#Is it like the scene from They Live where the protagonist tries to get his friend to wear the Anticapitalism Sunglasses but the friend

[llatimeria]

Just finished The Santaroga Barrier by Frank Herbert (my dad likes to play audiobooks in the car on trips) and I didn't like it much (and there's quite a bit of Yikes in it, because frank herbert and the 1960s in general,) but the aspect I found most interesting was the concept of like. A world's subconscious desire to kill The Other.

In the book an investigator visits a small cultish town in order to investigate it for a market study after a few other researchers mysteriously died. he gets into a frightening number of "accidents" while he's there (like the former investigators) and starts believing that there was a conspiracy among the townsfolk and all of them were intentionally trying to murder him.

tl;dr, it turns out it actually was a subconscious yet intense phobia/hatred they had of The Outside they had as part of their personal traumas, childhood indoctrination into their local cult, and the LSD-like drug they were constantly on. They didn't mean the investigator any harm, if anything they were extremely welcoming, kind, well-meaning people, but this background radiation of fear and rage kept making them accidentally do things to kill him - mixing up insecticide and spices in his food, gas fumes being pumped in his hotel room after a botched maintenance job, a torn carpet tripping him off the railing of the balcony, and Many Other subtle attempts on his life that he just happened to avoid by sheer chance.

But all the townsfolk don't really think anything of it - the town doctor, especially skeptical, "diagnoses" him as "accident-prone" until the investigator begs and pleads with him for days after several brutal accidents in a row, and only then does the doctor start believing him but even then only comes up with the theory that all of this supposed malice towards the investigator is "subconscious" - later shown to likely be correct when the investigator himself, after overdosing on their special drug, "accidentally" shoves his colleague off a roof, killing him, but the investigator physically cannot see it as anything but an accident anymore. it simply doesn't reach his mind that he killed a former friend of his. it was just an accident. he just fell, all on his own.

the idea of A Town That Wants To Kill You, But It's Nothing Personal resonated with me from the perspective of being a disabled person, especially one in a generally welcoming, accepting environment. when you're disabled, not a lot of people will come to you bearing their ableism between their teeth. They'll be nice, insensitive maybe, but nice, and are often outwardly willing to accomodate you. But they also stick out their leg as you're walking along to trip you. They'll apologize, and you'll maybe even believe it, even though to you, from your perspective, it was obviously an attempt to harm you. You excuse it once, maybe twice, but after a point, you realize that this world, this community you have entered, is actively hostile towards you and everyone like you. so you start screaming it to the rooftops. you tell authorities that the world wants to hurt you, but they begin affixing labels to you like "paranoid" or "anxious". they know no one actually has it out for you, personally, after all. that would be ridiculous.

but you still keep getting tripped down the stairs. the rat poison and the sugar at your favorite coffee shop still keep getting mixed up, but only when it's your order. in the hospital, recovering from your previous "accidents", a nurse will still accidentally pump you full of saline instead of medicine.

after a point, doesn't the fact that all of these are "accidents", and that no one WANTS to kill you, just... stop mattering a little bit? Yeah, no one wants to hurt you, but they just keep doing it. They keep making stupid little mistakes. They know everyone like you who has visited their community has died or been seriously injured under suspicious circumstances, but the idea that they, themselves, could be a little bit at fault just doesn't even register to them. they don't even consider that they might have to change their ways in order to protect people like you. After all, you can't prepare for every "freak accident". Even when the solution could be as simple as "stop putting rat poison next to the sugar", every time it happens to you, or a person like you, it's just an "accident", that no one "meant" any harm, and "nothing could be done".

it doesn't cross their mind that a string of unfortunate accidents ceases to be accidents, but serious negligence. it can't cross their mind, because they're not the victims here. they only even begin to acknowledge something might be wrong when the victims are screaming in their face, day after day. even then, they come to the conclusion that even if you're right, and the community does want to kill you because you are Other, they won't immediately see anything wrong with that. To Them, the answer is clear as day: just become one of Them, and you'll be safe. They take care of their own.

[swampjawn]

God I love animation. I love it for the way it can bring anything to life beyond the constraints of boring ol' reality, but also the ways that it's inextricably linked to, and draws on the conventions of live-action film-making.

So fuck it, let's look at how Hayao Miyazaki straight up copies some camera framing techniques from his predecessor and the other most influential Japanese filmmaker of all time, Akira Kurosawa! (Kurosawa really was the master of framing scenes around his characters, so he's a great source of inspiration)

(btw, this is a screenshot from this TV special where the two met for the first time just after the release of Kurosawa's final film. It's pretty interesting, and also very cute how nervous Miyazaki seems to be to meet one of his idols.)

Specifically, how the two each choose to break the 180 degree rule (well, not technically 'break' in the case of Kurosawa) to show their protagonists' changing destiny in "Throne of Blood" and "Princess Mononoke".

For anyone who doesn't know, the 180 degree rule is a basic film-making rule of thumb which states that in any scene where two characters interact, you should draw an imaginary line between them and the camera should always stay on one side of that line.

("In the Mood for Love" - Wong Kar-wai)

This way, one character is always looking to the right of the camera, the other is always looking to the left, and the audience doesn't get confused by the geography of the scene. Crossing this line can be disorienting, but when done intentionally, it can convey a paradigm shift of some kind in the scene.

In this scene from "Throne of Blood," (a feudal Japanese retelling of Macbeth) Washizu's wife Asaji discusses tactics with him and tries to convince him to aspire to the throne and to assassinate his lord Tsuzuki while he sleeps.

As two servants appear to notify them that Washizu's sleeping quarters are prepared, the camera dollies left and around the characters' backs. This camera movement is motivated by the motion of the servants' torches outside the room, but it also signifies a change in Washizu's outlook.

Washizu is completely silent for most of this scene, contemplating his wife's advice. But as the camera slides behind his back and across the line of action, the scene is now re-framed, illustrating his change in perspective.

He's been convinced and the trajectory of his life is about to change - and now, facing away from the camera, is the time for action.

Because the camera slides smoothly across the line, Kurosawa isn't technically breaking the 180 degree rule. Miyazaki on the other hand, takes it a little further.

The complimentary scene in Princess Mononoke comes near the start when the wise woman of the village reads Prince Ashitaka's fortune after he's cursed by the wild boar spirit. She tells him that it is his fate to leave the village and travel to the west, where he may be able to lift the curse on his arm. The trajectory of Ashitaka's life changes in this moment too. As he accepts his fate, the change is symbolized by him cutting off his hair, but also by the camera jumping the line.

Throughout this dialogue scene and even as he cuts his hair, the simulated camera sits just slightly to the side of Ashitaka's left shoulder.

But once it's done, for the final shot, the scene is reframed and we jump to the other side, where Ashitaka is now looking to the right of the camera instead of the left.

Making the camera dolly across a scene like Kurosawa's version in 2D animation is no simple task, so this transition with a simple cut is in a way subtler, in another way a bit more jarring, but it conveys the same meaning.

This is the moment when our protagonists make the choice to embark on a new destiny and re-frame their lives.

This has been an excerpt from a short video essay I made a while back, which not many people watched. I think this is at least in part due to my failure to package it well, and it seems you tumblheads like this animation/cinematography analysis stuff, so this is an experiment to see if, with the help of y'all, and a new title and thumbnail, it's at all possible to give this video a second wind in the eyes of the Youtube Gods!

So if you found this interesting, I'd appreciate if you checked it out! Thanks for reading!

[salmalin]

My sincerest apologies and warmest welcome to my rant about FF7: Crisis Core. Or, as I like to call it,

Propaganda: The Video Game

I say this with the utmost affection. Crisis Core ranks really high up there in my favorite Final Fantasy 7 installments. I played it when it first came out, borrowing it from a friend to play on a borrowed PSP. And, the more I learn about the game and the more I replay it, the more everything lines up.

This game is not about Zack Fair.

This game is about how Capitalistic Propaganda can sink into every aspect of life to the point where it is entirely indistinguishable from reality. And it’s very overt about it. So…

Here we go.

My treatise on Propaganda’s starring role in Crisis Core.

Part One: The Timeline

Something that a lot of people gloss over due to decades of Child Heroes in media—Japanese Shonen and Shoujo series in particular—is how young these protagonists are. We’ll hand-wave a lot of stuff in non-live-action series with just a little bit of suspension of disbelief. And that’s honestly just accepted these days. But here’s the thing about those hand-waves.

Final Fantasy 7 doesn’t do that.

Now, FF7 hand-waves a lot of stuff. For example, how far you can travel in a day by foot, the distance a man weighing approximately 165lbs can jump after being genetically fused with what might as well be a cocaine demon (Jenova), and how much hairspray one can reasonably carry on a cross-country journey while on the run from the feds.

Age is not one of them.

Exhibit A: Yuffie Kisaragi.

Do I really need to say more? She acts her age. So does Zack. And Aerith, even. Most of the characters in the original lineup were over twenty for a good reason. We see several kids in the series, and they all act their age, too—both the OG and the remake. Age is not a thing that FF7 really grapples with. It’s something they take relatively seriously.

Now, to the point.

Zack is 16 when Crisis Core starts…

… and he was 13 when he ran away from home without his parents’ knowledge to join the military.

Which accepted him.

At 13.

Without a parental permission slip.

Think about that for a second.

… Or for the next several parts of this breakdown.

Part Two: The Main Character

As I mentioned in the introduction, Zack is not the main character of the events of Crisis Core. Instead, he is the focal point of the second person POV. This is not the first time Square has done this. It was done most notably with FF9, FF10, and FF12. (I’m not going to go on an Akira Kurosawa rant right now, but please check out his film “The Hidden Fortress”. FF12 and Star Wars episodes 4-6 borrow heavily from this film.) The purpose and position of this character is such that they might best witness the effects the other characters make on the world as their stories unfold, usually in the role of a love interest. For Akira Kurosawa, it may have been told this way because these people are most effected by the decisions being made.

“Well, then, Sal,” you may be asking, “who would you say is the main character? Would that be Aerith, since she’s the love interest, like in the other games?”

No, actually.

It’s the antagonist.

And by that, I mean Genesis.

Hear me out. I used to hate Genesis, for I was once young, full of judgement for flamboyancy (thanks, internalized homophobia), and was led by the narrative to believe he was mean to his friends. Then I met my Lovely beta who loved him, so I wrote a fic for her as a gift. So for that I kinda just… read stuff. Because that’s the thing about Propaganda—you gotta read stuff to navigate it. I read the in-game emails. I re-watched all the scenes I could get my hands on with him. I read his wiki and tried to track down more information about him. Then I watched the scenes in Japanese and gained a better understanding of not just Genesis, but Sephiroth’s character. And I realized that Genesis was put on this road from the start. In fact, a big part of the fact that he’s seen the way he is in Canon—only at his most hostile and lowest points—is because the story is told through Zack’s point of view.

So before we get into the breakdown, here’s the hard facts about Genesis.

1. He was a test tube baby who may or may not technically be Angeal’s fraternal twin brother, which we are not going to unpack right now.

2. He was adopted by a relatively rich family.

3. He was a child genius (which requires not only resources, but drive to achieve), and at a tender young age of like… ten or something? He decided to mess around and literally invented pasteurization. Which is incredible, and really speaks to his knowledge of the world and ability to grasp complex concepts even at a young age. But, again, this is not the time or place to unpack that.

4. He was best friends with Angeal, who might as well have been the sweetest, kindest boy to ever walk the Planet. (I’m biased. I love him.)

5. As a teenager, he became fixated on Sephiroth, who had gained national acclaim as a SOLDIER despite them being the same age. (Please see part 1 and think about that for a second.) He then goes to join SOLDIER and brings Angeal with him. And Angeal brings his step-father’s puritanical “hard work is honorable” mindset with him. (On that note, Angeal and his father’s arc really are a wonderfully scathing letter to companies that overwork their employees and how toxic/unhealthy that line of thinking is. But. Again. We are not unpacking that right now.)

6. At one point he became consumed with LOVELESS, a series of poems with heavy prose and symbolism thicker than syrup. It got to the point where he was so well known for it that there was an entire fanclub dedicated to both him and analyzing the text.

7. While he was in SOLDIER, he repeatedly had his achievements publicly accredited… to Sephiroth.

Over and over and over again.

Everyone did, really. They mention it in the beginning of the game. Sephiroth even got public credit for Zack’s raid on the castle when he wasn’t even there. How much of his legacy is real? How much of it is made up? How much of it was faked? We don’t know. No one knows. But he keeps getting credit, anyways. And when Genesis confronts him about it, Sephiroth doesn’t care. In the Japanese version of their fight scene, you could even say he indirectly implies that he wants Genesis to take his place as the “hero”. In the English, Sephiroth’s line is, “Come and try.” But in the Japanese the line is closer to, “Wouldn’t that be nice?” Which, depending on how you take his tone, can mean wildly different things—from mocking, to earnest, or even admiration—which is especially to tell because he might be annoyed with Genesis at the moment.

Fun Fact: In Ever Crisis, Sephiroth explicitly says they are making up his achievements in the press to target boys his age for recruitment. (Thus why they accepted Zack at age 13.)

My theory on this line is that he is being cynical; that Genesis doesn't understand just how harrowing and even humiliating his experience has been. This only enforces my theory that the "come and try" translation in the English not only does a disservice to a line as wonderfully heavy as, "Wouldn't that be nice?", but fundamentally misunderstands Sephiroth as a character.

8. Genesis then took the fight to Shin-Ra. Inspiring a good chunk of their staff to leave the company, he then staged multiple attacks on facilities, staff, and the main building—which also spilled out into the city of Midgar. He murdered his parents, buried them, killed everyone in town, and… Yeah. It wasn’t pretty. A lot of innocent people died simply because they were vaguely associated with Shin-Ra. These are the actions of a villain. What’s more, this is clearly a sign that he has been acclimatized to death and violence by Shin-Ra to the point where he doesn’t even consider taking hostages.

Except.

Except the entire town was a Shin-Ra town.

Banora, canonically, was a Shin-Ra built town, which means everyone there was basically an employee of the company. No one was safe. Everyone was a threat. And that…

That was how he was raised. And he finally knew the truth—that every moment of his life was touched, controlled by Shin-Ra, all the way down to his very conception. He has never known freedom. He has never known his own identity. And now that very cage was killing him, slowly and painfully, and turning him into something that couldn’t even be recognized as human. He was watching himself rot in the mirror, and it was all because of Shin-Ra’s greed. And as he searched for salvation, he sunk into LOVELESS as he always had, hinging his entire life on Minerva’s Gift because he knew he was dying and that was all he had.

9. And then he died…

10. … but then it turned out LOVELESS was actually kind of a blueprint, and he did meet the Goddess, and he did get reborn without his degradation so he was rewarded for his journey in the end.

So why wasn’t Genesis the main character of the game?

Simple.

His actions challenge the status quo without being about the status quo. It’s a story about revenge. It’s a story about retribution. It’s a story about answering mass violence with mass violence and ultimately being rewarded by it. And while, yes, the series is an action-based violence simulator, the violence in the original FF7 was a guided, tactical effort. (For all that the characters aren’t the brightest bulbs in the sun lamps.) But the biggest, most obvious shift in the narrative happened when they realized their role as terrorists—bringing mass violence to the company via bombing and open aggression—was just resulting in increasing levels of retaliation against uninvolved people. They might as well have been a child beating the ankles of a giant. The goals and themes of the game fundamentally change when they realize that answering mass-scale societal violence with mass-scale physical violence was not only unsustainable, but also wasn’t going to solve their problem.

FF7 is about change and learning when violence—and what kind of violence—is appropriate in the face of different threats.

Genesis’ arc undermines all of that, and making him the main character would contradict the very heart of the OG game.

So, instead, we are positioned as Zack, connected to him through a mutual friend. From there we see all the damage and horror this vengeance brings to those living under the status quo.

But also, that plotline’s a major downer in a lot of ways, so they needed to lighten things up a bit to keep audience involved. And that’s why Zack is, well…

Part Three: Zack is a Himbo

Please, for the love of all that is holy, keep in mind that everything I say here is with the utmost affection.

Zack is dumb as a rock.

He is a charismatic, enthusiastic sixteen year old jock who ran away from home at thirteen years old to join the military. Which, please know, why I say “military” I mean “private security guard force with a standard-issue Death Baton and a license to kill”. The first scene in the game is him being excited that he gets to murder a bunch of people in a simulation, which he is immediately scolded for by his mentor. He is a glorified, souped up private security guard who is canonically only in it for the glory at first. He wants to be a “hero”, but doesn’t seem to fundamentally know what that means. And, over the course of the story, the definition of that clearly changes for him.

Which tracks, because the story takes place over a period of time with high stress.

Occasionally I see people saying they wish that Zack had more complexity to him, and honestly? The game. Would be. SO. BAD.

Full Disclosure: I am not the biggest fan of Zack specifically because he lacks a lot of nuance. I wish he was a bit more complex, too. But I also know that would break the game. What’s worse, if he was still on Shin-Ra’s side because he understood Shin-Ra’s mission… Well… That would make him a villain, or a cog at best. That’s not main character material. It would make the ending more messed up, though.

Anywho, Zack was thirteen when he left home. He had no formal education. He didn’t tell anyone what he was doing. He even joined without a permission slip from his parents. This means that Shin-Ra was accepting thirteen, possibly fourteen year olds into the military. (Some people will say this tracks because you can get a job at fourteen in many parts of Japan. But, and this is important, you aren’t allowed to be a security guard until you’re quite a bit older, and you need a specific license for it, much like in the US.) Clearly they didn’t teach this boy critical thinking skills. Not because he’s a himbo, but because having their Super-Powered Private Security Force With A License To Kill think independently would explicitly go against their interests. (EX: Genesis.)

Shin-Ra needs SOLDIERs to follow orders or the company would no longer be able to function. Seconds and Thirds aren’t even allowed to reject missions. (One could argue that sending certain someone on back-to-back missions would be a good way for them to eliminate undesirables within the ranks by sending them to their deaths, which… would make an incredible fic idea, actually.) We already know that First, Second, and Third Class rank assignments do not actually reflect the power of the SOLDIER. This is canon. I would instead argue that those who make the rank of First Class aren’t necessarily the most powerful, but are instead the most visible in the media, thus the easiest to market, and/or the easiest to manipulate and control. (For a great example of this, see The Umbrella Academy.)

The point is, Zack may have been elevated to his position as a first specifically because he is malleable and single-minded. Even after all he saw with Genesis, he stuck by the company to the very end, with the exception of the time Sephiroth was literally guiding him to fail a mission. Zack allowed himself to take Shin-Ra’s side every time, taking down their enemies and following their orders, preserving his “honor as SOLDIER” as he had been taught. The only thing that made him stop…

… was literally getting put in a jar.

It was when he was no longer a SOLDIER.

Part Four: Honor

There is no such thing as SOLDIER Honor.

I repeat: There is no such thing as SOLDIER Honor.

It is a fictional thing that is borne of an ideology based around hard work. It only has power because it is believed in. It is an intangible social construct similar to the law, mathematical order of operations, and gender roles. So why are Angeal and Zack obsessed with it?

Pretty simple.

Angeal’s step-father followed it.

Now, we know three things about Angeal’s step-father.

1. He was chill with the fact that Gillian was already pregnant when they started dating.

2. He was a very good father.

3. He worked himself to death trying to pay off the sword he bought Angeal.

This, of course, says a lot about Angeal considering he rarely uses the sword. He essentially sees that sword as the symbol of his step-father’s life. Everything he uses it for, he sees as more important than his step-father’s life. That thing is usually Zack.

Zack, who is the child who joined the military based on stories of heroes.

Zack, who rises against Angeal in the name of his own step-father’s ideology and tries to talk him down, even at the very end. But Zack fails because he fundamentally doesn’t understand what’s going on, partially because “Soldier Honor” is just one more aspect of this narrative he was given. It is a narrative that Angeal has had to step away from, even though he doesn’t want to leave the memory of his step-father behind. He was a good man. He was a good, hardworking man.

And that is why he died.

Corporations will use you up until there is nothing left, then honor your memory/sacrifice. Shin-Ra was doing the exact same thing the company his step-father worked for did; using up SOLDIERs until they outlived their usefulness. And Angeal was horrified to realize that his “SOLDIER Honor” wasn’t honor at all.

It was willingly submitting to control.

But, unlike Angeal, over time, this meaning changed for Zack. Partially because he didn't understand it fully in the first place. It became about acting with integrity. It became about helping people. It became about not lying down and watching the abuse Shin-Ra handed out in exchange for literal money; for maintaining the status quo.

At the very end, Zack understood what it meant to be a hero.

Part Five: The Conclusion

To sum up, Zack believed in and idolized the propaganda spread by Shin-Ra at such a young age, and was so convinced by it, that he ran away from home at thirteen to join the military.

He was their target demographic, so they happily took him into their ranks. What’s more, people think this is normal enough that we see no one opposing this, because the only people who oppose Shin-Ra are “extremists” or “violent terrorists”.

Zack then became their loyal puppy, groomed to fill his role as super-powered attack dog to sick on anyone they deemed appropriate, and he filled the role. He believed he was doing good. He didn’t think they were invading another country, because that’s not what he was told.

He went after Genesis, because that’s what he was told, and he wouldn’t let Genesis’ actions shake his faith in the company.

Then he went after Angeal, hoping to get answers, only to become more confused. Angeal taught him about SOLDIER honor. He taught him about a higher calling. He was the one who made Zack truly loyal to the company. This challenged everything Zack knew.

He went with Sephiroth, planning a small rebellion of their own (a white lie on paperwork) to get answers, only to find things he wasn’t ready for and couldn’t fully understand.

Zack is shaken by each of these events. Horribly. At times, we even watch him grieve. But time and time again, he doesn’t leave the company. He sees the damage they do first hand, and he doesn’t leave the company. The company isn’t the problem, to him. He reads their emails, does their dirty work, and “maintains his SOLDIER honor”.

Zack swallows what they give him right up until what they give him is torture.

Zack swallows what they give him until he becomes their victim.

Every step of the way, Zack is fed a story of how the world is. He was raised on it. He lived it. He became part of it. He was paid peanuts to enforce the status quo Shin-Ra installed in the world by force, and he was proud of it because it was, to him, something to be proud of.

Zack believes the propaganda whole-sale, and we get to watch, from the point of view of an outsider, as it slowly destroys his life before killing him.

Propaganda has the power to make suffering normal. Propaganda has the power to make murder righteous. Propaganda has the power to take a thirteen year old boy out of his home so they can give him a sword, and when they point him in the direction of their enemies he charges of his own volition, because they made him believe in their cause. And he believes in their cause because he believes that it makes life better for everyone.

But that’s not what’s actually happening.

That’s just what he was told.

Crisis Core is about propaganda, and the depths to which it can affect our lives. It changes our belief systems. It changes our perceptions of reality. And when it’s torn down around our eyes, it can make us go insane. It can make us violent and unreasonable as we realize just how much violence is being forced upon us—violence other people just plain do not see. It's just a a piece of paper. It's just a law. It's just a job.

It's just a war.

Final Fantasy 7 was about Fascism.

Crisis Core is about the propaganda that built it. It is told from the point of view of a boy, then a man, steeped in it. He watches until the people suffering around him—Sephiroth, Genesis, and Angeal—are twisted into villains by the truths and lies around them. Genesis and Angeal are tortured by truths, Sephiroth is transformed by lies, and Zack is subsequently hunted down to conceal them.

Crisis Core is Propaganda: The Video Game.

[stvrnioloslvt]

the estes method - Matt Sturniolo

bf!matt × gf!reader

PART ONE HERE

disclaimer: the following content might not be suitable for everyone. please, read the triggers list before reading this story. also, english is not my first language, but i hope you enjoy it nevertheless!

(pictures taken from pinterest, credits to the owners)

triggers: none, just pure fluff ahead

「 ★ ★ ★ 」

the car ride was silent. colby had offered to drive us home so that matt could cuddle me in the backseat. from time to time he tried to make small talk just to assure himself that i was alright, but i was too drained to actually reply with words.

i felt empty, too damn scared and tired to do or say anything. i looked out the window, alert, in case something decided to pop out at any second.

matt pulled me closer to him, wrapping his arms around my waist in a protective manner. he knew that i was using the last bit of energy i had to carefully analyze our surroundings instead of falling asleep like i should have.

"baby close your eyes. there's nothing out here"

i shook my head, still not sure of our safety.

matt sighed, "you should rest, baby", leaving buttefly-like kisses all over my face in hopes that they would help me relax.

finally, i gave in. it wasn't really my choice, but my body decided that it had enough and it had to shut down.

i opened my eyes only when i recognised the familiar turn that led to the house. i stretched in matt's arms, still recovering from the short nap, and looked out of the window as soon as we pulled up in the driveway.

"i'll get you inside baby, hold tight"

and just like that i was being carried (for the second time that night) bridal style in the house, up the stairs to the bathroom.

i heard a low chatter downstairs, then the main door closed as colby went back to his car and drove away into the night.

"maaatt" i whined, wanting to go back to sleep in his arms. instead, my boyfriend put me down, locking the door behind us.

"just a quick shower, then we'll cuddle in bed as much as you want. sounds good?"

i mumbled a small okay, ready to do whatever he wanted if it meant that we would cuddle later on.

his big hands reached for the hem of my shirt, pulling it up with ease. he took a moment to notice that i did, in fact, draw tons of protective sigils on me just like i said: two on my collarbones, one per wrist, and one that was half-hidden by my underwear.

"well, i don't think that was a good idea" i chuckled, wandering where i went wrong.

i looked up to see tears welling up in matt's eyes, clearly still shook from the scene that played in front of him.

and that's when it hit me: how did the boys feel in that moment? what went through their minds? of course, being the protagonist of a traumatic event was hard, but how did they live it as spectators?

"matt" i whispered, taking the boy in my arms. we held each other like that for a few minutes, sobbing, relieved that everything was over, but also scared to death for what could have happened instead.

"i was so scared, my love, so fucking scared. so, so scared" whimpered matt, holding me tighter with each word that left his mouth. he pulled back, looking me in the eyes, holding my head in his hands. the look on his face mirrored mine: bloodshot eyes, tear streaks drying on the cheeks, the expression of someone who was convinced that they had lost everything that they loved the most.

"i love you" i managed to choke out, caressing his cheeks.

"i love you too, baby. so fucking much"

his head turned towards the shower, an implicit sign that we should probably go ahead.

as we stripped each other, we made sure to take all the time needed: kissing, nibbling, hugging whenever we wanted. and as we stepped under the warm water, i made sure to appreciate with gratitude that moment of just us two, cuddling and loving each other gently.

「 ★ ★ ★ 」

"jump in bed, sweetheart, i'll just turn the lights off"

"no, wait!" i pulled matt away from the light switch, gripping his wrist tightly.

"can we sleep with the lights on? just for tonight, please"

the boy smiled at me softly, climbing in bed next to me.

i scooted closer to him, letting his familiar scent invade my senses. matt wrapped his arm around my waist, pulling me impossibly closer to him.

there, protected by his presence, his warmth, and his love, i felt truly at home.

"matt i love you so, so much that words can't describe how my heart feels for you" i mumbled, trying to fight the sleepiness.

"like seriously," i continued, "my heart hurts at the idea that you will never know how much i truly love you"

matt chuckled, listening to my pathetic babble in a sleep drunk state.

"go to sleep, sweet girl, i love you too."

「 ★ ★ ★ 」

the end.

hope you guys enjoyed it! I truly felt the need to give these two a chance to cry it out and fall asleep in each other's arms, knowing that they are safe.

let me know if you have any suggestions, ideas, or even if you liked it!

love you all,

-bree <3

[ameliathornromance]

A big sigh escaped the Orc as he swept his gaze around his flat. The moon light from behind him streamed in, casting his large, hulking shadow into the hallway.

He expected an excited, sing-songy voice to welcome him home, to tell him that foods on the table and ready to eat.

The Orc flinched at the silence. He shook his head, sighing and shutting the door behind him. Why did he expect it?

It had been like this for 3 weeks.

He was confused, stunned when you told him that you thought things weren’t working. He’d begged you for a second chance, another opportunity to prove that he could do better, be better… but the look on your face, your placid expression made it clear to him:

You were done.

He endlessly searched his mind, desperate to find something that he had done wrong - had he accidentally flirted with someone? Had he said something? Done something, anything?

Turning on the front room lights and opening the freezer, the Orc sighed. Normally, the fridge would have been filled with fresh vegetables, meat and sauces, all of which you would use to cook the most delicious gourmet meals known to man.

Well, they were gourmet to your ex-Orc Boyfriend.

He smiled, sadly, remembering the dishes you made with fondness.

There was nothing better than coming home, to one of your exquisitely prepared meals after a tiring and hard day at work.

Inside the fridge now, was nothing but a microwave meal. Popping the thin plastic film, your voice scolded him for having such a poor choice for a meal.

“At least boil some rice or something!” He heard your voice in his mind.

The microwave whirred, his processed meal turning slowly.

While that was… ‘cooking’, the Orc turned to his front room and turned on the TV. He mindlessly scrolled through the channels, reality TV shows, informational and geographical programs flicked past him.

You liked watching cooking programs, that’s where you got most of your food ideas from.

He groaned as the microwave beeped at him, harsh and unfriendly. Nothing like you.

After plating, he sat in the sofa and settled on a telenovela.

The female protagonist, a gorgeous Elf woman swung her long blonde curls, pointing at the male love interest, “How can you ignore me, Ronaldo?!” She declared, tears streaming down her cheeks, mascara trailing after them. “I work tirelessly for you! Do everything! Why can’t you just show some appreciation for once?! Take me out to dinner or something?”

The Orc froze, watching the scene unfold, the Elf woman wailing as her love interest protested: “What are you talking about?! I do all the heavy lifting! I go out and earn my keep, so you can live easily, why don't you appreciate that?!”

His heart in his throat, your ex seized the remote beside him and fumbled, desperate to turn off the TV. Once the screen had blackened, the Orc sat in silence, microwave meal untouched in his lap.

And that’s when he realised… it was him. You did work hard, you stayed at home at his request and did all the house work. When you made an attempt to cuddle or to go on a date with him, he was always too tired from work to do any of that.

The faces of disappointment and sadness as you had tried to get him to show any kind of love for you… And he’d just dismissed it. Ignored how you felt in favour of himself.

He looked down at his dinner for one, vision blurring.

Big, salty tears ran down his cheeks as he realised what he had lost.

Patreon

[hyperions-light]

hey I was planning another post today but instead let’s talk about how much I love that there’s not really a ‘good’ ending to the companion plotlines in Veilguard. It reminds me of Leliana and Alistair’s plotlines in DAO in that what you choose says more about the player/protagonist than anything

I just finished Isana Negat a second time, and I did the other ending and I thought it was just as good. Like, yeah, Harding does deserve to be angry! They did fucking get everything taken away from them! It’s so painful and horrific; yes you can, and should, be mad! But also Harding prioritizing her very real love for and compassion towards other people is not wrong. It’s just different! It’s just Rook’s friend/lover asking them for advice, and Rook giving it! You know, like in real life except with huge magical rock giants

And okay I’m never going to kill Illario because I think it would make Luca really sad and he has enough problems, Whoops I misremembered this, I don’t think you can kill Illario actually. I love that for Luca <3 But yk, I’m probably still not going to imprison him. but I can see it! Because the cycle has to end, right? The violence and infighting of the Crows endlessly attacking each other over power is part of what allowed the Antaam to get a foothold in Antiva, because there was like a double agent or something (if I’m remembering right from Tev Nights). Some kind of ending needs to be made to this endless violence. And I suppose it depends on how retributive Rook is, which is a great question to ask of the player (one that is asked repeatedly throughout the game). It’s not like Illario didn’t do anything, you know! He probably deserves punishment. But Rook, as they always can at various points, can be merciful, can choose absolution. Wow no, I’m glad I was wrong I love it more like this.

And oh boy, I LOVED the ending of Emmrich’s quest, don’t even get me started! Like!! I thought it was going to be ‘well obviously we HAVE to save Manfred’, but how Emmrich talks about accepting his death and his sacrifice convinced me! I was like alright man, this is a real choice! I actually did make him a lich last time (made a lot of sense from a Watcher perspective, imo) and not only was the cutscene sick as hell, but the follow-up was so funny and I got some really sad Spite dialogue which fucking wrecked me. It was great— seriously, his plotline is one of my favorites in the whole game.

And Davrin’s! I’ve already expounded at length about how much I like his quest line and how it ties into the Grey Wardens, but I really think both of his options for the griffons are so workable, because you know the Grey Wardens, especially under Antione and Evka, aren’t going to hurt those little guys again! But also the scenes with Eldrin are so endearing, and Davrin’s hope for a brighter future for them is so sweet and genuine. It’s hard to pick! It’s about Rook's perspective!

Neve's I'll admit I don't vibe with as much just because of the like 'trust the authorities' angle, but i haven't tried saving Minrathous yet and I think it would be sooooo involving as a Shadow Dragon especially. Because that's what they're fighting for, right? That better Minrathous where they CAN be sure that if they send the insane cultist lady to prison she’s going to stay there? But there’s always the practical consideration of people’s lives being at stake NOW, of Neve needing her friends safe NOW. And just killing Aelia ensures she will never be an issue again. So I can see both angles for sure

And Taash ;-; oh, Taash. I haven’t posted about them that much yet because they make me very emotional and it’s hard to organize thoughts like that. But I really love their quest, and their struggle to define themselves. And look, I know people wanted the option to tell them they could be both, but like as a person who has lived a similar experience, it really feels sometimes like the world is making you choose. It can feel like you’re not enough of either thing for anyone. And there are parts of your identity that you will have to make a choice on, and I think it’s trying to speak to that. I did the Rivaini one, and it’s like… well, they’re embracing the culture of Rivain, but it’s not like anyone is ever going to look at them and NOT see a Qunari. You can’t get away from that. What you choose to do in response is a real dilemma and I think that if you engage with the text genuinely you can see what Trick was doing. Also, there is a really great dialogue from Rook that I think gives more context to the discussion; they can say that they have been many things, and it’s important to take what works from each experience and make it part of yourself. So I don’t think Taash’s plot is trying to make them throw away any of themselves, just defining priorities. (Sorry, that got long. Feelings, opinions about that one)

And I don’t think Bellara’s is obvious, either, especially with how they involve the Nadas Dirthalen in her personal plot. This is a thing that is really emotionally and culturally significant to her, but at the same time it is part of what hurt her brother and ultimately took him away from her. She’s really preoccupied with not causing harm by her actions; she spends the whole game worried about it! And even though Rook doesn’t see the dangerous elements of the repository, that doesn’t mean they’re not there. The puzzle quest you can find in Arlathan proves that other people besides Cyrian were taken in by Anaris. And also, there’s the plot thread they briefly touched on in the last game which is that the culture the Dalish have built, that they have RIGHT NOW, is not wrong. But it’s also important to remember history, even if it’s unpleasant or could be dangerous, which is another thing you can discuss with Bellara during the game. So there’s no wrong choice! It’s just about Rook and Bellara and what’s important from their perspectives.

Anyway it was super refreshing to have these kinds of choices! It reminds me of the best character choices in DAI and DAO, especially, and I’m so happy they carried those things forward and improved on them.

[lej222]

Supernatural Involvement and Ominous Signs in ASLFUA

For a while, many readers have theorized that there is some kind of a higher power/higher being in ASLFUA, and looking at the latest episodes it seems to have been confirmed. With this post, I've tried to gather every instance of the higher power's implied presence and all the ominous scenes in the story. I also included foreshadowing scenes that could have made Miae aware of certain things if she had paid attention because coincidences are important in the story, and certain moments that were defining in the plot.

Episode 2 :

Miae is reading a book in the library about how the last day of 1999 will be the end of the world: "'1999, a terrifying overlord is coming...the end of the human race.." -> this might be a reference to the famous prophecy of Nostradamus in which in the 7th month of 1999 a great king of terror would descend from the skies (which makes me think...is it July in the story right now?)

The Hwang family's phone stops working

Miae's dresser breaks and therefore she has to take out the trash, where she sees Cheol crying

"This boy is about to be this girl's most special person, someone whom she will never be able to forget."

Episode 3

Miae and her mother visit the Buddha statue and Miae's wish is not to be in the same class with Cheol - it doesn't come true.

Miae, Cheol and Jisu all become classmates in their last year. Miae and Cheol become deskmates by coincidence.

Episode 4

Cheol's furniture becomes Miae's, along with the contents of his dresser, something only he knows about

Episode 5

Yunhui calls Miae on their new cordless phone, the line is interrupted by another conversation, "Did you get the present I sent you?" - it sounds like a message to Miae from the higher power about Cheol

Episode 8

Miae ruins her bangs, her mother says she should do something about her hair - the first time we are told Miae should go to a hairdresser to fix it

Hwanggeum Academy uses corporal punishment - might be relevant later on?

Miae has to go to karaoke so she gives up on going to the hair salon (this foreshadowing is super crazy btw)

Episode 9

Cheol is compared to the protagonist of the comic Miae reads, 'My First Love Next Door Is Number 1' - gets into trouble and transfers, fights the school bully and wins, nicknamed Lucifer, has a facial scar, lives next door

As Miae is thinking about Cheol, her thoughts are interrupted by a cockroach in the classroom

Episode 11

Miae notes how strange it is that she keeps seeing Cheol while they didn't bump into each other the previous year (just like how Jisu later keeps commenting how strange he keeps meeting Miae) - Miae acknowledges the higher power

Yunhui's pager says "between friends goodbye"

Episode 12

Miae has a weird feeling when she's talking to Cheol's shoe as if it understands what she's saying

Episode 15

In her dream, Miae remembers Cheol crying and her making a wish with a stone tower about how she wants to be his friend. The phone suddenly rings, the TV becomes static and there's a storm outside despite the weather forecast not saying anything about it. The other end of the phone is silent and the lights go out.

Episode 17

Cheol's shoe gets smudged with ink so Miae cannot give it back to him. She cannot concentrate on her practice test, foreshadowing her involvement with Cheol's academy.

Episode 21

Miae again remembers some memories about Cheol saying he doesn't want to be her friend while she's sleeping

Side note: while Soonkki is a great writer, there's some inconsistency about Jisu's seating arrangement. I think she always meant him to sit in Block 1, that's why we got limited panels of that area of the classroom, but his position kept changing until his official introduction. Here, he should have been sitting in front of Seonghan, but there's another boy in that seat. In episode 23, we get a panel of Block1 again, and there's a boy who looks like Jisu from behind in that.

She again remembers her time with Cheol while sleeping on the bus

Episode 24

Daebak Academy notebook says "The teacher is spoon-feeding you, so why can't you pass" -> the higher power is giving hints to Miae, why can't she understand them?

Episode 29

Miae thinks about how she doesn't bump into Cheol as much as before, we get a close-up of the shoe and the Daebak Academy notebook

Episode 37

Miae falls on Cheol while playing soccer

Episode 39

Miae and Cheol are arguing but still bump into each other because of their parents

While Miae thinks about how Cheol should smile at people, she almost gets hit by a ball but Cheol saves her.

Episode 40

Cheol goes to Miae's house to do their homework. Miae's mother says she wonders if it will rain before she leaves. Cheol tries to change the lightbulb in Miae's room, but the lights go out because of the storm. Miae thinks "again?" and they fall on each other. She tells Cheol they should be friends.

Episode 41

Cheol agrees to be Miae's friend and we see a flashback of young Miae wishing they would be friends. While they are doing their homework the rain stops. Miae says planes even fly in the rain and Cheol replies that airplanes fly above the clouds.

Episode 42

Miae answers their phone and the line is interrupted again. Someone thanks their boss for the present and says they will do well on their own from now. -> is it a sign Miae should do well on her own after the hints?

Interesting to note that every time Miae might be involved with the higher power, certain objects in her room are highlighted - Cheol's shoe, the lamp, the notebooks. They all give signs to Miae that she keeps ignoring.

Episode 43

Cheol and Yonghui point out that Miae should get a haircut. Miae ends up cutting it herself instead of going to a salon.

Episode 45

Miae wishes upon a star instead of a plane so that the presentation in class will go okay. This actually comes true, as also noted by the narrator in ep 46.

Episode 46

Daebak Academy booklet says "nothing comes easy"

Episode 47

Something I've noticed is that throughout the story Miae keeps thinking she forgot something, and there's usually a situation that seems like the answer to it. Here, it turns out she forgot about Jinseop's homework. And Taekwang's song is about how someone cannot do both things at the same time. It was the same when she forgot about her homework while playing soccer. Forgetting about things is a recurring plot point for Miae, which culminates in the Jisu subplot where we learn Miae completely forgot about his existence even though she didn't have many friends who were boys.

Episode 50

Cheol's father wants to take a picture of Cheol and Miae, but Cheol refuses

Episode 51

Miae again cuts her own hair and wonders if she cut it too straight

Episode 55

Cheol kicks Miae's pencil into Jisu's chair (side note: you can see here again how Jisu's seating arrangement was inconsistent, he should have been closer to the window)

Episode 56

Miae gets sent out to the corridor with Jisu

Miae's friends talk about handsome boys and someone mentions the number1 student (Jisu)

Episode 60

Jisu becomes Miae's folk dance partner - the first time Cheol and Miae are not doing something together

Episode 61

Hwanggeum Academy booklet says "there's nothing you can't do if you put the work in, do not expect a miracle" when Miae is struggling with the dance

Episode 65

Cheol's father takes a picture of Cheol and Miae after the sports festival

Episode 66

In Miae's dream, Cheol's sister says for a while means 5-6 yrs, Miae counts she will be in middle school by then. There's also a memory of Miae running after Cheol, saying "wait for me".

Miae's mother tells her to get a haircut but Miae replies she needs a bigger allowance for it.

The narrator says Miae should watch where she's walking after she bumps into Cheol.

Episode 67

Miae loses her name tag and Jisu finds it

Episode 70

Miae wonders how her wishes never come true, but remembers she also made one with the stone tower as a kid, but cannot recall what it was about.

Episode 71

Miae's mom notes their phone keeps ringing since yesterday. The day before Miae wanted to tease Cheol with how she heard him saying he "loved her" in the shop and she saw him shirtless the same night.

Miae doesn't realize it was Jisu who called her a pervert

Episode 72

Miae notices someone wearing her name tag (Jisu), but doesn't find the culprit

Episode 75

Cheol wants to ask Miae something, but the homeroom teacher interrupts. Miae and Jisu get called to the teachers' room and have to do cleaning duty together for a week.

Episode 76

We see Miae's mom at a hair salon - could the lady in orange be Jisu's mother? who knows

Episode 77

Cheol stands up for Miae, but when Honggyu asks if they are dating, they both vehemently deny it. It suddenly starts raining.

Episode 78

Miae and cheol promise to be friends for real, forever. The narration comments, "But will they end up regretting their promise?". The rain stops. "1999, the final year of the century is half over" -> Miae's story is half over at this point. I have pointed out this before, but the series seems to be about the transition period between childhood and young adulthood, symbolized by the last year before the new millennium. Hence the title, 'green apple academy'

In her dream, Miae remembers asking Cheol if they are friends. She is awoken by their phone. the Daebak Academy notebook says "you are in danger if you are relaxed" and we see a girl talking to Cheol.

Episode 81

Cheol and Miae fall on each other and almost kiss, but the phone rings. Later, they do end up in the same position with an accidental kiss.

Episode 82

Miae wants to confront Cheol about the kiss and gets embarrassed, but her actions are interrupted when the trash bag she gave Jisu splits open, spilling its contents. Miae runs to him to collect it.

Episode 83

While Miae talks to her friends, she thinks back on her memories with Cheol and the narration says "I always liked.." and Miae looks surprised by it.

Episode 86

Interesting detail that Cheol doesn't know why Miae keeps looking at airplanes. If we assume she has a reason for doing it from the past, it's likely not related to Cheol.

Episode 87

Miae uses the trashbag as an excuse to run away from Cheol, repeating how she has to throw it out. All of a sudden, Jisu appears and takes it out of her hand, giving her a chance to run. It's just my personal theory that the trashbag here symbolizes Miae's vulnerability and reluctance to face her feelings, and Jisu takes it from her hand. It makes sense when we remember how his words made her think about her actions when she wanted to interrupt the confession. It's a great early foreshadowing that Jisu might play an important role in Miae's growth story as her voice of reason.

Episode 89

Cheol and Miae take photos together in a photo booth, first with Jinseop and Song-I, then the two of them alone. We don't know if Miae still has her pictures, but we can assume she somehow lost them during running around from the bullies because we never see them again. Cheol gives her a new name tag in the next episode.

Episode 95

Cheol gifts Miae an airplane model for her birthday. I personally believe this episode marks the end of the first part of the story and it's a turning point, but more about this under ep96.

While Miae leaves for school, their phone suddenly rings and her mom answers it. Miae sees posters about love on her way to school. For the first time, Jisu arives early for cleaning duty.

Episode 96

The series has had 2 symbolic illustrations at the end of 2 episodes. The first one was at the end of ep2, when Cheol and Miae's story started in the present:

Miae is offering a green apple to Cheol - a biblical allusion, here, the green apple probably signifies how Miae helps Cheol in the first part of the story to mature and grow as a person with her own knowledge.

This illustration comes at the end of ep96. Like I mentioned, I believe this marks the start of the second half of the story which focuses on Miae's growth as a person. Space is an important concept in the series, Miae also has planet stickers on the wall of her room,has a charm on her bag, etc.

"16 years old. An age much like the universe." "16 years old. An age where it's like you're thrown into space." - highlights the narration.

But why is it compared to space? We have the illustration right after Jisu splashes water on Miae's face and Cheol wakes up from his dream. In my opinion, it's because this is where these kids' limited worlds start to expand. In part 1, Cheol and Miae were mainly together, but as you grow up you start to feel like you're just one insignificant part of a greater whole. You might feel like you're the center of the universe when you're a teenager, and that the world is ending when you experience negative emotions, but as the illustration shows us, it's not just Miae and Cheol standing alone in the universe. There are other people, facing different directions, but they are all interconnected by an invisible force. Miae is looking at Cheol, but Jisu is standing in her shadow- because even though she was not aware of him, Jisu had his own life happening parallel to what we saw in part1, and this is where he starts to have an intersection with Miae. If there is a higher power in the story, it is aware of all these connections and talks about youth in a nostalgic way. The sense that these moments are fleeting is always present in the story, however, connections formed between individuals will always have a lasting impact, just like how the universe will continue to exist. Being thrown into space might feel like losing your footing, but here it's the personal relationships that ground these teenagers and make them stay close to Earth.

Episode 98

The teacher tells Miae to cut her hair after Jisu takes the blame for ruining the plant.

Cheol is acting strange because of his dream, and while Jisu looks at Miae the narration box says: "16 years old. An age riddled with the unknown, just like the universe."

Episode 99

Miae's hair gets stuck in the zipper of Cheol's bag and he pulls it out, ruining her bangs in the process. They go to the infirmary after Miae gets scratched by the zipper.

Episode 100

At the countryside, while Miae picked a flower she thought how nice it would be if Cheol came to her school - and it became true. She thinks how it was so strange -> Miae again unknowingly acknowledges the higher power when it comes to Cheol

Episode 101

It's raining and the TV is not working in Cheol's home. He remembers taking a picture with Miae in the countryside. He asks his father about the picture on the sports day -> the data was lost. Miae gets grounded by her mother and she wants her to quit the academy.

Episode 102

I've mentioned symbolic objects in the story, but this one was noted by other readers as well: in ep 101, Miae accidentally drops the chalkboard eraser out of the window and Jisu fails to catch it - but Cheol does. However, in this episode Miae tosses it back to Jisu before saying she hopes they'll never see each other again (it's the first, but not the last time she declares it).

Cheol fails to convince Miae's mom about the academy -> Miae's mom points out Miae's grades have been dropping since last year. She makes her stance clear - she wants Miae to study.

Episode 103

It's raining and Miae cannot open Cheol's drawer in her room.

She tries to cut her hair, but the phone rings. On the other line, Miae hears someone saying "I only did what I did because you wanted it so bad, but you screwed up that chance! You don't deserve that project, I'm going to hand it to someone else." -> the first time the higher power tries to directly say Miae is late

Miae's mom cuts her hair instead of sending her to a salon...

Miae loses the name tag Cheol gave her

Episode 104

Jisu says "see you again" to Miae (and will keep saying for a while lol). Miae points out she never wanted to see him again.

Episode 106

After the teacher discovers their conversations in class, Miae and Cheol get separated and Miae becomes Jisu's deskmate. Miae and Cheol are not allowed to interact until the final exams are over.

Hwanggeum Academy's notebook remarks "Do you regret it now?"

Episode 107

Miae dreams about the flower from the countryside and a voice says she should hurry up and do what she wants about her wish if she remembers. She doesn't remember and the voice gets angry, Cheol appears and crushes the flower, telling her if she doesn't remember she should just forget it. The voice remarks Cheol is angry because Miae is late.

Episode 111

Jisu, who has also become aware of the coincidences, tells Cheol he's not the only one having something special with Miae.

When Miae calls Jisu her friend from the same class and tells him he should learn for himself, Jisu tries to say something, but he is interrupted by Cheol.

Episode 112

Miae thinks about their bet and how she should ask something serious, something more than friends do from Cheol, and we get a bunch of error messages. Cheol's dream is all fuzzy.

Jisu wins the bet, but we never get to know his wish because Miae gets angry at him.

Episode 115

The narration points out Cheol has changed and matured a lot, is it Miae's turn?

Episode 116

We see some posters about a summer festival, the forest in Midsummer Night's Dream and how everything is the product of coincidence.

The forest in Shakespeare's play is dominated by the supernatural - what we have in common with this story is the forest Miae and Cheol played together as kids, and obviously the involvement of a higher power. The coincidences poster is possibly a reference to Carl Jung's Synchronicity, a concept that states that seemingly meaningful coincidences have a deeper meaning, they don't have a rational explanation - almost like destiny, a deeper order in the universe. It's a connection between one's psyche and the material world (so you have to notice and acknowledge the deeper meaning of these coincidences in order to experience synchronicity). Jung used this to argue for the existence of the paranormal. For example, if you cannot decide something, you might come across a book on the topic. What a coincidence, right? In this interpretation, everything is interconnected in the universe, and we are a part of this web of connections. So those coincidences...were actually not coincidences. -> Hmmmmm.....I wonder.....meaningful coincidences, the universe, connections...why do they sound familiar??? BECAUSE OUR STORY IS EXACTLY ABOUT THIS NOTION! Who notices these coincidences? Miae about Cheol, Jisu about Miae....One has to be open to the possibility of the connection between our inner world and the outside world, only then they can start to notice the signs the universe is sending them. Soonkki, you deserve my applause! Because it was exactly what I said about the art at the end of ep 96 and the placement of the characters. Mind? Blown!

Miae thinks that she feels something is wrong

Yunhui's pager says friends goodbye

Jisu gets involved in the Yonghui-Yunhui storyline by coincidence

Episode 117

We see all the coincidences from Jisu's perspective and how he became aware of them. And what does he say about them? That they are fascinating and kind of funny! My boy Jisu got the synchronicity message.

This is the 3rd time Miae and Jisu didn't hold hands. The first time Miae pretended to help him up, only for him to fall back. Then Jisu held out his hand after the exam, but she didn't take it. Here, he again reaches out and Miae doesn't take his hand. Remember this later!

Episode 118

Someone steps on Cheol's bag, and he's worried it might be Taeuk

Jisu wants to join in another bet in exchange for his help

Episode 119

Jisu gets involved in the Shim storyline, and as we know from later he picks up the cigarettes to get revenge on him

Episode 122

Miae learns that Cheol rejected Seonyeong and the lights flicker in her room

She cannot remember her dream. The narration says that she should have realized that something changed.

Episode 123

Miae notes that she experienced the kiss in the comic book with Cheol

Jisu almost catches her, but Cheol pushes him away

Episode 126

The parents are having dinner together at a pig feet restaurant and toast for the future of their children. The TV is not working, and a boy who looks like Jisu tries to fix it.

Miae kisses Cheol

Episode 127

Miae has a dream again in the white dress. As she realizes she might like Cheol, the voice says she's too late and there's no use regretting it.

Episode 129

Miae remembers that they took a picture in the countryside together and wants to take one now. She makes a wish to an airplane about how she just wants one photo, and remarks that the planes never granted her wish before. Spoiler, they won't this time, either.

Miae chooses to take the picture with Cheol. The narration box says "she's always done whatever she sets her mind to. That has always been one of her better attributes. But Mi-ae, it seems as though you keep forgetting something. I told you, you're too late."

The pager's message means idiot, cancelled and it suddenly starts raining. Maie and Cheol cannot take their photo and Cheol cannot give her back the hairpin she dropped a few eps ago.

Episode 132

Graduation photos were postponed until the second semester

In Miae's dream, the voice says she's all over the place and cannot decide what she wants from Cheol. In her memory, Miae wishes at the stone tower that Cheol would like her back. The voice angrily remarks how it must not mean much to her.

Episode 133

While Cheol and Miae are looking at each other, Miae is smacked in the face by a flyer. Later while they are riding the bike, Cheol almost says she looks pretty but he is hit in the face with a flyer that belonged to Jisu.

Episode 134

Miae takes the cigarettes from Jisu and puts them in her backpack

While Jisu and Miae look at each other, the narration box says "Well. this is what we would call fate. What do you think?" Miae can sense the voice and dismisses it.

Jisu again says "see you later" and Miae answers let's not, but Jisu replies they never know and it would be fun.

On the radio in Miae's room there's a voice speaking, asking if it was a success and how there is something you can't stop thinking about. "A friend? The fact that you weren't wrong? Whatever it is, I don't think it's such a bad thing to obsess over it a little bit. I hope you have no regrets about it."

Episode 135

Miae's eyebrow and bangs are so ruined she has to finally go to a hair salon. Yunhui gives her money and says there's a cheap place where she can go. It turns out Jisu's mother is a hairdresser and after realizing she is Jisu's friend, she doesn't ask for money. So if anyone ever wondered why Miae kept ruining her hair in the story, here's the answer....

a little bit of strange wording here:

The narration says "Now that I think about it, this was about the time..wait,no, it was a little bit earlier that things started to go wrong, little by little. You two were completely oblivious, though. Just you two."

Miae's mother goes to the academy. One theory I can give on this is that Miae's family might be moving. She wished for it at the start of the story, mentions it in a later episode as well. Who knows ~

Episode 138

Miae doesn't tell Cheol her feelings because of her pride as she feels like she would lose first

Miae has a feeling as if something is trying to make her look bad in front of Cheol and her gun suddenly starts working

Everybody forgot to buy the picture they took together in ep 139

Episode 140

After conveying their feelings indirectly to each other, Miae tells Cheol they cannot date right now because her mom wouldn't allow it. She plans to go to the same high school, university, everything and thinks there's no one to stop them so nothing can go wrong.

Episode 141

Cheol imagines high school together with Miae and their friends

Every time Cheol is flustered, he accidentally drinks his sister's coffee and he cannot sleep at night..in a story where dreams are relevant I'm sure this is just a coincidence, right???🧐🙃😏

Miae says they should not be obvious before the entrance exam and they start to think of it as a competition

Someone watches them from the street

Episode 144-145

We get everything from Cheol's POV

Cheol got his scar because he wanted to give Miae the romance book she liked before they left and he fell on the stone tower

The picture his dad took of them is about a young Cheol accidentally kneeling with flowers in his hands, the same flowers from Miae's dream, in front of Miae. This picture was in the book Cheol and his family kept.

Cheol realized the book was in his dresser that is now in Miae's room, the one she couldn't open before

Episode 146

Miae sees two flyers in the newspaper, one is about how a student still didn't give it up, the other is about changing one's car

On the street, the same car ads keep flying after her in the wind

Miae goes with Yonghui to wait in a line and the same flyers are all over the place

Episode 147

Miae wants to call Cheol, but Jisu stops her. Miae notices how often they have met during vacation, and Jisu says these coincidences are fun. He remarks it's almost like as if some higher power is involved (!!). Miae is standing on the car ad, they look down on it with Jisu, then she kicks it away. Jisu tells her he has a feeling they will meet again, but Miae hopes they won't.

The academy is also full of the car ads and Miae falls on them

Miae thinks that for a while she's had a feeling as if something wants to get between her and Cheol, but brushes it off

Miae ends up with a bubble gum in her hair and goes to Jisu's house to fix it. Jisu tells her she should stay because he is bored, and there is a car ad on a stool.

Episode 148

We see some of Jisu's childhood memories and he was called a magpie by Miae which was a symbolic choice (I also made a post about it). Jisu in this story is the grateful magpie.

Miae and Jisu "touch hands" for the first time when they high-five (I wrote about how their hand hold never happened before)

After spotting some men smoking, Jisu tells Miae to go inside (one of them might be his father?)

Episode 149

Miae finally remembers Jisu

the narration boxs keeps saying how Jisu is cool and showing heart-thumping sounds and Miae is confused about these strange things

Miae not remembering Jisu was an important plot point considering she recalled everyone else from her past. As I theorized, memories and fate seem to be intertwined, the synchronicity theory also supports this. Synchronicity happens when seemingly unrelated events coincide and they become significant to you. It's easy to see why Jisu was aware of this notion, but Miae was not - because Miae had no idea about those coincidences other than meeting Jisu randomly. Him being her classmate, being the one who found her pencil, who helped her in the crowd, found her name tag, etc. - only Jisu knew about these. But right now, Miae was made aware that they knew each other in the past - a pretty big coincidence.

So now that Miae might have kickstarted her own fate, the question is whether she will be able to fight it or if there are certain things bound to happen no matter what. Is the narrator omnipotent and omniscient? So many questions that will hopefully get answered.

Episode 150

For the first time, Miae says she and Jisu will see each other again sometime. Before this, it was always Jisu who said it and Miae would reply that she didn't want to meet him again.

Miae remembers Jisu transferring, but doesn't know why he singled her out (so she will probably recall more memories later)

As Miae leaves Jisu's house, the car ads are flying in the air around her

Jisu enrolls at the academy and for the first time he says it's not a coincidence

Episode 155

Hwani tells her mother it would be great if they could keep being neighbours with Miae because she's fun. After a pause, Cheol's mother agrees.

Jisu keeps telling Miae she's a "traitor" or "bat" (depending on the translation, meaning she keeps secrets from others like the Yonghui Yunhui situation and the fact that she went to Jisu's house) and she might get into trouble because of that

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 重啟之極海聽雷/Reunion: The Sound of the Providence/The Lost Tomb Reboot/this thing has too many names

Reunion (I'm just going to call it that) is a 2020 action drama about the most specialest little babygirl in the tomb-raiding world, his two husbands, and the cadre of assorted weirdos they pick up as they try to follow a set of directions left by a dead (?) man in the thunder.

Imagine if someone showed you the Mandalorian, and you were like, gee, that was a neat little sci-fi one-shot! because you'd never heard of Star Wars. That was basically my experience watching this show, having no idea that the Lost Tomb franchise (DMBJ) was even a thing. Turns out that not only is there a whole big continuity out there with these characters, but that Reunion takes place a few years after the main story's resolution. Don't worry, though -- Reunion doesn't spoil you for that resolution. It doesn't spoil you for much, period. Look, DMBJ has a weird relationship to endings, okay?

I have written a more thorough where-to-start guide for DMBJ as a whole, so if you want to consider other entry points, well, that information is there for your consideration. Yet it is my opinion that this is the best entry into the overall franchise, and a fun thing to watch just in general, and I'm here to make my case for both of those.

The rest of this rec will assume that you have no familiarity with the DMBJ series. That's okay; you don't need any. All you need is to trust my five reasons you should watch this.

1. Old Man Yaoi

As you begin this show, you are introduced to the Iron Triangle. That's them in the picture up there. Left to right, you have: Xiao Ge, magically tattooed immortal hottie who just got back from ten years in [scene missing]; Wu Xie, our protagonist, who's just a little guy and it's his birthday; and Wang Pangzi, the literal best.

(And yes, Wu Xie is in his 30s and Pangzi is in his 40s, which is not technically old man anything, but ... look, if you watch, you'll see why I think I'm justified in calling it that.)

They are extremely married. They are a disaster trio of disasters so disastrous that no one else should ever be subjected to their chaos. They're going to make sure lots of people are, though, don't you worry about it. Sometimes those people even deserve it.

However, because the show (tragically!!) decides that Xiao Ge has somewhere else to be like 95% of the runtime, most of the relationship you get to see is between Wu Xie and Pangzi.

I'm saying this now as an old gay nerd who just this year celebrated her 15th wedding anniversary: I have never, never felt so represented in media as I have watching Wu Xie and Pangzi interact. There's a little wake-up song they sing together near the end of the show, and it just ... it packs so much character development into thirty seconds. These boys have been living adjacent lives for so long that they've made up their own little shared songs about the mundanities of daily living. That is just what happens when you marry your best friend and then decide to get old and weird together. Ask me how I know.

Look, if you want to know whether this show is for you or not, watch to the end of the first episode, to the part where Pangzi flips over the table. If your heart is filled with joy (as it should be), keep going.

Love makes a tomb-raiding syndicate family.

2. A fun-filled action-packed romp of nonsense!

If you're familiar with Hellblazer canon, this will make sense to you: Reunion is Dangerous Habits. If you're not familiar with Hellblazer canon, try it like this: Reunion is a terrible place to start because it plays on your extant affection for a character who gains a terrible status effect almost immediately. It's a also great place to start because it throws you right in the action with measurably high stakes and gives you a reason to build that affection very quickly.

I'm also going to warn you right off the bat: The plot of this show got cut to ribbons by censors.

See, the DMBJ books, being books, are allowed to get away with supernatural shit! So you've got zombies and ghosts and curses and monsters and immortality and all your other standard ooky spooky semi-urban fantasy trappings. But the DMBJ adaptations, being live-action, are heavily regulated in their content. This is why, in the early Reunion episodes, our heroes are menaced by human-looking creatures that are actually ancient mannequins made of leather that are piloted, mecha-style, by evil clams. Because evil clams are more scientific than zombies. I guess.

So yeah, the plot of this book already had to get mangled into a more "science"-compliant shape even before it made it to filming. The real problem is that a whole lot more of it got cut after it was all filmed and put together. I have read an explanation of what the actual storyline was supposed to be, and yeah, if you know what you’re looking at, you can see (and hear) the scars where major elements got hacked out with a weed whacker.

Therefore: You cannot expect this plot to make sense.

But that's okay! You're not here for the plot to make sense! You're here to watch some characters you love run around through ridiculous and sometimes beautiful labyrinths, trying to solve puzzles you're never given enough information to understand, all in search of the resolution to a mystery that had half its guts torn out before you got to see it -- and you are here to love it. If you have ever laughed and cheered your way through a Mission: Impossible film without pausing to care too much about the plot holes it’s dodging left and right, you are in the correct frame of mind to appreciate this. Just believe that whatever engaging nonsense the show tells you is correct for the time being and go with it.

You cannot watch DMBJ and care about the laws of physics. You simply cannot.

Do not, however, let me give you the impression that the shoddy plotting is accompanied by equally shoddy performances. A major part of this show’s incredible watchability comes from how the cast is shockingly good. There are some serious heavy hitters among the actors. A major part of why this Wu Xie and Pangzi are my favorite together is the incredible chops both Zhu Yilong and Chen Minghao have, to say nothing of their real-life affection for one another. (See that scar on Wu Xie's neck? That scar is there because Zhu Yilong commits to the bit.) Effortlessly charming Mao Xiaotong turns potentially irritating wunderkind Bai Haotian into a perfect precious weirdo baby. Wu Erbai's entire second-season character arc could have been unintentionally comedic, but veteran of queer cinema Hu Jun sells even the undignified moments as relentlessly tragic. And of course Baron Chen absolutely kills it with...

3. This giant fucking loser

This is Hei Xiazi. That's not his name, but it's close enough. Allow me to do a dramatic reenactment of my watching his first scene:

[camera pans over to him]

me: Ugh, I recognize this kind of wannabe badass character design. I hate his type. He's self-important, hyper-masculine, and just a big jerk, and the show thinks he's soooo cool. Barf.

[thirty seconds later]

me: Oh no. I was so wrong. I love him forever now.

This is because he is (as indicated above) a giant fucking loser. Yes, he's a good fighter who knows lots of things. He's also a wet potato chip of a man. Sure, he can get you into a headlock, but he can also annoy you into submission, and that's honestly more fun for him. My wife has used the phrase “Vash the Stampede-coded” to describe him. My wife is not wrong.

And the kind of ridiculous thing is, being such a loser is what wraps back around to making him cool again. He's a loser because he just doesn't fucking care. His masculinity is the opposite of fragile. You tell him to wear a dress and makeup, he'll do it -- and sure, he'll complain, but only because he enjoys complaining. He has no dignity. He’s tits-out. He's gender. He's the worst and also the best.

Hei Xiazi is a major character in the other installations, to the point where he and his boyfriend (more on him later) even have their own movie. But of course, I did not know this on my first watch, so I kept expecting the show to explain his whole deal. It does not, but you don't really need it to. He sees better in the dark. He doesn't age. He's a thug for hire. There, that's all the bio you need.

One of the things that makes him great is that he is the least sexually threatening person ever. Across all the properties he's in, he spends a fair amount of time with women -- sometimes in very close quarters -- and they are perfectly safe around him. I actually wrote a whole post about it once upon a time (warning for tiny spoilers for a series that isn't this one) wherein I claim that not only Xiazi but Reunion in general is the television equivalent of the shirt that says I RESPECT WOMEN SO MUCH I DON'T HAVE SEX WITH THEM.

That said, this loser does get a sort-of romance plot here -- and honestly, I find it very cute! It's not even the only instance in this series of a bisexual guy in a long-term same-sex relationship getting a girlfriend, and I like that other one too! Look, the handle of my DMBJ sideblog is @katamaricule because I joked that Wu Xie treats polyamory like a katamari, and if you don't move fast enough, you're going to be rolled right up into his gay little cuddle puddle.

This is not a show for exclusive ships; this is a show for inclusive ships. The Jiumen Association is a polycule. You don't even have to know what the Jiumen Association is to know it's true.

4. The power of friendship

This show has a lot of characters.

I'd say the supporting cast is divided into three categories: characters who have been in previous installments, characters who have not been in previous installments, and characters who probably should have been in previous installments (or at least mentioned) but who were only created for Reunion so we have to pretend like we've known about them all along.

There is no way to tell which is which -- which is part of my argument that this series makes a good entry point to the franchise.

Take Huo Daofu. Huo Daofu is a brilliant doctor masquerading as a donut stand operator who treats Wu Xie with all the cold disdain of a man confronting the person who left him at the altar years ago. On the one hand, yes! We do know Huo Daofu from a previous series, and we've known he's both a doctor and a bitch. On the other hand, oh, we have no idea why he's like this about Wu Xie, and we probably never will. The show just treats it like it's for an excellent reason, and you know what, from what you know about Wu Xie, it probably is.

Consider also Jiang Zisuan. One of the show's principal antagonists, Jiang Zisuan turns out to be the brother of ... well, let's just say it's someone whose having a brother really should have come up before this. It has not come up. (And that's even before we get into the issue of his surname.) His stated identity as that person's brother is so bizarre that my favorite interpretation is that he isn't actually that person's brother -- all the flashbacks we see are just his delusions about a relationship he's completely invented. But there's no way you'd know how fucking weird this is on your first run.

Then there's our friendly little support himbo, Kanjian, who shows up to all occasions with two tickets to the gun show and not a thought in that beautiful head. (His name just means "vest," which is par for the course when it comes to the author's naming conventions.) He was a lot more menacing in the last series (where they kept putting sleeves on him, geez), where most of what we learned about him is that you can loan him out to other tomb-raiding families. Now he's a golden retriever with great aim and a slingshot. It's an upgrade.

The trick is, you cannot be surprised when someone shows up and the show treats them like you should know who they are, even when there's no possible way you could know who they are. I mean, for heaven's sake, Liu Sang arrives in the middle of an obvious beef with Pangzi, the origins of which are never satisfactorily explained, while also having a giant do-I-want-to-fuck-him-or-do-I-want-to-be-him crush on Xiao Ge, which is also never satisfactorily explained. Whatever, you just roll with it. He's got good hearing, a bad attitude, and questionable taste in idols. Now you're good to go.

(I should throw in a special note here that Liu Sang is many, many people's little meow meow, and not undeservedly. For a fuller explanation of why that is, please consult this other post I made.)

Part of the fun of this big cast is the adorable interactions you get. All the characters have appropriately big personalities, and the show loves letting people you wouldn’t expect bounce off one another. It’s not your typical action-hero show where nothing happens without the protagonist in the room. There are lots of exciting combinations and tons of charming dynamics! Unlikely friendships form all over the place! Enemies become allies! Allies become friends! Friends become friends with other friends! Some friends become enemies again! You'll need a scoreboard to keep up!

This is not to say the show treats all its characters perfectly or equally -- one of the precious few main female characters doesn't even get a real name, for heaven's sake, and the less said about the brownface racism, the better. It is, at its heart, a dude show for dudes made in China, with all the troubling decision-making that implies. Where it does deserve credit, though, is in understanding that its supporting characters are actual people with personalities apart from their function in Wu Xie's narrative. Sometimes the show just asks "what if [random character A] and [random character B] had to interact?" and has fun considering the answer! Which is almost always a delight to watch, and sometimes even breaks your heart.

5. Amazing rewatch value!

And by this I mean the experience of watching this show is remarkably different once you have any understanding of the rest of the DMBJ universe.

For instance, there's a point where two characters are scuba-diving past some submerged coffins, and one character tells the other whose coffins they are. Working only on information Reunion has given you, you're like, oh, that's where they buried the guy who built this creepy place, that's a little weird. Once you recognize that name from other series, though, your reaction is far more, excuse me, they did WHAT to WHOSE corpses?

Or another point where a character you've already met is on a train, and there's a handsome gentleman who just happens to be riding with her. He hands her his business card! Aw, that's sweet, he seems like a nice guy! Well, no, Xie Yuchen is not nice, but he is one of our allies, and he's Hei Xiazi's boyfriend, and a lot of what he's doing hits real different when you have a fuller grasp on why he's doing it and for whom. (Honestly, a major reason to watch Reunion first is so you're not fully and appropriately upset by how your black/pink gays merely have one teeny tiny scene together.)

From the way the series treats the persistent absence of Wu Sanxing, Wu Xie's third uncle, I absolutely, 100% assumed that he was a completely new character to this installment of the series, an extremely long-lost relative that we've somehow conveniently managed to never talk about before now. So imagine my gobsmacked surprise when I went to watch a different series, set much earlier in the timeline, where the opening scene prominently features Wu Sanxing as an actual character in the present-day narrative! ...Well, sorta. Look, there's a lot of fuckery with his identity in earlier parts of the story, and fortunately you need to know none of it to understand Reunion. But when you do, it suddenly makes a lot more sense why Wu Xie talks about someone who was a major part of Wu Xie's adult life like he died when Wu Xie was nine.

AND THE FLASHBACK SCENE WHERE A-NING GETS KILLED BY THE SNAKE, AND YOU'RE LIKE, OKAY, AND THEN YOU WATCH ULTIMATE NOTE AND IT WASN'T LIKE THAT AT ALL look, I know there are kinda reasons for this, different production companies and all, but seriously, what the fuck

All of which to say is that the experience of watching Reunion the first time is, hey, this self-contained romp is a lot of fun! The experience of rewatching it after watching any of the other DMBJ installments is a transcendently wonderful head-clutching avalanche of one moment of recognition right after another.

And here's the thing: You will watch more. Reunion is a gateway drug. If you are interested enough to make it through all 62 episodes, you're going to be interested in watching more. Which is great. The English-speaking fandom needs more people. Come down into the tombs. It's great down here. We've got snakes and arguably unintentional homoeroticism. Join us. Join usssssssss

Are you ready for an aventure?

There are a couple different ways to watch the first half, but there's (weirdly) only one way to watch the second, so for both of them, I'm going to send you straight to iQiyi: Season 1 (32 episodes) and Season 2 (30 episodes).

And just so you’re ready when Reunion is done, here’s how you find the rest of the DMBJ series, in the absolutely non-chronological order in which I, personally, think you should watch them:

The Lost Tomb 2 (AsianCrush, YouTube)

Ultimate Note (iQiyi)

The Mystic Nine (iQiyi, Viki)

Sand Sea/Tomb of the Sea (Viki, WeTV, YouTube, also YouTube)

Also, there's a lot of movies and side series and other pieces that are worth seeing, and even a couple of full series I've left off the list, and you can just slot them in wherever. And maybe we'll get Tibetan Sea Flo-- IT'S HERE! IT'S HERE! And someday maybe I'll actually have time to watch it! What a concept.

They're so perfect. Perfect triangle. Perfect boys.

[ruegarding]

What do you think Ares/Mars was talking about in SoN when he told frank to stop percy from acting on his fatal flaw??

anon, i love talking abt loyalty as a flaw

so, disclaimer: the “percy needs to learn to step back/let other ppl be the hero” narrative sucks. this was rick’s intention, but it sucks. the way rick set up the initial conflict is his main problem and why this foreshadowing fell flat.

here’s what mars said:

cool story, but…this isn’t a flaw percy has. at least, not the way it’s used. rick doesn’t establish any character of the seven to be willing to ignore one of their friends if they’re in danger, so there’s no way to make that a unique conflict (altho this would be a viable option if the other characters were rewritten). that leaves what rick wrote, which is percy not wanting to let the lost trio fight gaea alone, and that…doesn’t work without bastardizing pjo.

we’ll get back to that.

here's the big scene:

which. lmao. lmfao even.

and here’s the scene in boo where rick tries to spell out what the problem is for ~foreshadowing~ :

this doesn't work. rick tries to conflate “i don’t run when my friends need me” w “being unable to step away” or allow someone else to be the hero. those are not the same thing! percy’s whole thing in the previous series is that he isn’t the hero! he knows this. it's one of the most obvious themes in the previous series. which is part of what i mean by bastardizing pjo, but it's not all. again, we'll get back to that.

percy doesn’t ignore cries for help, but that’s not the same as being unable to step back.

and, going back to what i first said, name one character who would be like yeah! i’ll pack it all up w my gf! the closest any character gets to this is piper, but that’s a tangent i won’t go on bc it’s not done well enough for it to be worth adding tension. the point is this isn't a trait any character is established to have, including frank, who is the one chastising percy! it doesn’t make sense for percy’s character anyway bc he’s loyal to more than just annabeth (shocking, i know), so this wouldn’t be a good ending for him regardless. he’s not actually being offered something he wants.

the scene percy references w juno actually does a better job of highlighting the conflict w percy’s loyalty: either percy can run to the sea—where “no monster would bother [him]. [he] could begin a new life, live to a ripe old age, and escape a great deal of pain and misery”—or he could go to camp jupiter where pain and misery awaits him. and percy genuinely considers his options. if percy can't give his friends up for anything, what does that mean for him?

bc it’s percy’s freedom that’s at odds w his loyalty. his loyalty is not controlling or possessive of other ppl. which brings me back to bastardizing pjo.

an important, but more subtle, theme throughout all of pjo is autonomy (it goes hand-in-hand w the constant theme of yielding, which again i talk abt here). this theme is especially important bc pjo is abt disability (that’s why all of the demigods are disabled). one of the first things ppl try to take away from u when ur disabled is ur autonomy. the fact that percy vehemently defends it not just for himself but for others is essential to the narrative. it's why he's the leader, it's why he's the protagonist, it's why there is a callback to it in every pjo book. trying to act like he wouldn't respect someone's autonomy and would try to shoehorn his way into their fight and need to be chastised into respecting their autonomy in a heavily foreshadowed moment that is supposed to be the penultimate conflict of percy's character is a bastardization of this entire theme.

this conflict doesn’t work.

(percy art cred)

anyway. let’s keep the concept but make it actually work for percy’s character. i already talked abt percy's freedom vs loyalty, but another good place to start is w how percy becomes loyal to someone. there’s two main ways.

the first is empathy. if percy empathizes w someone, he’s loyal to them. percy can empathize w almost anyone, including but not limited to clarisse, the girl who bullied him, polyphemus, a cyclops that tried to kill him and his friends, and luke, someone who betrayed him.

this loyalty means that percy will defend them (even if it means fighting w someone else he’s loyal to eg tyson and annabeth), have a difficult time fighting them (especially in regards to harming them eg polyphemus), and consider their feelings in his plans (which is why he’s a good mediator, but it also causes indecision and infighting eg point one). this is already good set up for conflict for self-explanatory reasons, but i’ll give some elaboration later.

the second is kindness. if someone is kind to him, percy is loyal to them. there’s many examples of this, but i think the best is quintus.

percy feels bad abt being suspicious—despite having plenty of reasons to be (the similarities to luke as he says here, the fact that juniper says quintus was poking around the labyrinth, etc)—bc quintus was being kind to him. and if that wasn’t enough, percy says that he won’t use the whistle quintus gives him, but later makes an entire escape plan revolving around it.

percy tries to override his loyalty w reason and it literally doesn’t work (it goes hand-in-hand w percy being unable to see betrayal, even when it’s spelled out). if quintus had ulterior motives, percy would’ve been fucked.

side note, something i find interesting abt this is that percy is aware enough that he doesn't tell other ppl abt the whistle. it's like suspecting/trusting quintus is something shameful percy is trying to hide, which is interesting to think abt for potential conflict bc nobody can help percy if he doesn't tell them anything.

another pertinent example is percy’s first interactions w frank. percy takes frank helping him against the gorgons as an act of kindness and, bc of that, percy assumes the best of frank:

the thing is, percy is wrong abt frank.

frank wasn’t thinking of percy when he pocketed those vials. and if percy hadn’t seen frank pocket the vials, would frank have even told percy they existed?

this is a great example of how to use different povs to build tension,—hoo does not use this well or often despite having nine povs—but it could also be used as a red herring for percy’s loyalty. in this case, percy’s optimistic perspective inspired frank. percy’s loyalty doesn’t come off as a threat, so when the reverse happens, ie percy’s optimism fucks him over, it comes as a surprise despite being foreshadowed.

essentially, there’s a lot of room for conflict. percy’s loyalty includes a wide breadth of ppl and can grow very quickly, which leaves a lot of room for contradicting needs. the person percy chooses isn’t a given. the answer is not annabeth (like hoo keeps insisting it is). even in tlt, when percy has to leave his mother behind, it’s a difficult choice for him. he described his heart as “being ripped in two” bc everyone in the situation had his loyalty, his mother, grover, annabeth, even his father. ultimately, the deciding factor was what he thought his mother would want him to do (which is interesting bc it’s not what sally would do given her reaction to percy in tlo, but bc sally is kind and selfless towards percy, he thinks she’s universally kind and selfless. *points to the section on kindness* another side effect of this). and it’s also bolstered by the fact that percy knows he can get sally back. he’s not losing her forever, he’s losing her for right now.

so what happens when the stakes are higher? what happens when percy isn’t sure which side he’s on? nico says percy is dangerous to his enemies. what makes someone percy’s enemy? let’s use this, let’s make this conflict bigger, let’s encase the narrative in it.

really easy ways to do this include grover and/or calypso. the series is based on fighting gaea, mother earth, and grover is a satyr who is named lord of the wild by pan right before pan fades. furthermore, percy and grover have a soul bond that’s in part bc of percy’s own connection to nature. and even more than that, nature spirits were among the highest casualties in the previous war. that’s a series of wild connections to have unexplored in the series.

also, gaea has a vested interest in percy. she kills one of her own men to save percy's life, she tries to kidnap him twice, juno says part of the reason she puts percy in a coma is bc it would've been too difficult to hide him from gaea's forces otherwise, and the reason is...so that percy can have a bloody nose? ok.

w calypso, rick writes this entire plotline where she’s still trapped on her island (for some reason), but this is only relevant so that leo can get a gf. how abt gaea gets her off the island and she fights for gaea? what then? what does percy do? how do calypso’s motivations change how percy sees the other side?

these are sacrifices percy wouldn’t want to make. he doesn’t want to kill either of these ppl, so what would he do instead? what does that mean for everyone else?

another option is a cry for help. while percy’s loyalty has never manifested as is refusing to let someone make decisions for themselves—even if that includes self sacrifice—percy does stick up for the underdogs.

a perfect example of foreshadowing using this flaw could’ve been the creatures in phorcy’s aquarium. instead, some random fish-centaurs solve the problem. boo! lame! where is percy’s inner torment as he tries to juggle his responsibilities w his feelings! where is percy tearing the group apart as he tries to fix a problem no one else cares abt! there is a ship full of ppl who are supposed to believe in the greater good, where is the conflict as percy fights for the common man!!

like,

what an interesting thing to say in a story that has a prophecy w the line "an oath to keep w a final breath." too bad this means nothing.

(also these quotes, for good measure

percy swearing to protect hazel and frank from the gods and percy swearing on his life bc he has that much faith in annabeth, someone he's loyal to, despite knowing almost nothing abt the other ppl on the quest or how they're arriving. interesting. good thing rick doesn't explore this. <- sarcasm btw)

this would be a perfect way to introduce a sacrifice percy wouldn’t be able to make. just like w percy jeopardizing his mission in tlo by warning the kids on the boat and making it harder on himself by trying to incapacitate but not kill other demigods. he almost dies to ethan bc he doesn’t kill ethan at any of the opportunities he’s given! despite ethan chastising him for it! this is already an established flaw percy has, and the only reason it hasn’t bit him in the ass is bc it’s a red herring in pjo.

and again (bc i have personal beef w this scene), the whole nico-in-a-jar thing. while percy vows to save nico, he doesn't say anything when leo and jason argue against it. percy ripped hera a new one for excluding nico, and nico wasn’t even in danger at the time. why is percy so calm abt jason and leo talking abt leaving nico to die?! this is exactly the sort of situation percy loses his cool abt and starts yelling and getting himself in trouble. why is he calm??? where is his anger????? it really should’ve come down to “we’re saving nico with or without y’all” in a true showing of tearing the group apart.

how many traps is percy willing to walk into bc someone needs help? how much can he jeopardize the quest before someone else has to intervene? when does loyalty cross the line from something admirable into a flaw?

ofc all of these potential conflicts would hold more weight if percy was in character and written as the glue of the argo ii. these moments happen at the beginning of their quest, when they’re supposed to be bonding and building trust. what happens when ur mediator loses their cool? nothing good!

similarly, there should’ve been way more internal fighting on the argo ii, especially after percy fell into tartarus. i want the blame game, the instability over nico (and what having 8 people for a 7 person quest means), the greek vs roman, lack of sleep, stress, guilt, all of it to come to a head and jeopardize the entire quest. if the greeks and romans had to be separated bc it was too dangerous for them to be together, i want to see why. i want to know why juno thought it was so important that percy be the glue. i want to foreshadow why percy making the wrong choice can tear the world apart. it also helps frank and hazel’s plotlines, as well, bc their stepping up feels more important and has a bigger pay off.

as it's written, there's barely any conflict, frank feels comfortable confiding in annabeth for no reason, the girls are all friends bc #girl power, there's random love triangles everywhere, annabeth and jason are said to have a rivalry but never actually shown to have one, and the biggest fight is when percy and jason are possessed.

this complete lack of foreshadowing amalgamates in boo’s failure. rick failed to use percy’s actual flaws to establish the threat of this choice but still needed the conflict, so percy has to be out of character and the conflict has to be contrived.

[amostnobleyandere]

Yandere Diluc x GN Reader Isekai AU

Warnings: minor mentions of death, kidnapping, captivity, !!!yandere!!!, its hinted that Diluc and reader will get married

A/N: this is written more like a long prompt than a ficlet if im gonna be honest, but I liked the premise so :)

——————

That man had looked at you with such disdain.

You had seen it, heard it, hell, you had even read about it, despite how much you regretted doing that now.

This was a world of a romance novel; one you remembered reading before you suddenly passed out and woke up in a body that wasn’t yours and screamed in a voice you didn’t recognize. It was horrifying, to say the least.

It wasn’t until you had picked up a letter on your very nice and very much not yours nightstand that was addressed to a name you recognized from hours of reading over it. You had become the villain of a borderline reverse harem novel. A typical throw away antagonist, someone that didn’t even get to see the end of the book before they were killed off. Your entire purpose was to make trouble for the protagonist, Aether, and act as a catalyst for the love of the second male lead, Diluc Ragnvindr. Who, at the time, was still your fiancé.

The universe was merciful to you, however, as you arrived at a point in the novel in which you still had the opportunity to avoid your fate. The road to death for the character you had unfortunately possessed had all started at a tea party, of all places. And as if that alone wouldn’t be humiliating enough, that tea party was also where the villain would find their first love.

In the novel, the villain was meant to be introduced to the aloof and unfriendly Diluc during a social gathering. Because of his reputation as the roguishly handsome young master of Duke Ragnvindr’s estate and his first son, “you” immediately gained an intense infatuation with the man who was repulsed by your love (obviously, his love is reserved for the main character, so of course he would hate anyone else who even dared to breathe near him). It was the unreciprocated love between the pining villain and the cold and emotionally scarred Diluc that began your path to demise.

Actually, you remembered that the most dutiful readers of the book had actually dubbed that part of the book the Garden Scene (TM). It was the moment when Diluc was driven into his own garden to hide from the preening of his admirers (which included you, as much as it made you want to tear your own hair out).

And there, under the shade of some kind of stupid magical blooming tree, he reunited with the protagonist and his first love/childhood friend, Aether.

The best thing? It hadn’t even happened yet.

That meant that you hadn’t met the second male lead, you hadn’t been a complete and utter ass to the angelic protag for no reason, and you could avoid the whole death-by-sword-wielding-love-interest fate altogether!

Plus, the only way you would die is if you tried to get in the way of the love between Aether and Diluc; which, obviously wouldn’t happen, you certainly weren’t falling in love with him anytime soon. Even if he was rumored to be the most handsome man in all of Teyvat. You weren’t willing to risk death for a pretty face.

You resolved that you’d do your best to avoid the hell out of him. You’d even avoid the hell out of his brother, who was mentioned in the book as another heartthrob that fell for the golden-eyed main character, just to make sure you got your good ending. If you just managed to not follow the plot, you could go on to live a peaceful life free of the heartbreak and love triangles that never seemed to end in the book.

Unfortunately, your plan to avoid your would-be murderer for as long as you could failed pretty quickly. After all, you were the villain and a noble, so it’s no surprise that you were forced to attend every even slightly significant social function.

You got so close to the peaceful end you were looking for. You had even sent a letter to the royal family requesting for the engagement between you and Diluc to finally be called off.

…So why?

Why were you here? Why were you hands tied behind your back? Why were your clothes the only thing separating you from wandering hands, those that clutched at you and pulled you closer to the man they belonged to? Why were you suffocating in a tight, hot embrace, in the arms of a man who was meant to, was destined to, hate you with everything he had? And why, was he looking at you with those pained, adoring eyes, which bore into you as you squirmed in his hold?

Diluc’s expression was one of guilt as he spoke. “I never meant for things to happen this way. I never thought…that I’d feel something like this. I’ve never felt something like this. Not even for him.”

You continued to tug at your binds, purposely looking away from blood red eyes that you knew held guilt, but not remorse. No remorse for the silk that was holding steady against your weak struggles. No remorse for the assault the combination of cologne and firewood was having on your senses, with him so unbearably close to you.

His hand slid onto your face gently, cupping it, momentarily stopping your struggles and making you freeze in place. Diluc crouched down so that he was looking you in the eye and then bent his knee to where it rested on the ground as his eyes roamed your face. You had no choice but to look into those crimson eyes, that now looked too bright as the light from the fireplace seemed to make them come alive. The pure emotion in them was now even more obvious, as the color became brighter than it had ever looked before, swirling with emotion in his irises. It reminded you of the flames he wielded. Your stomach twisted in your gut.

“I never thought I’d be willing to go this far to keep you. Please, forgive me.”

He pulled a chain out from underneath the bed you had been laid upon, and clicked a shackle onto you ankle with gentle hands.

He looked up at you and smiled, a soft, almost shy smile. The rare sight was enough to make his already unnaturally handsome face glow in the warm fire light of the room. You couldn’t bring yourself to enjoy being the one receiving such a loving and devoted look.

“It’s only until the wedding, (Y/n). I promise. Just to make sure you’re safe and where you need to be.”

A hysterical sob escaped your chest as he tugged off your binds and pushed you back onto the soft sheets, looming over you while pulling the covers over your limp body and caressing your head as you wept.

[iliveforyouilongforyouvesuvia]

Hi, Vesu!! I don’t submit asks a lot because I know what a box full of them is like 😭, but if it is within your range, could you do the M6 with an MC who is prone to fainting? Not out of surprise or fear, but out of weakness and bad health? I’ve been having frequent fainting spells from new meds and it’s a really scary experience… like nausea and sounding like everything is far away. Also, feel free to make this a mini hc if that’s preferable! :0

The Arcana Mini-HCs: M6 with a fainting MC

~ @taduki hi friend! Sorry this took so long, I didn't want to make you wait any more so I turned this into a mini-hc. I hope this brings a little comfort <3 Here you go! - brainrot ~

Julian: Please, he's a doctor, not only does he know the exact chemical composition of the meds you're on, he's been studying the condition you're taking them for for months now. He's got this - no wait, you're collapsing again - HE DOESN'T GOT THIS! (At least, that's how he tells you it goes. Anybody else on scene watched him take excellent care of you like the competent doctor he is.)

Asra: Reeaallyy wishes you'd let them give you an additional potion that would make blacking out a little less scary and a little more ... ~fantastical~. Regardless, he has an uncanny sense for when you're about to faint and is always quick to pull you into a quiet, shady corner and find a spot where you can sit down while he supports you. They totally never paint whiskers on your face while you're out.

Nadia: Way more accommodating of you than she needs to be. You had to mention it to her when you accepted her commission to investigate the Count's death and she took that as an assignment. Now she always makes sure to stand with you as close to a couch as possible and tries to keep cool, fresh water available in every room. If she's taught all the guards assigned to you first aid - what of it?

Muriel: SO FLUSTERED the first time it happened, because he didn't see it coming and he hadn't even touched you yet but now he's holding you and inwardly panicking because you just fainted for no apparent reason and there's nobody else to take care of you and he doesn't know what to do - now he and Innana just position themselves as living fall cushions like it's second nature (he still worries).

Portia: The ultimate girl scout, she is borderline overprepared. Cold water and mint for nausea? In her bag. Protein rich snacks? In her pocket. Handkerchief for any cold sweats? Right here. She's even starting planning any shared schedules with extra flexibility/buffer times in case you need to take a moment and lie down. Just expect to share at least half of the snacks - that's her homemade trail mix!

Lucio: thought it made you easy pickings at first and falsely assumed it was because he was sooo intimidating in his ghostly goatman form. He was a little disappointed when you told him it was meds, but then he realized that you fainting -> physically catching and supporting you -> getting to act like a dashing romance protagonist -> CUDDLES! (he will panic if you don't wake up in under ten seconds)

[lupinescribbler]

Been thinking recently about this oddly specific trope of a character being emotionally vulnerable or honest in order to be able to connect with a kid they empathize with. I have slightly mixed feelings about it. On one hand it can be overdone, to where the child feels like a cardboard cutout just to elaborate on the protagonist’s traumatic backstory, but there are also a lot of cases that I liked it or thought it was done in an impactful way.

so I figured I’d walk through a handful of examples of this trope (does it have a name???) and give my personal thoughts on each. Spoilers for the episodes referenced of course. Because of image limit this will be part 1 of 2 and I’ll link the second when I get it up.

Supernatural S01E03.

This is one of my favorite iterations of this. Lucas's turmoil, fear, and mutism were portrayed with enough effort and thoughtfulness for him not to just feel like a cardboard cutout, and the way Dean interacted with him felt in-character while still showing a softer side to him. There's also a strong plot reason (Lucas being the only eye-witness) to drive their interactions, making each scene feel like it was striving for an important purpose instead of just ham-fisting 'traumatic backstory' angst.

The scene in the park is what really starts it off. The guy who couldn't name three children he knew a couple scenes earlier, has to try to coax answers out of a traumatized mute kid about said trauma. We see Dean meeting Lucas where he is (draws with him), tries to identify what Lucas might be feeling, ("Well, maybe you don't think anyone will listen to you.") reassures ("I want you to know that I will.") and doesn't push it when Lucas seems unforthcoming.

While this scene overall is very soft and endearing, we get very little of Dean talking explicitly about his own trauma, just one vague line "When I was your age, I saw something." The whole scene is about what Lucas is feeling. Dean's feelings are there too, the audience is already supposed to be drawing parallels, but they are kept on the peripheral.

Then later in the episode we get the next Lucas and Dean scene. We've watched someone else die, upping the stakes. Here is where we really get the emotional vulnerability from Dean in a few blunt, heartbreaking, lines. Even more than that, we get a glimpse at Dean's why. Why the bravado, why he is the way he is. We also have this whole confession observed by Dean's younger brother, which -- trust me as an older sibling -- is excruciating.

Overall I think this works because a) Dean has a strong reason to be this emotionally vulnerable, there are literally lives resting on his ability to get through to Lucas. b) it had the space to be built up in multiple scenes throughout an entire episode and c) Dean is the exact type of character that needs some sort of push to be this emotionally vulnerable and earnest, so the trope just fits.

Magnum PI S01E01

This one is what I'd consider a slightly meh version of the trope. Not trying to offend anyone who found this scene specifically meaningful, but it fell flat to me. The intro joking about the dogs was good, Magnum trying to comfort his dead friend’s son was a good idea, but the “when I was your age, I lost my dad too” kinda lost me. I get he was trying to empathize with the kid, but it ended up feeling like the show was just trying to be like “look! He has a dead dad!”. Additionally the character of this kid felt flat and I don’t remember if he ever even cropped back up in the story outside of this episode or ever had a shred of personality.

In my opinion it might have worked better if they’d had Magnum talk about Nuzo instead of his father. Nuzo is the person both he and the kid cared about and lost, and while it still might have felt cheesy I think it would have felt more anchored to what the rest of the episode is about and helped to get the audience to empathize even more with the grief over a dead friend that drove the whole narrative for the pilot.

I really enjoyed the show overall, don’t get me wrong, and I’ll have another example of this trope in part two of this which — spoilers — I enjoyed a lot.

Would love to hear other people’s opinions of this if anyone sees it, and I invite disagreement.

[crazycoke-addict]

Island of the Slaughtered Game

Genre: Horror

Description:

It's been 10 years since The Massacre that happened in Camp Wawanakwa. 22 teenagers from different backgrounds sign up to be in a reality show called Total Drama Island. Unbeknownst to them, a serial killer is on the loose and picks off the teenagers one by one. Only 7 are recorded to be alive. From the disappearance to the murders, the case remains unsolved to this day. Who was the killer? What was the motive?

Today, I will find out everything.

The game starts with your character in a boat sailing to the island. There is a speech bubble at the bottom of the screen. The protagonist is talking about the unsolved case about what happened in Camp Wawanakwa. They also explained how the seven survivors have gone MIA, and neither of them have spoken out what happened.

During the intro, they hear bump coming from underneath the boat. When they lean over, something jumps out of the water and drags them in the water. In the next scene, you wake up and find yourself in Camp Wawanakwa. You look through your supplies, and you take out your torch. You find your boat that's been wreck. You need to find supplies to fix your boat. While walking, you hear rustle behind you when you turn around. You see nothing, but there is something there in your glaring view.

While walking around, you find a VHS tape lying near a tree. You comment on how it's been so long since you seen VHS tapes. The VHS tape is titled 'Behind the scenes', You hope the VHS tape might give you some answers you're looking for.

You ended up in the cabin section and decided to look through the cabins. However, 3 of the cabins are locked except for one. The cabin room in that's located in the west. You decide to go in, and while looking you around, you notice the belongings of boy's clothes, deodorants, a cowboy hat, a keyboard, etc. You hear rustling under one of the bunk beds. You tried to leave the cabin, but the door has been closed. When you turn around, a human head is placed on the dresser looking at you.

The game won't leave you go anywhere else, but straight to the dresser where the head is. The head starts talking to the player. They explain how it's been so long since anyone has visited the camp. They miss human interaction since they never really got that back while they were living. The head talks about how they don't know how they got to the position their in, but their body parts in places where they shouldn't be. The head asks the player to help them find their body parts.

This section of the game kicks off the first of many mini games that the game is going to give. An instruction will appear on the screen to help you. In the top corner, there will be a 0/5. I'm pretty sure everybody knows that this is Ezekiel. Some of the characters are going to have a mini game.

Ezekiel - find his body parts before time runs out.

Justin - break every mirror that Justin appears in.

Harold- you have to play a video game. After you fix the tv.

Trent - you have to fix and play his guitar. It's like a memory game.

The main menu will have an old cable TV, which you end up getting after fixing the TV in order to do Harold's game. You must collect 17 VHS tapes in order to get the Canon ending. There are going to be 4 endings, which are going to be good ending, the bad ending, the curse ending, and obviously the Canon ending.

Some ghosts like Lindsay, Sadie, and Bridgette will be active, where they will follow the main character. You can weaken them by throwing a flame flare, which you'll end up finding during your mission. I also think it will be interesting that the main character that we are playing is one of the 2nd generation characters. I'm leaning towards Mike.

[marvelmaniac715]

My Paul Is Pokotho’s Prophet Theory:

I developed this theory with a friend and thought I’d post it here. I’ve seen this idea in one or two fanfictions before, but I thought I’d post it here because why not?

From the very start of the apotheosis, it’s all about Paul, almost every song we see is meant to advance his story. The narrative of the show is set up to find out his ‘wants’, and ultimately, he just wants Emma. By the end of the musical, he does in fact get Emma, just not in the way he predicted.

The hive never truly hurts him like it does the other people who get infected, instead, just like in the scene following ‘Not Your Seed’, they talk to him. Even what they say to him is quite interesting:

“We just keep running into each other, don’t we Paul?”

Of course, they threaten him, but they don’t actually hurt him, even though they have a gun at their disposal. They can’t hurt him, he’s the protagonist. He’s always been the protagonist. Why else would the hive have a whole number where they anticipate Paul arriving where they reference him as the ‘star of the show’. Why else would he literally be in the title, why would the opening number discuss him in detail and proclaim his tale as the ‘last remaining story to tell’? Pokotho created this musical, he wants all eyes on his prophet and - by extension - himself.

Obviously, he’s one of the last people to become infected, which is why he (presumably) became the leader, because of his internal strength and resilience, but if we look at this through the lens of my theory, here’s what I think is going on:

Just like with Hannah Foster and Webby, Pokotho came to Paul as a child, and just like how Webby gave Hannah prophecies to protect her, Pokotho tried to convince Paul to watch musicals in order to prepare him for his inevitable destiny of being his representative on Earth. But Paul was frightened of the voice in his head trying to make him watch musicals, so frightened that he developed a strong disliking for musicals in general, because it felt like the only way he could control the voice in his head. He tried to live an ordinary life, almost too ordinary, because he was scared of the voice trying to control him and force him into spontaneity. His desire to be with Emma was his undoing, because Pokotho finally had a plot line for his musical.

In the final song of the show, the hive follows Paul’s lead, as if he’s their king. This makes much more sense if we see Paul as Pokotho’s prophet, because the hive would naturally follow the closest thing to their god/leader. Pokotho ensured that his prophet and the woman that drove him to finally want were the last people to survive because if Emma died Paul would have nothing else to want; and the second Paul is fulfilling his predetermined role, Emma is killed.

It’s a pretty obvious theory, I know, but I wanted to present my ideas to potentially expand this theory. I also have a theory that McNamara is Tinky’s prophet that stems from his famous line ‘Wear a watch!’, but nobody wants to hear that 😂.

[waeirfaahl]

Steele's joke was understood wrong

Previously I promised to make a post about some weird aspect of the bullying scene. Here I'll discuss about the one particular moment of this scene — Steele's taunting toward Balto and his mother. Okay, the original film never mentions Balto's parents and their species directly, in the entire movie Balto once answers to Jenna with embarrassment "Big paws kinda run in my family... At least, ah... one side of my family.", rejecting the wolf parent and not stating who was the wolf parent in his family. And I always confidently thought that exactly Balto's father was a wolf (and the director of the original film also confirmed this, but in this specific post it doesn't matter).

Later I'll make the detailed post about the subtle moments, which hint the father as Balto's wolf side, but now let's look at it from the story writing perspective. We have the dog protagonist, who lives among humans and dogs. He interacts with humans and dogs, he desperately wants to be a sled dog and never interacts with wolves, wanting to have nothing to do with them and considering wolf blood in him as his curse, so he even never howls. The movie never hints that he came from the wilderness, the core is in him being alienated by others from the town he lives in as in his home. And he is exactly in the human/dog world, far far away from wolf world, which was always unknown for him. And he's very meek and timid and behaves like a regular dog (and absolutely all his early designs depicted him as a dog, in scripts he even barked).

Why on Earth the filmmakers would ever make exactly Balto's mother to be a wolf? It makes zero sense (and here I explained, why — although I don't consider Wolf Quest as a canon at all). But there's the one problem. For some reason many people use Steele's taunting "Oh, Balto, I've got a mesage for your mother: Awhooo!" as a smoking gun, that this line allegedly implies Balto's mother being a wolf (then more sense would be to make Steele say "I have a message from your mother: Arwooo!" in this case, i.e. he parodies her, implying that she lost/abandoned her son or died and greets him from heavens or whatever — and, well, it would make more sense to tell directly that she's a wild animal in therms of insulting). Okay, how it confirms Balto's mother as a wolf? And how the very vague joke from the random malamute, who knows nothing about Balto except of him being a stray half-wolf, can be a serious proof? Moreover, then what's insulting here in his taunting? There's nothing what could cause Balto's anger — like, she is a wolf, and wolves only howl or whatever, and... where is there something insulting? What's the core of this insulting? What Steele wanted to tell by this line and actions later? It doesn't work here at all. Plus, if to watch the full scene, you can notice, that they just make fun of the wolf language, asking Balto to translate the howlings. Since he is unable to howl, there's a clear teasing with meaning "The wolf, who can't howl" or "You're half-wolf, so you have to know wolf language, so translate to us some howls". They don't mock on Balto's mom, they mock on exactly Balto and the wolf language. But... is that really so insulting and painful for Balto to get so pissed off?

However, the laugh and jokes about the wolf language clearly were added way later, because the recording is different from other sounds. Their laugh happens during the howling scene, but nobody could laugh and say something, 'cause they all howled at this moment. Simply saying, this sequence wasn't in the script. The production crew clearly tried to hide the dirty joke and really dark, adult and deep meaning, changing the focus toward childish jokes about the wolf language. The example of such "toning down to make the movie more family-friendly", how it erases logic, I showed here. But about what this dark, deep and adult meaning is, we will talk a bit later. For now keep in mind, Steele arrived after the race he ran for many miles among snowy deserts, mountains and woods, so he could see wolves (maybe even exactly the pack Balto meets later). The novel version of this scene is even more confusing. For some reason they scrapped the entire sequence with jokes about translating from wolf language, but kept the "Hi, mom" line (earlier I already told about the origin of "Hi mom!" line here). While the only one, who howled, was Steele, and he howled only once. I guess, here it is just a "yo momma" joke, i.e. he just provoked Balto without any thoughts about his mother's species. Because the novel just points out "Balto had had enough" without any details, it never mentions his parents at all, calling Balto just a wolfdog. And the novel never mentions that Balto came to Nome from wilderness — townfolks thought he's wild only because he is half-wolf.

The official novel doesn't state Balto's mother as a wolf.

But let's return back to the movie version of this scene. Have you ever noticed Balto's reaction at this?

Look at Balto's reaction at how they parody a wolf pack and howl "messages" for his mother.

Look at his eyes especially. The pupils narrowed, the ears flattened and lowered, the fur stood up. He doesn't react at everything else anymore. In the entire movie it is the only scene, where Balto really is pissed off and gets furious.

Balto immediately becomes in rage mode and is ready to fight them. And it happens way before their talks and jokes about wolf language. And only Boris stops him and asks to go away.

Plus, in the beginning of this sequence, when Steele made the first howl, look at how he moves his head and dramatically howls. And look at the yearning in facial expressions he performs during this moment and for a second looks and smiles to Balto. As if he parodies a wolf in love, who plaintively and imploringly calls for the lover.

And then his gang joins him for parodying entire pack of such wolves in love.

What does it mean? Steele and his dogs literally mocked on Balto's mother for falling in love with a wolf and having a pup with a wolf. It is a dirty joke about her being a "harlot dog, who runs and mates with wolves". They parody a wolf pack, asking Balto's husky-mother to come to them for dallying. And it explains Balto's anger in this scene. He, denying his wolf heritage and being bullied for wolf heritage, is pissed off, because Steele and his gang insult his husky-mother, who is presumably dead. Balto loves his mother and will never allow to insult her (his dog side) and her choice (her love toward a wolf). And Steele actually already made such kind of insults earlier. When Jenna rejected him, he said "Well, maybe your tastes run more toward... wolf?".

And that is Jenna's reaction at his words. And the only what stops her from kicking Steele's butt is Rosie.

So, yes, Steele's insult toward Balto's mother is a logical progression of his line toward Jenna. Not to mention, how Jenna's friends, Sylvie and Dixie, show disgust toward the fact that Jenna likes Balto. They view him as a mixed abomination, a creature of shame.

From my perspective, it is the only plausible and reasonable explanation. In the original film either Balto's backstory was never developed or his wolf side came from his father. Nothing else.

[noxiatoxia]

HEY so I know its been a minute since I've sent an ask, but I saw some of your posts about danganronpa, specifically regarding another episode, udg, and I was agasp because I was literally in the middle of playing it for the first time lmao. So after finishing the game last night I really wanted to ask, if you want to ofc, your in depth thoughts on the game and why you like it so much, or even thoughts on the gameplay and mechanics since its so different than the danganronpa staple. I quite liked it personally because of Komaru and Toko's relationship, them becoming two of my fav characters in the franchise so far, and because I became very endeared to the kids by the end of the story. I have some qualms with how Kotoko was handled in chapter 3 at... that part... but she's also my favorite of the kids at the same time lol.

Anyways yeah no pressure at all, I just was really curious because I liked the game a lot and found it so funny that you posted stuff about it as I was playing it. Also because I really enjoy your ouran opinions. But again I get if not, the game has some senstive subjects for sure. Thanks!

THIS IS LIKE THE BEST ASK EVER FOR ME TO RECEIVE. I AM SO PASSIONATE ABOUT THIS GAME AND HAVE BEEN FOR NEARLY A DECADE AT THIS POINT.

Okay....where to even START....

(I will be referring to UDG as DR:AE or just AE in this. SPOILERS FOR ALL OF DR:AE.)

Firstly, the environment. Unlike the main series, DR:AE does not take place in a secluded area away from the real world. It does the opposite; you are in such a vast area, you are not caged, yet you are still trapped. Even if Komaru didn't have that wristband on her, where would she go? The game is great at highlighting what the world outside of what we are told in the mainline games is actually like, how caged things are even outside, all while expanding upon existing characters' backgrounds by introducing family members, or little pieces of dialogue that serve to flesh out the world.

The gameplay itself, personally, I find VERY fun. I'm not a shooter game person, but DR:AE was a game I could play many times over. I love the different types of ammo, the puzzles, the possibilities with how to destroy the monokumas. Just a fun game all around. It's by far the most replayable Danganronpa game, as the main series games are all about the story. Once you know the story, there's really no reason to replay them. In fact, they are quite slow and boring without the intrigue of the mystery.

But the highlight, obviously, is the characters. As is Danganronpa's specialty.

While I still maintain Hajime is the most interesting protagonist of the series, Komaru serves as a great subversion of the expectations set up by Makoto's actions in the first game. Makoto is someone who preserved no matter what, changed those around him with his hope. He was your quintessential paragon protagonist. While Komaru displays this a little in some scenes (namely rallying the adults under Haiji's protection) this is only the result of speaking from her own wants and experiences. That is to say, unlike Makoto who always tried to help others even if it cost his own life, Komaru is much more realistic. She cares, first and foremost, about her safety. Her helping others to stand up for themselves comes from her own desire to keep fighting so she can live, and so she imparts that onto the people around her. Fight so you can live. She says it herself: she is not like Makoto. She is selfish, she is not endlessly optimistic. She's more like Hajime in this way, but unlike Hajime who find his own brand of philosophy, Komaru really doesn't. Rather, while Hajime's character serves to show you don't have to choose a predetermined path (hope or despair) and rather your path can simply be believing in yourself, Komaru's character shows that sometimes, and maybe even most of the time, believing in yourself or a specific ideal is not feasible. Komaru believes in the people around her - namely Toko. She believes in her friend, and believes with her friend that things can keep going. This in my opinion is an excellent twist on Makoto, who was, by all means, that friend that people believed in, not the one doing the believing.

And, as an aside, Toko and Komaru have the best development of any pair of characters in the series. Yes, even moreso than Hajime and Komaeda (who I maintain never really had "development" between each other than just a very, very good dynamic from the get-go that was influenced at points by outside plot forces on Komaeda's end. Think Light and L from Death Note in this manner).

Now, let me talk about the real meat of the game, and my favorite characters to date in the whole series: The Warriors of Hope.

I won't lie that I'm biased. I'm very biased for these guys. But I think a lot of people don't give these guys the credit they deserve considering this is a Japanese game. In Japan, child abuse is a bit of a taboo topic (that thankfully has been resolving over time). Due to the nature of Japan's politeness system and "family above all else" attitude, many child abuse cases not only go unreported, but are flat out ignored. The epidemic of babies dying in coin-operated lockers being an especially egregious example of rampant child abuse that occurred. Despite being prevalent since 1971, it took till 1993 to be socially addressed.

This is just one example, but I think it serves my point: child abuse is/was an issue in Japan when it comes to socially speaking of it. ( In fact, in the game itself, Nagisa and Kotoko both directly say they tried to reach out and get help, but were ignored by adults). This is why art regarding child abuse is so important. And that's why a huge series like Danganronpa centering a game about child abuse is such a huge deal. It sparks discussion and promotes visibility of the topic. Not to say media before hadn't talked about it - in fact, there is a lot of Japanese media about child abuse for this very reason - but that does not undermine the importance of Danganronpa deciding to portray it so openly. It is even more important, to me, that they do not stop at physical or sexual abuse. Rather, abuse focused on verbal harm and emotional neglect are portrayed as being just as damaging, which is one of the most overlooked and underplayed forms of abuse in general.

Their portray of abuse also is rather accurate. I will make a confession: I was definitely a bit too young to play danganronpa when I did. Definitely not 18 yet. But I was a teen, and very aware of different types of abuse, sexual abuse included. But despite all the PSAs, books I had read on my own or even ones assigned to me for classes, I had never seen a sexual assault victim be portrayed as hypersexual before. In fact, I didn't even know such a thing was possible. Yes, it is very, very likely I just got Komaeda levels of unlucky to not encounter that in any of my reading or research material at the time, but I think it's common, nonetheless, that people to this day still have the misconception that sexual abuse victims are all afraid of sex or anything sexual. While that is true for some, many people are now becoming more aware that sexual abuse survivors can often display hypersexual tendencies. In this way, I DID learn a lot about the effects of sexual abuse based on how Kotoko acted, and was able to do my own research from there to learn more. Furthermore, the game is good at portraying things like specific triggers in the form of words, smells, items, or specific phrases. Again, I feel it's mostly stereotyped that most triggers are objects that "make sense" like cigarettes or alcohol (much like with what Masaru was afflicted with). But the game made sure to include ones that were "non conventional" like specific words ("gentle" in Kotoko's case) and portrayed both triggers, no matter how common or uncommon, as equally severe. The game also shows negative effects child abuse can have on those around the children. After all, the WoH would not be doing the things they were doing if it weren't for how they were treated in the first place.

(Aside: This is particularly WHY I get so mad when people hate on DR:AE for being "icky". If you are personally uncomfortable with topics of child abuse, that is wholly reasonable and you do not have to play or even like a game that centers on that. You are in your full right and perfectly valid to say "I think this is gross and uncomfortable, therefore I do not like it" or "I don't like this game because I felt personally overlooked/triggered by it" or "I don't like this game because I felt it was not fun or well written". But to say it is objectively "problematic" or "disgusting" to have a game like this exist? That is just spitting in the face of people trying to advocate for visibility of child abuse. You are doing nothing but making people like myself who felt vindicated, seen, or educated by this game like bad guys. Sincerely, please do not call a game that does not shy away from the uncomfortable realities of child abuse "problematic" based on that alone.)

(Aside aside: there are "problematic" elements in the game and things to criticize as is true of all media. The Kotoko minigame I would say is the biggest "why is this in here" moment and is definitely just a fan service scene. I don't like it either. This does not mean the game itself and as a whole is valueless or bad.)

That leads into my next point: I love how morally gray the "good" and "bad" guys are. The WoH aren't doing what they're doing (save Monaca) because they want to hurt people for the lolz (though they have fun with it, as kids would). They think what they're doing is genuinely good. It's a good way to rival Junko, who knew she was evil and batshit crazy, but didn't care. These kids think they are helping children and keeping them safe. And they're kids - young kids can't really think in very complex manners. If you were treated horribly by most adults in your life, and your peers were as well and shared the same sentiments as you, you would be 100% convinced your convictions were righteous then. Hell, I've met adults that think this way (pretty much all extremists who think anyone part of x group, race, gender, religion, etc is evil). A kid thinking this way is very realistic. They are also all different levels of "morally gray". Nagisa, for example, ends up helping Komaru because he feels that a paradise for children is more important than the sole idea of killing all adults. Meanwhile, Monaca, perhaps because of the abuse she suffered all her life, has become a person that we can assume will just enact similar abusive tactics on everyone around her till the day she dies. While it's a misconception that people who suffer abuse often turn into abusers themselves (they simply just have a higher chance to commit crimes, anything from petty crimes to violent ones) there are undoubtedly cases where this does happen. A real life example is Douglas Spinx (HUGE TW; CSA & BESTIALITY). My point is: the portrayal of abuse victims in many different lights from people who can inflict harm unintentionally but with help and intervention can make recoveries to those who, in the rarest and saddest of cases, will turn to a full life of inflicting harm on others intentionally, is important - for someone like me, at least. Without the proper care or attention, horrible things like these can happen. I find this a very important thing to be open about.

Then we have Haiji. Haiji is supposed to be a "good guy". He's cowardly, yes, but he does fight to help the adults being killed. He attempts to bolster moral. But...despite having good intentions and even doing some good things, he's kind of horrible. After all, he's the one who contributed to Monaca's abuse and made her the way she is now. He's just like the kids except reversed; he thinks all children are evil because they're the ones killing everyone. And in his position, I do think most people would feel that way. I mean, if literally every kid in your area was wearing a helmet that turned them fuckin murderous and were killing all your friends and family would you, after enduring months of this, still bother to be like "not all kids though!". Likely not. Even though it is wrong, it is still a realistic way these things would pan out, much like how it did for the WoH. I mean, for a real life example, one need not look further than one of those extremist radical feminist blogs here on Tumblr that believes every single person born male is a brute. Most of those people believe that way because they have personally been hurt by one or several males in their lives, and y'know, fear and pain leads to hate and all of that.

Speaking of, I like the brainwashing in this game far more than in DR3 the anime (spoilers for that later on but tbqh DR3 is not worth anyone's time). I never liked brainwashing as a trope - I feel it is lazy. However, in DR:AE and DR1 they're utilized pretty well. In DR1 it's literally glossed over as "does it really matter? The outcome is more important than the means" which considering DR1, moreso than any other game in the series, is a satire and is supposed to focus on absurdity, I think having the brainwashing LITERALLY be hand-waved as "eh, it just happened" makes a lot of sense thematically with the goofy writing. But as you know, as DR went on, it became more and more serious with itself (for...better and worse...) in DR:AE, I like how the brainwashing affects only the nameless children. DR3's anime was lazy by having all the main characters get brainwashed by a funny little video, both in future&despair arc. In AE, it's a helmet. I think this makes much more sense as theoretically the helmet could be attached to the actual brains of these people. Plus, as said in the game, they blow up when the controller is destroyed, giving credence to that theory. The brainwashing in AE is not a vehicle to explain why main characters act the way they do. Rather, it's just a device used to create background conflict/build up the main villains, leaving the main characters to be affected by persuasion and manipulation (the objectively better version of "brainwashing").

Circling back to the WoH, outside of their thorough portrayals of abuse and standings as "villains who think they are doing the right thing", they're just fun. Like, legit, I just think they're fun. Outside of their trauma, they aren't very complex, but that's the point. The game is a commentary about abuse and how it affects you, the people around you, and the world. The WoH are not the characters meant to be developed and complex entities who undergo deep changes - that is left to our protagonists. As most series with static characters do, they assign each member a core personality. Every Warrior of Hope has a number of traits influenced by this personality (the "sporty" one, the "smart" one, etc) that make them vastly different from each other, making them not only distinct but just fun to watch their personalities clash. After all, if they were not bonded by their trauma, they probably wouldn't be friends at all. it's honestly like a Teen Titans situation in that way, and I've always loved stuff like that. Of course, their personalities are also heavily influenced by their trauma, again a realistic depiction of how trauma can and will change who you are as a person and present itself in many facets of your actions.

I THINK that's all my MAIN points. Suffice to say, DR:AE is my favorite game in the series. I think it's the most fun, has the best character developments and dynamics, I think its story is the most emotional and deep-cutting, and it really spoke to me during a time that I needed something like this to reach me. I won't say it's the best DR game in terms of overall narrative (that honor goes to SDR2) but it comes close. And I know not everyone will feel the same way about this game that I do. Thanks for this ask; yet another reminder I need to do my bi-yearly replay of this game.

(Footnote so I don't get "so you hate waffles"'d: my bringing real-life examples into this is not to say those instances are exactly like what happens in the video game nor to say they are on the same level of importance. Obviously real life is far more important and complex than anything that could happen in a game. I only bring them up to support my points about certain aspects being realistic by using, well, real life examples.)