#because they're not real and conflict makes stories better

[sevenangrybees]

Lmao he blocked me and deleted all the critical replies, only keeping the ones that were unquestionably supportive, totally unable to acknowledge canon

[gobbogoo]

I LOVE Dungeon Meshi's Realistic Fantasy Races

Ok, I had to stop for a moment to gush about the fantasy races of Dunmeshi, and all the consideration that's been put into them, because they actually follow a degree of natural/evolutionary logic not found in most fantasy stories!

Half-Foots (halflings/hobbits):

So we all know these fellows have excellent hearing and smell, but have you considered WHY? It's an adaptation to counteract their size. Humans (called tallmen in this setting) rely so much on eyesight because we're really tall compared to most animals, giving us a fantastic vantage of our environment. Half-Foots don't have this advantage, and therefore rely on their other senses. It's also much more important for them to be able to detect unseen threats and move quickly, because their size makes them ill-equipped for direct conflict.

Dwarves:

So Dwarves are depicted as MUCH stronger than tallmen despite their size, right? This is because strength is determined not by size, but by mass, and dwarven bodies are very dense! Yet this comes with the downside of their bodies burning more energy and overheating much faster, which is why dwarves are also shown to be heat-resistant, and why they tend to wear lighter clothing that exposes more skin! Their night-vision is also better than humans' due to their semi-underground lifestyle, while their hearing remains about the same since sound naturally carries in caves. Their hairiness is also likely a direct adaptation to counteract magic, as it's been shown to form a natural buffer when left unwashed.

Gnomes:

Gnomes are supposed to be evolutionary cousins to dwarves, and it shows! They share a similar height, but are less muscular and have peculiarly-shaped ears, almost mirroring the difference between human and elven ears. Their affinity with nature and spirits also makes sense, because physically they're in an awkward spot compared to the other short races, lacking both the hefty strength of dwarves and the light nimbleness of half-foots. Being less equipped both for fight and flight, it makes sense they'd instead adapt the instinctive ability to read their environments and mitigate its threats through cohabitation.

Elves:

Like gnomes, elves are in a physically awkward place, however it's even more extreme. Their relatively light and weak bodies make them ill-equipped for direct conflict, and while likely able to move faster than tallmen due to weight, they lack the half-foot's danger-detection senses. This makes them seemingly helpless, however interestingly it actually explains why they're so advanced compared to other races! They were basically forced to coordinate problem-solve, and control their environments out of necessity, which is reflected in their more controlling and direct relationship with magic and nature compared to gnomes.

This actually mirrors the real-world difference between humans and neanderthals. Anthropologists believe neanderthals weren't actually dumber than humans, but that their superior strength and durability meant they weren't forced to problem-solve or control their environments like humans, meaning they seemed less advanced.

[tobiasdrake]

Fun Fact: Even in space, ACAB.

Let's talk about Jaco: The Galactic Patrolman, a somewhat more obscure manga compared to Dragon Ball that Akira Toriyama wrote in its setting.

For the most part, this is a short and fairly simple story. It's primarily a character drama, with the developing relationship between Jaco and the scientist Omori as its central focus.

The manga is surprisingly vague about its connections to Dragon Ball for nearly all of its length, until its final chapter. Jaco is here on Earth to thwart some vague threat sent to the planet from a world of hostile aliens. It's only at the end of the manga that we learn he's talking about Goku.

Galactic Patrol detected an Attack Ball leaving Planet Vegeta and making its way to Earth, so they sent Jaco to... assess the situation and then make a decision about whether or not to do anything.

In his defense, the Saiyans are the most powerful race in the universe. I can understand why he doesn't want to fuck with a full-grown Saiyan warrior. Nobody wants to fuck with a full-grown Saiyan warrior. The most that the finest police force in the universe can do against Saiyans is to try and nip them in the bud when they're babies.

It's interesting that Galactic Patrol doesn't have Scouter technology. I wonder if that proprietary? Frieza might have a patent.

But at the same time, I don't want to be too sympathetic to Jaco because. Well. He sucks.

Galactic Patrol sucks. That's kind of the bit. Jaco is a self-absorbed little shit, utterly devoid of empathy or compassion for the people he polices. He's stranded on Earth right now because he wasn't watching the road while driving.

Jaco's a prick, but what little we learn about Galactic Patrol as a whole doesn't make them sound much better.

This one time Jaco accidentally pressed the Extinction Bomb when he wasn't supposed to and wiped out a planet. Hoo boy, was his boss mad! Gave him a real talking to before giving him another Extinction Bomb and putting him back on patrol.

Universe isn't going to police itself, y'know. Someone's gotta be out there very occasionally trying to stop those real estate genocides.

For his part, Jaco's in it for the aesthetic. He likes the image of being a cop, and he spends his time practicing looking cool for when he presumably dispenses justice upon the criminal element.

But his interactions with the common people are filled with condescension and menace.

Like I said, this is the bit. Jaco is a self-important thug with a badge, with the initial conflict stemming as much from trying to keep him from doing something awful to the community under his jurisdiction as from trying to solve his problem.

Ostensibly here to protect Earth from the impending arrival of a Saiyan threat, he is as much a threat to this community as the invader he's here to assess. Without Omori there to guide him, he'd be killing people left and right.

He fits in pretty well with the cast of Dragon Ball, many of whom at least begin their tenure with a degree of amorality to them. Omori himself is a bitter misanthrope ironically thrust into the position of having to convince Jaco not to kill people.

And then there's the manga's biggest Dragon Ball connection: The introduction of Tights.

Any reader who's been picking up on the Dragon Ball-ness of this universe will know immediately where Tights came from. Her name pun gives the game away. Just like how the final chapter clarifies Jaco's target as the young Goku, we get to see the familiar faces of Tights's family as well.

Bulma basically solves the entire plot singlehandedly.

Even as a little kid, the universe's greatest heretic remains unparalleled in the field of game-breaking super-intelligence. Bulma OP do not nerf.

Again, this speaks to how little of the manga is actually about the plot. If this were a story-driven manga, having a character from another manga show up in the final issue and solve the plot in the span of two pages would be pretty disappointing. But since the plot is just an excuse to make these characters interact with one another, it doesn't really matter.

We aren't here for the story; We're here for the relationship between Jaco, Omori, and Tights. With that in mind, Baby Bulma waddling up and going "I fixed the spaceship; Are you stupid or something?" is hysterical.

For her part, Tights lives up to her family legacy of being super-brilliant.

She graduated from college at 16. She's a genius like the rest of the family. What she's not is interested in science and technology. Possibly as a justification for why we've never heard of her before, Tights goes against the mold for her family.

She honestly seems like something of a free spirit. She lives in East City when we meet her, famously the city that Nappa wiped off the map, while Capsule Corp and Bulma's family are out in West City. Rather than a scientist, she works as a body double for a famous pop idol.

As a publicity stunt, they're going to launch an idol into space. Tights's job is to impersonate the idol so she can die in the inevitable disaster instead. She is bizarrely chill with being paid a huge sum of money to get stupidly killed. Much like Bulma, Tights has a terrible sense of self-preservation and is willing to take on incredible risk for the sake of achieving a personal goal.

Tights is the best character in the manga. An aspiring sci-fi novelist who agreed to probably die in space for the sake of the experience. This family gives zero fucks.

And then there's Omori himself.

Despite its title, Omori is basically the main character of this manga. He's the one whose life situation is most heavily scrutinized. This is his status quo that Jaco and Tights enter. Similarly, Omori is the character who undergoes personal transformation as his experiences with Jaco and Tights help him find hope in connections with other people again.

The three characters click really well together. So well, in fact, that Dragon Ball would end up recycling the setup of Super Alien/Crotchety Old Man/Spunky Young Woman for one of the best dynamics they ever wrote.

This is not a copy/paste; Cheelai, Leemo, and Broly are all distinctly separate characters. but you can still feel the barebones aesthetic of Tights, Omori, and Jaco in their dynamic.

So. Yeah. Overall, for what it is, it's a cute little short story about a group of characters just living lives in the world of Dragon Ball. It's the kind of thing that the franchise needs more of, and still does to this day: An opportunity to flesh out the universe a little but also just to let us live in it through the eyes of someone else.

[burningdaybreak]

Aun no Beats & BAD DOGS' Relationship

Hello everyone! Today is August 19, which is a pretty special day, since it's both Aun no Beats' original version's release anniversary, and Akito and Touya's middle birthday (the day in the middle of both of their birth dates, which are May 25 and November 12). Added to the game on June 6, 2022 (JP server), the addition of Aun no Beats has always been quite an interesting case. The song is covered exclusively by Akito and Touya, which is a pretty rare thing; not many songs are exclusively covered by just original characters, and it hasn't happened for a while now; as of writing this, the last one was Amanojaku (released in the JP server on October 1, 2022). Furthermore, the song's original producer, Hanyuu Maigo, prohibits covers of their songs being sold commercially, which is most likely the reason why it was not included in Vivid BAD SQUAD SEKAI ALBUM Vol.2. So, why did Project Sekai go out of their way to add a cover of this song to the game, even though they wouldn't profit from it at all? They must have really wanted it in the game, then... and looking at the lyrics, I think it makes sense; the song represents Akito, Touya, and their relationship and story so well. And so, in this essay, I will talk about Aun no Beats, and look at its lyrics and analyze them, and talk about how they represent Akito and Touya and their characters and story.

1. What is Aun no Beats about, and how does it represent Akito and Touya's relationship?

Aun no Beats is a song about a relationship where both parties understand each other without a need for words, but they'd still like to hear those words.

So, giving and receiving, I never needed to look for the words Even so, I wanted to hear them from you

However, with the We were going to be together forever in the lyrics, the song feels like it's about a relationship with a bad ending, where they're separated for some reason, whether a break up or separated by death... The meaning of the word aun in the title is taken from the Japanese idiom 阿吽の仲 (a-un no naka), a phrase that indicates an inherently harmonious relationship where both parties can understand each other without the need of verbal communication.

When it comes to Akito and Touya, my interpretation of the cover for them, and possibly the most common interpretation, is that it represents them in the main story, and the short break up they went through due to their lack of communication (therefore, the things that weren't said). Aun no Beats represents them pretty well because of the incredibly close bond they have and how they understand each other so well without needing to communicate their feelings... but they both still want to hear how the other really feels. As for the "bad ending" in the song, it represents the miscommunication issue they had in Vivid BAD SQUAD's main story; this conflict arose from the fact that Touya felt like he wasn't good enough about singing to be Akito's partner. Even though Touya kept these feelings to himself for the two years that he had been singing next to Akito, seeing Akito berate An and Kohane and how they aren't serious enough about their dream of surpassing RAD WEEKEND made Touya decide he can't keep going like this. In the end, he decided to claim he didn't want to sing with Akito anymore because he felt he wasn't worthy of being his partner, but avoiding telling him the real reason and riling him up on purpose, because he'd rather lie than disappoint the most important person to him. This culminated in Akito allowing his emotions to overtake him, and punching his partner, and BAD DOGS breaking up temporarily. However, unlike the song, their story has a happy ending, since at the end of Vivid BAD SQUAD's main story, Akito and Touya talk it out, Akito making Touya realize that he actually loves music...

🥞 You love music. You love it like an idiot, you really do. You love it… and I know that better than anyone else!

... And Akito declaring that he'll never team up with anyone other than Touya...

🥞 STOP SAYING THAT!! … Don't you get it! I'm never gonna team up with anyone other than you!

... Which finally makes Touya talk about how he truly feels:

☕ Gh…! Isn't it obvious that I want to…! I've felt that so many times! I wanted to chase that dream with you as far as I could…!

With both of them on the same page, with the same feelings, they can reconcile and be a team, once again. Although Touya is still doubtful if he's truly worthy of singing by Akito's side, Akito shuts him up with the following line:

🥞 Oh, shut up already. Don't go makin' this complicated. I want to be with you, and you want to be with me as well. And after that, our dream will come true. ... Isn't that enough?

They know how they feel. And they now have words they were looking for. This is all they need, to be partners: just knowing that they respect and appreciate each other, and wanting to sign with each other. With this, they can now be together forever. In short, this song would symbolize Akito and Touya's relationship during Vivid BAD SQUAD's main story; most specifically, the period where they temporarily split up (often jokingly called their "divorce arc"). But they come out of it stronger and more determined than before to be with each other, which is why the song doesn't fully represent their relationship, since their story does have a happy ending... they reconciled, and still have a future together. It's not the first time that they get a song that symbolizes their short break up during the main story, as Fragile can also be interpreted that way (among other covers, but Fragile is the one with most similarities to Aun no Beats); however, compared to that, there's a few things that stand out about Aun no Beats. Fragile was added with Project Sekai's release in September 30, 2020, back when the only story content Vivid BAD SQUAD was their main story, so it made sense that have that song available right when the game came out; but Aun no Beats came out over one year and a half after its addition to the game (June 6, 2022), when Vivid BAD SQUAD was well past the main story's events.

Fun fact: Aun no Beats' addition to the game was announced in the 20th Wondershow Channel stream, which took place on May 25, 2022 — the same day as Touya's birthday. Quite a coincidence, huh?

Another curious thing, which I mentioned back in the introduction, is that the release anniversary of the original version of Aun no Beats (August 19) is the very same date as Akito and Touya's middle birthday. It could most definitely be a coincidence, but considering how well the song represents them and their characters, one starts thinking... could it have been on purpose? Fragile also represents them really well, and it makes you wonder the same thing, and if perhaps they wrote these characters when considering the song's lyrics, but Aun no Beats' case is even more intriguing because of all these odd facts. To add on, both are songs where Akito and Touya sing by themselves, with no accompanying Virtual Singer. These two songs are the only Vivid BAD SQUAD covers with this trait (along with Odo, covered by An and Kohane), making them stand out among the other duets (which all have at least one Virtual Singer); and considering both can be interpreted as representing their relationship, this makes them even more special. They are the BAD DOGS songs. Taking into account the situation with the original producer and their rules regarding commercialization, there genuinely wasn't much to gain from adding this song to the game as a cover, but since it represents BAD DOGS so well, along with the other reasons I've mentioned, I feel like the Project Sekai team really wanted to do this.

2. Song Analysis

I've talked about how the song represents the events of the main story, but I feel like the lyrics symbolize not just that; I would say they also represent Akito and Touya, how they feel about each other, and their personal relationship. And so, here I will look into Aun no Beats' lyrics, and talk about what I feel they represent: (Note that I'll be posting all the Aun no Beats lyrics, for the sake of putting everything here, but I won't analyze all of them!)

🥞♪ Everyone has gone somewhere and became nothing 🥞♪ They had it coming ☕️♪ I wanted to believe it, so I stopped voicing it out

Everyone has gone somewhere and became nothing // They had it coming, lines sung by Akito, would represent how Touya left him, leaving him alone once again. The became nothing part can be viewed as Akito expressing his frustration at how they're nothing by themselves (both him and Touya). And the They had it coming could be about Akito's reaction to their break up, with Akito punching Touya. He "deserved" it, he believes; therefore, this part of the song would be Akito expressing his frustration at how everything went down, anger at his partner, and anger at himself. On the other hand, though, this line can also be considered from Akito's point of view, singing about himself �� They had it coming being how he deserved this, because of his reaction, because of something he must have done wrong, because he didn't notice his partner's feelings... Akito is a character who is very harsh on himself, he regrets that they ended up like this, that he reacted like that, and so, he believes he had this coming. Then, I wanted to believe it, so I stopped voicing it out, sung by Touya, is about how he feels about himself: believing he's not a worthy partner for Akito, with half-hearted feelings, but keeping it to himself... deep down, he enjoyed singing with Akito, and wanted to keep doing it, but due to his insecurities, he pretended he was just singing with him because it was better than nothing. Therefore, he wanted to believe it was fine to sing with Akito, even though he thought he didn't deserve it. He didn't talk about how he truly felt, and even when he faced Akito when his insecurities peaked, he lied; he avoided telling the truth, he avoided voicing it out, because, for Touya, disappointing Akito would be worse than losing him.

🥞♪ Why do I want to be loved? ☕️♪ Why do I want to love? ☕️♪ I dressed it up and shared it

(cracks knuckles) I've already talked about these lines in the past, multiple times, and also love as a theme in Vivid BAD SQUAD; but I really like it, so I will do it again. While I think these lines can be associated to the events of their "divorce arc", Akito's Why do I want to be loved? and Touya's Why do I want to love? are, pretty much, the core of their characters, and a very significant part of their characterization and personalities. Akito is a character with a lot of love to give: love for music and his goal, love for the town, love for those he admires, love for his partner... however, that love is often not reciprocated. People make fun of him, they don't take him seriously; the town doesn't love him back at first. Why do I want to be loved? symbolizes Akito's desire to be loved back, how he wants people to respect him and to take him seriously. Akito wants the love he receives to match the love he provides. This line would represent, too, how he loves and appreciates Touya: the guy he met who he found interesting and immediately knew that he wanted to share his dream with; that person who had been singing next to him the previous two years, practicing endlessly with him; always listening to him, taking him seriously, respecting him; always by his side... and Akito wants that love to be reciprocated. And even though he knows Touya feels the same, he wants to hear those words. On the other hand, Touya is a character with a lack of love in his life: trapped since he was young in a home where his family barely provided him love, only really caring about his musical skills, Touya grew up away from a life where he could be free and express himself properly, attempting to meet his parents' expectations and his love for music diminishing as time passed. Ultimately, he ran away from that life, but after meeting Akito, he could enjoy music, once again, even though he's not aware of it at first. Why do I want to love? symbolizes Touya's inexperience with love; not used to being loved, having forgotten how to enjoy music, and not knowing what it's like to have someone close to him — a friend that cares about him, he didn't really know what "love" is like... furthermore, this line also symbolizes his desire to give back to Akito and to everyone else who has supported and watched over him, grateful for their support and for pushing him forward, helping Touya find himself and learning what it's like to be loved. In the past, Touya believed that Akito could do better, that he wasn't worthy of being by his side, that he was singing with him because "it's not classical music"... but he didn't realize that Akito truly cares about him, and wanted to have him as partner, above anybody else; and that, even if he ran away from classical music, even after all the pain he went through because of it, he still loves music, and he realizes that thanks to Akito.

🥞 You love music. You love it like an idiot, you really do. You love it… and I know that better than anyone else!

Touya thought that he'd disappoint Akito by telling him how he feels... but, besides the fact that Akito knew those feelings are not true, he would never be disappointed in Touya — because he loves his partner above anybody else. Touya is the one and only partner he could ask for; and Touya's so grateful to Akito for that, for making him realize that he's loved, appreciated, and that he still loves music, after everything. And thanks to Akito's words, and all the love he provided, the current Touya is so much happier with his life, able to express his emotions better, and no longer bound back by a miserable life of unrealistic expectations. He can now be his own person; and so, the reason why he wants to love is because he wants to repay everyone's kindness, supporting his partner and teammates, and helping everyone in any way he can — Touya wants to reciprocate the love of the people that allowed him to find a place where he can laugh. Love is a very central theme for Akito and Touya as characters (and for Vivid BAD SQUAD as a whole), not just for music and everything that surrounds them, but also for each other, with it being a very prominent part of their relationship: Akito giving lots of love, always caring for his partner and having helped him find himself and learn about a whole new world, surrounded by people that actually care about and love him; and Touya learning to love, grateful for everything that his partner did for him, wanting to repay his kindness, and a desire for Akito to rely on him more — he wants to give all that love back. Which is why the lines of Why do I want to be loved? and Why do I want to love? fit them so well; because it's what they're missing, and what they want from the other. In short, these two lines are very significant to their relationship and how they feel about each other, and I really like it a lot.

☕️♪ I— 🥞☕️♪ My sympathy is due to vagueness 🥞☕️♪ And my fearless sensory 🥞♪ Don't worry, don't worry, it's okay 🥞♪ I will make you smile

Despite the briefness of the line, I believe that the I- is pretty significant; it being a Touya line, it represents his hesitation to speak up his feelings up until then, and keeping them hidden rather than voicing out what he wants to say. Don't worry, don't worry, it's okay // I will make you smile, lines sung by Akito, are quite nice, as they symbolize multiple things: first, Don't worry, don't worry, it's okay is about how Akito wants to reassure Touya that voicing out his feelings is fine, he'll accept Touya no matter what. He wants to hear how his partner feels, and he'd never be disappointed in him. Then, I will make you smile is how Akito wants the best for Touya; to make him feel happy, loved, accepted. It shows all the love Akito holds for his partner, and his genuine wish to be by his side, and make him smile. No matter what, Akito will always be with Touya.

☕️♪ So, giving and receiving, ☕️♪ Stay here so you won't disappear 🥞♪ Then, 🥞♪ "Please reply to me, too"

So, giving and receiving, // Stay here so you won't disappear, both lines sung by Touya, are really good and pretty significant. First, So, giving and receiving, is also a core part of Akito and Touya's relationship, closely tied with what I talked about love in the Why do I want to be loved? // Why do I want to love? section.

Their relationship can really be boiled down to giving and receiving, a mutual exchange of love, respect, help, feelings, dreams... they share everything, they give and receive things from each other, and this allows them to grow as people, together. They make each other whole, and that's what makes them inseparable partners — they're each other's one and only partner. Following that, Stay here so you won't disappear, it represents Touya's yearning for Akito, not wanting him to leave him, despite these insecure feelings he has, these feelings he thinks will disappoint Akito. No matter what, he wants Akito with him... and he'd rather lie than disappoint the one he loves. And then we have Akito's, Then, // Please reply to me, too. This is a direct response to Touya's Stay here so you won't disappear, which symbolizes Akito wanting to hear how Touya truly feels, so they'll stay together; representing that moment during their dispute where Akito tells Touya to voice out how he really feels, but Touya keeping his feelings to himself. Akito wants to hear how Touya truly feels, to hear what's wrong. He doesn't want to let go of Touya the same way Touya doesn't want Akito to leave him.

☕️♪ I held up my heart to you, ☕️♪ Give it back someday, be gentle, okay? 🥞♪ I really wanted to go back 🥞♪ Going back after this is fine, too

Then we have these lines, which I think symbolizes them right after their break up and how they feel. I held up my heart to you // Give it back someday, be gentle, okay?, sung by Touya. This line would represent how Touya trusted Akito, how he enjoyed their time together, even if he never expressed it, and deep down regretting what he said, hoping his partner will forgive him. Akito then sings I really wanted to go back // Going back after this is fine, too; the first one showing his regret towards their fight, and the second line showing that he still wants to be with his partner, after all. He won't accept it, he won't give up on his partner and leave it like this. He'll fight for his partner. This part is interesting since their lines have a similar structure, with the first one showing "regret" or wanting what they had before their break up (I held up my heart to you and I really wanted to go back), while the second line symbolizes their hope to be reunited again eventually (Give it back someday, be gentle, okay? and Going back after this is fine, too).

🥞♪ We... 🥞☕️♪ We— 🥞☕️♪ We were going to be together forever 🥞☕️♪ We were going to be together forever ☕️♪ Don't worry, don't worry ☕️♪ It's a wonderful end for us both

Akito's solo We... is really good, as it comes right after his Going back after this is fine, too; he still talks about himself and Touya in plural. He wants to be with him, after all; to be partners, once again, because there's nobody else he'd rather be with. Comparing Akito's We... with Touya's previous I— is interesting; Touya's earlier line is about hesitating to speak up, unconfident about being by Akito's side, while Akito's line, on the other hand, shows confidence in wanting to be together and still thinking of them as a duo, even if they're currently apart. Which is, frankly, quite a nice contrast, since later on, it's Akito who's more unconfident (in his skill and himself), while Touya's confident in wanting to be by Akito's side. Akito and Touya are very contrasting characters, and even here it shows; these contrasts really make them fit to be together, like they're made to be with each other — they make up for the other's faults, and that allows them to push each other ahead and grow together. Following that, there's another We—, this time being a shared line, showing how they still want to be with each other; and two We were going to be together forever afterwards, also sung by both of them, show that they both feel the same: regretting what happened between them, and yearning to be together. However, these lines are followed by Touya's Don't worry, don't worry // It's a wonderful end for us both; these symbolize Touya thinking that no longer being Akito's partner is the best outcome for both of them, and how he believes that Akito's better off without a half-hearted guy like him and that he can find someone better than him — someone who actually takes music seriously the same way Akito does.

🥞♪ So, giving and receiving, 🥞♪ I never needed to look for the words 🥞☕️♪ Even so, 🥞☕️♪ I wanted to hear them from you

Once again, the line So, giving and receiving, appears, this time sung by Akito. As mentioned before, this is a core part of Akito and Touya's relationship, and with both of them singing the same line, we know that their relationship is one of mutual exchange, that is, giving and receiving; providing to each other what they're looking for, and making each other whole in the process. I never needed to look for the words, sung by Akito, is also an important aspect of Akito and Touya's relationship; as long time partners, by now they know each other really well, and as time passes and they grow together and experience more things alongside the other, their bond will become even more inseparable, not needing to put into words how they truly feel — individually, and about each other. By the point of the main story, their relationship is still relatively early (even though they had been singing for two years together already by then), and they hadn't experienced any major setbacks, simply singing together and enjoying themselves, so they weren't truly close yet — but still, they knew, deep down, how the other felt... which is why Akito thinks that he never needed to look for the words; no matter what Touya said, he knew Touya still loved music, and that he enjoyed singing by Akito's side, and that he wanted to be with him. Even if he never truly expressed himself, Akito knew how his partner felt, which is what makes their bond so strong. ... However, as the next lines say: Even so, // I wanted to hear them from you, lines sung by both of them, they both still wanted to hear those words from each other. They want to hear how each other feels; Touya wanting to be reassured that Akito wants to be with him, and Akito wanting Touya to open himself up. As partners... they want the other to rely on them, to help them and to guide them; so they can become the best partners, and reach their goal together. And for that, they need to communicate; even if it may not be necessary at one point, as they'll know each other without a need for words, voicing out their feelings is necessary to get through this setback — to reach each other.

☕️♪ "We were going to be together forever" 🥞♪ "We were going to be together forever" ☕️♪ Even so... 🥞♪ Even so... 🥞☕️♪ Even so... 🥞☕️♪ "I want you to say it to me"

And with this, we reach the finale of the song, with both of them saying "We were going to be together forever" and Even so... once, before saying Even so... together, and ending it with "I want you to say it to me". All of these have appeared before, with "We were going to be together forever" expressing, once again, their regrets of having ended up like this, and the multiple Even so... expressing that, even though they're like this, they want to fix their relationship... they want to hear how the other feels. They have a desire to communicate to be with each other, yet again; as they complete each other. They're the best partner the other could ask for, and they want to keep being together. Forever.

3. Conclusion

And that's it for Aun no Beats' lyrics! Pretty much all the lyrics can be somehow related to Akito and Touya's story and the events of the main story, and their relationship, which is so great. The fact it fits them so well makes all the aforementioned facts, such as their middle birthday happening to coincide with the same day as Aun no Beats' original version's anniversary day, and how the Sekai team went out of their way to add this song to the game even though they wouldn't benefit financially from it, very interesting. Could it truly be a coincidence? Oh I am so curious... Aun no Beats is a song that can be interpreted as a couple with a close bond that has been separated, a song with a sad ending; and this plot sounds very much like Akito and Touya's "divorce arc" during the main story. Fortunately, their relationship was fixed and now they're a stronger couple than ever. As I've explained in past essays, even though their relationship may not be inherently romantic, because Vivid BAD SQUAD's "partner" (aibou) does not have the romantic meaning that the western partner does, their relationship is very reminiscent of a romantic couple: as of current story events, Akito and Touya are very much like an old married couple, experienced in relationships and being together (as partners), and everything they go through and how they interact with each other really can give off romantic vibes sometimes (look at Let It Ring! Beautiful Sound!'s Touya's card's side stories, for example; the way Akito reacted at Touya was so... unusual of a regular pair of friends); while An and Kohane are a newly formed couple that is still learning to be together and how to be partners, with Akito and Touya guiding them through this new experience as an experienced couple. Although the previous paragraph was slightly unrelated to the essay, the point I am trying to make is that Aun no Beats is often interpreted as a couple that has broken up or that has been separated by death, so the romantic associations for Akito and Touya's relationship are existent. This is definitely up to interpretation, of course, but I believe Akito and Touya are one of the pairs with most chemistry in the game, due to how they're pretty much made to be together, as they complement each other so much, between their contrasts and their personalities. Their break up during the main story was quite similar to how an actual couple would fight, due to their mistakes and lack of communication leading to an argument and split up. However, they manage to make up, and they become partners once again, and their bond has been inseparable since, growing further as they keep singing by the other's side. Their relationship, in the end, is all about giving and receiving; relying on each other, loving and learning to love back, and supporting each other by making up for the other's shortcomings. They grow and learn together, they desire to sing together, and they yearn to be by each other's side. This is, after all, what it means to be partners. And together, they can surpass anything. They're fated to be together, and there's nothing that can separate them anymore. They're each other's best partner they could ask for.

4. Afterword

And with this, the essay is done. Truthfully, I've struggled a bit to write since my last essay, and I am still halfway through Part 4 of the Freedom and Captivity series essay; I may have stressed myself by putting on unrealistic deadlines, first meant for August 1, then for August 19. It wasn't necessary at all to release it on August 1, and it was more of continuing the joke, but I did want to get something out for August 19 because it's a very special day. Fortunately, I got a bit inspired, and I had the idea of writing this... and I wrote it in like, 2 days? (lol) And I'm glad I did because it's a very fitting essay for this day, talking about both Akito and Touya's relationship (since August 19 is their middle birthday) and Aun no Beats (song originally released on this day, too). I'm satisfied, and I'm relieved I can take my time to finish the next essay, since there's no deadlines now... from now on I won't set deadlines so close to the actual thing, haha. To finish off, I'd like to thank my friend Dainn for supporting me as I wrote, both this and the previous essay that I failed to finish in time; I appreciate it a lot!! Also thanks for proofreading my essays as always. And thanks to artemis for proofreading it, too; consider this my gift to you for getting T100 in Let It Ring! Beautiful Sound! Congratulations! Anyways, thanks for reading, and I hope you enjoyed this essay! See you next time!

[alexanderwales]

An Idiot's Guide to Creating Themes

There's something that Wildbow says about themes, which I'll paraphrase here: themes are something that grow without you even necessarily wanting them to, so long as the characters have strong traits and act consistently.

What this means is that if you have a character who has a real problem with authority, then naturally they're going to frame a lot of things through the lens of authority, and they're naturally going to get in conflicts with people in a position of authority. Suddenly, without even really trying to, you have created a Theme.

I don't really think that this by itself is enough, and think that it helps to bring some intentionality to the process. For one thing, if you have two protagonists who have their own strong traits, you might develop two different competing themes that do not work in harmony with each other, and suddenly people will start asking you "why isn't this two separate stories" and you'll come to the grim realization that they're right.

So if you have a single strong trait, you want to pick your other traits to be in harmony, and you want to do the same when you're thinking up secondary characters, villains, etc. Themes tend to flow a lot easier if all the stuff you're putting into the pot has something that links them together. Ideally you want a funhouse mirror where you get to see a bunch of different sides of your theme, different ways that the characters react to it, their different takes on it, even if you're just doing big shonen battles.

Doing theme construction in this way often involves trying to have the story as a prism, and your job as someone writing the story is to break that beam of light down into its component parts. Find as many pieces as you can, then make those into plot points, characters, side stories, etc.

Let's try an example!

I'm writing a superhero story and want to pick a theme, so first I think about what theme I want to spend a novel exploring, and I decide that the idea that's tickling me is the alienation of globalization and the information age, the way that everything feels overwhelming and Too Big sometimes, like there are a thousand things clawing at me for my attention.

So we start with our protagonist, and he's being pulled in a thousand directions at once, never feeling like he has enough time for anything, but paradoxically, for all that people want his attention and focus, he also feels alone. I haven't yet said that he's a superhero, but sure, it's easy to see how we can fit that in: people want him to solve their problems, to settle their disputes, to use his talents, to help them rise through the ranks, and that's not necessarily what he wants, but he feels trapped by it, like there's no other way to live.

If he's a superhero, he needs a superpower, and writing a story like this I would be extremely careful with what I picked since it needs to help carry many many fight scenes and plot points, but teleportation is my first thought: there's disorientation as he enters a new place, a feeling that he's never really anywhere because he could be everywhere, and maybe some secondary sensory powers on top of that, an ability to see and hear that can help evoke an internet connection (I have not at this point decided whether the setting has smartphones or internet, but I think maybe it works better if it doesn't, because one of the things about themes is that sometimes it's best to come at them from an angle).

So I kind of have a sense of the main character at this point, if not an overall plot. If the guiding star is "information age alienation and how it overwhelms us, offering infinite connection that leaves us lonely", then maybe the plot can be something about that. We can go toward the theme by having some plot about alienation, a society that's drifting apart, and probably a significant figure pushing that, or we can go toward the theme from a different direction, having someone who promises an answer. I like the promise of an answer better, something that our hero has tension against, so we whip up a villain whose whole thing is that the world has gotten too varied, too complicated, and promises a return to simpler times. Maybe they're a cult leader, promising family, promising that through their high-control group everything can be reduced down to something understandable.

(There are at this point many many options for our main villain and his/her powers. Maybe it's a woman who makes the world go still and silent in her wake. Maybe it's a time-traveler acting as a specter of the past. Maybe it's someone with mind control powers seeking to expand their reach until they can put the whole city under their thumb. Maybe they're a former superhero who couldn't take the constant desires and demands of the public and have twisted into a dirty form of self-induldgence. There are many "villain" answers to the question of alienation.)

So we add in some side characters. They should also approach our theme in some way. Here's a quick and dirty brainstorming list:

A friend who is terminally cape-brained, always keeping track of their specific domain of expertise, retreating hard into a niche where they know everything, which takes monumental effort and a sort of nervous anxiety approach to information. Probably a superhero with an info power, name of Dispatch or something.

A father who is blissfully unaware, but shows the flaws of that approach, always ignorant, knowing little about the goings on of the greater world, alienated in his own way by that, unable to connect to people because of it.

A government handler/contact who is a friend, but always pushing our hero, always ready with another thing that needs doing, another cause that needs nudging, a criminal manhunt to help with. A symbol of pressure, anxiety, and overload, but friendly in a way that makes it tough to say no. (A stand-in for the kind of friend who always wants to tell you about the latest atrocity, who doesn't quite demand that you know the name of every person brutalized by the police, or the latest list of people whose shittery has come to light, but does seem mildly disappointed that you're not as tuned in.)

A mentor figure who burned out, maybe a speedster who ran too fast, did too much, let themselves get run into the ground both figuratively and literally.

I think that this is a good enough starting point that if I wanted to writing this story, I probably could, and maybe the core of it would evolve as I wrote, but I have a guiding star to look toward, and one of the great things about setting out to write a theme is that if you ever hit a bump, you can look over at the post-it note that describes the theme in a few words and hopefully, get back on track.

[lurkingshan]

Japanese QL Corner

Another week chock full of Japanese ql. I am officially dropping a currently airing show from QL Corner--let us never speak of it again. Of the other six shows still airing now, five are streaming weekly on Gaga and the other is available via fansub.

Takara's Treasure

This is quickly becoming one of my favorite things airing—it gets better every week, and it's been good from the start! This story is a great example of the way tension and depth of feeling in a great romance can build. I was delighted to have Takara confirm Taishin's confession and coax him into dating this early on because it means we are going to actually spend some time with them figuring out how to work as a couple. And I don't expect it will be smooth sailing, because these two have some incompatible issues that are going to exacerbate each other.

Cosmetic Playlover

This show is gorgeous, but it all feels pretty empty. Thank you to @usertoxicyaoi for confirming that the show is racing through the plot so it can cover the whole arc of the manga. I'm glad to understand why it's doing this, but it doesn't help with my total emotional disconnect from the story, because the show is rushing through and not letting us actually experience this relationship. They tell us they like each other, then that they're in love, then that they're established and struggling, but I can't feel it because they haven't brought us along for any of that. This week featured an interesting plot about their professional growth and how it challenges their relationship, but I was frustrated because I have no investment in said relationship to give the plot stakes. I may just have to accept that this one will stay a treat for the eyes but lacking in depth for me.

I Hear the Sunspot

We back! After a bit of a miscalibrated installment last week, this episode felt more characteristic and we finally got our boys back on track. Maya was less egregiously mean to people this week and her interference was treated as more comedic than sinister, which is a much better fit for the tone of this show. And once Kohei got around her, he finally talked properly with Taichi and asked him to stay on as his notetaker, reaffirming their friendship in the process. Despite Maya's efforts to convince him otherwise, Kohei has not wavered and his firm declaration that he doesn't want anyone but Taichi taking his notes or eating his food had me gasping. For his part, Taichi is getting better at keeping his cool and finding words when Kohei lets his feelings slip, and he's clearly thinking a lot about his own feelings and whether their connection is really about friendship.

Ayaka is in Love with Hiroko

Oh man, this show has really gotten itself into a muddle. We finally got a kiss, but it hardly felt like a triumph. This episode was a bit of a return to form, with Ayaka back to her relentless pursuit of Hiroko, but the way the story diverged to change the conflict midstream has mucked it all up. For the first half the conflict was about Hiroko believing Ayaka is straight, and then suddenly it was about a different work-related closet trauma that did not connect to that. Now it’s touching on both but in a way that makes Hiroko seem inconsistent, because now that she knows Ayaka is a lesbian it doesn't track that she would continue to patronize and dismiss her, and it also sucks that Ayaka is harassing Hiroko at work despite knowing she doesn't want to be out. It feels like the story is invalidating Hiroko’s fears about being out in a way we know is not consistent with reality. This would all work better if the backstory had been about Hiroko falling for a woman who succumbed to comphet and we kept up the misunderstanding and comedy about Ayaka being straight. As it is, I feel like our heroine no longer makes sense and our couple still hasn't formed a real connection, and with only one episode to go it’s unlikely they’ll land the plane.

Mr. Mitsuya's Planned Feeding

I just love everything about this show and its mature perspective on relationships. In the aftermath of Ishida's hasty confession (and his attempt to walk it back, which I love that Mitsuya did not fall for), we take a beat for Mitsuya to consider the two men circling him and what he wants from his life. I loved that he took the time he needed to process and end his relationship with Noguchi on his own terms this time, and to consider whether he has the desire and the energy to try again with someone new. When he said he has his home and his work and his Frito and that's enough for him, I felt that. But Ishida has already gotten to him, and as Shige wisely pointed out, Mitsuya must care about him quite a bit to be considering this deeply before making a move. I'm not sure he's ready to dive in, but he doesn't have much will to fight it, either. You can go here for the files to watch this episode, with big thanks to @isaksbestpillow and @nicks-den.

Tagging @bengiyo to add this week's anime update.

[prettysweetprettysweet]

boy there is so much to unpack based on what Karan's sister said to her mom about how Karan was raised. its so crazy that his parents reinforced what they valued and what they didn't value by withholding reactions/not engaging with Karan if they didn't like or approve of what he was doing (and up until the present part of the story, didn't think this was harmful??). i don't know if the writers meant for it to be so profoundly sad, but the thought of a queer child who already felt deeply conflicted about his identity trying to express himself, find out who he is, and share his excitement about cool things he finds in the world only to get nothing from his caretakers to acknowledge it is heartbreaking. his flames burned out because he was doing it in a cold empty vacuum. she said he would pursue those things until it "got boring" but really what that means is he pursued those things/expressed himself in certain ways until the lack of interaction from his parents made him feel so insecure, self-conscious, and lonely that he phased it out. and then when he started getting engagement from his parents again, he would internalize that he shouldn't go where his instincts/pleasures/interests guide him because they're the makeup of an unacceptable person.

so Karan's historical self-deprecation in regards to his queerness and his uncontrollable, tear-filled reaction to hearing his mother indicate that she does want to support and engage with he and Achi, makes all the sense in the world. when he confessed his feelings to Achi he apologized multiple times essentially for letting the real Karan take over and control what his brain and heart were doing, ruining things between them. i love that Achi's immediate reaction to that was "you're sorry???" because its so bewildering that Karan would apologize for being himself, feeling his feelings, or thinking his thoughts. but he has been trained his whole life not to indulge or engage with his authentic self, so he feels like a failure when he does. he built his life around models of perfection and ways of carrying himself that were molded by other people.

Karan asking his mother "are you disappointed" that I'm gay/in love with a man really gets to the heart of it. like, if his mother had a choice, if his mother had the ability to change things about her son to fit her image of a better person, what parts of Karan would she remove or swap out? this is something he has had to consider, if not on a conscious level then definitely on a subconscious one, for his whole life: what parts of me are scraps, what parts of me are unwanted?

its such a relief that Achi stated that for him, caring for Karan means supporting him in doing the things that he likes and that bring him pleasure (like cooking and spending money on things that he and Achi can do together). Karan had asked Achi to "bear with" him but its clear that Achi isn't bearing anything. Achi takes pride in his charge of caring for Karan -- and helping him indulge his wants, abandon the constant grind for perfection, and reconnect with himself is a huge part of that.

[dreamofmetoday]

EASY TO UNDERSTAND ASTROLOGY #2

mercury in aries: direct, candid and uncomplicated way of thinking and communicating. very opinionated and doesn't mind or can even enjoy argumentative and aggressive ways of talking and expressing thoughts. thoughts progress quickly and they do best in fast paced conversations and thinking on their feet. they don't stay too focused on the same thing for long. they are tactless but rarely dull (enthusiastic).

mercury in taurus: slow-moving, stubborn and thorough way of thinking and communicating. very practical, sometimes even to the point of valuing practicality over morals and ethics. they are conservative and thick-headed, meaning their opinions can be hard to sway and they can frustrate others because it can be hard to make things "get through" to them. their way of communicating often makes others take them seriously and they can be depended on for consistency. they can prefer demonstrations and (sensual) activities over talking.

mercury in gemini: anxious, scattered and quick-witted way of thinking and communicating. thoughts jump quickly from one to the other making them hard to follow (they can be be confusing communicators and have a tendency to rush through stories). they are better at absorbing and focusing on trivial knowledge, facts and gossip rather than topics that require periods of long concentration, which also allows them to talk on a wider breadth on subjects. they are adaptable, fairly objective and good at fast-thinking in chaotic environments. they are curious, nosy and can have an odd habit of sharing other people's stories as their own.

mercury in cancer: subjective, emotional and understanding way of thinking and communicating. being biased and non-intellectual, they can absorb information without critical thinking and hold onto these ideas strongly - hence why this placement is most associated with being patriotic (they easily go along with their family or peers). they avoid arguments and prefer conversations that feel intuitive and where they feel connected to the other person. this can be associated with good memory (similar to moon in cancer) and they can enjoy journalling to keep memories. they can also be humorous.

mercury in leo: dramatic, self-centred and storytelling way of thinking and communicating. they are animated and often funny and engaging conversationalists but can have problems ignoring details or facts. in personal matters they refuse to be wrong and can have trouble understanding who they're talking to, often causing great frustration to the person who is trying to solve problems or confront the leo mercury. they are very stubborn and very "their way or the highway", yet if approached correctly or by someone they respect they can sometimes even seem almost naive with how fast their opinion can change. they exaggerate details in their storytelling.

mercury in virgo: critical, practical and detail-oriented way of thinking and communicating. these people are not often animated or naturally engaging and can be very dry - their wittiness helping them with being more entertaining when talking. they are good at solving problems and are often appreciated in workplace environments. they can also be prone to nagging and pettiness (unable to let issues go as they overthink and ruminate). they can have problems being prejudiced and feel the need to always see real proof of something.

mercury in libra: fair, pleasant and compromising way of thinking and communicating. they value a good mental connection and have good 눈치 (nunchi), overall being good at reading situations and people. they are strategic and intellectual but are hindered by their people-pleasing tendencies interfering with their judgement. they avoid conflict and are indecisive leading them to be perpetual fence-sitters, they are also not practical thinkers and can be too theoretical. they come across as unassuming and don't seem defensive but their backhanded compliments and passive aggressiveness can leave people feeling uneasy.

mercury in scorpio: extreme, deep and emotional way of thinking and communicating. they have good instincts and can possess great observational skills but are much less objective than they often realise which leads to skewed, biased and sometimes even irrational and paranoid conclusions. they enjoy finding out secrets but can be extra guarded about sharing their own, sometimes even leading to lying or having too much of a habit of putting up a front. they are passionate and their opinions are often extreme and black and white. having a high desire for the truth and what's correct, they can be less stubborn than their fixed sign counterparts when changing their opinions but won't always show it (they will tell you, "no, i always thought that. i didn't change my mind" unless the proof of them ever thinking otherwise is too blatant to ignore).

mercury in sagittarius: idealistic, optimistic and big picture oriented way of thinking and communicating. they are open-minded and concerned more with what everything means rather than what is, they focus on the grand scheme of things over details or facts. they can be dogmatic and have a tendency to turn a personal experience or one time occurrence into something factual that must be true for all. so while valuing morals and meaning they can have problems with prejudice and critical thinking. they are sarcastic and humorous. they are blunt and forward but can also have a superfluous way of speech.

mercury in capricorn: pragmatic, methodical and concentrated way of thinking and communicating. they are great at analysing and come to precise, cut and dry conclusions. they often feel the need to prove themselves with their observations or contributions to discussions. they are bland and unimaginative in their communication style and fail to be engaging, especially when trying to teach or lead (more so if capricorn is also the sun sign). they have trouble adding their own "flair" to things and their trying attempts to be eloquent can come across as being self-unaware, boring and conceited to others - it can be hard for them to be natural and humorous though this is a helpful focus for them to advance.

mercury in aquarius: progressive, unique and detached way of thinking and communicating. they are observant, objective and intellectual but can easily think their way of thinking is superior to others, making them uncompromising and arrogant. they are good at being lighthearted and amusing but they have trouble communicating on a deeper level and are awkward about emotional matters. their knack for observation can lead them to being nosy and intrusive which is often a turn off for the people around them. while this placement is known for sparks of genius, they can sometimes have trouble successfully building upon these ideas or epiphanies due to their chaotic nature. they have a natural inclination to go against the rules and even play devil's advocate.

mercury in pisces: dreamy, imaginative and emotional way of thinking and communicating. since the sign pisces itself operates primarily in the subconscious realm, their thoughts can come to them in images and feelings rather than coherent sentences to be expressed. they can be poetic, entertaining and funny communicators due to this, naturally expressing thoughts that create great imagery and elicit specific emotions. however, they are also often confusing and say something completely different to what they're thinking (they can think of the colour blue and say red), this combined with their tendency to daydream can make them seem spacey. they are compassionate and are easily swayed by emotions. they are also not rational and can jump to obscure or dramatic conclusions. they can be easily lied to or can have a tendency to easily lie to others.

reminder: mercury can only be in the sign of or one sign away from the sun. the way someone's mercury interacts with their sun sign is very important and should be considered, even aside from house placements and aspects (that's also why when you read these they may sound similar to some sun signs in your life too).

[thefirstknife]

Bro.....

You know, when they said they'll bring back "one of the most storied locations very briefly" I did think of Saint's grave. Speculated about this with the besties quite a bit as well, that we might go back there for some reason. And now. Yeah.

But my question when I was cooking about this and my question now that Ikora said this remains the same: how? How is that accessible? The grave is in the Infinite Forest. Infinite Forest is on Mercury. Mercury is still in a Darkness anomaly. And the Forest was sealed from the inside. That shit is behind seven proxies.

Obviously we've seen the Infinite Forest gate in the trailer, on Nessus, so I'm assuming the door can be opened from Nessus... somehow? Osiris can probably do it with his cubes or something, but the details of how this will be done and how it will be handled are eating me alive. I'm losing it, but for real this time. I don't have words to describe how much I am compelled.

Anyway, radio message!

Saint-14: Since you found me, I have only doubted who I was once... When Misraaks recounted how his people - their children - feared me... it shook me. Osiris says, that I am Saint-14, my hands raised the wall, I walked with the Pilgrim Guard. How can I be a shadow of the Saint who truly walked this City, when I remember the smells of the streets, and the faces that smile? I met you on Mercury, as I speak to you now. We fought together. I shattered the Vex for centuries, but I lived, where he died. Because we showed the Vex that our fate could not be calculated. Even in simulation, we surprised them, you and I. That, is true. The Conductor claims, I am a man out of time, an approximation of reality. Huh, was I not this already? Hard metal, and brittle memory. Spark, and code, fourteen times over. Only my heart carried through. I know what it means to find myself again. But... The Conductor claims, had Osiris not created the Sundial, had I remained forgotten, Sagira would live still. How could these things be connected? If it is true... I will not take my love from him as well. For it is strong, and he will need it. You would not be afraid. You would know what to do... I am... still trying. But I will find myself again.

He's doing better!!! He's figuring it out!!! I'm assuming now that the main point of conflict for him is the Saint that died. It was never quite clear what happened when we saved Saint; did the timeline diverge at that point or was it always two different timelines? Would the body still be there in the grave if we went there after we saved him? Is there any divergence at all and does it matter?

Because again, the Saint we saved is the same Saint that he's been for most of his life. He clearly remembers meeting us on Mercury which was for him the Dark Age. Before Six Fronts. His story and his legend essentially starts only after meeting us. The Saint that we know exists as he does because we saved his life on Mercury in the Dark Age and gave him the shotgun and he has been trying to live up to this potential ever since. He even quotes it: "I am still trying." He said that in the letter on Perfect Paradox and also when we opened the Forest for him after he was freed. And as I also noted, on week 1, we got a message between Saint and Osiris where they're recalling the exact same memory.

But as I said before, if he has access to any other timeline Saints, there might be differences that the Conductor used to mess with him. I suppose one of those is the Saint that died. And since the shotgun is a paradox, I can't really track it's origin point anywhere. Saint that died had remains of the gun which means that the Saint that died also met us, presumably. But if he'd met us, then he wouldn't have died. Or that's the timeline in which Osiris doesn't make the Sundial and we pick up the shotgun and then with the Sundial we can find the right Saint at the right time and give it to him and then stop him from dying. My brain is dissolving.

Anyway. So. Saint's grave huh. They're killing me with this. I need to think about it for 5 hours or maybe 5 thousand years.

And also the lore page. I assume it's talking about how the Vex Network with its various "denizens" reacted to the Echo.

A fractal cluster of nested realities unfurled like a frond. Two-hundred-and-twenty-odd instances of consciousness reaching in unison. A controlled frenzy of cooperation as the minds within piled Ishtar-branded office furniture to the skies, then lifted one another up to be closer, ones and zeroes stacked perilously, finding swaying purchase with their sensible flats on each other's thin shoulders.

Ishtar scientists!

An irascible trace of a signal sneered at the sincerity of the call but still willed itself to move, reaching up two thin spindles of data in a way that felt somehow familiar.

Asher :) :( T_T

The Great Quiet Thing, the Not-Worm, kept its eyes closed and ignored the call. It was still too soon, it decided. It shivered, the motion forming cascading bubbles of new hypothetical simulations in which it did not shiver. These contradictions soured and burst, scattering nutrients into the network.

What the fuck.

A man in tattered robes, feathers long since worn from his headdress, streaked through the shifting plasmic haze on golden wings, urged on by the tiny starburst at his side. His eyes were furious flame.

Osiris :) And Sagira. :) They're still in the network. Okay! I will just explode.

And of course:

"We need to warn them—" "There's still a chance—" "SAINT—" "Hold on to me—" "I AM OWED THIS—" "Hurry, get Shim—" "There isn't enough of me left—" "TELL ELSIE PRAEDYTH STILL—" "Please, please wait—" "Warn them—" "I have to warn them—"

Welp. We wanted Praedyth to be mentioned. Here he is. I guess I will jump off the cliff now.

Anyway, many thoughts. Genuinely what the fuck is the "Great Quiet Thing" in the Vex Network??? Where is this going. I have so much to think about, brb.

[thenewgirl76]

I'll Make You Believe

While the whole "asking a ghost how they died is the worst taboo ever, so don't do it or you'll be in a world of hurt" headcanon is always fun to implement to either create temporary conflict or simply move the story along, I think it'd work just as well on both ends if it was only a minor offense.

Like if you were to ask a once living ecto being how they died the most negative response you'd get would either be some variation of "None of your business puny mortal" or an explanation using the most vividly graphic, stomach turning details as an act of petty revenge as well as insurance you never ask again.

So what could possibly be a way more serious, far more dangerous no-no when it comes to ghosts instead? Well, how about stating ghosts don't exist/there's no such things as ghosts? The reason why being you're invalidating the trauma they've experienced in their last moments.

Makes no difference whether you were aware of this or not. If they find out or worse, it's said to their face? You better hope they'll settle for beating you black-and-blue. Because the alternative is becoming a ghost yourself by the time they're done with you.

Now in dpxyj fics when Danny interacts with Wally and the whole "ghost are/aren't real" argument between them comes into play it's usually depicted as a trivial disagreement. But what if you were to make it more angsty by inserting this take on lack of ghostly etiquette?

Let's say after getting to know his teammates better Danny starts talking about his origins (in vague detail) and exploits, only to eventually be interrupted by Kid Flash declaring that he can't possibly be a ghost as they don't exist. And Robin, Aqualad, Miss Martian, and Superboy all become quite alarmed watching Danny go from easygoing to looking ready to beat Kid Flash to a pulp, as he's now fighting back his ghostly nature. To avoid giving in to the urge he abruptly leaves with a dismissive attitude, much to KF's confusion.

From there it spirals. KF, not realizing he's poking a hornets nest continuing to voice his skepticism whenever the opportunity comes up and each time Danny barely manages to keep it together. Until one day Danny in an explosive rage snatches up KF and in a tone colder than ice tells him he knows what he is, what he went through to reach that state, and that he has no need to justify any of it to him.

Then he leaves once more before he really loses it. Before going after him Miss Martian informs KF of how Danny opened his mind to her and that for his sake she hopes he never shares those memories of what he went through with him. Feeling bad now, KF tries to apologize once Danny returns. Which results in failure again and again since Danny keeps giving him the cold shoulder.

After having yet another apology disregarded KF, in mounting frustration blurts out that he wishes he understood what has Danny so convinced he's a ghost, unaware a certain wish twisting genie he was warned about had been invisibly lurking in the vicinity the instant Danny was elsewhere. Along with the rest of the regulars, as soon as KF's denials had spread to the Ghost Zone Desiree was on the warpath, intent on showing just how real ghosts truly were. By sheer spite and determination she beat everyone else to him, just in time to hear him say the forbidden word, presenting her with the perfect means of retribution.

With a "So you have wished it so shall it be" KF is magically transported to an underwater submarine, occupied by Black Manta. Unable to run as freely without potentially damaging the sub and causing it to flood, the fight upon his unexpected arrival is drawn out to the point KF starts to feel his hyper metabolism weakening him. It's when he's close to dying of starvation that one of the more incompetent goons sends him crashing into the stash of ectoplasm Manta had smuggled with the intent of using it to pollute the waters of Aquaman's Kingdom. The last thing KF sees before blacking out is Desiree looming over him with a smirk of satisfaction.

[metalomagnetic]

So do Sirius’s kids turn out to be less ignorant and have a better understanding of muggle culture? Especially because of Nymphadora’s influence (due to her Muggleborn father). Like would they show an interest in the public library go to concerts (like their dad did) and while I do understand that they’re being raised by the pureblood equivalent of Nazis basically (Bellatrix, Lucius and unfortunately to a lesser extent, Sirius), do the kinds end up not-so-bigoted or less likely to dehumanise muggles and Muggleborns as they grow up, go to Hogwarts and stop parroting their parents?

Do you think the way Sirius grew up to realise the ideology behind Grindelwald was wrong, Sirius’ children would also realise that their family members were the extremely powerful and rich aggressors who were out torturing and killing people for no reason? Would Sirius ever even allude to his children that- that their aunt Bellatrix, uncle Lucius, all the adults there grew up around tortured and killed people simply because they wanted to?- that there was never any greater purpose to it since they wrote already at the apex of their society.

We saw that Sirius tells Harry a sanitised and falsified version of this- to atleast make it seem like it was war and not simply terrorism and that the murder of Harry’s parents had meaning. But as Harry and his sibling get older, do they get told or just realise the truth? Especially because Nymphadora already understands/knows the truth atleast subconsciously- she just doesn’t wanna acknowledge it - will Sirius’ children be the same?

Will Sirius ever mull on the fact that his beloved Bellatrix is a terrorist - who killed people only for her enjoyment? Or will he excuse beloved Bella, the way he did when she murdered Marlene and her family?

This aspect of the story is truly so dark- the parts where Sirius is grappling with the fact that his family is out here killing and torturing people with no remorse in order to “avenge” Evan when them and their pointless terrorism is the reason his death occurred in the first place, as well as his own pureblood anger over Evan’s death. It’s great. You’re great. The way you weave all these conflicting thoughts into Sirius’ psyche is just amazing.

I also love how in the later chapters, Sirius slowly reconciles with the fact that he is not as good a person as he wishes he was and his moral code- of harming a hundredfold whoever harms him or his. I also like to think that Sirius is probably the kindest and most (open minded? liberal?) accepting Head of House and that he probably wouldn’t go murder a Muggleborn prime minister or hinder their career needlessly out of sheer hatred and prejudice lmao.

Also when I’m reading your fic I keep hoping the kids turn out better because of the kind of father Sirius is- As in his kid’s believe their dad helps whoever he can help and they grow up to emulate that or sm.

Anyway, if you’ve actually read my rant till the end, my apologies. I just can’t get IRITB out of mind T T

Like Sirius before them, his sons will realise who started the war, and that it wasn't fair, nor just. It's not a matter of ignorance here.

They're all trapped in a vicious circle where they know they're not great people, but they don't aim (nor were they raised) to be good people. They want to maintain what they are used to, they were told to 'protect' their family and their position, by whatever means necessary. So they will act when they feel threatened, even if the threat might not be real, only perceived.

Sirius knows he's not a good man, and he made peace with it. He still tries his best not to be the most horrible version of himself, he can still emphastise with others, and tries not to cause harm unnecessarily, but especially now that he has children, he would burn the entire world if he thinks his sons are in any danger, physical danger or just social danger.

Sirius does has inherent bias, and he's somewhat aware of his bigotry. He recognises it's not based in reality, but he can't help but feel that way. He isn't violent in his bigotry, he has no issues befriending muggles or muggleborns, or werewolves or vampires, he helps them if it doesn't inconvenience him, he wishes there was this utopia where they could all live in peace. But when push comes to shove, he'll chose 'his own' people, and he does believe wizard are superior to muggles (though he doesn't think purebloods are superior to muggleborns) and that, as a Black, his bloodline is better than anyone else's (including Lestrange or Malfoy. This isn't about pureblood supremacy, but Black supremacy. He takes extreme pride in his family, even if he knows they're crazy and often wrong in their attitudes).

Of course, Sirius is much less bigoted than his father has been, and OG Orion was less bigoted than his own father. Arcturus was more tolerant than his own father. They do 'evolve' with the times, just very, very slowly.

Sirius' sons were exposed to muggles by their father, but they were also exposed to muggle hate by their mother and virtually everyone else around them, and also Sirius' indifference when someone badmouths muggles.

Orion will never have issues eating muggle food or using muggle inventions, or listening to muggle music. He likes many muggle things, he thinks some are better than magical equivalents, but he'll always feel most comfortable where he was raised- in the magical world. He doesn't think muggles are animals, he is all too aware muggles are just as human and just as intelligent as wizards, however they don't have the same power as wizards, so they will never be equal. He, like Sirius, believes muggleborns are just as magical as purebloods, and they have the same right to practice magic. However, unlike Sirius, he thinks purebloods are 'stronger' than muggleborns by default. He believes the magical power is in the bloodline, and while muggleborns are obviously magical, their 'power' has been diluted by muggle interference. (Both Astrid and Arcturus are to blame for this).

Marvolo is less tolerant than Orion, but less vocal about it, too.

Both boys are raised to maintain the Black way, to represent the Black family, to 'hold the fort' and perpetuate their traditions, because they are the future of the family.

Yet neither is as hateful as Walburga or Astrid or Regulus, specifically because Sirius took them to muggle London often, they were raised with Harry and Dora, and they were also forced to play with Mary's daughters, whom they ended up liking.

Helix is the luckiest; being the third son, there's not such pressure on him, seeing as his chances of one day becoming Head of House are very slim. So no one bothers to indoctrinate him quite as thoroughly. He was born after Arcturus died, so he escaped his influence entirely. From all of them, Helix will be the most chill about blood purity, the most likely to make muggleborn friends on his own, the one to bring back home muggle items and get away with it because he's the baby of the fam and he can do no wrong. However, he is still raised to take pride in his bloodline, so he has that Black excellency mind set, too.

Overall, I would say at least the boys have no issues with half-bloods, because this was where Sirius made the most effort; he was determined to protect Harry, so none of his sons hold inherent prejudice against half-bloods, especially half-bloods raised by wizards. Dora, to them, is as Black as the rest, and they don't care at all her father is a muggleborn. She has Black blood and that's all that matters. Orion wouldn't hesitate to put her on the family tree.

If someone told them half-bloods are less magical, they'll call that person an idiot. If someone told them Harry, specifically, is less magical than a pureblood, they would beat the shit out of that person. However, they are aware Harry is not a Black. Orion wouldn't put Harry on the family tree.

Muggles are a threat to them, not on an individual level, but on a gender scale. Muggles wouldn't react well if they find out about wizards, as we all know. Set aside the religious aspect that would make muggles go crazy, but also the fear factor- let's be real, none of us would be too happy to know there are wizards around that can erase our memory, control us with the Imperius etc. We would not feel comfortable knowing there are eleven year olds out there that are handed a weapon of mass destruction. No muggle army would love the thought a 14 year old kid could potential annihilate an entire batalion of muggles with a wave of his wand.

All wizards, including muggleborns, believe muggles would react violently towards the magical world, if they ever discovered it.

So, to Orion, and Sirius, and Lucius, and Harry, and even Dumbledore, they do understand the inherent threat muggles pose.

They will always keep their distance, and Orion, like all Blacks before him since the inquisition, will think muggles as a whole are dangerous to their community, but on an individual level they can be fine. But, in his option, best not to mix with them, lessen the odds of discovery.

[literaryvein-reblogs]

Writing Notes: Flat & Round Characters

Flat Characters - Consist of only a few features (usually based on clichés). They’re generally static characters meant to serve the story.

Round Characters - Have depth. They have weaknesses, strengths, flaws, fears, tastes, and dreams. They are well characterized in order to seem real. They're dynamic and change over time. They feel affected by the story’s events because they suffer their consequences and learn from them which makes them more realistic and believable.

The use of flat characters

Flat characters are often used in TV comedies (30-minute sitcoms with canned laughter) because comedic stories usually focus on the anecdote and the joke.

Thanks to their commonplace situations and characters, sitcoms are able to transmit a sense of familiarity to the spectator.

Flat characters also have a supporting role in stories with round main characters in order to achieve one of these effects:

Fast recognition: You need your readers/audience to easily recognize the type of characters you are presenting.

Contrast: Flat and/or static characters can highlight the internal or external evolution of round characters.

When to avoid flat characters

Unless you’re specifically looking for one of the previous effects listed for flat characters, it’s best that your characters (especially the protagonists) are round in order for your readers to identify with them.

Creating round and deep characters

Consider the following:

1. Internal Changes

Do your characters undergo any internal changes throughout the story?

Think about their situation at the beginning of the story.

Is it the same as it is at the end? It shouldn’t be.

They can be worse or better, but the story’s events should have affected them in some way.

2. External Changes

Do the external circumstances surrounding your characters change throughout the story?

Just as their personalities suffer variations, their external conditions should as well.

For example, one of your characters could be a farmer at the beginning of the story and then become a warrior by the end.

3. Goals

What do your characters want?

They should have a conscious desire – something that moves them into action.

4. Wishes

What do your characters need?

Regardless of what they think they want, there’s something they need at an unconscious level – something different from what they consciously desire.

That contradiction will bring depth to your fictional heroes.

5. Achievements

What do your characters attain?

Do they achieve any of their goals?

How does that affect them?

If you have the answer to the last question, you’ll have a clearer idea of how the story’s events have changed their way of facing life.

For instance, if they achieve what they wanted at the beginning of the tale but that’s not what they really need, they can learn from their mistakes and try to correct them.

However, they might also give into frustration.

6. Weaknesses

What are their weaknesses?

Everybody makes mistakes and has fears and flaws, so if you want your characters to be more believable, they’d better have weak points and see themselves in need of facing them if possible.

Your characters overcoming these weaknesses or not depends on the story you want to tell and on the type of evolution you want them to experience.

Some overcome them and progress while others don’t and fail. The contrast between them is what makes the story more believable.

7. Strengths

What are their strengths?

Apart from weaknesses, your characters can have strong points they may or may not know about.

Sometimes, they discover them and learn how to make the most of them.

Other times, they do not know, and it leads them to failure.

You, as a writer, should be clear about those strengths and so should your readers be in order to better understand your characters.

8. Conflicts

What’s your characters’ inner conflicts?

Once you’ve answered the previous seven areas of question, you’ll find this one easier to answer.

Every good character must deal with an inner conflict throughout the story such as a mental debate between what they need and what they want or a moral struggle between what they’re trying to attain and what they consider correct.

This type of dilemma makes your characters interesting, and their experiences can turn into life lessons for your readers.

Source ⚜ More: Writing Notes & References ⚜ Goals & Motivations "Well-Rounded Character" Worksheet ⚜ Conflict ⚜ 170 Quirks ⚜ Flaws

[ponett]

been rewatching and reabsorbing a lotta X-Men stuff recently and once again remembering how its always been allegorical of many civil issues, namely LGBTQ+ struggles do you think thats why it has a more varied fan following than say The Avengers? (or any other surface level super hero team) or would you just say "they're cooler and better written" is why you specifically like them not to have this question come off as "do you like them because you're gay" lmao

It's a mix of both for sure. The political allegory has always been messy and will never fit real life issues 1:1, but when it's written well that resonance tends to be what makes me really connect with my favorite X-Men stories, particularly X-Men '97 in recent memory. It makes the X-Men the relatable underdogs you wanna root for and gives their conflicts more meaning beyond the fun superhero adventure elements. The series has also always had a lot of great female heroes and villains going back to the Claremont days, and I don't think that can be understated. I'll pick Storm, Rogue, and Mystique over Captain Marvel, Scarlet Witch, and Black Widow any day, no contest. These factors all lend themselves to giving the X-Men a more diverse fanbase

In terms of raw quality, though, it's also worth pointing out that the X-Men were just... created to be a team from the start? With some exceptions like Wolverine, most of them were created to be a part of that ensemble cast and fit into that group dynamic, compared to the Avengers who are just a hodgepodge of heroes from other series who team up sometimes. New X-Men are created specifically to bring something new to the perpetual soap opera drama of the series and to the roster of powers on the team. Their stories are intertwined in a way that you can't always do on a crossover team. You're rarely gonna see the most important Black Panther stories in The Avengers. The most important relationships in Peter Parker's life are not with his allies in The Avengers. You can be a fan of those characters and completely ignore The Avengers!

But also yes they do just have cool powers and costumes and also they're in more '90s Capcom fighting games with sick sprite art lol

[thebramblewood]

Party Like a Spellcaster/Tome of Terror

This set contains eight pose accessories made from Realm of Magic assets: a potion bottle (in two versions), a closed tome, and all five broomsticks. It also contains two pose packs that utilize these accessories. The poses were made for my story, so they're very specific, but maybe they'll be useful to someone. Blender previews of all poses are below the cut, but you can also see them in action here, here, and here (though they've all been improved since). My real hope is that others are inspired to make their own poses using these accessories! They're imperfect, but they might help fill a gap. Click below for more information and download links!

Poses:

Sofa poses made using Violetta's Loyal Sofa from Paranormal Stuff (not tested with other sofas); place two teleporters in middle of sofa

For all other multi-Sim poses, teleport Sims to same location

Broomstick poses made with specific accessories shown (not tested for interchangeability)

Female Sim holds tome accessory in all poses but last

Both pose packs include thumbnails and detailed descriptions

All poses originally made for specific Sims; some clipping is inevitable depending on hair/clothing/body type

Pose Player and Teleport Any Sim (or another teleportation method) required

I'm still a beginner! Please excuse any slight anatomical oddities!

Accessories:

Categorized as bracelets

Assigned to stigmata joint

Potion has right and left hand versions; tome and broomsticks are in right hand

Swatches include all EA variations

Compatible with male and female frames

Disabled for random

Custom CAS icons

Potions conflict with glasses; everything else conflicts with hats

Because of transparency, most broomsticks won't play nicely with MXAO and DOF if you're a Re/Gshade user and some editing trickery will be required

Broomstick quality is iffy, especially the more ornate ones; I'm sorry, I don't know how to make them look better :(

In the spirit of full disclosure, here are some screenshots of the brooms in game with no Reshade or editing. As you can see, the Crystal Zoomer suffers the most.

Everything has been tested in game, but please let me know if you encounter any major issues. You can modify/alter with credit, but please don't claim as your own or put anything behind a paywall. Feel free to tag me if you use them!

DOWNLOAD: Simfileshare / Google Drive (all-in-one zip or separated package files)

[teeny-tiny-revenge]

The longer I sit with it, the more I find Ed considering Izzy family actually really fitting and poignant. As a queer person, I feel like probably most of us have family like this? Izzy, in season one, violently rejects and sabotages Ed's queer relationship, and Ed's beginning to embrace a not traditionally masculine gender expression. And there's something in Ed's Kraken turn that still reads like a detransition arc to me. At the very least it's a trying to shove himself back into the closet, playing up the parts of himself that Izzy approves off. And it's stifling in the closet, it's killing him, he can only be happy if he comes back out and gets to be his true self and together with his boyfriend.

And Izzy eventually sees that. He starts out rejecting all parts of Ed he doesn't want to see, that don't fit his own headcanon of what Ed is supposed to be, and for a while, even looking at Ed being utterly miserable, he thinks he's doing him a favour! But then he realises, no, this is wrong, this is hurting Ed so badly, and he opens up to it. He starts letting Ed be himself, he begins to accept Ed's boyfriend, he eventually encourages Ed to embrace his own softness, to start over and live his life the way he wants.

And this is, like, an experience I have made with family members. I think this is an experience a lot of us have made: a family member reacting really negatively to our coming outs, trying to turn us "back" into a more acceptable version of ourselves. Sometimes, we lose this family member, because if they can't change their minds and accept us, we just have to eventually cut them from our lives if we want to be free and happy. But sometimes it doesn't go quite as bad, sometimes the family member changes their mind and grows to accept us, and Izzy grew to accept Ed. And even independently of Izzy's own story of overcoming his repression and getting to be loved and soft and accepted while he sings in drag, this story of "a family member who rejected your queerness comes around and learns to love you as your true self" is a very fitting story to tell within a narrative like OFMD.

Not all family members love you unconditionally at all times. Not all family members accept you out of the box. In my experience, coming out to people who have been in your life a long time, who never really knew you closely, but saw you around and assumed they know everything about you, is so much more complicated and conflicted than coming out to friends. Family isn't always happy. It's often complicated. But it's also complicated because you love them! Even when they don't seem to love the real you, even when they hurt you and you'd die for them to see you and your pain and your needs, you still love them. Because love is messy. Because family hurt us, people hurt each other in families, sometimes someone hurts you and then you hurt them back, sometimes a family is toxic, there's so much baggage in families, they're not inherently a safe space of acceptance. But sometimes they can grow into that. Sometimes the love is enough and we can move on from the hurt and be a better family together. Sometimes we can forgive each other. Sometimes we get to hear "hey, there you are, I see you now, and I want you to live in a way that makes you happy". And it seems so important that Ed gets to hear that from his only remaining family.

[ceruleanwhore]

As I've been working on outlining the shit out of my Winx rewrite, I've been thinking a lot about how all the villains in the series desperately need to be treated like actual characters and given real motives. I know everyone loves Valtor and the Trix and the wizards of the black circle, but they're all equally boring as fuck because they're all just generically, black-and-white evil for no real reason. As such, I've started to come up with some potential backstories/motives for all of them, and I thought I'd share since I'd also love some feedback.

Something I think the series set up like it was going to do something with is the idea of the Trix having some sort of connection to the Ancestral Witches. If we keep what seems like the most canon timeline they appear to have settled on in the show, that the fall of Domino and everything happened about 18 years prior to season 3, then it wouldn't be unreasonable for the Trix to be the witches' granddaughters. I like the idea of that connection to the Ancestral Witches being the main thing that originally brought them together into their coven and that, as soon as they discover Bloom's true identity, their primary goal is killing her to finish what the witches started. With this, of course, would be the omission of bullshit rivalry between fairies and witches, though their ongoing conflict with the Winx could still start with Stella's ring, like in the original.

With Valtor, I would want him to be a person rather than a physical manifestation of the dragon flame that was made by the Ancestral Witches. I just think it would make him more interesting for him to have an origin story as a human, living in the world, that leads to his eventual corruption rather than him just being made evil by evil for evil. I have this vision of him coming from some country that was an ally of Domino but when something happened and they needed Domino's help, their allies turned their backs on them, inspiring Valtor's blossoming hatred for them as he personally suffered and watched the fallout of that betrayal. This all would've happened with the previous king and queen before Oritel and Marion btw, but it would take him a hot minute to learn the dark arts in order to pursue his revenge.

What I'd love to see is Valtor actually learning dark magic from Darkar, since I do also think Darkar should be a bigger deal than he was in canon. By learning from the Shadow Phoenix, who is the opposite of the Great Dragon, I feel like his magic would be both better suited to going against the dragon flame and more vulnerable to it. That would also bring back in some sort of dragon flame element without Valtor being a spark of the flame itself like in canon. So Valtor would gather the witches and attack Domino for personal revenge, with his focus being on ending the royal family, hence the way it all turned out with Daphne being a ghost, Oritel being a statue, Marion being sealed in his sword(?), and Bloom getting dumped out of a portal to spare her from the culling.

As for the wizards, I want them to be from Earth and for all their beef to be with Tir Na Og instead of just... all fairies, for no real reason. What I'm thinking is that Tir Na Og is the bridge between the Magic Dimension and Earth, so I take that to mean that Earth doesn't have any real magic of its own and what they have all comes from through Tir Na Og. Because of this imbalance that's so different from how the Magic Dimension is, that could put Earth-dwelling magic users in a position of power over non-magical people, and perhaps that all really starts with and is encouraged/exacerbated by the king and queen of the Earth fairies. I'm thinking it would be the sort of thing where they would've convinced all the non-magical people of Earth that they are deities of some kind and then abuse the shit out of the power and trust that gives them.

The wizards would've seen all the problems that would come with this abuse of power and would seek to destroy it. Knowing that all magic on Earth comes from Tir Na Og's connection to the Magic Dimension, they would decide to target Tir Na Og and take away the magic of all the magic users there before sealing the kingdom off from the Magic Dimension entirely. Their mission when they show up in s4 then becomes keeping Roxy from reconnecting Earth and the Magic Dimension and bringing back all the issues they originally sought to end.

Lastly, just to touch on Darkar, my main thing with him is that it really should be all about how he's the opposite of the dragon, so where the dragon flame creates, Darkar's shadows can only either mimic what already exists or destroy. Just as much as the creative nature of the dragon flame contributes to the dragon's desire to create, the nature of Darkar's powers contribute to his own desires to deceive and to destroy. It's not just that he's evil for the sake of it, he's evil to us because of the inherent nature of his magical abilities and how he himself is the living embodiment of what his powers represent, which I think adds sufficient depth for him to stop being so fucking boring. Also, Relix wouldn't just be the home of some McGuffin he's been chasing the whole time, I think it would actually be the resting place of the Great Dragon and his main goal would be the absolute destruction of everything (including himself) that could only be achieved by killing the dragon.

Thoughts? Feelings? Opinions? Should I go on and also dither on about villains from later seasons?