#Critical Thinking / English of Fiction

[he13na]

When I was in college, there were actually critical thinking literary courses that were mandatory for an English degree. I guess they don't offer those anymore, because society seems to have abandoned any capability of critical thinking. Courses like that used to be a cornerstone of education, helping people learn to engage with literature and media on a deeper level, ask hard questions, and unpack complex themes. Critical thinking in literature isn’t just about analyzing a text; it’s about learning to see nuance, to interpret context, and to understand that stories are often full of layers, contradictions, and uncomfortable truths. Those courses taught people how to read, not just for plot but for meaning, intention, and emotional depth.

Sadly, it feels like there’s less emphasis on that kind of analysis these days. With so much information coming at us so quickly on social media, people seem more inclined to skim and react than to actually dig in and reflect. Instead of learning to interpret and engage thoughtfully, it’s as if we’re in a culture of snap judgments where something is either “good” or “bad,” “safe” or “dangerous.”

The loss of those critical thinking skills has led to a world where complex stories are simplified, controversial themes are sanitized, and characters’ motives are flattened out because there’s this fear of misinterpretation or offense. Without critical thinking, people often miss the richness of a story like Summer of My German Soldier, overlooking the layers of trauma, love, resilience, and humanity because they’re too focused on surface-level judgments.

And let’s be real—these courses weren’t just about reading books. They were about life skills, teaching people to think beyond binary perspectives, to ask why and how instead of just what. When we lose that, we lose the ability to appreciate the complicated, messy nature of being human. We start avoiding stories that challenge us, and that’s exactly what leads to a society uncomfortable with any portrayal of emotions or relationships that don’t fit into a neat, comfortable box.

So, yeah, it’s a shame. Critical thinking courses in literature were a gift. They encouraged people to sit with discomfort, to explore moral ambiguity, and to understand that art reflects the full spectrum of human experience—including the parts that aren’t easy to define. It’s exactly those skills that help us see stories for what they are: messy, meaningful, and, ultimately, true to life.

[m1d-45]

on a scale of 1 to 10 — 1 being the least and 10 being the most — how confident are you in surviving an imposter sagau situation?

short answer: i, a non-native in terrain i’ve only ever navigated with 1) a glider 2) no fear of death 3) via a vessel 4) with a map, against various well trained armies, all hellbent on killing me? you’re funny.

now, the long answer…

the long answer, of course, depends on your preferred brand of isekai, as well as the various traits within that. i will… attempt at brevity, but cannot make promises. oh, and there’s no particular order to this list.

1) blood. i myself am more inclined to blue over gold, but that doesn’t matter for this topic. what does matter is if its present and if it manifests immediately.

2) teyvat. is the earth on my side? do the plants and animals know it’s me, or do i need to ‘prove’ it? does it resent me for whatever reason? what’s it’s level of influence (which sounds dumb, but do i have the power of earthquakes and storms or just a few animal helpers?)

3) the imposter situation itself. is there a physical imposter already there,and if so what’s their level of influence? origin? i’d rather go against a wayward traveller than celestia’s puppet. do they have powers? how does teyvat react to them, if at all?

4) speaking of, celestia. are they on my side, the fake’s(if there is one), or staying neutral? what brand of sagau are we even using here? i know i made a post about my version of sagau lore, but one of the key changes since then was celestia. what version of lore are we following?

5) teyvat’s people, emphasis on vision wielders. do they have that subconscious Know? do their visions act up? how do the people overall feel about the one on the throne, if there is one? if there isn’t, is celestia involved in their opinions somehow? what about the traveller, or my vessels?

6) my influence. what can i do? do i have creator abilities, and if so do they take time/some other cue to manifest? is it something i train, or just Click one day? what level? is it an element by element basis, like the traveller, or does that not apply to me? do i have an inventory? if so, can i access the character menus? the map? waypoints? can i move my party, still? do statues of the seven heal me, does food heal me, how do hillichurls and various abyssal beings react to me? ancient gods, such as rhodea (i spelled that wrong) or dvalin or that fucker in the sea outside liyue (yeah i. forgot his name) or azhdaha or yo(u?)kai, if i’m in inazuma? where are we in the in-game lore, by the way?

7) teyvat, again, but this time in terms of biology. i have a few headcanons about teyvat, notably that their gravity is lesser (less fall damage), weather less severe (global warming), and is overall much more temperate/cooler/less humid (global warmingx2 and also just a touch of idealism), so do these apply? this ties into the other points about teyvat, i guess: does the earth let me get cold? can i just shelter in dragonspine?

8) plot armor, for lack of better phrasing. will teyvat let me die? oh, and do i get timeloop’d, or kicked back to my world? do i die, go to my world, then go back to teyvat when i sleep/next log on/whatever? again, tying into other points about teyvat, but will it protect me from death? is my skin like impenetrable or something, or whoops, god is dead, sorry. if i revive in teyvat, is it like that one recent piece i did where the earth moves me? what happens when (if?) i die? does teyvat take revenge?

the long answer… is that it depends.

[barragerofenvy]

Personal Analysis | The Hunger Games

Coriolanus getting involved in the game because he was bisexual AND he was polyamorious so he could get his way with both the tributes AND of course the Victors...

[katefathers]

oops, i did it again: a second doctor who analysis

In my last "back on my Doctor Who bullshit" post, I talked about how "Journey's End" is overstuffed and doesn't really work as a satisfying companion exit, and I want to expand on that a little bit. Because while I liked "Stolen Earth/Journey's End" fine when it aired, years later, I find that it's the least successful of RTD's four primary series finales. (Yes, the finale where the Doctor has a sparkly Jesus moment somehow works better than "SE/JE".)

Buckle up.

In the RTD years, series finales seemed to follow very similar patterns, containing very similar elements:

The Doctor/Companion relationship features heavily

The companion saves the day in some way

There's a big conflict with a Big Bad

There's an exit (in "Parting of the Ways", it's the Doctor; in all other finales, it's the companion)

The finales of Series 1 and 2 follow this formula to the letter, and are probably the most successful and tightly written of the four series finales overall. As I said in my last post, Doctor Who is a very plot-forward show, but each finale maintains an excellent balance between the conflict/conflict resolution and the character moments, specifically the Doctor/Companion relationship and the things that go into the companion-forward conflict resolution. This balance also allows the exit to have weight and time. Everything in these two finales has room to breathe, and I don't remember wishing that we had more time to flesh anything out or answer more questions.

The Series 3 finale deviates from this formula, as it adds another element: a companion reunion. This addition could have botched the finale, as given the nature of the reunion, it wasn't just going to be a happy high-five that the characters could quickly move on from. A reunion with Jack came with baggage, and to unpack that baggage, RTD did the absolutely ingenious thing of giving the finale a third epsiode. The Series 3 finale is, essentially, a three-parter, with "Utopia" doing a lot of heavy lifting so "Sound of Drums/Last of the Time Lords" could maintain the usual finale focus. "Utopia" is probably one of my favourite episodes, as it's just so beautifully paced and utilises its time so well. Because not only does it function to reintroduce Jack and resolve some of the plot points from the Series 1 finale, but it introduces the Big Bad and sets up the main finale conflict. With that accomplished, the main two-part finale has plenty of time to address each of the usual finale elements, giving everything the weight and space it deserves. Like the first two series finales, there was really nothing that I remember needing fleshing out, even if the whole conflict resolution was a little silly.

The Series 4 finale tries to adopt a similar formula to Series 3, with "Turn Left" as its "Utopia", but it doesn't really work. Yes, "Turn Left" reintroduces a past companion and sets up the main conflict, with the stars going out, but it doesn't have a true Doctor/Companion reunion and doesn't introduce who the Big Bad is in a conrete way like "Utopia" does. Those two elements are put in the main two-part finale, and as a consequence everything is given less room to breathe, particularly the exits. Now, I love "Turn Left", and I wouldn't want to alter it to make it more like "Utopia". Getting a Donna-focused episode was great for her character, and I think having the audience be re-introduced to a Rose who has grown and changed away from the Doctor, ahead of the reunion, is incredibly important. What "SE/JE" needed was to either be longer, or to have a true third part finale episode--to then make the Series 4 finale, essentially, a four-parter.

Because while I do think that "SE/JE" resolved its plot well in the time it was alloted, it's ultimately the character work--the Doctor/Companion relationship, the companion saving the day, and the exit--that got the short stick. And that, I think, is down to Series 4 trying to juggle too many "main" characters.

One of the biggest strengths of the first three finales is that they know how to balance their main characters with their secondary and tertiary characters--they know who should be given the most attention to tell a satisfactory story. In Series 1 and 2, the Doctor and Rose are the main characters, so their arcs--their relationship--is given primary focus. Jack is a secondary main character, and he is treated accordingly: given an emotional exit, but one that doesn't take up more than a few minutes of screentime. Jackie and Mickey are also secondary main characters, and they are also given the appropriate amount of on-screen resolution. In Series 3, the Doctor and Martha (and to a lesser extent, the Doctor and the Master) is the main relationship, with Jack being a secondary main again and Martha's family being very much tertiary characters. Martha's growth as a character and her relationship with the Doctor is the main focus, followed by the Doctor/Master drama. Those two relationships and exits are given the most time, followed by Jack's quicker exit and a simple nod to Martha's family.

Series 4 doesn't seem to know how to juggle its characters. Donna and the Doctor are, ostensibly, the main characters, but Rose and the Rose/Doctor reunion is so tied to the plot and character arcs, that she is essentially a third main. Then you have Jack, Martha, Sarah Jane, Jackie and Mickey functioning as secondary mains, and then Luke, Francine, Wilf, Sylvia, Gwen and Ianto as tertiary mains, and my god, that's a lot of people. Where the first three finales were streamlined, keeping their focus on the two mains and making sure that they didn't add too many characters into the secondary/tertiary positions, Series 4 is cluttered. There's too many people to give screentime to, and too many backstories to address, and as a result most of the characters--even the Doctor and Donna--are criminally underutilised. Sure, Donna saves the day, but I don't feel that it's that great a moment or a satisfying resolution to her character arc, and the Doctor spends most of "Journey's End" standing around. Rose also just stands there (why she doesn't lay into Davros as he's pontificating still baffles me), and while Jack et al do have their moments, they mostly just Skype chat the whole time. The Series 4 conflict and conflict resolution is, I think, the weakest of the four, and doesn't really give anyone anything satisfying to do. This could have been excused if it worked as a character piece, but I don't think it does. Both the Doctor and Donna's characters get interrogated, but I don't remember feeling like they did that with sufficient depth or whether there was any moment of revelation. Consequently, it feels like most of the episode is killing time until it can get to the exits.

And then there are the exits. I talked in my last post about how the Series 4 exits have some glaring plot holes, and both the surplus of characters and the lack of time play a part. While I think it does give its tertiary characters appropriate exits, the exits of the secondary characters feel a little quick. Not only are there so many to send off in such a short timeframe, but you never see where those characters stand with the mains--specifically, Rose. Rose knows and has emotional connections to Sarah Jane, Jack and Mickey, and we have no idea whether they said goodbye knowing that they would never see Rose again. And we still don't, making this a lingering plot hole. As for the main characters, Rose's exit comes across as high-handed on the Doctor's part, displaying a frustrating lack of choice and communication, and while Donna's does work in some respects, it could have used more time to flesh out why taking her memories was the only option, and to give her a choice. Granted, both exits can be tied into the Doctor's journey towards the even more high-handed Time Lord Victorious, but when you disregard that, they aren't very satisfying on their own. At least for me. More time, or fewer secondary characters to see off, would have given the exits the opportunity to breathe. And it would have improved the pacing, giving each exit time to settle before we move onto the next one. I mean, there's only a couple of minutes between Rose's bittersweet exit and Donna's tragic one, which does Donna's a disservice. It feels less like an event, and more like a box to tick.

As a fan, I understand why the Series 4 finale is as messy as it is. It's RTD's last true finale before his swansong specials, a finale that is trying to wrap up his whole run with the characters he, and viewers, have come to love. Who knows if a future showrunner would bring back Martha or Sarah Jane; you want see these characters one more time, in case they don't. But as a writer, I wish he'd exercised more restraint. I love Jackie and Mickey, but did they need to be there? Did Francine? Or could Donna's exit not have been saved for the specials? Catherine Tate was clearly signed on to at least one of them; could Donna not have stayed with the Doctor, her mind slowly erroding, leading up to her memories being taken in "End of Time"? If she did, it would have left more time to dedicate to Rose's exit in "Journey's End".

Overall, I think Series 4 is the weakest of the RTD finales. While as a fan I did like seeing all these characters together, from a technical standpoint I wish RTD had stuck to his previous formula as, if he had, we would have got a much tighter, more satisfying story. As it stands, while it's fascinating to me why we didn't, I think "Stolen Earth/Journey's End" is always going to be my least favourite. Unless we get some kind of director's cut, I don't see that improving over time.

[thewritehag]

I like plenty of bad guys, but I don't get the urge to woobify them and I don't get it, you know? You can enjoy an evil character, not need to define them as "problematic" to soften them, and still like it when they get their just desserts.

Case in point: Dracula is one of my favorite characters. He's one of the few characters who has stepped out of their text and lived beyond it, who has affected cultural literacy irreversibly, and I love that. And, I love reading the high-speed chop and stab that kills him over and over and over and over, because fuck that guy.

Like. Don't be weird about it.

[gch1995]

Not to mention the fact that George Lucas change their stance all the time. However, yeah, even my boyfriend doesn’t like Anakin or Luke Skywalker because he thinks they are annoying, but loves Obi-Wan Kenobi. For the most part he does also think the prequels suck because the writers made the Jedi Order so awful, and he thinks Hayden Christensen couldn’t act. I don’t think Christensen was amazing in the prequels, but I think a lot of it came down to bad dialogue and poor script writing, rather than a lack of ability on his part.

To be fair to the Jedi apologists, I don’t really think most of them would actually ever be okay with child abuse, child neglect, committing and/or enabling war crimes and systematic abuse, trafficking children for warfare in an army cult, or telling major lies to get their way “for the greater good” on a regular basis, if at all, in real life. I think it’s just easier for them to let themselves get lost in the badly written fantasy that Star Wars became because both Lucas and many of the writers behind it can’t be objective.

For those of us who have spent a lot of time analyzing fictional, literature, and stories for coherency, growth, meaning, relatability, and symbolism, rather than just surface level entertainment, such as authors, bookworms, English lit majors, and media critics, it’s harder for us to get invested in the story when the characters don’t grow, they don’t get treated fairly, double standards exist, the narrative is inconsistent, and the “heroes” only seem to be able to have that role at all because their enemies are worse.

Plus, while Obi-Wan and Yoda absolutely were deceitful and shady with Luke in the OT films, if you were to ignore the existence of the prequels, I could understand being willing to hand-wave it as a one time “shitty, but justified” decision. If I had never seen the prequels, personally, it still would have always bugged me that Obi-Wan and Yoda never seemed too apologetic about it, but I’d be willing to still let it go. After the prequels, though? No way. The Jedi were the lesser of two evils, not good guys.

Are their crazy Jedi fans on Tumblr and the internet? Sure, but the majority of the ones I’ve met in real life seem to understand that they would suck as people from a real life perspective. They just would rather not think too deeply about how fucked up they are within the confines of a fictional universe written by authors who intend for the audience to view them as “heroes” because they are the lesser of two evils within it.

i think the Jedi-Positive and Jedi-Critical stances can be summed up on whether you value authorial intent or authorial execution.

Most of the Jedi-Positive people I follow quote George Lucas and director commentaries to prove their points, as well as utilize analyses from others at LucasFilm that have to keep the general status quo. It's all based on what Lucas was trying to portray, while ignoring the product in execution.

The Jedi-Critical stance tends to look at the prequel execution, and they question the obvious uncomfortable moments that have real-life parallels to atrocities. They tend to be more Legends fans, whose writers actually delved into the terrifying implications. It's all on criticizing execution while disregarding intent.

Like, take the argument about Jedi children. A Jedi-Positive person would argue that all the children are all given up with consent from their parents; this is what I am sure Lucas was intending to portray. A Jedi-Critical person will look at this and go "wait. how much 'consent' was in this encounter? the government can legally take these kids and have a representative show up to a farmer's house and tell the farmer they can technically say no? that is some bullshit." And there is real-life evidence for this. It's more on the execution.

Or the argument about love. Jedi-Positive people turn to Lucas's interview to show that they really meant it in the Buddhist sense, and if you value intent that works. Jedi-Critical people would argue that the marketing states that the Jedi cannot love, and nothing in the movies states that the Jedi meant non-toxic love when they eschew attachments.

They're both valid positions, but I think a lot of fandom brutality comes from not understanding either view, or demeaning one view in favor of another. It's perfectly acceptable to value one over the other.

[nebulousmoon3990]

GHOSTS OF THE PAST (Batfam x neglected hero reader)

II𓂃› POISON

Warning: Negligence (unintentional), Damian being Damian, violence, swearing, sensitive topics,bad things, spelling mistakes (English is not my first language) and reader has black hair and blue eyes (sorry), Fem reader!, use of (M/n) for his mother's name, I accept criticism but please don't be rude, everything is fictional!

Two weeks.It had been two weeks since you disappeared, two weeks in which Bruce did and still does everything he can to find you (as the millionaire Bruce Wayne or as Batman), two weeks in which he and possibly no one in the mansion slept properly, two weeks in which guilt gnawed at him in the worst possible way. But even so, Bruce is ashamed to say that in these two weeks he has only been going to his room now.

Could you blame him? Bruce didn't want to go to his room because that would be a way of saying that you died. He refuses to think that way, you are alive, he is sure of it, and he will find you.

However, Bruce's thesis was shattered by his anxiety.

That's why he goes to your room for the first time.

Bruce remembers going there only once, you must have been seven years old, what saddens him the most is that he only went there because there was a problem with the ceiling and that's why you had to change rooms. Your room was on the second floor, a little further away from the others, possibly the room closest to yours was Tim's.

Alfred had to show him where his room was, which made Bruce feel even worse. He didn't know where his own room was! Was he so negligent to that point?

Your room was at the end of the hallway, the only thing that identified it was a guitar sticker on the door, it was faded and dented, possibly having been there for years, wood splinters were visible on the door and the metals on it were very rusty.

Grabbing the doorknob, Bruce hesitated to open it, the logical part of his brain warning that you might feel uncomfortable with him invading your room like that, but his desire spoke louder, gathering courage Bruce opened the door slowly and faced the environment. He was greeted with a sweet smell that reminded him of artificial strawberries, coming from the entire room and Bruce thought that maybe this was the smell you had passed many times.

The first thing he noticed was the appearance of your room, it was smaller than most of the rooms in the mansion. Your bed was next to the window, giving you a view of the mansion's garden, next to the small bed was a nearly empty study table, on it papers and colored pencils were in the corner organized so as not to have a mess, a small swivel chair was there, there were tears and poorly washed stains, but it seemed like you used it a lot. Above the table on the wall were posters of bands and other things, but what caught Bruce's attention was not that, no, it wasn't.

There were trophies, certificates and awards on top of his shelves.

There were so many, so many, that Bruce thought it was his mind playing tricks on him, but it soon proved to be true when he approached the said shelves. There were trophies for gymnastics, literature, computing, swimming, there were awards for drawing, music, and even jiu-jitsu.

Each one was accompanied by a photo of you, photos that were supposed to be taken with your family but most of them were with your instructors, it was possible to see that with each photo that there was your face changed from false joy to not even bothering to smile.

The sight of you in the photos made Bruce's heart break, the worst one of all was one that looked like you were from gymnastics, but in this one you were really exhausted. Sweat was all over your forehead, making your hair stick to it, your eyes were a little red and there was a bruise on your arm, you tried to smile but it was noticeable that the smile was fake and to top it off, to break Bruce's heart? You were holding back tears, tears shining in the corners of your eyes so intensely, but you held it tight, so as not to cry in front of the camera.

Bruce felt horrible, really awful in fact.

He carefully picked up the photo and sat down on the chair, watching you. You must have been eight or nine years old? He didn't know, but you looked so young, so helpless, but you already looked so... broken. As if you knew the weight of the world, the weight that life brought.

He straightened up in the chair and looked at the room again, seeing the back of his room where the wardrobe was. Bruce noticed that next to the large piece of furniture there was a box, almost as worn as the sticker on the door, he got up from the chair leaving the photo on the table next to him, walking over to the box and picking it up with ease. Preferring to sit on the bed instead of the chair he opened the cardboard box to find a computer and a pen drive.

Bruce, so immersed in his thoughts, barely noticed that while he was turning on the old device, someone else was entering the room.

“Bruce?” The aforementioned looked up to see Dick. Looking at his son, he realized how worn out Dick was, whether it was the deep bags under his eyes or the messy hair from so much grabbing and pulling. “What are you doing here?”

“I…” came to see my daughter’s room? Came to try to feel less guilty? Came to try to comfort myself in my pain of not having protected my own daughter? Bruce didn’t know what to answer, fortunately, Dick understood this and decided to see for himself. Carefully, Grayson entered the room and observed with interest, his gaze stopping at the same shelves of trophies that Bruce was interested in, the small smile on Grayson’s face disappeared when he discovered the real reason for the trophies being there.

“W-wait, is that from gymnastics?” Dick looked closer, seeing on the table the same photo Bruce had taken, his anxious eyes roaming the entire shelf, observing his every victory in detail. “Is that all of…(name)?”

“Yeah, and all of hers, all the effort we never saw.” Bruce turned his focus back to the computer, the anguish in his words reminding him of his mistake, while Dick sank in guilt as Bruce himself decided to look at the computer’s contents.

It looked like it hadn't been used for a while, there was dust on the computer and the screen was broken, putting the pen drive in the device a folder appeared on the screen, Bruce clicked and the loading screen appeared on the screen, while it was loading Bruce felt his oldest son sitting next to him, watching the computer next to him and as soon as the loading was finished the two men came across photos.

Very, very old photos of you.

Photos of you as a baby at various points in your childhood outside the mansion, there was a photo of you walking while smiling at the camera, a photo of you sleeping on the couch drooling all over it, a photo of you drinking while wrapped in a blanket like a burrito, and many others.

Bruce heard Dick sigh when he saw you, he had to hold himself back from melting right there, you looked so cute with your chubby cheeks and bright eyes. He wished he could be there at that moment, seeing you so cute, taking care of you, being the father he never was.

But time has passed, you've grown up and are gone now.

Bruce shook off his thoughts when he saw a different photo, in it you had the corners of your mouth covered in what he assumed was chocolate, your hands were covered in the same candy, but what caught Bruce's attention wasn't that, but the woman behind you holding you while laughing at your lameness.

your mother

(M/n) (Last name)

He remembers the woman, kind and caring, a writer from outside Gotham, and although it is strange that she preferred Gotham to live in (with so many other cities more protected than it is), she reached her peak of fame, which made them meet. Just one night with her, nothing more, an affair that didn't go ahead and in which he thought he would forget about her, only for a year later she sends him a letter, talking about you, his daughter.

She didn't ask for anything, not even alimony for herself, she just asked him not to interfere in her daughter's life, although Bruce found the request strange he accepted, being too busy with work to care, he didn't give it due importance at the time.

That was until (M/n) died, her sudden death made him bring you to his house, he fought for custody of you with your aunt, but since he was the one best able to raise you, your custody was given to him.

That was many years ago, he doesn't remember you bringing this computer.

Oh.

Do you keep the computer to remember your mother?

The articles were old, wouldn't it be better to transfer the photos to your cell phone? Or didn't you want to? Maybe you would prefer to keep the computer to remember your memories.

Dick shifted beside him, looking again at the immense trophies on his shelf. “We had her here, and we just ignored her.”

“Dick—”

“We had a diamond in the rough, shining brightly for us, and we just ignored it, and now that she’s gone…” Bruce said nothing, there was nothing to say.

Dick was right.

They had lost a precious stone.

And there was no way to get her back.

Three months.

Nothing about you, no clues, no trails, nothing made it even more difficult because the bus you were on was burned, even if it was left there were no fingerprints, DNA or anything else that would lead them to you.

Dick had to go back to Blüdhaven, continuing his own investigation there. Bruce, knowing that he couldn't do it alone (not this time), put his pride aside and warned the members of the league about your disappearance.

Clark, in an effort to find you, published an article in the Daily Planet about your disappearance, but not even that helped in his search.

The members of the League were alert in each of their cities, looking for clues about you, but nothing came to them, not the organization that kidnapped you or your possible whereabouts.

It was as if you had disappeared from the earth.

Six months.

The police were getting sloppy, probably already giving up on the case. Bruce was still investigating, but how was he going to get deeper into the case if the clues that led to you had disappeared into the wind like dust on the ground?

All he had were your desperate calls for help, your messages, but they led nowhere, your device destroyed without its location.

The family had become more depressed, as if something was missing for everyone present, the immense loneliness in the mansion showing who was missing.

You.

One year.

The case was closed, with nothing to investigate, the Gotham police had more problems to deal with than a missing and possibly dead teenager.

There was… nothing. 

Nothing to say, nothing to do, nothing to look for.You were gone.

A long time ago.

What they didn't know was that you weren't gone, but you were there.

“Alright, alright, I think we’re done for today, right?”

The iron-tasting liquid once again rose up in her bile, making the blood in her throat gush out of her mouth, choking her.

The room they were in, previously white, was now stained crimson, clinging deep into the walls as it reflected the light from the lamp.

In the corner of the room stood you, chained up like a beast (which technically wasn’t a lie now). You lay still as the toxic green liquid entered your veins, the acidity still biting your skin.

Doctor Magnus was the one in front of you, the man with long black hair and golden eyes was watching you dangerously, the loving attitude that many could see as a father educating his son was nothing more than a facade of sadistic malice from the man.

He disgusted you.

They all did.

All of them, all of them, all of them, ALL OF THEM-

Magnus watched as the syringe that connected the tube in your neck finished injecting the toxin into your veins, with the process finished, Magnus approached you and pulled it from your neck.

With the brutality with which he pulled the syringe, you hissed in pain, your abnormally large fangs showing themselves to the doctor, the protective instinct emerging in your brain. Despite the offense, Magnus just smiled at you.

Stepping away from you, he lowered your restraints making you feel a little comfortable. With his fingerprint, the doctor opened the automatic door, before leaving he stopped at the door and looked over his shoulder, his gaze meeting yours.

“Get plenty of rest (Name)…” the man’s smirk widened, the evil coursing through him making her stomach churn with fear.

"Tomorrow your experiments will intensify.”

Okay, I'm a little disappointed (I was hoping to write one more, but I couldn't add anything without it affecting the next chapter), well I'll make up for it in the next chapter.

Here's the tag list \(•◡•)/:

@daiyanomochi - @amber-content - @wizzerreblogs - @foggyv-oid - @kore-of-the-underworld - @theunknowntravel3r - @space1crow - @shortnsweetsposts - @popursocks - @sugasweettea - @salfishers - @itachisank - @jsprien213 - @infirebaby - @yhin-gg -@h-ib

@bunbunboysworld - @h-ib - @sheep-from-rad - @tatsuri-zomushiki - @the-holy-pigeon - @geminis93

sorry for any mistakes.

Bye

[lizziee-olseen]

Opposites that attract

Wanda Maximoff x Fem reader

Word count:2,243

Synopsis: when your teacher assigns you to work with your stalker you would never think that you would end up with her entangled in a carnal way

Warning: mention of harassment, Wanda is mentioned that she is bad, lesbian sex writing attempt (I’m sorry if it’s bad ;( I’m just a virgin girl writing sex scenes) let me know if I skip any

Note: English is not my mother tongue so I’m sorry if there is a spelling mistake; (by the way I accept requests both internally and by messages >. <

Wanda was the popular girl par excellence at school. Her long reddish hair cascaded down her back, and her penetrating green eyes seemed to shine with an inner light that made everyone want to be her friends. She was the captain of the cheerleading team, and her smile could illuminate a room completely, Wanda knew how to get attention, it was no surprise to anyone Wanda had everyone around in the palm of her hands

On the other hand, you are the nerd. You wore your black glasses and your beautiful hair was always tied in a large ponytail, so you prevented your hair from getting in the way while you read or did your work and your great love for science fiction and fantasy turned it into a target for Wanda’s contempt

For years Wanda had done her own mission in tormenting you, sometimes she made fun of your clothes and how you dressed, but especially of your hobbies and how studious you were, you almost always tried to avoid her but she always managed to find you you never claimed her for her bad treatment or because her cruel behavior with you, you have never done anything wrong to her it was just you avoiding everyone like a plague except Wanda for you she was a beautiful demon who tormented you sometimes you felt sick just thinking about how her big green eyes looked at you you felt attracted like a moth that was heading to the flame of a fire that you knew it was dangerous too close but the fear is gone a long time ago and now you only have a sad attraction towards your beautiful stalker

But one day everything changed Mr. Johnson assigned them a project Together oh Wanda had hit a scream to the sky you on the other hand you settled and you couldn’t help but feel a little emotion of being with the big green-eyed monster, she quickly made it clear to you that they would get together in the library and that that would never change things between you you just nodded and followed her like a puppy where you didn’t know where to get into

The first week was not easy Wanda always postponed excuses or she went with some player under the stands to kiss or do other things so you left yourself alone in the library thinking of a great idea to have the highest grade since you didn’t care much you just wanted Wanda to feel proud of your idea and see how no matter you were committed to your effort, Wanda thought you would demand the teacher that

You will change that you wanted another partner but you didn’t and that intrigued Wanda, one day while you were still thinking of a great idea for the project she appreciated with her cheerleader uniform she sat next to you and she simply started talking about the project not much was said that day until they still reached an agreement in which they both liked

Wanda began to look at you more she liked how your plump cheeks showed some adorable daisies when you talked about something you liked, oh how your beautiful hair you let it go letting it fall like a waterfall oh she wanted to touch your shiny hair and tangle her hands in it, Wanda began to desire you and love you as if her life depended on it you were no longer that helpless girl who didn’t tell her anything it’s just you in your maximum glow and she liked it

While they were still working on the project both began to get closer and share more things about each other, the love for literature was something that both shared and could not avoid sharing books or that both liked to criticize teenage love movies in that small space in a corner of the library they began to create a great bond and it was their space where no one could interrupt

One night while they were working late in the library Wanda looked at you and you were a little surprised what she said “you know I never thought of telling you this but I actually like working with you”

You couldn’t help but smile a slight blush showed on your cheeks and that nice flutting on your chest returned “I also like working with you”

Wanda smiled and for the first time in all these years you could feel that she was sincere, it was not that burlesque smile she had when she bothered you with her friends it was just her, Wanda got closer to you invading your personal space a little you were frozen not knowing what to do “you know and/n I have to admit that I was very wrong about what I thought of you, I like you and/n”

Your heart beat quickly since you didn’t think that the popular girl who tormented you felt something for you, Wanda began to slowly approach you you could feel her breath on your lips it was warm you wanted to be as close to her but you had never kissed anyone and you were panicking for your luck Wanda realized “calm and/I know I made a mistake with you and I’m very sorry but I promise you that there is nothing you don’t want pretty girl”

“It’s not that Wanda, it’s just that I’ve never kissed anyone before” your confession encouraged Wanda more for having you a sweet and inexperienced nerd girl you were made for her

“Just let yourself go I promise to guide you in everything my sweet girl” suddenly Wanda joined her lips to yours they were soft and gentle, your body was excited they fit perfectly it was as if they were designed for this like two puzzles that came together perfectly

As they walked away, panting for air, Wanda smiled at you. “I’ve wanted to do that for a long time,” she said

Your eyes opened in surprise since everything felt too unreal “Really?” You Asked

Wanda nodded, her eyes shining with mischief. “Really,” she said

And with that Wanda threw herself back at you leaving you trapped in the uncomfortable library chair but you didn’t complain at all it was the perfect place for your first kiss

While they kissed passionately Wanda began to wander through your body trying to look for all the pleasant places that made you sigh, she carefully touched your thighs and then went up and dropped a hand on your soft chest Wanda moaned when she felt that you were only wearing a shirt and that you were not wearing a bra that allowed her to pull one of your nipples a little making you let out a slight moan, for Wanda it was the most enchanted sound she had heard and wanted more, she slowly guided her hand to your thighs and price or carefully your parts you jumped A little but that only made Wanda want you even more

Wanda walked away not without first giving you a slight peak on your lips it was adorable to see you wanting more, they stayed for a while watching until Wanda spoke and you could see how her eyes showed a little mischief and pleasure “come on honey let’s get out of here” she said.

You quickly said that if they both put things in their respective bags and left the library behind, Wanda took you by the hand and went to the dormitories of the campus she held you tightly

You walked in silence, the tension between you increased with each step you took, finally you reached Wanda’s bedroom, she opened the door and let you in first and then closed the door behind you

It didn’t give you much time to observe the room since Wanda attacked you quickly it was an even more desperate kiss than the one they gave in the library, Wanda wandered through your body touching you everywhere leaving you clouded by her and her closeness, both wanted more and needed it

Wanda walked away and looked at you with desire and passion she wanted more and you wanted it too she wasn’t going to go around the bush “I want to fuck you, I want to make you mine” I took you by surprise a little but they came here for a reason

“Wanda make me yours as you have always wanted” Wanda smiled she carefully guided you to her bed she sat on your legs her hands wandered towards the beginning of your shirt and I silently asked you if I could take it out, you quickly raised your arms and your top quickly disappeared leaving you uncovered

“You’re really beautiful and/n” Wanda was dazed looking at your beautiful and plump breasts

“You are too Wanda, always” she smiled at you and her kisses this time began to go down your neck leaving the odd mark that surely tomorrow would be a beautiful purple

Wanda touched your breasts carefully letting you get used to her touches but it was not enough for you “more Wanda” she gave it to you joined one of your breasts in her mouth and it was like touching the sky Wanda sucked and bit slowly you were sure that if she continued like this you would still reach a fast and pleasurable orgasm

Her hands went to your private parts, Wanda put one of her hands in your panties moaned when she felt how your moisture pierced your panties both hurt a moan of pleasure “God knew you were impressive my smart girl” the compliment made your cheeks blush

“I want to feel you completely Wanda” she nodded and walked away from you she began to take off her clothes slowly she was hypnotized by each of her movements, Wanda was completely naked and you were even more in love with her “you are even more beautiful in your nudity” and for the first time you saw how the popular girl blushed but it did not last long since she threw herself at you and took off your clothes leaving you in the same state as her

You could feel how Wanda’s pleasure dripped into your vagina and how it began to mix with yours she guided your hand to her area and guided you so that you gave her pleasure she was in love with every sound she made and how her breasts began to bounce on your face without a doubt Wanda maximoff was a work of art and you felt lucky to see her on top of you and see how she used you at will “not yet honey first I want to make you feel good” you were going to protest but your brain was erased when Wanda went down to Your area and began to lick your clitoris carefully

Wanda was an expert you could feel in her movements on her tongue, she wanted more from you and she was going to have it she began to go down even lower reaching your virgin hole she began to slowly put her tongue in you you jumped a little because of the intruder in you but quickly the pleasure returned you tried to guide your hand towards your clitoris to stimulate you but instead you received a slap from Wanda

“Don’t be greedy little one accept what mom gives you” the soft title that she herself gave you made more of your juices sprout “oh my little whore likes mom to make her feel good”

“Yes, mommy, I just want to make you feel proud” you replied quickly while she ate you as if you were her last meal

Carefully she put a finger inside your tight hole the burning was almost pleasant but your attention only fixed on Wanda in how she sucked your clitoris the pleasure came back harder your walls squeezed deliciously Wanda’s finger

“Come on pretty girl come for me” and it was enough to make you run your walls squeezed strongly, your body trembled with pleasure it was the most delicious thing you have ever felt, Wanda went up and kissed you you could taste yourself in the kiss

“It’s your turn let me make you feel good like you did with me” Wanda smiled but denied, she separated your legs and accommodated you so that their sexes will come together both let out a moan

Wanda began to move slowly it was a delicate back and forth both synchronized their flows began to mix, both approached and kissed between kisses delicious moans came out the bed creaked strongly without a doubt the backrest will leave a mark on the wall but they didn’t care they just wanted to feel in a more carnal way

Wanda quickly reached orgasm her beautiful back arched and you followed her later if you could hear how her flows sounded and that made you almost have another orgasm, she carefully got off you and pulled you still hugged carefully she put a blanket on them both and they only looked at each other in silence it was only you two their looks said everything they wanted to say they gave each other a last kiss and both fell asleep with a smile without a doubt both would thank the teacher for putting them together at work

[metamatar]

its so funny when people post about english class being all about teaching you media literacy and critical thinking and like 10000 other things and not even give a passing mention to how. english class is supposed to teach you english. it is not many students first language and even many native speakers have issues with basic grammatical structures. language classes can and should use a mix of fiction, poetry and non fiction, because they serve to introduce you to the wide world of culture that a language opens to you. should studying that involve parsing text thoughtfully, in the context of institutional power and so on. yes. but i don't think you can get much of that done when you're doing the actual business of teaching kids tenses and prepositions and so on and how to write essays and letters and emails.

[room-surprise]

PSA: Mana doesn't exist in Dungeon Meshi

Some translations of Dungeon Meshi (specifically the English anime and Yen Press manga) have used the word mana to describe magic, when the original Japanese simply said magic (mahou, 魔法) or magical power (maryoku, 魔力).

Ryoko Kui does not appear to use the word mana (マナ) at any point in the manga, the published extra materials, or her blog, so calling magic “mana” is an addition made only in some translations.

For example, the French translation does not use "mana." If you know of other translations that do or don't use mana, let me know!

The use of the word mana in English comes from Maori and its earlier Proto-Oceanic ancestor language.

It describes a form of supernatural power tied to social status, respect and strength. Mana is a religious concept for many Austronesian cultures, and is not really "magic" in the way pop culture has defined it.

As best as I can understand it from an outsider's perspective, mana is more like attributing a supernatural quality to a person's charisma, or the awe one feels when faced with a natural wonder like a mountain or the ocean, or the intimidation one feels when facing a powerful group.

The use of the word mana as a generic term to refer to magical power has been criticized as being cultural appropriation of a real religious term, still used by living people, to describe fictional magic.

In addition to this, using an Austronesian word at random in Dungeon Meshi for one of the most important and fundamental forces of the universe (magic) is inorganic to the world that Kui has constructed, which is rooted primarily in Greco-Roman, Hindu/Buddhist Indian, Middle Eastern, and Germanic cultures.

Using mana to refer to magic would suggest that the Ancient culture from before the cataclysm was Austronesian, but the rest of the manga does not support such an idea at all.

There are references to Austronesian and Oceanic cultures in Dungeon Meshi, but they are mostly tied to the orcs, who don't appear to use magic, and whose culture clearly doesn't, and has never had, the social power to define what word the rest of the world uses to refer to "magical power."

How did a Maori word get so popular in English?

The concept of mana was introduced in Europe by missionary Robert Henry Codrington in 1891 after he wrote a book about his time in Polynesia. The concept was then popularized further in America in the 1950s by Mircea Eliade, an extremely influential religious history scholar at the University of Chicago.

Mana was first introduced as a magical fuel used to cast spells in the 1969 short story, "Not Long Before the End", by Larry Niven. Around this time it also became popular with new-age religious groups.

It has since become a common staple in fantasy fiction and games.

So why translate it as mana?

The choice to translate "magic" and "magical power" as mana was probably made to try and make Dungeon Meshi sound more like a video game/RPG, since so many Japanese fantasy manga feature video game or RPG mechanics, and translators working on Dungeon Meshi would have no reason to assume it would be any different, especially at the very start of the manga.

However, Dungeon Meshi is much closer to High/Epic Fantasy, like Lord of the Rings, and throwing random gaming terminology into the translation when it wasn't in the original text ("mana", "newbs" and "inventory" instead of "magical power", "newcomers" and "supplies") feels out of place.

I think adding the term mana is a disservice to the hard work that Kui has done with her careful attention to linguistic detail and culture.

In the process of working on my Dungeon Meshi research paper on real world cultural references, I have studied over 100 names and words used by Kui, and I have found that she is remarkably thoughtful and consistent in what real world cultures and languages she pulls from, and what fictional cultures she pairs them with.

Obviously I don't blame the translators for not knowing this, they had to make translation decisions before the entire manga was complete, and most likely they were doing work for hire, with no idea what Dungeon Meshi was about.

They had no way of knowing Dungeon Meshi wasn't a video game fantasy comic, and were just trying to rush through their work as fast as possible in order to get paid, and move onto their next project.

Once it became apparent that Dungeon Meshi was High Fantasy and not a world that functions like a video game, they'd already used the word mana, so there was no going back.

In an ideal world, if the translators had known the type of story Dungeon Meshi would become from the beginning, if they really wanted a single word to translate "magical energy" into, they could have picked a word that belongs to one of the language families I mentioned before, rather than using mana just because "everybody uses mana, so readers will know what it means."

What should I call magic power then?

If reading all of this has made you want to stop calling it mana, hooray! Thanks for listening to me rant. You could just call it magical power, if you wanted. Nothing wrong with that!

But if you want something a little less clunky, here's an incomplete list of possibilities in some of the languages most commonly referenced in Dungeon Meshi. Please note I have not done due diligence on every one of these, I believe none of them are exclusively religious terms still in use, but just words that could mean magic (both fictional and real) in various languages. If I'm wrong about any of them, let me know.

INDIAN: Maya, prana. MIDDLE EASTERN: Sihr, kiisum/kesem. GRECO-ROMAN: Ergon (as a euphemism), goteia, physis, numen/numina, mageia. GERMANIC: Seidr, galdr.

(This post is an excerpt from my Dungeon Meshi essay with additional elaborations.)

[weirdsht]

What es up 👾

What if totcf with transmigrated!reader that barely says anything about themselves but they know so much about the others, they think it's kinda unfair how easy they are to read to reader (reader has read the novel so they're like a piece of cake to reader) and then one time everyone was drinking, some were drunk, some were dead on the floor or couch, then reader says "I miss my husband..." With such a solemn expression and everyone is shocked because wdym u have a fockin husband????

Rosalyn: *sees reader crying their eyes out* you... You have a husband?

Reader: yes, Rosa sob I miss him, my kids, too!

The gang: Kid? Wait, kids? Plural...? How come we never knew of this????????????

Reader was actually referring to their fictional boyfriend and characters they grew to love that they knew about from Earth, but reader is like, crying like it's the saddest thing as if their spouse went to war

…Seriously? - LoTCF & Reader

a/n: a/n: not me sneaking my lads obsession in here, also I had to choose 1 LI so the gig isn't out of the bag so soon but I don't have a bias there... so i used the usual roulette lol, find out who won as you read the story

tags: earth timeline doesn't make sense. transmigrator reader, love and deepspace mentions, platonic, fluss

English isn’t my first language so there will be grammatical errors

Pls don't repost my work anywhere without my permission

Constructive criticisms and any kind of interaction are more than welcome

Requests are currently closed but my ask are still open (read pinned)

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[Name] was an enigma to Cale’s group. They know that she’s not from their world. Know that she can predict the future to a certain extent. However, beyond that information, they don’t know much about the transmigrator. 

They barely know anything personal about [Name].

Which is a bit unfair if one thinks about it deeply. [Name] knows everyone like the back of her hand, but they don’t even know if the name she has given her is her real one.

But it doesn’t matter much. Cale’s group is not one to pry information that could possibly be sensitive out of a comrade. They all have their secrets after all, maybe [Name] was uncomfortable talking about her previous life.

Well, that was until Rosalyn saw her crying one day.

It was a normal day, a good one even. For the first time in a while, there’s absolutely nothing to do. Even Rosalyn’s research has been put on hold. And so she decided to find [Name] so they could try to newly opened cafe in town, and have a girl’s day.

“[Name] are you busy–”

The mage stopped in her tracks as she heard the transmigrator sob from the other side of the door. [Name]’s cries were quiet but it caused a loud concern to ring in Rosalyn’s heart.

“Why are you crying? Did something happen?”

Rosalyn opened the door, panic spread through her body as [Name] is known to never cry.

“Ro-rosa..?”

[Name] looked up as the door opened. Her knees touched her chest, her head resting on top of it. Tear stains could be seen on her clothes, it looked like she had been crying for a while now.

“I’m fine, don’t worry nothing happened.”

She reassured Rosalyn as she wiped her eyes with her sleeves. Her voice was wobbly, not helping her case and certainly not making the ex-royal believe her.

Rosalyn took [Name]’s hands on her left hand and wiped the transmigrator’s tears with the handkerchief she bought with her right hand. Concern is etched on her face as she gives [Name]’s hands comforting strokes.

“Tell this unnie what’s wrong.”

Both have forgotten about the door being wide open. Making everyone, the three kids and Lock, hear everything they are talking about.

“It’s a silly thing… I just realized it’s been so long since I saw my husband…”

Rosalyn fought the urge to overreact at the news that one of her friends had a husband she didn’t know about.

“From your previous world?”

“...Yeah, it’s been so long since I saw him. It doesn’t help that when I last saw him it looked like he was going on a very dangerous mission.”

[Name] was crestfallen as she spoke. It was clear just how much she missed him.

“My children too, I only saw my twins for a short while!”

The whiplash Rosalyn is getting from these shocking pieces of information is too much.

Good thing another redhead arrived to save the day.

“Why are you four hiding over there?”

Cale asked the four children and only then did the two women realise how the door was open. Rosalyn shot [Name] an apologetic look. She didn’t mean for her personal life to be broadcasted like that.

“No need to be sorry, it wasn’t really a secret. There wasn’t just a chance to bring it up.”

[Name] assured the mage as she gestured over to the five outside her door. Beckoning them to go inside.

As Cale and the children walked towards the transmigrator, they updated Cale as to what they heard.

“So you had a husband before coming here?”

“Yes, my husband Sylus… I didn’t even get his limited card before I could… huek!”

The transmigrator teared up once more and every one pitied her despite their confusion. Just what card is she talking about? Maybe it’s an earth thing they don’t know about.

“[Name]-nim are you talking about a credit card?”

Choi Han peeked from outside. He was just passing by when he heard the children updating Cae about his fellow transmigrator’s life.

“Huh? Oh no, I mean he did have a black card but that’s not what I’m talking about.”

Now Choi Han was part of the confused crowd. If she didn’t mean a savings card what could she be talking about then?

Meanwhile, in the corner of the room, Cale squinted his eyes. That man knows for a fact that [Name] hasn’t even had her first kiss yet. What are all these lies about a husband? 

…Plus the name she said sounded very familiar.

“Could you tell us more about him?”

“Yeah tell us please nya!”

Raon and Hong encouraged [Name] to talk more, interested in the slightest information about their mysterious friend’s personal life.

“Well, his very tall. Around 187cm I think? He kind of looks like a vampire with his white hair and red eyes. I can confidently say that his one of the most handsome guys out there.”

Everyone became even more intrigued. Just how great was this husband of hers? [Name] sounded very in love with him. He also sounded well-off based on Choi Han’s explanation of how a black card is like the equivalent of a golden plaque.

“Oh, he also has this thing called Evol. Basically he has powers, his power in particular is controlling energy. His super strong, he can even heal wounds.”

From the corner of the room, Cale suppressed a sigh as he placed the pieces together. Instead, he opted to silently facepalm.

The conversation about [Name]’s supposed “husband” lasted for a few more minutes before everyone filed out of her room. Leaving only her and Cale behind.

“What was your affinity level before you got here?”

“Affinity 60… But omg, you play love and deespace too!?”

[Name] looked at the redhead man who was finally letting out that deep, imparted sigh he had been holding in since earlier.

“No, I just saw forum leaks about your husband Sylus.”

“Ohhhh, I was wondering how you knew when he was barely out when I transmigrated…”

An awkward silence lingered around the two. Both of them don’t know how to proceed with the new information. In fact, [Name] didn’t know that game existed on Cale’s earth.

Wait was it possible that they were from the same earth?

But he had powers…

[Name] decided to not think about it.

“Next time, refrain from speaking about your fictional husbands as if they’re real… I think you nearly gave Rosalyn a heart attack?”

“Wait really!?”

[Name] looked at Cale who was on his way to go back to his room. She didn’t know the repercussions of casually speaking about her otome game. The redhead only looked at her as if she was a lost cause. 

“Yes, really.“

incase you were curious about the roulette lol dont mind me using the jp names im just more used to that

[piratecaptainscaptainpirates]

There's definitely a conversation to be had about the presentation of real historical figures in historical fiction, I think. As both a professional historian (PhD student 🤘🏾😔) and a man of color, I'm a bit more sensitive to this than a lot of people, and for me it always comes down to the question - what real harm is being done here?

And that's where I think OFMD does well enough for me to be comfortable. If you look at the fact that the show is based on real-life terrible people who did awful things and participated in the slave trade and you don't wanna fuck with the show, that's completely understandable, but I find it so much more palatable than (for the easy comparison) a piece of media like Black Sails (I actually like Black Sails, believe it or not, but there are a lot of things about how it treats many of these same figures that make me uncomfortable).

Now, yes, OFMD is hand-wavey with the slave trade in the Caribbean. None of our main characters own slaves or directly reference the slave trade (again, this is a romcom, I'd be shocked if they did). For me, this works alright for two big reasons. First, there are things that I think you can include in a romcom and have it still be a romcom, and a thoughtful, respectful depiction of the slave trade would take the show firmly out of romcom territory. Second, the show doesn't pretend racism doesn't exist, it treats its characters of color as three-dimensional people, and we always get the last laugh when racism is depicted. The very first episode sets the scene by having racist English Navy officers demean and call a Black character "slave" and they immediately get their asses kicked for it. Compare this to a show like Black Sails, where one of my main criticisms is how we're expected to sympathize with characters who actively participate in the slave trade and own slaves.

My other thing here is the people OFMD is working with are both heavily mythologized and not treated with any degree of historical accuracy. Many of our characters who are famous pirate names you might know are nothing like their real-world counterparts (take pirate queen Zheng Yi Sao, who wasn't even born yet when the show takes place). We know so little about any of the real people, anyway, that OFMD doesn't even bother trying to get anything right.

Like I said, I'm a professional historian and I love working with the golden age of piracy. That's a big reason I was drawn to this show in the first place! And if there's one thing I know, it's that pirates have been made into legends. We know very little about the real people, and in pop culture they're just myths.

The characters in OFMD are basically fictional characters working with the loose mythology based around the real people.

Now, back to my big thesis here: are the real, awful people benefitting in any way from OFMD taking these characters and making them into the good guys? Realistically, no, I'd argue. Most people with any critical thinking skills know that real pirates were not good people. Many people think Blackbeard is a made-up generic pirate character as it is. I've been to the real-life Stede Bonnet's grave site (NOT for the show, this was years before it aired and I was visiting the archives there to see the trial documents for a research project), and the historic marker there says he was "brought to justice." No one is wataching this show and thinking "oh those real guys must have been pretty great dudes!" because it's not about those real people.

This show isn't trying to change your perception of the real people, it's showing you fictional characters with the same names. One of our characters is runnig around in crocs, this show isn't trying to teach you about history or the real people and it's obvious.

If you're put off by the premise, I get it! But I just don't buy the idea that OFMD is putting anything harmful into the world just by existing.

[damnfandomproblems]

7342

Re Lolita.

Maybe it's because I went to an IB school that nailed critical thinking skills into you from a young age (seriously- the difference I see is night and day), but we actually read Lolita in eleventh grade English, and none of us walked away thinking it was a good relarionship. The whole reason they even taught it to us was because it bucks the pervasive stereotype of these people being basement dwelling, slobby freaks, and it shows, like domestic abusers often are, these people are often hiding in plain sight. If that's not a deeply important lesson, I don't know what is.

As far as "I'm grossed out by this, it's fucking pedophilia", good for you, I suppose? Do you want a gold star? I'm pretty sure everyone agrees with you, even the people who have certain kinks related to adult/child relationships. But we're not talking about real pedophilia, we're talking about fictional, and you can't even differentiate between the two which is telling enough of how unable you are to think with your brain.

Posting as a response to a previous problem.

[absolutebl]

Pit Babe - it's time for a Trash Watch!

I had to. Well, no I didn't, but COME ON. It's like Thailand is negging me. Let's burn rubber, shall we? Burn rubbers...?

The things I had been told going in about this show:

it's about car racing (this bores me)

it stars Pavel (my BL ult bias, he is my icon for a reason)

it started as an omegaverse y-novel but the A/B/O aspects would be stripped from the BL series

it's high heat

(There some chatter about whether point 3 was a mistranslation of something the author said, but don't bother me with trifles.)

Here's a definition of omegaverse:

Omegaverse, also known as A/B/O (alpha/beta/omega), is a subgenre of speculative erotic fiction, and originally a subgenre of erotic slash fan fiction. Its premise is that a dominance hierarchy exists in humans, which are divided into dominant "alphas", neutral "betas", and submissive "omegas".[1] This hierarchy determines how people interact with one another in romantic, erotic and sexual contexts.[2] (Wikipedia)

In my experience and opinion, omegaverse archetypes and tropes are often used to strip out female characters (and The Feminine) and as a tool to excuse extreme hyper-masculine behaviors without a critical feminist lens (leading to lazy characterization). Just as heat is an excuse to get nkd quickly, A/O/B is often an excuse for taboo and dubious consent actions and behaviors. Do I get why writers/readers enjoy it? Yes I do. Do I personally like it? Not particularly. (Although there are always exceptions.)

Putting all that aside, the above represents my foundational knowledge before Pit Babe started.

Oh and that the familiar BL faces appearing in this show were follows:

Pavel Naret (aka Pavel Phoom) from 2 Moons 2 & Coffee Melody - Pavel is a fluent English speaker, a bit of a drama monger, and a motorcycle rider/car-dude, this role suits him

Nut Supanut from Oxygen & Something in My Room - has an amazing voice, his somewhat wooden acting has improved steadily since Oxygen

Pon Thanapon - one of Star Hunter's stable first seen in the Gen Y series (where he stole the appeal of an intended pair), also v good in Make a Wish, I wish he'd get a lead role as he has a likable screen presence

Pop Pataraphol from La Cuisine - he's playing the Alpha rival and I'm not convinced he's suited to this role

Michael Kiettisak from Love Sick, Oxygen, Call it What You Want, Till the World Ends - playing the comic relief this time rather than his usual tortured stoic... huh

All the rest are either fresh faces or older experienced actors. Interesting mix. They must have some money behind this.

And now, get out your marshmallows! The dumpster is on fire! Let's start the roast.

Episode 1 - Platypus, Pickles, Pavel, & other Smoking Hot Problems

This first segment told with a 4 day retrospect, because I decided to do a trash watch only after @aliceisathome said I should.

My initial reaction:

the sheer audacity of Thailand being like "PitBabe is not omegaverse" and then serving "Alpha" to us on a platter in the first sex scene is

how dare

but also

what the actual fuck is going on? what world are we living in where a/b/o is LIVE ACTION ON OUR SCREENS?

we getting heat, knotting & mpreg next?

apparently this is my reality now

I'm not sure what weird quantum time stream I've jumped into but someone was all,

yes the whole world is hella screwed, but also...

Thailand has decided live action mm fanfic is gonna win it the culture wars

and I'm beginning to think they may be right

BL is now the platypus of the film industry

4 days later:

Considering how much chatter this caused there's a part of me that wondered if it was all intentional and a marketing ploy (to say it wasn't omegaverse when obviously it is). In which case... brilliant Machiavellian tactics, production.

But Thai studios are rarely this calculated in their promo. So I think it's all accidental. But it certainly caused a raucous few days on Tumblr.

On a completely different note, Babe's house looks like it started life as a particularly inventive Olive Garden. Or is that just me?

More random thoughts:

Pavel has had work done, why honey? You were the definition of perfect.

The smell thing is great, I love stuff to do with scent and necks. If omegaverse brings this to the table, fine. But...

Being all Alpha perfect butch manly man = I do not like Babe at all, I kinda want him to be brought down a peg. (Woo... pegging!) I never like narratives that glorify the captain of the football team (side eyes Cdrama CEO romances and Love O2O), Babe better have depth and damage (forget the pegging) of some kind or his behavior will get old FAST, faster than he drives (also, forget the pegging idea)

Nut is ideal in the Beta role. I mean, that's Way's character right? We all can see that. If it's not intentional, it's a miscast. I love how soft he is as as screen presence. He's great in this part.

None of the other characters are sticking out to me yet, but I'm prepared to love the side dishes in this, please make them swoon worthy!

I'm glad they didn't hold the Charlie = trickster reveal off, I like knowing he is a double agent up front.

Finally, with respect to an adequate trash watch, I'm in a pickle.

How am I going to drink for this show when there is so much else airing on Frigay? I can't keep track, if I'm drunk.

I need a strategy for this trash fire if the puns and snark are to spout forth! (HA Fourth!)

Controlled burn?

Anygay, see you all next week.

Episode 2 - Side Dish Addiction + Second Lead Syndrome are both infecting me at once

[FYI I gotta have my backup computer to watch this so that's why Imma sometimes be delayed getting the trash out to the curb.]

3 minutes! 3 minutes in and I needed to pause and wax snarkful. (Ouch, bet that hurts. Is waxing snark similar to a Brazilian but for BL? Is that why they all so hairless in The Sign?... I digress, where was I?)

Okay so the subber said Daddy but I don't think that word means what they think it means. Because Way said simply nong paa.

Usually they'll use the English word Daddy (pronounced Dah-deee) for, ya know, Actual Daddies (tm).

Wait wait:

Calling Daddy Actual

(My dumb sci-fi loving arse will see myself out the back before I start drawing Battlestar Galactica = Pit Babe connections. TOO FAR ABL. Too far.)

Look, I like the tension in this show. It's good to set up an unlikeable Alpha dog and then immediately turn him into an underdog, makes him a bit more likable. I still don't like Babe, but now at least I'm on his side.

Charlie = cute but v sus. Fortunately for him, Babe = cute but v thick.

Everyone calls Charlie Babe's dek. Yes sounds a bit like what you think but also means kid/child and SHOULD be translated as boy in this show. Why doesn't the subber get that? They a sub...ber after all. (I'll see myself out.)

Honestly, the script writers might know what they are doing with abo but our eng sub translator sadly does NOT. I'm so glad this is coming now in my BL watching life. When my ear and knowledge of Thai is so much better than it once was. Others much be SO CONFUSED.

Snicker. They just fucking with us, but it's fun to watch the mpeg speculation abound.

File this one under: Thailand's trouble with ESL plurals and also "you should have Pavel helping with these subs" sweethearts.

Production knows entirely what it's doing with this show and its omegaverse shizz (even if the subber doesn't) and I am very much enjoying the online carnage that results.

This dumpster fire continues off screen into the blogosphere and I continue to roast things over it.

Meanwhile, hi Pon! You so adorable! When you gonna lead out a BL for us?

Is Idol Factory stealing all of Star Hunter's talent? Are they the Red Racers of the BL world? These are the questions I ask myself as I watch this.

Is that AGE GAP I smell before me?

Is the 20 yr old college kid meant for the pit boss? Cause you all know I am a slut for age gaps.

Moment of a/b/o: Jeff's fear of touch/heightened personal space would be a plot marker for "baby doesn't want Alphas close cause he smells like an omega" but of course this show it not omegaverse. Not omegaverse at all.

nuh-uh

Linguistic corner!

Lung (sounds a bit like loo) is uncle(ish) it means basically a male relation older than phi. So Alan is the oldest in the crew.

Alan calls Jeff nu (which the subber translated as boy I would have gone with cutie or little one). Nu is a diminutive affectionate term that's technically gender neutral but is most often used by/on cute girls/women. Jeff did NOT like it. Then Alan sort of dodges through pronouns/particles settling on phi for I, ger for you, and ja for a particle. This is interesting because ger & ja kinda lower his age and status into a casual sphere. Not more intimate more equal to jeff... fascinating.

I love the new "Korean" red racer, he drinks my brand of soy milk. He is now my baby snake in the grass.

Get it? Snake.

He and Babe should end up together.

The fight wasn't bad, do both actors have kickbox training in their backgrounds?

Who am I kidding, I care only about Uncle Alan and Nu Jeff now. All others are irrelevant to me.

Also...

WHERE IS A BOY FOR WAY?!!! Or a Daddy. I do not care. (Methinks nether does he.)

I am now captain of the Way Appreciation Society. Let's all find a way... to get him some dick.

Also the BTS stingers are tons of fun. Looks like the set was a blast.

Finally, and I mean this kindly. Why isn't Noh Phouluang in this? He should have been cast as Winner. Bah. I'm biased.

But one should be with Noh.

Episode 3 - Side Dishes Delux

Gayest bridge n Thailand has made its obligatory appearance.

How much do I love uncle & nu? They are SO damn cute. Also nu flustered is the best kind of nu.

I could not care less about Babe and Charlie. Except I do love the smell thing.

Way will break my heart by getting his broken. He is right tho.

Tra la la. I feel like this is a bit like KP 2.0.

Charlie is a such a princess (and ace manipulator). Good thing Babe clearly likes being buttered up.

Babe's backstory was more interesting than I expected, I didn't think we would go so far into the paranormal side of a/b/o. I like it and I hope they lean into it quite a bit more. Make it part of the plot.

Unlike the kissing thing which seems to have been gotten over rather quickly.

I gotta say I'm enjoying the corporate sponsorship jockeying and tension more than I thought I would. I'm curious as to who Jef and Charlie are working for and what their motivation is. The plot itself is keeping me intrigued and that is rare for me with BL.

So no trash talk this ep, I was largely absorbed and entertained. I didn't event need booze. Shocking behavior on my part.

#giveWayaboy2023

Episode 4 - I (who never ship) am shipping the impossible

Here’s the thing. I just want this to be a better story than it is. Right now it’s kind of like a soap opera. I don’t hate lakorn, I really don't. To Sir With Love is a glorious chewing of the diamanté scenery (completed with death glitter). But...

If this is gonna be a soap opera it needs to lean into the messy side more than the tailored high concept side. Support characters and evil needs more screen time.

Instead, right now, I don’t know where I am with this show because it doesn't know where it wants to be. I’m kind of dangling in the middle of a dirty situation. It’s uncomfortable for me, and the show feels uncomfortable for the performers. 

Also... I have questions.

Yes, of course I want to know what Charlie & Jeff are up to. Why can Jeff see the future?

But more importantly I NEED to know why Babe has a flying saucer bed?

That kind of lighting makes nobody look good, especially not at that angle. It’s very traumatic and I’m not wild about the shag rug either. I have concerns about Babe's taste. I guess is what I am saying. 

On a COMPLETELY DIFFERENT note:

There’s absolutely no chemistry to justify this, but I have decided that I am going to personally advocate for, and ship, Way and the interloping not-really-Korean. They are both sort of own-moral-code types. I have tiny crush on Kim, and Nut is the prettiest, and Way is Best Boy so there it is, I would like them to hook up, please & thank you.

#giveWay2Kim2023

Arrow guy is cute, too. Will we get to see him bone?

Is he going to be another one of the adopted alpha super-kid pets?

What the hell, throw Arrow Boy a bone! All hot boys in BLs deserve bones.

Plot thickens.

Hah.

Thickens.

(I am an immature idiot.)

Episode 5 - wait wait way-t, can arrow boy have Way?

Look, BLabies, I didn’t get any screen caps this episode because frankly there wasn’t anything worth capturing.

I guess Charlie really does love Babe? Very dramatic if idiotic saving from the burning car. But Babe has gone to the broken Alpha place of extremely unlikeablability (frankly he was almost there at the start). If I were Charles B Spectacled I would be OUT by now. 

Is that?

NO.

Don't get the plastic bowl.

No white towel sponge bath. Please kill this trope.  

I mean, it's not as bad as singing, but that's because NOTHING is as bad as singing in a Thai BL.

AND the main boys are back together.

I don’t find their relationship or Babe’s lack of senses a particularly interesting aspect of the plot.

Unless, of course, Babe is pregnant and that's why he lost his Alpha sniffer.

BUT I do love the sides.

Jeff = the introvert precog who can’t/wont do people and Alan = the extrovert people person who WANTS but doesn’t understand him. 

Were Jeff and Charlie ALSO raised by Evil Daddy MacEvilPants? 

I liked the way Arrow CEO & Way looked at each other. Way, hon, give up on Babe (he sucks) and get thyself a billionaire bf with great aim and BDE.

On a completely different note, the best thing about this show is the blooper reel. That thing with the green smoothie going down his pants was hilarious!

In conclusion, this was a green smoothie down the pants episode. I was entertained, and it’s probably gonna be good for the plot in retrospect, but it was kind of squishy and unpleasant at the time.

Episode 6 - Are they actually listening to us now? Is Tumblr bugged?

This was a fun ep full of like actual racing and shizz.

Whatever.

Charlie is on the team now. All the teams, apparently.

Can we talk about Jeff and Alan?

The apology scene! Did you hear that Alan dropped to chan/ger? Eeeee!!! So cute. (He equalized their relationship in a soft way.)

Get it with that language play hottie. Next up: lengua play.

Please & thank you. 

Meanwhile, as all of the Internet knows, they went fully in for omegaverse - no bars.

I have to say, one of the greatest typos (or whatever) in existence is enigma instead of omega.

That's where I personally would rank in the omegaverse.

Hello, my gender is... enigma.

 Apparently it's a/b/o and sometimes e!  Also sometimes switch-ee 

Oh I'm very proud of myself with that one.

Funfunfun

Charlie. Babes. When a man asks to be thrown up against the wall. You throw him against that wall.

OMG is that arrow boy looking at Way in the bar?

3 seconds later.

Noooo.

Wait come back.

Noooooo.

That’s what I actually want to watch! 

OMG. Who said nu was the first step to teelak?

I flipping love Alan. 

Ah the boyfriend ep. Thank you, but I still don't trust Charlie.

Poor Way.

But nice crying jag, and I don’t say that often in Thai BL.

Now let him go, Way.

A boy with his arrows is waiting. 

(source)

Note for the future: tumblr has a bug that stops allowing edits after a certain time/number, thus my full trash often occur in 2 segments as a result. Click on the "abl trash watches bl" tag for the full thing if you're reading this and later episodes are missing.

[somebodys-nightmare]

Understanding the Romantic Narrative Arcs in Final Fantasy VII

There has been no shortage of discourse surrounding the “Love Triangle Debate”, (a fan-constructed term, I must inform you) of FFVII for a very long time. Most recently, with the release of FFVII Rebirth, this discourse has intensified and led to a wide spectrum of fan conclusions that range from grounded in narrative sense to completely baseless or delusional. Some takes are attached to contemporary relationship issues, personal experience, comparisons to other media or works of fiction, social constructs or societal issues, personal preference, or a lack of full context.

While any piece of media or fiction is subject to some level of interpretation (this is the very nature of humans consuming works of art), most works are created with intentional narrative direction. In fact, many works are formulaic, especially in genres such as fantasy, romance, mystery, etc. While of course there are always exceptions and deviations, as a writer and former English literature teacher I can say that most stories follow a general narrative structure or arc that makes them digestible and satisfying to readers/audiences. Such arcs impact the main, external, internal, and subplots of a story, as well as individual character arcs and character relationship arcs.

Final Fantasy is no different. While there are other cultural influences as FFs are Japanese stories, my experience with the series is the writing generally follows most storytelling conventions that can be found in all forms of archetypal writing, cross-culturally and generationally. FFVII is often accused of being ambiguous or open-ended in many aspects of its story. I tend to disagree with this idea and think that its storytelling is subversive rather than ambiguous, meaning that it requires players to work harder and use more critical thinking in order to reach the author’s intended conclusions. It also relies on false or misleading narratives for a good part of the story (such as red herrings, illusions, or unreliable narrators) as storytelling devices that help the truth in the story unfold in later parts of the narrative arc(s). Like any piece of media using these storytelling methods, this means that there will be controversy or debate as audiences contend with the author’s messages or intentions. However, that does not mean that the intentions are not there and that there is not an intentional outcome on the part of the writers.

Personally, I believe that FFVII has a very clear narrative structure for all of its main plot, sub plots, and character arcs, but that its approach is challenging to many players who have to wrestle with the story as it unfolds to understand it. It is not spoon-fed, and some revelations may betray player attachments that were originally formed. However, in my view, this is what makes FFVII such an exceptional story when compared to many others. That being said, the lack (or refusal) of understanding of FFVII’s narrative arcs has led to discourse that unfortunately mischaracterizes many of the characters and pushes inappropriate perspectives onto the storytelling, mostly surrounding the romantic arcs of the main characters and the so-called “LTD” (the fan construction, remember?). I strongly believe that the best way to understand any story is to follow the narrative arcs in order to arrive at the author’s intended conclusions.

I’m going to attempt to do that for the romantic subplots in FFVII in hopes of bringing some clarity to this issue. This analysis is based on a standard Three-Act Romance narrative writing structure (which aligns with the Hero's Journey structure), as well common romantic archetypes and tropes, both for characters and plot, but applied to the specific context of the story, world, and characters of FFVII. Please note that this is my personal analysis and it is by no means perfect, nor am I saying this is the bible of how FFVII has been written. I just hope it gives some insight into why some storytelling interpretations of FFVII should make more sense than… others. This analysis will draw from bits of the entire compilation, but the primary focus of the structure will be looking at FF7R with the OG as a baseline.

This is a long thread, so please see the outline for discussion below.

Romantic Structure/Trope Analysis

Cloud/Tifa: The Slow Burn/Childhood Friends to Lovers Romance

Aerith/Cloud: The Unrequited Love/Not Meant to Be Romance

Zack/Aerith: The Long Lost Love Romance

Final Thoughts: The "Love Triangle" is a Narrative Illusion

Cloud/Tifa: The Slow Burn/Childhood Friends to Lovers Romance

Act 1: The Beginning

The Hook (Childhood Connection Revealed)

Romance Structure: Introduction / Setup

Purpose: Establish the protagonists in their everyday lives, showing what emotional or psychological issues are holding them back from love. Readers should get a sense of their internal conflicts and motivations, along with the external situations that will challenge them later.

Childhood Friends Layer: Introduce the deep connection between the two characters, showing them as lifelong friends with an established bond. There could be hints of one or both characters secretly harboring feelings for the other, but they haven't acted on it due to fear of losing the friendship.

Example: Cloud and Tifa are childhood friends with a complicated history. Although they were close when they were little, they drifted apart but secretly longed for one another. They shared a romantic promise and then separated for seven years. At the beginning of FFVII, they are reunited, but both characters are contending with serious internal and external conflicts - Cloud’s identity crisis and the Shinra Company’s greed and abuse of the planet.

The Inciting Incident / Call to Adventure / Meet-Cute

Romance Structure: Inciting Incident / The Meet-Cute

Purpose: The main characters meet or are pushed together by external circumstances. This encounter introduces the romantic conflict—whether it’s instant attraction or tension between them.

Childhood Friends Layer: Since they’ve already known each other for years, the “meet-cute” here is more about seeing each other in a new light. Maybe one of them returns to town after time away, or an external event shifts their dynamic, making one or both start to view the other differently.

Example: Cloud and Tifa reunite in Midgar and Tifa recruits Cloud to work for AVALANCHE. She does this primarily to keep him close so she can keep an eye on him as she is worried about him and his mental state. During this time, we see an instant chemistry between Cloud and Tifa as they reconnect after years apart. When conflicts are introduced, we see the strain that it puts on them, but we also see how there’s a lingering desire for closeness, whether it be in their discussion/memory of the promise, their mutual flirting, their skinship, etc.

First Plot Point / Refusal of the Call

Romance Structure: Rejection of the Relationship

Purpose: The characters resist the idea of a romantic relationship, often due to internal or external obstacles. There’s a clear push-pull dynamic as they fight their growing attraction, often rejecting the possibility of being together.

Childhood Friends Layer: The hesitation here comes from their shared history. Both characters are afraid to risk their close friendship for something as uncertain as a romance. This dynamic creates tension as they begin to realize how much they depend on each other emotionally.

Example: This isn’t directly addressed, but the narrative deflects from intentional romantic confrontations at this point because of Cloud’s identity crisis and the pressing issues of the external conflict. Neither character is outwardly pursuing a relationship, but they don’t exactly deny their desire for closeness. We consistently see the push/pull between Cloud and Tifa throughout the early part of their arc. It's also further complicated when Sephiroth starts to sabotage their relationship.

Act 2: The Middle

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

Purpose: External circumstances push them together, forcing them to interact and face their growing connection. Even if they resist the idea of love, the bond between them deepens as they spend more time together.

Childhood Friends Layer: Their shared history becomes an advantage and a source of conflict. The deeper they dive into new romantic feelings, the more they rely on the comfort of their friendship, but they’re also terrified of crossing the line and ruining everything.

Example: Cloud and Tifa work together both with AVALANCHE and the party at large to combat the threats present in the external conflict. Additionally, they share deep trauma from the Nibelheim Incident that brings them closer together as sources of comfort. They become one another’s rocks, and though they still do not move toward any explicit romantic confirmation, it is clear from their behavior that they both hold deep feelings for each other and care for each other greatly. Cloud in particular holds on to his promise to Tifa, making it a cornerstone of his strength moving forward.

Midpoint Crisis / Trials and Temptations

Romance Structure: Midpoint / I-Need-You-But-Can’t-Have-You

Purpose: This is a major turning point where the characters either experience a "false high" (where they feel like things are going well but something still isn’t quite right) or a "false low" (where they feel like things are falling apart). There’s often a pivotal moment of intimacy that deepens their bond but also introduces new fears.

Childhood Friends Layer: The fear of losing the friendship intensifies. They might experience their first kiss or confession of deeper feelings, but the risk of ruining their long-established bond makes the situation more fraught with anxiety.

Example: This particular point in the arc gets a little tricky for Cloud and Tifa because of Cloud’s identity crisis and Tifa’s reticence around their mismatched issues. However, Rebirth has made it clear that before the end of disc 1, Cloud and Tifa are aware of their feelings for each other and that the narrative is still in the way of it. This arc intersects events that transpire from Kalm to Gongaga, and we see the build-up of tension due to the internal conflict between Cloud and Sephiroth.

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

Purpose: The characters are drawn back together by external events, but their internal fears and conflicts still loom large. The romance starts to deepen, but both are still fighting their feelings in some way.

Childhood Friends Layer: They try to go back to being "just friends," but it’s clear that things have changed between them. The emotional and romantic tension keeps building, and they can’t ignore how much they need each other.

Example: We see this dynamic between Cloud and Tifa continue to build throughout disc 1, particularly in Rebirth. We are consistently reminded of the tension between them and the importance of their relationship, regardless of romantic intent. Gongaga and Nibelheim are great examples of this.

Second Plot Point / The Fall

Romance Structure: The Fall

Purpose: The characters are now falling in love, even if they haven’t fully admitted it to each other. There’s often a deeper moment of intimacy—physical or emotional—that makes them realize just how much they mean to each other.

Childhood Friends Layer: One or both characters realize they’ve fallen hard for their best friend, but they are still careful or hold back from telling the other, afraid it might ruin everything. Nonetheless, they give in to their feelings in some capacity, which marks a turning point.

Example: The Gold Saucer date would be the best parallel for this point in the arc for Cloud and Tifa. In the OG Tifa almost confesses to a very interested Cloud, in Rebirth, they confirm feelings and kiss. Either way, it’s clearly meant to signal at this point, the fall has happened.

Act 3: The End

The Crisis / Dark Moment

Romance Structure: Dark Moment / The Break-Up

Purpose: This is the point where everything falls apart. The characters break up or distance themselves, either because of internal or external forces.

Childhood Friends Layer: The weight of their shared history makes this moment even more devastating. The fear of losing the friendship forever becomes real.

Example: For Cloud and Tifa, this moment is really hinged on Cloud’s mental breakdown. After the Gold Saucer Date, Cloud’s mental state progressively worsens due to events that occur within both the internal and external conflicts, and his bond with Tifa is severed completely at the Northern Crater. Cloud and Tifa are separated when Cloud falls into the Lifestream.

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

Purpose: One or both characters must confront their fears and make a choice. This moment often involves a grand gesture or a realization that love is worth the risk.

Childhood Friends Layer: The realization comes that their friendship has always been the foundation of something more. They understand that risking the friendship for love is not only worth it but that the friendship can only deepen through their romantic connection.

Example: This point comes in Mideel and the Lifestream Scene. Tifa reaches her own realization about her relationship with Cloud and how her reticence has impacted things, and her conviction to save him and be with him is both profound and clearly romantic. Inside the Lifestream, Tifa helps Cloud to find himself, and many revelations about his true feelings for her are brought to light. Of course, we have not reached this point of the story in FF7R, so it will be intriguing to see how it unfolds, given all of the additional context the remake series and ToTP have provided.

The Climax / Declaration

Romance Structure: Declaration

Purpose: The characters finally confess their love for each other, making the leap from friends to lovers. This is the emotional high point where the relationship is solidified.

Childhood Friends Layer: The confession of love is tied to their long history, as they realize that their deep emotional connection as friends is the foundation for a strong romantic relationship.

Example: This moment for Cloud and Tifa is the Highwind Scene in the OG, where they confirm, without words, that their feelings match. Once again, we will see how this event unfolds in Part 3 with all the new and deepened context of Cloud and Tifa’s relationship in 7R.

The Resolution / Denouement

Romance Structure: Denouement / HEA

Purpose: The characters are together and happy, giving the reader a sense of closure.

Childhood Friends Layer: The resolution emphasizes how their strong friendship has transitioned seamlessly into a romantic relationship, giving the sense that they’ll continue to support each other as both friends and lovers.

Example: In the OG, this is seen in the FMV of the game where Cloud and Tifa are together, leading to the resolution of the entire story as Holy and the Lifestream are released. While this scene isn’t particularly direct, it’s enough to show that Cloud and Tifa are together, which leads to ACC where they live and raise a family together. This entire ending segment will likely be greatly expanded in FF7R, and so it'll be interesting to see how these moments are handled, given all of the new context.

Aerith/Cloud: Unrequited Love/Not Meant to Be Arc

Act 1: The Beginning

The Hook (Unrequited Feelings Introduced)

Romance Structure: Introduction / Setup

Purpose: Introduce the protagonist, who falls for the other character. Set up their emotional and psychological conflict, showing how these unrequited feelings shape their interactions with the other character.

Unrequited Love Layer: The character’s love is clearly unreturned, but they hold on to hope. There is a mix of admiration, longing, and pain as they watch the love interest live their life without ever seeing them as a romantic partner.

Example: Aerith’s feelings for Cloud, who she meets first on the streets of Midgar and later inside her church, are inspired by her long-lost love, Zack, whom he reminds her of. We don’t know this immediately, but we find out soon enough, and the story, especially 7R, is full of visual and symbolic cues.

The Inciting Incident / Call to Adventure / Meet-Cute

Romance Structure: Inciting Incident / The Meet-Cute

Purpose: The characters are pushed together by external circumstances, giving the protagonist more time with the love interest. The character sees this as an opportunity to grow closer, but the other character remains unaware or indifferent to their romantic feelings.

Unrequited Love Layer: The character is thrilled to spend more time with the other character and hopes this will bring them closer. However, the love interest still sees the relationship as platonic, creating tension.

Example: While their interaction on Loveless Street is the fated moment for Cloud and Aerith, the meet-cute is their meeting in the church. This is the inciting incident that not only truly triggers Aerith’s latent Zack-longing, but also begins Cloud and Aerith’s friendship as they work together for a common cause. Aerith flirts with Cloud quite a bit at this point, displaying her interest, but Cloud does not reciprocate in any romantic sense. She also refuses to let him leave and follows him around, essentially solidifying Aerith’s place in the player party and cementing her role as the heroine driving the external conflict. From here on out, we are consistently reminded that Cloud reminds Aerith of Zack, the deeper reason for her interest in him.

First Plot Point / Refusal of the Call

Romance Structure: Rejection of the Relationship

Purpose: The protagonist’s feelings remain unrequited. The other character might express interest in someone else or explicitly state that they don’t see the protagonist in a romantic light. This deepens the emotional conflict for the protagonist, who struggles with unspoken feelings.

Unrequited Love Layer: The protagonist is heartbroken but holds onto hope. They keep pushing their emotions down, unwilling to let go just yet.

Example: Aerith meets Tifa and quickly realizes that she is someone deeply important to Cloud. In Remake, she realizes this even before meeting her when Cloud has a headache and calls out Tifa’s name. Her awareness changes her behavior somewhat, but internally, she still is still conflicted because of her internal conflict over Zack.

Act 2: The Middle

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

Purpose: External circumstances continue to push the characters together, and the protagonist’s feelings deepen. They begin to cling to small moments, hoping that their love might one day be reciprocated.

Unrequited Love Layer: The protagonist interprets friendly gestures as signs of romantic potential. They invest emotionally in every small interaction, hoping it means more than it does. However, deep down, they start to feel the weight of their unreturned affection.

Example: The journey continues with the party leaving Midgar, and Aerith’s feelings for Cloud grow despite her knowledge of his bond with Tifa as the party travels together. In Rebirth this is further complicated by Aerith’s loss of foresight/memories to the Whispers. We are also constantly reminded of Aerith’s lingering feelings for Zack and her grief and sadness over his loss/disappearance. Throughout the journey, she seeks out opportunities to spend time with Cloud - “dates” even though these moments are not reciprocated romantically. A notable example of this is her date with him on the clock tower in Kalm, where she speaks to him about his relationship with Tifa (hinting at her knowledge of their bond and her jealousy over it) and then her public declaration that they were on a date (in front of Tifa). Cloud's reaction to moments like these continue to inform the audience he does not return romantic affections for Aerith.

Midpoint Crisis / Trials and Temptations

Romance Structure: Midpoint / I-Need-You-But-Can’t-Have-You

Purpose: A major turning point occurs where the protagonist either faces the possibility that their love will never be returned or sees a fleeting moment where they think it might be. The emotional stakes are higher, as the protagonist grapples with whether to continue holding on.

Unrequited Love Layer: The character might attempt to make their feelings known, either explicitly or through subtle gestures, but the love interest doesn’t reciprocate. The character is left feeling exposed and vulnerable, yet still holding on to hope that things might change.

Example: For Cloud and Aerith, this continues to be the nature of their relational development throughout most of disc 1, but their interaction on the water tower in Nibelheim is probably the best example of this. Aerith has to grapple with her jealousy over Cloud and Tifa’s bond, which she has been observing for the entire game. Her acknowledgment of her feelings over it is a major turning point as a character. Additionally, this moment really cements that Cloud views his relationship with Aerith as a cherished friendship, as we see the way that he cares about her angry reaction.

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

Purpose: Circumstances force the characters to spend more time together, even though the character is starting to feel the emotional strain of unrequited love. There may be a moment of temporary hope, but it’s tinged with the growing realization that their feelings might never be returned.

Unrequited Love Layer: The character becomes more emotionally drained as they begin to sense that their love will remain one-sided. They might try one last time to be closer to the love interest, but the gap between them is becoming clearer.

Example: This moment could best be viewed through Cloud and Aerith’s Gold Saucer date. There, Aerith not only tries to get closer to Cloud but she opens up emotionally and gives Cloud insight into the root of her feelings, which is Zack. Cloud does not reciprocate any of Aerith’s romantic overtures in this date and rather displays discomfort or awkwardness throughout most of it. However, he does allow her a moment of emotional vulnerability, which he has not been willing to do previously. This is further contextualized by how, In Rebirth, Cloud has remembered Zack by this point (albeit incorrectly). Cloud, who cherishes and cares for Aerith greatly as a friend, is considerate of this connection and offers her comfort for the grief and loss she has just admitted to feeling and seeking consolation in him from. Hence "just until the ride's over"; "I didn't do anything" etc...

Second Plot Point / The Fall

Romance Structure: The Fall

Purpose: The character finally realizes that their love will never be returned. This is an emotionally intense moment where they are forced to confront the truth—they will never be more than a friend or confidant to the love interest.

Unrequited Love Layer: The protagonist may be devastated by the final confirmation that their feelings will never be returned. The emotional weight of unrequited love becomes too much, and they start to realize they need to let go, or come to other realizations about their feelings.

Example: The moment that most closely matches with this point in the arc is the dream stroll through Sector 5. Not only does Aerith accept that Cloud doesn’t return her feelings romantically, but she comes to a realization of her own feelings and questions them. This is clearly a reference to Zack, whose internal conflict has been consistently foreshadowed. Aerith also seems to recognize that she can’t help Cloud with his internal conflict - that is Tifa's role.

Act 3: The End

The Crisis / Dark Moment

Romance Structure: Dark Moment / The Break-Up

Purpose: This is the point of emotional reckoning, where they face the reality of unrequited love and move on in their arc.

Unrequited Love Layer: The character experiences grief over their unreturned feelings. They might decide to pull away from the love interest entirely, or they may try to come to terms with remaining friends while letting go of their romantic hopes and moving on.

Example: For Aerith, this moment is marked by her complete transition to her role in the external conflict. At this point, she has let go of her romantic fancy for Cloud and has committed herself to the bigger picture. It is at this point that she leaves the party, and leaves Cloud in the Sleeping Forest, to fulfill her role as a Cetra.

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

Purpose: The protagonist sacrifices their unrequited love, realizing they need to move on for the sake of their own emotional well-being or greater purposes. This is a bittersweet moment of acceptance and self-growth, where they let go of the hope that kept them holding on for so long.

Unrequited Love Layer: The protagonist may realize that holding on to unrequited love is only hurting them or preventing them from reaching a greater purpose.

Example: For Aerith, this point in the arc is less about Cloud and more about her role in the external conflict. This is the point in which she travels to the Forgotten City, prays, and ultimately is killed. However, it is bittersweet and tragic for her, ultimately, because she dies with unrequited love from Cloud and without ever getting closure on her true love, Zack.

The Climax / Declaration

Romance Structure: Declaration

Purpose: Instead of a declaration of mutual love, this is the protagonist’s internal declaration of acceptance. They start the process of moving on.

Unrequited Love Layer: The protagonist lets go of the love interest in their heart, realizing that they need to focus on their own future. The love interest is likely unaware of this internal shift, but it’s a powerful moment of growth for the protagonist.

Example: For Aerith, this is perhaps best viewed in her complete transition after death to the larger role she plays as the heroine of the planet from within the Lifestream. Her arc has fully transitioned away from her feelings for Cloud into her greater purpose. In FF7R, we can hope to see how Zack, who has been trying to find her, begins to impact this next phase of her arc.

The Resolution / Denouement

Romance Structure: Denouement / HEA

Purpose: Instead of a traditional happy ending, this is a reflective, bittersweet resolution. The character has grown emotionally. There is a sense of closure, though it may come with lingering heartache.

Unrequited Love Layer: The character has let go of the hope that their love would ever be returned. They are stronger for it and have moved on.

Example: For Aerith and Cloud, this moment is best summed up by their brief Lifestream reunion at the end of the game. It will be intriguing to see how this moment is expanded and provides closure for Cloud and Aerith’s relationship, as well as Zack’s role in both.

Zack/Aerith: Long Lost Love/Tragic Love Arc

This arc is a little more complicated to map out since it is not only incomplete but riddled with mysteries at this point. However, I’m going to do my best to make the connections based on the information we have and where we can theorize things may be going.

Act 1: The Beginning

The Hook

Romance Structure: Introduction / Setup

Purpose: Establish the protagonist’s life after the estrangement, showing how unresolved feelings for their lost lover impact their emotional world. There’s a sense of longing and unfinished business that propels the protagonist’s actions.

Long Lost Lovers Layer: The protagonist is haunted by memories of their estranged lover and driven by a deep desire to find them again. This longing is fueled by unresolved emotional wounds, and the protagonist clings to the hope of a reunion.

Example: In Rebirth, from the beginning, Zack is singularly focused on reuniting with Aerith. After his escape from Nibelheim, even as he carries the wounded Cloud, Zack’s thoughts are consumed by Aerith. His love for her pushes him forward despite the dangerous and confusing circumstances he finds himself in. Zack’s motivation intensifies when he discovers, through a newscast, that Aerith is in danger. This revelation shifts Zack from hopeful longing to immediate action, driving home the urgency of his quest. His decision to prioritize Aerith’s safety over everything else, including Cloud, underscores how central Aerith is to his purpose, raising the stakes for his emotional journey.

The Inciting Incident

Romance Structure: The Call to Adventure

Purpose: The inciting incident transitions the protagonist from passive longing to active pursuit of reunion. Some event or revelation forces the protagonist to act, prompting them to seek out their estranged lover. Often, this is triggered by the discovery that the lover may be in danger.

Long Lost Lovers Layer: The protagonist realizes that simply hoping for a reunion isn’t enough—there’s now a tangible reason for urgency. This event serves as a catalyst for the protagonist to fully commit to the journey of reconnecting with their lover, increasing the stakes as they shift from passive longing to active pursuit.

Example: After mysteriously "surviving" his last stand against Shinra (as seen at the end of Crisis Core), Zack rescues Aerith from Shinra’s grasp in Rebirth. However, instead of a triumphant reunion, the moment is clouded with confusion and tragedy. This rescue scene signals Zack’s deep emotions for Aerith and heightens the sense of foreboding in their relationship arc. The player quickly realizes that the reunion isn’t straightforward and that darker forces are at play, casting a shadow over Zack’s determined rescue.

First Plot Point

Romance Structure: Refusal of the Call / First Obstacle

Purpose: The first major obstacle or refusal of the call introduces the initial challenges the protagonist faces in their pursuit of the lost lover. Despite their determination, external forces or internal doubts surface, complicating the journey.

Long Lost Lovers Layer: The protagonist’s optimism about reuniting with their estranged lover is challenged by harsh realities—whether through physical danger, supernatural elements, or emotional barriers. This moment introduces doubts about whether a reunion is possible, raising tension and uncertainty.

Example: Zack eventually brings a comatose Aerith and Cloud to Elmyra’s house. Zack’s devotion to them is evident as he cares for them despite their unresponsive states, but the world around him behaves in strange ways. The eerie sense of something deeply wrong in Sector 5 hints that Zack’s reality—and Aerith’s fate—are far from certain. He’s not just fighting to reunite with Aerith; he’s battling a reality that is becoming increasingly unstable. The player shares in Zack’s growing sense of anxiety and confusion, setting the tone for the more tragic layers of their arc to come.

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

Purpose: The protagonist resolves to pursue their lost lover, hoping to rekindle what they once had. However, unresolved issues and emotional scars from the past begin to surface, complicating their journey.

Long Lost Lovers Layer: Time and distance have changed both characters, making reconnection difficult. The focus is on how time has altered both individuals and the lingering emotional weight of their separation.

Example: Zack’s attempt to reunite with Aerith is complicated by the metaphysical separation created by the Lifestream. Aerith remains comatose, as does Cloud, and Zack has to contend with both his own internal conflict as he tries to help them as well as the external conflict of his strange and mysterious circumstances within "Sector 5".

Midpoint Crisis / Trials and Temptations

Romance Structure: Midpoint / I-Need-You-But-Can’t-Have-You

Purpose: The protagonist’s need for their lost lover intensifies, but the relationship is far more complicated than expected. Old wounds and emotional or external barriers resurface, making reunion seem out of reach. Despite their determination, the protagonist begins to doubt whether they can ever restore what they once had.

Long Lost Lovers Layer: Time and emotional distance have changed the dynamics of their relationship. While both may care for each other, the past cannot easily be erased, and their attempts to reconnect are fraught with tension.

Example: External forces such as Sephiroth’s manipulations, and Aerith’s internal conflict over Cloud create an emotional barrier between her and Zack. Aerith, “asleep” in Zack’s world, remains unaware of his presence. As Zack learns from Marlene that Aerith’ "likes" Cloud, more tension and conflict is added. Despite these challenges, Zack remains unwavering in his commitment to reconnect with Aerith, determined to overcome the growing emotional distance.

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

Purpose: The protagonist makes another push to reconnect with their lost lover despite significant setbacks. Faced with the reality that time is running out, the protagonist must act decisively to restore the relationship. While emotional connections may deepen, unresolved challenges threaten the outcome, leaving uncertainty in the air.

Long Lost Lovers Layer: Despite growing obstacles, the protagonist remains committed to rekindling the relationship. The emotional and physical distance between the lovers may still seem insurmountable, but the protagonist refuses to give up, holding onto the hope that they can salvage what they once had.

Example: Even as Zack’s hope begins to wane, he remains steadfast in his desire to reunite with Aerith. Zack finds himself pulled in multiple directions, creating additional conflicts. External forces and emotional entanglements continue to complicate their relationship, but Zack’s determination to bridge the emotional gap keeps pushing him forward. This section of Rebirth continues to heavily foreshadow both the truth about Zack as well as the future of Zack and Aerith's relationship, despite the conflicts.

Act 3: The End

The Crisis / Dark Moment

Romance Structure: The Break-Up / Darkest Hour

Purpose: The protagonist faces their darkest moment, where it seems that the reunion will never happen. Emotional scars or external forces tear the lovers apart, and the protagonist believes they’ve lost their final chance to reconnect. The relationship nears failure as the protagonist faces the harsh reality of their situation.

Long Lost Lovers Layer: The conflict grows to the point of no return. Previous mistakes or external conflicts surface, causing the relationship to fall apart, and the protagonist is left devastated, feeling that the reunion may never come.

Example: In Rebirth, this moment comes near the ending of the game when Sephiroth's confluence of worlds plays a role in role in further uprooting Zack's existence in the Lifestream. We also know that this is the time that Aerith dies in the real world, further complicating matters and adding new layers of conflict.

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

Purpose: The protagonist realizes that to win back their lost lover, they must sacrifice their pride, fear, or ego. This emotional climax reflects their willingness to make a grand gesture or display vulnerability, showing they’ll do whatever it takes for a second chance.

Long Lost Lovers Layer: The protagonist makes a final, heartfelt plea to the estranged lover, acknowledging their mistakes and baring their soul. The lover, moved by the sincerity, must decide whether or not to take the risk of rekindling the relationship.

Example: Although we don’t yet know how this will play out in the Remake series, it’s likely that Part 3 will feature a reunion between Zack and Aerith. The conflicts that have built up—including Aerith’s internal struggle regarding Cloud—will need resolution. Advent Children (ACC) shows Zack and Aerith together in the Lifestream, setting the stage for a reunion in the Remake. The exact nature of this reunion remains speculative, but it’s likely Zack will make a significant sacrifice or grand gesture to resolve the emotional conflicts that have kept them apart.

The Climax / Declaration

Romance Structure: Declaration

Purpose: The estranged lover finally decides to take the risk and give the relationship another chance. After much internal struggle, they admit they’ve never stopped loving the protagonist, and they’re ready to move forward together. This is the emotional peak where both characters commit to each other.

Long Lost Lovers Layer: The reconciliation finally happens. After everything they’ve endured, the estranged lover acknowledges their lingering feelings and agrees to rebuild the relationship. Both characters take a leap of faith, trusting that they can overcome the past and move forward.

Example: Though speculative, if the arc follows the long lost lovers trope, Zack and Aerith will likely experience a heartfelt reunion in Part 3. Their lingering feelings would finally be acknowledged, clearing up Aerith’s complicated feelings for Cloud while reaffirming her bond with Zack. This declaration of love would also tie into the larger narrative arc, offering emotional resolution for both characters and allowing their story to move forward, especially in support of Aerith's role in the external conflict of the Planet.

The Resolution / Denouement

Romance Structure: Denouement / HEA

Purpose: The story concludes with a glimpse of the couple in their newly rekindled relationship. The emotional weight of their past has been lifted, and they are now ready to face the future together. Even if circumstances prevent a traditional “happy ending,” there is emotional closure and a sense of peace.

Long Lost Lovers Layer: After the pain, separation, and emotional struggle, the couple is finally together. The audience is left with a sense that their love will endure this time, offering a bittersweet but satisfying conclusion to their long journey.

Example: In Advent Children (ACC), we see Zack and Aerith reunited in the Lifestream, helping Cloud in his final battle. Their reunion suggests that, while they may no longer live in the physical world, their connection endures beyond death. Though bittersweet, their reunion offers emotional closure. The final installment of the Remake series will likely bring full resolution to Zack and Aerith’s arc, providing a satisfying conclusion, even if there are tragic elements along the way.

Final Thoughts: The Love Triangle is a Narrative Illusion

Cloud and Tifa’s Slow-Burn Childhood Friends to Lovers (Canon)

Cloud and Tifa’s relationship in Final Fantasy VII is a carefully crafted slow burn, rooted in a deep bond that extends back to their childhood in Nibelheim. Their connection is not built on superficial or flimsy romantic interactions but on a shared past and the quiet intimacy that grows from years of unspoken longing but is complicated by trauma.

Cloud and Tifa’s natural chemistry is driven by their subconscious desires and the deep, unspoken feelings they have for one another. For Cloud, his buried emotions instinctively reach out to Tifa, even though he isn’t fully aware of them. The narrative hides these true feelings, but subtle moments of affection and protectiveness reveal that, deep down, Cloud’s heart is already tied to hers, laying the groundwork for their eventual emotional connection.

The game’s emotional climax in the Lifestream, where Tifa helps Cloud piece together his shattered memories, is a pivotal moment in which both characters finally confront the depth of their feelings for each other. Their journey isn’t one of dramatic declarations, but rather a gradual, emotional reconnection that allows deeply held, mutual love and longing to blossom—a love that is grounded in shared history, healing, and mutual understanding and compassion.

This slow-burn romance stands as the true heart of Cloud’s emotional journey, dispelling the illusion of a love triangle and making it clear that Cloud’s deepest emotional ties are with Tifa.

Aerith and Cloud’s Unrequited Love / Not Meant to Be Semi-Canon/One-sided) (Fanon - mutual)

The dynamic between Aerith and Cloud, while often misinterpreted as romantic, is better understood through the lens of unrequited love and fate’s intervention. Aerith’s initial attraction to Cloud is undeniably influenced by his resemblance to her first love, Zack Fair.

As time goes on, Aerith tries to see Cloud for who he is, but tragically, this is not possible before her death, and her feelings remain complicated and unreciprocated. Their bond, while significant as friendship, never goes beyond that, reinforcing the fact that Aerith’s feelings for Cloud are more of an echo of her past with Zack.

Cloud's true self being in love with Tifa and Aerith’s tragic death seal the fate of their relationship as one that was never meant to be—a fleeting connection, shaped by circumstance rather than true compatibility.

The tragedy of this unfulfilled arc serves as a powerful narrative device, but it is clear that Cloud and Aerith were never destined to end up together, further dispelling the notion of a love triangle.

Zack and Aerith’s Long Lost Love / Tragic Love (Canon)

Zack and Aerith’s relationship is the quintessential tragic love story in Final Fantasy VII, defined by separation, longing, and loss. Aerith’s first love, Zack, vanishes from her life without explanation, leaving her with unanswered questions and unresolved feelings. Even as she begins to move forward, her heart never fully lets go of Zack, who is revealed to have fought valiantly to return to her—only to tragically lose his life in the process.

The tragedy of their love lies in the fact that both characters hold onto each other, but fate conspires to keep them apart, making their love story one of the most emotionally poignant elements in the game. Even in death, their connection endures, with Zack and Aerith appearing together in the Lifestream in ACC, symbolizing a love that transcends life itself. This arc, while bittersweet, resolves the narrative of Aerith’s romantic life—Zack was her true love, and Cloud was a reflection of the man she had lost, not a new love interest.

Their tragic love story dispels the myth of a love triangle in Final Fantasy VII, emphasizing that Aerith’s heart always belonged to Zack, even as she developed a bond with Cloud during her journey.

All of the relationships in the game are important. However, Cloud/Tifa & Zack/Aerith are the canon, mutual romantic relationships of Final Fantasy VII. Cloud/Aerith have a cherished friendship, but any romantic subtext of their relationship in the game is used as a vehicle to drive the conflicts and truths of the canon relationships forward. This is accomplished through illusions and subversions in storytelling, as well as creating internal conflict for the characters and canon relationships.

FFVII’s storytelling is deliberately designed to mislead the player through incomplete truths and emotional misdirection, including the use of red herrings, illusions, unreliable narration, and the omission of critical information or context. Cloud’s confused memories and persona, coupled with Aerith’s initial attraction to him based on his similarities to Zack, create the illusion of a romantic triangle, but the deeper truths—Cloud’s unresolved trauma and false identity, Tifa’s role as the keeper of Cloud’s real past and his true feelings, and Aerith’s ultimate fate as the Planet’s protector and her true love being Zack—gradually dismantle this illusionary love triangle.

I cannot stress enough that FFVII is not a love drama or soap opera where the game’s conflict centers on romantic rivalries, betrayal, deception, or morally questionable behaviors.. It’s a complex story that focuses on themes of life, loss, identity, self-discovery, legacy, and on and on.

Love - all kinds of love, including romantic, platonic, and familial - is a theme of FFVII, but truly and holistically, not for the sake of creating meaningless drama between the characters. The relationship dynamics appear messy at times in the earlier parts of the story, but these dynamics are designed to help us reach the proper conclusions about the story and the characters’ arcs, and how true love is a vehicle for reaching resolution for both.

Player’s choice is irrelevant to the plot. You cannot decide or alter the story structure or direction or individual character arcs or relationships. The most you can do is view the game through a slightly different lens by gaining an expanded understanding of character arcs and motivation with new replays.

Shipping is a fandom construct. It’s meant to be fun, and you can ship whatever you like. But shipping doesn’t intersect with the facts of a story or its narrative. Lying about any piece of media to convince yourself or others of its canonicity is bizarre behavior.

Respect the work and its intention, while having your shipping fun within your fandom. Don't embarrass yourself by saying an FF protagonist kissing the girl he’s loved since childhood and joined the army to impress means nothing, or worse, proves he the opposite of a hero.

You can ship your fanon without doing all that.

Last thing: Reunion is a primary theme of Final Fantasy VII. You may have noticed that it is also a primary theme for both of the canon romantic relationships. Personally, I believe that Part Three is going to drive this message home in a way that is unmistakable. I also believe that both lovers' reunions will be instrumental in resolving all of the conflicts of FFVII in the final game.

It’s not a coincidence that both reunions will take place in the Lifestream, or that they've been foreshadowed by the presence of the yellow flower.

I also believe that the dual Rebirth cover arts, described by Tetsuya Nomura as Sephiroth "tearing Cloud and Zack's worlds apart" are heavily foreshadowing the resolution of these relationships along with their connection to the the larger story structures of FFVII/FFVIIR.

Let's wait and see when Part 3 comes along.

[slugtranslation-hypmic]

I Think Hypmic's Portrayal of Gender Roles is Kinda Refreshing: An Essay A.K.A. I'm Procrastinating on a Weekend Deadline :)

Hypmic's talking points on gender are hamfisted, corny, and melodramatic. "Maybe...we shouldn't have a wage gap," is not the hottest of takes. However, like most things in Hypmic, the writers have a lot more to say about gender and gender roles in the framing of the story itself that's much more nuanced. And honestly? It's kinda refreshing.

It's also something that went way over my head when I first became a Hypmic fan. Sure, I read manga and played Japanese video games--usually translated into English first--but I didn't have enough exposure to hundreds or thousands of pieces of untranslated Japanese media. I'm going to guess that most Hypmic fans don't either, which is totally fine and normal. We all exist within our respective cultural communities wherein we're bombarded with messages constantly telling us how to act, think, and speak. We tend to absorb these messages on subconscious levels and reflect them in the art we create and stories we tell, either by reinforcing them or challenging them. Thus, our stories don't exist in a vacuum, and divorcing stories from their cultural backgrounds can suggest the artist is the original thinker of a larger concept or hide their specific point of criticism. That is, if I wrote a story about a man who chooses to not catch fish, drink beer, and drive a Dodge Ram pick-up truck, we should be aware that I'm not the person who conceptualized the stereotype of dudes who catch fish, drink beer, and drive pick-ups. I wouldn't deserve the credit for dreaming up that exact image, and at the same time, it would be incorrect to read that as me targeting those three things randomly. The choice to not drive a Dodge Ram pick-up is not a commentary on Fiat Chrysler Automobiles. It's a stand-in for the notion of masculinity.

Thing is, we're hit with messages about masculinity, femininity, and other gender-related concepts on a daily basis. No matter where you live or what language you speak, every person on Earth is inundated with messages saying, "This is what you are, and consequently, this is how you should act." Our relation to these messages is complicated, and this complexity is compounded by different cultural communities preaching different messages in their stories, marketing, and human interactions. For instance, the US's massive global cultural influence means that those outside the US can still easily recognize what I mean by catching fish, drinking beer, and driving enormous American pick-up trucks. But the location and cultural differences may add or subtract nuances. A person living in, say, Munich is unlikely to have Dodge pick-ups advertised to them the way a person in rural Texas would. Our fictional Munich person does not feel the same social pressures to buy a Dodge and represent their masculinity with a Dodge the way our imaginary Texan would. In turn, the Munich person likely sees a Dodge with an element of absurdity--who the hell needs such a big truck in a European city?--and foreign Americanness. The Texan wouldn't have that concern--why worry about navigating your enormous truck down narrow streets when you live in the countryside?--and sees Americanness as their local default, thus removing any element of foreignness.

That is to say, gendered messages aimed at people (especially women) who live in Japan don't affect me the same way as they impact those who do live in Japan. Like, it's not my dog in the fight, and there are plenty of people who are directly affected who write their own stories and commentaries on gender roles in Japan. Japanese women don't need a random guy in the US to stand up and say, "Damn, your gender roles are fucked!" 1) They already know. 2) They're already saying it. So I come at this from an angle of someone who already has deep, primary frustration with the gendered messaging in my culture and secondary frustrations when similar messages appear in other cultures. I don't have a bone to pick with Japanese media in particular. Plain and simple, reading and working on hundreds of pieces of Japanese media is what I do for a living. It's in my face constantly, and as a result, I am also perpetually bombarded by messages about gender roles in Japanese media.

It's not a hot take to say that Japanese media, like the media of every single other culture around the globe, has a lot to say about gender. There's a lot of slotting people into boxes and telling people what to do. It's chafing, as we see all across history in art produced in reaction to gender roles. In the past couple of decades, global shifts in gender roles have caused media to shift the messages they're pushing, but it's not controversial to say that Japan has lagged behind other countries like the US.

Many, many stories push arbitrary notions of how to be a girl or how to be a boy that don't necessarily come from the author themselves. The authors probably aren't even fully conscious that they're making these choices. If an author writes a story about a library and makes every female character a romance fan and every male character an action fan, it's likely a reflection of endless messaging that says action is for boys, romance is for girls. In turn, this story becomes yet another reinforcing message. If no fictional girls like action, and no fictional boys like romance, it becomes alienating for real girls and boys who don't follow these same rules. These rules are everywhere and have so much to say about gender that it's hard to know where to begin. Girls must like cute things. Boys can't like sweet food. Women must not express sexual desire. Men can't be shy. On and on and on.

Which is why, when there's a relative lack of this in Hypmic, it's kind of a breath of fresh air.

Wrong Ways to Be a Man

Actually, Hypmic does have a few moments where characters claim there are certain things men or women should do, but the writing always frames these messages as incorrect.

Take Samatoki, for instance. After Kuukou and Sasara leave MCD, Samatoki tells Ichirou, "Men shouldn't cry when they lose their friends. Men should only cry when they lose a family member."

(TDD chapter 10)

This line usually appears via Ichirou's perspective. In the stage play, it's told during a song Ichirou narrates, and as shown above in panel 3, the manga frames the line from the angle at which Ichirou sees it. In such moments, the audience is meant to read this as a cool line from a strong mentor figure to Ichirou. That's how Ichirou sees it, and he's a seventeen-year-old with too much on his shoulders who idolizes Samatoki. He is incapable of seeing how much pain Samatoki struggles with.

However, when the manga focuses on more intimate moments of Samatoki's life, we see that Samatoki does struggle quite a lot.

(BB/MTC+ chapter 6)

This isn't a cool, attractive figure meant to be idolized. While Samatoki's cigarette usage and aggressiveness are often framed as sexy or enticing, the juxtaposition with dirty laundry, overflowing ashtrays, and empty bottles make him a sympathetic and struggling figure. Therefore, we should understand that his notion that men don't cry is flawed. It's a means to distract himself from emotions he doesn't want to feel.

Later, as Samatoki begins to process his emotions and open up to his teammates, the unhealthy coping mechanisms recede. Samatoki is more confident, mature, and happier as a result of being more emotionally vulnerable.

We see a similar transformation with Kuukou. As a teen, Kuukou is reluctant to accept help or truly let anyone in. In a conversation with Hitoya, he says (and I am still completely unable to take this seriously), "A man's got to wipe his own ass."

(DH/BAT chapter 4)

However, over the course of his character arc, Kuukou learns that he cannot exist as a good leader or individual without the teamwork of his newfound "family." Only rejecting this classical and toxic notion of masculinity brings Kuukou joy.

In fact, most of the first-line characters have very similar arcs. At the start of the story, Ichirou is insistent on doing everything himself. He has to learn to be able to rely on other people (Kuukou, Samatoki, Ichirou and Jirou) to be happier and unlock his true strength. See below, his final attack and Ability use in the 2nd DRB, which is only possible when his brothers figuratively and literally support him through it.

(BB/MTC+ chapter 25)

Sasara struggles with emotional honesty and trust in favor of using humor to gloss over discomfort. It takes multiple heart-to-hearts with Roshou before he can let humor take a backseat and say how he really feels. Ramuda has difficulty trusting other people and being honest with his emotions when faced with stressful scenarios. Only through Fling Posse is he able to open up and ask for help instead of driving people away when the problems are too big for him to face alone. Jakurai struggles to connect with other people, work through and acknowledge his complicated feelings, and not place himself on a pedestal. Through Matenrou, Jakurai is able to ask for help, be more open, and ultimately be less hard on himself.

The second- and third-line characters follow similar arcs, and this repetition creates a core message for Hypmic: Trust and rely other people. Be open with your feelings. There's a wrong way to be a man, and that's to hurt yourself and other people.

Right Ways to Be a Man...Are Infinite!

But with that being said, there is a surprising lack of commentary on how else to be a man. Hypmic as a whole doesn't do much to constrain the male characters in terms of gender roles.

Sure, some characters do fit into more traditionally masculine roles--Ichirou, Samatoki, Riou, etc. The messaging makes it clear that it isn't wrong to play into masculinity provided it doesn't become toxic. (See above.)

Even then, however, these especially masculine characters are associated with less masculine traits that are either portrayed positively or not portrayed as a joke. Riou is an avid cook, but the joke is never that he wears an apron and knows his way around an outdoor kitchen (tee-hee, men don't cook!). It's that he cooks with horrifying ingredients. Samatoki is a fashionista, but the joke is framed as a counterpart to Ichirou's nerdiness.

(DoD chapter 1)

Here, it's funny that neither of them can shut up (the ペラペラ/blah blah SFX, the long bubbles filled with lots of text that's cut to indicate they kept going for longer), but the object of their attention--a model toy and a pair of jeans--are treated in the same neutral light. It's very common for stories to touch on, even defensively, the social taboo of men being into clothes. Hypmic doesn't even acknowledge that such a taboo could exist.

This is subtle but extraordinarily effective in giving characters the same consideration and weight. The more feminine characters are always treated just as sincerely (or, if there's a joke to be made, irreverently) as the more masculine characters. Take Ramuda, for instance. In Japanese media, a love of sweets is often characterized as feminine and will often be remarked upon, even in LGBT+ media, as atypical for men. Again, there's zero acknowledgement of such a thing in Hypmic. Whenever other characters talk about Ramuda's food intake, it's always framed as a concern about the lack of nutrition.

(FP/M chapter 11... I don't have the source lying around on my computer, so here's the old-ass scanlation lol)

It's also given the exact same weight as anyone else's junk food habits. Here, MCD goes out for burgers (a neutral to masculine-coded food due to the meat and high calorie count) while Ramuda opts to try a sugary Starbucks-esque drink. The parallelism in the comic's framing suggests that the two objects are functionally the same, and there is no comment that a sugary drink is feminine and therefore "inappropriate" for Ramuda. There's also no indication that MCD's preferences are in any way better. They simply happen to be the characters' personal preferences. The punchline is two groups splitting up, only to awkwardly run into each other again moments later.

(DoD volume 4 bonus comic)

Similarly, Ramuda's interest in clothes or fashion is never treated negatively--in fact, the discussions of clothes as a means to find identity and happiness make it a positive!

In ARB cards and promotional materials, Ramuda sometimes wears dresses. It's, again, portrayed in parallel to other characters wearing more masculine clothes and is never commented on as something "unusual." It's just who Ramuda is.

Hifumi is another interesting case. Like Ramuda, his playful personality often doesn't as stereotypically masculine. (To be clear, I read much of this as "gender neutral with a strong emphasis on youth" versus "feminine" in a way that I'm not sure has a good US equivalent...metrosexual/yuppie men's fashion, maybe? In the sense that it's a youth subculture that defies some masculine gender roles but is still focused mainly on men. I wish I was more well-versed in Japanese men's fashion and could give an exact term, but I'm what I'm thinking of is definitely an established thing--young, trendy dudes whose styles focus on poppiness vs. the rugged manly man or "idk, I'm just some guy" subcultures. It's a thing that pisses off old Japanese conservative men in the same fashion as people getting up in arms about "the gayz!!!1!" and their androgynous clothing lol.) Their personalities are often the butt of jokes, but only in the same way that Dice or Doppo are--that is, that they're exaggerated and over the top. There's no commentary on masculinity or lack thereof.

There are also moments when Hifumi, Gentarou, or other characters play feminine characters in roleplay moments, which is usually (but not always) not the sole joke. The audience is supposed to find it funny, but the humor is almost always centered on the absurdity of the scene as a whole. For instance, in a moment where Hifumi and Doppo are pretending to be two drunk karaoke-goers, the humor comes from the composite set-up of Hifumi's hair twirl, Doppo's untucked shirt and tie, Doppo and Hifumi's exaggeratedly flirtatious poses, the spotlights and sparkles, and the same font as used on classic karaoke machines.

(FP/M+ September 2022 oneshot)

Hifumi and Doppo do not perform traditional gender roles in their homelife, and while it's easy to see and often commented on in the English-speaking fanbase when it comes to Hifumi, I find it just as prevalent on Doppo. It's true that Hifumi is taking a feminine role by doing the majority of the household's cooking and cleaning, but if we were to assume Doppo has the masculine role in the household, he would have the breadwinner duty. However, he isn't the main source of income for their household, and he's just as unassertive in finding a (female) romantic partner as Hifumi is. Japanese men are bombarded with media messages stressing the importance of taking an active role in career and romance. That Doppo does not would, in many stories, make him the butt of a joke for not living up to masculine gender roles. But he isn't; instead, Hypmic portrays him as a sympathetic character. It's tough, Hypmic says, for people to get good jobs and maintain friendships/relationships as an adult.

Similarly, it's noteworthy that Hifumi's self-appointed term "Gigolo" is consistently portrayed as a good thing in Hypmic. The meaning of the English term aside, the Japanese word ジゴロ (jigoro) is almost always used as an insult for a man who is financially dependent on one or multiple women. In the strictest sense of the term, Hifumi is a jigoro in that his income derives from his female clients. However, there is never any shame associated with that, and as a whole, Hifumi's career as a host is shown to be a positive thing. I can't express enough how rare that is in any sort of semi-serious media. Certainly, Hypmic acknowledges that his job requires too much drinking (Doppo's verse in Hoodstar), but the overall portrayal is overwhelmingly positive. Hifumi and his coworkers are never treated as uneducated, boorish, or pathetic for "failing" to find other work that does not require flirting with and entertaining women. (This is partially due to the overlapping judgment with sex work.)

All the various harmless preferences and personality traits of the male characters are treated equally with no judgement over what's masculine or non-masculine. Within the broader context of Japanese media, this absence of judgment stands out and reinforces one of Hypmic's core themes: Differences make us better, not worse. In the end, Hypmic suggests, there's no one right way to be a man.

Right Ways to Be a Woman...Are Just as Infinite!

But what about women? This series is, after all, marketed mainly towards women, and while female audience members can no doubt extrapolate the lessons learned from the male characters, it's worth taking a look at the female characters too.

The female characters do receive much less screen time than the men and are not the focus in the series; I'd argue that's less an issue of overt sexism and more that they fall out of focus in the story the writers want to tell. (There's a broader discussion to be had about inherent sexism in the writers' focus which goes hand-in-hand with rap industries across the globe favoring men and rap being an example of exaggerated masculinity, but that's a topic for another day.)

Even so, the framing of the female characters is interesting in a couple key respects. The individual character arcs and motivations of the main female characters are, in my opinion, some of the weakest parts of Hypmic--many times, Otome and Ichijiku do things because the plot demands them to, making them look incompetent or needlessly cruel for characters we're supposed to sympathize with. Nemu's story seems to be handled with more care and takes an interesting twist, wherein she openly acknowledges that she's disenfranchised as a woman in modern Japan but rejects the notion that she needs to find strength on either Ichirou or Samatoki's (male) terms. By choosing to be strong in "her own way" (whatever that means...it's not well-defined), the authors are using Nemu to reject the notion that strength and power are inherently masculine.

What I find to be far more interesting is the character design for the Chuuouku women, both in what is said and what is not said.

To begin with, the characters and their portrayals run the gambit from highly sexualized to completely non-sexual. Some characters (especially Ichijku and Honobono) have conventionally attractive, curvy body types and are often drawn in ways that highlight their bodies.

(FP/M+ chapter 4)

(FP/M+ chapter 14)

In some cases, especially Honobono's, the enticing nature of the illustrations is framed as the character's choice; in the above, her words indicate that she wants to seduce the off-screen listeners. The images included above are largely representative of these characters' raps, regardless of illustrator.

But on the flip side, other characters with large breasts or hips are never drawn in a sexual fashion. By way of comparison, here are two shots of Nemu rapping.

(BB/MTC+ chapter 12)

Even in shots with dynamic poses, no attention is drawn to Nemu's figure in any sort of provocative sense. Nemu touches her chest, drawing the reader's eye there, but the artist does not emphasize the size of her chest--they're allowing a chest touch to be no more than an emphasis of the self. At the same time, Nemu's body isn't downplayed. We can see in panel 2 on page 2 that Nemu has a small waist and wider hips, but once again, she isn't being sexualized. The action lines draw the reader's eye to Samatoki and thus put the action first and foremost. This creates the idea that not only can characters portray themselves sexually, but they can just as easily choose not to.

We see similar with Otome, who does not wear any sort of revealing clothing and is never shown in a sexual fashion. However, Hypmic doesn't equate revealing clothing to sexual portrayals either! While I wouldn't call Tsumabira's outfit revealing, she does have more visible cleavage than most Chuuouku figures. However, her bare chest is never sexualized like Ichijiku's.

(BB/MTC+ chapter 4)

Compare the non-emphasis on the chest and the power stance to any of the many shots of Ichijuku where her breasts are front and center in the camera. Speaking of power stance, Tsumabira remains confident in her power stance without being sexy--that is, no stepping on the camera and showing her whole leg.

Which isn't to say that Tsumabira is a sexless character. She's drawn visibly turned on by the male characters in such a way that is cartoonish but not, in turn, overly sexual. Were this supposed to be titillating to the reader, I would have expected to see a larger close-up on her face and tongue. However, the artist (who is no stranger to focusing on tongues!) devotes the majority of the panel to Tsumabira's body language (which, again, doesn't absurdly exaggerate any of her proportions or focus on her chest) and covers part of the mouth with text bubbles. Tsumabira is drawn as engaging in sexual behavior without being sexualized for reader entertainment.

(FP/M+ chapter 4)

The juxtaposition of such different views with little to no judgement attached to any of them suggests that it's perfectly okay to want to be sexy or not, to wear revealing clothing or not, to be involved in sexual situations without being the object of sexual interest, or to simply exist with an attractive body type without sex ever coming into the equation. Just as some characters choose to tie bodies to sexiness, some don't whatsoever--and either is perfectly fine!

The former idea ("I can choose to be sexy") may not sound especially revolutionary to US audiences, where sexuality is thrust upon women willingly or otherwise, but I find it fascinating because it lets the main characters embrace this idea without associated slut shaming. So much of Japanese media insists that women should be sexy but are also wrong for wanting to indulge in their own sexuality. Therefore, having characters who run virtually every iteration of take on the topic (I want to engage in sexuality and be sexualized, I want to engage in sexuality without being sexualized, I don't want to engage in either) with multiple body types (ie, Tsumabira isn't automatically not sexualized because she has a smaller chest; Nemu isn't automatically sexualized because she has a bigger chest) and no judgement involved feels like another breath of fresh air to me.

As a whole, I find the diversity of the Chuuouku uniforms and character appearances quite interesting. They're undeniably all feminine and relatively militaristic, but different characters wear entirely different wardrobes. Skirts vs pants, blouses vs dresses, high heels vs boots... Since every character has her own take on the common theme, it once again feeds into the idea that each character is her own individual and perfectly valid for defining femininity in her own way.

Haircuts, too, range from longer and more feminine hairstyles to pixie cut-esque looks.

(BB/MTC+ chapter 16)

Again, nothing of the framing suggests this short-haired woman is in any way different from her longer-haired counterparts on the edges of this screenshot.

Finally, while most Chuuouku women are conventionally attractive, I find it extremely compelling that Haebaru is a stereotype of an unattractive Japanese woman. To be extremely clear, I do not think these stereotypes should have weight, but the combination of chubby and/or muscular build, freckles, rounded nose, and non-glossy hair is often used as a visual shorthand for unattractive or otherwise undesirable women.

Sure, it's not fantastic that Haebaru is a scheming, two-bit villain. However, so is virtually every other female character in the series, and in particular, Haebaru is (the conventionally attractive) Tsumabira's counterpart. Both are treated with the same respect or lack thereof, suggesting that one's appearance has nothing to do with your ability to be a no-good baddie. Ha ha ha.

It would be lovely if the female characters were fleshed out further and given intelligent choices and diversity outside of the realms of physical appearance. However, I do think the writers' choices are limited by virtue of all women automatically being antagonistic side characters (which, again, is another discussion altogether). What the writers can and have accomplished is further reinforcing a celebration of differences. Just as there's no one right way to be a man, there's an infinite number of ways to be a scheming snake of a woman HAHA.

Intersection with LGBT+ Topics

Unfortunately, this is a very binary look at gender and gender roles, which, while largely representative of the current state of Japanese media, can be disappointing.

Hypmic appears to want to steer shy of LGBT+ topics as a whole, which is a bit of a shame. In a story so focused on gender and acceptance of diversity, it seems the natural next step to explore the notion of those who experiences don't align with a strict gender binary. Such stories are growing in popularity in Japanese media but have yet to be anywhere near the mainstream acceptance in US media (which is still in a fledgling stage at best). I would imagine Hypmic's writers are unable or unwilling to take a definite stance on these topics in the work due to fears of financial or career backlash. If nothing else, the sexuality of the main characters needs to remain in a limbo in order to have plausible deniability for both self-shipping and shipping with other characters. (Some deniability may be more plausible than others.)

The few instances in which Hypmic does wander into this territory are usually clumsy. I am no fan of the handful of scenes where male/male attraction is supposed to be funny purely by virtue of being male/male.

The inclusion of Urumi, the one minor character explicitly LGBT+, is not stellar either. I am hesitant to apply any definite label to her, as the real-life people her stereotype portrays self-identify as everything from trans women to cis men--or refuse to use these English labels at all! Still, we know from her profession (proprietor of a bar heavily implied to be a gay bar by the neighborhood it's in), appearance (poofy permed hair, exaggerated make-up), and demeanor (feminine speech style, a bit flirtatious) that she's AMAB and choosing to present herself in a feminine fashion. By writing Jirou to ask, "Aren't you a man?" in an exasperated fashion, the writers have put her gender presentation in a boke role--suggesting she's over-the-top, exaggerated, comedic. It's not great. I completely understand why readers find it offensive (and it is) even while I don't think the writers intended it that way. Ultimately, it would have been great to see other explicitly LGBT+ characters portrayed without the joking angle.

With that said, I'm not entirely unhappy with her character. She is a stereotype, but the authors have chosen to take only the visual elements of the stereotype and leave the rest on the cutting room floor. In other works of fiction, characters like Urumi are often hypersexual to the point of being in-universe creepy, especially towards underage boys. Other times, characters like her may be eccentric or off-putting in other ways. However, that's not at all the case here. Urumi seems to play a helpful big sister/aunt role in Jirou's life, and he's clearly comfortable enough with her to spend the night at her bar.

(BB/MTC+ chapter 17. "Sorry, but can I shack up here again tonight?" "Of course you can.")

While she seems to engage in some sort of a bohemian lifestyle, as evidenced by the alcohol and smoking, it isn't anything outside of what many of the other characters do. Additionally, while she isn't drawn in a flattering fashion in scenes where she's playing up her persona (which is par for the course with any character in this series, regardless of gender), there are plenty of neutral shots of her being serious. Finally, the art is never outright rude--that is, she isn't drawn exaggeratedly masculine or flamboyantly...snakey? I don't know how to describe this to anyone who's lucky enough to have never seen this--clearly LGBT+ AMAB characters drawn with noodly limbs and huge, overblown lips winding around male characters.

Maybe because I see so much worse continuing to be produced in this day and age, I feel like Hypmic could have done a much, much worse job with this character. She overall plays a positive role and is treated with much the same care as other side characters. It's unfortunate, then, that the writers have chosen to make her gender presentation the subject of a joke.

In other frustrations, I heavily dislike the unnecessary gender divide in background characters. All punks and other background baddies are male, whereas all adoring fans are female. (But Rhyme Anima has done an interesting job of subverting this!) The vast majority of other background figures fall into strict gender roles, which is likewise disappointing. It appears that diversity may be an accepted trait for none but a lucky few that form the main Hypmic cast.

All in all, I don't think Hypmic's portrayal of gender roles is groundbreaking, nor do I think it's fair to suggest that all Japanese pop culture plays into strict gender roles. There are certainly many Japanese works, popular or otherwise, with much more interesting things to say about gender. However, when compared to the vast majority of the titles that cross my desk on a regular basis, I notice and appreciate the level of care put in to Hypmic's commentary on gender roles. The work consistently reinforces the notion that it's okay to be your own individual, no matter how that plays into your gender, and I find that freeing. That's a message we could all do to hear more often, regardless of culture and language.

TL;DR: Oh no, my rapidly approaching deadline. :)