#and is most likely traumatized from the olympics

[love-hold]

ah so this is what it takes to get a sincaraz match

(carlos you can get a jannik match this way or by you know, being dutch)

[paraphwrites]

so we all know edwin was in hell and charles was abused by his father. both were in horrible, violent situations, and neither deserved it. but i think the way they do (and do not) talk about their experiences are very revealing.

because, edwin brings up hell every five minutes. he plays the trauma olympics like a pro. and he's comfortable doing that because he knows he didn't deserve it. but he never talks about the actual details of went on in hell, only that it was absolutely awful. because though he is incredibly open about the fact that he went through a traumatic situation, he is very closed about the details of that traumatic situation. this is likely because he was raised in the edwardian era, and, well, people were hardly open about the details in their emotions at that time. and i think the fact that edwin never really talks about it means he's likely never really processed it. in the case of the light leapers, he sees a babydoll head in the gift shop and turns it around while visibly afraid. he has these residual, lingering fears, and they are never addressed, because he never actually addresses them. he has either fooled everyone around him into thinking that by mentioning hell, he is processing it, or charles is just so determined to be peppy that edwin is able to flit around, solving cases, while no one ever questions the depths of the impact hell had on him.

now, charles, on the other hand? you have to pry the fact that charles is traumatized out of his cold dead mouth. he will jump through all sorts of hoops, wave away all sorts of questionable comments, because he doesn't know he didn't deserve it. having an abusive parent is different from something traumatic happening to you. edwin has full confidence throughout the entire show that he does not deserve hell, that it is a clerical error. but charles? the person who is supposed to love and protect him at all costs is hurting him. and we know that he was physically abusive, but like, we don't know the details of what else went down, coz charles never talks about it. & charles never talks about it, and i'm gonna take a gander that it's likely because he is embarrassed and ashamed because he thinks he did something to deserve it. AND because charles feels this pressure to balance out edwin always talking about his trauma. so between the guilt from thinking being abused was his fault, & the guilt of bringing the group's morale down, charles absolutely never discusses his trauma. and, most of the time, that's ok, coz he's able to jump around from adventure to adventure without ever having to process his death.

edwin copes with being alone in his trauma for years by talking about it all the time in a casual manner, as if it's not properly a big deal. he doesn't have too much guilt attached to ending up in hell -he understands it was not his fault- and subsequently, is comfortable being open about it's existence.

charles copes with being abused by his father by hiding it away and pretending it didn't happen, because he has so much guilt and complicated feelings about it that he is not able to talk about it in a casual matter, and he thinks that, if he did, he would be judged for it.

[majycka]

Megumi stans....we won, I guess? maybe just for now..

JJK 266 THOUGHTS AND SPOILERS AHEAD!

Aight megumi enjoyers, at least one of us has been in the trenches when Megumi was getting SHOVELED PILES OF SHIT ON for losing his will to live when he's a traumatized 15 years old boy having a valid reaction to a death of a loved one (aka who may I repeat, HEAVILY REITERATED in the manga is someone whose his entire desire to live hinges on). As of from the currents chap, I'm considering Yuuji's acknowledgement/understanding to Megumi's actions a W for us or idk maybe that's just me because he gives Megumi the empathy and understanding he needs in his crazy ass suicidal life, and it raises the question of whether this is gonna fully push Megumi for his comeback moment?

More yapping under the cut

In order to explain why the magnitude of this chapter is such an important development for Megumi, his trauma needs to be discuss first and, there's four people we need to go through to reflect his stages of life. Toji, Tsumiki, Gojo, aaaannd Yuuji! :D

TOJI, the dad who left for milk.

Although we barely see any interaction with these two (only one fight scene from them), Toji no doubt kickstarted the trauma of Megumi the moment he decided to left for milk and never return again. He's traumatized by the Zenin's which explains why he acted out in that way and abandoned his child. All he's life he's treated as the outsider for being the odd one out. He lashed out from it as he got stronger, calmed down when meet Meg's mom who then died, and went back to lashing out again, forgetting that he has a tiny son waiting for him at home. Big L for Toji.

I know that Gege reiterated in his interview that he wants to craft a story where there's no right and wrong people, but I'm gonna proceed to be harsher towards Toji here because he's the ADULT situation. Yes, a traumatized adult who's fucked up and not perfect, but I still hold him accountable in perpetuating Megumi's trauma because Toji proceeded to repeat the cycle of trauma that moment he decided to leave, thinking that turning over Megumi to the Zenin is the best option cuz he got The Ten Shadows Technique. From Toji's perspective, it seemed the better option because he was raised knowing his no cursed energy made him an outcast in his family. It's drilled to him that cursed technique was everything for Zenins, so of course, he thought that his son with a valued technique will make the Zenins, olympic gold medal holder of abuse, treat him better. But, heck no! Just look what happened to that Naoya, who despite being raised differently as Toji or Maki and Mai, ended up as a piece of shit. In the end though, I gotta give him the bareeeessst minimum because he kinda pushed Gojo to interfere with Megumi being sold off to the Zenins(which has another set of problems discussed for the later part of discussion).

I try to stay true in including Gege's intention in writing here, and also other nuanced perspective cuz that's the type of series JJK is that yes, Toji DID care for his son in the barest minimum and in his most emotionally stunted way.

However, the damage is done, and Megumi is left with no prime adult caretaker to protect/guide him with only an older sis to have any resemblance of it .

2. TSUMIKI, the manic pixie dream girl sister.

To define the term (as I've stolen from Google) , manic pixie dream girl (MPDG) means "a type of female character depicted as vivacious and appealingly quirky, whose main purpose within the narrative is to inspire a greater appreciation for life in a male protagonist." They are often associated as love interest in movies, BUT I AM NO WAY SHAPE IN FORM ENDORSING MEGUMI SEES HER THAT WAY. Instead, I am using MPDG as a loose term to describe Tsumiki because like most MPDG, we barely know ANYTHING about her actually and we only saw her through the eyes of Megumi which is being pretty and dead.

Not essentially dead and not essentially just pretty because Megumi described her to be the model of a kind person and someone that Megumi wishes to protect, aka his greater purpose of life, which is yah, great, but we are stuck with this perception of Tsumiki. We don't know her, and I think the closest thing we got an unbiased perception of her is when she chucked a cartoon of milk to Megumi (she will call out his BS). This connects back with Megumi's trauma because who else are you gonna hinge your will to live on when the prime adults in your life failed you? He sees her in a brighter light in order to survive. A way of coping mechanism even.

AND YET, despite all his talk appreciating her kind traits and killing people in the culling game to get back to her, you would be surprised that instead of apologizing to her that he was all emo about, he was a dick to her when they reunited. 💀💀

And in fact, the narrative punishes him for this flaw.

To the point that when Sukuna took over his body, he "killed: Tsumiki in his hands which didn't just left Megumi the guilt and shame of being a dick to his sister before she dies but also the impression that Megumi was the one who "killed her." This makes Megumi an active participant to his own tragedy, and it serves a big slap on his face that he's also at fault here.

3. GOJO, the traumatized bro who tried his best.

This is definitely the raging hot debate of the fandom which is their dynamic, and my take breaks this perception of the uwufied Gojo a lot of the fandom seems to like. Yes, I do see Gojo as another perpetrator to Megumi’s trauma, another adult that failed him but not in such of a black and white way thinking of Gojo’s the wholly bad guy here. Believe it or not, he’s still a part of the chain of generational trauma, being a "chain" as in he's a victim AND perpetrator of the system. I called him the traumatized bro who tried his best here because as much as Gojo knows how cruel the jujutsu system is for the kids, he still unintentionally passes over the core mindset of such cruel system to Megumi since Gojo still did grew up in this system normalized in his eyes.

"Jujutsu Sorcerer is an individual sport."

I say "unintentionally passes" because no, Gojo doesn't have the same intention as Zenins/majority of the system who drills "strength is everything" in the most fucked up way possible. Yes, he enjoys Megumi’s company and treats him nicely. Yes, he sticks his neck out for him. Yes, he wants them to be strong so they can change the system. But this isn't about Gojo. It's about Megumi who still undeniably suffered from the accumulation of the few adults in his life failing him which includes Gojo. Gojo offers protection to Megumi. KEYWORD: Offers. It’s in exchange for Megumi working under Gojo as a jujutsu sorcerer. Now, for smol Megumi here, who truly going through the horror show of abandonment from his dad, agrees to it because apparently, according to Gojo, it’s the only way to protect his sister.

"I'll take care of things! But you're gonna have to work extra hard. I'm countin' on ya."

Annnd thus the cycle repeats! Although it wasn’t as bad as Zenin’s abusive environment Toji was raised, Megumi is still pushed in the same cutthroat environment of the jjk world that Gojo believed he can survive just because Megs has a valued powerful technique if only he himself fullfills his potential, like Gojo’s Six Eyes. BUT Gojo, who delights in his power, forgets a crucial part that…..Megumi isn’t like him!

Check out what Megumi has to say. (aka bud doesn't want any of that sorcerers shit and just wants a domestic life)

So the thing is, was Megumi ever asked his input in choosing to be a jujutsu sorcerer? Well, yah….and all it circles back to just protecting his sister and people like her. There’s a set of problems that comes with this mindset though that Gojo was valid to point out and that is Megumi doesn’t think about himself enough. “It’s ok to be selfish!” Gojo said in the context of being a stronger sorcerer.

But at the same time, he also gave Megumi the idea to that if he doesn’t work as sorcerer, then he won’t be able to protect his sister when he was a mere 6-7y/o boy.

You know that circulating meme of Megumi pulling Mahogora for minor inconvenience? Well, guess what that tells his suicidal tendencies in protecting anyone but himself. Kid got no sense of self-preservation because his self esteemed has completely tanked itself due to his abandonment issues, and now that he’s expressing how it emotionally and physically paralyzes him, he has every valid reason to do so.

Why, yes, Gojo was 19/20 at the time he first met Megs, still a kid, doesn't know shit, and has unaddressed issues being treated as The Strongest Weapon(here’s a dedicated gojo-centric meta I wrote previously about Gojo and his issues cuz he's one complicated fool). I describe this whole situation as an unaware traumatized kid taking in another traumatized kid which is not a fun mix to have, and I understand that Gojo ain’t exactly prepared for that kind of job.

HOWEVER, I’m way harsher to point out Gojo’s failure as an adult in Megumi in the later part of the series because at this point, Gojo's a grown adult, he waxes poetry in being responsible for the next gen , and we get to see his priorities throughout the series especially with the Sukuna’s fight, like seriously he had one legitimate fun fighting someone on par with him.

Gojo DELIGHTS in power no doubt, he chooses kids with most potential, he gets excited finding those kids, and this is the type of the closest dependable adult Megumi has in his life.

Yes, financially supported but Gojo isn't around much when he's working and on demand sorcerer almost 24/7. That's why growing up sure do sucked ass for Megumi especially when no one’s really there to guide and to keep an eye on your development AS A PERSON AND NOT JUST A SORCERER which the latter part is what unfortunately Gojo’s more eager to do.

4. YUUJI, the guy who just wants Megumi to know he matters to him as a person.

Yuuji and Megumi were definitely the highlight of this chapter because in the bleak world of JJK where everyone seemed to be succumbing to the repeated fuck ups of the previous gen (like that Yuta-Gojo situation), this chapter actually offers that THERE IS HOPE that the new gen can do better like what Yuuji just did that the adults in Megumi's life are too emotionally stunted to do. Yuuji take the time to listen to Megumi's emotional thoughts, what he feels as a person, and not just listen, but to understand and empathize. It even took lots of attempts for Yuuji to make Megumi open up.

He responds to Megumi's vulnerability with care and love, and Yuuji understands the pain Megumi is going through from losing his sister. With someone in pain like that, Yuuji knows he can't just go around saying "just live" to someone who's practically suicidal.

The treat of this all is when this scene comes next. Yuuji also shows his vulnerability and expresses that Megumi matters to him!

"It's lonely without you..Fushiguro."

This scene clearly parallels Gojo and Megumi's first meeting, so I'm gonna try to throw my two cents here and explain why Gege choose this direction. Remember what I said about Yuuji giving us the hope of the new gen escaping from the shackles of generational trauma? Well, I think this parallel is a way in saying that what Megumi needed when he was so young was someone to see him and his pain who's just a kid abandoned and forced to fend for themselves because the prime adults decided to to dip out. This is Megumi we are talking about here who's unaddressed issues stays hidden beneath all the pressure of him being The Ten Shadows Technique. He's valued for his technique. That's why Gojo showed up to meet him in the first place. That's also what the jujutsu system looked after for their child soldiers. Yuuji tries to break this chain of trauma their mentor unknowingly repeats. He'll show up for Megumi again and again because he's his dear friend even if Megumi's being difficult to be pulled out of Sukuna. And the beautiful thing is Yuuji didn't had some grand inspiring speech or grand offer to convince Megumi, he wasn't even sure Megumi will be up for it. Yuuji simply want to say that he matters to him. That understands him. That he's important to him so much he'll be sad when he dies, and it mattered.

"This is...Fushiguro Megumi's...!!"

And now that Megumi is showing signs in taking his body back, it's now his turn to save himself. Yuuji did his part, and for someone whose future has been controlled by everyone but himself, this time Megumi gets to decide what comes next.

[yuikomorii]

might be wrong about this but I think the thing that really differentiates Ayato from his brother is that he actually values life in a ''pure way''. Both Subaru and Shu didn't really have the will to life until they met the MC, Reiji's only will was to overcome his father and become better than his brother due to his jealousy, and even if it doesn't seem like it from the surface both Kanato and Laito were too mindbroken due to their trauma to actually enjoy life in a non-twisted way.

Ayato went through a lot of traumatic experiences just like the rest of his brothers but unlike them, he actually had a pure reason to live, that's why he didn't abandon his brothers and was desperately searching for them when they arrived to Rottienburg (I think that's the name) and prioritized them after he got saved by reiji and was willing to go look for them with no plan ahead and he's never changed. Even after they obviously drifted apart he still wanted to save his siblings (like in Lost Eden) even if they didn't want to save him when he got kidnapped by Kino.

Or when he was the only who saved yui in the anime when she got kidnapped by the mukami (Ik it's only fanservice because the anime shows Ayato as the ml). Or when he was the only one worrying about mc in the Olympics cd when the whole thing crushed down. I know mc has had her effects in everyone (because even reiji got worried in the CD drama when he though someone was drowning, turns out it was just Shu being weird) but at the end of the day, Rejet made it very clear that ayato always was different from his brothers even as kids.

Too long? Maybe, I just like rambling a lot about ayato lol

// This franchise is longer than a decade, it’s time for people to stop pretending that Ayato isn’t different from the rest, because it annihilates his purpose like that. Now I’m not saying that everyone else sucks and Ayato is the only cool character there, it’s just that Rejet wrote him in a way that genuinely gives off main character energy. Heck, even other characters have confirmed that he got *something* nobody else does, which is true.

Credit to: dialovers-translations, tournesolia

One thing about Ayato is that he might roast and prank you, but the moment you need help, he’ll be the first to lend you a hand. He’s by no means perfect, of course, he has flaws and makes mistakes too, but his good qualities are just so many that they’re easily able to outshine his bad ones.

Another example is the DF prologue scene. The most normal reaction would have been fighting with the wolf, as Subaru did, but instead of trying to get rid of it, Ayato used himself as shield the moment he saw it, so as to protect Yui. What makes this scene so powerful is that not only they weren’t a couple back then, but in the other Sakamaki routes, he’s still severely injured. He values life, yet he still sacrificed himself for her, no matter if she dates someone else afterwards, and guess what? Even after waking up from the coma in the other routes, he holds no grudge against her for that, but rather is on good terms with Yui. I would also like to talk about how self-sacrificing he is in the Daylight CD, but I feel like everyone listened to that one already, given that it was the most liked of the Daylight series.

While I understand that some people out there prefer more rational and/or introverted characters, I can’t stand those who deny the essence of a character. And, for all people who blame Rejet for “making him more special than the rest”, let me remind you that he’s the Diaboy who got the worst journey ending. Let that sink in. :”)

[genderqueerdykes]

okay.

I’ve never seen your blog before now, and I don’t follow you.

but oh my fucking god thank you so much

as an it/its user (not my primary but I still wish people would use them) thank you so much. I’ve seen your posts on people disregarding it/its pronouns users because they just don’t want to use them and I just

thank you thank you thank you for talking about it

sorry if this makes no sense, it’s 9pm where I am and I spent all day at marching band practice so I’m extremely tired

thank you for your kind words! i really appreciate it!

i appreciate knowing how many other it/its users needed that to be said and how it has positively affected a lot of people. it's never okay for someone to put their personal discomfort over a set of pronouns over someone else being referred to correctly. this is misgendering. this is transphobia

it doesn't matter if the pronouns are "weird" or "uncommon"

i've gotten a lot of really fucked up asks about this and i'm going to keep talking about it because peoples' excuses for why they proudly and gladly misgender other people and refuse to use their pronouns are so petty and never that person's fault. it's never that person harming them, it's always that person projecting their trauma on to the it/its users. it's exhausting to read because nobody does this for he/him or she/her. it's specifically an issue with it/its beceause people overscrutinize it to hell and back and act like because they participated in the mental olympics over this one set of pronouns that they're right about it. they're not. they're rude, and anal.

people get stuck on the "it's dehumanizing" thing. this is such a divided argument, because for many people, they enjoy the dehumanization aspect of it, because they are nonhuman on some level. enough people are aware of otherkin, therians, and so on that i want people to understand that for some people this is a good thing and it is a desired effect. if you are uncomfortable with that, it's up to you to get past that, or learn to understand that you are not under attack because you are referring to someone else in a way that makes them happy and comfortable

other people just do not find it dehumanizing at all and that's fine. people often refer to babies and children with it/its, why can't we do this for adults? it's not inherently dehumanizing. it's not inherently an attack to use these pronouns for someone. some people love the ambiguity in the gendering. it really is totally devoid of gender and it is a very freeing set of pronouns to use, especially if you just refuse to see it as. not inherently dehumanizing

i am also very tired of people using trauma as a shield to enable them to misgender people. i am traumatized. i have diagnosed PTSD that i've been working on in therapy for 10 years as of this year. i have a lot of issues with being called she/her. i hate it most of the time. only select alters in my system use she/her. i do NOT refuse to use she/her for people who use only that pronoun set, or use it primarily. i would be viewed as transphobic if i said i avoid people who use she/her in order to avoid "traumatic memories from coming up." the thing is, that's going to happen sometimes and it's the trauma bearer's responsibility to deal with it accordingly.

just because you got triggered doesn't mean the other person meant to trigger you. you can't hold a trauma trigger AGAINST someone else who is not attempting to misgender you. when referring to someone with the correct pronouns, it is not YOU being called that set of pronouns. you are not being misgendered by correctly using another person's pronouns.

trauma is up to the individual to accept and overcome. hiding from a trigger perpetually for life will not enable you to accept it, cope, and move on. positive exposure to a trigger helps loosen that trauma's grip on you. you have to expose yourself to it in order to grow. hiding will keep you trapped in the situation you are currently in. you have to step into discomfort in order to learn how to overcome it.

thank you for sending this ask, you are very welcome and i'm really happy to hear you feel the same way. i'm glad you felt seen and heard, i am tired of people getting caught up on the pettiest things humanly possible. we ahve to stop reaching for every excuse to be transphobic to "weird" trans people we don't understand.

stop saying "WE NEED MORE WEIRD QUEERS LOL!!!!!!!!" if you can't even handle IT/ITS USERS !

[massivechildtidalwave]

Olympic Gymnast Skull!

So we all know that Skull was a part of the circus right, that’s his whole thing and with a lot of activities in circuses involving acrobatics of some kind it would be easy to say that Skull can at the very least do flips.

Let’s take that farther. One of the most common theories about Skull is that he was raised in the circus. No person worth their salt would just throw a three year old onto a motorcycle and call it a day so he probably had to work his way up to stunt driving.

what did he do before this?…. Dick Greyson level acrobatics, minus the parents death(or plus it if you want to give him a ✨traumatic backstory✨

Gymnastic classes would then be a given because of the requirements, they were probably given by circus members but it would still be a gymnastics class. Skull loves his fans and family and probably loves attention…..so imagine

Skull witnessed a Olympic gymnast do a event badly and he knows someone who could have done it way better but they were never give the time to prove they could or one of his “circus freaks” mentions an event they thought he would excel at

(even if he doesn’t act like it he is still a cloud and still had a territory even if it isn’t a conventional one)

and Skull decides to just try it out. Just for fun. Just to settle a score that no one even really knows exists other than him. Just for his fans.

He takes a break from shows, from the circus and makes it onto a team.

He was constantly trying to get away from the Arcobalenos once he realized what it involved because he was busy preparing for the fucking Olympics and couldn’t afford to be caught up in guns and drugs….

In the Arcobalenos side the one civilian among them had somehow managed to get away and stay away from them for over a week. A new record… there have been no shows featuring the stunt driving cloud and everyone is slowly pulling their hair out looking for him when someone- probably Colonello- turns on the TV and they come face to face with a smiling Skull on a podium with a gold metal.

[skaruresonic]

I actually found a fancomic based on ABT where apparently she had nightmares about her village being destroyed and she blamed Sonic (not Eggman) for that.

Sure, it's fanart, not ABT's vision... but what's with IDW and its fans and wanting to shoulder all the responsibilities on Sonic when he really always does his best? Now who's the one saying that Sonic should go Punisher on Eggman?

And why does it seem like they want Lanolin to snap and become a villain? ... also that's just Surge. She wouldn't even be special lol

Yeah I saw that one too lol.

Like not to play trauma Olympics, but uhhh. Lanolin. Did you not see how Sonic almost ran himself to death during the metal virus?

It's not like Sonic is oblivious to the shit Eggman puts people through; he also suffers alongside the rest of you. Like I said, sometimes he's the first and most direct recipient of the consequences of Eggman's schemes. Yet he continues on being the bulwark standing between Eggman and the world.

---

Sure, it's fanart, not ABT's vision... but what's with IDW and its fans and wanting to shoulder all the responsibilities on Sonic when he really always does his best?

Honestly, I'm finding it hard not to interpret this all as the result of cynicism with the games. IDW never established Sonic vs. Eggman as a thing, let alone something done enough times to warrant such a reaction. The book assumes you know Sonic vs. Eggman is old hat and agree with the notion that something needs to shake up the series' most core dynamic. "Sonic is too much of a happy Gary-Stu, he needs to reckon with the consequences of someone else's actions" certainly is A Take(tm) in that vein.

I've read fanfics like this before, where traumatized civilians emotionally unload on Sonic.

...Dude, yeah, I get it, Sonic's the nearest lightning rod to absorb all your frustrations because you can't exactly take a swing at Eggman. But it's not like Sonic is the cause of your pain, and it's unfair to expect him to shoulder that burden. Even he cannot be everywhere at once.

Also, requiring him to take Eggman's life lest the trolley veer onto the other track and murder everyone else feels... unfair? Meanspirited, even?

"You could end everyone's suffering right now if you cared" is such manipulative phrasing, especially considering how difficult it is to off Eggman with any permanence, and how often Sonic does save the world. He frequently puts himself out on the front line for no material gain.

Dude gets dealt a really shitty hand sometimes. Nobody else got struck with the arrow of judgment and had his life burned down to a wick. Nobody else got trapped inside a capsule about to explode into what Eggman calls "floating chunks in space." Nobody else had to suffer the Werehog's curse, which is implied to be a painful transformation that occurs every night regardless of whether Sonic is prepared for it or not - and even worse still, in Eggmanland, he had to force that change via the sundial switch in order to progress.

You're over here going "hmmm Sonic, real sus how you never acknowledged the deaths of the thousands who perished when the planet broke apart," meanwhile the poor bastard is lying unconscious from exhaustion, having traversed Eggmanland, grappled with Eggman in a no-holds-barred match during a plummet towards the Earth's core, and fought a god for like a week straight on no sleep.

...We don't deserve Sonic.

Besides, for as much as everyone hypes up non-Eggman villains, do you think things will be sunshine and rainbows even if Eggman remains dead? That other beings won't cast their evil eye upon the world in the power vacuum that will inevitably appear? Will Sonic be responsible for the Black Arms too? Metal Sonic? Idk, The End?

It gets even worse because the book's writing forced moral responsibility onto Sonic to by begging the question of "Why doesn't he just kill Eggman?" in the first place. As if A.) he doesn't already fucking try on a regular basis and B.) as if it's that easy. Except now people are like, assigning moral negligence to Sonic's happy-go-lucky demeanor. God forbid the guy wants to chill once in a while, lmao.

And if you believe that Eggman doesn't actually have a body count, then this entire argument becomes moot anyway. Therefore Lanolin is potentially planning on assassinating Sonic based on the fact that he's not footing the group chat's therapy bill.

This is not that difficult. Sonic doesn't care whether Eggman lives or dies. Sonic neglects Eggman's pleas for help. Sonic acts homicidally negligent towards Eggman.

The lid, Patrick! Put your hand on the lid!

---

Now who's the one saying that Sonic should go Punisher on Eggman?

I know, right? Wasn't offing Eggman supposed to be this awful no-no thing he should never do because Principles? Now he's an asshole for not pulling a Spock-esque "greater good" moral calculation?

I'm starting to lose the plot, in more ways than one. xP

[miraculouslbcnreactions]

Do you think they should have made Colt a good father to Felix? Or are you fine with him being a bad father?

I don't think that Colt should have been anything. He died off screen before we even met Felix and Felix is a minor character. Why is he getting more backstory development than Kagami when Tomoe is alive and actively involved in the plot? Wouldn't it have been far more interesting if the play was her story?

But if we must include the mustachioed cowboy man, then I would make him a good father or, at the very least, a mediocre one. I'd do this for reasons that have nothing to do with me wanting Felix to have a happy childhood. I'm fine with him having a tragic past! The problem is that this is a story and, in terms of story telling, there is no reason to give him a tragic past. It adds nothing to the story. In fact, I'd even go so far as to say that it detracts from the story, but we'll get to that in a minute. First let's go over why it's a pointless addition.

In his titular episode, Felix is a brat who tries to destroy Adrien's life. Those actions actually made more sense when we thought that Felix loved Colt and was acting out over Adrien not coming to Colt's funeral. Now that we know the full story, we're left asking, "Okay, so, why did Felix do any of that?" And don't say that it was to help him get the ring because it didn't help him get the ring. He got it from hugging his uncle and there were far simpler ways to get a hug.

And why did Felix even want the ring? That has yet to be explained because, in Strikeback, he was planning to go out of the country as "Adrien" without ever offering to exchange the ring. He simply stole the fake peacock and got out of dodge. He had no possible way to know that Ladybug would come to him for help, allowing him to offer up the miraculous and use the ring to sweeten the pot. I also don't believe for one second that he needed to sweeten the pot. He could have offered up the miraculous and nothing else and Gabriel would have gone for it. So once again, what was the plan with the ring, Felix? What was the plan?

While we're on the topic of Felix getting the peacock, Colt being abusive adds nothing to that plot either. Whoever has the peacock can snap any sentimonster out of existence. Felix could have the best damn childhood on the planet and it would still make perfect sense for him to want the peacock!

The only reason to make Colt abusive is if you want to explore that and use it to develop Felix's character, but I have absolutely no faith that they're going to do that. Colt is the Jagged Stone nonsense all over again. They're introducing a very serious issue that would dramatically affect the psyche of most people and then acting like it's no big deal. I think I saw someone say that Colt was only introduced to shut up the people calling Gabriel and Emilie abusive by showing us "real" child abuse as if abuse was an Olympic sport and you need to qualify for the team. I'd buy that theory, but I wouldn't bet money on it.

Even if I'm wrong and they are going to explore Felix's trauma, I still think it's a bad move. There's a thing called compassion fatigue. It's commonly experienced by health care workers who deal with traumatic cases day in and day out, resulting in thing like the inability to feel compassion for your patients because your compassion meter has been rung dry. You can experience a lesser form of this just from watching the news. Story after story of people in need to the point that you're desensitization to these events evoking horror or sorrow.

When you're telling a story, you need to keep this phenomena in mind and be very careful when introducing multiple sources of trauma. The more trauma you introduce and the quicker you introduce it, the less impactful that trauma will be for your readers. If you're a good writer, then it will also be less impactful for your characters. Allow me to explain with a quick example.

I had a brief Marvel phase and, while I never wrote anything for that fandom, I made up a few stories in my head. A lot of them revolved around my favorite character, Tony Stark (aka Iron Man). Tony becomes Iron Man after being kidnapped by terrorists and I love confessions of traumatic backstories, so I was working out how to do one for him and the Avengers to help bond the team. Then I realized that his teammates are all orphans and that the majority of them were raised in poverty. Most of them have also gone through scientific experimentation of some sort and not all of it was voluntary. In other words, in the world of the Avengers, Tony's trauma isn't really special. His team might sympathize with him, but they wouldn't be deeply impacted by his story the way I wanted them to be because most of them have gone through equal or worse trauma.

Circling back to Miraculous: they keep heaping trauma on these kids and it's a terrible move. When Adrien was the only character with a messed up home life, things were interesting.

Now? Well, this is the current list of characters with a messed up home life: Kagami, Zoe, Chloe, Adrien, Felix, Luka, Juleka, and probably Lila. Add in Rose's serious illness, Mylene's mother abandoning her, and Marinette's traumatic past dealing with a straight up hate campaign on top of all the trauma introduced over the course of canon and I just don't care anymore. I am drained dry. They have introduced way too many serious elements without exploring any of them in depth and that is a massive writing faux pas.

Generally speaking, when telling stories, you should default your characters to whatever a happy home life is in their universe unless you're going to do something with the non-happy home life. Non-happy home lives complicate stories and you don't want to introduce a complication if you're never going to explore it. This is why I think that Colt should have been at least a decent parent. It's also why you'll see me say that Emilie should be at least a semi decent parent even though canon has made that option impossible unless you ignore a lot of the unpleasant implications found in Adrien's backstory.

While I love evil villain couples, Emilie is in a coma, so she can't be Gabriel's co-conspirator and I personally have no interest in her waking up to start a new villain arc. When she wakes up (or finally dies), the Agreste's story is over and so she basically has to be nonthreatening for that ending to work. It also circles back to the issue of keeping the trauma tight and focused so that the trauma you do include really pops!

Reminder that the above is a discussion of story telling, not a commentary on what makes real people interesting or the commonality of home life issues. There's also nuance I didn't get into because this was already really long. Writing trauma well is a really fascinating and complex topic.

[pippin-katz]

Hey!

Why does Henry rebuff Alex during their first meeting? Like when Alex greets him, he walks away ignoring him.. What's the theory there?

I'm kinda new here and if this was already discussed or known, my apologies 😊

No prob! I like explaining things, even if it's obvious or everyone is like "we know already". My little neurodivergent brain gets happy when I make neat essays with GIFs and sections and whatnot lol

Post Writing Note: once again, this very simple question with a fairly simple answer turned into a fucking essay and I am so sorry lmfao, I know I said I like making them but I did not intend this to be a long one!! You have been warned!!

Foreword Regarding The Canon

I, and I assume most viewers who have also read the book, interpret the film's canon to be a combination of the film's events, and parts of the book that we didn't see, but could've happened anyway. Things like what was said in the emails, Bea's history with drug abuse, Pez' foundation, and whatnot are sort of meshed together with the film in my mind; just because the film didn't have the time to show it to us does not mean it did not happen in that version of their world. I say this cause I'm going to be discussing both the book and the film.

Also a key: Pink - internal dialogue from the book Red - Alex's dialogue in both versions Blue - Henry's dialogue in both versions

Establishing The Basics

I assume you’re referring to this moment during the greeting line:

Side note: Alex’s face at the end never fails to make me laugh 😂

While this is their first interaction in the film, it’s not their first meeting, as they explain that they met at the Melbourne Climate Conference a few years ago. In the book, they met in Rio at the Olympics when they were teenagers. The only difference this makes is that they're more mature in the film than the book, but it doesn't change much.

The beats for how their first meeting went are practically identical.

Alex approached Henry to introduce himself. Henry, who was dealing with his grief and depression after his father’s passing, was an ass.

He looks at him unkindly; in the film, Alex describes it as: “like he had head lice”, and in the book, Alex describes it as: “like I was the most offensive thing you had ever seen”. Either way, he looked at him in a way that visibly communicated a dislike or lack of respect for him.

Then he turns to Shaan and says he needs to leave, though the wording is different between book and film. In the film, he says, “I need to get out of here” -which Alex mishears as "get me out of here"- while in the book, he says, “Can you get rid of him?”.

Henry Meeting Alex

Admittedly, the line from the book is far more rude, but Henry does explain far later -after Alex storms Kensington Palace and they agree that they’re committed to being together- through an email what he was thinking during their first meeting. I see no reason for these thoughts to be any different in the film's context, as the reason for Henry's behavior is still rooted in his depression and trauma surrounding his father's death. They're also relevant to understanding Henry's behavior.

You might have seen edits or mentions of this email because it’s one of the most memorable.

Henry explains he had been dealing with his trauma by basically compartmentalizing the most impactful -mostly negative- events of his life into “rooms”. He puts those moments into “rooms” in his head, based on the layout of Buckingham Palace. He chooses which room based on how traumatic or impactful it was; two examples he mentions are losing his virginity in college, which he shoves it into “the smallest, most cramped little broom cupboard” he could find, and the night his father died, which he puts in “the biggest room, a ballroom, wide open and dark, windows drawn and covered”.

But when he saw Alex for the first time, he felt such a strong reaction that he took it “down to the gardens” and “pressed it into the leaves of a silver maple and recited it to the Waterloo Vase”. He quite memorably says, “It didn’t fit in any rooms.”

Then he describes what Alex looked like, and how he was talking to Nora and June, and how he was so animated, happy, and beautiful, and Henry was in a dark place, and felt like he couldn't experience life the same way.

Here's the most popular/remembered bit: "I thought, this is the most incredible thing I have ever seen, and I had better keep it a safe distance away from me. I thought, if someone like that ever loved me, it would set me on fire."

Henry basically pushed Alex away on purpose because on top of all the trauma he was experiencing, he was convinced he would ruin him, if you will, and that he didn't deserve someone like Alex.

Alex Meeting Henry

It's easy looking back with the knowledge we have now to wonder why Henry didn't just approach Alex, provide an explanation for his behavior (doesn't have to be his father, any justifiable reason would've worked), and apologize the very next time they saw each other.

But it's important to remember that this was their first ever interaction with each other. Henry was feeling a ton of different emotions, but so was Alex.

Alex is a smart, but stubborn, person. He develops very strong opinions fast, that may make sense, but sometimes fails to consider the alternatives. It's sort of like the two sides of his brain work at different speeds. He's very smart, but sometimes his emotional bias can blind him to fairly obvious things that would change his opinion.

For example, Alex sees Henry as rude, smug, entitled, and a snob, which are all inherently false notions. However, based on his one meeting with him, those aren't unfounded assumptions for him to make.

If you look at it purely from Alex's perspective, not knowing anything about Henry's depression and the depths of his struggle with grief, Henry does act and sound incredibly rude to Alex. Giving someone a nasty look when they introduce themselves to you and then immediately requesting to get out of the conversation, screams: "I don't care about your existence".

Couple that with the fact that Henry is a white, blue-eyed (in the book), blond who was born into royalty, and Alex is a working class person of color who has had to run himself into the ground to get to where he is.

That is the perfect set up for Henry's behavior to be interpreted worse than just rude. All of that information can logically add up to the assumption: Henry is an elitist, racist, asshole.

Before They Met

Alex also secretly admired Henry when he was younger. This wasn't translated to the screen, but like I mentioned, it's something I think of as happening in that universe anyway, just slightly differently.

June gets a teen magazine for her fifteenth birthday; since June isn't part of the film's canon, I can headcanon that this was Nora instead, since she's sort of a combination of the two characters for the movie. All the details don't really matter, but I know someone would be like "but that didn't happen in the movie-" and I just don't feel like explaining that to each comment I end up getting.

There's a teen magazine with a picture of Henry in it. It's a candid picture that captured his actual essence rather than the stuffy pictures Alex had seen on the news. He describes it, saying, "there was a happy, sun-bright confidence to him that couldn't be posed".

Alex definitely developed an unconscious crush on him, not realizing it until later. He would keep going back to the magazine and to the page with him on it. He would touch his hair in the picture, trying to imagine how it felt. He considered prying the stables apart and taking just that page to hide in his room.

As his parents started getting higher in the government, Henry also became his role model. He wanted to match the easy confidence he seemed to have.

But then he met him, and the fantasy he had of him was shattered by how rude Henry was.

The tabloids and news are always comparing Alex to him, which he mentions in the film to Nora in the car. He resents the fact that he's compared to Henry when he has every advantage, if you will, but he also resents that he ever wanted to be like Henry in the first place, having convinced himself now that he was a fake, boring, obnoxious prick.

Because Alex doesn't not know about Henry's dad, but its something he thought about more as a bullet point on his fact sheet rather than considering it any further.

Henry's depression is more explicitly explored in the book, since they have the time to go into all those details. He isolates himself, and has insomnia like he mentioned in the movie, but he also takes medication, and Alex makes a mention of a "tense little grimace Henry does in public" that he thought was him being aloof.

Once Henry mentions his father's passing during their conversation in the hospital closet, Alex's brain puts everything together very fast. He's not stupid, and in the book even says, "He's been aware for too long that most people don't navigate thoughts of whether they'll ever be good enough or if they're disappointing the entire world. He's never considered Henry might feel any of the same things."

Antagonizing Each Other

However, that is all information Alex doesn't have at the wedding. They don't say exactly how many times they've spoken in either version, just that they have met a few times since their first introduction.

Alex, on top of dealing with the comparisons, is convinced that Henry doesn't like him either. The quote from the books is: "The most annoying thing of all is Alex knows Henry hates him too-he must, they're naturally mutual antagonists-but he refuses to outright act like it."

He actively antagonizes him whenever they are at the same event. It's implied in the film when Henry describes him as "the world's most irritating person", but the book makes it clear that Alex is always the one to attack first, if you will.

As soon as Alex goes over to him at the wedding, we can see Henry visibly react in a way that implies he's bothered but has to pretend so they don't cause a scene. His expressions say, "oh here we go 🙄". Henry knows that Alex is going to pick a fight with him. It happens every time they run into each other.

This interaction in the book is pretty iconic and it does a great job of showing what I'm describing. Alex gets drunk and approaches Henry and while they're talking, Henry notices. He suggests Alex switch to water after he makes a lot of rude comments about him pretending to be more important than everyone and pretending to hate the attention the media gives him.

"Should I?" Alex says. He pushes aside the thought that maybe the wine is what gave him the nerve to stomp over to Henry in the first place and makes his eyes as coy and angelic as he knows how. "Am I offending you? Sorry I'm not obsessed with you like everyone else. I know that must be confusing for you."

"Do you know what?" Henry says. "I think you are."

Alex's mouth drops open, while the corner of Henry's turns smug and almost a little mean.

"Only a thought," Henry says, tone polite. "Have you ever noticed I have never once approached you and have been exhaustingly civil every time we've spoken? Yet here you are, seeking me out again." He takes a sip of his champagne. "Simply an observation."

"What? I'm not-" Alex stammers. "You're the-"

"Have a lovely evening, Alex," Henry says tersely, and turns to walk off.

It drives Alex nuts that Henry thinks he gets to have the last word, and without thinking, he reaches out and pulls Henry's shoulder back.

You know what happens from there.

Their conversation in the film is slightly different, but it carries the same beats as the book: Alex approaching Henry, he pretends to be nice while saying something rude, Henry starts retaliating against the comments, Henry tries to walk away, and Alex tries to stop him. In the book, Alex just stumbles when Henry turns back around really fast. He gets tripped up and starts falling, and just like in the movie, he grabs Henry to trying and keep himself upright. The icing on the jacket bit was added into the movie, which I have to say was a brilliant addition.

Back to their conversation, remember that Henry doesn't dislike Alex, rather he's had a crush on him since they met. But Alex has made his opinions very clear, and Henry is not a pushover. He doesn't engage him, but returns the energy he's given. When Alex is rude, he's rude back, but he doesn't start the fight.

I imagine that any attempt Henry could've made to explain or apologize for the Climate Conference/Olympics would have been squashed before he even had the chance by Alex's need to insult him. They also only ever see each other at very public events, so he can't ask why Alex doesn't like him; that's partly why he does it when they're stuck in the broom closet at the hospital.

They're completely alone and have nowhere to go, and it's probably been eating him alive every time he's thought about Alex for the last few years. Even if he doesn't like the answer, he knows that he will get an answer, so he asks.

Why Does Henry Walk Away?

This all being said, back to the moment in question:

The most common interpretation of this interaction is that Henry walks away because 1) he doesn't want to start anything, & 2) he has a raging crush on Alex, and he can't deal with it.

Now, Alex does start off playing nice here, being friendly and polite, but it's a reoccurring issue between them that even if things start off civil, Alex will end up antagonizing him.

They also both "know" that "the other hates them", so they both probably want to avoid each other.

Henry knows that Alex doesn't like him. He doesn't know why Alex doesn't like him, but he's well aware of the animosity. Therefore, he knows that Alex's politeness is a front.

He has a crush on him. He likes Alex, but he's gotten basically nothing but disdain from him since they met. That has to hurt, to have the person you like actively hate you. It also has to hurt knowing that they're pretending to be friendly.

Because Alex is pretending here. He's representing his mother, the President of the United States, at a massive foreign event. He knows better than to act up, so even if he doesn't like him, he is polite with his greeting.

After Henry brushes him off again, he's visibly pissed off, but he doesn't do anything. He avoids him. He stands off to the side, and sort wanders around alone, just drinking and feeling anxious. He has no intention of starting a conflict.

The only reason Alex approaches Henry is because he gets wasted drunk. This is the same in the book. While he was able to control himself before, once he's drunk, he just goes with his first impulses. One of those is to piss Henry the fuck off the second he sees him.

The book says, "[Henry] looks politely half-interested in that obnoxious way of his, like he has somewhere else to be. And Alex can't resist the urge to call his bluff."

This is to say that if Alex hadn't gotten as drunk as he did, he probably would've avoided Henry for the evening. Alex always seeks him out to provoke him, but like I said, he's aware of how important this event is. He does not want to start anything because it could reflect poorly on his mother. But Henry has no reason to think Alex will behave any differently than he has in the past, which he ends up being right about.

So to finally answer your question: Henry walking away was his attempt to avoid the conflict, as well as spare himself the emotional torture that would be watching the person you like be friendly with you, when you know it's fake and that they actually hate you.

Holy fuck, I could've told you that in two sentences but instead it turned into a whole fucking essay for NO REASON! Geez, just why? Why am I like this? lmfao 😭

Thanks for reading!! If you enjoyed this essay & would like to support me, you can give me a tip on my Ko-Fi! ☺️

[mariacallous]

Author Han Kang won this year’s Nobel Prize in literature, becoming the first Asian woman to do so and the second Nobel laureate from South Korea. A woman being the first Korean author to win the prize is a breath of fresh air, especially as the poet Ko Un, long considered the most likely South Korean to win the prize, was exposed as a serial sexual harasser in 2018 by South Korea’s own Me Too movement.

Han’s win is also a triumph of South Korea’s fierce and resilient democracy. South Korea’s first Nobel laureate was Kim Dae-jung, an activist-turned-president who won the peace prize in 2000 for his efforts to restore democracy in the country and improve relations with North Korea. Han’s win echoes Kim’s path. Although Han initially gained international fame through her 2007 novel The Vegetarian, which won the 2016 International Booker Prize, her profile reached new heights with subsequent novels that delved into South Korea’s tortuous modern history: Human Acts was about the 1980 Gwangju Uprising, where hundreds of protesters were murdered by the dictatorship, and We Do Not Part was about the Jeju Massacre of the late 1940s by then-President Syngman Rhee, South Korea’s first autocrat.

Han’s Nobel Prize is a nod of recognition for the South Korean people’s struggle for freedom and democracy against the dictatorship that ruled the country for nearly five decades and still casts a shadow on Korean politics to this day.

Both Kim and Han are from South Joella province, the region that suffered the most under South Korea’s military dictators. Both gained renown through their connection to the 1980 Gwangju Uprising—Kim as a leader of the democracy movement that called attention to the massacre, and Han as the author of Human Acts, which examines the massacre from various perspectives, including an amateur mortician cleaning the bodies of the dead, a censored author, a survivor with post-traumatic stress disorder, and the dead themselves.

Han is part of a transformative generation of both political heroism and artistic talent. Han enrolled in Yonsei University in 1989, just two years after the death of Yonsei student activist Lee Han-yeol—the event that led to the fall of the Chun Doo-hwan dictatorship and South Korea’s transition to democracy. One year ahead of Han at Yonsei was Bong Joon-ho, a student activist who would go on to become an Oscar-winning director with movies such as Parasite and Snowpiercer, both sharp criticisms of capitalism. One year after Han at Seoul National University across town was Hwang Dong-hyuk, who would later win an Emmy Award as the director of Squid Game, a global hit TV series that also highlighted inequality in South Korea.

Though working in different mediums, Han, Bong, and Hwang were all forged in the crucible of South Korea’s tumultuous 1980s and ’90s. In those two decades, the country saw a brutal massacre and an authoritarian government that reveled in witch-hunting communists and the use of torture. Then the dictatorship fell, leading to electoral democracy, the Olympics, and a flowering of youth culture that sowed the seeds for the global popularity of K-pop and Korean dramas. But greater wealth and freedom soon gave way to hyper-competitive capitalism, inequality, and new uncertainties, causing some to pine for the simpler days of the past.

The works of South Korea’s democracy generation are resonating globally because, in the rhymes of history, today’s world resembles the South Korea that Han, Bong, and Hwang saw in their formative years. War and mass murder rage on, with their horrors felt more intimately than ever. Liberal democracy is barely holding on, with the masses willingly submitting to clownish authoritarianism. The world might be wealthier than before, but the small improvement in material conditions is cold comfort to those who lose out in the economic rat race. By looking back on their experiences, Han, Bong, and Hwang created works of art that ask painfully relevant questions for today’s world.

Han’s relentless focus on the violation of bodily integrity is what sets her apart from her predecessors and peers. Other giants of South Korean literature also dealt with the country’s tumultuous modern history, with authors like Jo Jeong-rae and Park Kyong-ni producing epic novels that vividly recount the decades of colonialism, war, and dictatorship. But Han distinguishes herself by drawing the connection of those decades to the effect on one’s body—something extremely personal.

The protagonist for The Vegetarian, for example, is an ordinary woman named Young-hye who suddenly finds meat disgusting, repelled by the implied violence in the food. In the face of subtle and overt violence committed by her husband’s family who cannot understand her decision, she slowly transforms herself into a tree. The Vegetarian gained popularity in South Korea with the rise of toxic misogyny among young men that fueled South Korean politics’ rightward turn—a trend that is now emerging in many parts of the world.

Han’s subsequent works widen the circle of violence from patriarchy to state violence, but her focus on bodily integrity remains the same. Human Acts opens with a stark image of massacred bodies piled on like meat at a butcher shop and one of the protagonists desperately trying to hold back the intestines from spilling out of them. The image is brutal, but not gratuitous—it is an image that must be confronted as reality, just like the horrific images of destruction in Ukraine or dead children in Gaza.

Softly but meticulously, Han’s works examine how social structures—as intimate as an oppressive family, or as distant as the dictatorship government across the sea—can cause such raw and exquisite pain. In doing so, Han asks the thorny but necessary questions for today. What must be done about all this pain? How can the world remain so cold and unmoved in the sight of such suffering? Having seen such suffering, how do we live with ourselves while maintaining human dignity, without drowning in self-hate and survivors’ guilt? Through masterful presentation of these questions, Han elevated the challenges that South Korea’s democracy generation has confronted for decades to issues for the whole world.

[neoliberalbrainrot]

Fuck, I'm not traumatized enough for this

Means-testing is a quintessentially liberal idea. Instead of presenting a program or benefit (eg: student debt relief) as a human right available to everyone, liberal politicians often make sure it’s means-tested, restricting the benefit to only those who fit certain criteria. These criteria are usually numerical, reflecting the neoliberal obsession with quantification and collection of data. This doesn’t help people who fluctuate above and below the threshold, and it hurts people who do qualify when they aren’t able to get through the bureaucracy in order to claim their benefit.

What does this have to do with trauma?

The means-testing of trauma and oppression is sometimes seen as a useful method of determining someone’s moral superiority in leftist spaces which, I think, are corroded by neoliberal brainrot. The thing being gatekept can vary widely; it might be a community of some kind or something more specific like a publishing opportunity. The basic idea is that you must be this oppressed to enter. Someone’s perceived identity is used as a way of determining how much trauma they have purely from demographic information, remarkably similarly to real means-tested programs, and has nothing to do with the person’s actual life experience.

Because means-testing implies a kind of quantification, if only between more or less, a hierarchy of suffering can be constructed and further used as an indicator of moral purity. The most oppressed person in a group might be seen as morally correct more often, as if there is a neat spectrum of moral correctness. In addition, this person, despite being considered morally correct, might not actually benefit from this perception if they are marginalized and face marginalization from the same people putting them on a pedestal.

This is similar to the phenomenon colloquially called the Oppression Olympics, a competition to see who is more oppressed. The pejorative name is used by those who think it is a pointless exercise that detracts from making meaningful change. In the vast majority of cases, it is, and the discussion only serves to boost the ego of the winner of the competition and cement their status within the community.

Sometimes there is even a chasm between the material status of the person who “won” the Oppression Olympics and the person who is, when measured through more objective metrics, actually the most oppressed. This is a potential avenue for elite capture; someone who is able to communicate their experience using the potent buzzwords of the scene or who otherwise has more social capital may be able to capture the clout that comes with being recognized as the most oppressed.

The competitive nature of this exercise plays into neoliberal subjectivity, with its focus on being the best, or in this case, the most oppressed. Oppression is a competition—like the Olympics. This implies there’s something to be gained. And if there’s something to be gained, is there also an incentive to lean into any experiences of oppression you can claim? I’ve observed this behavior in people, but calling them out on it is an extremely risky and usually futile proposition.

There is actually no need to determine who is the most oppressed in the vast majority of situations, so engaging in this debate takes valuable time away from doing literally anything else. It also strongly implies that vulnerability is mandatory, that you must share your experiences of marginalization in order to be seen as moral enough for the cause. I’m sure I’m not the only one who has had icky feelings when presented with an obligation to list off all the identities I can claim, as if they’re synonymous with the problems in my life.

Of course, there are many situations where it is appropriate to means-test access to a resource; for example, if there is a limited about of funding to distribute to people with the greatest need. In writing this post, I’m mainly thinking of social dynamics in activist groups and even in social groups that just happen to be left-leaning. This is trend among modern leftist “culture,” if culture can be defined as behavioral and belief patterns in a group of people.

Whatever the case, I still think it’s important to examine the idea that means-testing and hierarchies of oppression emerge as viable concepts only because neoliberal ideology is the water many Americans swim in. It might just seem natural to place a more oppressed person (whatever this actually means) higher in the hierarchy, but why? Whether or not it’s the right thing to do, why does it seem natural? Is the hierarchy important to understanding the situation, or is it being emphasized because someone stands to gain something from its enforcement? Is it being built only because the people involved are used to thinking that way? Does it create problems where there weren’t any before?

PS: if you find my writing interesting or educational, please reblog! like artists, writers depend on reblogs to make sure new audiences see their work. thanks for reading!

[ilikekidsshows]

"Adrien's trauma is inconvenient for Marinette" could you please elaborate on this? I'm confused.

Marinette keeping things from Adrien that he needs to know in order to heal from how his father treated him is justified by a lot of people with: "It would be really hard for her to tell him these things." Ergo, Marinette being uncomfortable with having a conversation with Adrien about how his dad was a supervillain and how he's not even human is more important than Adrien needing this information to recover.

In terms of the show, however, it's the thing I've been saying since last November; every time Adrien needs Marinette to step up and provide some emotional support, she's so busy having an emotional breakdown that Adrien has to put his own feelings aside to comfort her instead. The writers have to do it on purpose or otherwise it wouldn't happen every single time. I've written an entire essay on this topic that was linked in the post you're referencing if you want the details of such instances.

None of Adrien's feelings are allowed to inconvenience Marinette by the writers, including ones related to his trauma. They don't want Marinette to have to comfort her traumatized partner and boyfriend like he comforts her, they want her to have a "perfect" boyfriend who always caters to her emotional needs while asking for no emotional support in return. This is the actual reason Adrien was written out of the finale, because then the writers would have had to write about Adrien's feelings, and he would have needed Marinette's support to deal with them.

This is also why the writers have said he will never learn the truth, because if he did learn the truth, Marinette would have to deal with that and Adrien would be the character most hurt in the situation. They'd probably have to kill Marinette's parents to make her beat Adrien in the misery olympics if they ever did let Adrien learn the truth.

[little-shadow-club]

SL Rag spoilers below

just another Haein ramble post don mind me.

Look man I love Haein as much as the next person but I feel like, even with the new content of her coming out (from SL Rag to Arise to the anime) she's still lacking in something of her character. And, as I began to look more into her I kinda saw that the main culprit of her characterization is that: She is perfect.

Too perfect, I mean she holds no flaws or anything that can set her aside from the rest (and no being an s rank and female doesn't automatically make her different), and even if she does she doesnt hold them to the extent that other characters might have them, or she just has the same thoughts as anyone else. Her personality as well never clashes with the other hunters or is too different, especially from Jinwoo-- and okay yeah that's expected bc trophy wife trope and all that–  and in a sense I think this might derive from the fact that everyone wants her to still be stuck into this mold of “perfect wife + perfect mother” that doesn't have the same level of flaws as the rest. 

She wants a comfortable life, like Jinwoo, she trains constantly, like Chiyeol, she is not burdened by trauma unlike Juhee who leaves the story or Jinah who actively tries to stop his brother at one point from entering dungeons (and stopping the MC? Clashing due to real life precautions and worries? And expanding on that? No sir we don't do that). She is strong but not too strong to be a threat (in their first meeting maybe but then Jinwoo just levels up in the castle and then bam stronger than her again) just like… yeah everyone else lol. She fights Jinwoo at one point but it's not due to some difference in thinking or to stop him from something, rather Haein just wants to spend time with him. And yeah despite wanting a comfortable life, or so told so far, she is still placed in the spotlight during her idol years, and has to deal with the most supernatural shit going on in her life constantly. She might be strong but she is still a damsel in distress, and her olympic background… I mean it's there.

I like the implication that she might have been stressed about appearing perfect during her idol life, especially pressured to do great by the adults around her just as she was pressured to be a maintainer of peace when she was an S rank (friend’s death and all), but that… doesn't get anywhere, and I admit Haein hinted to being stressed was only in the date scene with Jinwoo, the rest was expanded by Arise and Rag, still, still its not treated as anything else except ‘oh she is so camery shy’ and ‘oh she just wants a normal life being a normal wife’ (mind you Jinwoo is there as well but he even he doesn't see a problem with that except for when the cameras are pointed at him to which he just makes all the photos look black) and not, idk, dwell on the amount of pressure she would have been faced in since she was a child, the failure of not meeting those expectations in her past life and wishing to meet them when she was given the chance to become an s rank hunter, or how all of that constant training might have affected her life and social ties with other children who werent as talented as her. Or maybe how Haein has had to constantly keep people at a distance due to her nose problems, plus her almost never appearing in the news (so it was said during her hunter years, bc she had signed a contract with Jongin for this to not happen i think) leading everyone to not get to know her as well as the rest of the other hunters who were practically seen as celebrities.

No? None of that? Not even tackling the fact that olympic athletes tend to suffer from burnout, eating disorders, depression, anxiety, or how traumatic the double dungeon must have been since it was the first time Haein, an S rank, had ever come so close to dying (as far as we know in the og sl), and it cant be backed away with saying ‘oh that would be too complex for the story!’ when we’ve seen Haein trying to challenge her fears against Beru during the Ahjin guild arc. 

It's also not needed for her to be so overly complex either, I was listing examples out of the many routes in which her story could be fleshed out more. She can have a small healing moment to herself or slowly unwrap the tolls of pressure she’s been under, and that would be enough, because tbh, she does deserve some time to breathe, as a character, as herself. For the most part she’s never alone, in every scene we see other she either is with someone (mostly a guy) or thinking about someone (90% Jinwoo), so seeing her outside of anyone’s interaction, seeing her go on about her daily life or her daily struggles, or seeing how Haein fixes her own situations without the reliance on others, that I think, would be more needed than ‘just more Haein scenes’ 

Arise has one scene which I like, her talking with Chiyeol after his double dungeon incident. Both characters definitely needed something like that in my part, 1) because it highlights Chiyeols maturity over the certain years he has been as a hunter, and 2) because it emphasizes Haein’s relationship with her teacher and how she’s not only learning to be skilled but also the pain that comes with losing your comrades afterwards.

And in Rag, though I find it way too absurd to the point that its funny that Haein has managed to protect an entire village, on her own, for the past 5 years, with daggers, in her 40s, no experience whatsoever in a fight unless it was also transferred alongside her memories, and also had no qualms in protecting the race of beasts that had once pose such a level of danger Jinwoo himself rewinded time itself— I do like her interactions with Sirka,  and it posses such an interesting dynamic to see considering she is one of the few humans who has managed to maintain a connection and lived alongside intelligent magic beasts like he elves (Suho being the other which is… interesting actually when you think about it considering Jinwoo is somewhat yes and not on the list). 

Again, she is so interesting in her own right, but the thing is that we never see her act alone or be solely in the spotlight, and don't get me wrong, this also goes from the other characters too. But with her I feel like too much of what she could be or experienced is brushed off too quickly or not given enough time to expand. 

So anyways, I will like to see where she might go off from here foward, especially in rag, and the anime.

[dootznbootz]

Hiiiiiii I just saw the character ask thing :))))

Can you tell me about your NOTP, random headcanon and unpopular opinion about Helen of Sparta?

Thank you so much!!!

I'll save the one that'll get me crucified last! 👍

Random headcanon: Both Odysseus and Penelope were given a "photographic memory" by Athena. When Athena had "forsaken" Odysseus it was taken away. Makes it nice because a lot of the more fucked up parts of the Odyssey are a bit more "fuzzy" for him. And he hates feeling "so out of sorts". He gets it back though.

Also Athena technically took Penelope under her "wing" like, one month before Odysseus.

Unpopular Helen Opinion: In MY FICS, (It's okay if you don't agree!) She is built like Rose Quartz from Steven Universe. She doesn't have a perfect "hourglass figure". She's got some pudge on her tummy. Girl is TALL (Demigod) and CHUBBY. One of the important components of Helen and Menelaus' relationship is that they are both strong enough to lift each other. Also she's the most beautiful woman in the world and chubby women are hot af lskdjf She also SUCKS at singing. She's good at wrestling and spear work. (Sparta. I also love athletic women. Plenty of chubby women are also athletic af. If you think otherwise, literally look up women's Olympic sports participants.)

Homies, know that my NOTP can be YOUR OTP and that's okay! We can still love each other and be friends! Ignore the rest if you just don't want to see that, but know that while it kind of will be in my fics, it's probably not in the way you want it to be.

Please don't hate me and know I don't hate you or think I'm "correct"!

It's OdyDio.

These are the reasons why so avoid them if you don't want to read that! :'D This is the only time I will ever be on the "Odysseus hate train" because he's such an asshole to Diomedes.

I feel so bad about it. 😭 I'm a freak who likes Odysseus/Menelaus (Big BROTP) I think it's because Odysseus is just... SO MEAN to Diomedes. And when he's not mean, he's just neutral. There is not really any "Diomedes, you're the best guy!". Especially when have Sthenelus and Diomedes saying I love you to each other To ME, they are like co-workers who work GREAT together on the battlefield and on missions, but never do anything outside of that.

When Diomedes asks for help, Odysseus sprints away from battle. When Diomedes compliments him before the night raid, Odysseus literally is like "Dude, you're not the only person who knows I'm good at stealing. Let's go."

Odysseus, that long-suffering, godlike man, replied: “Son of Tydeus, don’t over-praise me, or censure me. You’re speaking to the Argives,                           who know everything about me. Let’s go. Night is passing quickly. Dawn approaches. The stars have shifted forward. Most of the night                   has passed, two thirds of it, with one third left.”

(Ian Johnston, Book 10)

Odysseus is an asshole but he's still so mean to Diomedes! 😭 ESPECIALLY WHEN DIOMEDES IS SO FUCKING NICE TO ODYSSEUS!!! I know that's what probably makes them so compelling to so many lovely folks but I love fluff BECAUSE I'm so tired of toxic relationships irl. I don't...I don't see how I can make OdyDio fluffy 😥 With OdyDio, I feel like I'm watching my bestie (Diomedes) get back with their toxic ex who mistreats them (Odysseus). Diomedes is actually quite polite to the others. Even when Agamemnon scolds him, he tells Sthenelus to think nothing of it. He compliments Odysseus! He listens to the gods when they tell him "Hey stop fighting!" and listens to Athena! Like he's violent and a killing machine but he's respectful! He's a traumatized, respectful, killing machine! He bitches at Paris but everyone has done that! That's something everyone partakes in /j

It bothers me even more because when Odysseus is with Penelope, he's so wonderful and loving? And that the Odyssey, literally Odysseus' story/Epic, doesn't even really mention Diomedes? That goes to show how little Diomedes means to Odysseus.

And since Odysseus runs away from Diomedes when he asks for help, it boggles my mind that books earlier, he goes into a rage when his friend gets killed!

[...]but hit Leucus, a brave companion of Odysseus, in the groin,                                           as he was dragging Simoeisius away. His hands let go. He fell down on the corpse. Enraged at Leucus’ slaughter, Odysseus strode up, through the front ranks, armed in gleaming bronze. Going in close, he took his stand. Looking round, he hurled his glittering spear. As he threw, Trojans moved back, but the spear found a mark. It hit Democoön, Priam’s bastard son, who had come from Abydos, where he bred horses for their speed.                                    Angry for his friend, Odysseus speared him in the temple.

(Ian Johnston, Book 4)

Odysseus, you prick!!! You go on a rampage when your buddy gets killed but sprint away when your STILL ALIVE BUDDY asks you for help?! ASSHOLE

They ARE kind of friends/frenemies during the end of the war but it's a weird thing where Diomedes cares about Odysseus but Odysseus tolerates him. Like he left him to die. I love Odysseus. He's my special little guy but he treats Diomedes, another special little guy, like shit 😞

They also have a fairly large agegap, (Odysseus being one of the older kings while Diomedes is the youngest. If you bring up pederasty, you will be smited.) and have very little in common other than them both being Athena's pets. Odysseus is a fucked up lil warrior trickster who loves his wife and child more than life itself while Diomedes is a young child soldier boy who is incredibly duty bound and war is where he feels most comfortable.

Also just...Most of anything about OdyDio (fanart/fanfic/etc.) it's of them fighting or bickering or betraying each other or being very sexual. Even OdyPenDio STILL feels very "OdyDio... + Penelope in the footnotes". I already plan to write Odysseus (and Penelope) as Aspec CODED and so I...just really don't care for that??? There's barely ANYTHING of them being soft. BECAUSE THEM TWO TOGETHER just aren't soft... I personally don't like couples that are mean to each other 😭 (I'm not even including the whole "betrayal with the Pallidium" because it makes me sad to think about. I don't consider it canon.)

Menelaus though?

I have plans 😌 These two bring me comfort and are a special brotp

[jacquelinewilsontraumaolympics]

[ID: Tumblr post from @partywithponies reading: “New terrible tumblr poll tournament idea: The Jacqueline Wilson Character Trauma Olympics. You have to pick which of two a Jacqueline Wilson characters has had the worst/most traumatic childhood and is going to be the most psychologically damaged by this in adulthood.” /End ID]

Hello, this is the terrible tumblr poll tournament, trying to figure out the definitive (as voted by tumblr) worst/most traumatic Jacqueline Wilson character childhood/adolescence.

All characters from children’s/adolescent’s books or short stories (including things like “Leonie’s Pet Cat” from Paws and Whiskers) by Jacqueline Wilson will be included, however there will be a form, both for seeding, for bringing up characters I might’ve missed, and for submitting your propaganda!

Other polls: @john-bracket @tournamentdirectory

(I don’t know many other polls, so, hi john bracket)

[theamityelf]

My mind is full of thoughts of a Percy Jackson Danganronpa AU.

Here's an organized brainstorm.

Parameters: Danganronpa universe, Riordanverse characters. This means no one is a demigod, which I would ordinarily find a bit boring, but Ultimates are pretty superhuman anyway, so it's fine. Hope's Peak in Japan still exists; this is an imitation school in New York. The plot of Danganronpa is still happening in Japan. Junko and co are still responsible for the Tragedy and their killing game, but there is someone in the New York Hope's Peak who helped her cause the Tragedy and, separately, someone in the New York Hope's Peak acting in the role of "coerced traitor".

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Percy Jackson- Ultimate Swimmer. Most of his backstory gets to stay pretty much the same, except the weird traumatizing things that happened throughout his childhood that in canon were the result of his godly parentage are now just regular people mistreating a kid. He gained renown as an Olympic swimmer, mostly so that he could give the money that came with that success to his mother, so she could stop being financially dependent on his abusive step-dad. She was able to leave him, and optionally put a hit out on him? If we want a Medusa equivalent.

In the killing game, his classmates are weird about him. A lot of them act like he's not smart, no matter how often he's right about stuff. He gets extremely defensive when he's the one being accused of murder, because he's used to having to defend himself from unfair accusations, so it's already a sore spot for him. This makes him come across as hotheaded and suspicious, but he never hurts anyone.

He survives. Also, he's probably the POV character.

Annabeth Chase- Ultimate Strategist. Backstory is, she ran away from home when she was seven and ended up in the "care" of some kind of army or mercenary group, and she became their best battle strategist at a very young age. When she became old enough to object to what the group was doing, she plotted out the tidiest way to end them and escape (physically) unscathed. Once she was free, she pretty much lived as a drifter until Hope's Peak scouted her.

In the killing game, she channels any fear she has immediately and directly into defensive rage. Because she can see so many potential strategies in the the things people do and the way everyone else behaves, she tends to float on the slightly confrontational side. Ironically, despite Percy being one of the more cunning participants, and despite everyone else accusing him of stuff constantly, she almost never expects him to be up to anything. Like, she'll sit next to him during meals specifically because she does not believe he has it in him to successfully plot her death.

She might kill. She probably wouldn't be killed. Her execution might be chess-based! Maybe a cruel subversion, where she's winning the chess game and then gets crushed to death by a giant checker piece, or something like that.

Grover Underwood- Ultimate Environmentalist. He's a famous activist for climate change and pollution. And unfortunately, Danganronpa Law might dictate that he gets placed in the coward role by default. Someone's gotta have the outrageously out-there fear sprites. I'd say he leans more "easily-startled pacifist" than "genuine coward", though. He might get a moment where he throws a tin can at Monokuma.

He folds in the face of teasing of any kind, so if Monokuma or his classmates make jokes at his expense, he does not banter back. Percy backs him up, since he refuses to defend himself. But he is reasonably vocal in the trials.

He's the character you're sure is going to die every chapter, but he makes it to the end.

Nico di Angelo- Ultimate Gamer. Everyone who hasn't already heard of him is surprised by this, because they find him irrationally eerie and it seems like his talent should have the same vibes. He's had a hard life, partially due to family stuff and partially because these game companies target him whenever he makes them look bad and sometimes they send mercenaries to intimidate or harm him, so he has to live on the run and off the grid- while also being a notorious gamer. He's still Hazel's half-brother, but he has to be careful about acknowledging their relationship in public, lest she be in danger, too. (The game company mercenaries would hold her hostage! They've already done it with a different sister before, and it did not end well.) But he does favors for her when he can, and they manage to keep in touch. Now that they're both attending the same school, they still keep their sibling relationship a secret for a while.

He's very reserved, both socially and in the trials. Sometimes he hangs out with Leo, since Leo focuses so hard on his own work that they don't have to talk much, and that's honestly the only reason he ever has an alibi. He still often gets accused of stuff just based on sheer vibes.

He might kill someone for Hazel. Or he might be killed. Most likely, he dies somehow. One of them has to die for the other's character development, per Danganronpa rules, and I'm choosing him. He would agree with my choice. The group finds out that they're siblings either during the trial or between the verdict and his execution.

Rachel Elizabeth Dare- Ultimate Heiress, but she really really doesn't want to be! She tries really hard to have a different Ultimate, like Ultimate Artist, Ultimate Activist...

In the killing game, her role in the dialogue is mostly to be the one saying obvious things and explaining the joke that was just made. (Look, it's okay. Some of my favorite Danganronpa characters get saddled with that job. It's not a slight on Rachel.) There's a running gag where she tends to correctly guess things ahead of time, culminating in her excitedly saying "Hey! Maybe I'm the Ultimate Psychic!" This annoys Octavian tremendously.

Socially, she kind of cycles between the friend groups. She says very little in the trials. When people tease her, she very much does banter back.

She might kill. Or she might be killed. I think probably the latter, and they can have some line like "She didn't see it coming." Maybe Nico kills her because she was going to kill Hazel? Eh, maybe not. She does get killed, though. Although her execution could be interesting if she murders instead; it could be based on the title she hates, or it can be based on her yearning for another title/identity.

Luke Castellan- Ultimate Traveler. He runs a very popular travel blog or vlog, centered around how he's been to every state, territory, and almost every country. He speaks a lot of languages. He's older than his classmates, because he missed a lot of school while he was traveling.

"I've visited the Hope's Peak in Japan a few times."

"There's one in Japan?" Percy says, immediately interested.

"The first Hope's Peak is in Japan!" Annabeth chides.

He became friends with Junko Enoshima a while back. He had a role in causing the Tragedy to also happen in America, but he thought it was for a different reason. He never wanted his classmates to kill each other! (He was fine with millions of other people dying, though.) Junko said they were locking themselves in for their own safety, so he convinced Headmaster Chiron. His memory was erased along with everyone else, so he doesn't know anything except that he was friends with Junko.

His presence in the killing game is very charismatic and caring and somewhat leaderly.

He might be the first one killed. He probably doesn't kill anyone. All the information about his role in things comes out after his death, but maybe he gets a moment right before he dies where he remembers everything but can only say a cryptic sentence that everyone misunderstands.

Carter Kane- Ultimate Egyptologist. Attended many lectures and archaeological digs with his father, pretty much from infancy. (Yes, Professor Kane giving a lecture with a baby on his chest!) Very well-versed in Egyptology, and took over his father's work and expert status when he tragically died in a freak accident. If New York Hope's Peak has a reserve course, Sadie might be enrolled there as a backup Ultimate Egyptologist.

In the killing game, Carter's place in the social web is to kind of be the quieter Annabeth, in that he's smart and somewhat suspicious of the others but doesn't express it as openly as she does. Also, his particular brand of had-to-grow-up-too-fast is of a more social bent than most of the others', due to the nature of his work, so he's a lot like Reyna in that he'll be the one trying to calm people down and get them to work together. In fact, he and Reyna will have a casually-established trust for each other, where they generally agree about things, side with each other, support each other's alibis, etc.

In the trials, he isn't all that vocal, but when he speaks, he always has an astute point.

He doesn't kill, but he might get killed.

Jason Grace- Oh boy, there are so many funny answers to this. I think it would be most on-brand for him to be the guy who wakes up with no memory of his Ultimate. But, this would necessarily mean that his talent must be significant in some potentially-game-breaking way. Ultimate Wolf Trainer would be great, but maybe a little out there? I'm thinking he'd either be Ultimate Wolf Trainer or Ultimate Survivalist. Either way, his backstory still involves wolves because the wolves are the coolest things about him (in my own personal opinion).

He is killed by Monokuma for rule-breaking, because he does not want to engage with the game on Monokuma's terms. He's used as an example for the others. It's a very heroic death.

Piper McLean- Ultimate Trendsetter. (A really superficial-sounding title that she hates.) She's been in the public eye as the daughter of a famous actor, and she's known for being utterly subversive in her fashion choices and broader lifestyle stuff; she single-handedly reshapes pop cultural trends, and no one can quite put their finger on why she manages to be so...persuasive? Without even saying a word. It's like, just by being herself, she makes people want to "agree" with her. Her social media presence has a significant impact on social justice movements and political campaigns. She also met Junko Enoshima before attending Hope's Peak (because it's not hard for a super influential "fashionista" to engineer a way to meet a super influential "trendsetter"), and Junko identified her as a valuable asset. Piper is the coerced traitor. She confesses after a close friend (probably Leo) dies.

Her behavior in the killing game is kind of guarded, for a while; she's guilty about being in contact with Monokuma, so she isolates herself out of guilt. It comes across as the standard "aloof ice queen" character archetype, especially if the POV character is Percy, who she doesn't soften toward until late in the game when they understand each other better, but she shows her kind side when she's defending those she perceives as underdogs, like Leo and Hazel. She doesn't trust Grover (Another thing that places her at odds with Percy.), because she thinks his pacifist thing is an act, partially because she considers him a celebrity and she has a lot of baggage around the concept of celebrity.

After she confesses to being the traitor, people get back to trusting her surprisingly quickly. It helps that a lot of the late-game participants are more on the trusting side, and also, in true Danganronpa traitor fashion, she didn't actually do anything to anyone; she just is the traitor. Once the cat's out of the bag, it's like a weight has been lifted. She gets along with everyone way better.

She survives.

Leo Valdez- Ultimate Mechanic. Once again, same backstory except he can't create fire with his hands.

In the killing game, he leans SUPER hard on sarcasm and humor as a defense mechanism, causing him to butt heads with some of the more earnest in the cast. Characters like Frank genuinely believe he doesn't care or thinks the situation is funny, whereas characters like Piper understand pretty quickly that Leo is just unable to deal with his fear any other way.

He dies, because his talent is game-breakingly useful once the group at large is focused on game-breaking and not surviving each other. He builds something useful to the rest of the class and then dies, rendering the thing he built far more valuable for the fact that they won't have any more inventions or machines from him to help them.

(If we want to go Danganronpa-style cruel irony, Annabeth could be the one to kill him, since she's the strategy person and his loss would be the most strategically problematic to the group. Like, we could discover that if she just hadn't killed Leo, he was this close to building something that would get them free.)

Hazel Levesque- (I would love to incorporate her love of horses, but that simply can't be relevant here, lol.) Ultimate Witch. She has pretty strong reservations about her title, but essentially she's a talented illusionist with above-average luck. Also she can sometimes see ghosts; it's a genetic thing. (Because if Danganronpa says that's on the table, then why not.) She would prefer to be called the Ultimate Illusionist, but New York Hope's Peak wants snappy, clickbait-y names for their Ultimates.

In the killing game, she gets along with everyone. Frank is protective of her, because she's physically small, kind-hearted, and pretty. Nico is protective of her because she's his sister. All the other girls are protective of her, because she's the least athletic out of all of them (since this AU doesn't require her to have been fighting monsters). Leo makes lighthearted jokes about her talent that Frank takes too seriously. The only person to ever directly accuse her of anything is Octavian, though she's not above suspicion when she doesn't have an alibi.

And for her own part, Hazel's skill set comes into play because she has a keen eye for smoke-and-mirrors, as it were. Like, as soon as the killing game starts, she becomes curious as to where Monokuma is appearing from and determined to find out. Things like that. She discovers secret passageways based on her familiarity with optical illusions, sleight of hand, and hidden compartments.

She survives. Obviously, having a strong personal connection to a character who probably dies means she has to survive to say some line towards the end like "It's what they would want," or "I remember what they said to me..." Monokuma meant for her to die because she was a little too persistent about finding stuff, but it didn't work out that way.

Frank Zhang- Ultimate Archer. Once again, functionally the same backstory with the Roman gods swapped out for human stuff.

In the killing game, he assumes the position of "We would never kill each other! Why would any of us kill each other?!" He's at odds with Leo (and by extension Piper) because of Leo's need to joke about things, and he's at odds with Annabeth because he doesn't want to suspect anyone. His insistence that they shouldn't suspect each other makes Annabeth (and to a lesser extent, Carter) suspicious that he's playing them. He trusts Reyna because she's a team leader, but she is aggressively neutral toward him. Like:

"Reyna, tell them this had to be Monokuma's doing!"

"It could have been him, or it could have been one of us. We don't have all the facts yet."

I'm going to say he kills, and I'm going to say that his motive is a hostage thing with his grandmother. This is also character development for Hazel. Sorry, Hazel. Also, sorry Frank. His execution hearkens to St. Sebastian (shot with a bunch of arrows while tied to a tree or post).

Reyna Avila Ramirez Arellano- Ultimate Team Leader. Raised by a now-dead older sister, she led a lot of professional athletic teams to victory. She is great at seeing others' strengths and weaknesses, and she is a champion for team synergy.

Ironically, she's not great at creating or maintaining friendships, but she loves her classmates in her own way. She only speaks up in class trials when she notices someone is being talked over, in which case she makes sure the others quiet down and let them speak. Also, when Octavian is making it impossible to progress, she gets him to shut up. Other than that, she mostly listens.

She's probably killed, and the characters have a bunch of lines sadly reflecting on how they didn't expect someone like her to be killed.

Octavian [Last Name]- Ultimate Psychic. He's famous for his whole gimmick of divining a person's future by cutting open a beloved stuffed animal of theirs; for the hardcore superstitious types, it's considered a show of how serious you are about your beliefs to say you've had your future read by Octavian. (It's also a demonstration of financial status, because he charges a lot.)

In the killing game, he is hugely distrustful and obstructs the group from collaborating at pretty much every turn. Like, Annabeth is cautious, but he is straight up tearing the group apart constantly.

He kills or is killed for sure. Most likely, he kills; no way any self-respecting Danganronpa game would miss the opportunity to make him angrily defend himself in the trial room and get a gruesome execution that probably hearkens to him gutting stuffed animals. I'm going to take it a step further and say he's the one to kill Carter, since its too obvious to have him kill Rachel or Reyna.

Also, if they get to open up Monokuma late in the game, they're going to mention how Octavian would have loved to be around for this.

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So, to recap, in no particular order:

Murderers: Annabeth, Nico(?), Frank, Octavian

Victims: Rachel(?), Luke, Carter, Leo, Reyna

Killed As An Example: Jason

Survivors: Percy, Piper, Hazel, Grover. They are all best friends at the end.