#I love this show but god it makes me insane | Explore Tumblr posts and blogs

queerwritersingerdramaqueen · 23 hours ago

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Oh. My. Fucking. GODS BITCHES.

There is so much fucking hurt coming this way.

But! You all know the drill! SPOILERS FOR THE VENGEANCE SAGA PAST THIS POINT. IF YOU HAVE NOT LISTENED TO IT, DON’T SPOIL IT FOR YOURSELF IT’S FUCKING INSANE AND THE SURPRISE FACTOR MAKES IT SO MUCH BETTER.

FIRST OF ALL, HOLY FUCK SHIT WENT SIDEWAYS SO FUCKING QUICK. BETWEEN THE WIND BAG AND THE SIX HUNDRED STRIKE. I’M QUAKING IN MY BOOTS.

This saga is the long awaited conclusion to the Mycroft vs William debacle and it requires a LOT of backstory so bear with me.

So, at some point before the Vengeance saga (can be in between then and the wisdom saga, or even earlier than that) Mycroft and Albert hooked up. This very funny idea is brought to you by Steven Rodriguez’s “Like You Mean It” and “The Devil Wears Lace” and it’s basically brought up by a very drunk Karaoke session and one thing leads to another. Anyway, the short relationship doesn’t end well since Mycroft has a bit of a “Fuck, I slept with the enemy” moment (he’s still very much on the defense when it comes to Sherlock) AND IT GETS A LITTLE MESSY. Mycroft doesn’t completely ghost Albert but he does sort of step back when Albert starts showing genuine affection for him (oh boy, I’ve never written Alcroft angst centred around Mycroft before, Albert is usually the one who needs to get his shit together). Regardless, William is now doubly pissed at Mycroft, Albert’s sad and Sherlock is just shaking his head in disappointment because if he’s the only one who pulled his head out of his ass, then they're all doomed. The OTHER really big thing to remember during this saga is that Mycroft didn’t know ANYTHING about Sherlock and William leading up to the performance. He and Sherlock (especially since the Ruthlessness fiasco) haven’t talked heaps and Mycroft hasn’t been on set since then either. Sherlock does appreciate his brother looking out for him; he does NOT appreciate Mycroft threatening him through song.

Most of the rest of the cast are kind of just chilling watching this all go down on the side with a bucket of popcorn. They know better than to get involved with the Lord of Crime and the Government when they’re fighting.

So this saga summed up: the in-laws are FIGHTING

But without further ado, let's get into it

The Vengeance Saga:

Not Sorry for Loving you - I’m going to preface this one that I am entirely open to any kind of criticisms that may be had about my approach to this song. I’ve never been in that kind of situation and I’m interpreting the song as sung by someone who hasn’t actively kept their “partner” prisoner for seven years. When I listen to “Not Sorry for Loving You” and put it in the perspective of Albert, it sounds much less like an abusers half-assed apology (when it comes from Calypso, then I can hear the bullshit). So with that in mind, feel free to make suggestions and criticisms, I’m completely open to that. Hell, I even ewncourage them because I don't want to be an asshole here.

So, Albert’s rendition of this song obviously doesn’t come from a place of (romantic) love for William but he’s projecting onto him big time. To further emphasise this point, Albert’s not looking at him throughout the song. He could be doing that fourth-wall break again but this time with trying to make the audience sympathetic (god, outside of the AU, that would be such an interesting way of doing Calypso, with her always trying to present herself as a loving, poor girl trapped on an island, making even those who know how wrong she is sympathetic). That first part where he says “That you’re not mine to save” ties in really fucking well to that chapter where Albert blames himself for being the reason William fell. I also can’t believe I managed to kind of catch that in the wisdom saga during Love in Paradise. The thing I’m trying to go for here is letting Albert get some of his frustration out, because he hasn’t had the best luck with family or dating and even friends, so when he meets Mycroft and he finds all those things in him, it’s amazing. This probably would not come across in the actual performance (he does still have a role to play) but counteractive to Calypso deflecting her actions during the Pre-chorus, Albert is owning up to his faults, even when they’re not actually that bad. Mycroft’s guilt over the whole Sherlock/William thing is to blame, not Albert; but he blames himself anyway. A very large portion of this would rely on the writer’s (AKA. my own) ability to get that message across and I totally understand if I haven’t made it make sense. During the bridge part, “I’m angry and tired and restless and sad” the frustration hits a peak and Albert’s venting a little bit on wanting Mycroft to let go of his little (kinda petty) feud with William (and maybe still being kind of pissed at William for doing what he did (Albert and Sherlock are besties and you can fight me on that, you won’t win)). William’s “I love you/but not in the way you want me too” is less about being the object of Albert’s anger/affection and more like “This song isn’t for me, but I do love you brother and you’ll get through this.” And the damn kind of just breaks from there as Albert watches William “sail” away.

Dangerous - THE BOY IS BACK!!!!! HERMESSSSSSS! JAMESSSSSSSS! You don’t understand how actually HYPED I am that James is back in this AU! Dangerous is such a fucking bop :D But before I get into it, production is a thing and it sucks to work out. Maybe Von Herder really should be just a guy out back cause I need his help figuring out how to do the raft?! For now, I’d assume it’s just on wheels and maybe actors in those dark jumpsuits are pushing it around (Like with the Cyclops puppet and what will eventually happen with Charybdis). IF they’re already on stage that's probably good too, they can pretend to be the monsters along the way and it’ll be an easy transition. AND A COUPLE OF THEM CAN BE WINIONS So plot wise, James is trying to reel William in because this man is gonna lose his shit on Mycroft in a second. The whiplash of how disco-esque Dangerous is helps in being a sort of calming factor (until the “NO” that is) for James to help William take a breath. The wind bag, once more, serves its purpose of being all the bottled up shit William (and even Mycroft to some extent, since it’s HIS storm after all) is holding onto. Most of this song is kind of just a dance break but once we get to the windbag, we get some more plot. This is William’s chance to prove he won’t let anything get in the way of him and Sherlock, his last chance to prove to Mycroft that he won’t hurt his baby brother again (and trust me, William absolutely recognises the GALL of it coming from Mycroft). It’s also his chance to show how he’s “healed,” though that’s more implied through the metaphor of the wind bag. If he has to be ruthless and give Mycroft the what for, he’s gonna do it. I’m also going to make another disclaimer that YES, I know Mycroft now sounds like an asshole. If this were a properly written fic where I could dive into nuance, I could explain the intricacies of both William and Mycroft in a probably more understanding way. As stands however *bangs pots over my head* THIS IS A WORK OF FICTION, ANY ACTIONS WITHIN ARE NOT TO BE TAKEN WITH THE SERIOUSNESS OF REAL LIFE.

(also, the “I’m not the one who fought for you” knowing it was Sherlock/Athena who fought with William through most of the hardship is fucking amazing)

Charybdis - This number requires us to look less at what’s on the stage and what’s happening backstage. Musical wise, we’ve got big puppet Charybdis. I think that style of the dragon dance would be a good way of doing it, or with the long poles to make it go really high. This piece would need some serious production work because I don’t know quite enough about that side of theatre. I’m just good at the literary stuff (in case it wasn’t obvious). We could even simulate waves with fabric being fwiped around by actors. But back on the plot stuff, William is determined. Mycroft sees this and is like, “oh we are both fucked here.” The actual emotional things happening are weird. Mycroft knows that he’s not much better than William (Though he was absolutely more direct with Albert, his reasoning was a little bullshit even to Sherlock, the guy he was doing it for). He’s feeling guilty and sad for giving up what he had and angry at William because he understands on an even more personal level how the whole situation hurts someone else. But Mycroft is seeing this determination and is deeply conflicted on how he should feel (Albert’s crying in the corner after his number and Sherlock’s stealing popcorn waiting for his boyfriend and brother to duke it out because there is no way in hell he’s defending either of them, they can work out their own shit and grovel at his feet afterwards). When William “reaches Ithaca” and is dragged back (that “NO” fucking hurt man) it’s Mycroft being like, “alright fucker, prove it” (which was the original story idea until I heard all of the vengeance saga and proceeded to lose my marbles with a subplot)

(I feel like this is a good juncture to clarify and remind everyone what actually happened. William and Sherlock had a fight because William wasn’t taking care of himself. They go through a sort of “soft-lock” breakup where they consider it all done but they never actually talk about it, so when Sherlock tries to make amends and either fix or end the relationship, William ghosts him and it’s not until the Ocean Saga that he realises how badly that hurt Sherlock. After those events (when Mycroft isn’t around to witness), William chooses to get help and he and Sherlock are slowly trying to at least repair their friendship. This is a mutual choice that they both want. Mycroft and Albert go through something different. It eventually dawns on Mycroft that Albert is in fact William’s brother and he feels like he might be betraying Sherlock by having a connection with the Moriarty’s at all. Because he’s only been in the musical for one instant, he doesn’t know about them and the developments they've made. He and Albert are not quite in an established relationship and more like sleeping together and sticking around to cuddle afterward. *bangs the pot again* FICTION PEOPLE, FEEL THE FLUFF, DROP THE STUFF. DON’T DO THIS IN REAL LIFE, LIVE VICARIOUSLY THROUGH THEM WORKING OUT THEIR ISSUES.)

Get in the Water - WHEN I TELL YOU I HAD BEEN WAITING FOR THIS MOMENT I’ve been actually fucking obsessed with how this would go and it’s the “I can’t…” that inspired a lot of what’s about to happen. So, the original plot, as mentioned above, was going to be just William getting his resolve tested by Mycroft, a test to see if he’d actually built up the courage and strength to stick with Sherlock. Now it’s a looooot more with the sub plot. “Get in the water” is now less about William not bending on getting what he wants, and more about Mycroft just wanting William to go away so 1) Sherlock can’t be hurt again (he’s clueless, remember?) and 2) so he can stop feeling guilt about pushing Albert away. He is also warring with himself somewhat and somewhere inside him he really wants William to prove him wrong. They are also playing parts so please keep that in mind with some of what they’re saying; it’s the intent and emotion behind how they're singing it that implies what they're really trying to say to each other. I also think that, while having the trident is really cool, I like the way this one animatic portrays a stage adaptation with him using long pieces of fabric coloured like the sea to throw him around a bit, tied with the other actors throwing “water” at him. The aerials are also still an option I’d like to use for the gods and the dead, and they’ll play in really well later. William does extend an olive branch at one point, he’s not beyond the point of forgiveness yet. Maybe they can forgive each other and themselves for hurting those closest to them. That “I can’t…” though takes. Me. out. Mycroft forgiving William means forgiving himself and trying to make things right between him and Albert. He wants too but he’s fucking STUBBORN. So we get the “Ruthlessness is Mercy Upon Ourselves” bit thrown back at him again, because he truly believes that he has to be a bit self-destructive and let Albert move on without him, that he has to protect Sherlock from William. Pair that with the fact that (at least the way I write them) they never do truly “like” each other and he’s just really fucking angry at himself and William. (weird segue but I genuinely do think that, in canon post-timeskip, Mycroft wouldn’t like William for being the reason Sherlock jumped off the bridge and disappeared for three years, for making him dance in his hand, or completely overtaking his life with these cases to the point that Sherlock killed someone just to cut the strings. Kind of like the Louis/Sherlock situation, but with just an ounce more respect towards the other party, because Mycroft does understand it was still Sherlock’s choice. So in my writing at least, they usually don’t like each other all that much but they stay out of it.) Now, the last breath. I came to the really sad realisation the other day that Anticlea, Eurylochus and Polities actually make up the three original group members we meet at the start of the manga, so I’m just going to go *sobs really fucking loudly around the corner.* You don’t understand how badly this fucks me up, that this whole time, I’ve unintentionally had Fred, Moran and Louis, the first three of the crime gang to enact the plan, also be the voices he remembers whenever he’s in a tough spot. So please picture for me, William on his knees in blue light, arms raised like he’s drowning, then Fred pops up, then Moran (They make up this saga! YAY! :D), then Louis and they’re sort of cradling him until the “Ohh wahh ohoh, Odysseus” where the crew of Odysseus’ ship (portraying the majority that were drowned) lift him up off the stage and into the air (he looks like he has drowned by this point, limp and everything), showing how they will support him through this too. Then the good shit happens after the lights go out.

Six Hundred Strike - Obviously, Mycroft didn’t drown six hundred men, nor would he talk shit about William to his friends. That part is all for show so please keep that in mind.

BUT IMAGINE PLEASE, RED SPOTLIGHT ON WHERE THEY’RE ALL LIFTING WILLIAM UP, THE WINDBAG GLOWING BLUE AS IT TRAVELS ACROSS THE CROWD TO HIM AND WHEN HE GETS A HOLD OF IT AND RELEASES IT, HE GRABS AN AERIAL ROPE AND GETS TO FLY BECAUSE HE IS USING THE POWER OF THE GODS, ER GO, HE IS FLYING LIKE THE GODS DO. PLEASE TELL ME YOU SEE THE SYMBOLISM???

All the men crowd around the stage while Mycroft and William are overhead doing some cool aerial tricks and circling each other, light now turned gold. Once shatter the ocean is dispelled, I’m tossing up if they come back down onto the stage so the men can attack or if they remain in the air and William attacks while the men goad him on. If they come back down and the men rush him, they can get backstage fairly easily, but we’d lose that sense of Odysseus using god powers. Thoughts welcome on that. After the attack, they “fal”l back onto the stage, the middle portion is raised (if you’ve ever seen & Juliet, the stage during “de Bois Bands back” is what I’m going for.) and there are white lights pointing upwards, so you can see William and Mycroft’s silhouettes. “You released my storm” is kind of Mycroft (in all his emotionally repressed idiocy) owning up that they both just lost their shit and proved they’re not “great” people. And William, in all his “I’ve been to therapy for the last several months what the fuck do you mean I’m a bad person for feeling emotions?” decides that maybe he should just let Mycroft have it so he finally understands a thing or two. The silhouettes are important because William will be stabby for like a whole minute (speaking of that, does anyone else feel like this is the most violent and real it’s gotten since just a man? Like, yes there has been violence but it’s been a sort of mythical violence, the cyclops, the storms and the god games have been sort of disconnected from real, human malice. Little Wolf had like a taste of it but just the act of Odysseus stabbing the shit out of Poseidon, while he’s down nonetheless, just feels so much more horrifying than anything that’s already happened. It’s terrifyingly human). Also, there would be no way of making it look like he’s bleeding on stage unless he had like, fake blood packs under his clothes and I don’t know how he’d keep them there. The act of putting it in shadow, much like Gwendy’s animatic from the livestream, makes it more sinister. You can’t see it but you can definitely hear it.

“How does it feel to be helpless? How does it feel to know pain?” Because William, during everything that had happened, had been in pain. He’d been hurting for a long time, long before the musical even started production, long before he even met Sherlock or lost his eye. “I watched my men die in Horror - Calling their captain in vain.” He’ll make Mycroft understand that he’s seen some horrible things. “Look what you turned me into, look what we’ve become.” Mycroft made this angry side in him come out, and now they’re fighting over something that could be so fixable, because if William/Odysseus had to get over his pride to move on, then Mycroft/Posieden is gonna learn the same fucking lesson. “All of the pain that I’ve been through, haven’t I suffered enough?!” When will Mycroft realise that William learnt this lesson, it’s now him who needs to get off his high horse and see what ruthlessness can do to a person? “You didn’t stop when I begged you, told me to close my heart. You said the world was dark,” William knows that what he did was wrong and he cannot make up for it, that it’ll probably scar for a while. He does not need to keep being told that, doesn’t need to be continuously told that he can’t make amends, especially when Sherlock wants him to. “Didn’t you say that ruthlessness is mercy upon our-” See what his ruthlessness bred? See what William choosing to be ruthless and telling Mycroft everything did? The stabbing stops. William goes to walk away backstage when Mycroft gives that final question. William answers truthfully, then walks away, leaving Mycroft to ruminate on his own attitude towards everything that’s happened.

AND THAT’S IT, THAT'S THE VENGEANCE SAGA!!! These two have gotten ALL their pent up aggression out, they’ve gotten to have a little fight and whatnot, and now, they can have a proper adult conversation after the show about what’s happened and Mycroft can make up with Albert already because fucking hell, Albert’s been waiting for weeks for Mycroft to realise (or be told by Sherlock literal minutes before the show) that he’s making a lot of assumptions of the situation.

At this juncture, I think it’s a good time to bring up Moran and William’s reconciliation because it can play really nicely into the olive branch moment. It’s probably a pretty simple moment, Moran apologises for getting angry and William apologises for not being as readily available. I think that moment where he’s trying to connect with Mycroft is a moment a bit like that, where they can acknowledge each other’s mistakes and make an attempt for peace (Mycroft just wasn’t ready to accept that forgiveness).

Again, some of the things that happen in this particular sketch of the narrative may make it seem like Mycroft and William are just assholes to each other but there is supposed to be nuance to their relationship and the relationships they have to each other’s brother. Mycroft needs to learn that he can’t be getting all up in Sherlock’s business and, though his protectiveness is appreciated and was at one point nice, fighting battles for him that he wasn’t even having. William, though being “rightfully” judged in this scenario, is still the bigger person until Mycroft pushes him enough. These two will be having a long and thoughtful talk (with Sherlock and Albert sitting in to make sure they hit all the targets, Louis on the side to make sure neither of them start fighting again) in which they will explain themselves and get over it all like adults. They will probably never truly like each other but they can be civil.

I’d also like to point out, on some character development traits, Mycroft never talks shit about William, never insults his character to anyone (except maybe to Sherlock when they first break up and he’s humouring his tirades). Where he has to interact with the rest of the cast, William’s friends included, he is polite and tolerates any William talk until he can steer the topic in a different direction. It might be the fact that he had to hold in that anger that makes this outburst so bad. William, as well, doesn’t think Mycroft is a bad person for being a protective older brother (he’d be the Hypocrite then), nor is he upset that Albert and Mycroft were ever having a fling. It is the sheer similarities in their situations and the uncanny repeating of history that really drives William up the wall because he knows how you can fix or prevent this.

The TL;DR: Louis is so fucking done with all their shit.

I feel as though this AU may be slightly spiralling out of my control, so any thoughts on if I should reel it in or if the sub-plot is in a bit of a weird spot or even if I just have to add more on the sub-plot in the other sagas, all those thoughts would be greatly appreciated. I do feel like I might be giving these two a bit to much wiggle room for their mistakes but that could just be me. I am trying to be careful. Adding all I did definitely pleases the brainworms but the writer in me is questioning if I threw a bit too much in here.

This is a massive story at this point and I’m going to have to construct some sort of timeline or synopsis to get all my bases hit on where I am.

As always, thank you to @aka-no-ken for listening to my ramblings and having something super helpful to say or just fangirling with me about someone’s voice. You’re a great friend!

TUMBLR, I WILL MAKE YOU POST THIS

PREVIEW:

AKA-NO-KEN YOU ACTUAL PHSCHIC HOW THE FUCK DID YOU GUESS ALL MY GOD CASTINGS CORRECTLY???

AGAIN, WISDOM SAGA SPOILERS SO READ AT YOUR OWN RISK. ALSO MAYBE A TRIGGER WARNING FOR LOVE IN PARADISE CAUSE THAT WAS MORE THAN I WAS FUCKING EXPECTING.

THIS IS SHERLOCK AND BILL'S FUCKING SAGA NOW BITCHES BROS AND NON-BINARY HOES. AND AGAIN, I'M FANGIRLING AS I GO.

So, with where we left off, William's having a minor relapse in his mental state but it won't become too much of a plot point/serious thing. He and Moran are on funky terms but if there is no "reconciliation" in later sagas then We'll figure that out when we get there. Anyway, this saga ain't about him.

(ALSO, I MISSED A FUCKING OPPOURTUNITY

VON HERDER AS TIRESIAS, IM A FOOL)

Anyway, lets get started.

The Wisdom Saga:

Legendary - BILL IS HERE FUCKERS. SHERLIAM'S ADPOTED SON IS GONNA BE LEGENDARY. I really like how this parallels with Canon when Bill only knew William as a genius professor and Sherlock's actually the one who introduces them in a way. It'll set up nicely for when we get to "I can't help but wonder" and Telemachus/Bill has to toss up with the fact that his Dad just removed the twenty year problem but he did also kill a bunch of people (you know, like in canon.). So this starts out with the lights slowly coming in and Bill's "room" has a chair and a few other easily moveable props. This is a very dancey number I'm finding so these props are probably gonna get taken off stage so there can be actors milling around for Telemachus to interact with, I think he'd be mostly weaving between them trying to avoid them while they keep swiping at him. The majority of suitors can be off the stage but Antinous and a few others are up there ready for the "Whatcha gonna do about it, champ?" The lights would change on Boy to a red colour. It would be so cute seeing Billy fight for Sherlock's Honour. I think something really cool that could happen is when Telemachus sings "somebody help me" the lights flash blue for a second like Athena has heard his plea. and at the very end of the song, he punches Milverton square on the nose (in the fake way of course).

Little Wolf - My big idea for this that would absolutely not transfer over to a regular production of Epic the musical would be that Antinous/Milverton is not the one fighting Telemachus/Bill. I cannot really see Milverton fighting for himself and would definitely have lackey's doing it for him; but outside of this AU Antinous absolutely fights for himself. But yeah, Milverton mocks the shit out of Bill while he's fighting somebody. The lights stay red while the suitors and Milverton are doing their thing. When Athena appears the lights turn blue like fighting of the panic of being in a fight. I think this is one of those moments where its so fun having Sherlock as Athena and Penelope cause it's like "Don't worry baby, Mama's here to help." But, onto the super cool crossover intertexuality talk I can't seem to do right now, Sherlock as Athena fits very nicely cause he, alongside William, helps Bill get into the university; so Sherlock being the one helping in this fight reminds me of that. And Athena's "I've no respect for bullies" reminds me of his disdain for Milverton and his methods of blackmail. ALSO, HER PIANO IN THAT PART IS SO FUCKING GOOD I FUCKING ASCENDED. PAIRING IT WITHT HE DRUMS THAT WAY, WHO DOES JORGE THINK HE IS. In a way, this is like showing how Penelope would like to react to her suitors beating up her son (it just popped into my head but kind of like a batman meme, Penelope dressing up as the goddess of wisdom to fuck up her son's bullies). Athena's whole solo there sounds a lot like Sherlock when he was talking to Irene. And when the fight ends and Antinous says Penelope needs to pick a suitor, Athena/Sherlock is very disturbed before he helps Bill up.

We'll be Fine - The thing I love the absolute most about this musical is exploring Sherlock's side of this whole fiasco they were in and giving him a chance to vent some of this frustrations. Because it wasn't easy on him either and he might blame himself a little bit for not being able to help more. Bill knows a little bit about it from gossip and rumour and being a part of the Epic cast for a little while, not too much but between the two of them, Bill understands that Sherlock is letting out a bit of his frustration with the previous problem and the repeat that seems to be occurring, because he's super smart like that (I say seems because in real life, it won't last that long and William is probably gonna be ok and reconciled with Moran by the time we get there. It'll hopefully make sense once we get to the next saga but I just can't keep knocking this dude over he needs to start healing and giving him a less self-jeopardising problem to fight). Even though he and William have worked through a fair bit of what happened and their still going really strong, Sherlock is still worried. Sherlock's super soft on Bill because he's so similar to William. Bill, while sticking to the script, is just subtly reassuring him that it's ok, they'll get through this rough patch and they'll be fine. Sherlock doesn't need to be the first responder. A little bit of it probably comes out as Bill saying "William wouldn't want you to beat yourself up over this," especially when he mentions Athena's friend (William and Bill are also probably really close friends at this point, don't tell me William wouldn't take him under his wing immediately after they're introduced). When Athena calls him a good kid, Sherlock ruffles his hair and then Bill makes a move like someone's calling him and runs off, leaving him for the next part.

ALRIGHT I'M HAVING FUCKING ISSUES WITH TUMBLR RIGHT NOW SO STAY TUNED FOR PART TWO BECAUSE ANYTHING LONGER THAN THIS WONT FUCKING POST OR SAVE AS A DRAFT.

@aka-no-ken I'M COMING SWEETIE AND I'M BRINGING MY WORK WITH ME JUST BEAR WITH ME

#yuumori #moriarty the patriot #yuukoku no moriarty #sherliam #william james moriarty #sherlock holmes #epic the musical #Epic X Yuumori AU #epic the vengeance saga #mtp mycroft holmes #albert james moriarty #alcroft

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ehh-is-the-name · 2 months ago

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I ENTIRELY disagree with your statement that cobs and mephone are one in the same. They just arent!!! they arent!!!! it's comparing a person who Was Abused to their Abuser. And i think thats really dangerous, especially because cobs did things knowingly and out of ill will and is absolutely manipulating suitcase and knife in his speech to them, but also because mephone literally has/had no fucking idea he created the contestants.

theres something wildly different between creating a fantasy UNKNOWINGLY where everything goes your way (kinda- i'll yap about that later) and you have your contestants and your show where you can be the perfect host you always wanted to be!!... And creating Sentient Beings (who you know are sentient) and sending them off TO WAR only to physically and emotionally abuse one of them when he comes back with Only ONE of the children you sent him to steal. like. Fellow mephone apologist, he's not really that bad!!!! there is hope!!!

Back to the whole. 'everythign goes his way' thing- A key difference between Cobs and Mephone to me is that Mephone, not even knowing he created the contestants, doesn't force them to do anything. He's kinda... dumb? like, let's be real, his biggest threats come up to 'you'll be kicked off the show' and yada yada... Like. take Marshmallow.

He (UNKNOWINGLY) created marshmallow to be on HIS show. But when she chose to leave... he didn't stop her. And yes, he knew she left because of his confrontation of mepad where he expressly asks him 'why did you let marshmallow leave?' Mephone 100% KNEW. but he didn't stop her (nor apple, for that matter) from going off and starting a life of their own.

MEPHONE DOESN'T WANT CONTROL OF HIS CONTESTANTS LIVES.

Yes, he's a jerk, YES, He's absolutely terrible to his contestants sometimes, and YES, he will have to deal with the consequences of his actions.

BUT. He's not anything like cobs-- at least, not where it matters.

Cobs tried to kill mephone, multiple times, when mephone tried to start his own life. Mephone views his contestants as real, sentient people- Cobs doesn't! He sees the contestants as toys, if anything... And he sees his own creations as tools. Valuable tools.

So like. what im trying to say. Is uhhh sorry for yapping so long and i hope you have an awesome day!!! I've just seen this whole Mephone=cobs thing going around and it gave me a headache SO SORRY FOR MAKING YOU DEAL WITH IT </3 but i do hope thsi was informative!

First off- LET'S GO I LOVE II DISCORSE THANK YOU FOR RESPONDING THIS IS WHAT COMMUNITY'S ALL ABOUT!!

Anyway, I will say, that I'm giving you a hug and crying into your shoulders for bringing up the marshmallow thing- I completely forgot about it even though we literally just saw her again (I think it's pretty clear that my priorities are ALL over the place).

Rewatching the scene I get what you're saying.

I'mma be soooo fuckin honest this scene went right the fuck over my head, and by that, I mean I didn't know if Mephone was being genuine with his confusion or fuckin' anything actually. When I say ii 16 has killed me and left me rotting in a gutter, I'm so serious. Mentally I am in a gutter and your ask has at least rolled me back on the curb so I can breathe air instead of sewer water.

Literally reading your thing has made me remember other posts I have seen and taken to heart about this phone, like examples A and B. (They're both tumblr analyses that are kinda outdated 'cause of the bombshell but still pretty good imo). Mephone DOESN'T want to control the contestant's lives and, although he can be a dickwad at times, he still cares about them. Though is that just because they're his OCs in a way? I-

I say all that but I'm also like, I don't want to be completely throwing away everything Cobs is saying just because I feel ill every time he talks. You right, it's very clear that this whole thing is heavy with the manipulation but fuck man I think I'm just easily manipulated... I'm being so serious when I say I lost what hte fuck I was typing in the middle of this and I don't think it's coming back to me. I rolled back in the gutter, sewer water is my home I fucking guess.

Anyone who's listening to me at this point- I don't recommend it I actually don't know what the fuck is happening. I think I still have it in my head that Mephone knows about the whole "making the contestants thing" which makes it hard to fully embrace what you're saying. I should clarify tho:

Mephone and Cobs aren't the same, but the things he's indirectly picked up from Cobs (because of his abuse) are presenting harder than I thought originally. And I think that's what I really meant when I wrote the note. Or at least, that's how I feel now. It's been a couple days since I wrote the stuff in the blockquote. That's the best way to explain how I feel about the Mephone = Cobs situation—yes, but genuinely, in all honestly, no they're not the same.

And do not be ashamed of ranting, really, we love it here. Plus, my friend called this the 9/11 of inanimate insanity and yeah there's a lot of fallout and theories rn. Perfect time for discourse 'cause we're all going through the wringer.