken. The Broken can come to the Fury from the Tower or the Adversary. I will be discussing the Adversary one specifically. In this scenario, you realized the hopelessness of the situation before The Stubborn. You broke. For The Broken, everything is utterly hopeless. So when you reach the Fury, The Broken is able to see that even she thinks whatever she is doing is utterly hopless. He finds connection. He craves that connection. The Fury will tear him apart? It matters as much as the world at this point in that it doesn't matter at all. She is broken and The Broken realizes she wants us to feel what she feels. So he lets himself be torn apart. He is the complete opposite of The Cold. The Cold disregarded the pain and so was able to survive but gained nothing from the experience ultimately. The Broken accepted the pain. He learnt how the Fury felt. He saw the fear in The Hero's voice and comforted him. He reassured The Stubborn that winning and losing didn't matter. He spread his understanding to even the narrator, who had to witness and describe the grueling torture, which is another way of experiencing it.

The Broken, the one who needed comfort the most in any other route, here we see that he is able to handle pressure extremely well. Here, he is still broken, but he is still here. He can see the Fury rages because we hurt her. He can see that the other voices are afraid and hurt and he can comfort them. He feels everything and extends that feeling to everyone who needs it. And most importantly when you reach the mirror, he comforts you. "It's going to be okay.", he says.

And so by disregarding your feelings or by accepting them, you are able to hold yourself despite literally being torn to atoms. Personally I think both of these routes are beautiful.