#'MY team will be genesis' well. how

[ryuusei-boi]

hey dude hows it going oh nothing much just thinking about the fact that the members of gaia never used the aliea meteorite and instead practiced their skills by training agsinst their aliea-powered peers.. which means that this whole "who gets to be the genesis" thing was fixed from the start. it didnt matter how many schools gemini storm destroyed it didnt matter how strong epsilon got. didnt matter how good prominence was it didnt matter how good diamond dust became and it didnt matter how powerful chaos was. gaia was always destined to be the super soldiers kira seijirou wanted, from the very start that was his plan. "gu poison" this "survival of the fittest" that, IT WAS A LIE. what did it matter if the captains fought, if chaos tore themselves apart from the inside, if those kids were scared and stressed and just wanted their father? if it made them stronger, then it would make the genesis stronger, make hiroto stronger. no matter how hard any of them fought, in the end they were just the genesis' pratice dummies. kira seijirou knew exactly what he was doing and what he wanted was the second coming of his dead son at the forefront of it

[mostlysignssomeportents]

I assure you, an AI didn’t write a terrible “George Carlin” routine

There are only TWO MORE DAYS left in the Kickstarter for the audiobook of The Bezzle, the sequel to Red Team Blues, narrated by @wilwheaton! You can pre-order the audiobook and ebook, DRM free, as well as the hardcover, signed or unsigned. There's also bundles with Red Team Blues in ebook, audio or paperback.

On Hallowe'en 1974, Ronald Clark O'Bryan murdered his son with poisoned candy. He needed the insurance money, and he knew that Halloween poisonings were rampant, so he figured he'd get away with it. He was wrong:

https://en.wikipedia.org/wiki/Ronald_Clark_O%27Bryan

The stories of Hallowe'en poisonings were just that – stories. No one was poisoning kids on Hallowe'en – except this monstrous murderer, who mistook rampant scare stories for truth and assumed (incorrectly) that his murder would blend in with the crowd.

Last week, the dudes behind the "comedy" podcast Dudesy released a "George Carlin" comedy special that they claimed had been created, holus bolus, by an AI trained on the comedian's routines. This was a lie. After the Carlin estate sued, the dudes admitted that they had written the (remarkably unfunny) "comedy" special:

https://arstechnica.com/ai/2024/01/george-carlins-heirs-sue-comedy-podcast-over-ai-generated-impression/

As I've written, we're nowhere near the point where an AI can do your job, but we're well past the point where your boss can be suckered into firing you and replacing you with a bot that fails at doing your job:

https://pluralistic.net/2024/01/15/passive-income-brainworms/#four-hour-work-week

AI systems can do some remarkable party tricks, but there's a huge difference between producing a plausible sentence and a good one. After the initial rush of astonishment, the stench of botshit becomes unmistakable:

https://www.theguardian.com/commentisfree/2024/jan/03/botshit-generative-ai-imminent-threat-democracy

Some of this botshit comes from people who are sold a bill of goods: they're convinced that they can make a George Carlin special without any human intervention and when the bot fails, they manufacture their own botshit, assuming they must be bad at prompting the AI.

This is an old technology story: I had a friend who was contracted to livestream a Canadian awards show in the earliest days of the web. They booked in multiple ISDN lines from Bell Canada and set up an impressive Mbone encoding station on the wings of the stage. Only one problem: the ISDNs flaked (this was a common problem with ISDNs!). There was no way to livecast the show.

Nevertheless, my friend's boss's ordered him to go on pretending to livestream the show. They made a big deal of it, with all kinds of cool visualizers showing the progress of this futuristic marvel, which the cameras frequently lingered on, accompanied by overheated narration from the show's hosts.

The weirdest part? The next day, my friend – and many others – heard from satisfied viewers who boasted about how amazing it had been to watch this show on their computers, rather than their TVs. Remember: there had been no stream. These people had just assumed that the problem was on their end – that they had failed to correctly install and configure the multiple browser plugins required. Not wanting to admit their technical incompetence, they instead boasted about how great the show had been. It was the Emperor's New Livestream.

Perhaps that's what happened to the Dudesy bros. But there's another possibility: maybe they were captured by their own imaginations. In "Genesis," an essay in the 2007 collection The Creationists, EL Doctorow (no relation) describes how the ancient Babylonians were so poleaxed by the strange wonder of the story they made up about the origin of the universe that they assumed that it must be true. They themselves weren't nearly imaginative enough to have come up with this super-cool tale, so God must have put it in their minds:

https://pluralistic.net/2023/04/29/gedankenexperimentwahn/#high-on-your-own-supply

That seems to have been what happened to the Air Force colonel who falsely claimed that a "rogue AI-powered drone" had spontaneously evolved the strategy of killing its operator as a way of clearing the obstacle to its main objective, which was killing the enemy:

https://pluralistic.net/2023/06/04/ayyyyyy-eyeeeee/

This never happened. It was – in the chagrined colonel's words – a "thought experiment." In other words, this guy – who is the USAF's Chief of AI Test and Operations – was so excited about his own made up story that he forgot it wasn't true and told a whole conference-room full of people that it had actually happened.

Maybe that's what happened with the George Carlinbot 3000: the Dudesy dudes fell in love with their own vision for a fully automated luxury Carlinbot and forgot that they had made it up, so they just cheated, assuming they would eventually be able to make a fully operational Battle Carlinbot.

That's basically the Theranos story: a teenaged "entrepreneur" was convinced that she was just about to produce a seemingly impossible, revolutionary diagnostic machine, so she faked its results, abetted by investors, customers and others who wanted to believe:

https://en.wikipedia.org/wiki/Theranos

The thing about stories of AI miracles is that they are peddled by both AI's boosters and its critics. For boosters, the value of these tall tales is obvious: if normies can be convinced that AI is capable of performing miracles, they'll invest in it. They'll even integrate it into their product offerings and then quietly hire legions of humans to pick up the botshit it leaves behind. These abettors can be relied upon to keep the defects in these products a secret, because they'll assume that they've committed an operator error. After all, everyone knows that AI can do anything, so if it's not performing for them, the problem must exist between the keyboard and the chair.

But this would only take AI so far. It's one thing to hear implausible stories of AI's triumph from the people invested in it – but what about when AI's critics repeat those stories? If your boss thinks an AI can do your job, and AI critics are all running around with their hair on fire, shouting about the coming AI jobpocalypse, then maybe the AI really can do your job?

https://locusmag.com/2020/07/cory-doctorow-full-employment/

There's a name for this kind of criticism: "criti-hype," coined by Lee Vinsel, who points to many reasons for its persistence, including the fact that it constitutes an "academic business-model":

https://sts-news.medium.com/youre-doing-it-wrong-notes-on-criticism-and-technology-hype-18b08b4307e5

That's four reasons for AI hype:

to win investors and customers;

to cover customers' and users' embarrassment when the AI doesn't perform;

AI dreamers so high on their own supply that they can't tell truth from fantasy;

A business-model for doomsayers who form an unholy alliance with AI companies by parroting their silliest hype in warning form.

But there's a fifth motivation for criti-hype: to simplify otherwise tedious and complex situations. As Jamie Zawinski writes, this is the motivation behind the obvious lie that the "autonomous cars" on the streets of San Francisco have no driver:

https://www.jwz.org/blog/2024/01/driverless-cars-always-have-a-driver/

GM's Cruise division was forced to shutter its SF operations after one of its "self-driving" cars dragged an injured pedestrian for 20 feet:

https://www.wired.com/story/cruise-robotaxi-self-driving-permit-revoked-california/

One of the widely discussed revelations in the wake of the incident was that Cruise employed 1.5 skilled technical remote overseers for every one of its "self-driving" cars. In other words, they had replaced a single low-waged cab driver with 1.5 higher-paid remote operators.

As Zawinski writes, SFPD is well aware that there's a human being (or more than one human being) responsible for every one of these cars – someone who is formally at fault when the cars injure people or damage property. Nevertheless, SFPD and SFMTA maintain that these cars can't be cited for moving violations because "no one is driving them."

But figuring out who which person is responsible for a moving violation is "complicated and annoying to deal with," so the fiction persists.

(Zawinski notes that even when these people are held responsible, they're a "moral crumple zone" for the company that decided to enroll whole cities in nonconsensual murderbot experiments.)

Automation hype has always involved hidden humans. The most famous of these was the "mechanical Turk" hoax: a supposed chess-playing robot that was just a puppet operated by a concealed human operator wedged awkwardly into its carapace.

This pattern repeats itself through the ages. Thomas Jefferson "replaced his slaves" with dumbwaiters – but of course, dumbwaiters don't replace slaves, they hide slaves:

https://www.stuartmcmillen.com/blog/behind-the-dumbwaiter/

The modern Mechanical Turk – a division of Amazon that employs low-waged "clickworkers," many of them overseas – modernizes the dumbwaiter by hiding low-waged workforces behind a veneer of automation. The MTurk is an abstract "cloud" of human intelligence (the tasks MTurks perform are called "HITs," which stands for "Human Intelligence Tasks").

This is such a truism that techies in India joke that "AI" stands for "absent Indians." Or, to use Jathan Sadowski's wonderful term: "Potemkin AI":

https://reallifemag.com/potemkin-ai/

This Potemkin AI is everywhere you look. When Tesla unveiled its humanoid robot Optimus, they made a big flashy show of it, promising a $20,000 automaton was just on the horizon. They failed to mention that Optimus was just a person in a robot suit:

https://www.siliconrepublic.com/machines/elon-musk-tesla-robot-optimus-ai

Likewise with the famous demo of a "full self-driving" Tesla, which turned out to be a canned fake:

https://www.reuters.com/technology/tesla-video-promoting-self-driving-was-staged-engineer-testifies-2023-01-17/

The most shocking and terrifying and enraging AI demos keep turning out to be "Just A Guy" (in Molly White's excellent parlance):

https://twitter.com/molly0xFFF/status/1751670561606971895

And yet, we keep falling for it. It's no wonder, really: criti-hype rewards so many different people in so many different ways that it truly offers something for everyone.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/01/29/pay-no-attention/#to-the-little-man-behind-the-curtain

Back the Kickstarter for the audiobook of The Bezzle here!

Image:

Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

--

Ross Breadmore (modified) https://www.flickr.com/photos/rossbreadmore/5169298162/

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

[goldcleaver]

I'm gonna put my two thirds of a classics degree to work here

When I said Phaidei can be seen as an allegory for Odysseus and Penelope, I meant it

Penelope encounters the returned Odysseus posing as a beggar. From a mural in the Macellum of Pompeii

Spoiler warnings: 3.0, 3.1, 3.2, as well as leaks towards the end.

TL;DR: Mydei is Penelope, Phainon is Odysseus.

Mydei and Penelope

Now, I know it may seem tempting to say that Mydei, being the big, strong, burly man that he is, is a parallel to Odysseus, but he’s actually Penelope! This whole fever dream of a "theory" actually stems from the parallels between Mydei and Penelope, specifically. Phainon was a secondary thought lmao.

Point 1) The theme of buying time

It cannot be understated just how much of Mydei’s core themes center around buying time, not just for others, but also for himself. 

On multiple occasions, he goes to some pretty extreme lengths to do so, namely in 3.0 when he offers up his own immortal body as a means of keeping Nikador occupied in Castrum Kremnos. In that moment, he completely puts his own safety on the back burner – the team needs to hold Nikador off long enough to render them immortal once more, and Mydei has the solution, no matter the personal cost of dying a couple of times. Later, in 3.1, he puts his own personal feelings aside to shoulder the divinity of Strife, despite the fact that he was hesitant to do so in 3.0, simply because it would be for the best. Then, at the end of 3.1, he completely disregards his own wants and fears, and takes the fight to the Black Tide on his own because he is the only one capable of doing so. By sacrificing himself in this manner, he can buy his fellow Chrysos Heirs enough time to usher in the new dawn, and the miracle of Genesis.

But Mydei doesn’t just buy time for others, he also does so for himself. Throughout 3.0 and 3.1, his story leads up to one massive decision: what to do about the Kremnoans. He is torn between claiming the crown – his birthright – and leading his people back to Castrum Kremnos, or leaving them in Okhema. 

However, to the Kremnoans, Nikador is synonymous with kingship, judging by Krateros’ reaction to Mydei surrendering the Coreflame to Phainon. In Krateros’ eyes, Mydei giving up Nikador’s divine power is the same thing as him “giving up the throne of Kremnos and forsaking his people”. 

As previously stated, Mydei is hesitant to claim Nikador’s coreflame for fear of ending up like his corrupt forebears and leading his people down the wrong path, so obviously he wants to put off that decision for as long as possible. First, he enters a (frankly, pointless) competition with Phainon just to decide who gets to deliver the final blow to Nikador, and gives up his win ridiculously easily if Phainon loses. That way, they can ignore the decision they have to make for a while longer. Then, when Nikador is dead, he is quick to surrender the Coreflame to Phainon, and promptly shuts down Phainon’s attempt to discuss the subject any further. So, by sending Phainon to the trial of divinity, Mydei can avoid making his own decision regarding the fate of the Kremnoans, if we take Krateros’ words about kingship and Nikador’s powers into consideration. Effectively, Mydei makes sure the decision is out of his hands – he didn’t technically reject the Coreflame, after all. 

So how does all of this connect to Penelope, exactly? 

Well, Penelope’s themes also center around buying time – for herself, and for Odysseus. She also has a big decision to make: who should succeed Odysseus as the king of Ithaca, and just like Mydei, she wants to put it off for as long as possible. Naturally, she doesn’t want to choose, and comes up with increasingly desperate ideas to keep the suitors at bay. In the end, she does succeed; she buys Odysseus enough time to return home, and as such she never has to choose a new suitor. Unlike Mydei.

You see, Mydei actually fails in avoiding his decision. In the end, he is forced to take on the Coreflame when Phainon fails the trial. As a result, Mydei has to make a decision regarding his people and his potential kingship. In this sense, Krateros and the rest of the Kremnoans are the suitors, encouraging Mydei (Penelope) to make a choice.

If we view Mydei’s actions through this Penelope-esque lens, we can draw some pretty convincing parallels!

Point 2) The challenge

At the climax of Penelope’s story, right before her reunion with Odysseus, she makes a last-ditch attempt to hold off the suitors by presenting them with a seemingly impossible challenge. She sets up twelve axes and demands that the suitors shoot through them flawlessly using Odysseus’ old bow. What she doesn’t tell the suitors is this: the bow is nigh impossible to string. Then, as a sort of fail safe, she sits down behind the axes. That way, if a suitor succeeds, she is immediately killed and doesn’t have to marry them.

While this is more far-fetched than point 1, a connection to Mydei’s actions can still be made, in the sense that he, too, has made arrangements for the worst case scenario. In case he is corrupted by the Black Tide, and thus cannot buy the Chrysos Heirs enough time to bring about the miracle (i.e buy Odysseus enough time to return to Ithaca), Mydei has arranged a fail safe for himself by telling Phainon about his weak spot. Phainon is the only one who knows about it, and as such, he is the only one who can shoot through the twelve axes with Odysseus’ bow. The parallels may not be perfect, but the narrative is very similar.

Point 3) Sparta/Castrum Kremnos

My last point is their origins. Penelope is Spartan royalty, though she was never its ruler. It’s no secret that Castrum Kremnos is vaguely based on ancient Sparta, and Mydei is the prince-turned-king of Castrum Kremnos. It’s a pretty obvious connection, but I’ve chosen to highlight it, nonetheless.

Phainon and Odysseus 

I'll admit that Phainon's connection to Odysseus is vaguer than Mydei and Penelope’s, but I can totally see it. 

Point 1) The one time is being bought for

Penelope buys Odysseus time to return to Ithaca, Mydei buys Phainon and the other Chrysos Heirs time to a) render Nikador mortal, and b) bring about the miracle of Genesis. Now, post-3.2, we know that Phainon is meant to take over the authority of Kephale. If the plan proceeds smoothly, he will be the last one left alive to reforge the new world with his, in Anaxa’s words, “complete, intact memories”. While we cannot be certain that Mydei knows this, it can still be argued that Phainon himself is the one Mydei is buying time for.

Point 2) Nobody

Odysseus initially evades Polyphemus by calling himself “Nobody”. Phainon is called the “Nameless Hero”, and we have no idea what his real name is. Just like Odysseus, he has crafted a persona for himself.

Point 3) The journey to Ithaca

Phainon going on the Flamechase Journey is his version of Odysseus' journey of going to war and then trying to make it back to Ithaca. They're both put through the wringer a million times over on their journey, and express desires to go back home. In the end, they are both crumbling under the weight of their past actions and losses, and become increasingly more brutal because of it, if Phainon’s behaviour towards Oronyx in 3.0 was anything to go off of.

Also, LEAK WARNING:

.

.

.

Going off leaks, we know that Phainon is both the Flame Reaver, and the final boss for Amphoreus. For whatever reason, we can guess that he lost his humanity somewhere along the line, and, if you can forgive the EPIC reference, became the monster. In the Odyssey, Odysseus ends his journey by slaughtering the suitors vying for Penelope’s hand, showcasing his potential for great violence, much like Phainon. 

TL;DR: Mydei is Penelope, Phainon is Odysseus.

Now, this was obviously mostly for shits and giggles, but the parallels are pretty convincing, ngl.

Bonus: Phaidei = Patrochilles

Now, additionally: they can ALSO be seen as an allegory for Achilles and Patroclus, especially since the game has already drawn parallels between the Iliad and the Amphoreus story.

The game is obviously hinting towards Mydei being Achilles considering his whole weak spot-thing. Naturally, that makes Phainon Patroclus. If we regard Mydei as the “true” heir to Nikador’s divinity, Then Phainon was technically taking Mydei's place in the trial. Ultimately, he fails to pass, which is a nice parallel to how Patroclus dons Achilles' armour to lead the Myrmidons, and dies against Hector, who Achilles later slays in a fit of rage. In this case, Hector is Nikador, who first dies by the team’s hands during the fight, and then later dies by Mydei’s own hand in his trial.

[silvergreenseraphim]

“Obedient Soldier”

[A phrase uttered by Sephiroth in Scene 07-06. As this line indicates, Sephiroth in BC (Before Crisis) was regularly obedient to orders, such as defending the Mako canon and protecting Hojo. Therefore, Shinra valued the worth of Sephiroth's loyalty and treated him like a hero.]

-Keyword Collection, CC Complete Guide, p. 285

“Until then, I will be an obedient soldier of Shinra…”

He uses the term “従順な“ which is described above. He willfully submits himself to Shinra’s authority regularly in spite of inner turmoil and reluctance much of the time.

I see more of this with every update in The First Soldier. Sephiroth calls it his only job. You would say then “Yes, and he is paid for it and treated like a hero! That is why he obeys!”

First. Where is this interest in money? And who is to say he receives it? He was raised and trained by Shinra from his boyhood days. His lack of interest in money is said clearly.

Angeal might have partially misjudged him for it too in chapter one of episode 2 when Bachman asked Sephiroth’s opinion on the situation in Robio:

Sephiroth: “Search for the missing troops. Don’t interfere with the filming. Anything else is not my job.”

Angeal: “You’re a stingy guy.”

Sephiroth: “What?”

Angeal: ”There’s no harm in experiencing things. Don’t just consider profit gain and loss.”

Sephiroth: “That’s not the reason.”

Angeal: “Then tell me what it is.”

Sephiroth: “….”

(Japanese translation) (*Note about the nuance here at the bottom of the post!)

There is another reason Sephiroth focuses so narrowly on his job but he does not want to state it. He does not want to explain why he focuses on nothing else. Why?

His disinterest in money itself was more obviously stated in episode one:

Matt: “We'll have to talk about the distribution of the reward money… fortunately, he (Sephiroth) doesn't seem to care about money.”

Money is not the reason for Sephiroth’s loyalty to Shinra then. You might then say it’s because they treated him as a hero! Like as it was said in the Guide, they valued his loyalty and dealt with him as a hero. But where is it stated that Sephiroth wants that either? No, it is the opposite.

Sephiroth: ”I don’t want to be a hero. I want to live a normal life…”

Glenn: “What did you say?”

Sephiroth: “Nothing. It’s never going to happen.”

But Sephiroth! Since you are a hero, Shinra must spoil you and treat you well? They must give you so much! Is that why you stay with that defeated resignation?

Perhaps you have authority and respect within the military! The fandom has always called him the General….

Ignore that you see the cameras he hates, the false propaganda he knows about, his low sense of self-worth, how he sees himself as a cyborg killer that does not deserve friends. He never experienced the sensation of joy and fun with others until he met Glenn’s team. Ignore that he was trained to be afraid and heartless. Forget that he has memories of Hojo’s pain and training.

And authority?

“Very sorry. We cannot follow orders from others outside of the normal chain of command.”

These are just infantrymen.

Sephiroth’s ability to refuse orders in Crisis Core was also an unofficial privilege that existed under Lazard’s generous command. If it were Heidegger, no privilege like that would have existed and Sephiroth would have had to kill Genesis and Angeal in Banora. Lazard, a man already disloyal to Shinra, had to be in command for that point in Crisis Core to exist.

“Also, there may or may not be a right to veto orders...It seems to be just unofficial though..”

-Kunsel to Zack, CC DMW flashback

Angeal Hewley is also made team leader over “Shinra’s hero” in episode 2 of The First Soldier. Years later Angeal still gives orders to Sephiroth that the hero follows. Sephiroth’s authority inside Shinra is not like a general or even a captain.

Not that then. Perhaps you are living a lavish lifestyle, hero?

….ah, but do I even need to explain why this one is nonsense when this boy was isolated and brought up by Hojo?

”Mom? Why are you in my bedroom?”

-Sephiroth, chapter one, The First Soldier Episode 2, Japanese.

A lab cell near to where Aerith and Ifalna were held as prisoners?

“I’ve never had many opportunities to interact with people.”

-Sephiroth, chapter five, The First Soldier Episode 1, Japanese.

He would not have in the environment Hojo gave him.

“I am a SOLDIER that was raised to stand on the battlefield. SOLDIERs are worthless unless they are strong in body and mind.”

-Sephiroth, chapter five, The First Soldier Episode 1, Japanese.

“You and I grew up in different worlds. The day we understand each other will never come.”

-Sephiroth to Angeal, chapter one, The First Soldier Episode 2, Japanese.

Hojo is who raised him like this! In isolation and cruelty!

“I am the only one who can speak to Professor Hojo freely at any time, who researches the limits of our SOLDIER abilities…”

-Sephiroth to Angeal, chapter one, The First Soldier Episode 2, Japanese.

Did that Halloween event not show us the deeper horror beneath these other horrors? And who they were connected to?

Hojo: “Endure the pain, Sephiroth. You’re not at your limit yet. The more you endure, the more of your hidden strength will awaken.”

Glenn: Hey! Hang in there!

Sephiroth: “I’m sorry. I was suddenly in a lot of pain, but I’m alright now.”

Glenn: “Don’t be so strong!! Rest! Rest! Don’t push yourself so hard just because you’re the team leader!! Just relax!

Sephiroth: “….I’ve never heard anything like that before. It’s just the reverse of what the professor said…”

(Japanese translation)

Who would have ingrained such deep loyalty into the world’s strongest SOLDIER so well other than his father Hojo? Sephiroth does not speak of leaving Shinra until he is close to 25 years. He was shaken when Elfe questioned why he fought and if it was for any reason. He responds to a command from his friend Genesis on immediate instinct.

He is conditioned. That is why he was an obedient soldier to Shinra and why he stayed with them even when he hated his life. He was afraid. Of them and of Hojo!

The First Soldier will only keep showing this. Sephiroth’s friends were his chain to mental stability. When they left and died, he became vulnerable again and Nibelheim was timed just right. How much grief and anger must he have felt learning about how deep the use of his body and mind had gone? Enough to hate Shinra and soon everything.

Shinra is run by greedy pigs who have their dogs and sheep. They have their SOLDIER recruits, their Turks, their Deepground prisoners, their clueless employees. You will find that among these pawns, there are many who try to leave or question the power keeping them in check and that is because Shinra was not so careful enough to condition and lie to them.

They were careful with Sephiroth though because disloyalty from him would be so dangerous. The story shows this well enough.

Out of all of their abused pawns and attack dogs, Sephiroth was the one chosen to be exploited in front of the world and decorated in hero’s ribbons to cover up the scars. He was lied to about the depth of his abuse and given false hope in his two dear friends. He was trying to claw his way to the light and find himself so that he could be a real hero and protect others but there was no hope for such things. His cage was gilded and when he became aware of it, that boy’s heart was filled with sadness and then anger and then hatred.

His life was DESTROYED by Shinra from the start. His loyalty was sown into him mostly by Hojo. This new episode of The First Soldier has brought this truth further to the light and I do not think it was will stop.

Thank you to those who helped me with this post in DMs!

Notes:

*Angeal’s words in chapter one of FS Episode 2 about Sephiroth’s “stinginess” do have a nuance that I do not want to ignore. He can be talking about money gain/loss but also a whole mindset! His words are broadly referring to a narrow-minded and “Scrooge-ish” view of things where there is not much room for anything outside of Sephiroth’s thin focus. That thin focus is Sephiroth’s assignment and the gain of completing it, which could include profit from Angeal’s perspective and would be a reason to complete a mission if we remember his scene with his parents where that is a discussion. The point is to say that Angeal is not only talking about money, but for this post I focused on that aspect of it because of Sephiroth’s response against the entire assumption and his formerly mentioned lack of interest in money.

[rottenpumpkin13]

all of soldier gets sick how does asgzc lazard and pr react

Lazard starts the emergency online press conference looking like he hasn't slept in three days. His tie is crooked, there are visible coffee stains on his shirt, and the vein on his temple is doing something worrying. The Shinra PR team is just off-camera in full panic mode.

Lazard: Good afternoon. I'd like to assure everyone that there is not a virus going around SOLDIER. The reports of mass illness are purely coincidental. SOLDIER's health remains our top priority.

Lazard: To demonstrate that our top operatives are perfectly healthy, I've brought out our finest example of peak human condition—Sephiroth.

*The camera pans out to show Sephiroth standing stiffly beside Lazard, face blank, arms crossed*

Lazard: As you can see, he's healthy as a chocobo and the health of SOLDIER is not in jeopardy—

*Sephiroth sneezes*

*Lazard slaps him*

Sephiroth:

Lazard: Moving on! Sephiroth isn't the only one immune to this non-existent illness. We also have—Genesis! Genesis, come out here. Genesis?

*Lazard grabs Genesis by the collar, and drags him on camera. Genesis is fully encased in a hazmat suit, carrying a spray bottle and misting the air like it's a spiritual cleansing*

Genesis, muffled: Don't breathe near me.

Lazard, shoving him away: Never mind. Useless. Angeal! Where's Angeal? Angeal is perfectly—

*The camera pans to Angeal in the background wiping Sephiroth's nose with a tissue like an exhausted mother dealing with a cranky toddler*

Lazard: No do NOT film that.

*The camera cuts back to Lazard, whose soul has visibly left his body*

Lazard: ...Anyway. As you can see, everything is under control and none of my SOLDIERs are sick.

*Zack bursts into frame, wrapped in three blankets, eyes glassy, nose red*

Zack: I have never been more sick. Director, can we order soup?

Lazard, to the camera: I have never seen this man in my life.

*Cloud walks by the camera, Lazard grabs him and pulls him into frame*

Lazard: Look! Exhibit A. If this isn't the absolute picture of health! Bright-eyed, strong, resilient—look at him! Not a sniffle, not a cough! He's practically the poster child for SOLDIER wellness!

Cloud: But...sir? I'm not in SOLDIER. I'm infantry.

Lazard: WHY ARE YOU EVEN HERE?

[targaryenrealnessdarling]

Nova Genesis

Part One

Summary: tensions rise as strangers board the ship and turn Dibs' entire operation on its head to obtain critical evidence. But not everyone feels the same at the prospect of returning to Earth | Word Count: 4.5k~ | Warnings: mentions of Ettore's crimes, swearing, mentions of violence, threatening behaviour, masturbation (m)

A/N: A birthday present for @dreamymoomin @in-a-mountain-pool, my fellow Ettore fucker (affectionate 😘). Have a very happy birthday <3

For the last several days, Dibs was irritable. There was something she wasn't telling them, and none of them had the interest nor the energy to ask. But something had spooked her, and that was never good. She stopped the weekly examinations for the females, and started destroying the samples from the males. Both of which were things she previously cherished as part of her twisted experiment for a child.

The rest simply followed their daily routine as usual, just without the lingering, judgemental glances from Dibs, replaced with a sense of unease and confusion when she’d shut herself in her office for days on end. It was a good and happy coincidence that at least without her help, they knew how to look after themselves. 

Loud alarms startled their otherwise quiet lunch. Some didn’t move an inch and others merely looked around, eyes wide with fear, not knowing what to do with themselves. And the second they felt the ship quite literally jolt, as if something had docked against them, Ettore had a sense of where the situation was headed. No more than fifteen minutes later, the doors where they had boarded the ship, opened once again, revealing quite shockingly a band of official looking people.

Several armed guards stood like pillars beside the army of lawyers and technicians, prepared to both shut down the operation and steer the spacecraft back towards Earth. They held their weapons casually, their gazes insistent that violence would occur should the team be threatened in any way.

“If you all know what's good for you, you'll let them do their work. And you'll all get to go home.”

Ettore watched with a stoic expression, as if uncaring and neutral at the idea of returning. He highly doubted that everyone shared the same opinion about the prospect of returning to Earth, to their prisons, where they all knew too well. 

His eyes watched with a deep interest as the team split off to start their investigation around the prisoners, starting with downloading the encrypted files Dibs had attempted to hide. Each one potential evidence for the twisted doctor's misconduct.

He watches one of the lawyers particularly closely, unable to admit to himself exactly why he finds her interesting to look at. They all wear casual clothes, something he has not seen since leaving Earth in the first place, and now something that seems so undeniably foreign and alien.

Her lanyard displayed both her name and her title. Legal Representation.

She started by organising individual meetings with the prisoners, for them to air their grievances, with evidence of course. Documenting each one regarding their treatment, health and level of punishment. Some were forthcoming and some, predictably, were not. And could she blame them? For so many months, years even, distrust was just another fact of life up here. 

Dibs watched with frustration her life work being dismantled and dissected. At first her attempts at justification were met with cold looks and shakes of their head from the legal team, eventually turning into silence. They were there not to debate ethics but to enforce the law and protect the rights of those who had been under her control.

The little lawyer, Ettore so affectionately named her in his head, was diligent about her work. And when he spotted her next, she was deep into downloading onto an external hard drive the encrypted data on Dibs' computer in the infirmary. He couldn’t deny, it was strange to have other people wandering the ship. The otherwise wide and meandering hallways now felt cramped, with barely two people able to stand side by side while letting another pass. It felt suffocating. And he knew it was only a matter of time before someone snapped. 

His jaw clenched as he watched her from the doorway, attempting to make sense of the software Dibs' had so often fiddled with to make it near impossible to infiltrate. And he wondered with a sense of defensiveness and perhaps immaturity, or naivety, that this woman was pushing change, and he wasn't sure if he liked that.

She let out a pleased sound when she cracked the last layer of security, and Ettore laughed through his nose.

“Suppose she didn't account for someone like you, hm,” he mused dispassionately and somewhat uninterested. A flash of irritation gnawed at him when she didn't look up from her work to address him.

“‘Dr Dibs’ didn't account for a lot of things,” she started, her tone neutral, “nevermind taking accountability.”

His eyes darkened, roving over her form behind. She was easily smaller. If he really really wanted, she wouldn't be able to fight. But did he want her to?

She finally paused and swivelled on her chair to face him, her expression insistent, making his darkened thoughts pause for just a moment.

"You don’t seem too thrilled about the prospect of going back to Earth. Most would be eager to leave this place.”

It wasn't a question, but he could smell that she wanted an answer. And normally, he would have entertained her. But her expression, coupled with her expectancy for him to bend, made him huff and turn away.

“Content with staying here and giving Dibs sperm samples for the rest of your life? Not that I think that's the part you dislike.”

She mumbles that last part under her breath, turning back to the computer to check its download progress. And while her back is turned, something is stoked in his eyes. That was an incredibly dangerous thing for her to say. Especially to him. To someone like him.

He shoves his hands in his scrub pockets, mostly to touch himself.

“And what is there to go back to?” He inquires, watching with interest when she turns back to him halfway. He raises his eyebrows, tone somewhat mocking, “something about the devil you know.”

She gives a breathy laugh, “suppose it's comfort in its own way. Wouldn't you rather live than just survive?”

He narrows his gaze, stubbornness enhancing his disbelief.

“You really believe that it's just step off this ship and poof, everything's fine?”

“I didn't say that.”

“Why would I want to go back to a world that forgot me the second they sent me up here?”

She sighs. “It'll be what you want it to be, if you keep thinking like that.”

He has to resist the urge to roll his eyes. These lawyer human rights fucking types will always cling to some kind of hope, however naive. It was a word long flung out of Ettore’s vocabulary, not that he was usually the hopeful type. She sighed through her nose at his lack of response and turned back around, typing quickly and practised on the keyboard. Her messy, plaited hair fell down her back, and for a brief, fleeting moment, he thought of what it would have been like to grab the end, and twist it over his fist he’d be strong enough to subdue her, that was for sure. Even thinking about it, he ran his tongue over his teeth.

He wondered if she knew what he was here for. Did she know the ins and outs of what the jury said about him? Or what the judge condemned him to? Or was he just another tick box on her list, just another name? Did she either understand the man he was now, or what he was capable of? It both thrilled and unsettled him in equal measure. He watched her slender fingers move across the keyboard, thinking, how would she react when she knew how dangerous he really was. 

Would she still carry that same determination, or would fear finally colour those idealistic eyes?

He smirked slightly, thinking that he had met many women like her that used her indifference as armour over her, shielding her from the darker truths of the world, or perhaps, just the darker truths of his world.

“You’ve read my file, haven’t you.”

His voice was low, almost a growl, daring her to acknowledge the monster many believed him to be. She paused, her fingers halting mid-type, and her lips parted. For a moment he thought she might turn around again, but she wet her lips and continued typing.

There was a firmness in her voice that surprised Ettore. “I've read your file, yes. I know what you've done.”

“And?”

“I’m not giving a glowing review on your crimes.”

He gave a huff of a laugh. “No need to get antsy, sweetheart.”

She turned her head, her face calm with an expression that belied any fear in him. “My job isn’t to judge, it's to defend human rights, yours included.”

Ettore's smirk widened, his eyes narrowing as he processed her words. "That's a neat way to put it. Defending human rights, even for someone like me? Must make you feel pretty good, huh?"

Her expression remained unchanged, her resolve as firm as ever. "You think I do this for my health?"

Before Ettore could respond, the sudden clang and shout from the other end of the corridor cut through their conversation. Both turned toward the noise. A group of guards hustled past, their faces tense, moving toward the source of the disturbance.

Ettore's attention briefly flickered to the commotion, then back to her, a victorious smirk on his face. "Looks like not everyone's as cooperative as I am."

She cocked her head, “and you’re being cooperative are you?” she asked firmly, with a harsh rhetorical edge. “Anyway, it’s not about that. It’s about your safety as a whole-”

He leaned in closer, his voice dropping to a whisper that carried an unmistakable edge. "And what if I wasn't safe? What if I was the one out there causing trouble? Would you defend me then?"

She met his gaze, unflinching. "I defend the rights of all prisoners, no matter their crimes."

"Theoretically, right?" Ettore pushed back, amused.

"Practically."

Their intense exchange was suddenly interrupted by the return of the guards, escorting a handcuffed prisoner between them. The man was shouting, struggling against the restraints, his eyes wild with desperation.

"Fucking assholes! You're all just dressing it up as justice!" he yelled as he was dragged past them.

Ettore watched the scene unfold, his expression unreadable. Once the noise had died down, he turned back to her, his voice low. "Not everyone believes in your justice. Being out here…it changes people, makes them into monsters."

“I don’t believe that.”

Ettore's smirk faded, replaced by a contemplative frown. "Maybe you should. The monsters are real. And sometimes, they're closer than you think."

His words lingered in the air, thick with an ominous undertone, he turned and walked away, his steps deliberate and heavy against the metallic floor. She watched him go, his broad silhouette gradually merging with the shadows of the spacecraft's corridor. It was only when he disappeared from view that she realised she'd been holding her breath, her chest tight with apprehension.

She exhaled slowly, trying to dispel the tension that had coiled inside her during their conversation. The exchange had revealed layers to Ettore she hadn't fully appreciated before, depths of cynicism and a hint of something darker, perhaps a warning or a challenge. His parting words echoed in her mind, a reminder of the complex human narratives woven into the fabric of this mission.

Her eyes lingered on the corner where Ettore had vanished, the unsettling feeling of his presence still palpable in the air. She was left with a profound sense of the weight of her task, not just to administer legal justice but to understand and navigate the human elements at play. The reality of Ettore's warning, that the monsters might indeed be closer than she thought, settled heavy on her shoulders as she turned back to her work.

The mission to dismantle Dr. Dibs' operation continued, but a quieter but equally dangerous plan was brewing among a faction of the prisoners. These were men and women who, for various reasons, fears of retribution on Earth, lost ties, or simply the terror of facing their past crimes, had decided they were better off lost in space. They saw the arrival of she and her team not as a rescue but as a threat to the precarious stability they had found, or rather forged.

Ettore, caught between his newfound interest with his little lawyer and his inherent distrust of returning to a world that had discarded him, found himself pulled into this group’s orbit. Monte led the group, not particularly charismatic but he was seen as trustworthy, had quickly identified Ettore’s influence among the prisoners and sought to leverage it, despite their dislike for each other. There was something in Monte that was also as antsy as Dibs, as if he feared returning to Earth not because of the consequences, but because it meant confronting ghosts he had long buried.

With them, huddled in secret within the confines of the storage room, Mink leaned, arms crossed, as if she were still on the fence and could be persuaded. 

“This ain’t redemption,” Monte started, his eyes firm, “up here we’re forgotten, nothing but fuckin’ dust. Back there, we're monsters on display.”

Ettore scoffed lightly, “and what? Hijack the ship? You think that ends well for any of us?”

“You know Dibs wants ‘em gone too.”

“We’re not killing them,” Mink interjected.

Monte glared at Mink, his frustration evident. "You think I don’t know we can’t kill them? We take control, redirect the course. We can find a place out here where they can't just drag us back to face whatever hell they've cooked up for us on Earth."

“So they’re hostages,” Ettore added bluntly. “They’re not like us. They'll come looking for them."

Monte nodded, his voice steady. "Then we make it too costly to come after us. We send a message back, make it clear we’re not their lab rats anymore, not their spectacle."

Mink shifted uncomfortably, her arms still crossed, her gaze flickering between Monte and Ettore. "Okay, stop measuring dicks for one second. We're talking about potentially starting a war here. What if they send the military after us? We're equipped to handle guards, maybe, but not a fucking assault."

The two men beside her fell quiet, and Ettore glanced down the hallway as if to check they nobody was listening in.

Mink filled the silence, her decision torn in two different directions, “And what about the others? The ones who might want to go back?"

Ettore rolled his eyes slightly. "Sometimes you gotta make the hard choices for people. Look at where trusting Earth got us in the first place." 

His point didn’t at all mean to sound like he was supporting Monte, so he hated the little nod of agreement he gave. The way his eyes lit up.

But Monte caught it, misinterpreting Ettore’s reluctant agreement as support, his own resolve hardening. "We were discarded, forgotten. If we don't take a stand now, when will we ever?" he speaks erratically, as if even now pleading his case, “I killed a man. His family won’t rest until I’m buried. Talking won’t change that.”

Mink and Ettore remained silent. But their expressions could not be any more different.

“It won’t change it for you two either,” Monte added with venom, “You think any of us got a fair shot down there? You really trust this lawyer, these people, to make it right? Open your fucking eyes. She's here to make herself feel better, not to save anyone."

Ettore, who had been following the exchange silently, felt a surge of concern. His thoughts briefly flashed to his little lawyer, her conviction that the law could serve justice, her determination to fight for their rights. It contrasted starkly with the raw survival instinct that drove Monte.

“So that’s it then,” Ettore mused, “you want violence.”

Monte turned on Ettore, his gaze fierce. "If it’s violence they understand, it’s violence they’ll get."

Ettore met Monte’s fiery gaze with a steely resolve of his own. The tight confines of the storage room seemed to shrink further, suffocating under the weight of impending decisions. Decisions that could very well define the fate of everyone on board.

“You want to lead us into a war we can’t win,” he countered, “you’re gonna fuck all this up, and for what?”

Monte's breathing was heavy, his chest heaving with each breath, his fists clenched tightly at his sides. He looked as if he wanted to say more, to argue that his plan was their only chance, but the fight seemed to drain from him second by agonising second. 

“Fine. We’ll see what your lawyer can do. But if it doesn’t work, if they don’t listen...” His voice trailed off, leaving the threat hanging, an unspoken ultimatum that they all understood.

After a week of tireless work aboard the spacecraft, tension simmered under a deceptive calm. She and her team had catalogued countless files and dismantled numerous experiments, yet they were still not close to gathering all the evidence they needed before the planned return to Earth. The ship was suspended in the vast silence of space, a temporary lull in their journey both literally and metaphorically.

Ettore leaned against the doorway, the threshold between their ship and the prisoner's felt so inescapable. The distance between their daily lives aboard the ship was not lost on him, and a cynical remark bubbled to the surface, and he couldn't help but run his eyes over her as she made her way past him to go to her own quarters.

With a sardonic twist to his lips, he approached her, his voice carrying just enough edge to be provocative. "You look tired, sweetheart. Must be tough, being so close yet so far from all the answers you need.”

She merely glared at him sideways, and despite her composed exterior, there was a fatigue in her eyes that spoke volumes about the strain they were all under.

“It's part of the job. And Dibs hasn't exactly made it easy.”

Ettore chuckled softly, the sound more mocking than amused. "Sure, but at the end of the day, you get to retreat to your safe corner of the ship, away from all of us. Sleep better thinking you’re not surrounded by monsters?”

Her face remained impassive, but her eyes hardened slightly, a hint of steel beneath the surface.

He huffs. “Maybe one night you should try sleeping over here, see how dangerous we really are. Maybe then you’d get all your evidence faster.”

There was a moment of silent acknowledgment between them. It was a threat. One meant to hit deep. If she was smart, she'd see the larger threat beneath it.

"Just remember, justice feels different depending on which side of the ship you sleep on.”

She cocked her head at him, but not in question, her eyes remained steadfast and firm. It was as if she merely wanted to see a different angle of him.

“Maybe it’s less about where I sleep,” she muses, “maybe it’s understanding the lay of the land, hm? Knowing where the landmines are buried.”

Ettore’s expression shifted only barely, whether she caught it or not, he couldn’t tell. She had obviously been interviewing all the prisoners. And if he had to guess about who was likely to blab about this plan Monte had cooking, it was most likely Boyse. They’d notoriously disliked each other.

But a subtle smirk rose to his lips. She was trying to prod him, thinking he was the leader in all of this. Where she could not be more wrong.

“You’re barking up the wrong tree, sweetheart.”

Her jaw tightened at that. And his warning was cryptic enough and yet clear enough to read the hidden meaning beneath. There were dangers lurking within the ranks. Uprisings. That not only jeopardises the mission, but their lives as well. She felt her heart thud hard in her chest, feeling right now more than ever, that she did not belong here.

With a thick swallow, she sighed, trying to appear calm, “I appreciate your concern for our safety.”

Ettore gave a half-smirk, recognising her diplomatic reply. And though he was tempted to say more, to see how she’d squirm, he pushed off the wall and turned his back to her. He recognised he had shared too much with her, a crucial piece of information, but something that also revealed a concealed trust for her. 

When he turned back to glance at her, he felt a smug pride in his chest, she was still watching him. And her eyes flickered upwards when she felt she had been caught. And the little lawyer scurried away back to her haven, with not another word.

She returned to her quarters, the sound of the door sealing behind her echoing slightly in the compact, utilitarian space that served as her temporary sanctuary. She slipped out of her shoes, feeling the cool metal floor beneath her feet, a small comfort after another long day of navigating the tight corridors and tighter tensions of the spacecraft.

After a long and decompressing shower, she moved to her small desk, where she activated her datapad, to record her nightly entries for the team back on Earth, to update them on the progress.

Day 23.

Looking at herself on the screen, her hair wet over her shoulders, she felt she looked tired and more weary, compared to when she first arrived. And wondered briefly how the prisoners had not yet gone mad. 

“The evidence we need to solidify the case against Dr Dibs is…extensive and…elusive. She’s trying to hide things, which doesn’t help, behind walls of useless other data she thinks we’ll miss. The crew’s morale fluctuates, as expected. They are under immense stress, given that the cooperation of some of the prisoners has been divisive at best.  Boyse’s interviews are particularly interesting. She’s afraid of going back to Earth, seeing as there is little support for her. But she seems rather excited to see Dibs see justice for the horrendous things she's done to them. She made me aware of a former prisoner, Elektra, who died shortly after childbirth due to lack of proper care. The baby... also did not make it. Boyse has made it very clear that the experiments and examinations on the women have both become more frequent and more desperate after this incident. Mink tells a similar story, albeit with some details redacted. Unfortunately, Dibs disposed of the bodies shortly after their deaths, so they won’t be recoverable.  They both heavily dislike most of the men on board, with the exception of Tcherny. He seems keen on returning to Earth. Mostly because he has nobody there to judge him anymore. Monte…has refused interviews. And too refuses interaction with any of us. Ettore. Well, he was cryptic today, as usual. I believe he is the type of person to lure people in just to watch them try and escape him.”

She paused, with a heavy sigh, running her hand through her hair. Stress gnawed at her temples. And something else tugged at her gut. Something she could not mistake as sickness.

“He refuses to say anything outright. But we must tread carefully. It’s clear some, if not most, of the prisoners do not wish to return, fearing retribution and violence, or whoever awaits them who will not share in our opinions of them. I can’t help but…wonder why we are here.”

She couldn’t concentrate after that. Her thoughts involuntarily drifted to Ettore. There was something undeniably compelling, beyond the complexities of his personality. Her racing thoughts could not keep up with her mouth, it felt.

“He’s an enigma. He has strong features but…manages to control them under a mask. And yet, there’s an intensity in his eyes that’s so piercing. The way he looks at me sometimes…it’s unsettling. And yet I can’t find it in myself to look away. And his voice, even when he whispers it’s…”

“The monsters are real. And sometimes, they're closer than you think."

She swallows, her fingers resting on her throat as if to feel her own pulse.

“It carries a weight, one that commands attention. Like a threat but also…like he’s testing me, measuring my reactions…”

“Maybe one night you should try sleeping over here, see how dangerous we really are.”

“...like a predator.”

She paused, clarity rushing back to her like a wave, pulling her under and robbing her of breath. With a quick flick, she turned off the video, taking a moment to really consider her words and her runaway thoughts. Why was she focusing so much on his physical details? She argued perhaps that it was the amount of time she’d spent with all of them. But she shook her head slightly, trying to steer her thoughts back to reality.

After a moment of pressing the heels of her hands against her eyes, the stress and internal conflict caused her to hastily climb into bed, hoping perhaps that the sweet escape of sleep might rid her of these thoughts. As she lay back in her bed, staring up at the ceiling of her quarters, the ship's constant hum a soft backdrop, she couldn't help but replay their interactions. There was an undeniable tension there, something that went beyond the usual professional dynamic. Was it just the stress of the mission making her over analyse, or was there something more, something real and tangible in the way he moved and spoke that kept drawing her thoughts back to him?

Ettore too, lay awake, lost in turbulent emotions. His mind replaying his interactions with her, each moment etched into his memory. The way her eyes narrowed in concentration, the subtle shift in her posture when he spoke of their harsh conditions on the ship before their arrival, and particularly, the flickers of fear when he would tread into dangerous territory with his words alone. Not even having to be near her. He was captivated by those expressions, those nuances, and the challenges they presented. 

In the quiet solitude of his cell, Nansen asleep in the top bunk, he allowed his hand to slide beneath his scrubs, eyes slipping shut as his hand lazily stroked his length to full hardness in no time at all. He indulged in the image of her. Her intelligent, alert eyes seemed to follow each word he said. Always evaluating.  Evaluating him.

And fuck, did it feel good to be picked apart by her. 

He returned to the same recurring thought he’d had every night, that if he pushed her boundaries, how would she react when truly tested? He wanted to see her rough, unguarded. Would she shrink or rise to the challenge? The mere thought of breaking through those defenses to a place where she might react out of sheer instinct, rather than reason, was intoxicating. 

With a stuttered moan, and coming hard into his hand with a jerk of his hips, the challenge was set, and Ettore was eager to see it through, to discover just how deep the layers of his little lawyer went.

General Taglist: @aemondsfavouritebastard @bellstwd @blackswxnn @buckybarnesb-tch

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[horse-girl-anthy]

Ikuhara Collaborators

as fans, it's easy to attribute any given aspect of an Ikuhara work to its flashy director. he is indeed a showrunner, the one who provides the uniting vision for a project. however, that doesn't mean that he is "the creator." anime production requires a lot of teamwork, which ultimately determines the quality of a work. rather than being a lone auteur, Ikuhara's strength as a director stems from his ability to draw in talent and create synergy between members. this post will highlight the individuals who worked with Ikuhara to bring his shows to life.

a quick note before we start: there are countless workers involved in a single anime production. for my sanity and yours, I focused on the ones I could find detailed information about. if you know of any additional contributors, or have detail to add about any of those I've included, feel free to leave a comment!

Sato Junichi

the first person who should be mentioned in regards to Ikuhara's career is Sato Junichi, his mentor at Toei. Ikuhara worked under Sato for his first animation projects, including a children's series called Maple Town Stories. Sato was the lead director for the first two seasons of Sailor Moon, but over time, he allowed Ikuhara more and more space to flex his own creative muscles. Ikuhara eventually directed the Sailor Moon R movie and became lead director on the season Sailor Moon S.

Sato is known as a great mentor--he also helped Kōnosuke Uda, Igarashi Takuya and Hosoda Mamoru early in their careers. it's safe to say that Ikuhara learned a lot from him. his respect for his mentor is shown by the fact that he asked Sato to provide storyboards for the vital episode 34 of Utena, "The Rose Crest." although Toei animators often used pseudonyms when working on outside projects, Sato declined to do so, wanting to celebrate his work on Utena.

other notable work: Goldfish Warning (Series Director); Sailor Moon and Sailor Moon R (Series Director); Sailor Moon S (Episode Director); Neon Genesis Evangelion (Storyboard); Vision of Escaflowne (Storyboard); Yume no Crayon Oukoku (Episode Director, Storyboard); Cowboy Bebop (Storyboard); Princess Tutu (Series Director, Storyboard, Manga); Sgt. Frog (Series Director, Storyboard); Aria the Animation (Series Director, Head Writer, Storyboard)

Enokido Yoji

a member of Be-Papas, Enokido was heavily involved in the writing and composition of Utena. he and Ikuhara attended the same high school, in the same year, but it is unclear how well they knew each other; but they were friends by the time Ikuhara was a film student. Enokido previously worked alongside Ikuhara on Sailor Moon, while also contributing to scripts to Evangelion. on Utena, he wrote roughly half the episodes: 1-5, 7, 9, 13-15, 22-23, 25-26, 30, 33-34, and 37-39, all crucial to the story. he handled every Miki episode and frequently focused on that character in interviews. while he did not handle animation composition on the film, he did write its screenplay.

if I had to say what Enokido brought to Utena, it would be articulation. he was able to understand Ikuhara's ideas and express them both in writing and in animation. my impression is that Ikuhara and Enokido got along very well and shared a vision, but Enokido balanced him out by injecting a bit of skepticism and realism into the work. it's hard to say how his visual style influenced Utena, but given that he was in charge of composition, he must have had a good eye and an ability to lead a team.

other notable work: Sailor Moon S (Series Composition, Script); Sailor Moon S: The Movie (Script); Redline (Composition, Script); Ouran High School Host Club (Series Composition, Script); Neon Genesis Evangelion (Script); Bungo Stray Dogs (Script, Series Composition); FLCL (Novelization)

Saito Chiho

a mangaka, her expressive and sensual art touched Ikuhara so much that he became determined to work with her. The Flower Crown Madonna, Saito's manga focused on the Borgias, served as an inspiration for Akio and Anthy's relationship.

along with the rest of Be-Papas, Saito created the Utena manga, starting it about a year before the anime aired. she later wrote and drew a manga companion for Adolescence of Utena, and in 2017, she honored the series's 20th anniversary by releasing the tribute After the Revolution. over the years, she's contributed a great deal to the Utena fandom. she also drew a ReoMabu piece for the Sarazanmai anthology.

of Saito, Ikuhara once said, "she's the most important woman to me, and truly understands me." it seems that they developed a strong relationship while working on Utena, which has lasted for decades. the two have collaborated on other projects, such as World of S&M, and done interviews together as recently as 2020.

other notable work (all as mangaka): Tenshi no Tattoo; Waltz in a White Dress; The Flower Crown Madonna; Kanon; First Girl; VS Lupin

Hasegawa Shinya

also a part of Be-Papas, Hasegawa was the principle character designer and art director for Utena, as well as a storyboard artist. he brought a sense of humor and eroticism to the project which suited it well, working closely with Chiho Saito to create Utena's artistic landscape. he was behind many little flourishes, such as Saionji crying in the opening credits. in addition to working on Utena, he also provided key animation for Penguindrum's first OP and final episode.

other notable work: Sailor Moon, Sailor Moon S, Sailor Moon R (Animation Director, Key Animator); Neon Genesis Evangelion (Key Animation); A Certain Magical Index (Chief Animation Director); The Girl Who Lept Through Time (Key Animation)

Oguro Yuichiro

Be-Papas member Oguro is credited as series planner. Empty Movement note that he was likely the one who handled publicity and marketing for the series, but may have also helped out in other ways. it was important for Utena's success to have someone with connections involved, and what's just what Oguro brought to the table.

he is the editor-in-chief of the magazine Anime Style and has interviewed other individuals on this list.

other notable work: Gekigangar 3 (Script); Kemonozume (Research and Planning Assistant); Goku and Zoku Sayonara Zetsubou-sensei (Series Composition)

J.A. Seazer

though not a member of Be-Papas, J.A. Seazer, the composer for the duel chorus songs, left a huge mark on Utena. in fact, the series's very conception was influenced by him. Seazer worked with one of Ikuhara's greatest inspirations, the experimental theater/film director Tereyama Shuji. a few of the duel songs actually predate Utena, including "Absolute Destiny Apocalpyse," which was written for a theater production. most of the duel songs were written explicity for Utena, and Be-Papas have said that they matched each song to its respective duelist. without the esoteric and powerful music that Seazer provided, Utena wouldn't be the same.

in the years since show's release, Seazer has gone on to write three whole new Utena albums, as well as many remixes of the original duel songs. you can learn more about them on Empty Movement's audiology page; I highly recommend checking them out if you haven't already.

other notable work (all as composer): Throw Away Your Books, Rally in the Streets; Moc; The Woman with Two Heads; Shintokumaru; Grass Labyrinth; Farewell to the Ark

Ohtsuki Toshimichi

speaking of J.A. Seazer, producer Ohtsuki Toshimichi is, according to Ikuhara, the only reason that he was able to get the composer on board for the project. producers often go unmentioned, but when considering a production, they are, naturally, essential. luckily for us, Ohtsuki was willing to take a chance on Utena (series and film), allowing the creative team total freedom. that willingness to go out on a limb taught Ikuhara the importance of taking risks.

other notable work (all as producer or exective producer): Metropolis; FLCL; Shaman King; Lorelei; Evangelion Rebuild Films

Kobayashi Shichirou

Utena's art director, Kobayashi, was and is a legend in the world of anime. known for his extensive work with director Dezaki Osamu, he was known for his beautiful backgrounds. known his hand-drawn paintings, Kobayashi helped to shape the look of many beautiful anime, including Utena.

it could be said that he was the one to help bring Ohtori to life. he was responsible for many of the backgrounds from both the show and the movie. his studio, Kobayashi Productions, was also instrumental in bringing the franchise to the screen.

other notable work: Moomins (Background Artist); The Gutsy Frog (Art Director); Lupin the Third: Castle of Cagliostro (Art Director); Ashita no Joe 2 (Art Director), Golgo 13 (Art Director), Urusei Yatsura 2 and 3 (Art Director); Angel’s Egg (Art Director, Layout Supervisor); Venus Wars (Art Director); Berserk 1997 (Art Director); Legend of Basara (Art Director); Simoun (Art Director)

Yamaguchi Ryōta

under the penname Noboru Higa, Yamaguchi wrote all Nanami episodes of Utena. he was not a member of Be-Papas and was asked to write her episodes in such a way that they would feel out of place. I think we can all agree that this had a positive effect on Utena. there isn't much information available about his work on the show, but it seems that his brand of comedy had a great influence.

other notable work: Sailor Moon S (Script); Sailor Moon Sailor Stars (Series Composition, Script); Ranma ½ Season 7 (Script); Vision of Escaflowne and Escaflowne: The Movie (Script); Medabots (Series Composition, Script); Kanon (Script)

Igarashi Takuya

Igarashi wrote Utena episode 19, directed episodes 9 and 19, and storyboarded many others, all under the pseudonym Kazayama Juugo. as he discusses in this interview, the staff members often had their own special character that they felt closest to and worked on the most, and for him, it was Saionji. he storyboarded Part A of Adolescence, meaning that he handled the Saionji duel.

Igarashi was another hire from Toei, having also worked on Sailor Moon. given that he storyboarded the crucial episodes 25, 30, and 37, he must have quite the artistic talent. however, if you read his interview, you'll see that he also has lots of great insights into Utena's themes as well. he talks a lot about the mood and tone, which often go undiscussed.

other notable work: Sailor Moon R and S (Director, Storyboard); Sailor Moon R: The Movie (Assistant Director); Cutie Honey F (Director, Storyboard); Mushishi (Director, Storyboard); Ouran High School Host Club (Director, Storyboard); Soul Eater (Director, Storyboard); Bungou Stray Dogs (Director, Storyboard)

Hosoda Mamoru

believe it or not, Hosoda worked on Utena before he ever directed a film of his own! having also been mentored by Sato, he met Ikuhara at Toei and came to work under him on Utena under the pseudonym Hashimoto Katsuyo. while Igarashi felt a kinship with Saionji, Hosoda's focus character was Juri. while he mostly handled storyboards and key animation, he wrote one script: the one for episode 29, the final Juri episode. he gave an interview about her two-episode concluding arc here. in addition, he storyboarded Part C of the Utena movie, which includes Juri's duel.

other notable work (all as film director): Digimon: The Movie; One Piece Movie 6; The Girl Who Leapt Through Time; Summer Wars; Wolf Children; The Boy and the Beast (also wrote); Mirai (also wrote); Belle (also wrote)

Mitsumune Shinkichi

Mitsumune composed Utena's beautiful background music, for both the series and film. I can't find much information about him, but I had to include him on this list because I adore every single track he penned.

other notable work (all as composer): FLCL; Yu-Gi-Oh (it looks like he more or less scored the entire franchise); Dragon Dive; Rocket Girls

Aizawa Masahiro

at last, we come to an entry that isn't confined to Utena! Aizawa worked on Utena, Penguindrum, and Yurikuma, all in the area of animation. credits include storyboards, chief animation director, key animation, and more. he seems to have taken on the most responsiblity with Penguindrum, being heavily involved in episodes 17 and 23.

it appears that he's another animator that Ikuhara met at Toei. he's still active in the anime industry and works under the pseudonym Aizawa Kagetsu. his notable work section might look short, but that's because he's made small contributions on a large number of projects.

other notable work: Lupin the Third: The Woman Called Mine Fujiko (Animator Director for OPs and EDs); One Piece Film: Z (Key Animation); Tanaka-kun wa Itsumo Kedaruge (Storyboard, Director, Key Animation)

Nakamura Shouko

Nakamura got her start at Production I.G and Gainax and is known for a feminine, sensual animation style. she codirected Penguindrum with Ikuhara, along with storyboarding many episodes, providing key animation, designing the settings, and working on the OPs/EDs. at least as far as visuals go, she may have been the most influential person to work on Penguindrum, and Ikuhara handed the crucial task of directing the final two episodes over to her.

Nakamura has had a long and successful career working on many projects. I'm not able to find any interviews with her on Penguindrum, but given how much she invested into it, she must have been just as determined as Ikuhara to see it made.

other notable work: Ghost in the Shell 2: Innocence (Key Animation); Mushishi (Key Animation, Animation Director); Kimi ni Todoke (Key Animation, Animation Director, Storyboard); Kill la Kill (Key Animation, Director, Storyboard); Evangelion: 3.0 You Can (Not) Redo (Key Animation); Doukyuusei (Chief Director, Storyboard, Key Animation)

Nishii Terumi

now a veteran of the anime industry, Nishii's first ever job was working behind the scenes on Adolescence of Utena. she later served as animation director and character designer on Penguindrum. when asked about working with Ikuhara, she said it was "very hard," because, despite the freedom he afforded his staff, "he changed his mind every week." in fact, she said that Penguindrum was the hardest project she ever worked on.

Nishii is a major critic of the anime industry's treatment of workers and is a member of NAFCA, an organization lobbying for better conditions for animators.

other notable work: InuYasha (Key Animation); Saint Seiya Franchise (Character Design); Mushishi (Animation Director, Key Animation); Death Note (Key Animation, Animation Director); Heartcatch Precure! (Key Animation); JoJo's Bizarre Adventure: Diamond Is Unbreakable (Character Design, Chief Animation Director); Jujutsu Kaisen (Chief Animation Director)

Hoshino Lily

a manga artist, she worked on Penguindrum as a character designer and also drew all the end cards. she's known for BL, including Naruto doujinshi and fan art. in 2013, she contributed to a Utena tribute book on Pixiv.

like Nishii, she mentions Ikuhara frequently changing his mind while developing Penguindrum. though multiple character designers worked on the project, it seems that Hoshino was the one primarily responsible for the looks of the main characters. apparently, Sanetoshi is meant to look like one of her "long-haired ukes."

other notable work (all as mangaka): Harem de Hitori; Boku dake no Ō-sama; Rabu Kue; Otome Yōkai Zakuro; Yumemiru Koto

Nakamura Chieko

like Nishii, Nakamura worked on Utena very early in her career and went on to be an animator for Penguindrum. she worked on the backgrounds and was the art director for many episodes, including the first and last; she also contributed to the "Crystal World" of episode 9. later, she would collaborate with Ikuhara again on Yurikuma as a background artist and art director.

other notable work: Eyeshield 21 (Background Art); Kids on the Slope (ED); Sengoku Collection (Art Director, Background Art); Doukyuusei (Art Director, Background Art); Saint Cecilia and Pastor Lawrence (Art Director, Art Setting, Background Art)

Hayashi Akemi

a pattern is emerging: Hayashi also worked on Utena relatively early in her career as key animator (6 episodes and film) and animation director (8 episodes and film). later, she contributed to Penguindrum as a key animator--specifically, she is the one who animated the Princess of the Crystal transformation sequence!

Ikuhara said in an interview that she is "good at drawing small details" and thus asked her to handle Himari and Shoma's backstory. she storyboarded, directed, and provided key animations for episode 20, a major series turning point.

other notable work: Slam Dunk (Key Animation); Fruits Basket (Character Design, Key Animation, Chief Animation Director, Animation Director); Gurren Lagann (Animation Director, Key Animation); Banana Fish (Character Design, Chief Animation Director, Key Animation); Doukyuusei (Storyboard, Character Design, Animation Director, Key Animation)

Hashimoto Yukari

Hashimoto deserves to have her praises sung to the heavens for composing the OST for every post-Utena Ikuhara work--not only the BGM, but also the arrangements for the Triple H songs (originals by the band ARB) and the musical numbers from Sarazanmai. according to this staff article, "she's able to respond to any out-there requests Ikuhara makes." that's readily apparent on the Yurikuma OST, where she seemlessly blends a wide variety of musical styles to create a unique sound.

other notable work (all as composer/arranger): Sayonara Zetsubou-sensei (OP and ED); Toradora!; Poco's Udon World; March Comes in Like a Lion; Osomatsu-san (2020); Komi Can't Communicate

Ikami Takayo

Ikami "is a Japanese novelist, detective fiction writer and screenwriter born in Tokyo in 1975." she is credited as cowriter for all Penguindrum and Yurikuma episodes, as well as the Yurikuma novelizations. it seems that she may have been the one to come up with the phrases "Yuri approved" and "Is your love the real thing?" outside of writing, she has also dabbled in series composition.

other notable work: Thirteen Eyes in a Dark Sky (Short Story); Isolde's Garden (Novel); Watamote (Script); Beautiful Bones: Sakurako’s Investigation (Series Composition, Script); Otherside Picnic (Script)

Yamada Haru

Yamada is a big name sound director and the cofounder of Sound Team Don Juan. he's worked on many projects over time, including some blockbuster hits, but still found time to be the sound director of Penguindrum, Yurikuma, and Sarazanmai.

other notable work: Your Name (Sound Department); Shin Godzilla (Sound Department); Made in Abyss (Sound Director); Banana Fish (Sound Director); Suzume (Sound Director); Shin Ultraman (Sound Department); Skip to Loafer (Sound Director)

Shibata Katsunori

Shibata was relatively inexperienced as a director when Ikuhara took him under his wing, giving him a lot of responsibility on Penguindrum. he provided storyboards, directed episodes, created special effects, and drew concept designs. he was credited for the "bear dance" ED of Yurikuma and did storyboards/key animation for episode 4. on Sarazanmai, he directed episode 6, codirected the OP along with Ikuhara, and did storyboards for episodes 1, 6, and 10.

other notable work: Xam'd: Lost Memories (Key Animation); Sword of the Stranger (Key Animation); A Certain Magical Index (Key Animation) Fullmetal Alchemist: Brotherhood (Key Animation); Sengoku Collection (Storyboard, Character Design, Animation Director, Key Animation)

Kaneko Shingo

the more you look into it, the more it seems like Penguindrum, Yurikuma, and Sarazanmai were staffed by the exact same people. that's not true, of course, but there is a lot of overlap.

in this case, there's overlap with Utena too. a former Toei employee, Kaneko is the only person on this list who worked on all four Ikuhara works. he provided storyboards for Utena episodes 2, 11, 32, and 38, and was also assistant director on a couple others. on Adolescence, he served as a unit director and storyboarder for Part B. he provided the script for episode 16 of Penguindrum, one of my favorites. he directed the episode as well, along with 4 and 23 under Nakamura Shouko.

Kaneko additionally storyboarded and directed episode 8 of Yurikuma, but took on a bigger role with Sarazanmai, where he storyboarded the Kawauso Dance and directed episodes 2, 8, and 10. apparently, he's "earned a reputation as Ikuhara’s comedy chief." thanks, Kaneko!

other notable work: Slam Dunk (Assistant Director); Parappa the Rapper (Storyboard, Unit Director); Fullmetal Alchemist (Storyboard, Director); Soul Eater (Storyboard, Director); Sengoku Collection (Storyboard, Director, Key Animation)

Furukawa Tomohiro

after doing some key animation on Penguindrum, Furukawa went on to be a major figure in the production of Yurikuma. he did storyboards/key animation, acted as Ikuhara's assistant director, and took on the final, crucial episode 12 as lead director.

Furukawa is now a showrunner in his own right and still acknowledges Ikuhara as his mentor, though he doesn't want to be pigeonholed as his "follower." this article suggests that, based on comments Ikuhara has made, Furukawa's knack for euphony left its mark on his mentor's work. in return, Furukawa has joked about Ikuhara's "insincere grumpiness" and praised both his management style and gift at mentorship.

other notable work: Death Note (Key Animation); One Piece Film: Z (Key Animation, Assistant Animation Director); Kakegurui Twin (Director); Revue Starlight Franchise (Showrunner)

Morishima Akiko

a yuri artist, Morishima was inspired to become a mangaka at age 19 after she read an Ikuhara interview. she was afraid to accept his offer to work on Yurikuma out of fear that she would "ruin everything," but ultimately came onto the project to create the manga.

in the linked starting guide, Morishima and Ikuhara go into detail about the planning process for Yurikuma. it's revealed why Ikuhara likes to work with mangaka; he has them draw the characters first and creates their personalities based on their art. he specifically wanted to work with Morishima to give him some yuri cred. when asked, Morishima discusses her likes and dislikes when it comes to yuri. she apparently prefers writing about older women and doesn't care about how sexy a yuri is, but only about the strength of the romance.

Morishima has drawn tributes to Ikuhara's other works, including Penguindrum and Sarazanmai. she also wrote the Yurizanmai section of the Sarazanmai anthology.

other notable work (all as mangaka): The Conditions of Paradise; Hanjuku-Joshi; Renai Joshika; Onna no ko Awase; Motto Hanjuku Joshi

Kurosawa Masayuki

Kurosawa is a digital artist, editor, director, and storyboarder. I don't have a lot of information on him, but I decided to include him because he storyboarded Yurikuma episode 11 AND Sarazanmai episode 8 (along with 10). what does this mean? well, he handled both Lulu and Enta getting shot, of course! funny how these things work out.

in addition to storyboarding, he is also credited as Sarazanmai's editor.

other notable work: Wolf's Rain (Director); El Cazador de la Bruja (Editor); Revue Starlight (Editor); My Happy Marriage (Editor)

Takeuchi Nobuyuki

Takeuchi was working at Shaft when the studio picked up some outsourced animation for Utena. his work was striking enough to catch Ikuhara's attention, and so he was brought on to Adolescence as an animation director. as the 2000s began, Takeuchi saw success working at Shaft with director Shinbo Akiyuki. this article describes him as particularly talented at externalizing characters' inner struggles.

Takeuchi, though presumably quite busy, contributed to Penguindrum, specifically episode 9, acting as the sole director, key animator, and storyboard artist. he got a chance to shine with that episode, which is now a fan favorite.

the reason that Takeuchi is so far down this list is that he played a larger role in the production of Sarazanmai. he's credited as the codirector along with Ikuhara, as well as a storyboard artist and key animator. Takeuchi is noted for his focus on the Kuji brothers, having directed episodes 4 and 9. he gave an interview about his work on Sarazanmai, which can be read here.

other notable work: Spirited Away (Key Animation); The Cat Returns (Key Animation); Howl's Moving Castle (Key Animation); Ponyo on the Cliff by the Sea (Key Animation); Bakemonogatari (Storyboard, Animation Director); Weathering With You (Key Animation)

Migi

a mangaka, she provided Sarazanmai's character designs, contributed to the anthology, and is still drawing the Sarazanmai manga. she's said that Tooi was the hardest character to design, and she argued with Ikuhara over Sara's look, since they apparently have different definitions of bishoujo.

Migi has an active Pixiv account where she still posts Sarazanmai art. she also did this lovely tribute for an Ikuhara exhibition.

other notable work (all as mangaka): Robot; Gelatin

Utsumi Teruko

Utsumi got her start "working as a production assistant at Brains Base and slowly inching towards writing via literature management duties." she's credited as the cowriter of all Sarazanmai episodes, working closely alongside Ikuhara. she also coauthored the light novels, wrote song lyrics, handled series composition, and acted as a manager. on top of all that, she is the one who created the model bridge which transports the Golden Trio to the Field of Desires.

other notable work (all as script writer): A Good Librarian Like a Good Shepherd; Enride; Cheer Boys!!; Kakegurui Season 2

[dragonfromthewoodlands]

Sonic Movie 3: It's Not About Shadow

I am probably going to catch hate anons for this, but I've promised a few different people that I'll post one. So, here's your spoiler warning for Sonic Movie 3, and also a warning that this is going to be Long.

Getting my personal feelings about this movie out of the way first- it feels like a dramatized AU someone wrote. It had fun moments, and it had scenes that were done very well! But even if I take a look at the movie from that perspective, ignoring the canon from the game it supposedly drew so much inspiration from, ignoring the games that came after and Shadow's canonical lore, the movie has plot holes in its own canon. My personal views are that the movie did Shadow's entire story and supporting cast wrong. The only good part about it was Maria's innocence, and even she had her story nuked. I'll get into that later.

Let's start where the movie does, with comparing Sonic and Shadow. Sonic states that he doesn't know where he'd be without his family, and the movie cuts to Shadow waking up from stasis. This is a part that I both really liked and at the same time feel iffy about.

The cinematic choice of doing a flashback to Maria playing the baseline of Live & Learn as Shadow wakes up was perfect. The song's message about learning from what happened and living on anyway was essential to Shadow's character arc in Sonic Adventure 2, essential to closing out a story in which a character that is always hunting the truth realizes that what he thought was the truth was actually a lie. The Sonic Adventure games' final boss themes, both Open Your Heart and Live & Learn felt like they were messages from Sonic to the respective characters of Chaos and Shadow. Chaos opened his heart and it was alright. Shadow may never find his way, but he lives and he learns.

At the same time, Sonic isn't that kind of character. He's a kind person that never opted for revenge until it was his only choice in the world, and even then he would never take that route. The movie addressed this in the end, but it drew a dynamic that just... isn't there. The comics, whether it was Archie's Sonic the Hedgehog both before the Sega Genesis Wave and after, or if it's IDW's Sonic the Hedgehog comics, have had multiple instances where other characters press Sonic to kill Eggman. They bring up the traumas he's gone through and the crimes Eggman has done, the fact that Eggman killed people- and Sonic always, without fail, says that there has to be another way. Not just Eggman, either- Sonic does this for everyone. Emerl. Shadow. Merlina. Silver. Metal Sonic. It's been beaten into our heads time and time again that Sonic doesn't take revenge.

Shadow escapes from Prison Island, and here's another beat that I actually really liked about the movie. Shadow moves like a speed skater. I've had my issues with the updated way Shadow skates and how cartoony it is, and usually when I play the other games I preferentially look for mods that make Shadow skate like he did in SA2 because the little scoot scoot is so silly. SA2's animation looked fluid and natural in comparison.

Skipping ahead a little bit, another beat that was on-point for Shadow's characterization was when Sonic's team and Shadow meet for the first time. Shadow doesn't attack until he is pushed. That's not who he is. He just wants to be left alone and to process for a minute.

That is accurate. Without a driving force (Maria's promise, Rouge hunting for treasure, Eggman messing around with Emerl, the Black Arms invasion), Shadow spent his first few games just trying to process. We like to make fun of him and call it brooding, but when he's standing there with his arms crossed he's thinking. When Shadow gets a moment of peace- on board the ARK after saving Rouge, on the ship up to the ARK with Sonic- Shadow is going through the information in his mind and trying to make sense of it. He won't take an attack lying down, but he isn't going to just beat someone up for standing there.

And that's where Sonic Movie 3 stops feeling like it cares about Shadow as a character or his dynamic with Sonic. To explain that, I have to talk about Gerald Robotnik and Maria.

Stepping back for a moment, I spoke with someone who did not know the "deep" lore or anything really about the characters' backstory. They loved the movie and said it was enjoyable, and I agree that it was enjoyable. There were a lot of funny ha ha moments and witty lines. They also said that they agreed with my complains, but it didn't affect them as much because they weren't a die-hard Sonic fan.

I have a problem with that statement.

I try to avoid using the term "ableist" as much as possible, since I am not physically disabled and have no claims outside of mental health problems, but the simple truth is that the movie erased Maria's illness. Maria Robotnik was terminally ill. That's why Shadow was created in the first place. He wasn't a government project or an alien from space, he was something created as a medical cure.

This isn't something small in part for Shadow's backstory, it's a major point to his character. It's as major a part for Shadow as it is for Amy to admire Sonic, or for Knuckles to protect the Master Emerald. It's part of the entire plot of Sonic Adventure 2. Shadow would do anything for Maria, and her dying wish is his driving force in the subsequent games. He fully believes that the reason he has to destroy the planet is because Maria wished it. The only reason he stops the ARK from crashing into the planet is because the truth is that Maria didn't wish for that.

Sonic Movie 3 erases that critical aspect of Maria, of her being so kind that she would sacrifice herself for the sake of the very thing that was supposed to save her. It erases her disability. And it erases her dying wish. She just dies.

(By the way, you can find most of this out from the Wiki pages. I don't feel like this is about me being a die-hard Sonic fan so much as it is that the creators of the movie made a conscious choice to remove these critical aspects in favor of Ivo's story. You could argue that Sonic has also had many, many different versions of his backstory, including the one that movieverse has, but I will also reply to you that not in the universe in which Sonic was a ghostly force of good erased the presence of someone's disability.)

The lack of Maria's wish would normally be interesting to me, since Shadow now would have no direction to go off of, but the distinct shift in Gerald's character and the alteration of Shadow's backstory had me struggling throughout the movie. There's nothing of Gerald's original character present. The only similarities between Gerald Robotnik from the games and the Gerald Robotnik in the movie are the name and the fact that he was a scientist.

I know, Ivo is also very different from game Ivo. Like Sonic, we've had many different iterations of Eggman. The old Eggman from SaTAM and Adventures of Sonic the Hedgehog was called Julian Robotnik, or even just "Doctor Robotnik." There was even a period in the old Archie comics where Eggman died (issue #50) and had to be replaced with a Julian from another universe for the sake of balance. A lot of the changes over the years were due to either lawsuits (thanks, Penders) or continuity problems, but the comics generally tried to follow the game canon.

But, again, the movie's directors were trying to follow Sonic Adventure 2, so we have to take a deeper look at who Gerald was. And Gerald wasn't kooky from the get-go, nor was he kooky when he was hell-bent on revenge.

Gerald Robotnik wanted to help mankind. He was one of the greatest scientists known, which was why he was asked to lead Project Shadow, a project to discover means to immortality. He wanted to use this as an opportunity to cure Maria. His first attempt produced the Biolizard. He managed to make Shadow after the intervention of Black Doom offering his own DNA. He realized his mistake and recorded a video of himself to eventually help Shadow when the Black Arms came back, but he was always trying to help mankind. He even gave Shadow a "heart" and a "soul" modeled after Maria's in hopes that Shadow would never become a tool for mass destruction. It was Maria's death that changed his personality from a kind old man to bitter and vengeful. He even says in his diary that losing control of his mind scared him.

Movie Gerald is just Movie Ivo, but older. He's insane from the get-go. The man is shallow and emotionally manipulative, playing as a kind of Deadpool-like character as the actor makes blatant references to the fourth wall. We get no explanation of his relationship with Maria other than he "brings her everywhere" and him telling Ivo that he is "no Maria." The subtleties of how he went insane are lost and his brilliancy in creating life is thrown to the wind in favor of the script just telling us that he's smart and that he supposedly loved Maria so much he wants to destroy the world.

There's no Space Colony ARK- that Gerald designed- with the Eclipse Cannon that was designed to destroy the Black Comet. There's no Black Arms or illness at all in the movie- Shadow is just a creature from a "black comet" and the term "the Ultimate Lifeform" is just a throwaway comment. Gerald's devotion and brilliancy is undermined in favor of cheap jokes and a frankly really strange montage between an actor and himself.

Once again, Maria's character- and Shadow's backstory- are reduced. We get more time going into Ivo's feelings than we do about any of the nuance that was in the original work.

Which leads me to the title of this rant: Sonic Movie 3 was not about Shadow the Hedgehog, it was about Ivo Robotnik.

We've been watching Ivo's journey from movie 1. Ivo is working for the government as a brilliant man, but everyone else sees him as a "dumpster fire." He's crazy, he's got no respect for others, and he has a sidekick that he doesn't really treat as a person but still somehow has a very sexually tense relationship with.

(I don't care what you say, nobody straight pins themself to a wall with a gasp like Stone does.)

Ivo outright states that he got bullied in school. Nobody likes him, so he lashes out at the world. With no one to talk to at the end of the movie, he starts descending into madness, where he's at with movie 2. Neato, they gave his mustache a backstory. He's back purely for revenge in movie 2, because he's lost his home and his position now too. We start movie 3 with Ivo's paunch having backstory, because he's fallen into a depressive state. He has no money, no power, no fame, and all of one person that hasn't left his side, and on top of that, the cause of his downfall shows up in the one place he can stay, which has to have caused him no end of emotional rollercoasters.

The movie then leads us on a story beat for Ivo. Someone wants his technology, someone thinks it's useful. (Hang in there, Stone.) It's been stated multiple times over the past few movies that Ivo has no family, which makes the appearance of his grandfather a pretty poignant moment for him.

Or. It would be. If it wasn't so weirdly done. I know, I know, I'm harping on a movie made for kids. But they could have made it fun while keeping the intricacies, and for all the hype, I personally was disappointed.

Again, this removes a lot of Eggman's canon dynamics with his family. In Sonic Frontiers, Eggman's diary entries talk about how he felt about his grandfather and how he never knew his cousin Maria. Sonic Adventure 2's Eggman states that he used to look up to his grandfather, and his plan for the ARK and Project Shadow just made Gerald look even more brilliant to Eggman. He is canonically attention-starved from his own family.

After a montage of Ivo finally having a grandfather, someone who needs his genius and thinks he is smart, we see a story beat about a neglected person realizing their true friend was right beside them all along. Stone doesn't give up on him the entire movie even though Ivo throws him aside because his grandfather could do him no wrong. Then at the end he realizes how insane Gerald is, that he doesn't want the planet destroyed- which is canon to SA2- and chooses to save it, even if it costs him his life.

This is more set up than the entirety of Shadow's story. The actor's dynamic with himself is focused on quite a bit, and with the additional phenomenal sad puppy eyes of Agent Stone's actor we have the kicked aside supporting cast we need. Of all the character "deaths" in the movie, Ivo is also the only one mourned for.

I'm bitter about that. But my personal feelings are another rant.

This is why Sonic Movie 3 is not an adaptation of Sonic Adventure 2. It is not a story about Shadow, or a way to set him up as a man-made powerhouse to contrast against Sonic's force of nature. It's a story about the Ivo Robotnik of the movieverse and his emotional journey with family.

There's so much more I want to say. I want to complain about how they only used Live & Learn for about five seconds, about how the stars twinkled on the moon, about Shadow not being mourned at the end despite the unskippable cutscene after the Finalhazard fight in SA2, about Tails the sweet 8 year old child cheering as an old man gets launched into what's basically a nuclear reactor-

But that's another rant, and if you've made it this far you're probably tired of reading for the minute. I'm doing my best not to bash the movie as it is.

All in all, I am glad I went to see it. But it is not Sonic Adventure 2. And I'm currently coping by envisioning it as a dramatized AU.

I look forward to deleting the hate comments from my inbox.

[pen-and-umbra]

Ever Crisis's intriguing development could have far-reaching consequences for the Remake's finale. With it, the circulating theory about Sephiroth assuming a new role just got a boost.

I had suspicions that Ever Crisis was being clever with its storytelling. This was the first scene that caught my attention.

Glenn's team briefly touches upon how secrets as well as childhood memories end up in the Lifestream. The focus on Sephiroth's adolescence in the title makes this detail quite telling.

In later chapters, Sephiroth's cherished necklace, holding a picture of his mother, is also cast into the Lifestream. In a possibly related context, Lifestream Black indicates that OG Jenovaroth discarded his human memories, including those of childhood and friends, to retain independence in the Lifestream and prevent assimilation by the Planet. By discarding these additional memories and linking himself to Cloud, he furthered his agenda in Advent Children. These memories also make their way into the Lifestream.

Previously, the relationship between these tidbits and EoC!Sephiroth was speculative.

Players have observed stark contrast in Sephiroth at the Edge of Creation: his livelier expressions and defensive fighting style against Cloud, reminiscent of past battles with Angeal and Genesis in the VR simulator. Notably, the distinction in pronoun usage was emphasized: masculine 'ore' instead of Jenovaroth's gender-neutral 'watashi,' reflecting the symbiotic relationship between post-Nibelheim Sephiroth's body and Jenova cells that Jenovaroth fixes his lower body with. Drawing from these observations, some fans have theorized that EoC!Sephiroth showed a stronger connection to his human side. With Ever Crisis' latest chapter, that inference is no longer theoretical. Sephiroth at the Edge of Creation mysteriously possesses human memories.

Now, Edge of Creation can be thought of as a smaller-scale pocket dimension, akin to Destiny's Crossroads. Fascinatingly enough, its emergence is accompanied by colorful glow effects, not too unlike the effects of branching universes introduced in FFVII Rebirth.

It appears to be stranded between two universes, as represented by the two separate nebulae in the backdrop. According to developers (courtesy to aitaikimochi translated Ultimania bits), one of them alludes to Sephiroth's winged appearance and was intended to evoke imagery of his menacing presence. I can only imagine it referred to his Safer Sephiroth form.

The red one, on the other hand, displays some parallels to Jenova's monstrous appearance (courtesy to u/nzivvo pointing that out). Thus, EoC! Sephiroth is stuck between “Sephiroth's menacing presence” and “Jenova” figuratively.

And yet, EoC!Sephiroth indicates a desire NOT to vanish/end [presumably as a result of worlds merging?]. As he does so, he glances at "Sephiroth's menacing presence" nebula

So who is EoC!Sephiroth? Various interpretations align with the newly introduced lore. It could be Sephiroth who regained his human senses sometime down the line — a singularity-like dimension appears to exist beyond time-space and is connected to all points in time, just like Destiny's Crossroads. It could be a fragment of his spirit—his human memories, hopes and dreams creating an 'alternate world' within the Lifestream. It could be Sephiroth from some other “world”—perhaps, a timeline where he never went insane and never took a dive at Nibelheim. At any rate, he seems to be trapped in that bubble dimension, which is also destined to disappear [become part of another world] one day, a fate he seemingly opposes. Interestingly, in Aerith's "dream world," it is revealed that she was hiding in one of the worlds that was purportedly "ending" or "embracing its fate [to be merged/vanish]”.

Such circumstances share uncanny similarity to the ones EoC!Sephiroth is facing. Therefore, it's possible that EoC! Sephiroth isn't sealed/trapped by external force per se, but is concealing his presence. For what purpose? That remains to be seen. Peculiarly, FFVII Remake Ultimania provides different entries for Sephiroth we encounter at the end of Midgar’s highway and Sephiroth we talk to at the Edge of Creation.

Moving on. From a storytelling standpoint, it's deliberate that at the Edge of Creation he contemplates his journey to becoming who he is, what values he held and at what cost. His monologue about the cycle of hatred is particularly memorable.

Not only does the scene emphasize his caution when it comes to violence that he ostensibly came to develop after being part of Glenn's team, but also his lack of enthusiasm for it. Notably, he offers the enemy soldiers to stand down, not resorting to combat from the get-go. The monologue further conveys the desire to end the cycle of hatred.

So maybe asking Cloud to lend him strength wasn't a ploy or a trick after all, if EoC!Sephiroth is a being entirely distinct from Jenovaroth, one that remembers that once upon a time he strove to end the cycle of hatred and vengeance.

👋 @pen-and-umbra

[atlassolidbackup]

as a Sonic fan, here's my requisite "how to improve Sonic Forces" idea

first of all, have Classic Tails in the game as well. i need that little man in my life more.

Have him be the one to rescue Sonic from being held captive (there's already a great fic about how that might work: https://archiveofourown.org/works/43067238/chapters/108221763) (also remember that according to Tails Adventure he has explosives on his person. he could do it)

Modern Sonic is helped by Classic Tails to find and reunite with Modern Tails since he's gone AWOL, and have them have an incredible reunion scene even better than what SEGA gave us

meanwhile, have Gadget team up with Classic Sonic and have Classic Sonic serve as a kind-of silent mentor to teach Gadget the values of teamwork and resisting oppression! since Gadget is a stand-in for the player, him teaming up with Classic Sonic serves as a parallel to all those kids who grew up on the original Genesis sonic games in the 90s.

thats it for now but do you see my vision

[salternateunreality2]

Concept I CANNOT get out of my head: Lucretia ends up pregnant with identical twins. Sephiroth has a brother. How does this change the story?

Thanks for the ask! Lots of possibilities here, so there's a sad/likely one up top and some happy crack ones if you scroll down.

Angst answer (CW: major character death, Hojo shenanigans)

Hojo pits them against each other to encourage growth and competition. Fear of punishment plus natural ambition (they have 3 very ambitious parents) drive a wedge between them.

They bond a bit over shared trauma, but Hojo is invested in severing that bond every chance he gets, to make them more dependent on him.

Wutai falls almost immediately. Rhadore is wiped off the map mercilessly. Shinra's power grows at an even more alarming rate.

Due to their fierce competition, they don't spend time getting to know anyone. The saving graces that could have been in their lives (FS trio, Banora Boys, Zack) are shoved aside. They are very, very lonely men, or even boys because the plot progresses so much more quickly.

They are bitter, spiteful, and sharp. Cadets and underlings fear them.

Only one gets sent to Nibelheim, and Hojo knows what's there. The other is kept at home as a control.

He falls, of course. If he is younger because of the accelerated conquering, then Cloud doesn't stop him and dies as a child in the fires. Zack hasn't made rank and is probably just a trooper, and it's one of both of the Banora boys who tries to stop him.

Let's go with both for maximum angst!

Crazyroth wounds Angeal severely and Genesis manages to stab him and kill him while getting severely wounded himself and sliding down to meet Angeal. Zack is either killed in the river or by Crazyroth as a trooper.

Angeal and Genesis are picked up by Hojo for experimentation. Tifa's also dead because she was a younger child too and hadn't advanced enough in training yet.

Hojo is furious Crazyroth died, but he still has Normalroth...well, Jenova got activated somewhat during Crazyroth's rampage and is now in the lifestream with him...so Normalroth is getting constant migraines.

Angeal wakes up and breaks himself and Genesis out, following Zakkura's path. Thanks to Hojo's experimentation, they don't suffer degradation and thanks to their prior enhancements, Genesis wakes up sooner than Cloud did.

Genesis is furious and convinces Angeal to go to war against Shinra. Unfortunately, with no bond to hold him back and no clones to help GenGeal, Normalroth obliterates the pair, but does get wounded.

Meanwhile, Aerith is haunted by the planet's screams as Jenova taints the lifestream, just as Normalroth is haunted by his brother's voice echoing his mother's.

Avalanche proceeds as normal and the president drops the plate. Aerith is spared by the Turks, Hojo finds out, kidnaps her to make her make babies with Normalroth.

The only thing that saves her from that fate is Normalroth snapping after all his headaches and killing everyone, including her, in the tower.

The Turks sensed danger and got Rufus away, but now a planet-level threat is roaming around all rabid and there are no plucky teams of young adults to band together, collect friends, and stop him. Plus, Jenova+Twinroths starts from a stronger position with a living body.

Jenova gets her way, eats everyone on the planet, and uses it as a vessel to see the stars.

Twinroths are finally at peace, doing one activity they both always loved: stargazing.

As they fly, conquering worlds and living freely, they meld together more and more into one entity with Jenova, and enjoy it immensely. At long last, the connection they longed for ❤️😺😺🐙❤️

Precious boys:

Them riding Mother's coattails:

Crack answer 1:

It's Chadley. Chadley and Sephiroth.

In the most likely scenario, this just results in Hojo letting Chadley skip some torture as long as his scientific progress is beneficial to Hojo, but the boys both still get trained in war and end up in the angst case above.

Sephiroth cracks first, then Chadster.

In a more hopeful situation, both boys spend more time on science and the angst above is delayed by a few years! Woo!

In the best case scenario, they band together. Sephiroth wants to protect his "baby" brother and Chadley wants to protect his naive older brother and they work together to kill Hojo and Shinra and run off with Glenn and co. and live happily ever after as accomplished astronomers and maybe astronauts.

Crack answer 2:

They are gremlins of the highest order and enable each other in escape attempts, eventually finding Vincent, who falls for their chaotic charm immediately and protects them with his life.

[queenoftheantz]

Top 5 Anime/Manga characters of all time and why?

oh wow hmmm....

Completely subjectively:

Oikawa Tooru (haikyuu!!)

Oikawa... he is just yknow. My Character. But I also often in my daily life have a little Oikawa in my head reminding me that my passion is my passion because it's fun and I love it. That talent and skill are intertwined but also not static or pre-determined, that I might not be as good as I think I should be, and I might never be, but if I don't try I definitely won't. Maybe I will reach my goal today, or tomorrow, or in 30 years. And I can do it at the pace and path that suits me. He speaks of all this AS WELL as the very bitter feelings that preceeds these revelations. I also really love his focus on facilitating others, of reaching potential together, of trust and faith in his team and their in him!

2. Marcille Donato (Dungeon Meshi)

Oh Marcille. (Manga spoilers here) Marcille started out so silly and to be honest? Annoying? Girly and anxious and squemish. But then you realise that these parts are absolutely true, but she is also determined and loyal and scared and unafraid and skilled. The firly and squemish becomes charming in contrast to her being excited to experience death and morally ambigious enough to use ancient magic or become a dungeon lord. And then you learn even more about her and her family, the way she grew up and how she probably is... pretty young, considering everything. The knowledge and life experience of someone being 40 maybe, but with the brain to handle it of a 19 year old... she is so afraid for everyone to die away and yet she cant help but love people! Isn't that lovely!? And as someone very afraid to lose my parents I really really feel for her relationship with her father. I think Marcille was a character who really illustrates the progression of tone in Dungeon meshi, represents the themes of the story so well, and really grew on me. Also gay. hi.

3. Shinji Ikari (Neon Genesis Evangelion)

I know people don't like this guy but he shaped me so much as a teen. I think his journey through lacking self-esteem and depression and self hatred is both fascinating, nuanced and in the end, encouraging! Imagine being offered to join humanity all as one, never feel rejected or alone again and then DESPITE all he has gone through, chosing to be yourself after all! And frankly I love that the show lets him be cowardly and weak and unsympathetic, it makes him more real and make his strong moments stronger. Also gay. hi

4. Mob (Mob psycho 100)

Mobs story is more low key, but I also enjoy a story about a young boy who FIRST has to find the motivation to improve himself, and THEN has to realise that improving yourself and being a good person does not necessarily mean to surpress any negative or strong emotions. Once again, a story about acceoting yourself, even the sides you have a hard time controlling and find off-putting or scary. And I think Mob gets to realise this in a silly and gently way!

5. Abe takaya (ookiku furikabutte)

Oh Abe. It's that one page. When he is explaining to Sakeaguchi his backstory with Haruna, and he is talking about it so casually, it's no big deal, but you can tell. "Everyone is afraid of pain". It makes my heart clench every time. It's his control-issues, his fast felling into caring about Mihashi as a person, but then slowly realising what that actually means. It's him being shocked by the smile, it's him doing anything to win, it's him not realising how mean he is. In a different story Abe would have been a bully. But fortunately for him Momoe and the team and Mihashi himself are not putting up with any of it and he slowly and also gently improves himself. I gotta catch up with oofuri. (also gay. hi)

Shout outs to: Hinata Shoyo (of course), Mihashi Ren (also of course), Edward Elric, Sophie (Howls moving castle movie), Reigen (im not immune), Tamaki (ohshc, sometimes i just think about him and hes so charming and fun and i relate), Kanamori (Keep your hands off Eizouken!, shes just. so cool. It's a fun show but every time shes on screen im blushing a bit shes just! Wow!), and the straight college student from one of my fave BL's who has to go on a personal journey to accept that he actually likes a man who's bigger and taller than him and has a big ass. Shoutouts to him too.

[foreststarflaime]

I became fixated on Sephiorth’s hair while doing my own. Will you share your Sephiorth hair headcanons with me?

It would be my pleasure!

When he was young and in the labs, Sephiroth had no say over his hair. Hojo always made sure it was kept cut short, if not entirely shaved, for convenience—he didn’t want to have to be constantly moving it away while he was operating/working and constantly be having to clean up shed strands of it.

Closer to the time of First Soldier, Hojo is ordered to ensure it grows out a little, so he’ll look better for PR. Sephiroth accepts the change as neutrally as every other thing out of his control in his life at first, but upon further inspection of his emotions he finds that he very much likes it. It’s so soft, softer than anything he’s felt before, and the color—he loves the color! It’s like the moon, or the seemingly wondrously infinite amount of stars that hang in the sky above Rhadore, where he sees them first. Lucia even remarks one time that his bangs make him look like his mother. He could have died right there with delight.

He starts letting it grow even longer—he likes how it looks, and the longer it is the more he is reminded that he is not as controlled by Hojo anymore. It’s a little act of defiance made physical, him making a choice for himself. Genesis and Angeal encourage this greatly once they discover at least the ‘making a choice for himself’ part, even if he doesn’t let them in on the true depth of Hojo’s cruelty. He keeps growing it longer and longer because, well…

Genesis continued to hold his hair back, running his hands through it soothingly ever so often, as Sephiroth alternated between breathing unevenly over the toilet and nearly turning his insides inside-out. At some point, Genesis began braiding the strands together, murmuring something Sephiroth didn’t have the presence of mind to decipher. The fingers against his scalp felt wonderful. He resolved never to cut his hair again if its longer length encouraged this sort of attention.

Valued Presence by me

Because he is a cat begging for attention by putting himself noticeably in the way. He also discovers that he can tilt his head to hide his face behind his longer bangs when he wants to, giving him slightly more privacy than previously—and he’ll take all he can get. Also, he looked in the mirror once while tying up his hair and jumped a little because the face staring back at him was his mother’s. Slightly different in the details, sure, but he looked so much like her. That was one of the rare times he found himself crying.

He is allowed to keep his hair at its longer length because the public seems to love it, and also it opens up plenty of marketing deals with hair product companies. Sephiroth dislikes the further press, but he tolerates it because it ensures Hojo is not allowed to take away something Sephiroth has become so attached to. Plus, he’s good enough at fighting now that it doesn’t post too much of a risk in combat—he moves too quickly for any opponent to have the chance to grab onto it, and even if they did they would soon find themselves lacking a hand or two. It’s more than worth the slight risk, he thinks.

Genesis and Angeal are the only people he allows to touch his hair (since team Glenn is long gone…Zack eventually earns the privilege, but only after he calms down). Actually, it’s strange…when anyone else tries to touch it, even when Sephiroth is facing away and seemingly unaware, his hair seems to move out of the way of whatever creepy fan is trying to lay hands on it. Like a breeze brushed it aside at just the right time, except…the wind that day was pretty much nonexistent? And blowing the other direction whenever it did exist? Weird. Almost as if it moved by itself.

Genesis used to have long hair, and he secretly misses it a little. Not enough to grow it back, but he does. He loves playing with/taking care of Seph’s partially because of this, and Sephiroth happily obliges him. He practically melts when he gets his hair brushed (does he purr? Probably), and Genesis is wonderfully skilled at complicated braids. The more bored and/or sentimental Genesis is feeling, the more braids appear in Sephiroth’s hair.

Since he helps Sephiroth with his hair so much, Genesis has discovered some…rather odd things about it. It’s unnaturally shiny, sometimes seeming to keep its silvery glow even for a few minutes after Sephiroth has come away from a light source, especially that of the stars/moon. It doesn’t glow quite as bright as his eyes, but it’s still noticeable to the enhanced eye. It is also noticeably harder to cut than normal human hair—it’s more like clipping fingernails to trim the ends of his hair.

His hair seems grey more often than silver after Genesis leaves. It’s messy and unkempt. He finds he has much less energy to take care of it when every brush of his own hair reminds him of what he’s lost.

After Nibelheim, his hair takes on an almost purplish-grey sheen, marking him even more with Jenova’s heritage. The moving on its own thing happens much more often and noticeably now—it sways dramatically when there is no breeze, and curls towards Cloud as if it were threatening to wrap around him.

[anonymousewrites]

Logos and Pathos (Book 4) Chapter Twenty

TOS! Spock x Empath! Spouse! Reader

Chapter Twenty: Whale Rescue

Summary: The crew makes a plan for whale-napping.

            “How have you been feeling, Spock?” asked (Y/N), sitting down beside him within the Bounty.

            “Adequate,” said Spock.

            “What about your mind?” said (Y/N).

            Spock considered. “Things are still…different, at times. I admit I must still adjust. However—” He touched their hand, smoothing his fingers down to theirs. (Y/N)’s heart skipped a beat. “—Never doubt my heart remains with you, T’hy’la.”

            “Even if your mind isn’t the same?” said (Y/N) softly.

            “My mind merely has gaps. Those will heal with time,” said Spock. “But the moment I awoke on Genesis, before my mind even had a chance of returning to me, I looked for you. I could feel you, out there, in the universe.” He smiled slightly and leaned towards (Y/N). “I have been, and always will be, yours.”

            (Y/N) leaned back towards him, kissing him softly.  They had needed this moment with him to know for certain Spock was acting as he wished and not just on “autopilot.” He still cared. He was still their Spock. That was all that mattered.

            “And I am always yours,” said (Y/N).

            Spock was extremely glad of that fact.

l

            “How was your dinner?” asked (Y/N) as Kirk came aboard. Scotty and Bones—successful in their mission—had arrived a little while before. Sulu was still…somewhere, but apparently he’d been doing just fine, so no one was concerned.

            Kirk sighed. “We lie; she’s unhappy. I tell the truth; she doesn’t believe it.”

            “Well, it’s pretty unbelievable,” said (Y/N). Telling someone “we’ll bring the whales to the future where they’re extinct but can take care of them” didn’t seem very possible.

            “What’s everyone else’s status?” said Kirk.

            “The tank will be finished by morning,” said Spock.

            “That’s cutting it closer than you know,” said Kirk. “What about Team Two?”

            “No word since beam-in,” said (Y/N). “We can only wait for them to call us.”

            “Damn it. Damn it. We’ve been so lucky,” groaned Kirk, worry permeating his aura. “We’ve got two perfect whales right in our hands. If we don’t move quickly, we’ll lose them.”

            “In that event, the probabilities are that our mission would fail,” said Spock.

            “Our mission?” Kirk grimaced. “It goes beyond that. This is about the end of every life on Earth.” He groaned. “You’re half-human. Don’t you have any feelings about that?” Sighing in frustration, he walked off.

            Spock watched with a furrowed brow and slight frown. (Y/N) placed a hand on his arm in comfort. Kirk was stressed. They all were. The consequences of failure were unacceptable.

            “Captains?”

            (Y/N) and Spock looked at Scotty as he peeked around a corner.

            “Yes, Scotty?” said (Y/N).

            “We’ve got Uhura,” said Scotty.

            “But Chekov…” Uhura shifted. “He might have been…captured?”

            “Captured?” repeated (Y/N).

            “The Americans don’t seem to like Russians very much,” said Uhura.

            “Let’s tell Admiral Kirk,” said (Y/N). “Nothing else to do but inform him and make a plan to get Chekov back.”

l

            “Admiral, I’m sorry, I never should have left him,” said Uhura after they relayed the additional problems they had encountered.

            “You did what was necessary,” said Kirk, shaking his head. “Keep trying. You’ll find him.” He pressed a comms button. “Scotty, you promised me an estimate on those dilithium crystals.”

            “It’s going slowly, sir,” said Scotty. “It’ll be well into tomorrow.”

            “That’s not good enough, Mr. Scott,” said Kirk. “You’ve got to do better.”

            “I’ll try, sir. Scotty out,” said Scotty.

            “Admiral?” said (Y/N).

            “Yes, (L/N)?” said Kirk.

            “Everyone is doing the best they can,” said (Y/N). “If they can go any faster, they will.”

            Kirk paused, took a deep breath, and nodded. “You’re right. You’re right. I just—without the whales, we’re in trouble. And we don’t have them.”

            “Dr. Taylor cares about them,” said (Y/N). “That’s one thing we both know. And we may be…strange, but we tell the truth. I think Dr. Taylor can understand that, and she’ll make the right decision.”

            “You think so?” said Kirk.

            (Y/N) smiled. “Humans have always been resilient.”

            Kirk smiled. “What would I do without you and Spock to keep me grounded?”

            “You’d have to retire,” teased (Y/N). “You’d be useless.”

            Kirk chuckled, and (Y/N) smiled at the warmth of emotion returning to him.

l

            “Open the hatch, Sulu’s arrived,” called Scotty.

            Spock pressed a button, and the roof opened to let Scotty peer out and direct Sulu—piloting a helicopter (he could fly anything)—into lowering another piece of tank into the ship.

            “Admiral! Admiral Kirk!”

            (Y/N) paused and turned on exterior cameras. “Oh, dear.”

            Gillian was standing outside and holding onto the cloaked leg of the Bounty. “Admiral Kirk, can you hear me? They’re gone! I need your help! Are you in there?”

            “Admiral,” said (Y/N), calling through the ship. “We have a visitor.”

            “Admiral! Admiral!” shouted Gillian desperately. “Can you hear me? I need your help!”

            “What do we do?” asked Bones.

            “Let her in. It would be rude not to,” said Kirk.

            “Aye, Admiral,” said (Y/N), pressing a button.

            Gillian was promptly beamed in. She spun, looking around herself in panic.

            “Hello, Alice. Welcome to Wonderland,” said Kirk as she spotted him.

            “It’s true,” she breathed.

            “It’s true,” said Kirk.

            “What you said,” said Gillian.

            “Yes, it is,” said Kirk. “And I’m glad you’re here, but I must admit, you picked a hell of a time to drop in. Take it easy. We need your help.”

            “Is this…really real?” said Gillian.

            “It is,” said (Y/N), leaning on the controls of the Transporter. “Take a look.” Their sunglasses were perched on their head, and Gillian’s breath caught as she saw their brilliant golden eyes.

            “You’re—You’re—” said Gillian.

            “I am,” said (Y/N), smiling. “Come on.” They led Gillian and Kirk towards the tanks.

            “Storage tanks for your whales,” said Kirk. “We’ll bring them up. The same way we brought you up—”

            “Admiral, they’re gone,” said Gillian.

            “Gone?” said (Y/N).

            “They were taken last night,” said Gillian, fury and fear in her aura like a whirlwind. Her care for George and Gracie went deep, and losing them was difficult. “I wasn’t told. They’re in Alaska by now.”

            “Damn,” cursed Kirk.

            “But they’re tagged, like I told you,” said Gillian. “I mean, you can go find them, right?”

            “We can’t go anywhere,” said Kirk.

            “What kind of a spaceship is this?” said Gillian, gesturing around herself.

            “It’s a spaceship with a missing man,” said Kirk.

            “Admiral, full power has been restored,” said Spock, joining the group in the hall. He had taken off his headband, leaving his pointed ears on display.

            “Thank you, Mr. Spock,” said Kirk.

            Gillian stared in amazement.

            “Hello, Doctor. Welcome aboard,” said Spock, nodding to her.

            “Admiral, are you there?” said Uhura over the comms.

            “Yes, Uhura. What’s wrong?” asked Kirk.

            “I’ve located Chekov, sir,” said Uhura. “They’re taking him to emergency surgery right now.”

            “Where?” questioned Kirk.

            “Mercy Hospital,” said Uhura. “They report his condition as critical. He’s not expected to survive.”

            “Jim!” Bones climbed up from the hold. “You’ve got to let me go in there. Don’t leave him in the hands of twentieth century medicine.”

            “Admiral, may I suggest that Dr. McCoy is correct?” said Spock. “We must help Chekov.”

            “Is that the logical thing to do, Spock?” said Kirk.

            “No. But it is the human thing to do,” said Spock.

            (Y/N) smiled. Those “gaps” in his mind were definitely healing. “Dr. Taylor,” (Y/N) addressed her calmly. “Will you help us?”

            “How?” asked Gillian, bewildered.

            “Well, we’re going to have to look like physicians,” said Bones.

            “…You’re from the future, and you don’t know what doctors look like?” said Gillian.

            “Doctors on my planet where white robes,” said (Y/N).

            “I dress like this,” said Bones, gesturing to his beige clothes. “When not in Starfleet uniforms.”

            “The twentieth century is far different from the twenty-third,” said Spock.

            “…Right,” said Gillian.

l

            “Good luck, you three,” said (Y/N), looking in amusement at the costumes of Gillian, Kirk, and Bones. There was no room for sunglasses in such an outfit, so (Y/N) was working the Transporter with Uhura instead.

            “Thank you,” said Kirk.

            “This is a horrible uniform,” said Bones.

            “You prefer to dress like you’re on a safari?” said Gillian.

            “What’s a ‘safari?’ ” said Bones.

            (Y/N) shook their head with a chuckle as Bones’s winked, clearly playing up the “futuristic” thing, and pressed a button. “See you on the other side.” The three were sent off to Mercy Hospital.

l

            “Ready in three…two…one,” said (Y/N).

            Uhura pressed the same button and pulled a lever. Outside of the Bounty, four people rematerialized. Promptly, Bones pulled Chekov towards the ship to properly look after him, and Kirk began asking about the whales to Gillian. She spoke quickly to him, and (Y/N) tilted their head.

            “I think she wants to come along,” said (Y/N).

            “To the future?” said Uhura, eyes wide.

            “She loves the whales,” said (Y/N). They considered. “Not a bad option. I mean, she’d know how to take care of them better than we could. They’re extinct when we’re from.”

            “Beam me up, (L/N),” said Kirk over the communicator.

            “Looks like he’s not letting her,” said Uhura.

            “Do we think she’s going to accept that?” said (Y/N), grinning as they pulled the lever.

            Uhura watched onscreen as Gillian threw her arms around Kirk as he dematerialized. “No.”

            (Y/N) laughed. “Let’s get to the Bridge.” It looked like they were gaining a crew member for the time being, and the future would be getting a whale expert.

l

            “Spock, where the hell’s that power you promised?” asked Kirk, hurried as he rushed onto the Bridge with Gillian behind him.

            “One damn minute, Admiral,” said Spock, returning the colorful metaphor.

            “Hello, Dr. Taylor, welcome back,” said (Y/N), winking at her.

            “I’m ready, Spock,” said Scotty over comms. “Let’s go find George and Gracie.”

            “Sulu?” asked Kirk.

            “I’m trying to remember how this thing worked,” said Sulu, pressing a few controls on the Klingon ship console. “I got used to a Huey.”

            “You tricked me,” said Kirk to Gillian as soon as moment appeared.

            “You need me,” replied Gillian.

            “She’s right, sir,” said (Y/N). “And she knows it. No doubt in her at all.”

            Gillian furrowed her brow.

            “Well, now there’s curiosity, but not the same,” said (Y/N).

            “How do you know that?” said Gillian.

            “Introductions,” sighed Kirk. “I’m Admiral Kirk, you know me. You’ve met Dr. McCoy, our doctor. Mr. Scott works in Engineering. Uhura is our lovely and talented communications officer. Sulu is our navigations expert. Chekov is our jack of all trades. Spock is my science officer—”

            “And he’s not human,” said Gillian.

            “He’s half,” said (Y/N). “Half Vulcan. You’ll learn about that in the future.”

            “And you’re?” said Gillian.

            “Also not human,” said (Y/N). “Celian.”

            “They’re an empath and our Negotiations and Communications officer,” said Kirk. “(Y/N) (L/N).”

            “An…empath?” repeated Gillian.

            “I’m a psychic. I can feel your emotions,” said (Y/N). They waved a hand at Gillian’s shock and slight fear. “Don’t worry. I can’t read your thoughts.” They smiled warmly, putting Gillian more at ease.

            “Ready, sir,” said Sulu.

            “Take a seat,” advised Kirk to Gillian. “Now, Mr. Sulu.” It was time to save the whales.

Taglist:

@a-ofzest

@grippleback-galaxy

@genderfluid-anime-goth

@groovy-lady

@im-making-an-effort

@unending-screaming

@h-l-vlovesvintage

@neenieweenie

@keylimeconstellation

@wormwig

@technikerin23

@ilyatan

@nthdarkqueen

@kyalov

@starlit-cass

@rookietrek

@gingertimelord

@snowy-violet

@jaguarthecat

@jac012

[sunsorbit]

Hi there! feel free to ignore, how did you like the most recent skyjacks arc??? I’d be interested in seeing some…discussion of it but it’s hard to find anyone keeping up these days hahahaha

dear internet stranger i have stopped listening to skyjacks in 2022 (when patro appeared on azure blues and straight up killed my love for the podcast and margaret my favorite character ever) but there has been select discussion on the discord server about this arc and more!

I personally dislike patro with a burning passion and don’t think he should be allowed in an AP medium ever again lol imho he doesn’t know how to be a team player, how to let other people occupy the stage or have a moment for themselves, or that his funfacts aren’t fun to listen to, or even that he understands the concept of collaborative storytelling at all, so listening to him for more than 3 minutes is literal actual hell to me, i despise the way he talks about women and female characters or treats them in his fiction or his “rp” choices — so even tho my favorite two characters (margaret and travis) were back on the cast for this arc, nobody could get me to listen to this. not even the devil could.

there’s a lengthy azure blues vent/hate post that summarizes my feelings on patro pretty well that has sat in my drafts since 2022 lol because i’ve been too chicken to post lmao but at this point i don’t particularly care anymore. so anyone reading this hmu if you want the azure blues hate post lol

I run a skyjacks genesys game for my friends since 2023/have been planning it since late 2021, so that’s where all my skyjacks love and attention has gone in the past three years :)

[acquired-stardust]

Anime Spotlight #5: FLCL (2000)

Looking for something to watch? Ash tackles the impossible task of looking at an extremely formative anime for her in FLCL! How can you possibly hope to do something like that justice? Just try to hit the ball like you're defeating the enemy, chief!

Back towards the middle of March, voice acting lost one of its unsung heroes in Dave Mallow. Mr. Mallow was perhaps most famous to my generation as the voice of iconic digimon Angemon in the dub of the original Digimon (1999) series, but he also did a lot of heavy lifting in additional roles across many titles during his career. It wasn't uncommon for dubs of this period to feature his immediately recognizable voice, and series like Rurouni Kenshin (1995) wouldn't be the same without him. The role that first springs to mind when thinking about the late Mr. Mallow however is FLCL's Commander Amarao, and so this piece is dedicated to his memory. Click beyond the break to read more about one of the most well regarded OVAs of all time, who's anniversary just so happens to be today!

"Nothing amazing happens here. Everything is ordinary."

The oft-repeated refrain from series lead Naota Nandaba, a tween living in the fictional Japanese city of Mabase, belies the mile-a-minute madcap insanity and deceptively heavy emotion that is to unfold across FLCL's mere six episode run. Its first utterance is followed by the apparently frequent sexual assault of its lead character by his older brother's girlfriend before he is then struck and injured by a mysterious passing motorist, sets the stage for a deeply layered coming-of-age story about the nature of adulthood, the concept of the inner and outer selves and some of the shockingly realistic impact of grooming and abuse can have on young people.

Having first come to America as part of Adult Swim's takeover of pop culture in the early aughts, FLCL is a series that you've probably at least heard of in passing if you have any level of familiarity with anime. Variously described as being either the greatest thing a person has ever seen or an obnoxious, vapid series about nothing relying purely on 'the vibes', it's gained a reputation as being divisive and even people who fall in love with it often say they have no idea what they just watched or what it was about. Given that you're reading this spotlight it should be clear what the position of this blog and author are: FLCL is one of the most incredible works of art in its medium and hopefully by the end of this piece you'll be giving it a chance for yourself if you've yet to see it.

FLCL's creative team is an assemblage of the anime royalty that is Gainax from the previous decade including the likes of director Kazuya Tsurumaki, scriptwriter Youji Enokido and character designer Yoshiyuki Sadamoto, all of whom by this point were seasoned veterans of the industry most famous for their involvement in paradigm shifting classic Neon Genesis Evangelion (1995) - even future industry stars Hiroyuki Imaishi and Yoh Yoshinari would have key involvement in the series. FLCL even features a cameo from Hideaki Anno in the Japanese version. It is no surprise then that FLCL is perfectly at home in the pantheon of Gainax's melancholic character studies chock full of flawed and often extremely problematic characters, and it should also be unsurprising to hear that it is full to the brim with both style and substance.

This creative dream team is rounded out by the not-so-secret weapon of the series in musical contributions by Japanese alt-rock band The Pillows, able to shift effortlessly between a sort of sardonic disaffection that doesn't take itself seriously and an almost folk style philosophy and earnestness on a dime.

Characters speak in dense multilayered metaphor and pop culture references seemingly at once to each other and to the viewer both, standing amid backgrounds rendered at times in a style reminiscent of watercolor. Their appearances are something of a fusion of the familiar designs of Sadamoto in an aesthetic more akin to Digimon (1999). They move like real people with an impressive eye for detail only to suddenly switch to a squash-and-stretch cartoonish style, all with incredible cinematography and a denseness that mirrors the dialogue in its ability to draw reference to other anime and pop culture at large including an extended scene clearly molded in the style of South Park (1997). The scenes big and small are punctuated by extremely high quality music in ways that make it some of the best utilization of music in anime as a whole.

The result of the fusion of so many of these contradictory elements is a series itself predicated beautifully upon contradiction, thoroughly marinated in melancholy that will leave you coming back for more time and time again with subsequent rewatches.

Naota's supposedly ordinary life is dominated by the need to portray his interpretation of the ideal adult. A desperate need to grow up, not really knowing exactly what that means or feels like and inevitably how much loss growing up entails from both time and people. Striving to appear unmoved by the futilities of life, Naota embodies a sort of performative stoicism that sees him drinking perceived 'difficult' sour soft drinks to show off just how mature he is while returning home for a curry dinner that is of a mild spice level specifically due to his intolerance for its flavor.

Naota's interpretation of adulthood is someone who is able to sleepwalk through life with a shrug to things he perceives as childish, like emotion, and to be able to silently shoulder burdens, blinding him to just how abnormal his life actually is. He is unable to identify his older brother's girlfriend's deep mental illness or just how unusual a highschooler involving herself with a gradeschooler is. His father is essentially the town paparazzi, which doesn't seem the slightest bit odd to Naota even as that plot thread begins to see some exploration. The near extent of his questioning of the charismatic manipulator he finds himself wrapped up with in addition to his brother's girlfriend is only questioned insofar as she seems to buck so many of the ideas Naota has around adulthood and how she is able to dangle it in front of his face almost like a set of shiny keys to a baby.

The performative and contradictory nature of the public self versus the private self, as well as the problems that inevitably causes, is a core theme of the series that every one of the series' characters grapples with in their own way and one of the most fascinating elements of the plot as it begins to unfold. I've often seen recent phenomenon DanDaDan (2024) described as 'a twisted FLCL' which is a fairly apt comparison in a lot of ways, but FLCL itself I find much of the setup of to be like a twisted version of Rumiko Takahashi classic Urusei Yatsura (1981), wherein two (this time around differently aged) schoolkids get wrapped up with a mysterious outsider and the tug of war those relationships all play between each other.

I've seen remarkably little discussion about it (actually, in my research for this article I've not seen a single person mention this) even with Urusei Yatsura's recent and well-received remake, but it's become impossible for me to see the lead characters of Naota, Mamimi and Haruko as anything other than reflections of Ataru, Shinobu and Lum respectively, and this similarity (intentional or otherwise) increases my appreciation for it rather than diminishing it. It's just one more thing that FLCL pays homage to and parodies that can be enjoyed regardless of whether you notice the allusion or not.

As this series originally aired on television, most longtime fans are most familiar with its English adaptation and I'm happy to report that it is also of extremely high quality and from as star studded a team as you can get at this period. Featuring a cast of actors that sound remarkably like the Japanese originals by and large who are mostly veterans of the craft by this point (notably this would be Kari Wahlgren's first ever voiceover role, and she absolutely stuns in her first outing), the series' English version was written and directed by Adult Swim anime alumni Marc Handler who also handled the script for Cowboy Bebop (1998) and its movie (which I've actually previously written about HERE).

The adaptation for this series was surely a monumental task and the crew has largely exceeded expectations. The script is stellar and infinitely quotable, and much of the wordplay and puns of the series have been retained as much as possible. Some of the symbolism can be lost however, despite the admirable effort and sweeping success of the adaptation. One example is a scene in episode four with a character appearing in the form of a mouse (that sounds insane writing it out, but I promise you it's a tremendous scene) in a reference to the line earlier in the series "mouth to mouth", said in English and obviously pronounced with a Japanese accent in the original Japanese version, which sounds to an English speaker like "mouse to mouse". The adaptation is memorable to me even beyond its high quality for being something was one of the first anime on television I can recall being allowed to keep its strong Japanese identity almost entirely intact (barring a reference to crystal pepsi), which believe it or not was at one time a really mind blowing factor.

While everyone is incredible in their roles including the debuting Kari Wahlgren, Dave Mallow getting the rare chance for a central role is of particular note for this piece. His character, Amarao, is a pastiche of the sort of masculinity and adulthood portrayed by Arsene Lupin III (of Lupin III (1971) fame) right down to several visual allusions, and a fantastic scumbag with one of my favorite lines of the whole series.

FLCL is an extremely dense, fast paced series with so many multi-layered details despite the sometimes otherwise slow and deliberate pace, wrapping itself almost in a slice of life style. So many things happen both overtly and under the surface even when it would be easy to think otherwise, and the series is absolutely jam packed with metaphor and innuendo. Its complexity and the way it delivers its philosophy, ultimately arriving at the conclusion that the real meaning of adulthood is to have the confidence to let people think what they want about you while pursuing what you want earnestly, is reminiscent more so of literature than animation, an opinion shared by its English writer/director Marc Handler in a 2002 interview, who had described his first impressions of the series as 'a bunch of hip animators screwing around' before coming to appreciate just how complex it is.

On a personal note, as someone who dealt with grooming and abuse of a similar nature to Naota at the same age just before it aired on television, the events of the series on him also hit extremely close to home. There are countless nights I will lay awake some 20 years later and wonder if my abuser ever really cared about me, in the way only a charismatic sociopath can manage to warp you into wondering. FLCL ultimately leads its lead character and viewer both, as is the case with so many victims, with more questions than answers and it's really no wonder that fans craved any sort of followup for so long. The series' quality on its own as well as my own situation will never fail to make me watch in an almost stunned silence any time I give the series one of my now-countless rewatches, bringing me right back to when I was Naota's age all over again.

Its soundtrack, pitch perfect and absolute sonic bliss, has remained on a constant rotation for me since seeing it all the way back in 2003 when I was able to order an imported version of it. Many of its characters and quotes right down to its episode previews have lived with me since its original airing. Kari Wahlgren's Haruko is one of the first characters I ever looked to imitate when I was getting into voice acting as part of my work on developing characters as well as for demo reel purposes, with many of her future roles also coincidentally impacting me. The character of Haruko herself is often a huge influence on people coming to some sort of terms with their gender in various ways (I find that, being androgynous, her influence can be surprisingly wide ranging) , and that is certainly true for myself as well. I notice something new in almost every single episode on just about every subsequent rewatch, of which there have been countless. Every single aspect of it is virtually carved into my DNA, and I don't know where I would be without it. The series may not mean as much to you depending on where it finds you, but I promise you that it's well worth your time regardless even if you don't end up personally 'getting it'. Remember, even Marc Handler didn't initially have much to say about it beyond the talented animation before diving deeper into the series.

A gem hidden among the stones, FLCL is undoubtedly stardust.

-- Ash