#arguably he still is now but at least he has some understanding of the choice he’s making in getting into the animus freely and such

[quietwingsinthesky]

you cant just put a character in front of me and go ‘btw when she was seventeen, everyone she knew cut her off completely so she could be bait for the most evil company in the world to hire, and then some fucking guy swooped in and took advantage of her for years’ and expect me to believe she’s the villain here. or to ever be normal about this. what the fuck!

[skepticalarrie]

That anon that talked about Louis wanting to create his own identity away from Larry. I agree and just wanted to share my interpretation of something and see what you and others think?

I know most people think there was some weirdness or off-ness during the end of 2022 and 2023 in regards to Larry. At least that's the period people usually point to when discussing a break-up or lack of signalling or whatever.

Up until Louis' first album release and then first tour, all Louis had to hold on to was the support from mostly Larries. During the years between 1d ending and his first tour, I think Louis was still operating on SBB mode a lot because that's all he really knew - all the signalling, clues, hints, etc. That was the fanbase he was accustomed to.

So his tour starts and it's very Larry. It's in a lot of his outfit choices (one that comes to mind is him wearing the red trackies with the embroidered butterfly ONLY ONCE amongst all the black jeans and the day was either harry's bday or valentine's day I forget now), it's in the screaming of the Princess Park line, it's in the Larry posters and Larry dolls that people brought, the rainbow lights and pride flags to an extent.

I think once it really set in for Louis that he could have a successful music and touring career and this wasn't just going to be a once off, he decided he wanted/needed to make some changes. He didn't want his whole identity to come down to Larry. I can imagine the support being nice but equally if not more frustrating. And I think that's when he started pulling away and creating boundaries and shifting the vibe of things. Because the vibe of fitf tour was quite different to walls tour. And some of that can be attributed to different fans coming in but it's also people taking their cues from Louis.

Anyway I don't love the way he's gone about some things and it hurts like a bitch to know that he had some of the most loyal and hard core fans that saw through a lot of the bullshit and were there for arguably "the real louis tomlinson" (or at least more real than the public narrative version) and he essentially saw us and was like "Yeah...thanks, but no thanks. Don't need you guys anymore."

On a side note, I'll never understand how it can be fulfilling for an artist like Louis and Harry to have all these fans that are fans of essentially a made-up version of them. Like if I was up on a stage and I had all these fans that cared a great deal about me but they cared about the person that is straight, and a womaniser, and a father, etc. That would feel a little empty but I'm not them so.

If you read all this, bless you.

I see where you’re coming from, anon, and I understand your points. But honestly, I feel like this discussion is missing the point. IMO, it’s not really about IF Louis is trying to distance himself from Larries, or even WHY he might be doing that. It feels broader than that.. it’s about how it’s being done for me.

In my opinion, it boils down to the fact that I fully believe both Harry and Louis likely want to keep their relationship more private. And I think that has been there since the band ended. If we look back, Harry has been criticized A LOT by larries for years because Louis seemed more “engaged” in the scavenger hunt of larry clues for a while now. Since Louis released Walls he’s taken on more of that role in the dynamic, while Harry built an entirely new fanbase away from that.

And here’s the thing: it’s perfectly fine for them to want to rebrand, attract new fans, or disassociate themselves from certain parts of their image. I don’t see it as a bad thing, it makes sense, especially if they want to keep some things private and you know.. considering all the mess with their closeting during the band. The issue, for me, is how it’s being done. The way this shift is happening feels like gaslighting, and that’s where my frustration lies.

Let’s face it, Harry went through similar criticisms when he made his changes, and Larries tore him apart at the time too. But maybe it didn’t sting as much back then because Louis was still “feeding” us little clues. Or maybe it’s because babygate is harder to swallow. Perhaps it’s the difference in their approaches.. Harry has remained silent on Larries entirely, while Louis has made shady comments and leaned heavily on Larries for support for much longer.

So regardless of the reasons, the way things are unfolding feels like a slap in the face, especially given how much they’ve both benefited from Larry speculation over the years. For Louis, it’s particularly upsetting because of babygate and it really creates this massive cognitive dissonance that’s hard to swallow. I’m definitely curious about their new eras when the time comes, especially Louis’.

[amaryllis-sagitta]

Hi again, going through the different endings of DAV, I was pretty surprised to hear Solas being all like "I am a god!!" when Rook beats him in a fight. I know he has pride issues but that felt so OOC to me?? I was wondering if you had an opinion on it?

Hi, thanks for asking again!

There are 3 tiny (or not so tiny?) moments that I think push the envelope on Solas's characterization in a way that allows us to portray him as more genuinely sinister than the main line established in Trespasser, post-Trespasser media and most of DATV, which is the "Pathetic, stubborn man ridden with massive unprocessed guilt and shame, who can't make a choice without some catastrophic collateral for the life of him, and the unforeseen consequences of his choices repeatedly push him to double-cross people and have them do his dirty work".

One moment that had me thinking is the third memory of the rebellion - I mentioned earlier how Solas's pose and facial expressions make him unduly smug when Felassan calls out that they were supposed to do better than send out an army of spirits, appealing to their nature in seemingly good faith, when they were really a distraction doomed to fail. It shocked me because it seems to strike at one of Solas's core values. It's supposed to hurt more in relation to spirits because we know how much Solas despises wasting, destroying or twisting spirit purpose. And yet, in his confrontation with Felassan, he seemed content, smug even, about achieving victory against Elgar'nan and didn't show a trace of regret.

Another moment is the jab in the Fade that "at least you have Varric to talk to", again with a smug sense of satisfaction. Learning about this line took me by surprise because for all the disingenuity Solas is capable of, I never had him for someone who takes delight in such petty cruelty, especially when the matter is also personal to him to a degree. Varric's death should have hurt him by virtue of their mutual respect gained in DAI, so has the game underdelivered in representing this? Or are we really pushing a narrative that he never really changed his mind on non-elves, or chose not to acknowledge them as people, so Varric was just a disposable fool?

The third specific moment that shows Solas in a worse light is the moment you mentioned in the ask. Though, watching this scene, I feel we need to cite the full sentence:

Rook: [...] I am not alone, but you will be. The Veil needs to be tied to the life force of an elvhen god. And now it is, Dread Wolf. Solas: You sneer at me as though you understand. You are mortal! Compared to you, to your infinitesimal existence, I AM A GOD!"

This is a conditional state of an ending, when you decide to fight him and at least the companions in your party have reached the Hero status, which means they survive Solas's counterattacks, so in the end Rook doesn't stand against him alone, and does not end up in the Fade prison with Solas. This is where Solas is at his most desperate, I think, because when Rook remains alone in the Fight ending, it's a pyrrhic victory. Solas doesn't lash out then, because he isn't done with Rook. The context of "I am a god" is that Rook will soon perish while The Dread Wolf will prevail for centuries still, and no mortals can stop him in a way that matters.

But could it also be a trigger for his greatest fear: that there's a realistic chance he can very nastily die alone with his regrets and self-loathing? Because he does not say he is immortal - he never bound a dragon, so he can't take advantage of the Evanuris perk. Neither does he accept a definition of godhood. It's a matter of scale and comparison; in this final moment, he's looking for a way to belittle Rook and their team.

In fact, the "I am a god" in this context represents the extreme of the views he's held about mortals before - arguably, before joining Inquisition. Though I think that even then, he had trouble humanizing races other than elvhen. If his mind has really swayed throughout DAI, it feels barely half a step towards acknowledging that mortal elves, especially the Dalish, might have a point in their approach to history. Then, in Tevinter Nights, he says to Charter that the elves who survive the un-Veiling might find the "new" world better. Not really a win.

I believe a proper background for this is found in two conversations. First, when Rook keeps poking at Solas's plan to tear down the Veil and he stops eluding the question, Rook says "Spoken like a god". Solas's reply in this moment frankly sounds... too deflective. Like it's coming from someone who genuinely needs someone to constantly whisper "Remember you are but a mortal, Caesar" in his ear.

The second moment is when, after having the loud argument with Elgar'nan to get Rook out of a Fade pocket of despair, Solas admits Elgar'nan is who he feared becoming - callous, tyrannical and contemptuous. I guess Solas's worst moments are supposed to show how close he really could get, because the "I am a god" most definitely defines an ego trip that comes from a place of great insecurity.

If I were a hater looking for a hook to make an uncharitable argument that "He was amoral all along and his gentler side was a mask that just waited to slip", I'd start there.

[fuglyjeans]

Ok the first time I watched bojack horseman season 6, it sent me in a pretty bad depression spiral. But I just watched it again for the first time in almost 4 years, and it actually fills me with peace. I think I thought the show was saying no one can change, really; bojack will always be just some shitty selfish horse. He can try to do better, but he can't change the lives he's ruined, or outrun the consequences, and he'll always slip up. That made me so sad.

But now i see it more like... yeah hollyhock cut off contact, bojack goes to prison, Diane implies they'll never speak again, Princess Carolyn implies she won't work with Bojack again in the future etc. But at the same time all of these characters still express love to bojack and thankfulness that he was in their life. Even Todd is really kind to bojack in the final episode, despite having every reason to ignore him forever. They draw boundaries as they should. But there's still compassion.

Even though bojack has arguably lost absolutely everything, he's still able to find a little joy in prison putting on a play. And those people will still probably say hi to him from time to time... and after he gets out of prison, who knows, maybe he'll make more progress and find new people, start better relationships. He was already on the up and up... he relapsed, but honestly that happens. Before his relapse he'd been sober for like a year which is pretty amazing.

bojack is messy and his progress is slow. He's deeply flawed and no one is obligated to stay in his life, no one has to respect him after all the shitty things he's done. But what brings him true peace is being honest with himself about that... no memoir or dream role or Oscar win or long-lost sister or university can replace the peace of just being real. Taking accountability. I think by the end bojack is at least starting to realize that and commit it to memory.

I also think it's tempting to feel like post-rehab bojack is all better, he's a new bojack, it's unfair that the reporters and interviewers come after him to ruin his life after he'd just fixed it. He's not the same as Vance Waggoner!! But that's the thing.. even though it's hard, even though it feels unfair, bojack still has the choice to do better. He didn't have to do the 2nd interview. He didn't have to teach at hollyhock's school without asking her if that would be weird. He didn't have to do Horny Unicorn, he didn't have to go back into that party after reading hollyhock's letter. He didn't have to go on one last bender, break into his old house, call Diane and nearly kill himself. It's understandable that he did. It's painful and horrible. But every single time, he could have chosen to walk away, ask for help--maybe not from Diane or PC or Todd, but surely Mr Peanutbutter or he could have just checked into the ER for monitoring. And that would feel sad and humiliating and lonely but he would survive and come out knowing he didnt ruin things this time, even if he felt alone. Its ok to be alone. But he didnt do that... so even though i understand why "new bojack" fucks up again.... it WAS all still his own choice.

I could talk abt this show forever lol God

[eri-pl]

Re: Gandalf and Melkor

(idea: Gandalf was originally a Maia of Melkor. But now with more canon)

So from what I understand, initially the Ainur didn't have a hierarchy. The Maiar and Valar became a thing after Ea was made, which is after the Music, which is after Melkor's initial problematic behavior (I won't say "evil" yet, as this is arguable).

The beings that were Melkor's Maiar from the start are the Balrogs (and maybe possibly some other evil beings?). Already fallen.

And Olorin (the guy known as Gandalf) is not.

So, what is he?

I think that initially, even before the Music, the Ainur had certain resonances. Some just match some others better. And later, when some of them descended into Ea, this had an impact on which Maiar served which Valar.

Impact, but not 100% correlation. They have free will, after all. And they can serve more than one Vala, I assume it means one at a time, but they can change whom they serve.

And we know the case of Arien. She was a spirit of fire, like Balrogs were, but she chose to serve Varda instead of Melkor. And I don't want to believe that it was because she naturally resonated with Melkor less than the others.

They have free will.

She chose to not be evil. They did not. Not because they were made like this. They choose.

So, if Arien could not go with her just natural choice, because this choice was Melkor, why not other Maiar?

Olorin has qualities (mostly mentioned in linked post) that are similar to Melkor: likes to play with fire, likes to meddle, likes to show off his intelligence and be sarcastic, word puns, natural affinity to humans, too smart for his own good (mellon)...

(Melkor: rules over fire, likes to meddle, prideful and with insane language skills even for a Vala (that's canon), had an insanely steering emotional reaction to humans (hates them), too smart for his own good.)

I know Olorin's name is linked to Irmo (it means "dream / fantasy" more or less) but he took a name when language was already a thing, so of course it's like that, he served Irmo at that time I guess.

So the Maiar I see as naturally Melkor-vibed:

Arien (as said before)

Olorin (as said before)

Melian: she is weird. So odd that she must be reasonant with Melkor. Nobody remotely normal would marry an elf. Yes, that's opposite of what Melkor would do, but... He is the opposite of what he should be. So it makes sense. Just... she's just this exact "this idea hasn't existed before and warps the reality, let's do it!!" kind of weird. Also, see: Melkor's reaction to Luthien. Both in the sense of "he feels the resonance" and "Melkor and Melian were the only Ainur in the canon who wanted to marry an incarnate"

Curumo: proud, craftsy, proud, didn't seem to need much work to be corrupted TBH

"Not particularly Melkor-vibed, even though you might they are" think include:

Sauron (lawful, needed much effort to be corrupted, I don't see him as fire-aspected before the Ring, ymmv)

Radagast (not all Istari have to be in the list, and he has no reason to be on it)

Probably Osse too? I think he just has temper issues.

Other thoughts:

As I said in one earlier post, many elves and at least a few humans also have a discernable resonance to a particular Vala (Eol and Feanor to Melkor (maybe mixed with Aule), Maglor and Tour to Ulmo, Maedhros also to Melkor, Celegorm to Orome) but with Maiar it's more visible.

Also, for a non-Melkorian example of a mixed resonance, I would say that Tilion (or how do you spell the moon guy) is not only Varda, but also Irmo-vibed.

I'm not sure if this basic resonance is a thing that can change, but I doubt it. Olorin after countless years of serving the good Valar is still recognizable as odd.

It's like instruments.

When you play a trumpet with the violins a lot, the player and the audience get accustomed to it and hear it as more natural combo, but it's still a brass.

Maybe when Sauron got Numenored, and/ or when he forged the Ring. Those were big events.

Also, the Valar aren't a linearly independent base. Nienna and aule are closer to Melkor than, say, Varda or Ulmo. Still, this says nothing about their morality.

He chose to be evil. They did not.

[the-nysh]

How do you think redeeming Knives went after the ‘98 ending? Not sure how Vash would reign in him

Welcome to the plot of countless fanfics exploring that very same question since the turn of the millennium!! 8'D

Understandable, since the 98 anime's ending was left deliberately open-ended (its plot way different from the manga too, since it hadn't been completed yet), with every other major character dead save for the brothers and Meryl & Milly, it's heavily implied Vash returned home - to the girls, as he was trusted to, while carrying the incapacitated Knives over his shoulder (while leaving all his/their guns and red coat behind, since those items were symbolically no longer needed anymore) rather than leaving on a one-way suicide mission where he & Knives would end up killing each other. No, Vash made the independent decision to survive and properly 'take care' of Knives the way their mother Rem wished for them -to live- upon her sacrificial goodbye. After Vash finally realizes/interprets what she meant after going through some huge life-changing revelations himself (especially from Meryl's successful non-violent demonstration in saving him, proving to him that Rem's belief, and having faith in humanity, actually works after suffering thru so many repeated failures where it didn't), it's important he chooses not to die, or kill, or abandon or give up on even his own brother as a lost cause too. :') So I think it's appropriate he perseveres in saving Knives too (with Vash essentially taking responsibility as the 'older' brother now), while holding firm onto the belief of a hopeful 'blank ticket' open future...even for those like himself, who've terribly wronged. After all, survival, recovery, and kindness are a choice. And definitely not easy. Especially on their harsh, unforgiving desert planet. But at least 98 Knives is alive to recover enough that he gets that choice of a future too.

And so...your guess is as good as mine as to what's implied post-canon when we get official art like this! (As amusingly noted: Knives gets his second chance forced into family group therapy as the petulant 'younger' brother now~) Where I definitely think it would take a group effort, and not just from Vash himself, to reform Knives with the right kind of therapy needed (both physical and emotional, since yup Vash basically shot thru all his limbs and Knives himself still has unaddressed childhood trauma from the SEEDS' ship to consider - note, cause the Tesla medical abuse incident never happened in the 98 canon to mentally scar him for life, BUT it's implied child Knives directly suffered some form of physical abuse from the prejudiced bad apples on their ship's crew behind closed doors that not even Vash knew about, so yeah.)

I've seen fics where it's absolutely not smooth sailing (for example, on the common premise where Vash has no clue or plan on how to deal with bringing Knives home--cold turkey style, to the girls), where Knives continues to be a dangerous threat and menace - especially towards the girls, even while physically incapacitated - since he still has mental powers of telepathy and manipulative coercion/brainwashing, etc etc (available fic Plant powers may vary - BUT since 98 Legato had Vash's grafted-on lost arm and used those--Vash's powers for evil, it's implied Vash has all those same powers too, the same or even greater than Knives, he's just untrained and/or chooses not to use them on people Like That. The interesting potential being that...Vash could. This is why structurally, 98 Legato works well as Vash's foil, and is arguably more of the 'main villain' than 98 Knives was, and also why Vash killing Legato, and therefore part of himself in the process, has some interesting layers/nuances to it that even the Trimax manga didn't have, since the lore was completely different. But anyway I'm going off-tangent...)

So overcoming Knives' fear/hatred/disgust towards humanity is one of the biggest hurdles to address. Again this where I often see the girls come in, especially the continued exposure and positive reinforcement from Milly's grace, often while he's still recovering and bedridden from his injuries fighting Vash, to slowly help 'restore his faith in humanity' kinda deal. I've even seen the fic idea where Milly raising her -speculated- child from Wolfwood gives Knives a whole new closeup perspective on human life he never got before. (Bottom line, I understand why all the post-canon Milly-Knives fics seemed to be popular back then.) But I think the creative ideas I find particularly interesting are the ones that capitalize on the telepathic link between Vash & Knives - where Knives can pick up on the thoughts/feelings Vash happens to broadcast while interacting with say...Meryl ;) to Knives' shock/confusion! that by proxy affect Knives' curiosity towards humans like her. Cause if he can sense how his brother can feel something like that towards them, different from how it ever was with Rem, then wtf is up with that?! Aha, many fun shenanigans can ensue with that!

Even better is when I see fics delve into some of Knives' deeper issues, like his broken levels of trust and feelings of betrayal, loneliness and abandonment he possibly fears even from Vash (after all, Rem 'chose' humanity over them, and Vash left him to 'choose' humanity over him too - having those kinds of doubts to come clean about.) There's some good stuff to explore there, on the topic of normal dysfunctional/estranged brothers trying to reconcile and reconnect as family again, and I'm sure there are plenty of 98 Knives-centric fics focusing on his redemption that I haven't even seen yet (the ones I ended up not liking are those that flip or roleswap to give Vash the short end of the stick, ie they redeem and give Knives all the happiness at the expense of Vash; now that's just unfair!) It's just...searching on the older sites like ff.net for that kinda stuff is difficult to know what you're getting into without appropriate tagging, so heck, even I'd be up for hidden recs people have found on the topic!

[elkian]

Something I noted while reading the manga that's still really interesting to me is how there's no Objectively Completely Good (or Evil) character in Dungeon Meshi. I think it interacts with Kui's really believable character dynamics, too.

Under the cut for major spoilers:

From Laios' party, we have no purely Good person. Laios is often the punchline/stooge/what have you, but he has his positive traits. The party trusts and follows him despite his foibles. Chilchuck is so resistant/bad at emotional communication that he tries to sabotage his own team (to protect them) and ended up divorced without knowing how, and almost dies because he was too embarrassed to admit this. Marcille is a mix of proud and brilliant that causes as many problems as it solves, including the whole Committing An International Felony thing and that's the START of it in some ways. Senshi's willingness to stick to his guns makes him inflexible towards his teammates in ways that can cause issues, like the Mandrake situation or driving Chilchuck to berserk rage in the trap room.

(Sidenote, I've realized Kabru and Laios are foils not just over the monster thing - an unquenchable passion that drives each in their own way - but because of their team leadership styles. Kabru is very personable, but as mentioned in my prev post linked above, Laios is knowledgeable about team synergy and skills. Also considering his interaction in Marcille's nightmare, Laios tries to take his team's emotions seriously, he just isn't always the best at it because he's assuming from himself as a baseline, and that's just not accurate to most non-Falin and non-Senshi interactions. (And even some of those.)

My point is that while charisma is the basis of Kabru's MO, Laios isn't incapable of caring about his team and understanding them, it's not not as obvious because he goes about it in a different way.)

It's been noted before, but both Thistle and the Winged Lion aren't totally evil. Not only are they sympathetic, but they have virtues in their own ways.

Thistle's greatest crime was loving his family too much, and it is a tragedy of literally epic proportions, kicking off the entire series. His methodology is suspect and involving the WL was doomed from the outset, but his intentions were legitimately good. The kingdom's citizens even begin sort of forgiving him or at least trying to accept him at the end of the series, which is really touching. There's a lot of debate over the concept of redemption arcs, and to be frank, I don't think it's possible to redeem Thistle's actions at this point, but that doesn't mean he's narratively required to die in isolation. If anything, that would contradict the communal elements repeated in the narrative. It's the citizens' choice to forgive him, not a requirement. It's not exactly a surprise as the series was closing on a happy ending for all involved (aside from WL ig) at that point, but it's still nice, and it wasn't a lock.

The Winged Lion may never have had the capacity to be Objectively Good, as an eldritch being with no basis in humanity or the physical world initially, but the manga takes the time to show the WL bemoaning the loss of followers, the loss of potential "flavors". Although the WL has immense power, that power is -not unlike the Genie in Disney's Aladdin now that I think of it lol- bent to the whims of creatures that WL simply doesn't and will never have the capacity to truly understand. WL also doesn't seem able to interact with the physical world on most levels until the ending, requiring a snowballing of power and the reaving of reality itself before the Winged Lion can really affect the "world", and arguably it can't be the purely physical world at that point in order to be interacted with. The Winged Lion is antagonist and overlord, yes, but also a victim in a sense. Like Thistle, redemption is impossible. Unlike Thistle, forgiveness and cohabitation is also impossible. It's not the WL's fault. I kind of think of the WL as like a bear or other wildlife that has developed such a taste for human food, garbage, etc. that they will keep breaking into houses and dumpsters no matter what. There's no infrastructure available to rehabilitate the WL, to return the Winged Lion to the eldritch plane it once inhabited. Only the WL could choose to do so, I think, and notably doesn't. Still, I can pity the Winged Lion like one does the bear that gets shot for breaking into dumpsters and biting humans in the process.

Anyways, many more examples abound, but it's a fascinating element to an already complex and fascinating story.

[paperstarwriters]

ive come kneeling at your doorstep to beg for that essay on murio and luciels parallels you mentioned 👀💦👉👈

i love loathing lucio so much so it would deal my lil hater ass so much psychic damage and i cannot wait to get rekt

(onlyifyouwanttothoofcoursetakeyourtime)(just making sure youre aware id print that shit n frame it above my bed were it to come to existence)

Hello @tetsuooooooooooo! I know you said I can take my time, ok I'm still really really sorry this took awhile, I've been kinda burnt out from classes lately, and writing a bunch of essays for that lol, but I've managed to make a somewhat coherent argument for my case here lol.

Now, to preface this:

I only really like Lucio as a character to thematically dissect and kick around occasionally for giggles. I am a far, far cry from a Lucio stan, I just find him interesting—like a bug. Honestly I don't think I'm gonna convince you he's in any way a good guy I just might make you loathe him more 😅

I haven't played Lucio's route. I'm too busy and I get too annoyed with some of his antics + the options of reactions that MC is allowed to make. I've only played the side stories and a lot of my understanding of his character is built from Muriel's route (and I know he's much more different in his own route than he is in the others') as well as hearsay from other people talking about Lucio

I know I said that I'd include Aurora's songs in my original statement but that got wayyyyyyy too messy so I'm just opting to exclude them lol. (not to mention youtube is doing a very irritatingly strange thing of deleting and then reuploading Aurora's songs??? so I don't wanna deal with the messy files :/)

With that out of the way here is my essay :)

Wordcount: 2,908

──────── ✎ ────────

Muriel and Lucio are both very, very caught up in how they are seen by others. While it's clearer when it comes to Lucio, it is also made clear in Muriel by the fact that Social anxiety is often caused by stress over how a person is perceived and their mental belief that they are helpless to change that perception. This causes of their self perception are also quite similar, due to their similar histories, but in the same way that there are some notable opposites between them with their struggle for their identity there is also some notable differences in their histories that arguably causes the slight difference in their struggle for their self image.

To begin with their history, Muriel and Lucio are noted to both come from the South. They come from two opposing tribes, and are both eventually chased out of their home and community by 1) a cruel person who arguably causes their struggle of identity and 2) the plague. Of course, the major difference here is that Lucio actively made decisions that would lead to him being chased out of his tribe, he was arguably aware that if it failed he'd have to leave, he just hadn't considered that it would actually fail.

Muriel on the other hand is chased out of his home at a much younger age, and he has no choice in his eviction from his home or his family. There is no action that Muriel could have done that would have allowed him to stay where he was, unlike Lucio who had a clear option that would have allowed him to stay.

Or at least would have allowed him to stay until he grew tired of his mother's attitude towards him.

I don't believe that Morga's cruel and dismissive attitude towards Lucio started when he tried to kill her, rather, I believe that she has been doing that for a long, long time. She often states that she had been "too soft" on Lucio, but I think her "softness" is the same kind we see in Muriel's route. She berates him, she threatens him, she tells him how awful and unskilled he is to everyone else and makes a show of his failures, but when she is completely and fully enraged and is about to hit Lucio, she hesitates.

Is that softness? To her perhaps. To the tribe, perhaps. But not to me, and not to Lucio.

So, despite all of the harsh words thrown his way, he decides to take action to prove her wrong. I'm willing to bet that a lot of Morga's criticisms were about how strong he was and how he was in fact not actually as strong as he could have been, not as strong as he should have been. That's why when he takes action to prove Morga wrong, he immediately snaps to killing her. There is, after all, no better way than showing your power than killing your opponent (we see this belief in Morga when she spars against Muriel and he beats her.) Of course, in hand-to-hand combat, and on fair terms, Lucio can't actually defeat his mother, so he takes to more under-handed methods in order to beat her.

When this fails, it is the first major wound on his self-image. He cannot defeat his mother. He is not strong enough to defeat his mother despite cheating.

So, he runs away.

Besides marking a wound on his self-image, this also marks Lucio's connection to others. Having been exiled from his tribe, he is disconnected from the friends who may have actually supported him somewhat, he is robbed of his connections and separated from anyone who may have actually loved and cared for him (platonically and/or romantically)

Similarly, Muriel's separation from his own family, and his eventual abandonment into the streets of Vesuvia separates him from any stable sense of love and affection as well. Because he was separated from loving parents as a child and was likely surrounded by a number of children who were abandoned because they were unwanted, or because their parents were unable to care for them, Muriel has no other answer than what the other kids give him it is the only answer he has. Further more I believe that Muriel was probably abandoned by that merchant because they were unable to keep feeding him, which he also attaches onto his real parents as to why he was abandoned in the first place.

And so Muriel believes himself to be unloved and unlovable after being separated from family, or any semblance of a family.

Returning to Lucio, he moves on from his tribe and eventually joins a military group(? I think? Idk. I'm sure there was a specific name for it but I can't remember sorry) Once again, this is an act of trying to prove to his mother and to his community that they were wrong, and when compared to the ordinary person outside of their tribe, he's actually a really good and capable fighter. Of course, however, this is inevitably cut short as he looses his arm, and is once again confronted with the fact that he is unskilled as a warrior and so he retreats from his perceived deficiency and takes a different route to getting the love and admiration he wants—politics.

Of course, as we see in Muriel and Asra's childhood tale, this inevitably puts him into direct conflict as, in order to climb the social ladder he offers to "clean up" the streets. While it's largely left up to interpretation as to whether or not the Threat of Asra's safety came first or Muriel's position as a gladiator came first, I can't help but believe that Muriel's position as a gladiator came first, as otherwise, he might've gone out and tried to check on Asra's safety. (though this is mostly a headcannon) I believe that Lucio offered Muriel a chance to have some say in who gets "cleaned up" from the streets, and for Muriel to be able to get rid of the "actually bad criminals". Regardless of whether or not this is true, the arena gives Muriel his first taste of admiration, as people cheer for and adore him, but it also tears that sense of admiration away as he eventually has to come to terms with what he is doing. Whether that sense of dread and awareness was always there or it occurred somewhere in the middle is also unknown but the outcome is the same regardless. Being known and being admired becomes tied to hurting and harming people—because it is the only trait he sees that other people admire, he sees it as his only lovable trait.

And so Lucio and Muriel begin to reflect each other—and I don't mean reflect as in they show the same image, I mean reflect as in we see a similar image, but the image is reversed (*wink wink nudge nudge*). Here Muriel sees himself as only capable of being loved for his ability to commit violence, and Lucio sees himself as being incapable of being loved because he cannot complete the amount of violence he needs to commit.

Now, I feel the need to emphasize here, despite having many people around him who Lucio may truly believe love and admire him, the people around him very likely don't actually care for him very much because they either do not know him well, or they see him as little more than a pawn in a plan, or at least someone who gives them benefits. And even if there are a number of people with genuine admiration for Lucio, it still wouldn't be enough. Admiration is never enough when you lack genuine emotional connections with others, and Lucio, clearly does.

Again, this parallels Muriel who also struggles with a lack of genuine emotional connections to others. Although he has Asra with him, it's clear that, Asra's tendency to be fickle with connections has extended to him as well, especially when Asra spends more time with MC than him, leaving Muriel feeling abandoned and alone. Considering that Asra is the only person we ever really see Muriel connect or talk to, it's no stretch to say that Asra is one of Muriel's only friends, if not their only friend period, and so with Asra disappearing on him as often as they do, Muriel is left feeling that he actually has no connections at all.

Of course once again reflecting each other, where Muriel clearly sees he lacks connections and pretends he does not, Lucio, makes unsteady transactional rather than emotional relationships and pretends that that is enough.

It is of course, not enough, because if it were, he wouldn't have treated Muriel like that, he likely wouldn't have plucked Muriel out at all. Although this is largely speculation, I believe that Lucio treated Muriel the way he did because he feels as if Muriel is the very child Morga would have wanted. He is big and strong, and although not technically skilled if Muriel were raised by Morga like Lucio was, he might've been. This is why his first reaction to seeing Muriel and Morga working together is that Muriel is Morga's replacement son. It's because that's how Lucio had been treating him. Muriel is Lucio's little avatar to live out the glory of being a fantastically skilled fighter who can beat up all of his opponents. This is also, why I believe that Lucio purposefully trained Muriel to be less skilled in fighting than he was. In Muriel's route, Lucio comments that he's always been able to beat Muriel, and while I do in fact believe that Lucio is actually a skilled fighter, despite how he is often presented and despite my arguments above—he's most often a skilled fighter in the technical sense. He knows all the movements, he knows all the strategies, he knows all the underhanded tricks. By not fighting Muriel too often, and refusing to teach him these tricks however much it may be able to help Muriel out in the arena, it allows Lucio to be able to defeat him whenever he wants to. It allows Lucio to make it seem to himself that he is better than the person his mother would have wanted as a son, which I believe to be both horrible but also sad, for both Lucio and Muriel.

With Lucio, it shows how desperate and inferior he feels with his fighting skills, constantly trying to compensate for it something we can also see that in the portrait of himself he has in his room.

For Muriel, it keeps him scared, and keeps him pinned in place despite having realized the consequences of his fighting. Something which only furthers his self-hatred when he realizes he actually could have easily left.

So yes, Muriel and Lucio are both very self conscious people, and while for Muriel his self consciousness stems from people seeing him as a monster, and him believing that he is one although he does not want to be one, Lucio is self-conscious in the fact that he is not seen as the brutal fighting warrior he was supposed to be.

These reflected aspects of each other, alongside of their self consciousness is the very thing they struggle through in their routes, the very thing that MC helps them to get through.

Lucio believes that through various paintings of himself that rearranges his past (paintings of himself as a triumphant fighter, while his mother is demure and elegant), various unfair/practically staged fights, and celebrations of himself on top of it all, he would be able to convince people that he is awesome and amazing and that he deserves to be loved. In doing all of this however, Lucio runs away from confronting the beliefs at his core and wondering if perhaps, what he understood as traits that make a person great may be incorrect—that his mother had not just been incorrect on the fact that he was a failure, but on the fact of what makes a person successful or powerful. By constantly covering up what he sees as deficits, Lucio skims over his own internal struggles entirely which makes him look foolish and annoying as he ignores what's so clearly there for others.

Meanwhile, for Muriel, he is aware of his deficits, and is unable to properly hide them without disappearing completely himself, he tries to figure out and fix all of his problems through introspection and isolation, but it is not something he can do on his own. Muriel of course, can't accept the fact that he may need help. He can't accept the fact that despite what he believes of himself, other people may actually care for him the same way he cares for them, and will actually offer help. And so, as he runs away from people and community, from friends, and possible friends alike, Muriel runs away from his own problems as well, even if he tortures himself with confronting them (I can't remember if he actually does this or if this is a fanfic trope 😅) Essentially, by constantly trying to deal with his struggles on his own, he neglects his connections to others who may help him, or at least offer support.

And then MC comes along, and because they both desperately needed that deep connection to someone else, regardless of whether it is something platonic or romantic. MC is able to leverage their relationship in order to further propel Muriel and Lucio's development into acknowledging the thing they refuse to acknowledge, and finally balance out their coping mechanisms, which, on their own isn't actually unhealthy (Lucio's really good at connecting with others; Muriel knows how to confront his inner turmoil) using that single method as their crutch for their traumas only ever hurts them more.

As Muriel progresses through his route, he grows more connected with his community and people. One meaningful moment that I don't think they give enough screen time in the game is the moment that Muriel is forced to confront people recognizing and seeing him again. He's forced to confront everyone's perception of him, their memory of him and he retreats into the mirror maze where he stares at all these reflections of himself, all reversed images of himself, but he believes them all to accurately represent himself—as if his superficial physical image is what represents himself mentally and emotionally. And then MC (and Morga 🙄) come through to him and pull him out of that panic attack (or interrupt and yank him away from properly addressing the problem in Morga's case 😤) And that's the first step to being loved. As they say, in order to let yourself be loved you have to let yourself be known, and in that first step, choosing to step forward and prioritize the lives of others over his own self image, Muriel begins to be admired by others. Genuinely admired, for traits that he likes in himself rather than traits that he hates.

Similarly for Lucio, (although I haven't played his route so this is largely based on hearsay) he's faced with problems that he Has to face on his own (or at least somewhat on his own) the main one being that he has to confront the consequences of his own actions, he has to acknowledge to himself that he isn't perfect and that he can't be perfect. It's why at the end of his route on the upright ending, he leaves Vesuvia, to take on a life of (semi)solitude to further take some time to improve his ability at introspection, while in the Reversed ending he's still talking with people, still trying to manipulate their perceptions of him (and the MC), and still trying to be a "good boy" (ie. perfect) for the MC.

Now, it may be argued that Julian can/should be included in this struggle of how others perceive him but I raise you this; that guy is the most dramatic ass dude in town and his biggest dramatic act was telling everyone about how horrible he is. He clearly has no issues with how other people see him, but he has problems with how he sees himself, which again, reflects Muriel a bit, but I'm sure most people are familiar with their (more blatant) similarities by now lol

So yea.

Muriel and Lucio are reflections of each other. At their core, they both struggle with the same problem of caring way too much about how they're seen by others, but they cope with (and thus worsen) the problem in opposite ways, so when they take steps to heal themself, they also go in opposite directions, with Lucio needing to take some time to himself to get into his own head, while Muriel needs some time away from himself to get out of his own head.

Essentially they're heading in opposite directions to reach the same conclusion: other people's opinions don't matter as much as your own opinion of yourself and the opinions of the people close to you.

Interesting parallels, no?

Of course, I believe this could've been better illustrated if Nyx Hydra didn't rush the last three routes, but alas, this is what fan fiction and fan-analysis is for lol

Anyways I don't tend to poke around the Lucio side of the fandom too much to begin with so if this has all been said and argued before forgive me for the repetition, and If I've gotten some points wrong, please feel free to correct me! I've mentioned before I haven't really played through Lucio's route so some things may be wrong.

[i-will-change-this-someday]

I saw a post recently about how people treat Jonah/Elias like he’s way more evil than all the other avatars, and I completely agree that he’s not. He is however, hateable in a way many can relate to hating.

(This ended up way longer than I thought it would, so I’m going to put the rest under the cut)

Pretty sure most people aren’t able to relate to “yeah, this guy ripped my ribs out of my chest” or “that woman engulfed my hand in flames” or even “that’s the clown that murdered my brother.”

They can relate to “ugh, yeah that’s my creepy boss” or “yeah, that person has gaslit me and tried to manipulate me on multiple occasions” or even just “that bastard, he’s always so smug, like he knows something I don’t.”

There is also of course the fact that his evil plan actually worked, so he seems more evil cause he actually succeeded in the whole apocalypse thing. And of course most of his evil actions we see had a very direct impact on the characters we all know and love.

But no, he’s not more evil than most of the other avatars, I think people just forget the other, more mundane, things to hate about other avatars.

Jared was a bully. Mike Crew had no care for the people who died in his search for an escape. Jane was a toxic friend. Jude enjoyed watching people’s lives collapse. These were things about them before they became avatars.

Also, I don’t think people are as sympathetic as they could be to Jonah. (I am NOT excusing his actions, just hear me out.)

I would say one of the most sympathetic avatars (not counting Jon) is Michael, he was sacrificed to The Spiral without ever truly knowing what was happening. (Although, he’s not really Michael Shelly after that, so you could argue Michael Shelly was never an avatar, but that’s a post for another time.)

We get Annabelle Cane’s statement but it’s vague on whether or not it was true. Personally I do think it’s true, it was a statement and I don’t think you can lie during statements, so she also has a sympathetic angle.

Mike Crew got chased by something and was forced to become an avatar just to escape it. Oliver Banks just wanted to sleep. Jane was scared and looking for love. Simon Fairchild, if I remember correctly, just loved the sky. Even Peter Lukas arguably didn’t have a choice in becoming an avatar. (I honestly don’t really remember Jared and Jude’s story and don’t care to check right now)

So many other characters get, at least some, reasons to be sympathetic or understand where they’re coming from, but Jonah doesn’t. All the old statements are of people Jonah is hurting or has stood by as they got hurt. We don’t get a statement really telling us how he became who we see today. (Not counting the fact that we do see how he “became” Elias Bouchard, via eye swap.) The most we get is his statement in ep 160, but even that’s a very brief mention to what drove him to such extremes.

So anyway, now I have some headcanons as to Jonah’s life when he was still Jonah Magnus. As corny and tragic as it sounds, I do think Jonah probably watched his family die, and not all at the same time, I think he would have seen his family die in a lot of various ways.

I think he watched his mother die from childbirth, I think he probably had some siblings that died before they were even a day old, I think what siblings he did have were away when their father died, leaving him alone with his father’s corpse, I think he probably caused the death of some of them and the guilt of that faded away to the back of his mind. And I don’t think it stopped at his family, death seemed to follow him, or at least everyone around him, his friends and colleagues, his family, even just the mere acquaintances he made during his research.

I think as the ones around him died they were all in pain, but he wasn’t, he watched with morbid curiosity as people died, saw the agony they were in and feared it. And so, what was he to do but try to best it, to avoid the suffering that everyone around him seemed to accept as inevitable.

[chirpsythismorning]

You can't expect people to take you seriously if you're not providing any proof? If Will and El are twins and Joyce and Hopper are their bio parents, why don't any of them know about it and why haven't there been any hints about it? I'm not even trying to be rude here I just haven't seen any evidence. Let alone strong evidence

I've gotten a few confused asks about this theory and how it just doesn't make any sense..?

I'm not saying that I completely understand the ins and outs of how it works, in fact I'm still completely immersed in theorizing and not being certain of anything! Quite frankly, I don't understand it (how time works/the rules of the game), though I think that's necessary because otherwise everyone and their mother would have guessed this surprise by now if it was any more obvious than it already is.

I also just feel kind of bad about spoiling what could possibly be going down, especially bc this would clearly be a series long surprise.

I've been theorizing for months now with @shippingfangirl013 about this. It started with us sharing thoughts about Twelvegate and just sort of piecing together s4 lab scenes and then eventually going back to the beginning to see what we might have missed from this new lens, that being the possibility that Will is Twelve. And that's when we realized A LOT of stuff has been overlooked from the very beginning, which provides not only answers to certain questions we had, but also brings forth even more questions that we wouldn't have come up with, had we not looked back further into the details in the first place.

She has a bunch of posts that are severely underrated in regards to this whole theory, so I urge you all to check those out:

Twelvegate Theory: Drowning in the Quarry and Will & El (Part 1)

Twelve Actor Resemblance to Young Will Byers

Stranger Things S5 Conglomerate Twelvegate Theory (Part 1)

Conglomerate ST S5 Theory Parallels

Also be sure to keep an eye out because she has some really big brain analysis in the works that you dont want to miss. I can honestly say she plays a big role in why I feel fairly confident about this theory, because I myself didn't really believe it at first. But now, after everything I've seen, it's kind of hard not to.

Even if you don't like this the idea of this theory or just simply don't believe the evidence presented that you've seen thus far, at the very least looking at this could expand your ability to look further at other details on the show and even pick up on evidence of your own. I find that more often than not, knowing about the existence of certain overlooked details allows you to find even more overlooked details that others missed.

For the sake of your doubtful ask, and for anyone else who isn't even considering this theory because it seems too far fetched, I'm going to share some of my favorite unhinged evidence for whatever the hell gate we're calling this...

But first, here is some basic context for the chaos that follows.

Something important to note, is that we don't meet Hopper, El or the Byers the night that Will went missing. We only met Will and the party. Instead they saved the rest of the main character's introductions (his family, mind you) for the following day, after Will had gone missing. This also means they saved their introductions for AFTER the big power outage that happened that night right before he disappeared.

I find this interesting because this choice allowed them to make those introductions feel arguably 'starting point'/reset-like (like in a video game).

You'll also note there is a 'Pizza One' box in that first scene when the party is in Mike's basement playing their campaign, moments before that power outage. This could have been a hint that the very start of the pilot episode at the Wheelers may very well be the OG timeline, that we've been straying from ever since. And so let's say hypothetically, if we had met Hopper, El and the Byers BEFORE that power outage, whose to say their lives wouldn't have looked slightly different...?

The first time we are introduced to Hopper is in the scene directly after the opening credits, which was right after the scene of Will disappearing in the shed. Hopper is sleeping on the couch in his trailer, wearing both his daughter's blue bracelet and his watch. We also get 3 references to keys in this scene (a 2 ft long key decal in the literal opening shot). And if that's not enough, what follows is Hopper getting ready for work, putting a yellow pen in his pocket near a painting of an owl, before grabbing his keys and walking out the door.

The first time we are introduced to Joyce (the Byers), follows directly after the scene with Hopper, where Joyce just so happens to be looking everywhere for her keys, Where the hell are they?, followed by finding them on the couch, despite already looking there previously with no luck (interesting Hopper was sleeping on the couch with Willel symbols on his wrists only moments before this hmm). We then get a shot of Joyce showing concern over Will not eating breakfast, followed by scolding Jonathan for forgetting to wake Will up, adding I've told you this a thousand times, before she walks past an owl on the wall in the hallway and opens the door to another owl on the wall in Will's (unoccupied) room...

Let me just say, for the sake of this fictional family, I hope to god they haven't been through this thousands of times. Though I fear they might have. At least more than once...

There are a lot, A LOT of scenes that go down like this. As the show progresses, we get a lot of references to time passing and confusion and impatience and it almost feels like they themselves know deep down this isn't their first rodeo, and yet they're still playing along bc how exactly can one question their reality?.

The problem right now for me, is that I don't understand the rules of the game. How does time work? What even is the goal of the game (to win, I presume?)? Maybe Vecna's having to keep reseting the time loop, to get the results he wants, and over time he's getting closer and closer to the results he wants, but it will ultimately (predictably) lead to him failing once and for all in the final season, when all is inevitably revealed?

Hypothetically, if this is all some game/pocket universe Vecna has thrown our core characters into, essentially surrounding them with 'fakers', then how do we know what is/isn't real? Or I guess whether or not we're in a timeline/loop either closest to, or furthest away from the original timeline? That's why it's hard for me to go further in terms of definitively piecing everything together time wise. Not only that, but we also don't even know for sure what Vecna wants from Will and El, truly.

But I do think that a lot of the answers to the truth are hidden in plain sight.

If you're genuinely curious, I encourage you to rewatch the show for yourself to see if you can pick up on things! Be sure to keep an eye out for keys and owls in particular. Also, El's flashbacks of Mama/the rainbow room might prove to be important... like, literally slowing down and pausing and screenshooting every single frame level important...

Who knows, you might even stumble upon a completely different undiscovered theory in the process!

On that note, here is just a slice of my favorite evidence in regards to this theory, that will hopefully open your mind to the possibility:

When Hopper asks about Lonnie's whereabouts, Joyce insists TRUST ME HE HAS NOTHING TO DO WITH THIS. They made sure to keep the keys on the wall OUT of the frame in those shots referencing Lonnie by name specifically. However, when the conversation circles back to Will, and then follows after with Joyce telling Hopper to find her son, the keys are once again visible in both of their shots.

This scene right here is pretty epic. We all interpret Hopper's investigative skills throughout the series as him just being good at his job. But I would argue this scene in particular gives off very intense deja vu. It's as if Hopper knows where to look, because he's done this before. It's as if he's getting a gut feeling in certain areas that actually could be close to the truth, because this is his thousandth time doing this (Jesus, for their sake, I hope that's not the case).

Still, Hopper showcases a lot of unbelievable detective work throughout the show, and I think it could very well be hinting at him drifting in and out of awareness over the fact that he has done this before, which allows him to make such incredible guesses that lead him to the answer sooner than he would have in any normal situation (and yet, never too close...)

Has this always been here? That's what Hopper asks about a dent in the wall. We interpret it as maybe Hopper trying to figure out if this could be connected to Will's disappearance. But what if it's more than that? What if it hasn't always been there? What if this is a glitch in the matrix of sorts, and he noticed that glitch, bc this isn't his first time doing this? (Also peep the owl that shows up at the very last second in the shot directly below, with Joyce and Hopper in the frame, just as he gets the urge to check the backyard...)

This scene... This fucking scene ya'll. It just doesn't make any sense. This is one of several scenes throughout the show that have so many unanswered questions. I think it's because something else is going on that weren't not supposed to understand yet. That shot with Hopper encased in a rainbow is cool and probably means something... Hopper intensely walking into the frame as he steps towards the shed, with the upside down horseshoe above the door also probably means something...

Hopper literally walks up straight to where Will was in the shed the night previous, bc he's just that good of a detective. Yeah, okay... Suddenly the light overhead is blinking dramatically, only to switch off completely, which leads Hopper's eyes to catch this makeshift fort in the corner of the shed. Before he even gets a good look at what he's seeing, he's interrupted by Callahan, pulling him out of his deja vu state, followed by the light switching back on instantly, as if the occurrence was all in his head.

This also happens a lot, where our main characters are being interrupted by other characters, only seconds before they were close to solving something. And I just find that interesting...

This one is kind of peak comedy because, all it's doing on the surface is implying that Joyce and Hopper have a romantic history, but it also sneakily involves Will in the joke, as evidence that they have been intimate... The Chief and her, they've screwed before huh? ...WILL! That a 'yeah' or did they...

To be honest, I was really doubtful about Joyce and Hopper being El and Will's biological parents at first, even despite believing twelvegate and the possibility of them being twins. And this doubt mostly came from the scenes we get with Terry aka El's 'Mama'.

Initially, I had convinced myself it would be too sad, considering how much backstory we got about Terry. But @shippingfangirl013 made me realize that there is something very off about these scenes with Terry, that I think kind of went over all of our heads.

First of all, Mama is essentially the equivalent to the name Papa, and so we should start by unpacking that. Why didn't the writers have El distance herself from that exact association she links to Brenner, by just having her call Terry 'mom' like most kids call their mother? It doesn't seem that serious on the surface, but again this is a choice the writers made... Maybe it's because they wanted the audience to subconsciously associate those two with each other (Papa/Mama)? Also peep Jim giving Will Byers vibes, all lit up by the sun like Jesus (or I guess... God?) below!

The main thing I want to talk about though, is that despite Terry's vegetative state, she's still managing to give us hints about how she feels and what she thinks, with very subtle micro-expressions.

When she meets Hopper and Joyce in s1, Terry looks completely unsurprised. You could say she looks the same all of the time, because of her vegetative state, and while I mostly agree, there are some outliers in the mix.

When Joyce mentions El being her daughter, what we get is a reaction shot of Terry dramatically closing her eyes for an extended period of time, almost like she's experiencing frustration over them woefully misunderstanding the truth behind what's going on.

And I think that's kind of the whole point of the vegetative state here, that perhaps if Terry could say what she wanted to say, it would give away the truth that has been hidden all along, AKA Joyce and Hopper are El and Will's true parents. When Joyce then mentions her missing son, showing Terry a picture of him, this woman LITERALLY turns her head to the right, looking straight up annoyed... Why? Why would she do that unless this is her ?/? time meeting them, hearing this same old silly charade?..

But then here... THIS moment when Hopper asks about Brenner and Terry's relationship with him, that's when it gets interesting. Terry doesn't look exhausted over their ignorance anymore like she seemed to be in the moments previous. Now, she's back to her stare of nothing, and yet seeing this in contrast to her micro-expressions, almost adds a new layer to what this could possibly mean... Perhaps this could be hinting that Hopper is a lot closer to the truth than he realizes, warranting a knowing look from Terry, with her almost impressed, thinking Damn Jim, maybe you'll figure it out this time and I can finally be released from this hell...

This might seem like a reach to assume Brenner and Terry had any sort of relation beyond her being a lab volunteer, but something I think you might be interested in knowing, is that Terry has a little collection of Bonsai tree books beside her chair... Bonsai... does that remind you of anyone...? (If you check out those posts by @shippingfangirl013, you might know what i'm referring to...)

The fact that Hopper even mentions Brenner and Terry's presumed connection to him is just one other example of Hopper subconsciously picking up on things he discovered in previous loops that are close to the TRUE truth, allowing him to narrow things down quicker this time around, without needing to take all the steps to get to that point.

An owl behind both Joyce and Hopper here, while they talk about what allegedly happened to Terry and her daughter Jane.

And there you have it folks, the acknowledgment that the truth could have been covered up, the moment Hopper stands in front of the owl artwork (literally covering it up). Owls, which have been tied more than anyone else to Hopper, Joyce, Will and El (tying them together?).? Also the crib between them... Nothing to see here.

This one is pretty self explanatory. We even get a parallel to this in s4 with El AND Will, though next time they'll confirm Hopper's role in the equation. So, be ready for that...

These scenes are so important to this theory because despite them all being separated (who knows how many times now), they have this epic finale of coming together. We get these really heartfelt scenes with El and Joyce and Hopper, Will and El, and then Will and Joyce and Hopper, and it's all very emotional and just so much deeper knowing that the truth could be that they're all tied to each other more than we (or even them) realize.

11 & 12 between the two hands on the clock, in a moment that parallels X-Men and also the lab massacre (which presumably had both 11 and 12 in attendance...). Mike calling out to El emotionally the moment that Joyce and Hopper are reunited with Will. My heart can't take it!!!

Someone actually noticed this shot of Hopper recently, I can't remember who! But it made me want to go back to see what shot is right before it. And low and behold, it follows directly after a shot of the Byers family reuniting. Kind of interesting they made the choice to have this shot right afterwards, of Hopper sitting next to Ted (aka a dad), while looking lost in thought as he stressfully bites his nails, with his arm sporting his daughter's blue bracelet...

Not suspicious at all. That creepy shadow behind Owens as he makes an almost knowing comment about Joyce and Hopper being 'Mom and Pop', followed by Hopper looking like he's missing something...

And for this scene to follow shortly after? Hopper literally acknowledging Owens whose waving at him politely, and yet choosing to not wave back at him?... He KNOWS something is off, but he just can't quite put his finger on it...

As you probably know, most of the scenes with the birthday mug in Mike's basement involve either El (in s1) or Will (in s2-3), which is interesting considering the other few notable birthday references we get in the show, including this really cryptic sequence above, involve Joyce and Hopper...

Now, if you still didn't believe me about Terry's behavior being off, I think this piece of evidence might help support our claims a little bit more for you to consider. Because, why, WHY when El approaches Terry in the void and says I'm home, is Terry's response No..? Why would that even make any sense? Why would El's biological mom say No to her missing daughter implying that she is her family? Unless, she's not of course...?

Something interesting about the flashbacks that Terry shows El, is that they're very sporadic and hard to understand. Not only that, but we STILL get callbacks to these memories heavily even in s4, which tells me there is still something there that has yet to be picked up on, by both the audience and El herself, which is why they keep resurfacing in different forms. My favorite moment out of the s2 flashbacks though is probably this moment where it looks like a baby is born, only for Brenner to look back, like there's more to come (another baby?? TWINS?). But this type of twin imagery, only gets stronger in s3-4...

After 2 seasons of building up this meeting of these two characters who have been mirroring each other since the very beginning, here we are... Also, why even hold back for so long in introducing them? Maybe because them finally interacting properly is going to cause some things to resurface... And you definitely don't want to overlook these shots of Hopper and Joyce in Melvald's with two baby's in between them, followed by a shot of keys... Hmmmm.

Remember when I said to pay attention to the Terry/Lab flashbacks El experiences over the seasons?

Well this particular flashback below comes from 3x06: E Plurbius Unum aka the episode that was originally titled The Birthday, might prove to be important...

Jonathan and Will in a scene prior to El's flashback, has them situated interestingly between this Lucky Charms box and this Spill & Spell game, which is then followed by this scene with El experiencing flashbacks... And...

Rainbow? Lucky (Upside down horse shoe...) Enter flashback

I'm not going to be able to show each frame of this flashback, because in total there are over 30 different quick images shown and repeated...

And so, If you want to find out why this is the strongest piece of evidence for Willel twins in my opinion (brought to you by @shippingfangirl013's big brain), go back and rewatch to see how many times they show the image of baby El and young El in the rainbow room... Also take note of how shots of Kali (008) are interspersed consistently within this flashback, aka a character that is known for having powers to make people invisible, and to also make people see things that aren't actually happening...

Here's that parallel I mentioned earlier making a return, but instead tying El (and arguably Will) to Hopper being their biological father. Also peep El's bracelet and Will's watch being prominent in a lot of their shots together throughout s4, now that they share the screen a lot more.

The Wright Bros...

No, but seriously, Willel's bracelet and watch mirroring each other often in their scenes together, and by association also paralleling Hopper wearing one of each, dramatically showcased in his introduction to the series, can be something so personal to me...

THEY'RE TWINS YOUR HONOR!

This one really goes off. A car passes by a couple times during this flashback El has (IN S4), causing a shadow to cast behind Will, almost creating this duplicate-like effect... This is literally happening while El is having a flashback to her 'birth mother', while staring at a family (with their faces warn out/blurred) on a billboard, with an arrow pointing towards where Will, aka her twin, is standing to the right of her...

This one below has gotta be my favorite though. And it's because I literally remember watching this scene the first time and being confused?

Tbh, that's when you know something is more complex than it appears. Whenever something feels off within the context provided in the moment, it's probably because there's something deeper going on and there are multiple meanings at play. This means they're using this small moment as an opportunity to provide dual meaning in plain sight, that we wont understand the dual meaning of until later on down the line.

Are you ready..

Hmmm. I wonder what this could possibly be alluding to? Could it perhaps be the writers hinting at Hopper unintentionally projecting his own situation onto Dmitri? Is it possible who Hopper believes to be his child (daughter... son(s?)?) and his (ex)wife, are not actually who he and everyone thinks they are...?

Well. There you have it! These are just some of the many, many hints hiding in the details that point to the possibility of the Byers actually all being, Hoppers...?

For now, this is just a theory! So even though it's cool and there is a serious amount of evidence pointing to it, it will most definitely continue to transform and look different over time, the more we look deeper and discover more. Nothing is set in stone, for now it's all just theories and speculation.

Again, if you're curious about what else there is out there in regards to this theory and other possibilities surrounding it, please follow and check out @shippingfangirl013 posts! She was way more on board with this theory than me in the beginning and arguably still is, because I do still experience occasional doubt about it, for sure.! And so without her I would not have come to half of these conclusions! I look forward to you guys seeing other stuff she's discovered bc seriously... Her poor storage ya'll.

And also, if you're interested in the time-loop aspect specifically in regards to this, I encourage you to check out two recent posts I did about this. Part I actually starts with those first scenes introducing Hopper and the Byers and how other scenes later in the show parallel it. VERY VERY cool stuff, and tbh if you've made it this far, I think you'll be intrigued...

Time Loop Fuckery in Stranger Things Part I

Time Loop Fuckery in Stranger Things Part II

[akkrosu]

@ellaspore, I blame you entirely for this. How dare you give me the courage to express my thoughts openly. Consider this me shouting from the rooftops.

So, my music-obsessed brain has been sitting on a particular KinnPorsche moment for over a year now. So let me get crazy and belatedly add my own two cents to all the meta we already have for this show.

In episode 5, we had Kinn and Porsche trying to cope with their confusion over their first time in The Bathroom™ and their feelings for each other by making out with other people, Porsche at Yok’s bar and Kinn in his room. And the music (Volunteer by David Celeste, a composer I like about as much as the staff of many Thai BLs seem to) does something so wonderful in that moment to illustrate their feelings—especially Porsche’s—that I’m still gushing about it a year later.

The first interesting thing is that we start the scene in complete darkness, musically speaking. All we have is this simple and super vague piano melody. The first time I watched this scene I remember how unsettled the music made me feel because of how vague it is; I didn’t know how to understand or interpret it and the mood of the scene around it. And this is because there is something fundamental missing.

All the piano plays is fifths—first g and d in the first two measures, then d and a in the following. (I am aware that the last three bars of the transcription below make it a little more complicated because of that f# in the left hand, which means it’s not just fifths, but since this particular harmonic holds no value for what I’m about to write, I’ll just ignore it.) And it is important that they are fifths, because fifths are pretty much the backbone of any harmonic. They tell us some basics about the key we’re in and about the chords we’re using, which is important because these two things are what creates the mood of the entire piece.

The first five measures of the piece, which correspond to roughly 0:00 to 0:13 of the video linked above and about 21:11 to 21:23 of episode 5.

But we’re missing one fundamental factor to get clarification about the exact key and chords here: the third. In case you don’t know, every basic chord is made up of three notes: the base note, the third and the fifth. And the third is arguably the most important note of the chord—at least in our case—because it differentiates between a major and a minor chord.

Basically (and this is simplified quite a bit), every chord exists in two modes—major and minor. The only difference between them, musically speaking, is the third: in a major chord, the third is a major third, meaning it is four semitones up from the base note, whereas the minor chord has a minor third, which is three semitones up from the base note.

A little illustration of the construction of a basic chord (here C major) and the intervals between its notes.

What that means in practice is that the chords sound radically different. In general, major chords sound more upbeat, happy and positive, while minor chords have more of a somber, sad vibe to them. Feel free to listen to the demonstration below.

So, now that we have the basics of harmony out of the way—how in the world does this relate to the scene and KinnPorsche? Well, now that you understand why thirds are so important, you’ll also understand why the lack of a third is equally important. As I mentioned before, we start the scene and the piece with only fifths. Because we’re missing the third especially in the first chord (spanning the first two bars), we can’t determine the mode of the chord or the key of the entire piece, and so we’re ripped of any sort of understanding about the mood of the music and the scene. This creates a really unsettled and tense feeling and makes you think that’s what the characters are feeling. As we watch Porsche make out with that girl, the music tells us how uncertain he himself is of what he’s doing. He doesn’t know if he’s making the right choices. He’s walking a fine line of mental instability, yay.

As powerful as this lack of the third is, what’s even more powerful is when and how it finally does appear. Because it shows up in the exact instant that Porsche suddenly pauses and his mind flashes back to Kinn (~21:27 of the episode). And we get it in a very subtle, but elegant way: the strings, which were quietly reinforcing the fifths in the piano before, now add that third note to complete the first chord of the theme, the only chord we really need because it is the tonic (which makes it the most important one in determining the key).

Based on only the fifths—g and d—the chord (and the key, which is identical to the tonic) could have been a G major or g minor chord. In the case of the first one, the third would have been a b, and in the second one a b flat (see the above video demonstration of a G major and minor chord for reference). And what note do the strings add? A b flat, which puts both the chord and the key into g minor, the sadder, quieter mode of the two. It finally gives us the clarification we needed: what Porsche is doing isn’t working, he is sad about how things are with Kinn, he misses Kinn and his touch. Before, he wasn’t sure about what he was doing, now he knows it’s not what he wants or needs. His attempt at forgetting him through this woman has failed.

Measures 9-15, which correspond to roughly 0:15 to 0:26 of the video and 21:25 to 21:37 of the episode.

I also really appreciate how the strings were the ones to bring this resolution, not only because they have a very soft tone and are therefore already typically connected to sad music, but also because they make it possible to introduce the new note very carefully and quietly. For at least the first half of the first measure in the above picture, the note can’t even be heard, and then it is introduced through a crescendo, slowly appearing like it is dawning on Porsche that he can’t forget Kinn.

From this point on—as Porsche tries to distract himself from this realization by kissing the woman and we get to see Kinn do the same—, more strings come in and the piano develops the theme we have heard twice now. The piece also gets a bit more complex harmonically, but all of these changes just serve to highlight the minor key we are in and the depressed, lonely, even desperate mood of both Kinn and Porsche. It mixes well with the almost feverish, desperate way especially Kinn behaves in that moment.

So, I want to thank whoever was in charge of the music in this show because they made some excellent choices (and some interesting ones—looking at you, weird MIDI-sounding version of Vivaldi’s Summer that for some reason comes up again and again), but this piece in particular stood out to me because of how perfectly it was edited into the scene. This doesn’t happen very often in (Thai) BLs since very few of them have scores specifically written for them, so most have to make do with pre-existing pieces that can often not be incorporated as elegantly and interestingly as an original soundtrack.

[alstroemerian-dragon]

the thing about. okay so when i first got into dr i was like ‘i think i prefer an outcome where they ultimately cant wake the other ten members of their class and its just the five survivors because then the deaths meant something yknow’ and while i still think that that kind of thing has. yknow. merit and value. i have actually come around to preferring them being able to do it. with one massive caveat.

it takes forever.

it takes at least a year and a half, two years maybe, before they (lets be real, hajime) even gain the knowledge of the system, work out its quirks, beef up its security and tech, connect it to enough power, and build the proper technology to manage something like this, and even then, each person is going to need a unique plan of action. its going to take ages. i think its best if they start from the first death through the last, which has the added benefit of waking the impostor first and gaining a good moral compass and grounding presence. but… i mean. its almost two years before they even manage the first dive into their brain. two years of living alone, just the five of them, of building each other up of building a dynamic, one that works, and of changing and growing because they have no other choice.

so when it comes down to them actually attempting to wake the first person… theres some anxiety. theres some worry. theres a lot of ‘this is going to radically alter how we relate to each other and everyone else’. theres a lot of ‘this is going to make things weird’. theres a lot of ‘theyre not going to understand a lot of things at first not only because its been two years since we all went under and everything has changed in that time but also because the five of us have a fundamentally different relationship now with each other than we will have with anyone else we wake up. thats going to cause conflict’.

and i dont even necessarily mean that in a romantic relationship sense (though if you know me you know im deeply unwell about kuzuhina and also an absolute sucker for polycule shit so yeah i do also kinda mean it in that way), but just that their bond is so strong. living alone on an island in the middle of nowhere for two years with just four other people will do that. they know each other in fundamental ways that the others may never manage. fuyuhiko may get peko back, but her relationship with him will never be the one he has with hajime, or akane, or kazuichi or sonia. sonia will get gundham back, but despite them definitely regaining their romantic relationship (after an adjustment period, of course), there will be an odd dissonance in how well hajime and akane know her in ways gundham doesnt. akane will get nekomaru back in her life. but he will never be the person she goes to with the things she goes to hajime with.

this isnt necessarily entirely negative, of course. relationships are always going to be different with different people because theyre. yknow. different people. but i think theres going to be a period of time, maybe even the rest of their lives, where the ten sleepers in the vault will understand, intrinsically, that the relationship the five survivors has is never going to be fully understood, and will always be special and different from what they all have as a group.

hajime, fuyuhiko, kazuichi, akane, and sonia all faced arguably the hardest parts of the healing process, the stumbling blindly with no hand to hold except the others with an equal lack of sight, together, and that. does things. to a relationship.

they will all manage the healing process, and they will all struggle through it. but never in the same way those five did.

[thatgirl4815]

I think the main issue for me about sandray, despite loving them, is that 1) ray has made serious grievances against sand that have basically been brushed off and 2) even though the sandraymew situation is extremely complicated, and even though ray does like sand, theres still a sense of sand being the second choice that i don’t think will go away.

and regarding the first one specifically - I understand WHY sand excuses rays action. He understands him arguably more than anyone else, he loves him, he knows he’s ill, he’s forgiving (at least to him). so in the context of the story, from the POV of sand, I get it. It makes senses. Unfortunately the lack of accountability, despite making sense WITHIN the story, is something that’s borderline unsatisfying to me as a watcher - it became all the more obvious to me in that episode where sand apologized to ray, and ray, who had previously called him a whore more than once, doesn’t return the favor. it’s unbalanced, so I just can’t approach them as a couple the same way so many other people do, despite them being my favorites by a long margin. It makes me wonder if the show is actually building up to something with this or if they’re just ignoring it now that sandray are presumably entering a relationship. The latter seems more likely, honesty

I totally get that. I really do wish Ray had apologized for more than just driving off drunk, but for the "whore" thing too. I understand that Sand and Ray are in a better place now, but Sand really does deserve to hear Ray say more than just "I'm sorry," but actually elaborate on exactly what he's sorry for. Ray is good at knowing when he needs to apologize, but he could get a lot better at specifically acknowledging what it is he's done wrong imo. Him being drunk isn't a good enough excuse for those insults.

I hope they address it, but I'm also not sure if they will. Regarding your second point--given the nature of the storyline and just how infatuated Ray has been with Mew prior, I think there's inevitability going to be that "second choice" thing hanging over SandRay's relationship. It only just got resolved, so I can see if Sand still needs some convincing. I still think Ray would've realized that Sand is the one that's meant for him over Mew even if Mew had tried to love him back the way he wants. I believe Ray has only interpreted his feelings for Mew as romantic, when really it's just a deep admiration and sense of gratitude skewing his perspective. Not that that necessarily takes away the sense of Sand being the second option, but I'd like to think that Ray would've realized eventually that Sand was more fit to be with him than Mew even if Mew had actually made an effort to make their relationship work.

[musicreveiwsbyezti]

What's up babygirls (literally no one reads my blog) here's my March topster

This month was mostly shit I thought it would be interesting to listen... so lot of metal again. Also for the sake of my sanity I have 2 records that I genuinely don't know what the fuck I should do with.

Unrated: Current 93-I have a special plan for this world (Dark Ambient/Poetry): Arguably the best scary stuff I have ever listened but I never want to hear this again as once was perfectly enough. It gives a really disturbing atmosphere and the poetry part itself was interesting too. I highly recommend checking it out at least once. Slipknot-Iowa(Nu metal): I don't get it. The instrumentation is good but the lyrics are so god damned corny that it hurts. It doesn't help that it sounds like death metal for people who don't want to listen to actual death metal. I probably give it another chance later... not now tho I still can't take The Heretic Anthem seriously.

Alright now the actual tierlist begins:

14th: Combat Wounded Veteran-Electric Youth Crew(Powerviolence): I had a small journey and sat down to listen through the entire CWV discography (it's not that long definitely recommend it to get into powerviolence) and this is arguably the "weakest" of their releases. It doesn't really stand out and can be forgotten easily.

13th: CWV-This Is Not an Erect, All-Red Neon Body (Powerviolence/Grindcore): Idk it just doesn't click as well as IKAGWDCSP.

12th: Death-The Sound of Perseverance(Death/Prog Metal):Jesus Christ this album was a major disappointment for me. As a last Death album I expected it to be a last brutal yet technically extreme blast...but they just had to listen to 30 hour acid freeform jazz or some shit to get inspiration. This album has genuine fire songs, but they just had to fuck up the in the middle with a boring ass bass "solo" or someshit... Also the Painkiller cover is the worst song I heard this year so far, how the fuck can you ruin a perfect song when you are already a talented vocalist is beyond me.

11th: CWV-Duck Down for the Torso(Powerviolence/Grindcore): A short and sweet end for CWV's discography. Having it end on a Folded Space song was a great choice which gives an interesting feeling for the end.

10th: Stabbing-Extirpated Mortal Process(Brutal Death/Slam metal): Now this is a good slam metal album.

9th: Sematary-Bloody Angel(Horrorcore/Chicago drill): After Sems last EP I thought it was over... BUT IT ISN'T! It gives vibes of RB2 with RB3 mixing with some HAW mixed in. He can cook just let him do his thing :pray:

8th: Spycada-Hiking Lung(Psychedelic rock): It's good, great vibe, good tones, overall enjoyable. Looking forward to their next stuff.

7th: Magrudergrind-Self title(Grindcore/Powerviolence): THE grindcore album. Absolutely slaps, the sample use is interesting.

6th: Igorrr-Spirituality and Distortion(Avant Guard Metal/Breakcore) This... is Schrödinger's kitchen. I don't know if the kitchen is burned down or has served a 5 star menu, until I care to write an actual criticism of it. (Also the mixing of metal, break core and classical music is insane and the sheer heaviness this album gives is phenomenal, though it falls of gradually on the second half)

5th:Sweet Trip-Velocity : Design : Comfort(IDM/Glitch Pop) At least 200 people already circle jerk around this album, yes it is good, no I don't explain why I love it because I ain't talking about why breathing air is good.

4th:Have a nice life-Deathconsciousness(Post Punk/Shoegaze): Same as last time, people already told you enough why it's good, just fucking listen through it already. (side note some of the songs on this albums mixed weirdly quite for some reason, and it's kinda wack how the drone parts are the best, but still really good)

3th: Dead in the Dirt-The Blind Hole(Grindcore/Powerviolence) Jesus I listen to a lot of powerviolence this month... Anyways this is probably my favourite pw record yet. Probably the more understandable vocals help to lift it just a little bit above the rest for me.

2th:Mastodon-Leviathan(Sludge metal/Prog metal) Fun fact in the 2000's 2 whale concept prog metal albums came out, both of which are peak. I don't know how they got The Moby Dick nailed so well in metal form but they sure did with heavy riffs and amazing vocal performances.

1th: Electric Wizard-Witchcult Today(Stoner/Doom metal): I was afraid to check out the rest of EW discography after Dopethrone cuz it is too peak... However this album is probably as good as Dopethrone. Something about this album gives more OG metal vibes with less insanity.

[ashinaisshin]

A more direct EN translation of some of Alhaitham’s voice lines in CN

(Note that in order to show the meaning in CN more clearly, some translations might not sound as smooth as the official EN text to stay closer to the CN.)

tl;dr: dude is in general more of a piece of shit in CN (no) LOL

i love he

About the Vision

To be honest, a Dendro Vision isn’t of much help to my research. But I do hit people harder now that I have elemental powers, so it's still useful enough.

[Personal opinion: I really wish the translators had kept his cruder/rougher wording in CN here, instead of making him sound kinda formal with the “settling a physical dispute” “proves useful at times” and all. (There are other lines, including some during the archon quest, where I’ve noticed that the EN translators made him sound more “formal” like this.) Despite the strong “rational/logical” image that he has, in CN Alhaitham rarely uses the kind of “academic” or “smart”-sounding language that one might think he does unless the occasion calls for it, and I find that aspect of his character really charming. Like Alhaitham says himself, “Rather than lacing my words with rhetoric, I prefer speaking factually” – I love hearing his lines because this guy is so good at making sharp, concise comments using his iconic crude and down-to-earth language. The writers really did a fantastic job portraying this smart and badass and hilarious character while intentionally (imo) breaking the stereotype in the use of an “academic” tone.]

About Us: Helping Each Other

You are very capable of taking care of yourself, so much so that you can even look after the companions around you. I don’t have any advice for you, and you most likely don’t need my help.

[Unlike in EN, it’s not very obvious that he is specifically referring to Paimon there in CN. It’s also a general trend that he is more curt/direct in CN, not hedging his statements as much with words like “seem” “frankly” “tend to” etc..]

About Kaveh: Compassion

He shows too much compassion towards everyone and everything. Probably because he is too fragile, he’s always making a fuss over nothing.

[The word choice in CN is more positive. At least “关怀” is a positive word – more along the lines of “compassion/care” – while “sensitive” is a neutral word that could be understood in either way, and probably negative in the context of “overly sensitive”. While Alhaitham is arguably also using some sarcasm in CN, I still think “sensitive” is neither an intuitive nor a fitting translation for 关怀.]

Birthday

Happy birthday. I’ve always thought that people invest an unnecessary amount of enthusiasm into celebrating the day they were born; it’d be more practical to channel that energy into getting more joy out of each day of their lives. You’re doing an alright job with this. I don’t know what kind of gift to get, so I’ll just reserve one pass for you through a special application channel.

[Funnily enough, he is less nice to you on your birthday in CN lol… I appreciate the sheer objectivity in “alright job”, bro Especially the “gift” he prepared for you, in my understanding, the special channel is only effective for once in CN and not permanent as the EN version seems to suggest, LMAO. Alhaitham, you just really don’t want to put extra effort into this huh Idk, maybe the EN translators just wanted to make him sound nicer to the players 😆 I can appreciate it either way though.]

Opening Treasure Chest: I

Hold on to them yourself.

[Aka: I don’t need this stuff. How nice of him.]

Opening Treasure Chest: II

Hurry, it’ll be hard to pick them up once they roll away.

[But he’s also genuinely being such a good (and fourth-wall-breaking-ly helpful) teammate kekw]

Joining Party: II

Let’s do business the business way. / Let’s keep things straight business.

[OK, if all the other discrepancies in translation are mostly just me being nitpicky, this one, I would argue, is a significant mistranslation that almost gets the opposite meaning across. “Let’s get down to business,” in my opinion, makes it sound like Alhaitham feels the need and is potentially quite willing to join the party, while in CN, “公事公办” is an idiom that clearly conveys the meaning that Alhaitham is Not joining you because he wants to/thinks he needs to but rather he’s treating it as Business, as a Job. In JP this line is straight up translated it as “公務に私情は挟まない” – “no personal feelings involved in official business.” In fact, linguistic elegance/cultural factors aside, I feel like for Alhaitham’s voice lines at least, the JP translation in general stays much closer to the CN text compared to EN. Like I mentioned in my last CN/EN comparison post, some EN translations make Alhaitham sound like a leader, while a big part of this dude’s life is just rejecting any and all leadership responsibilities thrown his way.]

---

Some additional translations FYI

More About Alhaitham: IV

Once order is disrupted, the consequences will spread rapidly. I don’t like this; it will get in the way of the life I have right now.

Feelings About Ascension: Conclusion

Can’t let those slackers from the Akademiya know that I’m making progress yet again, otherwise they’ll do everything in their ability to push trouble my way. Of course I won’t accept any of it, but the back-and-forth in communication is always going to waste some (of my) time.

Low HP: III

This will take up more (of my) time.

[raayllum]

The more I think about it, the more I feel Callum, upon seeing Ethari again, is not only gonna be very intense but extremely hostile where Callum doesn't hold back his real, true and harsh feelings towards Ethari, and not holding back the anger and disdain towards him for not defending Rayla, for choosing his husband over his living child, to the point where he might end up saying some very cruel and hurtful words to Ethari, hitting him with the truth. I honestly believe that Callum and Ethari's next interaction will not be a positive one at all.

I dunno, honestly. Callum has a sliding scale of if/when he holds grudges and when Ethari came back around in 3x03 (and he did come back around) Callum was quite happy about seeing Rayla reunite successfully with her family, Ethari was also kind to him when they actually did speak, etc.

That said, I would be curious to know how much anger/blame Callum holds toward Rayla's parents / the Silvergrove for her choice to leave. Obviously it was her decision (and S4 sees him processing the bulk or maybe like, 50%-ish of that anger) but her letter and her behaviour is still very much informed by her family & he knows that.

So I think Callum would ultimately follow Rayla's lead. Not without his own feelings / possible reservations, but if Ethari is here to help, or Rayla wants him there, Callum isn't going to make it more difficult for her (or at least, not on purpose and not in front of her).

Cause yeah, Ethari did (at first) choose Rayla over those things - the same way Callum arguably chose a good chunk of his own anger over welcoming/responding to her when she first showed up. And they both chose Rayla. So I think Callum will actually understand Ethari better, not worse, now.

I think it also shows how Rayla knows Callum isn't a Moonshadow elf / isn't like her family. She goes to Ethari full of relief and good will, pretty confident he wouldn't have done the spell (although not entirely); Ethari's spell means he doesn't have to look at or see her at all, and when he leaves, Rayla takes it and runs from the house in near-tears. Rayla is far more hesitant/outwardly nervous when she shows up to see Callum, but she is more surprised (and for a brief second, angry) at his coldness to her, stopping him when he goes to leave - even if it's clear she would've let him. Ethari, for his part, is honest - maybe too much - when she shows up about just how upset he is ad what he blames her for, while Callum is entirely shut down. But the two scenes are definitely mirrors (symbolism intended) of each other I think, and it's really really interesting; I'd love to do a full post on it someday