#Investigation analysis

[ikenagi]

“Output Thinking Professional techniques for deriving 10 answers from 1 information” by Kazunari Uchida

This book delves deeply into the field of output thinking, illuminating the skills needed to derive ten unique responses from a single piece of data. It explores the complexities of creativity, lateral thinking, and cognitive processes, showing how to go beyond traditional limits to reveal a multitude of opportunities from even the most seemingly unremarkable facts.

Readers are taken on a mental agility and innovation journey that is transformative through a combination of theoretical insights, practical activities, and real-world experiences. They gain the ability to analyze data, consider numerous viewpoints, and combine disparate concepts to come up with several answers to difficult problems. This output-thinking mastery not only improves problem-solving skills but also fosters an adaptable and curious mentality that is necessary for success in the fast-paced world of today.

[dreameralive]

i think one of the most noteworthy things about Blaise that i haven't really seen anyone discuss is his tendency to liken others to children, his weaponization of it, its relation to him being a child abuser, and its relation to his defeat.

one of his first lines of dialogue, before he even introduces himself, is him humiliating Franziska by calling her 'little von Karma', and then bringing up something retroactively embarrassing she did as a little girl.

he frames this as genuine nostalgia, but to me, it's pretty clear this was a purposeful, and almost sadistic, powerplay.

there's also these lines. these aren't too strange, out of context - "let's all play nice" is a relatively common phrase, and in the second screenshot where he's discussing Kay and Edgeworth's friendship, they are literally youths (well, compared to him). but in context, it's clear that this is part of him attempting to assert his dominance over everyone else.

he wants to let everyone know that he is the adult here, and all they are is children - and thereby, they are completely powerless to his end-all authority, so they shouldn't even bother attempting to resist. this is further emphasized during his logic chess segment.

he calls Edgeworth 'my boy', he reminds him that he is his 'senior in life', he tells him he's being naïve. he threatens to never give back his prosecutors badge if he doesn't stop trying to question his authority. he asks him, mockingly, if he's scared. then, while grinning, he tells him that there is nothing he can do, and he should give up already.

he once again, more blatantly this time, is attempting to force someone else into accepting that they are the weaker party and that he could do anything he pleased to them, and once again, he is weaponizing the societal power imbalance between a child and an adult to do so.

i could go on and on for a while with more examples of this, but then that would make this post really long and rambly. so, instead, i'm going to discuss what his behavior ultimately results in.

this is probably one of the most disturbing interactions in Ace Attorney.

he does this purely so Sebastian will feel humiliated and ashamed in front of his colleagues, people he respects and who in turn are supposed to respect him. he does this to remind Sebastian that he is his father, and Sebastian is his child. to Blaise, that means he has complete control over him. and until this point? he actually does.

he has controlled every aspect of Sebastian's life to be exactly how he wants it. his path in life, his school, his tests - even Sebastian's constant usage of his surname serves as a reminder that Sebastian's only purpose to his father is to be an extension of him, a tool to feed into his ego. an object. something he owns.

note how, in their sprites, Sebastian is typically tilting his head slightly downwards, and in his crying sprites, he's leaning down. meanwhile Blaise stands high, and in his grinning sprites, his head is tilted up, as to literally look down on the person he's talking to.

but in the end, right before Blaise is convicted, right as Blaise tells him he should just remain his idiot son, Sebastian is looking up as he tells him goodbye. a way of saying that he's not beneath him, and he won't let him act like it anymore.

Blaise is immediately infuriated by this, and says all you've ever been able to do is depend on me. he screams Sebastian's name in anger - but it's cut off.

in fact, there is no more dialogue from Blaise after this. because he has no more authority, no more ability to scare Sebastian or anyone else into submission. in the end, Sebastian has finally taken back his autonomy that Blaise has robbed him of. so has Kay. so has Simon. all of them are children he has mistreated, threatened, and jerked around for his own selfish gain, but ultimately, they all still have more power over their own lives than he ever will again.

there's a lot more i could say on this, but these are all my thoughts i could organize. thanks for reading.

[poorly-drawn-mdzs]

Gaslighter? I hardly know her!

[First] Prev <–-> Next

[tainebot01]

The second investigations game being Fortunato'd by Capcom Japan for the past decade as the mainline games and TGAA duology got ported to the rest of the world while the spread of communications technology resulting in audience perspectives having a greater impact on the interpretation of foreign media has developed in addition to creator's awareness of cultural influences on storytelling decisions in adapting said media following a 13 year maturation period culminating in worldwide localization has given us the greatest line in ace attorney history:

[gin-juice-tonic]

Talking about a single bill book page under here

The thing about this page is, for something that was supposedly ripped out, it doesn't really contain anything that strikes me as needing.... to have been... ripped out.

Sure, he talks about being lonely here and maybe that could be embarrassing to him, but it's not like he hasn't talked about being an outcast before, his entire about page has a section dedicated to his trials and tribulations with his peers when he was younger.

Additionally, there's many times in the journal where he seems to have written something he feels he shouldn't have. Though ripping that thing out isnt usually his method of choice. He much prefers to scratch things out.

Why couldn't the page have existed like this? Or even, if the entire thing truly is too embarrassing to have in your journal, why did you write it there in the first place?

It seems to me that the only reason this page was included with the other Bill pages was to set up the narrative of Ford's loneliness. (That within Journal 3 proper isn't really needed, because one can already ascertain that...). Doyalist reason? Sure, Alex is trying to set up his story. Watsonian reason? Naturally you turn it around and see it as Bill trying to set up his own story.

This page's existence in general isn't the only beef I have with it though. While we're meant to accept it on the basis that he ripped this out, Ford engaging with personal feelings, especially negative ones like this in such a blatant way is... unusual. I'd say he's much more prone to distracting himself away from that sort of thing with his work.

For the journal especially, this page would have to take place pretty early, as it's supposed to be pre-Bill. Which is weird, considering a later page in the original J3...

Of course, like I said, we the audience can understand Ford is lonely. And I'm not trying to say he doesn't know it himself, but he does not engage with it.

The thing about this page though, is that it's much more than just a single spot where Ford's own loneliness is mentioned. It's a turning point for the way Ford writes. Prior to Fiddlefords arrival, Stanford takes a few pages to introduce himself, then everything following is either an anomaly page or the occasional muse page. Like I said before, it's all very work-focused.

After Fiddleford comes to town, Ford is forced to feel the full extent how lonely he's truly been, and he starts to write a lot of pages of his and Fiddleford's adventures together, including his feelings during. (insert everyones favorite lines here:)

But he also starts to write about something else...

Over

and over

and over

again...

Fiddleford's renewed presence in his life really opened some mental-block floodgates in Ford's mind. From experience, sometimes you really aren't faced with how truly lonely you are until you are provided with some respite from it.

Again, I would like to say, it's not that I think he wasn't lonely before. He definitely was, and it's certainly part of why Bill was able to target him. But would he have written it out like that at that point in time? In the journal no less?

I dont really think so. I think he was doing everything in his power not to think or feel it.

And writing it down isn't really what I'd call conducive to that.

[velvees-archive]

Making my case for ManoSouta, Ace Attorney’s token doomed yaoi

Bronco knew, and still he told nobody.

Ace Attorney Investigations 2 full game spoilers ahead!

Chalk it up to lucky guesswork or my expertly honed writer’s intuition (sarcasm), but so rarely do I latch onto side ships that when I found myself gravitating towards Bronco (Manosuke Naito) x Simeon (Souta Sarushiro, hence ManoSouta) simply because of this line, I knew something was up…

…and boy was I right.

Simeon Saint’s fall from grace was a direct consequence of subjection to a corrupt justice system and equally as corrupted individuals. There was his father, who saw Simeon’s existence as a means to an end (the end being a pharmaceutical “recipe” book that could cure Gusto’s affliction and a shiny world class confectioner title), his best friend, who kidnapped him and almost killed him on his dad’s orders, and���if that wasn’t enough to destroy someone’s psyche—there was the presidential assassination trio, who tormented, interrogated, and dangled their judicial and executive power over him like a special-brand curse.

This is a character who hit rock bottom so long ago he believes nothing is left of him except agony, paranoia, and anger. He crafts an intricate revenge plot that dishes Simeon-esque justice to everyone who wronged him. The acts are performed mercilessly, too, no hesitation, regret, or unnecessary feelings involved in the flawless execution of his plan.

Well, almost.

There was one person in the same boat—no family, no longstanding companionship (barring each other)—who set Simeon’s descent in motion. Ironically, it is also through this person that we’re shown what remains of his humanity.

For me to talk about Simeon’s feelings as shown before we found out he was the mastermind, though, we have to see how he reacted after the big reveal. Upon being fingered as the villain, Simeon makes it clear he does not feel remorse towards any of the people “he” killed. After all, they drew first blood; Simeon firmly believes retaliation was warranted.

That is, until Miles clarifies the following points surrounding Simeon’s kidnapping, his memory loss, and the fate of his and Bronco’s fathers:

The reason Simeon was kidnapped wasn’t so Bronco’s dad could kill Simeon’s; Bronco was only meant to stall Simeon so he couldn’t help his dad win the confectionary competition finale

When a murder did occur, the victim of the murder was not Simeon’s dad, but Bronco’s.

This is how Simeon responds:

“He deserved to die!…Didn’t he?”

This line, in conjunction with the contemplative flashback shown in the video, conveys Simeon’s uncertainty/regret about inciting Knight’s murder, though one could argue this is only in reaction to the revelation rather than a lingering attachment to Knight, who he “stopped thinking” was his friend 18 years ago.

But then he follows it up with this.

“Then what was all this…for…!?”

At this point, you have to ask yourself why Simeon is questioning his entire plan (keyword in the quote is all, not just Bronco’s death) because he realized whose father actually died. Technically speaking, Bronco did still kidnap him. On top of that, everyone else Simeon exacted revenge on still wronged him, so it makes no sense to say this unless Bronco’s supposed role in “Simeon’s” father’s death was pivotal in Simeon’s decision to proceed with his whole plot. In other words, the reason Simeon questions his plot after Miles’ clarification is because this fundamental misunderstanding was what pushed him to take revenge on everyone in the first place. Bronco’s betrayal weighed so heavily on him that Simeon had no choice but to kill him in line with his principles, but he didn’t actually want to.

I’m not saying he wanted to spare Bronco because of the power of friendship or some misplaced sentimentality. It was inevitable that Bronco would die by Simeon’s hand because Simeon vowed to get his revenge on everyone who hurt him. What I am saying is that Simeon’s resolve is clearly shaken once Bronco’s role in his suffering is cleared up. As soon as Simeon realized Bronco’s dad didn’t murder his dad, he regretted killing his only friend. This is the only time Simeon shows remorse.

You might think Simeon’s hatred for Bronco stems from his kidnapping and its consequences, aka setting off the chain of events that would ruin Simeon’s life outside of “his” dad dying. However, Simeon doesn’t hold a grudge over Bronco for anything other than the kidnapping. The statement, “If you hadn’t detained me 18 years ago…it wouldn’t have had to…end like this” is vastly different from “If you hadn’t detained me 18 years ago, none of this would have happened.” His “hatred” for Bronco was a personal grudge he had against his best friend, who also happened to be the son of his dad’s killer. Bronco was on Simeon’s list because his betrayal stung Simeon most. “What was all of this for” really meant, “I wouldn’t have gone through with any of this if I knew you weren’t involved.”

Had Simeon truly hated him, it’d be difficult to justify why he snuck away from his carnival preparations to talk to Bronco. Why did he pay such an incriminating visit when he’d already delivered Bronco’s chess set during visiting hours? And why did he tell Bronco he snuck something into it, leaving him vulnerable to counterattack should Bronco tattle?

Why did he bother saying goodbye?

Simeon’s actions betray logic because try as he might to hate Bronco with all his heart, he cared. Bronco Knight’s betrayal was the straw that broke the camel’s back, but imagine if the misunderstanding had been sorted from the start. Simeon's reaction to wrongfully killing Bronco was a stellar portrayal of his desire for genuine companionship, and a peek into what remained of his humanity before he was unmasked. He really was all alone.

If you’re still not sold on them being the doomed yaoi representatives of Ace Attorney, if a misplaced desire for revenge cutting their time short doesn’t make this tragic enough, then consider this: Bronco legitimately cared for and trusted Simeon, but unlike Simeon, he was left completely in the dark.

He’s legitimately excited to see Simeon’s performance. He happily awaited Simeon’s chess correspondences because he just likes being around him!!

Perhaps the biggest sticking point in all of this is that Simeon admitted he put something in his chess set, Bronco definitely opened his chess set, and yet when it came time for Fifi Laguarde to interrogate him (aka when she discovers the chisel), Bronco does not tell her he doesn’t own it, he does not tell her he’s been set up, and he does not tell her his best friend—who the precinct knows visited him—is the one who put it there. Why didn’t Bronco tell her?

That’s the greatest pull of their dynamic: we don’t know. Maybe everything happened too fast. Maybe he did try to protest. Maybe he ratted Simeon out but Laguarde was already in hysterics. Maybe Bronco didn’t understand why the chisel frenzied the warden so, and paid the ultimate price for it.

Or maybe, just maybe, Bronco already knew the moment he saw the chisel. Maybe he died a knowing victim of Simeon’s retribution. Maybe he thought it better that the knowledge of their past—Paul Halique’s ring and Simeon’s secret hatred— dissolve with his last breath.

Worse yet, maybe he couldn’t believe Simeon would do something like this. Maybe he continued to have blind faith in him despite the damning evidence. Maybe he believed in him.

[mikesbasementbeets]

ok. look at these.

look. that's the same look. right?

let's take a closer look. to do that, i'm gonna have to zoom in a bit on the first one. because, as you can immediately see, the shots are slightly different. the first is a little farther away, showing both mike and el, walking next to each other, whereas the second is much more intimate, a closeup on mike's expression as he looks at will's face in the foreground. a minor but telling difference about the levels of emotional intimacy in each scene.

so, moving past that first element of contrast, let's look at each shot in full, because in both of these scenes, mike goes on a bit of a face journey before he gets to that final smiling expression, seen above.

personally, i think studying actors' body language and micro-expressions is inconclusive at best, but i won't deny that these look similar. however, it's pretty clear to me that they aren't the same.

toward el, i see confusion, intrigue, maybe pleasant surprise, followed by a glance down (to emotionally process and/or watch his step), and then a nervous but friendly smile.

toward will, i see awe, relief, and overwhelming affection, followed by a shy glance down and a slight schooling of his slack jawed expression into a warm smile.

but, again, that's just my interpretation, and i can't say with any certainty what the intention of all of finn's micro-expressions are. but from my perspective, even a surface level viewing of these two expressions depicts a very different emotional experience. however: there's no denying the connection between these two scenes. they clearly mirror each other, just like a lot of things about mike's relationships with el and will mirror each other. i don't think that's an accident.

whatever you think his sexuality is, mike is undeniably in a romantic narrative with el. beginning in season one episode three, when the concept of their romantic relationship is introduced, the narrative arc mike and el share is heavily focused on that relationship. the first scene above actually happens in that same episode (s1e3), not coincidentally almost directly afterward. and the former scene, with mike, lucas, and dustin behind the baseball field, provides very interesting context for several reasons:

first: bear with me, because we're going back to look at the context behind this context. this is only episode three of the show, but already there's a lot going on, both in text and subtext.

and since we have the entirety of their relationship so far presented to us on screen, when lucas accuses mike of looking at el romantically, we're easily able to go back and figure out where he got that impression: we can examine every time lucas has seen mike look at el at all.

the first night, after finding el in the woods instead of will, and while insisting that the next day she'd be gone and they could focus on will again, mike's behavior is directly reminiscent of benny's. taking el in, and providing her with shelter, food, and clothing.

the next day, after learning that she's in danger and changing his mind about pawning her off on his mother, mike infers that she might know something about will. when lucas arrives, he exclaims that she recognized him and knew he was missing.

later, when lucas tells her that will is their friend, she asks what that means and mike explains. a friend...

and then she displays that she might really be able to help them find will. and mike looks at her like this:

each and every one of these interactions is directly related to will. but lucas, through the omnipresent lens of heteronormativity that surrounds boys' interactions with girls (especially a group of boys who have no experience with girls... more on that in a bit), only seems to consider the fact that mike's behavior, which is undeniably about will, is being directed at el.

throughout season one (and beyond, in more subtle ways), will and el are repeatedly connected to each other through the trope of mistaken identity. will is abducted on the same night (and due to the same series of events) that el escapes the lab. hopper, in his investigation into will's disappearance, keeps running into clues about el. and mike, lucas, and dustin, sneaking out in episode one to search for will, find el instead.

later in the season, hopper eventually realizes the truth of his own more overt mistaken identity arc: while he was under the assumption that he'd been following will's trail, he'd actually been following el's. interestingly, the realization is triggered by one specific distinguishing difference, which tells him beyond a doubt that he's been looking for two different kids: their art.

though much more subtle (aka hidden in the subtext), mike's arc with his feelings about will and el follows a very similar pattern. the main difference, though, is that in season one, the swapping of places is eventually reversed but never acknowledged as such, and mike ends season one with el now missing and will back in his life, but a lingering sense of something yet unresolved.

second: (i'm not going to deep dive into this one here, because it's a whole analysis in and of itself, but i need to mention it because it is relevant) this scene introduces the recurring motif of superheroes being directly connected to mike's feelings for el, which is an association we see follow them all the way into season four and become a defining metaphor for their incompatibility.

third: lucas is the character who first introduces mike's romantic feelings for el into the narrative. and instead of giving any indication that lucas' interpretation is correct, mike's reaction is... difficult to read. his response is immediately defensive, both verbally ("what are you talking about?" "shut up, lucas,") and physically (leaning away and shielding himself when lucas hugs him). we can infer from the original character descriptions why mike might be defensive about this subject:

obviously, this description is only a vague impression of what Mike Wheeler became, but it's clear that the core elements of his character outlined here did come to fruition on screen. here, mike's insecurity is linked both to the bullying he undergoes, and to his inexperience/ineptitude with girls. and it's presented as key to his character motivation (the original concept of his character arc put forth here is very straightforward: at the start, mike has insecurity centered around bullying and is romantically inexperienced. by the end, mike has courage against monsters and romantic experience.)

in any case, this scene is the first hint of this aspect of mike's character in the show itself (the earlier scene of bullying in the show focusing on mike consoling dustin over what he’s being bullied for (“i think it's kinda cool. it’s like you have superpowers or something!”)... see my last point here… mike holds the idea of superpowers in high regard, and they are consistently connected with his feelings about el. something about the mistaken identity through-line feels apt here: mike mistakes his feelings of admiration for el as feelings of romance.) in this scene, mike is confronted with both romance (in direct relation to himself for the first time in the show) and bullying.

but due to the way this is shot, it's impossible to get a read on what mike is truly feeling. it reminds me a lot of another scene, actually...

in both of these scenes, mike's genuine emotional reaction is hidden from us. in the first, lucas forcibly hugs him, teasing him about how much he "loves" el, and in effect introducing the idea of el as a romantic prospect to mike. in the second, el hugs mike tightly, her hand still around his neck from their kiss and his arm trapped in between them, similar to the way he shields himself from lucas. we're then shown that he's signed the card on the flowers squished between them "from, mike." hm. so... not love, as lucas suggests.

we come to learn over the course of season four that this is something mike is actively struggling with: his inability to "love" el in the way that she wants, expects, and deserves. this scene, introducing that season-long arc, conceals mike's true emotional state and motivations from us, again, mirroring the first introduction to their entire romantic plot line way back in season one.

(an aside: lucas' "if you love her so much, [then] why don't you marry her?" aka the inciting event of their romantic arc, is a based on a conditional statement with the hypothesis that mike loves el. as mr. clarke might posit (in, say, season one, episode one): what's the difference between an experiment and other forms of science investigation? ...well, an experiment is a controlled test of two or more variables against a hypothesis. does that remind you of anything happening in mike's romantic narrative? something about...... [murray voice] experimenting sexually?)

anyway. then, after extracting himself from el's embrace, mike finally drops his bag(gage) and opens his now empty arms to will, before preemptively cutting himself short with a punch to the shoulder.

...did someone say internalized homophobia?

and then immediately upon being introduced to argyle, mike is called out for his presentation here not being genuine. ("it's a shitty knock-off,"/"i really thought it was ocean pacific...") we're being told that something about mike's performance is not what it seems (and may even be a case of one thing being mistaken for something else).

and speaking of homophobia...

fourth (and finally): this scene, of lucas' teasing mike about his "love" for el, which i'll remind you again is tied directly to lucas mistaking mike's behavior regarding will as being solely about el, is quickly interrupted by an onslaught of homophobia, during which mike is specifically targeted (read: tripped) by the bullies.

the juxtaposition is immediate and obvious: mike's friends lovingly teasing him, even embracing him, over a crush on a girl vs. bullies maliciously taunting them about will being killed for being queer and then physically harming mike.

(there's also something to be said about the later scene in which these bullies force mike to drop his bike in the woods and chase him to the edge of the quarry, mirroring exactly how the cops assume will must have died... and, to be clear, i'm not saying that mike himself is being bullied for being queer in the way will was. no, mike's queerness is invisible to those around him in a way that will's isn't, so his relationship with it and the ways it affects him are hidden in subtext.)

which brings us directly to the following scene in the woods. el asks about mike's injury (sustained from the aforementioned bullying, thereby linking these two scenes even more concretely) and with a little prodding ("friends don't lie"), he opens up to her about what happened, and about being bullied at school. she listens, tells him she understands (this also follows her recent flashback of brenner's abuse in the lab), and they share a "cool," "cool," and a smile.

so... let's quickly jump over from here to the van scene with will. something similar, yet notably different, is happening in this scene, leading up to that infamous smile at the end. mike is sharing his insecurities with will now, but instead of will prodding him to open up, mike, prompted only by will's "she's gonna be okay," begins rambling so much about his insecurities (while speaking in superhero metaphors) that he eventually cuts himself off, saying it's "stupid." instead of letting him brush it off, will guesses exactly what mike is afraid of: "you're scared of losing her." he gives him The Painting (a symbol of his love for mike) and a long speech about feeling lost and different, while insisting upon mike's value (you're the heart, leading us, inspiring us, etc). and then they share a "yeah?" "yeah," and a smile.

so we can see the similarity in the way the shots are set up, the progression of the conversations, and mike's visible reactions. but we can also see distinct differences, all of which together inform a significant difference in emotional weight between these two scenes.

while mike's conversation in the woods with el takes place in the third episode of season one, at which point mike has known her for less than 48 hours, the van scene is in the second to last episode of season four, and is the fourth of five heart-to-hearts mike and will have this season alone (and following three previous seasons and beyond that years of close friendship). it is also arguably the climax of their shared arc this season. on the other hand, mike and el's season one moment is part of the introduction to their storyline, and the introduction to their romantic arc. in this moment in the woods, mike is looking at el romantically (did you think i was gonna argue that he isn't? because no, he definitely is). in fact, this is the beginning of mike's entire romantic arc, which sets out to address the foundational insecurity that is key to his character. we, as an audience, right alongside mike, have just been told (by lucas) that mike has romantic feelings for el. and then we are presented with this scene. we are supposed to view this as romantic. because mike is starting to view it as romantic.

had stranger things been one season long, then the climax of their romantic arc would have been the kiss they share in the cafeteria, followed by the denouement of el's symbolic death (the gay implications of which i could write another whole essay on...). but the end of season one was not the resolution of mike's full romantic arc. by the nature of the five act structure (which is what stranger things has, being five seasons), the entirety of season one serves as exposition for our full narrative. which means, in effect, that the entire arc of mike and el's season one relationship is there to serve as groundwork, a foundation for mike's complete five season arc. season one, starting from before he even meets el, all the way through to when he eventually kisses her and then loses her, is only act one of that arc. the first act of five act structure is when the driving conflict is presented. so in the context of the entire show, for us as the viewer, mike's narrative arc surrounding the romantic aspect of his insecurity begins with his season one "romance" with el.

and we know that this insecurity is an element of the full five-act narrative, rather than being presented and wrapped in the course of the mini "self contained" narrative of season one, because we can see plainly, three seasons later, particularly during mike's heart-to-hearts with will, that this insecurity has not yet been resolved. we know this, on a basic level, from having watched mike and el's relationship struggles progress, but it is still explicitly laid out for us in season four. and will is consistently the only person who genuinely hears mike out, encourages him to open up, and addresses his insecurities, instead of brushing him off, like most other people in his life (including will at some points) have done. will understands him in a way el only claimed to in season one.

looking back to the character outline: mike has now "kiss[ed] a girl" and even "had a girlfriend" and still hasn't resolved his insecurities even remotely. in fact, after the first season arc wraps up, this romantic relationship becomes the main source of that insecurity. his difficulty navigating a real romantic relationship with el is the basis of their arc in season three. and by season four, mike is consciously struggling with being unable to tell el that he loves her. despite will's reassurances that things will be okay (which stack onto lucas' constant relationship advice in season three), mike keeps circling back around to it. because he can't move forward on the path he is on.

he has reached a point of no return, like a “fight you can’t come back from.” he is unable to find the security he is searching for in his romantic relationship with el... and this is where we arrive back at the van scene with will.

if the scene in the woods marks the beginning of the introduction of mike's romantic arc, then the scene in the van marks the beginning of the conclusion of mike's romantic arc. if the introduction of his romantic arc (season one) presents his insecurity, then the natural conclusion of that arc (season five) is security. throughout season four, mike lays out for will the insecurity that his relationship with el still brings him. he is unable to find that security with el, and, in the van scene, finds it with will instead.

or, should i say, begins the journey to finding it. because, especially after the lie that brings them into that moment, and then traumatic pizza dough freezer incident, we're still at the beginning of the conclusion. there's still a lot to resolve, but season four (alongside mike, who now understands what he's been going through) finally began moving the subtext of mike's arc into the actual text. and this moment indicates that season five will take that next step to fully, textually, actualizing it.

so, getting back to the parallel we're looking at here: each of these scenes is a catalyzing moment in mike's romantic arc. in season one, when lucas suggests that mike has a crush on el, and then what follows is a conversation with el where she is (to quote lucas) "not grossed out" by him, he actively begins his journey toward resolving this character motivating insecurity. he looks at el and he sees the possibility of romance.

and just look at him. he looks excited. hopeful. a little nervous. but... i want to remind you again: mike has known el for less than 48 hours at this point. this is the first conversation they've had in which they've related to each other as equals. for their entire relationship before this and afterward, outside of their romantic interactions (and also. often. disturbingly. concurrent with their romantic interactions...), mike's role has been as el's protector, a makeshift father figure, the elliot to her E.T. here, though, el tells mike that she understands him.

in season one, mike is twelve years old (read: pre-pubescent). he has no personal understanding of or experience with romance. dustin starts to comment in s1e2, "you're letting a girl...?" and ted later scoffs "our son with a girl?" and outside of the queer coding, what we can take from both of these (which draw back to the original character description) is that mike has no experience with girls whatsoever. (outside of, you know. family. but that's not what this post is about.)

and again, this scene happens almost directly after lucas first introduces the idea of romance between them, both to the narrative, and to mike himself, who, very significantly, up until this point, has shown no romantic interest in el. the sequence of these events is not a coincidence. 1. lucas assumes mike has romantic feelings for el. 2. el and mike have a moment of personal connection and understanding 3. mike "boys only" wheeler puts these two together and assumes the connection between them must be romance. but the expression on mike's face here isn't a representation of already existing romantic feelings. there's no basis for those. again, this moment represents for mike the potential for romance.

which... makes his expression in the van scene hit even harder. because unlike el, will isn't a stranger he barely knows, but rather his best friend of ten years. and it isn't lucas telling mike how mike feels. it's will professing his own feelings about mike, in direct response to mike's self-professed insecurities. (ding ding ding, are your alarm bells going off?) mike's expression at the end of this scene, if we're viewing it as a reprise of his season one expression, is a representation of hope for his romantic future. but this time, heading into the resolution of mike's romantic arc, with all of the knowledge and context we (and mike) have gained over the course of the past four seasons, it's directed at will.

ok. so. with the basic connection between these two scenes established, i'm gonna move a little bit sideways here. at the end of their romantic arc in season one, el disappears from mike's life and will reappears in it, effectively swapping their places (remember that we've been dealing with the mistaken identity trope between these two), and leaving the question of mike's romantic security glaringly unresolved.

and we know why - this is a five act narrative we're watching - but just within the context of the season one arc... the climactic moment of mike finally asking the girl to be his sister kissing the girl was preceded by her locating will in the upside down (leading to his rescue) and followed by a resolution in which she disappeared... and will took her place. at the end of the season, mike is left in the same place he started: playing games in his basement with will, his first attempt to resolve his arc of romantic insecurity, with el, ultimately ending in tragedy.

after season one, this arc picks up again, but this time will is the one present in mike's life. and mike's behaviors toward el in season one, during which they were undergoing a romantic story arc, begin showing up again in his behavior toward will. but unlike with el, mike's particular (read: romantic) behavior toward will happens without outside intervention, and in fact, often in spite of outside intervention. now, this isn't to say that all of mike's behavior with el was a result of others' influence. when el reveals to mike that she is on the run from "bad people," mike is immediately protective and caring toward her. however, as i've already explained, this caring behavior (which, again, we know right off the bat is not romantic because it directly mirrors the way both benny and hopper care for her) doesn't turn into romantic behavior until lucas introduces that idea.

on the opposite side of the spectrum, right from episode one of season one, mike's behavior toward will is fully self motivated, even in the face of opposition.

and as we move through season one and beyond, we can see that mike continues to rely on constant guidance in the way he cares about el (particularly and most consistently from lucas).

stranger things is, at it's horror filled core, a coming of age tale. like many of our other characters, mike's full character arc, romantic and otherwise, is about self-actualization. from the very conception of the show, his insecurity is presented as a central character flaw to overcome, while also being directly linked with his romantic fulfillment. the overcoming of this fatal flaw, the resolution of his romantic arc, and his final achievement of self-actualization are all inextricably intertwined.

the reprisal of this specific expression of romantic hope as we enter the end of mike's romantic arc is not an indication that mike is in the same place emotionally at the end of season four as he was at the beginning of season one, just with a different person now. instead, it is an indication of his romantic arc coming full circle. mike began in a position of hope for his romantic future with el, only to have the actualization of that hope (their romantic relationship) gradually degrade his romantic fulfillment and self-esteem. the longer mike and el are together, and the more serious their romantic relationship becomes, the worse mike's insecurities become. this is, i would argue, directly related to the fact that mike's pursuit of a romantic relationship with el is not due to his own genuine desire, but instead a combined result of heteronormativity (lucas assuming mike's feelings for el to be romantic), compulsive heterosexuality (mike's subsequent assumption that his feelings for el must be romantic), forced conformity (mike's attempt to resolve his insecurities firmly within these heteronormative boundaries, under the assumption that a rejection of these boundaries is unacceptable), and the trope of mistaken identity that has been following will and el since season one.

and of course i don't know with any concrete certainty what season five will contain, but based on the narrative so far, and optimistically expecting a satisfying resolution to his character arc, the actualization of his romantic hope regarding will is going to lead to true romantic fulfillment and coincide with his self-actualization (a big part of which is coming to terms with his sexuality).

now, i'm not going to conclude this whole analysis by saying, "and that's why mike is gay!" because while i think this all is a good indication of that, based on all of the context and my impression that this narrative is being presented in a way that focuses on the subtext and deeper symbolism of each of these relationships rather than being a case of specifically el vs. will, you might still have a different interpretation than me. that's fine. however, i am going to end by insisting (me when i argue with the wall), based on everything i've laid out, that this parallel and others like it (ie parallels between byler & miIeven's romantic arcs) are not evidence of mike's feelings, specifically whether they are genuinely romantic or not. this parallel serves as a narrative device in his romantic character arc... the conclusion of which is mike realizing and coming to terms with the fact that he is actually in love with will, and not el.

just to be very clear, i'm not saying these parallels alone are proof against mike being bisexual, but i am saying that they are not evidence in support of his being bisexual. again: they do not indicate that mike is romantically attracted to el. what they indicate is that will and el are foils in mike's romantic arc.

before i finish, i want to address a couple misconceptions:

1. the fact that mike actively and willingly participates in a romantic relationship with a woman means he can’t be gay. this is straight up homophobia. gold star bullshit. no.

2. mike and el being presented in a romantic light means that they have genuine romantic feelings for each other. this is a misconception of the way narrative tools are used to tell a story. going right back to my first point: it is an irrefutable fact that many gay people have romantic relationships with the people of different genders (read “the opposite sex”) before they come out/realize their true sexuality. it is also a fact that many of these gay people fully believe their feelings to be genuinely romantic before realizing that they are not. as i've already gone over, mike is twelve years old when his romantic arc begins. on the surface, his relationship with el is presented as romantic. he participates in (and even initiates) romantic behaviors because he believes that his feelings for el are romantic. in seasons one and two, mike is one of our main POV characters. we can see a romantic tilt to the way some of their scenes are shot because, to mike, while they are happening, they are romantic (keeping in mind what i said before about mike having no experience and therefore no personal knowledge informing his perspective, AND keeping in mind that many of these on-the-surface "romantic" scenes are also consistently subtextually linked (read: paralleled) to familial relationships for both of them... and i haven't even touched the cultural context surrounding homosexuality in 80's. there's so much nuance informing the way this story is being told). and we, as the audience, are supposed to read them as romantic on first viewing, because otherwise the season five plot twist, revealing the truth of mike's feelings, would not work.

it is not a coincidence that the active degradation of their romantic relationship (outside of all of the other context, parallels, symbolism, family coding, etc, that are there to hint along the way that things are not as they might seem) begins full force in season three, at the exact point when the two actually enter a real relationship for the first time, and also when our characters are entering puberty, the time during which a person's sexuality (in a general sense, but also in regard to sexual orientation) begins to fully emerge. after his season one arc with el, mike underwent another season-long romantic arc: this time, with will. it's more subtle, because (i believe) mike doesn't realize yet that it's romantic, but it's there. then at the end of season two, mike makes a choice: he encourages will to dance with a girl and he dances with el, re-writing their tragic ending from season one, but now leaving his romantic arc with will frustratingly unresolved, again mirroring the sense of unresolution from season one: mike has swapped out the end of each romantic arc with the wrong love interest.

and then in season three, now having had the experience of both romantic arcs, and now, for the first time, with both will and el right there beside him, all we can see anymore is the overt contrast between the two relationships, depicted most blatantly through the same type of visual and narrative "parallel" we've been looking at here.

but at the end of this season, instead of making a choice, mike's choice is made for him. he has a romantic moment with will, and then el kisses him, confusing the resolution of these two romantic arcs once again.

mike's season four arc closely mirrors his season one arc (searching for one love interest with the other by his side, mistaken identity trope abound), but with important distinctions: 1. mike is a little older, a lot more experienced, and has a better understanding of both the context of romantic relationships and the scope of his feelings for both el and will. and 2. mike's only real guidance in season four comes from will, and he doesn't simply listen and act based on will's advice, as he did with lucas' in seasons 1&3. now, he fully engages with will's input, pushing back against it when he doesn't agree, and accepting it when he can acknowledge its truth (up until, of course, our fourth (and hopefully final) tragic, incorrectly resolved ending). mike is finally taking control of his romantic narrative in a way he hasn't previously, and the direction it's heading in now is toward security, self-actualization, and will.

so the point of all of this is: nothing is as simple or straightforward as it may seem on the surface. the narrative has always been deeply complex and layered with subtext and symbolism. and most of all, when interpreting the meaning of anything presented directly to us on screen, context matters.

also uh. yeah, mike gay

[acesw]

The School System of SPDM

The School Primary Defense of Mankind is a private institution where every few years, they take in orphaned arcanists around the world to train them for the purpose of becoming members of the Foundation. Many of the graduates go into the military/investigative sector of the Foundation and a handful are assigned to offices, given positions in headquarters and in rare cases accepted by the political councils. There is also a chance to work at Laplace, but thus far, Mesmer Jr. is the only one who had been placed there because of her lineage.

Not much is known about how the school works, but I will be mapping out as much information as I can find about the school, and make sure its organized as possible.

Disclaimer: This is solely based on Chapter 3, Green Lake, and the characters we have thus far who were students at SPDM. The only graduates we have are Horropedia (oldest graduate), Sonetto, Mesmer Jr., Vertin, and Matilda (youngest graduate of the group). I'll be referring to them as the "Foundation Kids", since the name sounds fitting enough. There are going to be spoilers for Chapter 3 and the characters' stories, so tread carefully.

Additionally, I'm going to be rarely using images because I really do not want to go into the effort of making screenshots after screenshots right now.

So buckle up and get ready for a big wall of paragraphs and sentences.

Known Staff Roles of the School

Principal - The head that manages the affairs of the school and responsible for all the matters that happen within. The current principal as of chapter 3 is Richard. Instructors - Their main purpose is to teach students varying subjects, a few that can be named are biology, music, potions, and arcane history School Physician - The person that takes care of the overall health of the students. It can be assumed that there are two per semester, since Tooth Fairy in particular would only stay in the school as its physician for half a year. Janitors - Of course, people that clean up areas in the school, and they have the freedom to interact with the children. Some are referred to as uncles and aunts I'd assume. Monitor Assistants - Students or Student Graduates that choose to help monitor the students of the school as a means to train them for instructor roles. Matilda is the only known monitor assistant so far. Monitor Students - Students that are given the role to monitor their peers. There seems to be a head role given to the school's high-achieving students like Sonetto. They are changed routinely every day and can increase/decrease depending on the necessity.

Level System and Enrollment

Of course, a school would not exist without its level system. The SPDM has a curriculum in place that sections off the varying different age groups of the orphaned arcanists after taking them in. The average range of the arcanists they take in are between a few months to 4 years old at its possible max.

The youngest student that had arrived in the school is Vertin at 1 month old, while Matilda is the oldest known student that had willingly enrolled at around 6 to 7 years old. This means that enrolling at the school is possible if the arcanist family is known to the Foundation. (For our Foundation kids, Sonetto and Vertin are the only ones to have been adopted into the school, whereas the other three have family or at least a guardian prior to enrollment)

The age of which arcanists graduate from the school seem to vary, in which Vertin, Sonetto, Matilda, and Mesmer Jr. had graduated at 13-15 years old. Whereas Horropedia, claimed to have been "several grades above" the group when the breakaway incident had happened. He's estimated to have been 17 at the time of the incident, while the rest of the group were around 10-12. This makes the information conflicting at first glance.

But of course, figuring out this level system would be rather helpful. This would be considered as a K-10 or K-13 curriculum, and it seems that the students can be categorized by as "Academic Year # Semester #".

Nursery & Kindergarten (1-5 years) - Where new baby and orphaned arcanists who were taken in by the school are raised in the first few years at the school.

Early Stage (5-10 years) - Young arcanists start their academic journey in the school, where they learn about the world around them while being isolated from the outside. They also begin their physical/arcanum training as a means to strengthen them whilst their afflatus and arcane skills slowly develop and awaken over time.

Late Stage (10-12 years) - The age of which arcanists begin to awaken their arcane skill. They are given the materials and training to develop their arcane skills and are slowly introduced to the world around them, being shown the opportunities they could take based on their skillset and possibly being invited to explore the work environment. (Its also in this stage that the students have a change in uniform.)

Work Immersion & Graduation (12-15 years) - The arcanists will begin to do work immersion in the fields they choose to specialize in, to familiarize themselves in the environment and even make their placements in these fields early on. Eventually, they graduate and go into official work for their sectors within the Foundation.

Higher Education (15-18 years) - Student graduates who might choose to seek higher education as a means to train for more skilled positions in their line of work. This can give them more opportunities and guidance on their first few years of work.

Rules and Education

"May the peace be with us. May the peace be with mankind." The school's main pursuit for its students are some philosophers' exhortation: "Heritage, Honor, Rationality, Responsibility"

The education in SPDM is rigorous, and goes in depth about many of the topics at hand and also putting their students through difficult trainings to ensure that they are at their best physique and readied skills. They tend to be strict, and would have a consistent flow of tests to ensure every student studies well.

Their rules are also just as meticulous, wanting to make sure that their students' conscience and goals stay close to the ideologies of the school and the Foundation. Going from disallowing them from artistic/literary media that is "not advocated or approved by" the Foundation, treating outside attachments as "meaningless", and teaching students that they are meant to sacrifice themselves for the safety of mankind.

The school has a Student Handbook that goes through these rules and guidelines. The main idea and rule that the school imposes is to pay no heed to the world outside, as creating an attachment would only bring harm and regret. They are to focus on training themselves to serve their mission towards pursuing peace and order in the guidance of the Foundation until death, since all of the students are taught that they would die martyrs for the cause.

"To live is to lose things around us until the day we lose life itself to death. That's why we should only focus on the supreme missions." - Sonetto, Frogs and Toffee (3-2)

Some of these rules include the standard things (no skipping classes, no in-fighting) while also having rules such as no mass gatherings, conspiration against the school, acquiring and keeping contraband, leaving school grounds, etc. However, there are some liberties that are taken, such as having freedom with hairstyles, free use of arcane skills, etc.

Interestingly, one of the rules is that discussion about the "Storm" is forbidden. Its also forbidden to go out when its raining, and discouraged to discuss any incident that had occurred within the school.

There are routinely inspections that are carried out to make sure no rules are being broken, such as dorm checks and head counting. Monitor staff are also in place to ensure there is order among the students, and as mentioned previously, the school would have a head student monitor that would cooperate with the respective school monitor and monitor assistant. If strict supervision is required for any reason, the Foundation will step in and arrange to deploy their own units or Zeno recruits from the academy. (Like in the case of the Manus Vindictae's olitiaus having to be scouted out by Zeno recruits like Lilya)

Punishments

Punishments are of course, carried out based on the rule that is broken. Normally, these punishments wouldn't be so harsh (it just so happened our little troublemaker just actively likes to break major rules). The most normal of the punishments that have been given out so far is a timeout and confiscation of contraband. Of course, there is the more…extreme side.

With the little shit I mean Vertin having this tendency to break rules, one of the punishments we see her go through is isolation. There is a guardhouse in the school's campus where students who break major rules stay in it for a specific amount of time based on what rule is broken. The most merciful would be only a mention of the "Storm" (1 day with no food/water), the worst of it is mass gathering and what can be classified as rebellion (2 weeks with no food/water).

Campus

We currently have a complete map of the school thanks to chapter 3 and the manus. The school is walled off and has watchtowers to ensure that there are no outsiders (and of course, escapees). There seems to be air raid tunnels beneath the schools as well, why they were built in besides its main purpose is not known, but as we know it has been rarely used. In these air raid tunnels we find that there are also blast doors that border between the tunnels and the watchtowers.

There are no labels on where the guardhouses are, but they are of course meant to discipline the students. There are critters and tools at the kids' disposal, to mostly alleviate immediate problems. The guardhouse is checked regularly, and is cleaned up weekly. Though, some messages left behind by previous dwellers are left as is for the next to help guide them through.

George the Oak is a tree possibly situatied near the lake on the map, and is known to be a famous tree for the kids because of its age and its size. There, they can go in the tree hollow or even just sit under the giant leaves. Either way, it looks to be like a nice spot to go to for the students when they have free time. Sad it got cautioned off after the parade incident.

Employees from the Foundation headquarters have the freedom to enter the school campus and visit the facilities as they'd like, as we see with Constantine and Druvis meeting in the library, and Madam Z and Katz meeting in the sports field in chapter 4.

Lastly, the school is most likely situated next to the official headquarters building, and there is a town that is near the school since there was a time where Vertin and Sonetto went to watch an outsider parade from a distance.

Events

There are 3 important events for SPDM: The Annual Evaluation, Parade Ceremony, and the Graduation of Year 10 & Higher Education students.

The Annual Evaluation is where they evaluate the overall performance of their students, and rank them based on the evaluation. -Sonetto and Matilda had made it to the rankings prior to or during the 4th Year of the Storm. Sonetto made her way to rank 1, while Matilda had achieved rank 3.

The Annual Parade is to showcase the school's best image and boost morale, and with it, the school selects their best students to participate in a three-month intense training. Through this they would become the school's honor guard and represent the students in the best way possible. Before this, a pre-parade ceremony is held out to help practice and for the principal to send his regards/support to the students. -As again, one of the most outstanding students, Sonetto's "Parade Anthem" garment seems to be the honor guard uniform that she had been given, signaling that she was one of the chosen students for the training course.

And lastly, Graduation. Of course, the main focus here would be the year 10 students of SPDM; who officially become workers for the Foundation. We're not really sure how this ceremony happens, but it can be thought that the students will be given the choice to choose their paths immediately after the ceremony, or, it would be assigned to them.

Vertin and Mesmer Jr. are excluded from the choice/allocation, as they were both put into roles early on for special circumstances. For Vertin it was because she became the Timekeeper after the breakaway incident, and for Mesmer she had been put into the role of working in Laplace because of her lineage and heritage.

While Sonetto seemed to have chosen to be a field investigator, Matilda was assigned to her role as a Monitor Assistant.

Horropedia on the other hand seems to have sought out higher education since he stayed in the Foundation a bit longer than others, and thus graduated with such an honor. This made him able to start working in the external inspection unit as it seems.

Other notes on the Foundation kids before ending this megapost:

Sonetto has proven to be the most outstanding graduate of SPDM, and has been rewarded medals (i.e. Merit Medal of Session Eight) and even a ceremony stick because of her role as an honor guard.

Its very likely that Vertin was isolated from the rest of the students to train her for her role as the Timekeeper. Besides that, she is one of the most unique students of the school.

Mesmer Jr. had been assigned to work in Laplace's Rehabilitation Center at 12 years old, making her the youngest person to have started work among the five.

Besides Sonetto, Matilda has technically not seen her former classmates since graduation, and possibly has not seen Vertin for an even longer time.

Horropedia is the only person who had stayed in SPDM past the assumed graduating age, which makes me believe that he had received higher education or was held back by troublemaking…I can see both possibilities.

Overall, these are the observations that I was able to rule out. There are still some things that I might not have considered or taken to account yet, but that's just because I can't really tell if it can be added here + I wrote this at 5 am. SPDM's school system is a bit screwed because of the punishments and everything, but this entire guide feels like it can be comprehended better.

Thanks for reading to the bottom of this post. I'm open to answer questions as well as add into/fix the information here!

[astra-galaxie]

I DID IT!! Here’s the whole thing copy pasted from Google docs!!

The Player’s general skills and implied personality + some stuff abt them! (as far as i can gather, at least, tell me if i missed smth!)

*Note that these skills do not include case specific stuff (like the time they discovered a new species in Pacific Bay)

-Exceptionally skilled at handling the forensic kit,in S1, Jones had challenged the player to uncrack a code while he recites the alphabet from A, and the player cracked the code just before he hit the letter F. It takes about a few seconds, so that says a lot.

-The player has freaky intuition skills in general. I mean, in quite literally every case, they figure out what evidence is needed, what could count as evidence, and searches through things most would gloss over. Their partners acknowledge this a lot, more in the first cases since they just met.

-Can keep a level head even in high stress or even dangerous situations even when their partners cant, whether its during or after the cases. Jones addressed this after court quite a few times in the first season. Also, the player’s able to calm down whoever thier with or

*Add on, in S4, while facing Cappechi & Finley for the first time, he managed to intimidate Isaac on both occasions, however, the player remained composed enough to be able to file evidence against them.

-Works out. In Good Girls dont die, a case in S1, while Grace tries to convince Martha to calm down, she states that the player has already kicked down the door. Like, kick. The player probably doesnt even have any special gear on them, so either the door is weak or, the more likely theory is that the player got dem legs frfr

-Has quite the memory. Easiest case to get this info from is during S4, in the case Eyes Wide Shut, player and Isaac identify a rice makeup composition on the item, Player can easily recall that 17 cases back, which give or take a few, is about a monthish? That Madam Xiang was wearing it. Mind you, at this stage in case Eyes Wide Shut, the duo had only spoken to Madam Xiang once, and she never mentioned the makeup.

-The Bureau themselves asked for the player to join them, that in itself is already a accomplishment, since the Bureau is like, the elite of the elite in the police world.

-Their temper seems to be much milder, or at least, more controlled. Its more evident with Frank and David (S1) since the chiefs often say the player is much calmer than them, hell, David got in trouble for being too brash and got so many complaints he had to file paperwork.

-They do indeed make mistakes, one of my friends irl kept saying the player was a Mary Sue esque kind, but in S3, they were also led on by the Warren guy after he framed the Guru, and they were kidnapped by Karen in S2. If they were so called ‘Mary Sues’, they’d probably figure out a way to not get captured and be the person whos left unscathed and babied by the team.

-Maybe a similar point, but they have sharp eyes and possibly very good eyesight. In a case with Jonah as a partner in S3 during one of the Additional Investigations, the player spots a tent from afar up a mountain. Not to mention its always them who finds everything lol

-The player is good at calming down their partners or whoever is working with them tbh. Like every time one of their case partners are loosing hope, breaking down, feeling impatient or angry, the player snaps them back to their senses.

-They arent quite up to date with some stuff, or simply put, most likely arent that geeky like Jones is, or probably that interested in acting and stuff, in S4 when Isaac asks them how they have no idea who Dolly Darnell (famous actress) and a famous chess master is. Personally would love to think they’d love to listen to their friends and team talk about certain personal interests of thiers.

-Most definitely has a good physique. In S2, Roxie comments that they fit perfectly into a diving suit, which is typically quite tight, so we can assume their physical health is in good or in its prime, in S7, Ben mentions the player has great reflexes for being able to dodge a chupabara attack.

-Can handle a gun better than the average policeman could, probably. In S4, they got into a gunfight with their team against Capecchi and his men, and the team won, so probably suggests that either the rest did most of the work, or the player is good enough to aim and shoot down a whole bunch of tough ahh men.

-Has better driving skills than Jones

-The chiefs often say the player is a rolemodel of what the rest of the team members should be, often, its Frank and Jones being reprimanded and being compared to the Player.

-Implied to be a pretty sarcastic and humorous person, whenever the person their working with for a case or a suspect makes a unfunny or less than tasteful joke, or just does smth weird in general, they always tell the player to ‘not look at them like that’

*Jones seems to be the one saying this the most, including Frank because he teases the player a lot as well.

-Patient. The cheifs say the player is patient, and im sure having Frank work with them would make their temper flare at leats three times in a single hour if the player wasnt a patient person.

-Knows how to handle and drag themselves + their team out of wallowing after a crisis. In S3, Ripley praises the player for being able to rise up after her ‘death’ so quickly, and solving her ‘death’ as well.

-Thier spice tolerence is off the charts, could bet money that they definitely could eat a few hot peppers and only complain of a bit of bite on their tongue. Even Rita admits their tolerance is higher and she’s tough as hell.

-Reliable adult, probably good or decent with children. They were the adult Matilda came running to (in Grimsborough S1) while her own parents were arguing. Jones said this as well when reprimanding the dad.

-My friend (yes the same one) keeps saying that the player would be homophobic?? What?? At least one of their core team members are gay as hell, cmon bruh

-Is most definately empathic and more adept at handling sensitive cases, whether by sensitive, its a matter of whether the press gets ahold and it could be bad, or its sensitive like family and personal matters get involved. When their partners make a distasteful comment or joke, no matter how mild, the player is implied to have told them off (ahem, Jones, Frank and Roxie)

-Good at undercover work, its shows in S4 during the last district, does the S4 part where they have to break Florence Samuels out with Rose count?

-They solve cases within the day or in a few hours, the latest they’ve ever finished a case was in the evening and then again, the player had only started on it in the afternoon.

-A kind person in general. I mean, for one, if i was a homicide investigator and every time i do an investigation, multiple people want my help?? I’d bail, nuh uh. AND not to mention, its time consuming bc theres always the need for analysis, and with sometimes, personal and professional problems get mixed up halfway.

-They most definitely have the money to live comfortably, they have the money to take James Savage for shopping for a new funeral suit and outfit, and they recieve so much spare cash from suspects during the AI.

-I feel like they probably have a good fashion sense, but on that point, can we talk about their closet size?? They get so many articles of clothing, they would definitely be the kind to overdress on every occasion and still look fabulous.

-I would not be surprised if its end up being revealed that they were a reformed thief or some wild shit like that, how does a rookie officer know how to crack a lock in seconds??

-Do you guys think their banned from being the seeker whenever the office decides to play hide and seek because their so good at finding stuff? Like, the last time they were the seeker they probably caught everyone in less than 30 minutes or some shit

-In addition to that helping people shit, the player’s either just energetic in general or their ass is running on coffee and pure willpower because i CANNOT do what their doing, their partners dont even stay consistent throughout the entire AI, and sometimes, in the official investigation itself

-Player’s a positive influence on the people around them, and this prob my nth time mentioning them, but JONES AND FRANK!! Grace says at the end of S1 that the Player’s influenced them positively a lot, and Karen says that as well abt Player’s influence on Frank.

-More on the energy thing, they work overtime so often im surprised they havent asked for a raise or something (then again, the chiefs probably automatically gave them one anyways, maybe even more)

-Not afraid of them high rankers!! S4 for example, no matter how many times Commisioner Baldwin threatened them, they are not afraid, gives 0 fucks, did not gaf even tho Andrea told them to leave Jazz Town before the hurricane kills them

-Player def got a strong stomach and do not care about getting ther hands dirty, they’ve seen so many dead bodies in the most gruesome settings possible, and they dig through trash every case, they have definitely seen…stuff. Oh yeah, they’ve seen so much raunchy and sexual stuff I don’t think they’d be too fazed anymore.

-Offically, including the S4, S6 and S7 cases, they’ve solved 370 cases in their entire career, including a cold case in S5, maybe indirectly, a few more in S5 due to the Rocket Cow killer being discovered, and a few more side murders due to how many serial killers they’ve arrested, so the victims get justice.

-They get offered or are the ones paying the first round for drinks quite a lot, so I’d assume that either they dont drink at all, or they can hold their alcohol well.

-Has gained fame as both as a detective world wide and citywide, AND in Pacific Bay as a co owner of a movie and had their cases featured in another movie! I’d assume their movies are out by S3 or by S5.

-Magic hands, anything damaged can get so well repaired its like it was never broken, or the partners and the suspects are just trying to make the player not feel bad lol

-They seem to not mind… leftovers, or anything that is edible but looks or taste unappealing… I mean, if we get a burger everytime a prisoner gives up their prison slop to the player, does that imply they ate it no problemo??

Sidenote: it feels like I’m putting the player on a pedestal at some parts… I assure you I’m not trying to 🥲🥲

Sorry, it took so long for me to answer this! I FINALLY found the time to sit down, read and react to it!

And to start this off: HOLY SHIT!😲 (I mean this in the best way possible!)

(Live footage of me giving this post as much love as possible. Yes, I am secretly an alien gremlin!😉)

I'm going to try to go through each section at a time, so prepare for a long post!

-Sometimes, I wonder if anyone else has training when it comes to the forensic kit... I remember Jack claiming to be a pro at the vacuum tool, but we NEVER see him use it! Or any of our partners, for that matter!🙄

-It wouldn't surprise me if the player was psychic! Or at least partly! I don't think I've seen anyone make a psychic player OC yet, but it would be an interesting concept!

-After everything the player has seen, even just in the first season alone, it's no surprise they know how to keep their cool!

(At least Isaac got more confident at dealing with Finley! Though we can't blame him for being scared of Mad Dog!)

-Kicking down a door is no easy task! (Not that I've ever tried it.) So the player must try to keep themself in shape! And clearly, they don't skip leg day!🦾🦿

-I wish I had the player's memory sometimes... My working memory is slowly going downhill! And yeah, remembering something as minor as someone wearing rice makeup from months ago is impressive! Esapiclly considering everything that's happened between the cases!

-I have the theory that if CC had continued, we would have been recruited into the GIA or another secret spy agency like we were for the Bureau! After all, their resume would be as impressive as it is long!

-Some characters could learn from the player and their ability to control their temper... (*cough* Frank *cough*)

-I can see where your friend got the "Mary Sue" idea from. The player is constantly being praised for their work, but they still make mistakes and learn from them, like you said!

-Forget 20/20 vision; the player has the best eyes in the world! They must be the champion in Eye Spy and Hidden Object games!

-If the player ever decided to change careers, they could be a therapist! Or an anger management coach!

-With how busy the player is, it's unsurprising they don't have time to be up-to-date with some things...

As for the S4 thing, I like the idea of the player being from away and not knowing about Concordian celebrities, unlike their partners!

-In conjunction with the strength one, the player must take care of themself by eating well (ignoring all the free hamburgers they get...) and staying active!

-I think it's stated that the team worked together to defeat Capecchi and his men, but the player obviously knows how to handle a gun in order to stand their ground against them!

-Well, Jones did crash at least once that we know of, unlike the player...😉

-With how good the player is implied to be, I bet they would win employee of the month every month! Move over, Sponge Bob! We've got a new champ in town!

-Sometimes, I wish we had dialogue options just to see the jokes and witty remarks the player could make!

-The player must have the patience of a saint to put up with some of the people and things they have to deal with!

-For the amount of shit they find themself in, the player knows a thing or two about how to get out of it and drag others out with them!

-Given that Rita looked like she was on fire while eating the salsa, the player either has a steal tongue or no feeling in it to handle eating all that spice!

-I like to think the player is good with children too. After all, almost every time we meet a child in the game, they seem to love the player!

-I can't see how your friend came to the homophobic conclusion either! The player works with several LGBTQ+ teammates and interacts with even more LGBTQ+ characters outside the teams! Are we sure they played the same CC game?

-The player is one of the game's most empathetic people. Even after so much death and pain, they still are. And they know how to stay professional when working on a sensitive case.

-I'd count it as evidence of them being good at undercover work! They're also constantly undercover in S6 and manage to fool nearly everyone they meet!

-I've always wondered about the timeline for solving a case... I swear they finish every case within a shift! I think the only one I canonly recall taking more than a day was Anatomy of Murder when Jones talks about reading his book before bed during chapters 2&1 (I think...).

-The player has a heart of gold, and it's a miracle they still do by the end of the series!✨

-They must be LOADED! But if people keep giving them free money on top of their job income, it's no surprise they probably don't have to worry about money!

-With all the clothes and accessories they get throughout the series, they could have a whole floor in their house dedicated to their closet! Hopefully, they donate anything they no longer want.

-A common theme among OC players is that they always have a secret past! I'm sure someone must have made one with a past as a thief or something to help explain how they're so good at picking locks!

-Agreed. They are only allowed to participate in hide-and-go-seek by being the timekeeper.

-The player must live off of coffee, energy drinks, or SOMETHING to be so energetic! I know I wouldn't be so excited to do extra work by helping people after solving a murder! I hope they get extended vacations to make it even!

-Player, spreading positivity wherever they go!✨

-They better get paid WELL for everything they do for their job, teammates, cities and citizens!

-They've got nerves of steel and the bravery of a god to stand up against so much higher authority! They've even talked back to royalty before, too!

-For how often they search through the trash, they either have no sense of smell or the strongest stomach in the world!

-The player's case record is unbeatable! And they solved all those cases in under a decade, according to the undefined timeline!

-I think the drink thing stopped after S2 (or at least I don't remember it happening as much after that season), but they are still often invited for drinks one way or another!

-I'll never know how they weren't recognized in S7, given how famous they are! For changing to such a secret job when they joined the supernatural hunters, it's a surprise they weren't recognized! Especially considering we run into past characters!🤔

-The player is probably the first person people go to after breaking something! We'll never know how they manage to fix things so perfectly! Unless they really ARE magic!🤔

-The player never does say no to free food... Even when they really should! How they never got food poisoning (Jones flashback intensify) will remain a mystery!

-Don't worry; other characters put the player on a pedestal for us!😉

Phew! That was a workout! Hopefully, we didn't lose you guys!😅

I can tell you put a lot of work into this, so let me be the first to say good job!🥳✨

NOW TAKE A BREAK! You deserve it after creating this doc!

You captured a lot of the player's traits and successes! And I look forward to seeing what others think about your analysis! And if there's anything they think should be added! After all, it is always helpful to have some extra input!😊

[coppertophomegurl]

My type is women from early 2000s crime dramas with big sapphic vibes and dark wavy hair wearing red tank tops.

[tasty-littl-snack]

Anyway, someone needs to write some angst fics about that episode. Being alone with no walkie during their solo and not being able to hear anyone if things go bad. Yeah.

Part of me was thinking Ryan was way more worried about Shane than Shane was worried about Ryan, but that man doesn’t show emotion well and then he went and hugged the man. Like they were both worried about the other and it’s just so.. someone sedate me.

Nah I will not sedate you I think it was like that. Ryan was impatient and looking for him when he realized he can't hear him, and Shane did worry about him as you said but couldn't really express it other than going in for a hug once Ryan was ready talking about the technicalities of the solo.

Also Ryan running back? That's a "I want to get out of this place" as fast as possible, I think they were worried about each other equally just have different ways to show it. (Ryan saying it, Shane by first turning it into a joke but then at the end hugging him. I noticed he often goes for real physical affection like reaching out to hold Ryan's hand or this hug in this ep)

I think it would make for great angst fics, if nobody else gets to it I might rewatch the ep and write something short in the coming weeks.

[utilitycaster]

I enjoy shipping, but I cannot see the appeal in watching shows only for the purpose of shipping; I think it closes you off to so much. I think coming into a work with the expectation that it will only succeed if a particular configuration of people end up happily in a relationship with each other when the curtain closes means you will reject so many unexpected choices altogether. It destroys your ability to appreciate the entire concept of tragedy. Just, imagine refusing to let yourself enjoy "I'm not a gardener" because you are too furious that a different kiss than the one you wanted happened to feel other emotions.

[welivetodream]

Henry Winter will ask you for calculations about poison mushrooms and then try to frame you for killing HIS best friend

Richard missed a bullet, literally, when Henry killed himself. Or he was gonna get framed and into the prison because of Henry.

That's why he always made Richard do his errands at first, he was trying to collect fake evidence.

[inksandpensblog]

Okay, timeout on the angst for a minute because I wanna talk about Green’s third TikTok video.

Yes, this video:

Now…it’s entirely possible that this wasn’t planned; that whoever on Alan’s team made this short simply didn’t investigate the meme’s original source or didn’t give the audio a second thought before using it, and then whoever on the team is manning Green’s account was forced to acknowledge it somehow because just ignoring it might give people the wrong idea.

However, regardless of whether it was intentional or accidental, it is now part of the ongoing narrative, and I will be treating it as such.

And to that end, I find it very telling that this is the answer they had Green’s character give when addressing this blunder.

Consider what Green’s replies to the comments on his third TikTok mean when held up next to everything else Green has done so far. Because, honestly? Green’s replies to these comments on this specific video can be applied to…probably every video he’s made since Flaming & Freezing; that was the last one that really felt like it was made purely for the fun of the makers, with no ulterior motive.

And the fact that it’s this video where he actually says it upfront is blowing my mind a bit. Because it means that, to Green, this video really is no different from the others. Despite featuring an element that very starkly sets it apart from his other videos so far, in the eyes (or ears) of his audience.

(And I do think a large part of that stark separation is because we have no paratextual reason to expect any video produced by Alan’s team to do that…even though it’s entirely believable that a novice content creator might make the same mistake that Green has. But that’s a discussion I’m not equipped to have.)

Green is unaware of the implications that sound carries. He doesn’t know what creaking bedsprings allude to; heck he might not even know that the sound is creaking bedsprings.

Put aside the cringe aspect of that for a second and think about what it really means.

It’s a pretty significant thing. It’s something content creators on mainstream public platforms have to be very careful about. And it went right over Green’s head.

Green has no idea what kind of blunder he made with this video.

And I mean. If there’s a better way to immediately and undeniably make it clear that Green really doesn’t understand what he’s getting into then I don’t know what it is.

[miirshroom]

Been working on another Elden Ring breakdown of notable observations in a specific location. With all the corpses strewn about, sometimes it feels like solving a murder mystery, or in general some other kind of "whodunit" puzzle. Then I remembered that the story trailer for Elden Ring has always pointed at basically that.

Means, motive, and opportunity are the three main indicators of suspicion for an investigation. For the breaking of the Elden Ring in particular we are told the means explicitly just for making it to the end: Marika's Hammer. We are also told in the item description who did it: Marika. In this way bypassing the need to guess a perpetrator based on opportunity. So all that remains is the motive.

That is what the game is asking the players to do. Maybe even more specifically, this is what Ranni is asking the players to do. Review all of the evidence scattered throughout the Lands Between to figure out Marika's motive for Shattering the Elden Ring.

It's a "whydunit" story.

[guzhufuren]

WE ARE HAVING 4 MORE HUAIBAO KISSES