#accomplice ending spoilers

[cottonfeltgembira]

Souyo Week 2024, Day 1 : Trust...?

@souyoweek2020 : thank you for hosting this event weheh (о´∀`о)!!

[sharktistic]

Text posts👍

[icryink]

haunted by that coma, by what she knows she saw

[taldigi]

Like IMO, as it's put into the game, the accomplice ending is kind of goofy in how out of character it is. Like not that Adachi is written out of character or whatever but like... What a massively out of character, heel turn sort of decision in n Yu's part. Other media I believe manages to make it work? Like I believe the animation does a good job of framing it as a protective thing.

But like *as it is* in the game like.... Especially compared to the Persona 5 bad ends. Like... I can *see* those happening. I don't think those are outside of Ren's character to choose Maruki's reality over his own truth in order to ensure his friend's happiness above all else or even opt to accept the deal in order to stay with his friends as the PTs forever.

Heck, even the bad ending of Three has a perfectly reasonable blanket of "Even though my friends don't agree I'm doing this for them and their happiness" and it's bittersweet in that way.

But the accomplice ending like straight up puts people in danger right? It betrays pretty much the entire investigation team as well as the entire town. And retroactively we know that he's a threat but in the moment, based on their confidence when confronting him, the IT don't know that. That doesn't... feel like Yu at all. Even anime Yu who almost threw Namatame into the TV. Him trying one last time to reason with Adachi? sure. Going in solo about it despite that being a huge violation of his own rules? Sure. But throwing *everything* away? Including Nanako's memory? And for what? Idk man. I guess if you have the brain rot for it you can twist it into something bittersweet but personally I just think it's really silly.

Anyway my whole point that I'm getting at is that I feel that the neutral ending where they don't guess the killer and end up killing Namatame is the most genuinely upsetting and much more emotionally investing one. Especially with the context of how not discovering the reason behind it all will eventually consume the town. Like yeah sure. The accomplice ending is objectively worse right? But like I said, it's just so out there knowing what I know about the characters that it's a little hard to take seriously.

The characters give in to fear and despair, there will still be a murder on the loose and they don't even know it, nanako is dead, All that's left is guilt and fog and what-ifs and they're forced to take comfort in the fact that they must have done the right thing- because I don't think a single one of them could live with the truth that they did not.

They don't even get the luxury of knowing that soon the whole town will be consumed by fog, that every last person is going to be torn apart by shadows or turn into a shadow.. and the underlying horror that Yu is none the wiser and thinks he's just been forgotten once again once he's moved away... especially if you follow the belief that this is like.... The only time he's ever let himself love a place or people. That's so sad dude. It's melancholy and awful.

[spacepatrolhana]

don't tell anyone or you'll be just another regret

[wilbursmightiest]

accomplice ending shit

seperate images:

[crocrubies]

And when I saw it, I understood.

Boss's body rolled into the corner of the room.

I didn't want to think anymore.

Anything. Nothing.

I closed my eyes and ran my palm across my face. I could taste blood.

[ BAD END ]

[kimlzzzy]

Thank you, Mr. Accomplice

[sygnus-knight]

“So if I’m the killer, and you’re with me, that makes you my partner in crime, isn’t that right?”

this scene will never leave my head also enjoy my attempt at Adachi’s spider ass lookin fingers

[prommytheus]

i think dual destinies’ two biggest problems are literally just that apollo gets annexed from the story and that theres no buildup to bobby being the phantom. idk what to do about apollo without majorly changing up the plot but man bobby literally wouldve been fine if there was good foreshadowing to his relation to the case, and if they let simon show real emotion about his detective having killed his mentor and ruined his life

[arbitrariandelight]

I See You

[blue-bird-lamentation]

Aww man, they made this so 🥹

[sharktistic]

I love how sinister accomplice ending makes this quote. The familiar , hopeful “Our strength and bond has deepened and will never falter!” you usually see when maxxing out a social link turns into more of a ominous “you know what you did and there’s no turning back now.” and it’s so AUGHH

I also love how Adachi tells us to be careful on our way home due to the thick fog. It’s the subtle threatening feeling you get from what is usually genuine concern being recontextualized

[praisetheaxolotl]

The Arsonist Theory, Part 3: Journey to the Vicious Spiral Nebula

Part 1: Mandibles!

Part 2: We Get It, The Billboard Was A Metaphor

I want to take a step back for a moment. Look at the bigger picture of Gravity Falls as a whole, and at the relationship between narrative foils that are the protagonists and antagonists of a story.

But first, just a recap: For anyone new, the Arsonist Theory proposes that Bill was not the sole person responsible for the destruction of his home dimension-- there was a third party, an accomplice that used him like he uses others now.

Once again:

MAJOR SPOILERS FOR THE BOOK OF BILL, INCLUDING SOLUTIONS TO CIPHERS

On we go!

Gravity Falls is, at its core, a story about cycles.

More specifically, it's a story about the vicious cycles that enable bad behavior- both personal spirals, and cyclical patterns of behavior in families.

We see this most obviously with the Stan twins, with both personal and familial cycles. In the personal side of things, Stan broke Ford's perpetual motion machine, resulting in his parents disowning him and Stan vowing that they were wrong and they'd see that one day, only for every attempt to prove them wrong about him to backfire and get him into even worse trouble, each failure further cementing his reputation more and more as a lying, dishonest criminal-- hey, where have I heard this one before?

On Ford's side, he erroneously trusted Bill and was consumed by both the portal and, once he realized he'd made it, his mistake itself. Even after Bill's death, he's terrified of him-- the mistake consumes him, eats him up inside. However, every time he attempts to subdue Bill on his own without confiding in his family the full story for fear of their judgement, it all ends up making everything worse. The incident with the portal and Stan? It was because he refused to tell Stan what exactly was going on, deciding to keep it all to himself out of guilt and lash out instead of admitting that he'd trusted the wrong person and that he was in grave danger-- hey, I might have heard this one before, too!

On the familial side of things, the Pines twins' parents don't exactly have the best relationship, as revealed in the Book Of Bill.

That fight must have been pretty bad to give Dipper, a kid who's survived the APOCALYPSE, nightmares. The Pines family has been shaped by familial dysfunction, and now it's been passed on-- the Stan twins' parents weren't exactly the healthiest parents, especially Filbrick. It's plain to see that that dysfunction was passed down from generation to generation, until it hit the Pines twins' parents as well.

And hell, Dipper and Mabel almost being broken apart as well-- not only because of Ford offering Dipper an apprenticeship without considering Mabel, mirroring how he sees Stan as dead weight, but also because of their parents fighting. Mabel didn't want to go home to that environment alone, and Dipper wanted to be far, far away from it. The Stan twins were broken apart by their father, and now the Pines twins will be broken apart by the Stans.

Except... that's not what happened, was it?

The Pines twins didn't let this break them apart. Dipper ended up prioritizing his sister and caring about her and her feelings, without just writing her off as deadweight the way Ford did to Stan. And eventually, the Stan twins also reconciled. They broke the cycle, as protagonists in a story with a happy ending tend to do.

Bill, as their antagonistic foil, would therefore be perpetuating cycles like this, instead of breaking them.

Then it stands to reason that, from a Doylist perspective, wouldn't it make sense for Bill to have been a victim of the same kind of manipulation and deceit that he now inflicts onto others?

In fact, we already have an example of Bill being hurt by someone, then going on to pass that same pain onto someone else:

Even though this is a silly example, we've been given canonical evidence that the way Bill deals with trauma is to take it out on someone else. And let's be real, Gravity Falls is rife with examples of something seemingly silly at first but ending up to hold emotional weight for the characters involved. Take in point Stan's attachment to Wax Stan.

So, we've established the cycles present in Gravity Falls and Bill's thematic role as the antagonist leading to him perpetuating instead of breaking cycles. So, what does that mean for this theory?

Bill and Ford are already presented as foils to each other- they're both outcast individuals with both a strange personality and a mutation that make them unpalatable to others, with a sordid home life, who eventually make a huge supernatural mistake with apocalyptic consequences. So, it's natural to wonder: what if their parallels extend even beyond this?

Ford initially blamed himself for being foolish enough to fall for Bill's tricks, placing the blame largely on himself. However, his family was there for him to pull him out of that way of thinking and help him move past it. Bill, in contrast, didn't have a family, ergo he had no one to pull him out of a similar rut. And we see multiple times throughout the Book of Bill and the Axolotl's poem that he does regret what happened to Euclidia, and his role in causing the massacre, so it's not out of the question to think that maybe, his thinking followed a line similar to Ford's. That there was someone that took advantage of Bill's desire to make everyone understand, and Bill blamed himself both for falling for it and for being ineffectual in stopping it.

Ford was at a standstill and approached by Bill, who was a genuine friend in a lifetime of loneliness and who presented himself as a friend, only to be used by him to create a portal that Bill was going to use for destruction-- perhaps Bill went through the same sequence, as victim instead of perpetrator?

Did you know that most perpetrators of abuse are themselves victims of abuse? They grow up without healing from their past traumas, and end up inflicting it onto others, thus continuing the cycle.

(Here's a fun fact- that's actually what my first theory ever was about, before this blog!)

Anyway, to me it's becoming clearer and clearer-- there's a glaringly obvious thematic parallel here that very neatly supports the idea of someone having used Bill in this manner in the past.

Oh, and by the way- on Time Baby's report on Bill, a translated cipher refers to him as the "Lone survivor of the Euclidian Massacre"

Lone survivor? If he'd acted alone, wouldn't it say "perpetrator?" If Time Baby knew enough to know what dimension he was a survivor of despite Bill himself never even speaking its name, then he should know enough to know the story of what happened. There's always the possibility that he didn't, but I saw fit to mention it.

In part four, everything is gonna be tied together as neatly as I can, with some present-day clues from Bill's actions that point to certain parts of his trauma being linked together that, on their own, seem a bit... reach-y, but with three posts of evidence backing them, they hold more water than that.

Part 4: Blame The Arson, Not The Fire

[senblades]

Hi :)

I love your art and your writing, and you have such a great grasp of these characters that I was wondering if you have any fic recs? Rating doesn't matter ;)

boy do I! (and ty for the compliment <3 <3 <3)

[cracks knuckles] alrighty:

The Dissapearence of Goro Akechi by Kupowonders - Probably my favourite fic ever, honestly- it's like. derailing the plot of persona 5 post-medjed thanks to the persona 4 accomplice ending years prior. (So, spoilers for p4 in that, too) it's. very good.

Marigolds by Colbub - Akechi gets ng+'ed to right when he started working for Shido, and has to take a good look at the future to come and be like "Aight how the fuck do I fix this". Fun times!

Daredevil, You've hit the wall by ez_cookie. Essentially, p5 Strikers but Sumire and Goro get to be in on the fun, too. And, there's a direct sequel currently being updated that's a similar premise for p5 Tactica. very very good stuff

A Tale of Two Tricksters by Zoe2k8 - Murder boyfriends! ...sort of? Angst! Angst and murder boyfriends! An oversimplification, obviously, but I'm not kidding when I say this fic is amazing and is also over a million words holy shit-

Throw away your mask by MollyPollyKinz - Another ng+ situation for Akechi, but this time the poor guy gets thrown all the way to 2009. You can imagine how well that goes (For the audience, less so for Akechi himself.)

The Crow Cries at Midnight by Dorked. hehe this one is very fun. Basically, a series of coincedencs causes Akechi to get thrown into the plot of persona 4. No time travel here! Just a grumpy 12/13 year-old Akechi trying to solve a murder mystery

The entire Tales of Chaos series by Eternalmomentss (The first one is called Like sand between your fingers) Very very good stuff! Something of a character study, I would say, of Ren and Goro. Plus, all the funky plot stuff that comes from trickster-typical bad luck and poor descision making. I really love this series hehe

uhh this post is getting very long I need to make this less wordy- lightning round?

Hunger for a life by Leonawriter - do you like vampires? I sure do! Mix that and the p5 plot and you get shenanigins. [evil laughter] a lot of shenanigins

Fishbowl by KivaEmber - Akechi has a terrible time in Maruki's reality. And I mean a terrible time

You have a beautiful smile underneath that mask by Saposaki - Akechi has a crush on Akira and Joker has a crush on Crow. No one is aware of the other's secret identity. Dramatic irony and hilarity ensues.

MASTERMiND by StumblingBlock - No Metaverse au where Akira really doesn't want to follow in the footsteps of his crime family, and fails miserably

Rose and Rot by SixteenJuniper - Read this!! I'm serious!! "A fun fantasy adventure" don't listen to Juniper. You'll be in tears by chapter two. (/pos, of course) (Seriously this fic is incredible)

Redressing the Balance by Convocated - ...almost a ng+? Ng+, in the sense that shuake are getting funky visions that are very quickly derailing the standard plot of p5r. This causes problems of the "Someone get the popcorn and maybe the tissues" variety

She's got a heartbeat full of lead (And she's aiming straight for the head) by Dots - This fic haunts me, often. In the best way possible, of course; but seriously, read it

Cracked into by SydneyHorses - Ren makes bad descisions and it becomes Akechi's problem. 2/2 timeloop, perhaps most notably featuring HaruGoro friendship! Love love love this fic

Okay that wasn't as "less wordy" as I intended but it'll do

Aaaand that's a wrap! Sorry for the long post.. and this is by no means all of the fics that I've ever loved (nor are the ones here in any particular order) but I swear we'll be here all week if I keep going HAHA

ty for the ask (and again for the kind words), anon! Hope this was helpful and to your tastes! (I... hope you like Shuake HAHA it's present in most of these- I assume you do, since you came to me (points at literally everything shuake I've made) of all people, but uh. Some of these fics are gen if it's not to your liking?)

[ingravinoveritas]

This past week, I traveled to London to see Macbeth. Everything I had heard and seen about David, Cush Jumbo, and the overall production convinced me that it was not to be missed, and so I took the crazy chance of purchasing a ticket months ago, and it was the first time I've ever gone to another country just for a play.

Ever since I was a kid, I have been going to Broadway shows, and the experience of live theatre has always been something incomparable and incredibly meaningful to me. Seeing something beyond Broadway, however, never felt possible until now. This opportunity arose at a moment when I was finally able to seize it, and now that I have attended the play not once, but twice (thanks to a lovely person who was able to help me obtain a £25 day ticket), I can say that Macbeth was, without question, the most amazing thing that I have ever seen on stage.

What follows is my review/thoughts on the production, and I will try my best to avoid spoilers (though fair warning that one or two may arise, so proceed with caution).

In high school, Shakespeare was something we were taught. It was an assumed part of the curriculum, labeled as a classic. Yet it seemed to exist in a time capsule--a product of its era, and of an English language barely proximate to the one we speak today. We learned Macbeth on the page, in annotations and themes and meter, rather than something pulsing, beating, living. Something that makes us feel. And for nearly two hours in a beautiful Victorian theatre in a little corner of the West End, all I did was exactly that.

I felt. And after seeing this play, I am not the same person on a molecular level that I was before.

Everything about this play--from David's mesmerizing portrayal of Macbeth to Cush Jumbo's wrenching turn as Lady Macbeth to the entire ensemble cast to the staging choices (light, sound, and so on)--is extraordinary. It is breathtakingly ruinous. It is so fully immersive that by the end you somehow feel bruised, viscerally disgusted and wrung out in equally beautiful measure.

It's almost misleading to say that we the audience are simply watching the play, because thanks to the binaural audio design (headphones), we are in Macbeth and Lady Macbeth's minds, and become accomplices to the characters' wicked deeds. When the porter (Jatinder Singh Randhawa) comes on to provide comic relief at exactly the perfect moment, it soon becomes clear that it is a distraction from our own discomfort at what has just happened. But it is a short-lived respite, as we are soon plunged back into the action and the characters' spiraling descent into madness.

In terms of David specifically, seeing him on television or on any screen profoundly pales to seeing him on the stage. In much the same way that the stage is Michael's natural habitat, it is also David's. The way he moves, the way he holds himself when he's not even speaking--which I got to see up close when he knelt directly in front of me on several occasions--is meticulous. David becomes the character he is playing, down into the pit of his soul. He disappears so thoroughly that I very quickly forgot that I was even watching him.

So many people can recite Shakespeare, but there is a marked difference between recitation and what David does. Together, David and Cush make Macbeth and Lady Macbeth feel like the Bonnie and Clyde of the Elizabethan age (only hornier). And the themes the play invokes--greed, fear, jealousy, power--are shown to be themes not of a particular era, but of humanity. David especially is so preternaturally good at making all of that unbearably real. He not only makes Shakespeare accessible to the modern world--an already difficult feat on its own--he makes it timeless.

For the last ten minutes of the play, I felt like I stopped breathing. The evil that Macbeth perpetrates, and the realization that he has not become like this, but rather that this is who he has always been, hits full force. As much as this play is very definitely an ensemble piece, David is the standout. He commands the stage, and at no point is he more powerful than when Macbeth is falling apart near the end.

(On a purely aesthetic level, this is also when David looks most beautiful--the wild hair, the form-fitting shirt heaving with the rise and fall of his greyhound lean chest, and the majestic sweep of the kilt with every frenzied movement. The complete erosion of the line between sanity and insanity, but also showing us how tenuous that line was to begin with. And he is utterly gorgeous while doing so.)

It's also at this moment in the play that we see how skillfully David has manipulated the audience. Where Michael uses a character's emotions much more overtly and aggressively--sniffing the audience out, stalking around the stage, feeling as if he's about to pull you up with him--David is far more controlled. He draws you in slowly, carefully, and it's only when we see the depths of Macbeth's depravity (notably killing Young Siward) that we realize the truth:

He got us. He made us the witnesses to Macbeth's malice, made sure we couldn't look away. And now we are complicit.

If I had to pinpoint any negatives about the play (which is extremely difficult to do), it's that there is only a brief moment where the pacing lags just slightly, and it's because David is off stage for a considerable period of time. The cast is absolutely incredible, bar none, but the energy doesn't quite maintain that high level when he is not there.

Also, from a sensory standpoint, this is very much not a sensory-friendly production. There are several instances of sudden loud noises in the headphones (which I found especially jarring), as well as the use of flashing lights, and considerable use of smoke at multiple points. All of these were more acute because I was sitting in the Stalls (second row), so I can only speak to it from that vantage, rather than from other locations in the theatre. But for anyone who is autistic (as I am) or has sensory-processing challenges, be advised that this play is definitely inaccessible in those respects.

When I left the Harold Pinter Theatre that night, I felt as though my entire central nervous system had been rearranged. There genuinely is no way to be normal about this play, because it is not a normal play. It takes apart everything you know about Macbeth and puts it back together in the most unexpected, electrifying way. It is the beauty of destruction, and no one embodies that more perfectly than David. Even days later, I can still feel the buzzing of my skin, the blood rushing through me, fingertips tingling from some heady combination of arousal and fear. (Or as Dr. Frank N. Furter once put it: "A mental mind fuck can be quite nice...")

The moment the lights went to black, every single person in that theatre was on their feet in a standing ovation. The applause was thunderous, and seemed even louder in the wake of the complete silence that preceded it.

I had sat in that silence--awestruck, captivated--and thought to myself that I could watch this production forever. And I would go back and do it all over again right now if I could. If you have the means, the opportunity, it is an experience I cannot recommend highly enough.

David is truly a master of his craft, and yet performs without a hint of ego. He gives everything he has and leaves it all on the stage. And what he and this team of people have come together to give us is something I will remember for the rest of my life.

(Pictures taken on 10/12/2024.)