#Which scenes would people be interested in?

[zykamiliah]

Does he know? Because this is at the time where he still thinks his Binghe = Bingge, and Bingge did rape people.

Furthermore

This was the first time in Shen Qingqiu’s life that anyone had forced themselves on him, and he had subsequently been forced into a rage. “So you’re trying to take advantage of your shizun? Hm? How filial!”

He was indeed at someone else’s mercy now, but no one could expect him to quietly submit just like that!

(...)

He immediately raised his hand, pumped it full of spiritual energy, and sent an earth-shattering punch toward Luo Binghe’s lower abdomen.

Luo Binghe took the blow bodily without making a sound.

To tell the truth, Shen Qingqiu hadn’t expected to truly hit Luo Binghe, but that didn’t stop this punch from feeling extremely satisfying. It was like all the pent-up anger that had been building in him for the past few days had been smashed out along with it.

(...)

Luo Binghe’s hands tugged at Shen Qingqiu’s outer robes, easily tearing them apart. “Hit me all you want—you can’t kill me either way! This disciple gladly accepts Shizun’s instruction!” he said, a smile on his face.

But a mournful tone seemed to hide behind that smile. Distracted from even how his clothes were being torn off, Shen Qingqiu’s heart clenched, and he involuntarily stopped moving. But Luo Binghe didn’t give Shen Qingqiu any more time to pity him. Suddenly, a hand ripped open his inner robes and crept to his waist, skin to skin.

Shen Qingqiu went limp for a moment, then slammed his sword hilt into Luo Binghe’s forehead with a thud. “You beast!”

Luo Binghe seemed to have given up on himself. “If Shizun sees me as no better than a beast either way, I might as well live up to expectations.”

Shen Qingqiu wanted to laugh in anger(...)

Also, why would SQQ try to get away, when he willingly surrendered himself so Binghe would call off the siege on CQM? He gains nothing from running away. He is angry at Binghe in this scene!! He's not acting incredulous about the possibility of Binghe taking him... He's just kind of resigned because it's partly his fault and he believes people would of course willingly open their legs for Luo Binghe.

At this point he only "knows" for certain that Binghe committed all those crimes and is sexually interested in him. He thinks Binghe's words in the dreamscape were a ploy to catch him. He is very confused and hurt, Binghe is also very confused and mind-fucked and hurt, and that's why Holy Mausoleum and the punishment protocol serve to clear up the big misunderstandings and show SQQ that his Binghe =/= Bingge. Which he hadn't realized yet during their brawl scene.

People who haven't read SVSSS: it has necrophilia and pedophilia!

The fans: *tired* no. That is not correct. I see why you would get that impression but you are wrong. That didn't happen

People on the SVSSS canon who don't know LBH or SQQ well: Luo Binghe disgraced his master's corpse and his master preyed on his student!

Shang Qinghua: *tired* no. That is not correct. I see why you would get that impression but you are wrong. That didn't happen.

[outrunningthedark]

I am honestly shocked (as a pretty unbiased party) at the GA’s reaction to the bucktommy breakup. I’d hedge a bet that Tim and co are too! I think they knew that bucktommy was fairly well received (by the general audience and not the loud minority) but i don’t think that they realised those same people who were so flippant about Buck’s prior love interests would keep caring to the extent they have. That people would care enough to express their disappointment in a rational manner - not resorting to name calling etc etc. I do wonder where they plan to go from here (or if they even have a plan) because the idea that Buck jumps back to sleeping around now or diving head first into another relationship eight seasons in…. is jarring and i do wonder how the GA will react to that after this week

I think you’ve brought up an important point re: the reaction to prior love interests, and the funny thing is Tim and his staff only have themselves to blame.

Everyone Buck has been with before Tommy has been a woman. Buck was, for all intents and purposes, perceived as straight. It’s not that difficult to get an audience on board with a hetero relationship, right?

Except the audience was able to bounce back from every breakup because the effort wasn’t there. In fact, I’d bet the relationship the audience cared about most was BuckAbby, but they can’t do anything about Connie only signing for the one season. (And just to cover all my bases, sure, you could say that "effort" was made with BuckTaylor given how much screen time they had, but the audience also had the entire half of 5B to prepare for a break up after the BuckLucy kissing scene!) Now here comes Tommy. He already has established relationships with members of the 118, relationships that have nothing to do with Buck. His first episode in s7 showed him helping the 118 not only rescue Bathena, but going behind people's backs to do it so nobody got in trouble. Episode four establishes that he has also made a friend in Eddie, which is a first for these love interests! If Tommy and Eddie can get along, this time might be different, right? After the kiss in Buck's loft, which the GA obviously didn't hate, they have a conversation after a disastrous date, about wanting to see where things go. Buck was happy. People were gonna like that. The wedding episode is, IMO, where Tim started to slip up. We didn't just see Buck bringing Tommy as his plus-one and introducing him to everybody. We saw Tommy show up to the hospital still in his firefighter gear after an emergency. We saw that he wanted to keep his promise to Buck to be there for the wedding, to show that he, too, was serious about seeing where the relationship could go. We saw Buck kiss him. In public. No shame, no regrets. We also saw their dinner scene in the finale. Not interrupted by Eddie's drama. We saw Tommy still being important enough to the story in 8x01 to be present for Christopher's "birthday party". And then we saw everything that came with 8x05. The fandom can take its victory lap and say "the writing was on the wall", but the general audience? All they saw were two men slowly (possibly) falling in love. Tommy was never actually portrayed as the wrong partner in canon. In fact, he was everything the previous weren't. Every single thing this fandom used as an excuse for why these relationships wouldn't work? Tommy was the anomaly. First responder? Check. Friendly with Eddie? Check. Forms some sort of relationship with Chris? Check. Makes Buck a priority? Check. Isn't sidelined for Buddie scenes? Check. Yep, maybe Tim really did do all those things so that when the breakup actually happened it would leave an impact. But how fucking obtuse do you (Tim) have to be to not realize just how important seeing Buck in a happy, healthy relationship - what little we got of it! - was going to be for the audience? Especially when much of that audience has stuck with you through six seasons of the same old shit? How can you be unprepared for the backlash when YOU are the reason people care this much in the first place?

[chrissv4mp]

𐙚 ᯓ stupid crush — ᡣ𐭩

she didn't understand why she felt like this, why she felt so... warm. especially when you were around. any time you even came within a 5 feet radius of her, she'd feel like she was going to explode. her cheeks would heat up, and she wouldn't know how to act, what to say—she didn't even know how to breathe when you were around her. which reminded her... you were lying right on her chest, and that only made the struggle to breathe worse. she hopes you didn't notice, but with the way your hand ran across her stomach so often, she was sure you might've caught on earlier than she expected. billie had been the one to invite you over after you got off your shift, and you happily accepted her invitation because she was never really the one to ask.

so, here you were, your bodies laying on her bed as a song from your shared playlist plays at a low volume from the speaker on her nightstand. the rain from outside hit her window, the quiet pitter-patter noises making the whole scene complete. it was something straight out of some classic friends-to-lovers film. her bedside lamp was on, lighting the room up just enough so that you could see her face and she could see yours. she was counting each of the little freckles on your face as you shut your eyes, relaxing into her. she ran a hand through your hair, her fingers scratching your scalp so softly, so carefully as she lulled you even further into a sleepy state of mind. she was praying you didn't hear the fast beating of her heart as she held you, not moving too much because she was scared that she'd do something wrong and you'd leave.

she grabbed her phone from her pocket, careful not to make too much noise as she unlocked her phone and went into her voice notes. she was sure you were asleep by now, your gentle breathing and quiet demeanor, a crystal clear sign. but, as she played the most recent one, titled 'stupid crush,' she regretted not making sure that you were actually asleep. her voice erupted from the speaker on her nightstand, and the first words that were heard were, "this is fucking stupid. i... love y/n. there was that—?" until billie finally came to her senses and paused it, the music resuming almost immediately. if her heart wasn't racing, it sure as hell was now. you stirred in your... sleep?—daze?—she didn't know, but now you were looking directly into her eyes with the... softest expression on your face. your eyes spoke for you, but billie was sure she was misreading the smile that began to creep onto your face. you were going to laugh. make fun of her—

"what's so 'fucking stupid' about that?" you giggle softly, voice slightly raspy and eyes glossed over with multiple emotions. all of which were for billie to decipher because she knew damn well she wasn't gonna get any answers from between your pretty pink lips until she finally admitted her feelings. but she didn't know what to say, and not even the music playing softly in the background calmed her anymore. she shut off her phone, tossing it to the empty side of the bed as she gulped quietly, "tell me, i'm quite interested." you sat up, sitting on her lap as you always did because you could never not be at least somewhat in her personal space. maybe that's part of what helped develop her crush on you. her stupid crush. on you. her best friend, of all people. she cleared her throat of the suffocating feeling as she sat up straighter, body tensing as she hopelessly murmured, "because you're my best friend. we're—y/n, we can't be—"

"who says we can't be together?" you scoff, a half-amused, half-annoyed look on your face. when she blinked, it was like you were a million miles closer to her, your lips inches apart, breath fanning over her face. she gulped again, eyes scurrying over to the empty side of the bed, biting on her lip nervously as she tried to think about what to say. it wasn't like she didn't want you to be her girlfriend, she was just... scared of messing it all up. when you cupped her cheek and turned her head back towards you, her eyes widened, "gimme one reason." you whisper, eyes darting down to her plump lips as you scoot closer to her body, shorts riding up your thighs. she doesn't respond, feeling frozen in the same song that just ended began to play again through the speaker, "billie," you murmur, lips only inches away from hers, almost brushing against each other as your hand travels down and wraps around the back of her neck, pulling her in closer. when your other hand comes up to her shoulder, she only then decides to speak, "because it'll be ten times harder to let you go."

"then you better hold me tight so that won't happen." you whisper before your lips crash softly against hers, pulling her closer by her neck. she doesn't pull away, your words slowly processing in her head as her own hands cautiously grab a hold of your waist, almost pulling you onto her lower abdomen in an attempt to get you closer. she wanted you two to be whole, even after all the doubt she spat out before. your words sunk deep into her heart, and now she didn't have a worry in the world. as long as you were with her, everything would be fine. she'd just have to hold you. close. tight. secure. as long as possible... and maybe even forever. she smirks against your mouth as she feels your tongue run across her lower lip, pulling away only a few inches as she opens her eyes, staring deeply into yours and never looking away, "so... i guess i should rename the voice note 'stupid girlfriend,' now?" she giggles as you roll your eyes, pushing her shoulder softly, "i think you're the stupid one."

𐙚 amiyaps : guys the landing of my flight scared the absolute SHIT out of me... cus tell me why we were dropping so fast bro 🙁

𐙚 tags : @mseilishmwah @sophloveswomen @mxqdii @livialifesblog @devynscomet @her-favorite @cannibalsclass @wiidfi0wer33 @loving1dsworld @tan1shere @fallingforfalll2 @cierraonline @dandelions4us @scarlittt @ifwdominicfike @slxtarchive @meliciousmel13 @zayluvss @hrtsdollie

[loycos]

what did you make of the scene where caitlyn hits vi ? the timing of the blow was so unexpected to me…she was kinda steadying herself and then WHAM. What was going through her head ? Was she making some kind of decision ? Mind still reeling that she chose (?) to gut punch Vi to signal the end of their relationship.

well, i dont exactly know what made her make this decision. it looks like a momentary lashout based on rage. i think her rage comes from a place of betrayal, so she wants to make vi as hurt as that betrayal feels.

i actually think the "misunderstanding" thats happening here is very well written. clearly we as the audience see that caitlyn is becoming more and more unhinged. vi sees it as well. caitlyn might have missed the shot and killed a kid- her composure at that moment was very much shaken. most people, given this scenario, would choose to opt out. so to us, caitlyn being so insistent feels callous and irretional. which, it is. but lets look at it from caitlyn's perspective.

so, caitlyn feels a lot of guilt about the fact she didnt shoot jinx back at the dinner table. its very well established. she mainly blames herself, but i think a small subconscious part of her also blames vi- vi is the one who got her to hesitate, after all. the fact that she "messed up" last time and that caused so much grief and pain not only to herself, but to the 2 cities, makes her EXTREMELY determined to NEVER make that mistake again.

vi told caitlyn to not bring back up, so basically, theyre each other's only support. caitlyn agreed, that means that to her she put 100% of her trust in vi to help here and to have her back. vi told her, my sister is gone. when u have the chance, take the shot. caitlyn is convinced theyre on the same page here. so when vi turns on her, shes in utter disbelief, and she starts questioning whenever vi ever had HER best interest in mind.

thats why i think caitlyn is so obsessed with bringing up the idea of who's "side" vi is on. you could read it as "piltover vs zaun" but i think what she means is "me vs jinx". at the dinner party caitlyn didnt shoot because of vi, and she wonders whether or not the girl she sacrificed everything for would do the same for her.

and at that moment, after she missed her shots, again, because of vi, she comes to the realization that vi would never choose her over jinx. and she flips out.

now. thats how CAITLYN sees it, im pretty sure. we know there are other things at play that have affected vi's decision, and that caitlyn currently is not seeing the bigger picture. but that's what i think she felt that drew this severe of a reaction from her.

[thenationofzaun]

Thoughts on Act 1 of Arcane Season 2

The positives:

- The animation is fucking incredible.

- Jinx and Sevika teaming up watered my crops and cleansed my skin.

- Underwater goodbye with Jinx and Silco. That scene was made specifically for me.

- Jinx's voice actress continues to be excellent.

- Loved the designs of all the Chembarons. The glimpse we got of the gang wars was also interesting. Unfortunately, too tiny a glimpse. Which brings me to...

The negatives:

- Too many plotlines. They stuffed the season with too much shit which is why each individual plot gets a much shorter screentime than it should. Smeech is introduced and killed in the same episode. Chembarons' gang wars, a huge issue which has repercussions on the entire Undercity, gets only one musical montage before moving on. And this is coming from someone who loved that montage, as well as the song. My favourite on the soundtrack so far. But musical montages shouldn't come at the expense of the story and definitely shouldn't replace the story. There are just way too many music video scenes in general that feel like a way to condense a storyline into the sparknotes version because they don't have the screentime to flesh it out. And they would have the screentime if they cut out all the extra stuffing. Look I'm happy for the League fans who are excited for the Black Rose and all that, but what the hell is it doing in a Piltover/Zaun show. And with zero foreshadowing in Season 1 too. It would definitely be easier to swallow if they had at least hinted at it in the first season. They could have kept Ambessa's beef with this magic cult for a Noxus show. The P/Z narrative has enough to deal with, enough characters to handle already.

- The new side characters are uninteresting and generic. Maddie and the two other enforcers (we don't even know their names after three episodes LMAO) are bland. We know nothing about their characters or personalities. Maddie looks like a rookie, and one of the dudes is an alcoholic, yet they get chosen for an elite strikeforce to capture Jinx? Isha is pretty generic too - the token cute kid that needs protecting. I get the role she will play in Jinx's arc. But that's the problem - she should be a character in her own right, not just a vehicle for someone else's character development. A good example is Mylo. He died for Jinx's arc, but when he was alive he was a distinct character with his own personality. We had a sense of his insecurities, his goals, who he was as a person. Name a single personality trait of Isha and Maddie other than "generically nice person". That's right. You can't.

- Whatever the hell is going on with Viktor. He wakes up from his coma and immediately rejects Jayce so quickly that it was funny. Apparently disapproves of Jayce using the Hexcore to save his life, but then immediately goes to use the Hexcore to save random Undercity people. Bruh. I also don't really like the way the fridged woman from last season seems to be his motivation so far. Nor the way he seems to have no agency in his Machine Herald arc. Instead of Viktor himself believing in transhumanism and mechanizing himself, Jayce does it for him. Instead of Viktor having an ideological drive and wanting a "Glorious Evolution", he is driven by guilt over Sky. Meh. Also he's not even mechanized, instead he's weirdly fleshy?? In a magical way?? More like The Magic Herald :(

- Vi. Her whole character is a mess. Insanely rushed arc which I find unacceptable for one of THE main characters and one of the faces of the show. She and Jinx are supposed to be the leads, their relationship the heart of the story, but so far only Jinx is a well-written fleshed out chaacter with a believable arc. I have too much to say about Vi so I'll expand more on this on another post.

- So much nuance and detail is missing. How does Heimerdinger feel about his ex-colleagues being killed? Does he care? Does he feel guilt? Relieved that he wasn't in the chamber when the bombing happened? No clue! Let's have comedy Mission Impossible instead! How does Ekko feel about the Council attack? Does he approve of it? Think Jinx went too far? How does he feel that she even survived their fight to begin with? No clue! Here, have him joking around with a Councilor for a bit (someone whom Ekko logically should despise), then he can talk Science with Jayce and all three get sent to another dimension together. Yay. What does Vi think happened to Ekko? The last time she saw him, he was fighting Jinx to the death to give Vi and Cait time to escape. He could be dead for all she knows and she doesn't give a fuck. Doesn't even think about him nor mention him once. It's like the writers forgot they're childhood friends. What does the entirety of Zaun make of Silco's death? I assume they heard about it from Piltover (who heard about it from Caitlyn), but how do they think it happened? His body is gone and to Zaun it seems he just mysteriously disappeared. Are there conspiracy theories? Conflicting accounts and rumours? So much nuance that would give the world and characters more depth, sacrificed so we can pack in more rushed subplots and music videos.

- Caitlyn "Wifebeater" Kiramman. And Caitvi in general. So far Caitlyn has guilt-tripped Vi, manipulated her into joining the enforcers, insulted her and then physically abused her. After Vi sacrificed everything for Cait, wore a badge she hates for Cait, even let Cait kill her own fucking sister (and only intervened when the random kid got involved). Why should I give a shit about such a one-sided relationship lmao. "B-but Cait's mom is dead so she's sad about it", every other fucking character in this show has dead parents. Half the cast has faced unfathomable amounts of trauma and pain that make Cait's pale in comparison. Nothing justifies her hitting Vi. "B-b-but it's a parallel to when Vi hit Powder", a shit parallel then. Because the circumstances are not even remotely comparable. "God forbid lesbians do anything🤪", give me a break with this corny bullshit. Be serious for a second. I'm not even a Vi fan and I think she deserves better than this mess of a relationship. The power dynamic between them makes it worse. The way Caitlyn is one of the richest people in the city and Vi is broke. The way Caitlyn is highly educated and Vi never went to school and spent her entire teen years locked in a box. Did the writers think about all this when writing their relationship? Keep in mind, Vi met Caitlyn like a week ago. She barely knows this chick. She's been out of prison FOR A WEEK. Where she was physically abused every fucking day. Putting her in a relationship with a cop who hits her would certainly be a choice! Do I have faith this show will handle it with care? Not really, no. They already ignore Vi's prison trauma. Most likely they will make Vi forgive Cait way too easily because "muh mummy muh grief".

[marzipanandminutiae]

When I said in the notes that it was historically accurate, I figured I was probably being a bit hyperbolic. They had classical moods! The stereotypical 19th century painting of a beautiful naked woman is almost or completely hairless! And the lack of leg hair removal was likely just because no one saw their legs; beauty standards were merciless on women with visible facial or arm hair! The Victorians invented electrolysis! Surely with that kind of an ideal image, they weren’t going around all the time with Worth evening gowns and pit hair!

And then. I started doing research.

Guys I think they were in fact going around with Worth evening gowns and pit hair

Are the primary sources I found just… Didn’t really talk about it? It was not much remarked upon outside of medical texts, where the presence of “normal axillary hair“ is just one of a laundry list of indicators of good health in a given adult female patient. I found a couple mentions in literature, mostly in a neutral sense. One or two sexualized (Positive) and one where it honestly felt like it was… Romantic, or somehow intimate, that the male love interest saw the female love interest’s armpit hair and noticed it? She was wearing an evening gown and reaching for something, I think, and the whole thing is in a scene with lots of longing glances and flirtatious giggles. And also. A woman’s armpit hair. It was from like 1904

10 years later, the first ads trying to shame women into removing arm pit hair would start appearing in print. Which is wild to me (although clearly it didn’t work overnight on everyone – I found fiction from as late as the 1920s where a woman’s armpit hair is described in neutral or occasionally even poetic terms)

Of course, popular dances of the day did not involve a great deal of raising one’s arms, and it seems like the situation in which a woman would both wear a formal dress and reach above her head were pretty limited. However, you might still reach across and have a sleeve ride up, or be wearing a sleeveless gown. So it’s not like the opportunities for hair visibility were nonexistent. People clearly did see it, based on the literary sources I found

They just. Genuinely seem to have not cared that much

every time a man assumes I'm a tradwife type because of how I dress, I just want to be like "at any given time it's been an average of three weeks since I last shaved my armpits. sometimes longer"

[virtues-end]

It's funny to see people asking about how to get the Shea "kiss scene" because they didn't get access to it at all when I actually had the option on mine, but picked the other romance choice there. I mean, obviously not mocking people who didn't get it, it's just the parallels and differences between playthroughs that are funny to observe.

Even in a moment of confusion, my MC could never be SO bold. The touching was already more than he'd ever dare to do under normal circumstances. It's interesting though, because I did hesitate between these options for a moment, but then came to the conlusion that with my MC's personality, he probably - at least subconsciously - would fear Shea would hate him way too much if he kissed them. I mean, he trusts Shea, but this is still a bold thing to do - even the touching is - and while he doesn't have issues with his human OR his barghest form like other helvlings could nor does he find himself like "disgusting" or anything, he still doesn't think he truly deserves Shea I'd say. He HAS been told ever since he woke up that he is basically worth nothing after all, and that he is the one who brought what happened onto himself because of what he did before - and even if he doesn't remember it, he actually believes that and just feels awful in that regard.

I'm always endlessly fascinated (and curious!) hearing about people's playthroughs. Obviously, I'm pushing a certain narrative when it comes to the helvling, and how they might perceive themself... so I'm not surprised when people tell me that their helvling wouldn't initiate contact, or that they wouldn't act in a certain manner (flirting and the like), or that they might be repulsed or have an aversion to touch (which makes sense, given the character's history).

I try to account for all sorts of playstyles, which is why I often add options in which other characters take the lead (touching or kissing, or speaking for the MC, for example). And I also completely get it if a reader would be uncomfortable kissing or touching Shea in that scene (whatever the reason), which is why it is not at all 'required' for any future scenes with them.

[1moreff-creator]

What are some dynamics (in terms of like, foils/parallels) that you enjoy in DRDT?

you’re staring at a forest and asking me for every tree i like. do you want me to write another 28k word post /lh

I jest, of course, but not about the number of interesting foils in this series. It does a fantastic job tying everyone into several key themes in ways that make their dynamics endlessly enriching for my silly little character parallel-loving brain. So, uh, get ready for a long-ish post?

CW: One mention of self-harm, self-loathing

Teruko-David: I mean, you gotta start at the center, yeah? David’s the closest thing to a “main antag” we have, and it’s no wonder; the guy’s built like a standard DR protag, obviously he’s gonna have a cool dynamic with the actual protagonist. 

These two could breathe a bit weird and somehow parallel each other doing it, that’s how much this foil permeates both their characters. From their fatalistic outlooks on the world (“my luck will always be terrible, I’ll always be betrayed” vs “people can’t change, the world sucks”), the ways they hide their feelings (Teruko was more distrustful than she first presented herself as, but cares about people more than she shows during most of CH2; while David has an entire different persona up to 2-11 and then pretends to be worse than he actually is), the self-loathing (Teruko refuses to think she could be a good person, David has the whole “inhuman” thing going on), down to the oddball sibling figure (Terubro “I know nothing about you” Tawaki vs Diana “I’m not even sure you exist” Chiem).

There’s their feelings about Xander and Min, too, which are all over the place. Obviously we all saw in 2-12 how much the British twink fucked both of them up severely, with Teruko rejecting any positive or yearning feelings she may have had about Xander (you can’t hide the cactus scene from us girl) while David vehemently defended him from any criticism. On the other side, Min is less of a narrative poltergeist (for now; XF-Ture exists), but she still comes up with them, with David calling her pathetic eleven episodes after Min hugs Teruko and Teruko’s internal monologue gives away how much she cares about the Student. 

And these parallels play into their weird-ass dynamic very well, because their beefing is founded on their similarities and their differences, out of projecting their self-loathing to someone similar at the same time they hate each other because of their disagreements on things like Xander. Crazy stuff.

Xander-Min: Mentioning these two second because they’re also Eternal Parallels. There’s almost not a single thing about these two that isn’t somehow reflected on the other. If you projected them onto each other’s direction, you would get no perpendicular component. Get it, ‘cuz they’re completely parallel- That is, by far, the nerdiest joke I’ve ever made, I apologize.

But come on. Their attitudes towards fate (the Rebel fighting it and Min resigning herself to the XF-Ture thing), the whole “holding on to the past vs wanting to move on from the past” thing, the similarities between how they actually feel about the education system (they have issues with it) contrasted with the things they actually do in respects to that (Min is still the Ultimate Student, but Xander dislikes that), their already mentioned contrasting connections to Teruko and David… Just, absolutely everything about them is a meaningful contrast. And it comes into play a lot, with their eternal beef being born largely out of these parallels. They’re awesome.

Teruko-Ace: Pretty topical for post-CH2. Ace’s entire arc is sort of a reflection of Teruko’s, yet taken to the extreme because of one particular point of contrast; Ace feared death, Teruko doesn’t think she can die. But he still basically serves as a demonstration of all the flaws in Teruko’s all mindset; the feeling of unchangeable fate, the complete lack of trust, all the good stuff. It basically allows an exploration of Teruko’s mindset from an outside perspective, which makes it easier to see the flaws in it.

Ace-Nico: Also topical, these recap foils go kinda insane. Their motives for murder, their contrasting talents (love for animals on Nico's side and fear of horses on Ace's), the way they relate to the rest of the cast, Ace's persecution complex vs Nico actively disliking how much Hu defends them, etc., it’s all very fun to see play out. 

Ace-Levi: The one who doesn’t care but protects others and tries his best to be a good person so he can be accepted in society without having issues, vs the guy that acts like an asshole because he’s scared of caring too much and he thinks the only way he can get out alive is by being the only one to survive. This leads to a fundamental misunderstanding between them that causes some of the most doomed yaoi of all time, which is the whole “Levi getting frustrated at not understanding Ace.” 

Arei-David: You’ve presumably watched 2-13, so I don’t think I need to explain all the awesome stuff that’s come from their shared themes of “good people” and self-betterment and all that. Not to mention, David’s little breakdown over Arei trusting the letter of the only friend she had being presumably born from the way he saw Xander as the only friend he had. Shit goes crazy.

Arei-Eden: Recap foils… Good people… The choice to be kind… Etc… Woah :O

Teruko-Charles: Ah, Teru’s recap foil. This one’s basically opposite of Ace’s, where Charles used to be sort of like Teruko acted in CH2, but later became a bit friendlier, if still somewhat prickly. Basically, if Ace highlights Teruko’s character traits from CH2, Charles post CH1 serves as more or less the “end goal” in a way. It goes beyond that, too, with the whole memory issues (prosopagnosia vs childhood amnesia) and, again, mysterious siblings (Terubro and Elliot what are your deals), so it’s always neat to rotate these two in the brain.

Veronika-Levi: We really don’t know too much about Vero, which always makes it a bit harder when analyzing these dynamics, but they already got some interesting points of contrast. Neither of them are particularly concerned about the deaths of the others, at least post-CH2 (Levi doesn’t grieve and Vero actively laughs at Ace’s death), but it comes from almost opposite ends of perspective. Levi doesn’t understand others because he doesn’t feel much empathy (if any at all), while Vero seems to treat the others not as people, but almost as characters to be analyzed (that’s the impression I get, at least), which makes her come off as very good at reading people but also occasionally causes her to see them as sources of entertainment first and foremost. Not to mention there’s also the fact they’re both very different people than they were in the past (Levi was some form of delinquent and now is a good person, Vero used to be outdoorsy and then no longer was). Wow that’s… more than I thought there was- How am I finding more interesting foils just by writing more???

Hu-Levi: I kinda talked about this in my CH2 PT2 analysis so read that ig.

J-Rose: A pair of recap foils who haven’t had too much yet, but a lot of their themes, in particular about fate and privilege and stuff, are pretty noticeable with them, so this is always a fun dynamic to consider.

Levi-Arturo: More recap foils, this one’s fun because of the dead family member :) Also things like their talents being related to aesthetics and both doing the things they do for a better life.

Veronika-Hu: This one’s kinda more hypothetical, since Vero in particular hasn’t had as much direct focus as other characters yet, but that’s part of what makes them fun. Past history of self-harm (even if brought on by very different feelings) is just the first of many parallels they could have, and it’s fun to see the contrast between Hu defending Nico to the ends of the Earth and Vero talking about how much she likes Arturo because of how awful he is. They’re really silly.

David-Whit: All the recap foils are fun, but I've always struggled to see this one in particular. Partly because I feel like I know less about Whit than I know about Mai :v Still, certain things like Whit ignoring anything that upsets him which connects to David constantly lying about his real feelings for his fans, which is probably what leads to David's outburst at Whit in the second trial.

Teruko-MonoTV: Because fate. Really this is here plainly because it’s just a funny as hell dynamic to even consider lol.

Teruko-Mai: Have they interacted? Has Mai had enough screen time to truly determine that this parallel truly exists? Do we even know a single theme that Mai’s character touches on for certain? No and it doesn’t matter! Because these two are clearly connected somehow and the whole “someone dearly loved - someone dearly unloved” thing makes me ill. Mai is getting mentioned in this post and you're not stopping it.

Mai-Whit: Fuck it! “We tend to idolize the dead” dynamic!!! It's very speculative, but this one’s just fun to ponder even if we have even less idea of what could be going on between the two than with Mai-Teruko.

Anyways ready for a few themes that run through a lot of characters?

David-Levi-Nico-Rose: The “feeling disconnected from the rest of humanity’s experiences” gang!!!

Min-Rose-Hu-Veronika-Arturo: The “wants to move on from the past” gang!!!

Min-Arei-Teruko-Ace: The “trying to fix mistakes” gang!!!

Teruko-David-Eden-Arei-Levi-Xander: The “what makes a good person?” gang!!!

Teruko-David-Xander-Min-J-Whit-Ace-Rose-MonoTV-Probably everyone else: Fate!!!!

And there’s more than I’m probably forgetting because I can’t possibly check every conceivable connection between these guys. At least I hope I covered most of the major ones. Thanks for the ask, these dynamics are always fun to think about!

[archive-z]

Billy Pilgrim has come unstuck in time or, what was on Daniel Molloy’s bookshelf in 1973?

Inspired by @volkswagonblues’ and @islandbetweeenrivers’ reading list of texts providing historical and cultural context for Daniel Molloy as journalist in the 1970s and 80s

This is, pretty much in its entirety (bar one or two references throughout the show and its extant material), assumptions I’ve made about the character. But, also: it’s my blog so I can do what I want. Dating works is somewhat inconsistent, as I opted for the date a piece was published in a collection or translation rather than when it first appeared in print if it seemed more realistic to have been acquired in that format.

I’ve found the archives of Rolling Stone and Playboy have been helpful in piecing together a who’s who of literary life in the late 1960s and early 1970s, especially for a intellectually precocious teen from suburban Modesto, CA transplanted into the centre of countercultural life in Haight-Ashbury.

From what I can gather, being born in ‘53 means Daniel was just a year shy of being drafted to fight in the Vietnam War, an experience that would have profoundly effected his peers just a year or two older than him. Throughout his teenage years, he’s got the spectre of the possibility of being drafted hanging over his head. It reminds me of pop-inspirational phrases like “you only live once,” which really puts his risk-taking, thrill-seeking behaviour into the perspective of yeah, this is someone who is trying to live life to the fullest every second of every day because the possibility of being drafted means that he might not make it past twenty. (Unfortunately! Louis & Armand also mean he might not make it past twenty either xoxoxo)

However, crucially, he did narrowly miss the draft, and despite that it would be horrible, I think there’s an acute sense of having missed out on this profoundly altering experience as well. Moving to Haight-Ashbury, he’s six years late to the Summer of Love ‘67, and the rose-tinted image of hippies, peace, and love is replaced by the grittiness of speedfreaks and serial killing (the Zodiac Killer being active throughout 1969, when Daniel would have been sixteen). He’s made it to San Francisco just a few years after its golden era, and i think this makes him even more determined to live, more determined to chase living life in order to make up for that, yknow?

i think the themes that he’s drawn to when reading are:

new journalism, and particularly when the journalist-as-rockstar persona is inserted into said reporting

the provocative, bacchanalian pursuit of pleasure, whether it be sex, drugs, or rock ‘n’ roll — and often sex mixed with violence in a way that is neither straightforward nor legible

travelogues and adventure stories that reflect his restlessness, particularly which let him romanticise far away places with thriving literary scenes like Paris and New York

a general aura of repressed queerness and crises of american masculinity (Capote, Tennessee Williams, Ginsburg, Hemingway)

war narratives as a vehicle for cold war/red scare anxieties

Without further ado, the actual book list:

Periodicals

Playboy magazine. People have long joked about reading Playboy for the articles, but it is the one piece of literature teenage Daniel is in-universe confirmed to have readily accessible, so I’m running with “Danny actually does read it for the articles, though” (and anyways, it’s Diana Ross’ Rolling Stones cover issue from Feb 1 1973 that he jerks off to). In 1973 alone, Playboy featured interviews with playwright Tennessee Williams; Huey Newton (co-founder of the Black Panther Party); news anchor and journalism’s elder statesman Walter Cronkite; science fiction novelist Kurt Vonnegut; and Pulitzer Prize-winning New York Times Vietnam war correspondent David Halberstam. Other Playboy interviews of possible interest: Fidel Castro, Orson Welles, Michael Caine (1967); Norman Mailer, Truman Capote, sexologists William H. Masters and Virginia E. Johnson, Paul Newman (1968); Martin Luther King Jr., Marshall McLuhan, Allen Ginsberg (1969). Also of note: between 1969 and 1971, Playboy was publishing faked letters to the editor that eventually developed into the Illuminati conspiracy theories.

In terms of reporting from major national newspapers in circulation, significant stories that come to mind are the New York Times publication of the Pentagon Papers (1971) and Bob Woodward and Carl Bernstein’s Watergate investigations for the Washington Post (1972-73). It’s harder to gauge the circulation of underground newspapers like the Berkeley Barb (CA) and the Village Voice (NY) but its entirely likely that a resourceful and enterprising young reader with a point of view in Modesto, CA could get their hands on a copy.

Prose, Fiction & Nonfiction

The Little Red Book by Mao Zedong. At Berkeley, The Black Panthers would raise money by selling copies bought in bulk at markup to students. Absolutely makes sense that daniel would acquire (and actually read) a copy. Growing up in the wake of McCarthyism/Red Scare nonsense def makes me think he would see flirtations with communism as provocative and cool/edgy, but never back that flirtation up with follow-through.

The Hell’s Angels, a Strange and Terrible Saga (1966) by Hunter S. Thompson. Throughout the 1960s and 70s, the Hells Angels had a sizeable presence in San Francisco and Oakland — from what I can find they lived dead centre of Haight-Ashbury up until ‘69 if not later. As a teenager in Modesto, Daniel would have been geographically quite close (if not actually in attendance at) the 1969 Altamont Festival Rolling Stones performance where a teenage concertgoer was stabbed to death by a member of the Hells Angels.

Fear and Loathing on the Campaign Trail in ‘72 (serialized in Rolling Stone magazine) by Hunter S. Thompson. The quintessential text to understand ‘73 Daniel, imo. Fuck Nixon, Fuck Reagan, fuck the National Guard killing student protestors. Thompson’s other works include “The Kentucky Derby is Decadent and Depraved“ (with illustrations by Ralph Steadman) and Fear and Loathing in Las Vegas.

The New Journalism: An Anthology (1973) edited by Tom Wolfe. In addition to excerpts of Hunter S. Thompson’s work already discussed above, the anthology collects In Cold Blood (1965) by Truman Capote, Slouching Towards Bethlehem (1968) by Joan Didion, The Electric Kool-Aid Acid Test (1968) by Tom Wolfe, and Armies of the Night (1968) by Norman Mailer. I won’t do justice to summarizing the New Journalism here, but it’s def important.

Slaughterhouse-Five (1969) by Kurt Vonnegut. The quintessential Daniel Molloy fiction novel, to me. Exploration of post-traumatic stress disorder through an encounter with time travelling science fiction aliens. Takes on a new resonance for Daniel when he’s dealing with his own ptsd post-1973. Vonnegut’s other works include Cat’s Cradle (1963) and Breakfast of Champions (1973). On the subject of Cold War anxieties, there’s Catch-22 (1961) by Joseph Heller. I don’t have much to say about it as I’ve not read it yet, but it feels like the kind of thing teenage Daniel living in Schrödinger's draft call-up would take to. Maybe also John Le Carré’s The Spy Who Came in From the Cold (1963) and The Looking Glass War (1965), the latter particularly for the palpable air of repressed homoeroticism and WWII nostalgia/Cold War anxiety.

A Moveable Feast by Ernest Hemingway (published posthumously in 1964). Daniel absolutely spent his teenage years romanticising being an expat America writer in the Paris literary scene. Substance use, war, and crises of masculinity throughout. In addition to Hemingway’s reporting on the Spanish Civil War (1937-1938), other works include novels The Sun Also Rises (1926), A Farewell to Arms (1929), and For Whom the Bell Tolls (1940).

George Orwell: Down and Out in Paris and London (1933), Burmese Days (1934), Homage to Catalonia (1938), Animal Farm (1945), Nineteen Eighty-Four (1949); and essays ”Books v. Cigarettes“ (1946), ”Decline of the English Murder” (1946), “Politics and the English Language” (1946), and “Why I Write” (1946). I think Orwell’s nonfiction writing would appeal to Daniel more than his fiction, especially when at the right age to romanticize the poverty-tourism of Down and Out. Also bonus points for Paris.

On the Road (1957), The Dharma Bums (1958), and The Subterraneans (1958) by Jack Kerouac. In particular, The Subterraneans is based on Kerouac’s interracial relationship with an African American woman in the 1960s. He’d also probably read Naked Lunch (1959) by fellow Beat poet William S. Burroughs.

Lolita (1955) by Vladimir Nabokov, both for its salacious notoriety and its unreliable narration. Like myself, Daniel feels like the kind of teenager who would read Lolita at sixteen as a provocation in a conservative environment, but come away genuinely enjoying it.

Poetry, Drama, Misc

Howl and Other Poems (1956) by Allen Ginsberg, particularly the edition published locally by San Francisco’s City Lights Books Pocket Poets series.

A series of miscellaneous titles I’d group together as “Daniel Actually Did the Assigned Reading in High School English Class” — The Great Gatsby by F. Scott Fitzgerald, Catcher in the Rye by J. D. Salinger (“Get off that bench, brother”), Of Mice and Men by John Steinbeck, and “The Second Coming” by W. B. Yeats. Most significantly, I imagine high school is where he’d be exposed to the work of American playwrights Tennessee Williams and Arthur Miller. The Glass Menagerie (1944), A Streetcar Named Desire (1947), and Cat on a Hot Tin Roof (1955) by Tennessee Williams. In the context of his relationship with Louis, I think it’s fun to imagine he’s familiar with/attracted to the Southern Gothic by way of Tennessee Williams (again with the crises of masculinity, the spectre of war, the repressed sexuality). Williams and Death of a Salesman (1949) by Arthur Miller, present the life Daniel could have had ie. the alcoholic husband, housewife vacuuming on Valium, etc.

If there’s anything else anyone thinks I’ve missed, feel free to hit me with a reply or a dm or an @ or whatnot. stay freaky & support yr local library x

[graillore2point0]

Sadly, I'm too afraid of getting abandoned by everyone I've ever known over this, but I suppose that's what the hornyblog's been for from the beginning.

I wholeheartedly agree, to start things off. Gushing is a series that truly, well, gushes with love for Magical Girls as a genre and a concept and wants to explore it. To deepen what a Magical Girl is without actually subverting it beyond the obvious of Utena as a protagonist.

I am someone who can and will wax poetically about the themes and characters of Madoka Magica and while I'm generally too afraid of consequences to give Gushing the honour it deserves I very much want to do the same.

Now, a lot of the backlash against Gushing is over the ages of the characters, with everyone so far appearing in the anime being 14 other than Lord Enorme at 20 and Korisu-chan at 9. (The Shio-chans don't really change this, though they're 17.) People are getting up in arms over this.

Now, beyond presenting them with the obvious issue of writing a story about 'coming of age' and self exploration as a teenager (When most people start getting interested in such things) without having the main characters, you know, early teenagers, as it would not at all work as well with them above 18 due to various factors...

There's also the fact that Gushing is far from the only series presenting young girls in such a way? It's just actually open about it, and does it in a far kinder way than typical as well.

Gratuitous butt and boob shots, random slips and upskirts, hells even Magical Girl transformation sequences typically depict characters cloaked only in an unnatural light. It's a staple of comedy, slice of life, school and more action oriented genres (Look at BnHA, the average Isekai, the entirety of the Gacha Game scene, even many well recieved Magical Girl series).

(Also where are they finding these 18+ not secretly ancient anime girls? Grab ten of them and six will be 14-17, three 100-10000, and if you're lucky the last is 22 at the very oldest.)

Anyways, back towards topic, it comes down to this perception that to make or watch something that at all depicts younger characters in a more overtly sexual light is some unforgivable sin. That anyone who does is a pedophile biding their time (Which is a whole other matter they probably need to introspect on) who'll act at any moment to bring their depraved tastes into the real world. I could talk more about that in particular but not now.

The thing is it's not. It's not something morally wrong to watch or write something like Gushing or Prisma Illya. These are, in our world, fictional characters. They do not have an age, they do not have an observable will, they are not real on our dimensional plane, to watch or draw or write about them does not harm them in any way.

It's this... Christian puritanical obsession with everything needing to be Clean, to be Acceptable and Uncontroversial. It demands that nothing is explored, that nothing is considered, that nothing is made without first being judged Pure by the twelve most Racist, Homophobic and Misoginistic people on the planet.

I feel like I have more to say but I'm running out of steam so I suppose I'll call this here for now.

So, Gushing Over Magical Girls Is The Best Thing To Happen to Magical Girls

Gushing Over Magical Girls get this bad rep. For all the wrong reasons. I’ve seen it be called an insult to Magical Girls, I’ve seen it be called “gooner bait” a term I absolutely despise but that’s a thing for another day. I’ve seen it insulted for everything and anything under the sun.

I first got acquainted with it when I was scrolling through Twitter and I saw someone complain about the PV. However, as an avid Magical Girl Fan, I wasn’t disgusted. I was intrigued.

I decided to read the manga, and oh god.

This is one of the best things I’ve read.

The story follows Utena, a shy girl that loves Magical Girls, tricked to become the evil general that will defeat the Magical Girl team “Tres Magia”.

And it’s a delight.

I binged all the episodes available to me in the manga, and had fun in each and every chapter.

The same, however, couldn’t be said by half the people who watched the anime. And I was extremely baffled. As a queer woman, this was the first time in my life, in which I had seen something so deliberately catered towards me. I saw tell-tale signs of someone who genuinely admires the genre, and is simply using it as an outlet for exploring deeper and more interesting topics that a SFW version of it would not be able to.

Yet, I turn around and I see people calling it the most horrendous stuff, and accusing everyone who likes it of being monsters or men.

Genuinely, I’ve had enough.

Gushing Over Magical Girl is not the Devil. In fact, I think it’s the best thing to come don’t even like Magical Girls AND IT SHOWS.

PART 1: “Magical girls are for little girls!”.

The first criticism you’ll see aimed at “Gushing over Magical girl” is the amount of sexually charged content it has. And it is true. It borders on straight up porn in many instances and it just gets wilder as you go on. By chapter 30, we’re way past PantyShots. Like, I’ve seen some of these girls’ vaginas, and I’m not joking.

Personally, I don’t see anything wrong with it, but there’s people who might disagree.

“Magical Girls are for little girls” some people say “and you’re corrupting it!”

Which genuinely makes me laugh.

This is because this type of argument could only be done by someone with no real concept of Magical Girls aside from maybe Sailor Moon and Sakura Card Captor.

out of the Magical Girl genre in a WHILE (Ignoring Precure, because they just gave us a magical boy and that’s my win of the decade).

People are just, you know, stupid. And reactionary. Enough that they see a boob and lose their minds like a Karen at a Christmas Eve Mall.

My point is, I love this manga. And I’m willing to risk my reputation to defend it. Cause genuinely, half the people who are clutching their pearls over this show - Magical Girl Anime haven’t always been PG, or aimed at girls.

Cutie Honey is a great example. It’s one of the most famous Magical Girl Anime you will find - and it’s a shonen. With the protagonist, Honey, being constantly naked, groped, put in suggestive situations and have outfits that show her cleavage.

And it’s one of the most famous, most popular takes on Magical Girl there is. Yet, I never see any amount of outrage towards it. (Part of me wonders if it’s because the fan service is aimed at men, rather than involving yuri).

There’s also Lyrical Nanoha, one of the most popular serial franchises there is. It spans several seasons and spinoffs, and it’s beloved by many.

And it’s aimed at older men. Yes, it’s a Seinen.

In fact, its origins are far from PG. It’s actually a Spin-off of an erotic game named “Triangle Heart”. It was most definitely not created with little girls in mind, and themes it tackles reflect as much.

There’s Fate/kaleid liner Prisma Illya too, a spinoff of the Fate/Stay Night VN, very obviously aimed at older men, it’s a Seinen. It has a lot of fanservice and scenes where the characters are half naked.

Day Break Illusion is also a Shonen.

And as much as I adora Madoka - I’ve been stating for years now that it isn’t a show meant for little girls. You could argue it’s for everyone, regardless of gender, who’s a little older. But it most definitely wasn’t for little girls.

So, no. This was never an “only girls” club. Trying to paint it as such, is not only wrong but ignorant.

Magical Girl shows can be for anyone. Men, boys, girls, women and I find it infantilizing to consider it “only for little girls”.

No one says “super heroes are ONLY for little boys”

Well, some do. But they’re, you know, bigots. Who don’t want girls playing or adults o have fun.

So no, Gushing Over Magical Girls being a sexually charged anime in the Seinen category isn’t “corrupting the genre”. In fact, I would argue it’s doing exactly what the genre has done in the OVA shadows for a while.

Not to mention, many people have screamed from the rooftop how they want “more mature Magical Girl shows” referring to the success of Madoka. But as soon as an actually mature take on Magical Girls shows up, tackling issues of sexuality and love, you all don’t want it anymore.

(We all know why, though. Americans, and western culture in general, considers mature themes, only that which involves violence. Anything close to discussing issues of sex is no longer “mature” but “Pornographic” and deserving of being shoved into a corner. With all queer themes, gender studies, and any nuance that could be had regarding these issues).

And speaking of sexually charged, have you watched so called “wholesome” magical girls? They’re still very much sexy. Not in the “on the nose” ecchi way Seinen and Shonen are - but they still are.

You’ll find transformations were the girls are naked, zoom in to their breasts, you’ll have panty shots every now and then. Even themes of growing up, having crushes, and innuendos about sex. Inappropriate relationships, taboo romance, and the likes.

Sakura had Rita and a professor’s relationship (mutual in the manga), Sailor Moon had Chibiusa and Elliot’s romance, Sugar Sugar Rune even having an element for ‘lust’ and other different types of love, and let’s not forget Mermaid Melody which has several instances of the girls naked, in compromising positions with other men. And I’m pretty sure Tokyo Mew Mew likely opened a whole bunch of doors for girls to be into CNC.

This is, by the way, normal.

Completely so.

These stories often talk about the girlhood experience. And girls and teenage girls are interested in all of these things. They’re interested in sex, romance, their bodies growing up, their own sexuality and the likes. It’s no wonder same-sex relationships and romance get included, they’re part of what experiencing the world through the eyes of a young girl is like.

And subsequently, it stands to reason that as people who engaged with MG grow up - they find comfort in exploring their sexuality through Magical Girl themselves. There’s a reason why there’s a growing section of “Magical Girl” in your local hentai site.

“Men get off on corrupting this wholesome girl targeted genre” is actually TERF rhetoric sneaking through the mainstream. It ignores AFAB ppl and gender nonconforming people, who grew up with Magical Girls, simply using a medium that originally started their journey of sexual identity, to explore more “grown up” aspects of that same identity.

In particular, I’m a Cis AroAce Woman. I wrote a lot of Magical Girl NSFW when I first started writing NSFW Twitter threads. They’re bad and they’re cringey. But it was something I needed.

Magical Girls were a huge part of my childhood and early teens. When I was mentally in the space to want to engage with NSFW content: it was obvious I would turn to what first sparked excitement.

So this idea that “men are corrupting Magical Girls with their sick fantasies” is nothing more than TERF-lite propaganda. People, including women and men, have been doing this for ages; for a variety of reasons. And doing so, doesn’t rob children of their spaces - but the gentrification of the internet is a story of another day.

The other argument I have heard is that GOMG is a mockery of the genre. Which is even more laughable in my opinion.

PART 2: Parodies and why I hate Earth Defender’s Club.

Gushing Over Magical Girls loves Magical Girls. It’s a parody, in a way, but it knows very well what it parodies. It’s not surface level in the slightest. And it absolutely is not mean spirited about it.

A lot of the time, shows that reference and parody the Magical Girl genre, do so in ways that feel like they view it as a lesser genre. They take generic images of cute girls in frilly outfits, swap the colors around, and have them chant over-the-top spells. You’re meant to laugh, not only at how silly they look, but people who would love it. Especially if they’re grown ups.

I do not like “Cute High Earth Defense Club LOVE!” For this exact reason - even tho many people praise it to all heavens.

Because

1) It feels surface level in its commentary and depiction of Magical Girls and

2) More mocking towards the genre than paying homage or doing anything with it.

The continuous use of the word “Love” is a very obvious jab at Magical Girls using these words, which feels mean spirited just for the sake of it. Their outfits are almost exactly the same, save for the colors. And they all use the same sticks as weapon, with no thematic link for the shapes of the scepters. The mascot too (a wombat for god knows what reason), I think it’s meant to be a joke of some sort for how ridiculous some of the mascots for the girls get, which rubs me the wrong way.

In general, it feels shallow and mean spirited. But no one calls this an insult to Magical Girls. Because people who like it don't actually care about Magical Girls. They see cute boys doing silly things and love it. Which is kinda sad.

Now, Gushing Over Magical girls has sort of that same problem on the Tres Magias…But they’re not the protagonists. And even then, in later chapters, they get power ups that are different in design, and thematically linked.

The protagonist, and the ones we follow, are Utena and the girls. And they all have very distinct outfits, all with motifs that are tangentially thematically linked, and speak of each character’s personalities in interesting ways.

Utena in particular has THIS outfit. Which a lot of people don’t like, but I actually do.

It’s very obvious it’s taking inspo from other iconic Bad Girls in the genre. Namely, Utau, Kraehe and Devil Homura. All “Enemy characters” that have unhealthy obsessions with other characters. In particular, I think the wings and the feathers resemble Homura - THE character known to have a massive obsession with a Magical Girl (Madoka), to the point of insanity.

There’s also Magia Azure. Who’s a clear reference to the Mean Tsundere girl that is iconic to the genre. She’s also a Miko. Which is a callback to Sailor Mars, arguably THE girl who popularized this archetype.

I also love what they do with the mascots. Unlike Earth Defenders, where the mascot is you know, a mockery of the archetype of a mascot - useless, only there to give power ups, and obsessed with food - the mascots of GOMG is taking a book from Madoka.

It considers the mascots both all-too-powerful and yet limited in their reach. Which is exactly what the mascots have always been in Magical Girls. Beings so powerful they can give mythical powers to girls, yet helpless to do anything on their own. So, they use magical girls as a vehicle to achieve their goals. Most Magical girls try to paint this as a good thing, but newer genres shine light on how dangerous that can be too.

Madoka tackles it with Kyubey as the main initial mascot, only later to turn out to be the villain of the series.

And in a Post-Madoka world, trusting the mascots is just the slightest bit more difficult. That’s why, from the get go, GOMG portrays their mascots as morally corrupt. He’s not a good character, he’s malicious and doing more harm than good. But for the majority of the series, he’s painted more as a useless harmless evil than anything genuinely terrifying or worthy of concern. The attention is focused on other things.

But I love the way that it’s heavily implied that they’re not good. It’s a very interesting take on the mascot and it helps with the themes of the series. Which yes, by the way. Gushing Over Magical Girls has themes.

Which lead me to-

Part 3: Yeah, uhm, Gushing Over Magical Girl has themes.

There’s this idea that Sex is an inherently violent act. In which a man humiliates and sodomizes a woman, and therefore the woman is exploited in some way. And 10x worse is any act that involves BDSM. It’s violence; born out of hatred.

This is TERF rhetoric. I’m not joking. This line of thought leads directly to TERF ideas.

Many on the internet have pointed out as much, and BDSM members have gone to be very vocal about it. In particular, people on the role of the submissive (or the bottoms) are loudly trying to explain the contrary. How they like the act of sex, like the idea of being vulnerable, or being humiliated. There’s also plenty of LGBT+ stories that talk about it, both in western and eastern spaces. Just jump into the section of dom/sub verse at your local manga browsing website, and you’ll find something.

That said, the same is not as common for people who like to “dominate”.

I can only think of two pieces of media that argue that, whoever is the dominant or the sadist, is also a human being. That whatever they’re doing is done, not out of hatred for the submissive or an act of violence, but love.

One, is the husky and the white cat. In which Mo Ran, among other things, has to come to terms that his love isn’t “pure”. That he cannot love someone without the want to have sex, and to completely dominate that someone.

The second one is Gushing Over Magical Girls.

It’s very clear to me that Utena’s sadism isn’t a violent act. It’s an act born out of love. She genuinely loves the Magical Girls, and most girls for that matter, and whenever she is inflicting pain and fighting with them - what she wants is to ultimately help them in some way.

She wants them to “be the cutest version they can be” and wants them to shine brighter than ever.

There’s this one scene I love, around chapter 20, in which Baiser (Utena) is fighting Magia Azura. And due to Baiser going a bit too far, Azura ends up being Mind-broken. She crawls towards her, calls her “mistress” and begs to become her servant.

In any normal Hentai you’ll find, this is a good thing. This would be the ideal outcome. A character being turned into nothing but a sex slave for the enjoyment of the dominant.

Which is why I found it breathtaking when that didn’t happen.

Baiser is horrified by this. She does not want to break the girls, she wants them to be powerful. She wants them to win. With her, the evil one, being nothing more than a vehicle for them to be even stronger than before.

This is the first time I’ve ever seen dominant or sadist characters being presented both sexually, and in such a positive light. Much less a queer woman in the same position.

It doesn’t treat BDSM sex as a disgusting taboo act, but something born out of genuine love - and a want to see the other person be or feel better.

This is reinforced around chapter 25 where Leberblume and Loco Mùsica are fighting Baiser. For context, Loco Musica wanted to be an Idol, but had terrible singing. She uses her evil power to basically force everyone to listen to her sing (which is so reminiscent of Mermaid Melody btw). When they fight, Baiser wins, and is then set to use her new found power to “punish” Loco Musica.

Originally, Loco Musica points out how Baiser’s sadistic tendencies are “the same” as Lord Enorme, who we’ve seen uses sadism as a genuine form of punishment. Something to avoid. You behave well, because you don’t want to get hurt or humiliated by her.

However, when Baiser uses her own unique type of sadism on Loco Musica, something happens. Instead of causing her physical pain by beating her or using violence, she forces her to get naked and perform her idol song like that. This causes her to get extremely embarrassed. And in the process, she actually starts to sing really well.

This is important for two reasons

1) Baiser is actually taking into account who Musica is. It’s later revealed that Musica wanted a more frilly idol-like outfit but Lord Enorme shut it down, for the sake of a more ‘unified’ aesthetic. Baiser is not just throwing around the same treatment and punishment for all girls - what one might like, the other might hate.

2) At the end of the day, while she did the punishment, it was both embarrassing, but ultimately something that helped Musica and made her feel better.

And that’s really the key here, and why I love the series.

Sadism, sex and kinks in general are not tools of degeneracy. They’re treated as part of our experience.

Also, it’s just fun?

Part 4: Gushing Over Magical Girls is just extremely fun when you don’t have a dumb bitch yapping abt how unholy it is to see tiddies on a screen

Yeah, GOMG just has one of the most creative depictions of the most insane of kinks you’ll see - I could spent hour gushing over Nero Alice.

Seeing all these different kinks being depicted as powers and abilities that these characters have - and seeing how they interact with other people is just interesting.

The sex scenes are both hilarious and kinda sexy. Specially if you do like to see women all hot and bothered. Personally I’m not into girls (or anyone for that matter) but I have to admit the scenes were pretty hot. And there is no shame in admitting as much. No matter what the puritanical Christian on Twitter crying abt “god honoring lesbian sex” Will tell you.

I cannot begin to explain just how hype and relatable it was to see Magia Baiser defeat Lord Enorme with the power of straight up delusion, we STAN.

So, yeah.

It’s been a while since I last saw a Magical Girl Show so unashamed of being a Magical Girl Show. Unashamed of being weird, of praising the genre and just enjoying it.

My essay is titled, in part, as a joking reference to my much more popular series “MLB is the worst thing to happen to the magical girl series”. Which I still think is true.

And while, yeah, maybe GOMG isn’t the best thing to come out of the genre…I still think it’s good that it came out.

A lot of people say they want a more “mature” take on Magical Girls but - this proved to me that just isn’t the case.

Gushing over magical girls proves that the Magical Girl Genre Can Be so much more than what people think. More than glitter and sparkles, more than vapid action scenes, or what little girls want.

Much like any other genre, it can be raunchy, it can be messy, it can explore things outside of the status quo. But it can still deeply respect the source material, and the origins of it.

GOMG proves Magical Girls can be fun. Just. Straight up fun. Regardless of your age. They can serve and connect you to parts of yourself you didn’t realize you could connect to.

I hope it proves to more people that the genre can be so much more than “just for little girls” that parodies can be more than pointing and laughing, and that it can have themes beyond just, “friendship”.

Magical Girls can be so much more. You just, have to have an open mind about it.

[everythingiloveblog]

I have so many things to complain about in ep10, that I have a hard time organizing my thoughts

Other than that, some things have been bothering me about Jack as a character, or rather the choices made for his character. Because they are definitely making some interesting (derogatory) choices with Jack’s character.

I love Jack, he is (was?) the character I’m interested in the most, but I’m starting to think that I will never get the depth(?) I thought I would get from him.

I was definitely on his side during ep7-8, defending him while people had a hard time understanding his point of view, or putting themselves in his shoes. But since ep10, like I said , some things have been bothering me.

One of them is that I noticed that Jack barely has any emotional bond with the characters in the show.

The show did it well with Joke though.

Joke & Grandma: they had so many emotional scenes of talking to each other & supporting each other & doing things for each other that I feel like, at this point, people care more about the bond between Joke & Grandma, than Jack & his own Grandma (or even Joke & Jack)

Joke & Hoy: Hoy has been on Joke’s side since episode 2 if I remember well, always feeling bad for him, understanding that if a rich kid like him is not going back home, there must be a reason, teaching him to drive, asking him his type, etc. And even in this last episode, he was comforting him at the hospital

Joke & Tattoo: Tattoo couldn’t care less about him at first, since he doesn’t like rich people and like, he doesn’t know him anyway. So he betrayed him twice, with barely any remorse, and if his mother had been on his side, he would have been gone with the necklace. But things didn’t go his way and Joke decided to forgive him TWICE, which led to Tattoo being thankful & remorseful. Since then, an emotional bond has been formed

Joke & Arun: well, they started as enemies (with the first group heist of the show), now they are in good terms. Not much going on between them but at the very least, Arun is now part of the 4 Little Pigs, so they are spending time together, getting drunk together & they did that heist together as well

Joke & Toi Ting : they don’t have that many scenes together, but I feel like they always give the big emotional speeches to Toi Ting to Joke (first in ep6 when she cried because she got bullied for being uneducated, and in ep10 twice after her dad left & when Joke was going to leave)

Joke & his father and brother : whether we like it or not, they clearly developed a story of love & forgiveness, etc (I don’t have much to say about this storyline as I don’t like it, but I understand that it’s a cultural thing, as most of the Thai bl I’ve watched did the same thing)

Even Boss & Nang had some interesting conversations with Joke in the show.

Now let’s look at Jack...well, I feel like everything is superficial

Jack & Save: who are they even to each other? They talked like 3 times, and it was nothing very noteworthy. He’s like this random lil bro that he’s close to, and we don’t know why, how or when they got close. So the betrayal feels a bit off, and the reveal was also underwhelming (to me at least)

Jack & Hope: once again, why the beef? No explanation. A few antagonistic interactions at the beginning, then nothing.

Jack & his grandma: we had some scenes, and of course they love and care about each other, but weirdly enough, their emotional bond feel weaker than the one she has with Joke...idk

Jack & Hoy & Tattoo: he was their debt collector, helping them because they couldn’t pay...and that’s it. He’s like the nice neighbourhood big bro. They like him, they respect him. But we don’t see much of it. They barely hang out with Jack. And when they do, Joke is always here. They are giving more Joke’s friends hanging out with Joke’s boyfriend tbh

Jack & Toi Ting: We know that she likes him, she was his eyes in the neighbourhood when he was working, I liked that scene with Jack, Toi Ting and her dad. But again very superficial. Like I said, the big emotional moments with Toi Ting are given to Joke and Jack is on the side so...

Jack & Arun: nothing to say I fear

Jack & Nang : does Jack even know that she exists? Oh yeah, she was at the table during his birthday dinner at Rosé's...does he know who she is?

Jack & Boss: probably one of his most developped relationship...and it’s an abusive one. Like I said in a previous post, Jack got emotionally manipulated by Boss during the 5 years he worked for him, and then ended up being verbally, physically and mentally abused by him, while being used as a pawn to Boss’s quest for power (after almost killing his grandma). All those scenes of Jack closing his fist while talking to Boss better not be for nothing

Jack & Rosé: Well, she liked him, he didn’t, he worked for her while being a potential spouse (forced by Boss). He ended up telling her that he didn’t like her but said they could remain friends...where was that friendship though. Nothing they shared was genuine though...so like idek (I wish there was an actual friendship formed between them actually but oh well)

Jack & his parents: Very surprised about the fact that he NEVER talks about them, ever. I actually thought that Oh (Jennie’s character) dying the same way as his parents would trigger him or something, but no. He thought about them briefly in ep4 (after Joke fixed his little bookshelf corner) but Grandma was the one bringing them up, saying that she misses them.

So...yeah. It’s disappointing really. I feel like there was so much more that could have been done with Jack’s character

And it also might be one of the reasons why it’s easier for the viewers to connect with Joke than Jack

[cloudxgears]

I like to think that the way Jinx reacts to seeing Vi in the enforcer uniform is less about what happened to their parents and more about how her Vi never would have done that and realising the Vi she understood and who was familiar and safe and recognisable to her is gone for good. Because obviously no one in the Undercity likes enforcers or their topside oppressors, but Jinx is never once shown with the same vehement hatred of enforcers that young Vi had.

I think this is just about Vi. It's about Jinx's disappointment towards the big sister she spent her life looking up to, and her shock that Vi's life experiences were that bad that they've led her to lose any character and principles she used to have.

I really don't think Jinx ever cared as much about gaining freedom for Zaun and revenge on Piltover as young-Vi and Silco did. Jinx' world was always quite insular. She focused on her special interest and developing her talent, making bombs and weapons, to enable her survival, improve her self-esteem and to try to help the ones she loves. Everything she did was about proving she could survive after coming from nothing and being the kicked puppy, and to prove herself to the ones she admires.

The whole point of the teaparty scene was about deciding who to trust and who to choose and if it had happened differently she would have gone off with Vi and done what it took to make Vi keep loving her and if that meant not using the bomb she wouldn't have done it.

She isn't exactly driven by revenge like pre-teaparty Vi and post-Cassandra Cait, or by wanting dignity and wider respect like Silco and young-Vi. She's driven by loyalty and her desire to be valued and seen by those she loves, and she has no one left to be loyal to, Silco is dead and her Vi isn't there anymore, so she's dead inside.

Having her own daughter to care for (and probably losing her) is what will make her want to become a symbol and put the fire in her to truly want revenge for the first time.

But that moment in the smog seeing Vi in uniform below her is the moment the teaparty and watching Jinx use the bomb on the council building was for Vi. It's Jinx' first moment realising Vi isn't safe for her anymore and has become a total stranger. That's when she's confronted by understanding that she'll never get her Vi back again and she doesn't have the history or connection to this new woman anymore to be able to understand her. It's the first time realising the memory of the Vi she has loved and hated and held on to all this time has been extinguished by this imposter.

And she naturally has a total panic attack at the loss.

It gives you more understanding of Vi's internal feelings about Jinx. Vi doesn't show her reactions in the same big way Jinx does. She had to be Powder's parental figure as a kid and she desired to follow in Vander's footsteps and become a leader one day, so she had to constantly maintain a positive and strong front and suppress anything else. She always made sure whenever Powder looked up at her to project, 'Everything is going to be fine, because I will make it so, don't worry :)' because she was a great big sister.

And then she was locked in prison for 7+ years where she couldn't afford to show weakness or have obvious breakdowns. Also I like how her coping mechanism is shown by her general attitude to be optimism, and even in somewhere as desolate as Stillwater it's easy to imagine her against all odds fighting to maintain a can-do attitude and having a mantra of 'It will be fine and I'll get out of this one day because I have to', and that mindset takes a lot of suppressing too.

So she implodes rather than explodes in a way that's difficult for an observer to notice or understand. Which is why her S2 actions so far look so wack to most people.

The moment in the smog and the panic attack after is the first time Jinx is having the same big realisation Vi had to her during Season 1, realising that is not her safety or the big sister she can look up to anymore. It's losing a part of herself that Jinx admits at the end of S1 has kept her alive all these years.

[invinciblerodent]

While I'm on the topic of being hopelessly in my feelings about these characters, I just finished the last part of the Gloom Howler quest, and I'm thinking about Davrin and names at the moment.

I really, really love how, once we learn the truth about her, Davrin seems to make a point of always referring to Isseya by her name (mostly on its own, but sometimes in conjunction with calling her "The Gloom Howler" when necessary), and even correcting others who would refer to her only by the latter name. (Which, honestly, both Solas and the Inquisitor could also talk at length about a title that all but replaces your name- it definitely feels significant that Davrin would pointedly reject the thought of doing that to someone, but I digress.)

And that reminded me of how I previously made an idle, kind of shitposty little post about how nice I found that during his recruitment mission, Davrin calls out the specific names of each griffon if you interact with their cages, and he attempts to comfort them like that- by reminding them who they are, that he's there, and promising that he'll be back for them.

In retrospect, I think that's so interesting, how his core story seems to boil in part down to... well, in part to the burden of duty, the questioning of tradition and authority (he questions both Dalish- and Warden traditions from very early on, one by joining the Wardens and the other by joining Rook) and, yes, living past what one thought to be their purpose, but also... to these moments, that invite some contrasting of his elven-, and his Grey Warden identities.

Isseya being an elven Warden is a very direct parallel, and a very clear image- it, I think, is meant to show what happens when authority goes unquestioned, and one side (the Warden) triumphs over the other (the person). His uncle then acts as a counterpoint and a thread of connection to the past- he shows what happens when tradition goes unquestioned, and while peaceful, how that existence is not one Davrin wishes for himself.

This all comes to a head in the final choice concerning the griffons... which, I can't say what a "correct" choice is, but I find it really cool how one option embraces a more rigid tradition and acts as a vow for reforms within them, honoring them, while the other embraces a different tradition, one born of fluidity, choice, and change- a more personal freedom.

Purpose and nature, respect for the past and hope for the future, all strain against each other sometimes (in multiple companions' stories, I feel), and it's often a name that represents the complicated harmony between two halves.

Be that Assan, noble descendant of a hero Warden's griffon wearing an Elvish name, Isseya, the monster and mage brought to peace, the idea of "turlum", harmony and understanding forged between vastly different minds, or just... Davrin, the Dalish Grey Warden, who is not more one than the other.

Maybe that's why calling people (and animals, and feelings) by their proper names seems so casually important to him. Because if you give something complex, messy, and muddled up a name, it's easier to just live it.

(.......... and yeah, that makes it a bit ironic how so far he's been calling Rook, "Rook", but, yknow, technological limitations. I've a feeling I've at least one important scene to go still, but honestly, the name "Rook" does also kind of represent a similarly complex matrix of ideas condensed into a person. It could be that "Rook" feels more accurate than any "friend", or "love", or "boss", or even "vhenan", for what they are to him, or it could be that he's still looking for the right name, but either way, I'm looking forward to seeing how it all ends.)

[raspberry-pastries]

That take for tf1 annoys me because the movie explicitly presents his descent. Yes it was rushed in some places but the run time required it and I’m hoping it’ll be fleshed out if we get a sequel.

For one D-16 was not a rebel from the beginning, that was Orion. D-16 was okay with the system and was a prime fanatic (which made sense given sentinels propaganda and stuff). But Orion was the one who believed they could be more, who wanted to prove to the transformers that they were wrong about cogless bots. The way some people talk about him in the movie you’d think he went to get the matrix just because he randomly wanted to and not because he wanted D-16 and him to prove themselves to sentinels as more than miners so they could live a better life and fix the energon shortage. I mean after he found out the truth D-16 literally blamed Orion for the entire thing because he broke protocol, which included saving jazz’s life. He was incredibly emotional in this scene which explains why he reacted like that but it still shows that he has the mindset of ‘if you don’t break the rules nothing bad will happen’; he didn’t want to challenge the established system.

D-16 wanted revenge which is fair given what sentinel did to him. It was a reasonable reaction but where it devolves is when the desire for revenge become more selfish and entwined with the strong over the weak mentality the high guard introduced which clouds his judgement later on.

He did not care about the consequences of killing sentinel in an extremely public and flashy execution and how that would impact iacon moving forward. His actions were fuelled by his desire for revenge. It gets to the point where this desire outweighs his care for others. He wants to kill sentinels supporters almost immediately after. He destroys any sentinel iconography and doesn’t care to get people out of the way first or that it was putting them at risk of death from the debris. His revenge was not sated and he just kept escalating.

He proclaims himself as a leader, taking megatronus’ cog and promising no one will be deceived again. This focus on deception throughout the movie is especially interesting because the way they frame it it’s almost as if he isn’t angry about the system itself he’s angry that it was built on lies. Sentinel killed the primes, mutilated D-16 and used his labour to pay off sentinel’s own debt. There’s no real mention on cogless mechs being treated like nothing or anything like that (correct me if I’m wrong I have a shit memory). He is not motivated by a desire to change the system but revenge for how the system he suffered in was built on lies and the betrayal that came from that. My friend described it as ‘megatron is fuelled by personal anger and Optimus by societal anger’. He was called Optimus because he was optimistic, he had hope things could be better for the cogless bots without burning everything including them to the ground. It’s shown through the symbolism too, Orion kneels at the miners’ height to talk to them but megatron towers over the high guard in his speech. Also as prev mentioned, he was continuing the cycle of violence. The way megatron gained power mirrored the way sentinel did and ofc the intentions and motivations were completely different but this was the way the movie was communicating this is not the way to do it.

Do I think that Orion was sympathising with sentinel for trying to stop megatron? No but I think he definitely could’ve handled it better, especially when he compared megatron to sentinel which was the WORST possible thing to say in that moment. I do think his desperation to stop D-16 was because he could see the consequences of killing sentinel like this, both on iacon and on D-16. Also one of Optimus’ flaws is that he wants to solve things non-violently or at least non-fatally when he really should sometimes, so it wasn’t completely selfless reasoning either. I was very happy when sentinel was finally killed but I could see why Orion wanted to stop D-16.

I’d say neither of them were completely in the right or wrong when it comes to sentinels death and the aftermath. Orion had much better intentions and awareness of the consequences, but his reasoning was at least a bit connected to his own ideology and he really could’ve communicated Why It Was Bad better. And megatron was the one in the wrong by the end through his actions and especially intentions. In tf1 he’s right in some places and wrong in most but this was an origin; an oppressed persons reaction to their worldview crumbling around them and realising that they were owed more. It’s why it impacted him harder than Orion because he already knew that much. D-16 was betrayed and lied to and had no idea what to do after that other than kill the person responsible. When he let go of orion he disregarded his connection to his past, the last person he could truly trust, letting his anger consume him past of the point of no return. D-16 was my favourite character in the movie but it’s important to recognise that he was not in the right. We know what he will do in the future; the atrocities he will commit, this is just introducing how he may have escalated to such extreme actions.

Pls let me know if I get anything wrong I typed this at like 3am lol and sorry OP for the long addition!

"Maturing is realising Megatron was right." Have you even watched a single second of Transformers.

[bleummie]

"At Least I Know I'm Doing It."

I'm sorry guys. I just got this scene in-game and I couldn't help it.

___________________________________________________________

Rook was no stranger to nerve-wracking situations, in fact, they seemed to draw her in, much similar to what she imagined the call of lyrium felt like to a templar, or a moth to a lit flame. But this, well, this was a different kind of adrenaline, one that exuded a heart wrenching helplessness; and it was all his fault. 

As a crow, it came as no surprise to anyone that Lucanis had a way with words and a charming presence, and while it may not be on the level of his cousin, Illario, it was still an undeniable quality. 

A quality that Rook, against her better judgment, found herself inexplicably drawn to. 

Which leads to now, where she remains crouched with her back against the now empty pantry wall, staring dumbly at the door Lucanis abruptly left through after excusing himself. He had let her so close, and not just let her, no, he actively pulled her in closer, after months upon months of a precarious dance of poorly concealed admiration for each other. And then he’d left. Fuck.

With an exasperated breath, Rook drags her hand down her face, flushing at the memory. 

“At least I know I’m doing it.”

The gall of this man.

Did she do something wrong? Was it something she said? Or was he simply afraid, and backed away when things finally got to a boil of the simmering longing harbored between the two of them that was seemingly evident to everyone at the lighthouse except for these two? 

The only certainty Rook felt was embarrassment. Well, that and a flustered feeling that caused something deep in the pit of her stomach to flutter. With an annoyed groan, she stands up, trying to regain some semblance of pride lost by the feeling of having his lips so close to hers before his hasty retreat, before pushing out of the pantry Lucanis so lovingly decided would be his room in the Lighthouse, ignoring the gazes of Taash and Davrin, who happened to be in the kitchen at the moment. 

Despite being in the Fade, the Lighthouse provided an unexpected aura of peace, which Rook was grateful for as she stepped out of the dining hall, fully prepared to make a beeline for her private quarters just upstairs from the library. It only took three paces out of the hall for her steps to halt, as she stands just outside Neve’s office, when the idea of what could have caused the hasty retreat of Lucanis earlier causes her stomach to twist in an uncomfortable knot. 

Jealousy was not a new feeling to Rook, but a jealousy as intense as this one was definitely a first. What if his and Neve’s connection went deeper than the seemingly harmless flirtatious banter the two of them shared on occasion? Rook had always brushed it off as just the way Neve was with people, considering the two of them flirted as well; it just seemed to be a part of her natural charm. 

And before Rook could consider otherwise, she pushed open the door to Neve’s office without so much as a knock. 

Standing somewhat nervously in the doorway, she decides to ask her friend the question weighing on her mind. 

Neve, who is currently sitting at her chair engrossed in her work, looks up at the uncharacteristically quiet and slightly pink Rook. 

“You alright, Rook?” Neve inquires, both amused and concerned. 

“Can I ask you something?” Rook replies as she hastily closes the door behind her. This seems to pique the detective’s interest as she gestures to the chair across her desk, which Rook happily collapses in, popping her finger joints nervously. “You and Lucanis- is there anything going on there?” she eventually asks. 

With a raised eyebrow and a low chuckle, Neve studies her friend intently, before shaking her head. “No, Rook. But it is quite obvious you’re an absolute sap for the team’s resident assassin. A sentiment which he very obviously returns, by the way.” Neve stands gracefully from her chair, and rounds her desk to stand in front of Rook. 

“What happened?” she asks softly. The question launches Rook into the memory of mere minutes before, Lucanis’ hand beside her head against the wall as his eyes had flicked down to her lips. 

“You like to walk a little too close to the edge.” 

“So do you.” 

Rook shakes her head, trying pitifully to remove the memory from her mind. “It’s just-” Rook sighs frustratedly. The expression on the Tevinter mage’s face seems to understand what’s happened, as it morphs into a sympathetic smile. After a moment's silence, Neve breaks the silence. 

“Go talk to him.”

Neve’s advice earns a groan from Rook, but she knows she’s right. With a curt nod, Rook stands, and quietly squeaks out a thank you, before awkwardly turning on her heel and leaving the office. 

Talk to him. 

Talking is something Rook can do, and quite honestly knows she excels doing under most circumstances, but something about the idea of speaking to Lucanis, being vulnerable, causes her tongue to pre-emptively swell in her mouth, garbling her words and thoughts alike. 

She knows she's not just walked too close to the edge. She's fucking free-falling.  

[i-worry-about-nothing]

Dead Pixel Scene Sound Aanalysis

This is an essay I wrote for my music in film class about the dead pixel scene. Sorry about the recap in the beginning since my professor didn't know the game, I had to explain the plot.

Hope y'all find it interesting with some of the technical terminology from the class!

Word count: 2,237

Scene: 54:04 to 55:39 https://www.youtube.com/watch?v=Mgcm7Er62LY 

Mouthwashing is an indie psychological horror game by Swedish game studio "Wrong Organ," released in September 2024 and published by "Critical Reflex" with a soundtrack by Martin Halldin. The game follows the story of 5 crew members stranded in a Pony Express freighter spaceship named Tulpar after it crashed. The game follows a non-linear narrative, presenting us with events in the modern day and events before the spaceship crashes. In the modern day, we play as Jimmy, the prior Co-Pilot now ascribing himself the role of Captain after the original Captain was injured in the crash leaving him completely maimed, In the flashbacks we see the events through the eyes of Captain Curly before he was injured. The other crew members consist of Anya, Swansea, and Daisuke. From the beginning of the game, the crew members, besides Jimmy, and the viewer are led to believe that Curly had crashed the ship on purpose. But as the game continues, through the flashbacks we learn that Jimmy was the one who crashed the ship. Slowly we are shown how much of a monster Jimmy is and how he has manipulated the people around him. It’s shown towards the end of the game that Jimmy decides to crash the ship because he discovered that Anya, the ship's nurse and only woman on board, was pregnant after he sexually assaulted her. Curly, trying to keep everything running on the ship as well as being a close personal friend of Jimmy's, talks to Jimmy after Anya informs him that she told Jimmy she was pregnant, and claims to Jimmy that they’ll be able to fix this. Jimmy realizing that he will ultimately not be able to escape his actions once they land proposes to Curly that he should just crash the ship and have them all “Die Heros” saying that if they do land and what happened to Anya comes to light Curly would surely be ostracized as well because he is the Captain, he is in charge of making sure everyone on board is safe. At this, Curly hesitates and Jimmy says he’ll “take care of it”, we see him enter the cockpit, override the autopilot, and crash the ship, Curly realizing the mistake in his hesitation runs to the cockpit to try and stop the course ultimately facing the impact head on leaving him in the state he is in today. Throughout the rest of the game we watch as Jimmy ultimately causes the death of those around him as the crew runs out of supplies and Jimmy refuses to take responsibility for his actions. 

The scene at the timestamp 54:04 to 55:39 is the first time in the game Anya seems to talk about specifically the physical assault she faced at the hands of Jimmy. Now it is important to note multiple factors for this scene when analyzing it. One is that this is not the first time Anya has tried to voice her discomfort to Captain Curly about the actions of Jimmy, we see earlier in the game that she expresses to Curly that she is upset that Jimmy doesn’t take her position as nurse seriously, even making crude sexual jokes about their company mascot during the one on one psychological evaluations she conducts with him. This is important to acknowledge because it could explain why she doesn’t outright state in this scene the harm she is undergoing, instead trying to hint to Curly the emotional and physical distress she is facing. She could feel like her concerns were brushed off once before which led to Jimmy doing even more drastic things such as moving from verbally harassing her to physically assaulting her, so she could be hesitant to be vulnerable and mention her feelings again. The second important thing to note when tackling this scene is due to the non-linear narrative and the fact we don’t get to see the events through the eyes of Anya herself there are multiple different interpretations of where she may be mentally in this scene. Although it is clear that Anya certainly has her suspicions of what has happened and is aware of the pregnancy at this point it could be that she is in a stage where she is just now piecing together all the information. Through multiple pieces of dialogue later in the game, Jimmy himself states that he knows how to make a spiked drink using the ingredients they have on board, he even goes as far as to confidently state that the person the drink is used on will “Have no memory when they wake up and will be perfectly fine.” Since we never are explicitly told the nature in which Anya is assaulted many viewers believe that given the nature of the game and every piece of dialogue having a specific purpose, it could be likely that Anya was drugged and then assaulted by Jimmy and this scene is her trying to voice her suspicions to Curly after she discovered her pregnancy. 

With that established and the heavy nuances of the scene explained the sound design of the scene can be more accurately summarized and analyzed. This scene is only 95 seconds long and although it doesn’t implement as complex of sound design as some other scenes in this game everything is still done with a purpose. At 54:04 the screen fades from Jimmy getting chased by an axe-wielding Swansea to show a much calmer scene of Anya sitting on the couch in front of the screen in the common area of the ship, showing a night sky. Text appears on the screen with an intimidating dramatic noise expressing that the current scene takes place 2 days before the crash. There is no music at this point, the sound consists of an ambient silence and the typewriter-esque noise that is used when each of the characters speaks since the game is not voice acted. The ambient silence continues as Anya and Curly, whose perspective we are now in, discuss how they both have trouble sleeping at night. At 54:26 music begins to fade in as Anya says she enjoys the nighttime window screen and turns her head to face it. It’s interesting to note that in the soundtrack this song is named “What’s New On The Radio” which could be a subtle nod to Anya and Swansea’s playlist being one of the only things that survive the crash later in the game and is the only thing that is ever playing on the radio in the lounge. 

At 54:29 the perspective changes to just seeing the night sky, with slight tearing in the screen showing that it’s only an illusion put on for the crew members to have a semblance of time of day. The music is quite calm and melodic having a relaxing feeling to it as Anya speaks about how she sometimes goes to the common room during the night just to stare at the screen. The song's melody stays in an upturning positive sound as the notes ascend and Anya points out to Curly that there is a dead pixel in the corner of the nighttime screen. Curly says that he can’t see it and at 54:46 the perspective cuts back to Anya as she states that the dead pixel is always in the back of her mind, the music continues its repetitive loop and feels almost slightly uncanny for a second before it changes to a different note when Curly speaks. Curly speaks about how he must not see it because he’s used to seeing the bigger picture and that the single dead pixel doesn’t ruin the illusion. It’s interesting to note that the music’s melody which had been in an ascending pattern since the beginning of the conversation begins to now go lower when Curly says “But maybe I’m just used to seeing the bigger picture.” The music now takes on a much more solemn feeling as Anya asks Curly how many days of transit they still have left and he informs her it is just under 8 months. Anya then asks Curly why he thinks that Pony Express would put locks on the medical bay but not the bedrooms. To this Curly ponders before at 55:30 saying he assumes it is the same reason why they put locks on the cockpit door “Safety”. At 55:32 when Curly says safety the music abruptly stops and the word safety pops up on the screen momentarily with a sudden noise, written in bold white text over and over on a black background while having a glitchy analog TV effect. After the pop-up goes away we are left with the same ambient noise that was in the beginning and Anya’s solemn expression as the scene fades away. 

At the beginning of this scene, outside of the sound effect that plays when the time before the crash is displayed, we are shown the diegetic sound, the ambient noise at 54:04 to 54:25 can be assumed to be what the characters are hearing as it's just a natural droning sound similar to that of an air vent. Once the music enters at 54:26 given its gradual fade in and the lack of acknowledgment from the characters on screen we as the viewer can tell that the song is non-diegetic and being used to give the scene stronger emotional value. When the perspective changes to solely the night sky at 54:29 the song seems quite relaxing and hopeful as Anya and Curly continue their conversation. It seems like a typical conversation as Anya talks about the dead pixel but once the screen cuts back to her at 54:46 she says that the dead pixel “Is always in the back of her mind.” this is when the viewer is being hinted to that she isn’t just talking about a pixel on the screen. In this scene, the dead pixel is a stand-in for Jimmy, no matter what she does even if she tries to ignore it like she has been in the past she can’t ignore what Jimmy has done to her now. Knowing this combined with the repetitiveness of the song until Curly speaks gives an unsettling feeling, much like how Anya must feel being stuck in a spaceship with her abuser. 

When Curly begins to talk about how he thinks the single pixel doesn’t take away the beauty of the display, at 55:02 when he says “But maybe I'm used to seeing the bigger picture.” to Anya, the music begins to go in a descending note pattern taking on a more sad tone from here on out. Curly’s response to Anya at this moment shows his naivety to Anya’s turmoil, as Captain he’s willing to overlook one issue for the sake of keeping the ship running much like he has with Jimmy’s behavior up to this point, not even realizing that Anya has been trying to get Curly to stop Jimmy’s harassment. The music keeps its solemn tone not changing much as their conversation continues, likely mirroring how Anya is feeling. Anya asking how much time they have left on the ship reveals to the viewer the grim reality that because they still have 8 more months she will either have to give birth on board while being the only medical professional present and potentially have to deal with violent outbursts from Jimmy, or she would have to perform a potentially life-threatening unsafe abortion on herself. Anya doesn’t respond to realizing it's 8 months and instead forwards the question to Curly, “Why do you think Pony Express put locks on the medical room door but not in the sleeping quarters?” At 55:32 when Curly finally answers “Safety” a sudden sound effect and visuals flash on the screen immediately ripping the viewer out of the calmer atmosphere the music gave us. We are immediately put back into the cold reality of the droning ambient noise of the ship while we just stare at Anya who does not respond before the scene transitions to the next. The moment Curly says safety was purposely made very dramatic for a reason. Curly once again shows his obliviousness to the situation not even realizing the irony in his statement. To him he doesn’t see why not having a lock on the sleep quarters could be a risk, especially for Anya who is the only woman on the ship surrounded by 4 men. The sudden stop in music and the flash of the word safety all over the screen feels like a slap in the face, much like how it probably felt to Anya knowing that because of the lack of locks, she was left vulnerable and unsafe, and Curly doesn’t even acknowledge that. 

In mouthwashing, sound design is used beautifully both in cinematic scenes like this one and in free-roam gameplay scenes. This scene shows how intricate even the smaller, less complicated audio scenes still have a lot of thought put into how the audio relates to the plot. We’re shown a scene that at face value some people may not even realize what’s being discussed but once you look deeper into it you see the tragic story of a woman desperately fighting for her safety in an environment that often disregards her.