#(though In that case a 'good' character who was revealed to actually be a major villain in disguise who was already sorta established)

[acerikus]

the funny thing is. i ALSO went into the game already knowing The Twist but i FORGOT like almost instantly. so i was squinting at loop trying to figure out their deal forgetting i was already told by my wonderful mutuals on tumblr dot com. it was great

SFFSHDFHFHHDSGGDHF THAT'S AMAZING

I don't think I'll be able to forget exactly but I still have the timing and exact specific and the how of the whole thing to see and learn about and I'm excited

[xhikatsu]

Topaz's Awareness

I feel like people don’t give Topaz enough credit on how aware she is about her surrounding… It is easy to think she just blindly believes the IPC is good, or that Jade means well based on what she states. But there’s some nuances that shows her thinking is far more complex than that.

For example, just in her character stories alone, she goes against IPC rules in what she doesn’t believe in. This is shown through her rebellious behavior of purposely failing the business formality exam, or going around the rule regarding pets.

She didn’t agree and found it won’t harm her if she didn’t listen exactly to those rules according to her contract. She also tries to beef up her reasoning by proving it won’t hinder her capabilities to get her job done, making it harder to question her “exclusion” to said rules.

In a way, despite being stuck in a lifelong contract, she seems to try and go around the system as much as possible to operate the way she believes instead of blindly following the rules set.

For someone who was molded at a young age, you would think she wouldn’t be this rebellious. Especially if she truly did think that the IPC is ultimately good (added: which she actually has never out rightly stated). It’s more like she believes you can do good in the company, and she tries to take advantage of it to try and do that.

There’s only so much she can do at the end of the day, as the IPC clearly has specific conditions and goals in mind she still has to follow. However, she tries her best to examine all parties involved and present a solution that tries to make majority happy or satisfied.

This showed quite a bit in her approach with Jarilo VI. She did start off rather roughly with her initially engagement. Though she backs off to be able to assess the planet, trying to find evidence and proof for the IPC to say they can get a better deal because they have more value.

During her talk with Svarog as well, she states that she went out of her way to do extra research on seeing if planets could recover on their own from a Stellaron, indicating the possibility of not needing the IPC’s help.

For someone who claims that the IPC can help, this little action of hers shows that she doesn’t necessarily agree with the company’s method and would rather them recover on their own without the deal as long as they have proof to backup the claim.

If the planet is able to recover on their own, why sign a deal with the IPC and possibly be put on a lifelong contract like her? Topaz goes out of her way to try and find proof that they can recover on their own. However, she states her results were all negative about that search.

Going into the end of the Jarilo VI’s case when Bronya reveals the Engine of Creation, Topaz genuinely takes into consideration that the planet has a chance to recover without the IPC, giving them her full support by even taking a demotion to her position to ensure they don’t sign a deal.

This only occurred though because the planet appealed to Topaz’s rational/logical (added: risk-averse) side with proof, something she seems to value when making decisions. Without proof, she can’t take the words at face value and treats it as a note to maybe consider with some skepticism.

Now, this leads to her dynamic with Jade. Her voice lines about her does hold her in high regards, but most of it talks about her business skills and support she can provide (with a hefty price). (Added: Note that this is only EN TL, which is inaccurate as in CN, she actually refers to Jade as a benefactor and not “nobility”.)

In a logical and business standpoint, Jade’s skills are widely known and similar to Topaz’s style of getting things done efficiently. Especially as her student of sorts, she takes her teachings of business but places her own twist to it by adding in her kindness as a factor.

However, despite seeming to “idolize” Jade’s achievements and skills, Topaz has made points to show that she is aware Jade is not exactly who she tries to present herself to be as. In 2.3, she reminds her team to not call Jade “big boss”, saying they would get punished if so.

It hints that she is aware that there’s more to Jade than what she shows, especially knowing that Jade didn’t want Topaz to see her negotiate with the Family after learning how greedy they were to try and push the IPC out.

It was further hinted as well that despite seemingly knowing Jade for a decent amount of time and even being mentored by her, Topaz creates this “distance” with Jade when interacting with her. She would stay very formal ironically to her, calling her “Madam Jade” instead of "Miss Jade" until told not to.

Even when Jade insists that they are equals and there’s no need for such titles, Topaz still mentions that Jade is her senior. Even during their other talks, Topaz seems to try and strictly keep their topics to business, seemingly a bit cautious when Jade brings up Aventurine.

This is really seen specifically when Jade mentions Topaz’s trust in him. She seems to divert the topic to her logical business reason to why she would bet her cornerstone in this mission. But the minute Jade seems to casually speak about Aventurine, Topaz tries to go back to business.

It shows that Topaz is mindful with how she should behave in front of Jade, not wanting to divulge more into personal topics and strictly staying professional. This hints that she is aware of Jade’s manipulation and tries to extract what she learns from her.

What I mean is, she takes Jade’s teaching with value in a business sense. She clearly remembers her lessons and how to approach negotiation well. However, she doesn’t follow all of it by heart, changing it according to what she believes in and how she adds kindness to it.

She does value what she can learn from Jade, as it helps her strive and excel in her goal of helping others. But she navigates cautiously and seems to keep her guard up when gaining knowledge. It’s similar to Aventurine where he knows about Jade, but values what he can gain from her.

This doesn’t even go into the Keeping Up with Star Rail trailer where Topaz was co-hosting. She has always been good at analyzing and assessing. But it’s interesting she mentions not to test Jade, even hinting she was close to being “swallowed” by the abyss while looking nervous…

Ultimately, I just think Topaz is far more complex than she presents herself to be. I really don’t think she is that blinded as her words make her out to be, and her actions do seem to be contradicting to that as well.

This is just how I’ve come to interpret her behavior as I found it really off despite her words. She makes for an interesting character to analyze.

Original Date of Posting on Twt/X: Jul 3, 2024

[raven-at-the-writing-desk]

Hey Raven, hope your doing well. I was rewatching book 5 and something struck me. Crowly stills does his thing to get yuu/mc to host the NRC tribe at Ramshackle. But compare to previous chapters hes seems a little nicer, i guess? He offering renovations and upgrades ( a positive), instead of just threatening to cut yuu's food budget or something (a negative).

Where im going with this is, do you think Crowley may have felt a tiny tinge for his (in) action in book 4? Or atleast, realized he actually screwed up. He did give Yuu in case of an emergency.... and promptly ignored it (or just turned it off) when he went on break. He likely had to have heard what happened over the break...an likely saw his missed calls and put 2 and 2 together. Sure he may not feel bad enough to apologize (at least openly), but he does seem to make himself scarce early in b5. That could just be him being, well, the headmage. Maybe he's just not sure how to deal with MC or how they'd react to seeing him? So instead of threatening Yuu, he offers them something instead? Idk, maybe im reaching. Crowley relationship with Yuu is complicated. I do like to believe he has some empathy or regret (or maybe he just has more respect for yuu by b5?) After everything up to that point

Like i said, i may be reaching here. Wanted to get your input. Sorry for the long ask. Have a good one :)

In many fandom depictions of Crowley, he often serves as Yuu's guardian who is incompetent but well-meaning. I'm also guilty of doing this, Crowley is considered my OC's father figure (even if my OC isn't a Yuu). That's how we choose to engage with the characters and the world that we love! However, I don't believe that Crowley has that sort of tenderness for Yuu in canon, whether at the start or as their relationship develops over the course of the main story. Now, that's not to say that I think Crowley is cold or hateful towards Yuu. Far from it! He does care for them, but in the same way that a teacher might care about nurturing their students and preparing them for the world beyond graduation. Crowley demonstrates a similar attitude towards other NRC students, with one very clear example being in his Raven Jacket vignettes. In those stories, he likens his students to apple trees that he raises and nurtures, hoping that one day they might bear fruit. He does not particularly grant Yuu special treatment unless it's a scenario where he wants them to do a favor for him. (Though here I would also argue he does the same for other students when he wants them to resolve an issue in his place, which happens frequently in event stories; in Fairy Gala, he warns the boys they'll be held back if classes cannot proceed due to the wacky weather. In Ghost Marriage, Crowley shames the boys for not expressing interest in rescuing Idia, etc.)

I also want to set the record straight regarding how exactly Crowley gets Yuu to comply with his requests. Reviewing all avaliable books in the main story, Crowley rarely outright threatens Yuu if they refuse to help him:

Prologue — Crowley does not initially ask anything of Yuu, but he does provide them a temporary home and food until they can sort something out. During Yuu's stay, they are meant to do handiwork to earn their keep. However, Crowley tries to expel them after their involvement in breaking what is considered a precious chandelier. In this case, his anger is somewhat justified but it's still the one major example of Crowley leveraging something to force Yuu to act in a way that he desires. The thing is, it's revealed in chapter 19 that Crowley did not believe Yuu could acquire the magestone he asked for and was all set to finalize the expulsion papers. So really, he wasn't serious at all in giving Yuu a chance to redeem themselves and was going to expel Yuu anyway (until they happened to prove their "usefulness"). Whether this counts as an example of Crowley "threatening" Yuu, then, is up to individual interpretation.

Book 1 — Crowley makes no specific request to Yuu. He shows up late in the book and suggests to the frustrated Adeuce that they fight Riddle to claim his seat as dorm leader, but does not tell Yuu to do anything in this situation. Recall that it was Ace that marched up to Ramshackle's front door and demanded that he be allowed to stay overnight; Crowley had no part in that.

Book 2 — In 2-7, Crowley asks Yuu to investigate the strange string of accidents that has befallen the students set to play in the upcoming inter-dorm magift/spelldrive tournament. There is a part where Crowley says he "never promised to cover living expenses". You, as Yuu, have the option to ask him "Is that a threat...?" to which Crowley never properly responds. Interpret that how you wish. He then offers Grim and Yuu a chance to participate in said tournament if they succeed, seeing as they lacked the 7 players needed to form a team. Crowley even says he will find 5 other players to fill in their missing team seats for them.

Book 3 — Here in 3-6, Crowley never actually threatens to cut off food. Instead, he is trying to earn pity from Yuu by guilt tripping them and emphasizing that he, the headmaster, is so busy with his tasks (like finding Yuu a way home) and will provide them with the funds they need regardless because he is so very kind. He's trying to tug at their heartstrings by pointing out the things he selflessly does for them, so they feel obligated to do something for him in return. Once Yuu agrees to help, he lavishes them with praise and says it is "expected" of someone he personally chose.

But!! I want to add that in the Episode of Octavinelle manga, this same scene is depicted as Crowley threatening to cut their food budget. I'm not sure if this is just a different interpretation (since Yuuta seems to prepare more food than is usually implied in the game; this would explain why their food costs go up significantly) or if Crowley truly was also threatening to cut the budget in the game.

Book 4 — Crowley makes a reasonable request in 4-2; he asks Yuu and Grim to tend to the fire fairies over winter break since it's a task no one else will be present to handle. In exchange, he says he will give them a banquet of tasty foods (which is not an empty promise; in 4-39, the Ramshackle Ghosts tell Yuu and Grim that the headmaster has left them with a ton of food as thanks.

Book 5 — Crowley appears in 5-21 asking that Yuu allow the NRC Tribe to stay at Ramshackle for their month-long training camp. He explains that Vil and Rook are willing to give up their share of the prize money if Yuu agrees to these terms. It is then that Crowley adds that he will help with renovation too, most likely to sweeten the deal with his word.

Book 6 — Crowley does not ask anything of Yuu. He does, however, call in STYX in 6-2 because he becomes concerned about the threat that Grim poses after consuming multiple crystallized blots. After Grim is taken, Crowley instructs Yuu in 6-4 to wait until Grim has recovered and been evaluated by a third party to speak with him again.

Book 7 — Crowley makes no specific requests to Yuu.

You can see in almost all instances that Crowley uses a variety of tactics to get his students to do what he wants them to. He bribes, shames/guilts them, points out very real consequences if the problem at hand is not resolved, and, yes, occasionally makes what can be interpreted as a vague threat. Despite this, the fact remains that he was always nice, not just post-book 4 (in fact, Crowley was also nice during book 4). I don't see the circumstances as "anything before or during book 4 is him being negative and threatening to punish Yuu and anything after book 4 is him being kind and positive to Yuu". In most cases with Yuu, he is offering them something they would want. His go-to strategy isn't threats, it tends to be the promise of a reward.

I wouldn't tie any of Crowley's actions to feeling a sense of remorse or guilt on his own part. While it's true we don't really get to see inside of his head, from what we see of him... this man is utterly shameless. He's willing to resort to emotional manipulation to convince literal children to solve problems that he, the powerful mage and adult, should be dealing with. What's more, he praises himself for Yuu's competence and willingness to step up. That's him placing a lot of faith in his students, and I don't think he feels any guilt in doing this. Why else would he send them into dangerous situations over and over again? He must, to some extent, believe they can already handle themselves just fine, otherwise he's creating tons of legal liabilities for himself by purposefully throwing children of tons of affluent families into the line of fire. Besides, he's a highly skilled mage himself--if any true, TRUE danger were to befall them, surely he could save the day himself. My thought is that he has sort of a "tough love" approach where he tosses his students into the fires and sees how they get out of it in one piece, but it's just presented in a "devil-may-care" way because of his lackadaisical attitude.

Regarding book 4, I personally see Crowley giving his cell phone number as just a means to provide reassurance to Grim and Yuu, since they (especially Grim) are protesting about him seemingly leaving on vacation. It's an empty gesture so he can have his getaway without much of a fuss; I totally believe that Crowley did not ever intend to answer his phone. When he returns in book 5, he's already asking another favor of Yuu, so I get the sense he isn't really bothered by what happened. I would even say that Crowley still has several major appearances in book 5, not that he has made himself scarcer. He appears to ask the favor, appears again to evaluate their performance, and then a third time at the cultural festival to speak with the headmaster of RSA. Crowley gets plenty of screen time here, much more then in books 6 and 7. If he truly felt bad or actively wanted to avoid Yuu, he could easily just tell other students (ie Vil) or even school staff (ghosts, teachers, etc.) to relay the deal for him.

Again, I want to be clear: THIS IS NOT CROWLEY BASHING. The only thing I am expressing in this post is that while I do love this bird-brained goober and think he cares for his students, I don't believe it's done in the conventional sense you're thinking of. Crowley can be selfish and callous and throw his students into danger, and that's okay! Sometimes we want to love a useless man who's trying his best, even if his best is pretty lousy/j

Whew, that was a lot of brain dumping! I hope I properly responded to all your thoughts and that you found this read semi-entertaining~

[spotlightlowlife]

ep 6, heaven haz no benefits

Charlie once again proved her silliness.

No surprise there, I'll get to that..

In heaven we meet a rather sensible bunch in the angels, some approachable, some friendly, some very wary, a good mixed bag. Dude bro Adam is there but clearly able to tone himself down in more professional settings and it's clear he isn't in charge, so at this point it why not attempt to tackle the subject matter of exterminations?

We didn't meet anyone who spoke of their fear of hell overpowering heaven, nor anybody with any particular authority other than Adam. We met Sera, someone who up kept professionalism whilst being empathetic, fair and making it clear that her hands are tied.

Adam is also revealed to be the first person in heaven. Why I wonder? Will the significant biblical figure Abel be addressed at some point?

Like Lucifer in the last episode, Adam was needed to take the story to the next level, however Adam in very few words and scenes has become a character who really outshines Lucifer and his downgraded to understudy daughter. He is the true powerful innovator, a creator since he's technically the parent of sinners and now he's revealed to be the one with the most say out if this little bunch of angels, even though Lucifer had difference with his kind back when Adam was man? He even outclasses fellow 'moved up in the world' Alastor, whose plotting and mystery amongst a load of subplots doesn't stand out.

Adam is more action and get up and go.

Why is it that the across both shows the villains writers try so hard to have the audience hate with their crass attitudes and supposed counterproduction, turn out to be are the characters who are crafted the best and able to move the plot somewhere else? Intentional or ironic.

So, silly Charlie.

As expected, she sung, that's fine.

In a little scene, a whole other scene to the song, one that lasted but a few seconds, Charlie presented her case that sinners can display decency, only her case was observing Angeldust stand up to Valentino in real time on screen.

What part of this was a 'heavenly' act?

Why did Charlie think it was a good idea to encourage the sinners to enjoy themselves whilst she goes out? She essentially let the teenagers throw the house party. Why not ask them to behave themselves because she's going to heaven to fight their corner?

Still, this was the most she did to sell her pitch, springboard off another characters progressive scene for a moment. This scene could have presented a good argument of how exactly she was going to help sinners with their PRESENT situations, let alone whatever bought them to help in the first place.

What did she have to do with Angeldust bickering with Valentino? Is she going to go back and be supportive of Angel now having it spelt out to her his situation and how he feels about it?

Is Charlie going to leave heaven tougher with a leveled up perception and new approaches?

Doubtful, because yet again her time got dominated and she now has more major things to worry about, like her hotel being under attack.

Good thing Charlie and the residents have Vaggie at their side, who dispite having a little spat with an angel and getting a backstory, I actually managed to forget she accompanied Charlie to heaven.

Vaggie actually got a big reveal that was hinted at in a previous episode..

She's an angel, a fallen one, and that's that really, we aren't allowed the time to tackle this information and it's almost safe to say it certainly won't matter to Charlie.

Emily the cutesy angel who's whole personality was she agrees with Charlie was so forgettable that I near forgot her too had it not been for the rewatch? She's just as idealistic, just as youthful, vibrant and out of grown folks business as Charlie, she also has well meaning wise elders to answer to, she can't do anything without them giving a go ahead. They're so alike yet that's easy to put forward in them just mirroring eachother, only they have next to no chemistry yet still just blend into one. Considering heaven can watch the antics of hell on 'TV', even down to the goings on in Charlie's hotel, Emily could have been a fan, she could have approached Charlie with a whole host of things she observed, what she agreed with, what she would have done had it been her, they could have made friends on the spot and atleast tried to cook up a way to keep in touch, which may be an underhanded way of getting around their restrictions, but no, they were just there in the room together.

This character served to let us know that Charlie has an ally on the other side, along with one from the other side, shame this angel had even less chemistry with Vaggie, all things considered.

Decent episode, like 5 it was definitely needed to pick this series up, no thanks to any leading character.

Again, another ep with no gifs, the wik page hasn't been updated neither. Where are these rabid fans where it actually matters?

[markantonys]

Ngl I lowkey ship Adar and Elrond 🫶 (he's not Maglor right)

i'm right there with you!! they were already two of my favorite characters individually, and then they came together and their interactions were so powerful. adar/galadriel and adar/elrond are two interesting good flavors of a hero/villain ship: the former is a version where they have a lot in common and in a weird way can understand each other like no one else can, and the latter is a version where they are very very different and could both challenge each other to grow (elrond's early-season stance that nothing good can ever come from a bad creator would face a reckoning if he fell for adar and became Orc Stepdad, and as for adar, if he fell for elrond, well, then he would embark on redemption immediately because elrond being disappointed in you would be the literal most painful thing anyone could experience, i would kill myself if elrond was disappointed in me)

i know Literally Nothing about tolkien stuff, but i think i heard that maglor is elrond's stepdad?? in which case i also hope adar is not him haha but this raises an interesting point that i've been thinking about while reading all the Who Is Adar speculation! said point being: if adar is going to be revealed in the show to be a specific elf from the lore, the only option is celeborn. because no one else would mean anything to the general audience aka like 95% of viewers.

now, i don't really think adar is celeborn. i think that within the canon of the show he'll only ever be an OC and they'll never specify who he was pre-morgoth. or at most they might drop some kind of easter egg that would allow lore experts to definitively connect him with a certain elf from the lore, but without making a big Reveal out of it or spelling it out explicitly. and either way, people are having fun speculating who he could be and i'm all for that, knock yourselves out! but if we're envisioning an actual scene in the show where they go "drumroll please............adar is actually so-and-so!" it could only be either a) a specific named elf the general audience would be instantly familiar with (which i can't think of any examples of since there are no other Universally Known elves like elrond, galadriel, and arwen), because if they drop a specific name and it's not instantly recognizable to the majority of the audience, the drumroll would fall super flat.

or b) an elf who has a close connection with another character we already know AND, ideally, who was mentioned already in the show. they could be like "drumroll please..........adar is actually elrond's stepdad! or gil-galad's brother!" and the general audience would be like "oh! okay. uhh since when did elrond have a stepdad or gil-galad a brother though?" but if it was "drumroll please...........adar is actually galadriel's missing husband!" then the general audience would go wild because we already knew she had a husband who disappeared and we've been wondering what might've happened to him. (okay a lot of people who watched s1 2 years ago have probably forgotten all about that haha but at least a good chunk of us would go wild! and the rest would soon follow once they'd gotten their memories jogged.)

anyway! i got so off-topic djfkg but i've seen so many lore-knowers speculating about adar's elf identity that i thought it might interest some of you to see a show-only perspective on The Only Adar Identity They Could Reveal That Would Be Interesting To Us General Audiences. but i still think it's very unlikely he's celeborn and he will simply never be specifically identified in the show!

[ddarker-dreams]

Patiently waiting for your thoughts on Fontaine’s new archon quest 🫡

oh man. i do have some thoughts to share.

(warning for spoilers to those who haven't played through the latest archon quest)!

OKAY, so — overall? i enjoyed it. the fortress of meropide section felt a little tedious at times, i'm begging mihoyo to abandon those awful 'stealth' 'gameplay' sections. aside from that though, i was always interested enough to keep moving ahead. i especially like how they wrote navia. the story of her and her father got me emotionally invested in her as a character, i actually teared up at one point.

i was glad they avoided their infamous 'introduce a character and have them betray you' shtick. idk if that was a quota they had to reach before and that's why they did it so often, but in any case, it made for a refreshing change. the reveal of fontaine's history, the serial disappearances, focalors and furina; there were lots of intriguing story beats. furina's story might somehow be one of the saddest in genshin yet?? the execution of the reveal and the final conversation between focalors and neuvillette packed a strong emotional punch.

onto my gripes...

childe. why. why'd they do my man like that. the buildup was so interesting! the cutscene where he helps neuvillette subdue the space whale had me frothing at the mouth. him in his foul legacy armor ... his leitmotif playing... him growling and grunting.... oh, how happy i was, naïve thing that i am. i was a bit confused how they dedicated a total of three seconds to traveler and the floating fiend going 'oh wow there's childe ig.' like ??? at this point in the story, i thought they were sorta buddies??

the space whale's execution confused me. i expected it to be deeply tied to fontaine's past, or at the very least give some abyss bread crumbs, but it just kinda flopped around and stuff. the fight was cool, don't get me wrong. but the whole 'yeah this whale is some dude's pet lol' bit just felt odd. i get that they want to prove the Big Important Name Fella is suuuper important and suuuper strong but c'mon. at least make the space whale a creation that ran rampant or something.

i could've forgiven the space whale shenanigans if we got a nice conversation with childe at the end. how did he feel in the abyss? was he fighting the whale to keep the people of fontaine safe, out of bloodlust, or something in between? what was it like seeing skirk again? how much time felt like it passed when he was in whale abyss prison? does his vision resonate with him properly again?

instead, we just get a few throwaway lines that he's back in snezhnaya healing up. did they run out of budget to book his VA?? i get they have to be selective with lore drops, but there are so many ways around that.

my last major gripe is how they went about furina's character quest. maybe i'm just an oversensitive weenie (i definitely am), but the traveler and flying creature's interactions with furina... i was physically grimacing. how did they seriously think it was a good idea to ask the person who has been tormented by acting for 500 years to give the stage another shot? imo, it would've been fine if they tried that, furina rejected them, and everything played out about the same. but those bits where traveler + the imp kept pressuring furina felt so weeeeeeird. i genuinely didn't want to click the dialogue options. if this was framed differently, that would've also been fine, but it's kinda a 'haha :3 epic paimon says teehee te nandayo reddit gold' light.

tl;dr i liked the overall experience but someone needs to delete paimon from the game + treat their characters as more than a punchline.

[aiura-stan]

2-17

Ah, the Toritsuka chapter. I actually kind of love his introduction. If only he hadn’t been such a slimeball. But then again, that would undermine the entire purpose of his character.

XD Master Saiki.

This once again reminds me of Mob Psycho. I can’t help but wonder if the two series influenced each other, both being highly successful comedies about vastly overpowered psychic teenagers and their journey to self discovery. I do wonder sometimes why Mob Psycho was so much more successful than Saiki k, at least here in the States. Maybe they *are* equally popular in Japan, but that’s not the case if the internet fandom is anything to judge by (Mob Psycho is much, much more popular. There’s so much more fanart, if you search for it using the Japanese words and fan slang.)

I do enjoy both Aiura and Toritsuka using their powers, each of them ostensibly unimpressive compared to his but both about the only major supernatural abilities he lacks, to find out about him. Lovely situational irony.

Ghosts gather to see Psy users… has anyone ever discussed that this might be the cause of Saiki’s bad luck? But ghosts are by nature well-intentioned according to Toritsuka, so you would think he would have much better than average luck… hmm

Or maybe evil spirits are a thing, and not discussed in the manga for one reason or another. Maybe because they are not human ghosts but Yokai, another kind of spirit.

I do love that Toritsuka comes into the whole thing knowing exactly how many powers saiki has and just how powerful he is, but Toritsuka isn’t put off by it in the least (rather the opposite.) It obviously throws Saiki off. He even seems intrigued… at first. Until Toritsuka reveals his motivations unhesitatingly. He may know everything about Saiki’s powers, but obviously knows nothing of his personality.

From the events of PSIowdown later on in the comic regarding demonic possession and literally stealing people’s bodies, I like the implication that Toritsuka could probably learn other powers… if he was even remotely motivated to do so. So he probably could banish ghosts, if only he’d stop thinking about tits for half a second. I mean, he did learn possession channeling in the first place, for the sole purpose of picking up girls.

this brings up the question, does Toritsuka have relatives? where are they? We never see them. I mean, everyone has relatives, but where are Toritsuka’s real parents? What about his grandparents?

still a really funny panel. Yes half of Toritsuka perv jokes aren’t funny, but this one is perfect.

one thing that I do like about Saiki k is it makes an effort to demonstrate that looks can be deceiving. You have a character like Toritsuka who has pure, clear eyes and good looks (headband aside) who by all social indicators should be a paragon of society, who turns out to be a total creep within 5 minutes of meeting him, and then you have people like what’s the teachers name Iguchi sensei who turns out to be a really good person, even though he looks like a pervert. I think you see this a little with all of the characters, Saiki included. His words never quite match his actions; he looks like a surly average kid but he’s secretly extraordinary and of course very kind.

And Aiura, someone with seemingly low regard for social rules, who by all rights should have a reputation as the school slut, and a failure for her grades, is one of the strongest characters and has a lot of integrity. People respect her for her powers and her self confidence. She’s not who she appears to be either. Even someone like Kurumi turns “monstrous” when her ire is provoked. It gives these characters a layer of complexity that so many gag characters just don’t have, and that’s what sets it apart.

I do wonder if what Saiki says is true. Can’t they be taught? I imagine not. Maybe Toritsuka could approximate something similar to x-ray vision with his own abilities if he was dedicated and studied how he might expand his powers.

despite all of that he still invites Toritsuka over again? Japanese politeness, even from Saiki who has no respect for the kind of person that Toritsuka is? Or maybe it’s a quirk of translation. Let me see.

Okay, to me it looks more like, “yeah, yeah, go home already.” (hai, hai, kae-ta kae—) So, more of a dismissal than an acknowledgement.

Another underutilized power… come on now this is so useable in ship fics. And gen fics too. Saiki would make an entertaining detective character.

Also, if Saiki experiences all five senses live, does that mean…?

XD old man ass. hahaha

end of 2-17💫

[serenescribe]

Poll: Help me pick my next TWST longfic! [FINISHED]

Hello everyone!

As most of you may know, I am quite the avid longfic writer. However, university's been slowing me down a lot, so I've been unable to write as quickly as before. So why not poll some of my fic ideas and let you all decide?

I'll include some brief, rambling summaries of the options below the cut! The poll will run for seven days, and the winner will be the longfic I focus on next! (That isn't to say I won't write other things since inspiration is fickle and some of these are semi-completed, but for the most case, my priority will be whatever wins!)

[Summaries under the cut!]

i. Bad Things Happen Bingo: Locked in a Freezer Epel-focused! I originally started working on this in April but shelved it because I was more focused on writing Diasomnia. That and I also did not look forward to writing Rook... Still, the benefit of this option is that It's already 2/3 finished, with the first two chapters done, so it would be done a lot faster. I'd feel pretty keen on finishing it sooner if there was interest expressed.

ii. Bad Things Happen Bingo: Barely Conscious Silver-focused! A bad end AU of the Fairy Gala remix event... and that's about all I can say about it. Compared to the other options, it wouldn't be as long, so I could see it being done faster. It would not have a definitive conclusion, being a bad end of an event, but if you like Silver suffering, this is the one for you!

iii. Bad Things Happen Bingo: On the Run Sebek-focused, along with the first years! I originally wanted to write this for Halloween this year, but quickly shelved that idea due to realising how much Uni sapped my energy. This is one of the two options here that would be rated Mature, along with warnings of Major Character Death. It was meant to be a Halloween fic, after all.

iv. Bad Things Happen Bingo: This Is For Your Own Good Silver and Lilia-focused. What can I say about this AU without revealing too much...? This is the other option that would be rated Mature. It gets truly fucked up and dark in the latter half, and bad things truly does happen. It would also be one of the longest fics in the BTHB series, as I'm envisioning two very long chapters. All the same, this is arguably the idea I'm most excited to write. So if that means anything to you (trust in my tastes, perhaps?) you might want to consider voting for this!

v. Bad Things Happen Bingo: Hope Is Scary Silver-focused, though Lilia comes in later. This is arguably the least developed of all the ideas here, however it was a really good idea that Olive thought up and gave me permission to write. A lot of Silver suffering in this one! And being alone. The prompt is literally about losing all hope and not wanting to hope again in case it gets dashed.

vi. Reverse Containment Breach AU: Starchild Lilia and Silver-focused. This is based on Olive's Reverse Containment Breach AU, of which I'd previously written a ficlet for here with Malleus and Sebek. Think something SCP-esque with an organisation studying strange subjects. Head Researcher Lilia Vanrouge stumbles upon a boy who fell from space one night, and that's when everything slowly goes off the rails. I actually finished about 1/3 of this? So it's partially started.

vii. PMMM AU: Lilia Longfic Lilia and Silver-focused. What it says on the tin. Mica and I's PMMM AU, which isn't 1:1 with canon but Lilia takes the role of Homura, and Silver as Madoka. Time loops and general suffering and angst. If you know how Madoka plays out, you know how this one's going to go.

[luce-speaks]

The Greil Mercs: Wild West AU

HELLO it has been like a month but i'm escaping confinement and back with my ideas

ok so. if I was going to write this fic. it's going to be a cowboy murder mystery a la TAZ: Dust (but without the fantasy elements). it all takes place in a small town where most of our main cast lives. it starts with the murder of Greil and, on the very same night, a bank robbery.

the fic follows a new character's POV every chapter, focusing on how the crime affects the community and giving the reader new clues to piece together the mystery. the first chapter is ike's (and maybe there's a little prologue before that from greil's pov). the last chapter is probably pov of either sephiran or zelgius.

some notes on characters & plot:

greil is retired. in the past, he was involved in an Incident that went down in a small mining town nearby (something crazy discovered in the mines) (this incident eventually proves to be the motivating factor of most of the plot)

titania runs the local saloon and is always ready to throw down. her saloon is a meeting place for most of team good guys throughout the story

ike takes greil's gun off his dead body. he's never used a gun before. it's kind of a chekhov's gun, but whether its relevance will be as evidence or as a weapon remains to be seen...

oscar, boyd, and rolf are outlaws who have set up in a cave on the outskirts of town and steal to get by ever since their father died. they steal cattle n shit, and they've gotten very good at doing this as a team. they're major suspects for one or both of the crimes but are eventually cleared

rolf has a gun. he's actually the best shot of the three brothers

boyd actually isn't allowed to hold a loaded gun ever since the incident but oscar lets him keep an empty one in case he needs to threaten someone while they're outlaw-ing

shinon is a traveling bounty hunter who comes through town for like one chapter. he lets the brothers get away, though he won't admit to it. he's honestly not important to the story i just think he would do this

now about our criminals...

the black knight is a masked outlaw - no one knows his true identity. it's suggested pretty early on that he was the one who robbed the bank, which gives him an alibi for the murder.

sephiran is the town sheriff. he was called to the bank when it was robbed and chased the black knight away, or so he says. this gives him an alibi for the murder

(we maybe get an ace attorney-esque moment where ike triumphantly reveals zelgius' secret identity, only to realize he's just "proved" zelgius innocent of killing his father)

the big final reveal is that sephiran and zelgius basically staged this bank robbery and planted fake evidence so sephiran could "catch" zelgius as the black knight, secure the town's trust, and clear them both of the murder. in reality, sephiran was the only one at the bank, while zelgius killed greil (to keep him from revealing the secrets from that mining town, probably).

[woodchipp]

A CRITIQUE OF OMORI, PART 6: UNORIGINALITY

NOTE: Reader discretion is advised. By clicking on “Keep reading”, you willingly choose to continue reading the post.

This is more of a "bonus" post. It is not as important as the other five posts before it and is more of a rant than anything.

Even though just calling OMORI "another quirky Earthbound-inspired RPG about depression" would be rather reductive, OMORI is painfully derivative at its core. For a game renowned for pushing the envelope for what indie RPGs can do, it's actually rather unimpressive. In terms of story, the game it bears the most resemblance to is - surprisingly enough - Silent Hill 2, with the similarities being... suspicious.

The male protagonist (James; Sunny) kills his female loved one (Mary; Mari), represses the memory of doing so and convinces himself she's still alive (James comes to Silent Hill in hopes of finding Mary after allegedly receiving a letter from her; Sunny conjures an imaginary fantasyland where Mari is still alive). The only major difference is that James killed Mary consciously while Sunny killed Mari accidentally.

Tying into the previous point, OMORI establishes that Mari died 4 years ago prior to the events of the game because of an external circumstance Sunny had no control over (suicide) to hide the fact that Sunny killed her, exactly the same way SH2 establishes that Mary died 3 years ago prior to the events of the game due to an external circumstance James had no control over (terminal illness) to hide the fact that James killed her.

As the screenshots at the top of the post show, both James and Sunny are established as generally reticent characters who don't outwardly emote much but are described by other characters (Mary in James' case, Sunny's friends in Sunny's case) as kind and sweet.

Silent Hill 2's Mary is James' kind, gentle and seemingly perfect wife who used to play the piano and dearly loved her husband; near the end of the game, it is implied that she verbally abused James during her final days, with said abuse partially being the reason he killed her. Similarly, OMORI's Mari is Sunny's kind, gentle and seemingly perfect older sister who used to play the piano and dearly loved her younger brother; near the end of the game, it is revealed that she harshly berated Sunny, with said upbraiding partially being the reason Sunny shoved her down the stairs.

Furthermore, inspecting the piano in the Lakeview Hotel has James briefly reminisce that he loved to hear Mary play the piano even though she wasn't very good at it; during the final memory of Memory Lane, Basil mentions that Sunny always sits in the room with Mari while she's practicing the piano.

The plot of Silent Hill 2 focuses on James' surreal trek through the town as his subconscious (represented via the Otherworld, Pyramid Head and the monsters) tries to get him to face the fact that he committed a murder. Similarly, the plot of OMORI focuses on Sunny's surreal trek through his imaginary fantasyland as his subconscious (represented via Black Space, Stranger, Something and its variants) tries to get him to face the fact that he committed manslaughter.

The recurring fog in Headspace represents the lack of mental clarity, as the game itself spells out to you. Do I even need to say anything here?

The main antagonistic forces of Silent Hill 2 are the symbolic embodiment of James' guilt that also serves as a constant reminder of his wrongdoing (Pyramid Head) and the personification of James' wish-fulfillment delusions that is meant to distract him from learning the truth (Maria). Similarly, the main antagonistic forces of OMORI are the symbolic embodiment of Sunny's guilt that also serves as a constant reminder of his wrongdoing (Something) and the personification of Sunny's wish-fulfillment delusions that is meant to prevent him from learning the truth (Omori)

Both James and Sunny/Omori are forced to descend into an eldritch location representing their subconscious - the Labyrinth and Black Space respectively - in the second half of their respective games. OMORI even has you enter Black Space by jumping through a hole in the floor!

The revelation that Sunny killed Mari directly precedes OMORI's penultimate boss fight against Basil, just like the revelation that James killed Mary precedes Silent Hill 2's penultimate boss fight against the twin Pyramid Heads. Additionally, the Truth segment's long walk to the tree where the final photo lies is reminiscent of the long hallway James has to go through before confronting the final boss.

Silent Hill 2's "Maria" ending shows James ultimately embracing his delusions by accepting Maria as Mary's replacement to avoid facing up to his guilt; similarly, the ending of OMORI's Hikikomori route shows Sunny embracing his delusions to avoid facing up to his guilt by staying in Headspace forever.

Of course, to insinuate Omocat stole Silent Hill 2's entire plot would be too absurd of an accusation, but the similarities were too glaring for me to ignore. Make of them what you will.

Silent Hill 2 isn't the only game OMORI heavily resembles. Aside from the very obvious "inspiration" the game takes from Yume Nikki, many of the things this game tries to do have been already done in some form (oftentimes better) by other indie RPGs and video games in general that were released before it.

Headspace is Earthbound's Magicant made into a whole game. The major difference is that Magicant is actually relevant to the story in both of the games it's featured in. By the way, don't Daddy Longlegs' appearance and his function in the plot seem strikingly familiar?

Omori stands down and vanishes at the end of the final boss fight after Sunny plays the recital he and Mari were meant to play, just like Giegue stands down and calls off the invasion of Earth after Ninten and his team sing the lullaby his adoptive mother, Maria, used to sing to him during the climax of Earthbound Beginnings.

OFF and Ib have already featured hand-drawn aesthetics all the way back in 2008 and 2012 respectively; in Ib, it also was a crucial part of the story and the gameplay instead of simply being an aesthetic choice.

Something and the variants of it you fight throughout the game seem to be made out of clay, an aesthetic choice the two Hylics games have already featured.

Jimmy and the Pulsating Mass has already featured the exact same "kid uses sugar-coated dream world to cope with hardship in his life" general premise, the hardship in question being terminal cancer in Jimmy's case. It also had Jimmy fight his fears, heights and spiders included. The final boss, the Pulsating Mass itself, tries to break Jimmy by taking the appearance of his family and verbally abusing him, with Jimmy getting the special "Heartbroken" status effect, just like Omori tries to break Sunny by reminding him that his friends loved Mari and he killed her while inflicting the special "Afraid" emotion on him. On top of that, JatPM features Jimmy facing off against the personification of his self-loathing too!

The LISA games have already featured OMORI's initial premise of "brother grieves his sister's suicide and has to deal with his own severe mental issues along the way". The major difference is that Lisa's suicide is a suicide caused by her father's sexual abuse instead of being a contrived cover-up planned and executed by a 12-year-old.

Truth be told, I'd have been genuinely glad to overlook such minutiae if the game's story was actually compelling or gripping. It isn't.

OMORI's story fails to be complex and compelling for a multitude of reasons. The main protagonist is dull, doesn't have much impact on the plot and comes off as more unpleasant than intended, the main characters in general are fleshed out poorly and their personalities are spelled out to the player multiple times rather than shown, the supposedly soul-crushing plot twist makes no sense under scrutiny, and the game is rife with unfortunate implications regarding the topic of mental illness, which it relies on to make the plot interesting. The emotions OMORI tries to evoke don't feel earned either, and come off as more of a "smokescreen" to divert the player's attention from the plot's lack of substance.

After all, in this game, the Feels are always more of a priority than the Reals.

[flightfoot]

Do you think that Master Fu had any role in the amount of times Marinette lied throughout the show? At 14 someone can still be susceptible to an adult's influence, so I thought that maybe the fact that it was him who taught her that lying is okay as long as it's for some kind of "greater good" (like in the identities' case, "it's okay to hide your identity from your loved ones because otherwise you'd be putting them in danger") was a big reason why she never completely unlearned that lesson and still lied in the finale, even if she saw already how much lying about things can backfire on her.

(That's without taking into account the fact that it was basically Gabriel's dying wish and she must've recognized the merit in it, even if he asked that of her for selfish reasons.)

Of course, that still doesn't make what she did right, but I feel like it would make her choice more understandable...? She never really questioned Master Fu's teachings as a whole, after all. I was really curious to hear your thoughts on this though!

I'm gonna disagree on this. For one thing, Fu was only a factor in seasons 2 and 3, Marinette didn't know he was Guardian until Volpina/The Collector. She was lying about secret identity stuff long before that point, though she started telling more nonessential lies from season 2 onwards.

I made a post going through the transcripts of every episode and noting down all her nonessential lies if you need a fuller picture.

He doesn't ever really tell her that she should lie - in fact, her first lie of season 2 is lying TO HIM - the most he does is ask her to keep his existence secret, and she actually pushes back on that in Syren and gets him to talk to Chat Noir. Given his lack of presence in season 4 onwards, I don't think Fu's influence is much of a factor at this point.

Gabriel's dying wish being for Adrien to remember him as a good father is a much greater factor in her decision to lie I think, along with her other stated reasoning of not wanting Adrien to suffer from the cruel truth. Marinette's told lies to spare others' feelings before, like when she made a weak excuse to ditch planting trees with the girls in Party Crasher so she could investigate what the boys were up to. She's also made major decisions' on others behalf because she thought that would lead to better outcomes than letting them make those decisions for themselves, like in Ephemeral when she lied and manipulated Chat Noir into unknowingly revealing his identity to a third party so that Su Han would get off hers and Chat's back about no one knowing his identity. Her lying in the finale is consistent with her character, and I don't think it has much to do with Fu, that feels like it's making him into a scapegoat, since there's not much evidence to point towards his teaching and philosophies leading to these sorts of decisions on her part.

[winns-stuff]

LO RANT:

I still cannot wrap my head around the fact that Persephone really got intimate with someone despite her sexual trauma and we just glossed over it like it did not matter. I don’t see how anyone could be satisfied or okay with this shit since the situation was a huge plot point for years, not months, YEARS. Yet the time when it finally came up to it everything was rushed and never spoken about again, like Persephone’s trauma is important and I don’t can’t understand how no one ever questioned that.

Like I keep saying in these damn rants, Hades has a plethora of explanations for his trauma and whole dedicated chapters towards Kronos and being eaten. Everything he does ties back to it and it’s clear that this affected him in a major way since we were able to actually see how different he was after the fact. We know so much shit about the Kronos situation yet we barely know bits and pieces about Persephone’s trauma and that gets on my fucking nerves, am I asking anyone to be descriptive? No. Am I asking anyone to speak on it every other chapter? No, but what I am asking is why didn’t it actually matter. The assault felt like it was only there to establish a bad guy, it also felt like it was only there to make Hades a knight in shining armor to save Persephone mainly because nothing she did up until then made any fucking sense. Something terribly traumatic happened to you and you’re telling me you’re going to tell that very personal and vulnerable piece of information to a guy from a party you got absolutely wasted at, ended up in his home, almost got attacked by his dog, and was offered to have sex with him over the slightest bit of shoulders revealing themselves. That’s absolutely manufactured, it doesn’t even make sense in the story at all which makes me feel like it was set up just so Persephone would have a reason to talk to Hades.

Which I personally feel is really fucked up, why did anyone think it was a good idea to have her assault be the reason why they’re made for each other? Persephone could’ve called him for literally anything else to build their friendship since she already was under the impression that they were friends, I don’t understand why she would trust him of all people when he was literally trying to get in her pants out of nowhere. And then every single thing tied to Apollo and her trauma in later chapters always somehow involved Hades, FOR NO REASON. It’s been established that she has a completely different support team that doesn’t even include Hades yet he’s the main one always there whenever she “needs to be rescued”, there’s no way that this wasn’t used as a fucking ploy to push these two together. It’s obvious that Hades isn’t a great person at all, like genuinely fuck the whole “he’s not perfect but he’s trying :(“ thing he’s just irredeemably bad, and by the looks of it he would never be a good husband or partner for Persephone so Rachel had to do something to cover that up and like everything with Hades it was ultimately the bare minimum.

It’s just so fucked up to me. You can’t even deny it either because there are dozens of stories (romance) where the main character has something absolutely traumatic done to them and the love interest just so happens to be there to “fix” them or “save” in this case. It’s very popular and I’m not saying that it’s always all bad, the way that you execute the trauma and the way that your characters interact with it are what makes it either really bad or really good. With Lore Olympus though, it had to be the worst case of this honestly because not only did you rush the healing process just so they could screw each other smoothly but you also made a complete mockery of it. I’m sure there’s a bunch of people who relate to Persephone’s story and I don’t want to knock them nor am I criticizing them and I understand that not all survivors are going to react the same, there’s millions of people on this Earth and since we’re not clones of each other we’re always going to share major differences, but this is just so incredibly bad. You have Persephone literally resting in the bed that she got assaulted in with a man, you have this man touching her and invading her personal space multiple times without asking days after this happened, and you have a man that you need to comfort while you tell him your own trauma. You see how none of this makes sense? I know not all survivors react the same I know it and I feel bad for even pointing this out but at the same time you’re going to be affected by stuff like this.

This was days after it happened everyone, days. Not weeks, not months, not years, not decades, and not even centuries. Days after Persephone experienced a huge violation of her body in her own room and she does not worry or think about it once when she’s with Hades. This stuff does not just go away, trauma never goes away because what’s done is done sadly your brain and body has already been affected and you may not be able to revert back to the person you were before. Of course there’s ways to make your trauma less prominent and less of a problem for your everyday life whether it be medically assigned pills, therapy visits, and other supportive resources that specialize in things such as that but it’s never just going to disappear from your life entirely. It’s going to follow you like a dark cloud and it’s going to control your every move especially when it’s just happened, it’s a massive impact on a person no matter how big or small which is why stuff like this needs to be taken more seriously. So many people expect you to get over it and forget about it but you can’t because it’s not something that you can forget so easily, it’s draining and it’s consuming and sometimes it’s very isolating. Which is why I appreciated the therapist episode since it really does showcase just how daily it can be and how it just molds itself apart of your everyday life but sadly I know it’s very clearly just trying to appease readers’ concerns about Persephone’s trauma being forgotten which makes me have another problem to talk about.

How am I supposed to believe that Persephone was struggling with this stuff almost everyday when there’s nothing alluding to that fact. Persephone rarely has any symptoms or experiences the effects of trauma unless Hades can be involved somehow, her trauma is only important and valid when the story can use it for romance and I think that’s again, very fucked up. You don’t see Hades’ trauma only being brought up so Persephone can fix them, he just says them and we can see how even though it’s been centuries he’s still dealing with the long term affects but you don’t see the story using it as a ploy to get them together (mainly), no one’s using Hades being swallowed up by his own father as a kid as some cute moment for Persephone to take him to dinner or something this treatment only happens to Persephone. If her trauma can’t be cute in some way then it’s not going to be shown and it’s again, very insulting.

Anyways, I will end this rant here yet I will never not be upset at the fact that Rachel only made Persephone “heal” just so she could give us the most unnatural intimate scenes ever. Endgame for them was just having sex and I think it’s so incredibly mind boggling that we’re supposed to look at this in a romantic sense, nothing about this is romantic and it’s very obvious that this was just used as “drama” which should’ve never been the case in the first place.

[rawliverandgoronspice]

I absolutely love your analysis of the gerudo and Ganondorf because they put into words what bothers me about how TOTK portrays Ganondorf. That being they remove his agency as a character in favor of having some great evil against the good guys.

[Major story spoilers ahead for the end of the game]

At the end of the game, when you’ve defeated Ganondorf, he swallows the secret stone and becomes a dragon, like Zelda, fully knowing the consequences of what happens when that happens. And it’s just kinda left me with a bitter taste in my mouth? In the context of the story it makes sense, he’s portrayed as a egomaniac who just wants to destroy Hyrule. But compared to other versions of him, this one just feels more openly biased against him and the gerudo, with no reason or justification other than “he’s evil, hate him.” As far as I can tell… They never really show us that he’s done anything horrible or deserving of being feared before the show of fealty cutscene, other than not submit to Hyrule, attack them once, and generally have bad vibes. It feels forced how much they want us to hate him and the people who follow him. I’m not saying character in video games always have to be nuanced or complex but comparing like, Wind Waker Ganondorf next to TOTK Ganondorf…. 🙃 Waste of an excellent design imo.

Heyyy sorry for being a billion years late with this ask!! I was busy finishing the game!!! among other things!!! Thank you so much for your kind words, I'm super happy it resonated with you in that way!

I mean, the whole draconification plot beat doesn't really work for me. Like yeah, sure it's sad that Zelda is now a giant dragon and it's cool to have her soaring above your head while you have no idea where she actually is (a situation that isn't nearly tapped into enough in the narrative imo, like it gets obvious way too fast if you happen upon the wrong memory, etc), and I actually think the whole sequence of you removing the Master Sword from her head was the best scene in the entire game in terms of mood and emotions --even THOUGH it would have been so much better with a stronger story and stronger stakes-- BUT. How does that build up thematically?

I think what doesn't work for the Zelda side of this plot point (I'll get to Ganon next) is that... she doesn't make that choice. It's not like she's being tempted by an easy way out and decides to sacrifice herself for the sake of Hyrule or Link or whoever: she has no choice in the matter. Her powers activate (?? somehow? once and never again also, talk about dropped plot threads), she finds herself in the past, is the passive witness to a bunch of shit that only tangientially relates to her --it's like she's visiting estranged family in a foreign country and watch their drama awkwardly before being dragged into it against her will even though she was just trying to renew her passport and get back home (if there had been any callback to her relationship with her father it would have landed better, but it's just completely ignored so vOv). Then her relatives all die or corrupt or something, and she still can't get back home. What is she meant to do besides draconify? Grow old and die in the past? What would that accomplish?? Her adventures in the past are just basically about solving a shrine puzzle with a particularly weird solution --but the game treats it like a huge sacrifice when it's basically her only way out, and she lost absolutely nothing making that sacrifice (and then she... cries about the weird family drama? sure. Honestly I think it would have worked better if the tears were Rauru's, it's his bullshit everyone is dealing with right? He's the one who feels broken and aggrieved by the whole thing.)

So, if we ignore the draconification precedent builds up to zero thing thematically beyond cheap drama that reveals nothing about neither the characters nor the world, I think Ganondorf's case is a little more compelling because he does make a choice here: dying as he tries to achieve his weird lofty goals (and fail), or postpone his victory eternally by sacrificing his objectives but reject death and defeat --while also barring himself from victory. In a better crafted story, this could be utterly excellent and it feels very Ganondorf to me. BUT, my beef with that plot beat isn't that he chooses the second option, making him kinda active for the first time in the entire game (and makes an appropriate hideous smile: *loved* this second one, the first one didn't land for me but this one really captures the ecstatic insanity and transcendance and desperate madness of the act --I have nothing against Ganondorf offputting smiles and cackles when they feel earned, and the Sonia one just... doesn't to me, it just feels like weird rigging and mesh deformation choices getting out of control).

My problem is that his existence as a dragon contradicts everything we knew about dragons before --both for him and for Zelda. I thought the big issue with draconification was that you'd lose yourself to the act entirely, and would become this sort of organic landmark of infinite power and eternal life but without will to act on your precedent goals and understanding of yourself. But the second the big man becomes an evil dragon, suddenly Zelda zips in to the rescue (apparently remembering who you are? understanding she's meant to fight Ganondorf? I mean, this kind of works emotionally as a climactic ending and the power of love or whatever, again it would have worked better in a better story), and Ganondorf is still very much into destroying the world as well as you and Zelda.

Also, he's very definitively mortal (and he has the stone on his head again? And so if you destroy it you destroy his immortality? why???)

So... What I dislike here is the suggestion that he was somehow so evil and rotten and bad that all of these rare moments of interesting worldbuilding and ambivalence gets completely swallowed in the bossfight logic, making his choice (and Zelda's) completely meaningless in retrospect.

also: let Zelda remain a dragon you cowards, that way Hyrule gets any sort of chance to escape and reimagine its horrying eternal monarchy instead of re-establishing it even harder than before!!!

[whetstonefires]

What is your Hogwarts house?

I don't think that's considered a question in good taste anymore lmao.

And, actually, I never liked it much even as a kid, because sorting discourse did not adhere to the framework shown in the text. It consistently drifted to rigorous application of the ruleset laid out by the hat in its little song, which was blatantly called out as a convenient simplification about one page after the formula was originally presented.

Like. The fact that each cohort is broken down into four roughly equal pods and lineage is clearly a major determining factor, as is personal preference, is made clear very early. This is a cultural institution, that shapes the characters who grow within it quite as much as it's assigned based on their innate traits, and within the framework of which people actively look for identity elements to define themselves by.

People in my high school would be sorting adult fictional characters and doing elaborate balancing of their True Natures as revealed by their various plot events and defining life choices and patterns of behavior in their own generally dramatic canons and I'd be like. Okay, what do you think they were like when they were eleven though.

What were their values at eleven? What parts of their potential to be Like That were developed enough to show up on a psychic scan by a sapient hat, at eleven? What backstories are we assuming they're coming into this from; this man is a duke from fantasy medieval europe are we going to analogize him to a posh normie family, or the magic snobs, or are we dimensional-teleporting his baby self into wizard school?

Look, assigning Hogwarts houses to grown-ass adults on the basis of their adult developed identities doesn't make sense, that is very clearly not how anything works, this is a child-sorting algorithm. You have to apply it to children or it's invalid.

...also I was a Ravenclaw. I knew this. Everyone who had ever met me knew this. Any and every online quiz I was convinced to take knew this. I was so boring. I could not even make a serious case for my being one of the people who'd argue my way into another category I was minorly qualified for, or get there on family values or something, because I didn't want to not be a dumb nerd and my family is also dumb nerds. I was such an easy sort it was no fun at all, I was a walking stereotype.

It was embarrassing, is what it was. I was a flat character with no depth, rip child me. It was like if you could fail astrology by adhering precisely to your horoscope.

(My younger sisters wanted to be Gryffindor but consistently tested Hufflepuff and vice versa respectively, and I do not at this time remember which was which. The tests that gave you percentile rankings did give them minors in the ones they wanted tho.)

Anyway looking back on this in reaction to your ask, I find myself reflecting that House affiliation actually worked very much like gender, in that the way it was assigned was treated in-story as being based on absolute inherent qualities that defined a whole person, but quite clearly per the text actually worked by finding a schema you had an acceptable percent overlap with at a young age, and then setting you up to be perceived and instructed through that filter for the rest of your life.

The affiliation had meaning! But it was mostly meaning derived from the affiliation, and its social weight.

The ability of characters to find the sometimes deeply hidden Potential to live up to the person they aspired to be, thereby retroactively justifying the Sorting they had cajoled their way into, is like a major story element, you know?

I feel like this is yet another one of those places where rowling is a fairly gifted drawer of engaging caricatures; where when she was drawing on her actual lived experience (as opposed to hearsay and stereotype) to create something imitating that thing (in this case Belonging To Category) by intuition, the result would have nicely proportioned parts and some solid symbolic details, and work on an internal level more-or-less consistently, if not necessarily according to any strict logic.

Rather than being realistic it had a feeling of reality, which is in itself a perfectly reasonable way to approach light fiction. I often find myself wishing I could work in this more gestural manner sometimes, instead of drilling relentlessly down to detail.

The trouble is that things like those verisimilitudinous gaps between what people do and how they interpret their own doing, which lend the setting a great deal of dynamism, are only sometimes intentional, and the longer she extends any one bit and the more seriously she attempts to take it, the more likely she is to fall into the gaps and loudly deny that she has done any such thing, while digging herself into a pit of stupid.

[ominous-feychild]

✦ WIP Name Tag ✦

Following tag from @yourpenpaldee!

RULES:

Post the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. Let people send you an ask with the title that most intrigues them, and then post a little snippet or tell them something about it!

Sooo there's a couple ways this can go, heh... most of my WIPs are sorted into channels and even further into threads within them in my own private Discord server, haha. So what I'll do is share the names of a couple of my threads and maybe what few Docs I have floating around!

Gene Scares The SHIT Out Of Oska

✦ thread from/about the Arcane Rifts ✦ I feel like the name is pretty self-evident. Tbh that's the case for most of my thread names, haha ✦ It covers events late in the first book. Mild spoilers. ✦ Gene is one of the MCs. Oska... is one the villains. ✦ Gene is 11 at the time.

Tazin's first interaction with Rieka; early khonitva

✦ thread from/about the Arcane Rifts ✦ It covers events midway through the first book. Very mild spoilers. ✦ Tazin is the other MC. Rieka is also one of the villains

The Faewildes

✦ thread from/about Literally Everything ✦ It covers an entire setting in the background of my stories and explains some worldbuilding.

Soren Magic Puppet Guardian

✦ thread from/about Sun and Shadow ✦ It covers events in the background of the story, and worldbuilding. ✦ Soren is Freya's (the MC and primary narrator's) dad. ✦ he's also strongly implied to have powerful magic within the story.

Lynsmouth's "Families"

✦ thread from/about Sun and Shadow ✦ It covers events in the background of the story, and worldbuilding. ✦ there's a reason "families" has quotes around it.

Chapter ? - Caspar and Nikolai discussion

✦ thread from/about the Arcane Rifts ✦ It covers events that happen during the story, with the characters loredumping and spoiling literally the first couple chapters. ✦ Aka you should totally just read them. They're good, I swear. ✦ Caspar is the mayor's assistant (aka technically the second most powerful person in town); Nikolai is the head of the police (aka technically the third most powerful person in town) ✦ Most chapters are listed, y'know, where they belong. Embarrassingly, I didn't decide where this one belongs yet. Hence... hence its title.

Trans Caspar

✦ thread from/about the Arcane Rifts ✦ you bet I'm queerbaiting y'all by sharing this title with you. 🤣 ✦ btw that's a joke. To my knowledge, I am not actually queerbaiting with him. He is trans and it's alluded to in the story if you know when and where to look.

I am not kidding about the title though.

The Pugabiytsy

✦ thread from/about the Arcane Rifts ✦ It covers events in the background of the story and worldbuilding. ✦ did I mention before that tAR/Glavnran is Slavic? ✦ bonus points to anyone who can recognize where the name "pugabiytsy" comes from. ✦ mildly spoilerific, but mostly through explaining/revealing the backgrounds of older characters.

Ponderosa

✦ thread from/about Sun and Shadow ✦ It covers a "background" character in the story. ✦ Three guesses at their name and the first two don't count. ✦ Ponderosa is one of Lynsmouth's (the city SaS takes place in) local gods. Most people are terrified of them because of their rapidly-changing moods and penchant for excessive "punishments"... especially because they're around all the time.

The Kavo Report

✦ thread from/about the Arcane Rifts ✦ who knows? Send an ask. ✦ minor-to-major spoilers depending on what you ask and how you define "spoiler". But I can and will filter out any that are too bad. 😂

Tagging (with no pressure) @darkandstormydolls @honeybewrites @the-letterbox-archives @themboty @fantasy-things-and-such and whoever else wants to join!

Divider from @cafekitsune

[llynwen]

Hiii love ur rustposting one thing that has recently made me crazy are how in the interrogation scenes there are these moments where rust drops some comment toward each person where the subtext is like, are I can read this off you because I’m the same/felt the same as you/done the same as you and how often it reveals this little devastating nugget of information about him……like the first b&e kid where he says “you were drug down by that same weight that wouldn’t let you have a mom” (oh. oh.) to the pharmacy shooter “how you gonna say a guy that’s on nothing is crazy but a guy that took something that made him crazy isn’t” (OH.) to the Charmaine character, “some people mistake a child for an answer to something, a way to change their own story” (Oh. OH. AAAAH). What the fuck. How dare they do this

hello noonie! i've been thinking about this quite a lot, actually, so thank you for bringing it up!

i've talked about this before, but i think rusty is extremely sensitive and hopeful, and the way he is is a direct result of him trying to squash those aspects of himself. ironically, i think his sensitivity is what makes him such a good detective.

he greatly downplays his interrogation skills in the 2012 interviews, saying that he can just see it in their eyes (if i recall correctly), but i think his real talent lies in being able to Connect to people. now, we all know how awkward he is in interpersonal relationships, but what i mean by connect here is Sympathize. even though the wast majority of the people he interrogates are bad people, they are still People. so be it on the basis of a shared experience/perspective, as you've mentioned, or just being able to put himself in their shoes, so to speak, he is able to make accurate predictions. he Empathizes with the suspects and murderers, and by doing so can understand them better, understand their motives and mindsets.the most interesting case of him doing this is, to me, the munchausen lady (who i am not sure actually even has munchausen. i've had a looksie at this medical journal (https://pubmed.ncbi.nlm.nih.gov/17970367/), and it doesn't really fit. we don't hear about her taking her kids to the doctor's or the hospital, or them presenting with suspicious tummy aches/suspicious symptoms before their deaths. but i have no medical training, so what do i know). even though killing children is The Worst Possible Crime to him for obvious reasons, he is still able to sympathize with her. he expresses compassion, comforts her as she writes her confession down, and even though he is visibly disgusted by it (which results in him telling her to kill herself), he is able to, on some level, connect to her. he brings up munchausen to, in a way, excuse her actions, which makes her more willing to confess (since it's not really her fault.)(you know what i mean).

this behavior does reveal a lot about rust as a person. it drives home the point of just how Vulnerable he is, how Sensitive. he is painfully human, has a fluffy soft underbelly, and all of his crass behaviors and personal philosophies are just an attempt at concealing it, not allowing himself to be hurt again. this is why the ending is so Positive to me. him finally opening up and Showing himself to another person. now That's growth. this is just my take on the situation, and i'd love to hear what you think about this. i'm sorry for dropping another essay in an ask reply, i guess my academic conditioning is stronger than me. thank you again for letting me talk about this, love you mwah