#because I see people saying things from one perspective

[mamayura]

Adrien not knowing what he wants

Hot take about Werepapas, I guess:

I actually like that Adrien said "I don't know" when asked what he wants/ who he wants to go with at the end of "Werepapas"

Cause the people who had to learn and come around in this episode's conflict were the ADULTS, not Adrien.

Adrien has already said that he isn't alone, he's living with Nathalie,

and Milly, too, acknowledged right away that Adrien has known her for most of his life so for Adrien she should count as more much than just an employee by now.

And he has not been trying to hide it whatsoever from Nathalie how much she means to him and that he wants to keep living with her. Literally the first thing we see in the episode's present time is Adrien running to Nathalie for comfort when hes crying over his dead mom, but she's pulling back so he does too eventually.

Marinette as pretty much unrelated main character doesnt know about this when she enters the conflict. Hence why she can effectively bring about development in Nathalie by challenging her long-established mind set and dynamic with Adrien due to Marinette's perspective adding a new angle and shacking things up:

Nathalie's inner conflict is one of my favourite things about the episode (and needs its own post if I get around to it), but for the context of this post, yes, she was the one who needed to come around. Not Adrien. He was already there from the get-go as we can see by him repeating the hug he started the episode with. Just now, Nathalie hugged back:

It was nice seeing Marinette help Nathalie take on her role in the end because Nathalie did the same thing Marinette did in Illustrhater for example. Acting like and saying things that eventually made Adrien accept that they don't want to be with him because, duh, that's now interactions work.

That's why he initially didn't say that he wants to stay with Nathalie in Paris when asked in the end. Nathalie too made him feel like he has to accept that that won't be an option, so he knew he had to decide between his grandparents:

The same Grandparents who had to come around in the end, too, and allow for Adrien to stay with Nathalie in Paris, even though both pairs of Grandparents are still the ones to officially hold the legal custody of Adrien (which I'm glad about that they did it like this and didn't bullshit some reason for Nathalie to get custody cause the episode is right, Nathalie has NO right to Adrien's custody whatsoever. They went with a very reasonable way to resolve this)

Its the ADULTS who had to come around. Not Adrien. Adrien already made it clear all episode what he wanted. But because all involved adults declared the outcome he wanted as a non-option, well, he honestly says that he doesn't know what else he wants (who he wants to go with).

And I- I just really like that Adrien was taking the situation serious enough to say "I don't know". That was very mature of him. To not just go with SOMETHING or go on about how unfair the situation is. Cause it definitely was, but this is a very serious legal matter that COULDN'T stay unresolved. He's an orphaned minor currently living alone with a person who's said to neither be an option as his guardian nor does she herself treat it like an option. This day COULDN'T end without at least some kind of temporary solution where he would stay now. It just couldn't.

I LIKE that he didn't repeat his denied desire that was already known to everyone around and instead seriously thought about the options he had.

I like that he loves and respects Nathalie enough to be the one person amongst Emilie, Gabriel, and now Marinette, too, who left the decision to HER if she wants to take on the position of his new mother:

As much as he wants to be with her, Adrien was characterized to understand that this is a massive thing to ask of Nathalie. He knows he means alot to her too but Nathalie was, by all accounts, objectively forced into this:

But especially by Emilie (look, I know she was literally dying slowly and painfully, I'm not judging her for wanting Adrien to be loved and taken care of. But I gotta ackowlegde that Emilie put alot on Nathalie without giving her a choice first):

In that regard I can't fault Nathalie for not having acted on her motherly feelings for Adrien and Emilie's last wish earlier than s5 (but God DAMN Nathalie, there is a difference between not doing it and actively making everything so much fucking worse!).

Adrien is the one person in this who respected how much was asked of Nathalie, so when she continuously acted like she didn't wanted to take on the role, he respected that. But this also means that the person who's responsible for Adrien coming to this "wrong" conclusion was Nathalie. Not Adrien. He's only acting accordingly to her actions and words:

So I like that Marinette got to help her in the end, because this is passive development that's very relevant to Marinette's character too. Even if I wished the show would hold Marinette to the same standards since both in Adrinette and especially Ladynoir Adrien gets mostly blamed for coming to the logical conclusions that Maribug doesn't like him or being with him in any way doesn't mean much to her because that's how she constantly acts like in almost every conflict ever. Over and over again. So I like that it was done properly this time around even if it's obvious that that was only possible because it was Nathalie and not Marinette.

And yes, I totally get not liking that Marinette is taking over the whole moment again. I'm not much of a fan of it either, to put it nicely. But it is wrong to say that Marinette is the one making the decision here and Adrien had no agency in deciding who he's staying with. Marinette is merely repeating old news she knows are true because that's what Adrien has been saying and acting like the whole episode and even already since season 5.

The decision was long made by Adrien. It were the adults who had to come around.

And beyond that,

I LIKE that Adrien said "I don't know" to the question which grandparents he wants to go with instead of the show having him make it all about his friends, girlfriend, or Ladybug. He only brings that up when he gets to stay:

Cause the question of where he would feel more at home and what is best for his future, when he has to completely start anew, is not just about his current friends, girlfriend, or his secret hero partner (who has made every precaution and decision possible to not actually have or need him in her life and job and he was made to accept that fully because that's her "rightful professionalism" same as killing your bf Ig)

I like that it was "I don't know" instead of "but my friends!", "but my girlfriend!", or "but I can't leave!".

Adrien saying "I don't know" means he thought of himself first and foremost and not everyone else:

I even like that "I don't know" means that he took the Graham de Vanilys into consideration despite how awful Emil was. Cause when the outcome Adrien WANTED (keeping his life in Paris by living with Nathalie) isn't an option, then he's perfectly in his right to not write off the possibilities he has with the Graham de Vanilys in London (and good heavens, I'm glad nothing ever brought up "but Chloé is in London! YIKES!").

I like that Adrien didnt write anything off when the decision was possibly about to change his whole future. Yes, saying "I dont know what I want" is a perfectly valid and even mature answer for a 14 year old orphan to give when they were JUST this day confronted with this situation that denied him the option he actually wanted:

And I also like that Marinette in the end didn't wasnt made to make Adrien's answer about herself in an usual moment of panic (in general, I truly LOVED how supportive Marinette was in Werepapas, even if the akuma battle incident is forever burnt in my love square heart in a very negative way. Yes, I think being willing to kill your boyfriend without trying any other solution first is bad, sue me ig. if that's what I'll be judged for, then I can live with it).

It is a far cry from Marinette in Representation for example being mostly written to make not getting to have her boyfriend near her out to be the biggest tragedy of Adrien being send to another country for good. I'm glad she got to be the supportive girlfriend for once instead of the show forcibly trying to falsely make her out to be the most important person affected by Adrien's tragic life. It was so refreshing and wonderful to watch Marinette getting to be in the lovingly supporting role of the relationship for a change, and it does WONDERS for her characterization.

While, of course, Marinette was motivated all episode to help Adrien not having to leave, when Adrien said "I don't know" Marinette knew that he's only taking the other options this seriously now because he can't have the option he actually wants.

She wasn't written to go into panic mode the second she heard Adrien NOT saying that staying in Paris is the most important thing on his mind. She knew the problem was laying elsewhere, even if I wished she hadnt made it abuut the Grandparents, but Adrien's right to CHOOSE (and yes, I'm fully aware that people will write this whole post off as salt because I didnt ignore or handwave away Marinette's consistent CANON characterization, even though that's not how salt works. I stand to what I said. More of Marinette as supportive girlfriend please, then we wouldnt have these problems)

I don't know how to end this with a nice little bow to wrap it up. I just REALLY like that Adrien said "I don't know", and how the episode treated the custody conflict for 95% of the plot which is very good for Miraculous.

[da-janela-lateral]

Mezato is a very intriguing person despite her position as a side character restricting the audience's knowledge on her, but there are some implications I have become very interested on.

During her conversation with Ritsu post-LOL Cult arc, she mentions something akin to "people really aren't born as equals", referring to how Mob is so disadvantaged compared to Ritsu even thought they're siblings. However, that also says a lot about her motivations. Mezato has two main reasons for organizing the Psycho Helmet Cult and trying to make it influent (with Mob's help as their messiah): 1) it sounded fun; and 2) she wanted to take part in such a massive event. Although the "fun" part can be attributed to the fact that well, she is a fourteen year old with a weird perspective, both motivations are directly associated to not only Mezato's passion, but her opinion on herself.

First of all, she becomes fixated on anything that appears worthy of her attention. It kickstarts her adventures as the school journalist, hunting for any kind of news that she believes to be interesting, and by that she doesn't mean "math class is cancelled": Mezato goes far beyond, from catching shoplifters red-handed to infiltrating a cult that supposedly brainwashes its members. It's clear that the mundane is not enough to her. Mezato wants the current biggest thing. This is one of the reasons she gets so interested in Mob, and being so obsessed with the worldchanging, Mezato cannot bring herself to care as much about the common, the mundane. This way, she can only see entertainment, or better put, value, in what stands out.

Equally, Mezato wants to participate in something she sees as 'big'. Being someone who is so attracted to the flashiest parts of reality, she wants to have an active, direct role regarding them. It makes her feel entertained. It makes her feel fulfilled. It makes her feel special, most of all, because even being in the Biggest Thing's shadow removes her from the condition of banality she disdains so much. That's what makes the Psycho Helmet Cult sound like such an excelent idea, as hollow and uncritical it could be.

But what does these beliefs say about Mezato? Simple. Mezato doesn't think she can be interesting or valuable by herself. She is not shown as pretty, or academically gifted, or athletic. She doesn't appear to have friends. She doesn't even have an ability with the occult like Mob does. Mezato is a normal, lonely girl who has no other excuse to be noticed besides her imprudent detective work, but worse than that, she thinks she can't change. Mezato will never be attention-worthy as herself, so she appeals to inserting herself in whatever interesting thing she finds in the hope that it'll make her Someone by association. She could be a loser, a nobody, but at least she helped build something that is wonderful, and that is the closest she can get to being important.

Her interests and achievements, in this sense, are more like an extension of herself than a result of her passion. A passion that isn't understood by anyone else. A passion that others ignore and are annoyed at, which only reinforces her loneliness and her obsession with chasing after Big Things. If she succeeds, she will finally have a part of herself she can be proud of. After all, there are a hundred wonders in the world with the potential to change everything; there is only one Ichi Mezato and she can never be like them.

[auraee]

This maybe potentially controversial, but I’m choosing not to take part in the Lnd boycott. My reason behind this is as a poc fan of the game with criticisms towards the very same game, whenever someone like me speaks out on this various issues regarding the fandom (the racism and colourism) and the company itself, we get ignored, blown over, pushed aside, told that it’s not that serious, and told that we’re lucky that we even get to PLAY the game.

Lnd is a game that’s accessible to EVERYONE. The very least they could is people of colour to be able to self-insert and immerse themselves fully. And Infold hasn’t even done that fully. It’s not right that you lot tell us that we should consider ourselves “lucky.”

Not only that, but I’ve also noticed the obvious difference in engagement between black/brown content and white content. For a fandom that claims to be lovely and peaceful you can tell there’s distain. We get a fraction of the engagement that white fans get and that much is obvious. With that being said you want us to support you with this boycott? Nope, count me out.

We’ve been pleading to have our, frankly , more serious issues acknowledged for aeons only to receive crumbs and you expect us to bend over backwards and help out? No.

Is the fact that it’s increasingly harder to be f2p? Sure. Is Sylus being tried unfairly? Potentially yes. Is the fact that there’s no option for curly coily hairstyles for poc to use horrible? Obviously. Does it suck that there’s only one body type? Also yes. Is it weird that there’s no diversity amongst the npcs in Lnd’s world? Definitely.

I’ll only consider it fair when ALL issues and acknowledged and acted upon. Not just some, just because it doesn’t affect YOU personally.

Edit- I’d also like to add that the guys who also play the game had a right to want a male MC. Again, they should be able to express themselves and their frustrations, without being told to “stop complaining” or to “not play the game.” The same issue occurs when some problems are acknowledged because it is convenient for a prominent group in the fandom and not everyone else when it should be everyone.

Edit 2 - I've also had another thought. I think the reason why people have been saying Westerners are entitled is because it comes from a mindset of having everything catered to them from baseline. Do you have white skin and straight hair? Well, you can find that in customisations in every game. You've never had to reach out or felt uncomfortable about being unable to express yourself in customisable games. However, if someone with coily hair comes along and asks for options to include them as well, it's now viewed as an entitlement. That we're suddenly demanding too much. I don't think asking a company that makes an obscene amount of money off of their audience and who's catering to the same audience, for additional hairstyles and body sizes. I think it's because those who are in the default category (except for a few) simply can't fathom not being included in things. They literally can't or refuse to even attempt to see things from another's perspective and likely don't care for those who are constantly excluded. Which is why they create excuses for these companies.

[waifuoftomonori]

I'm gonna have to say no, because 3 of the 4 are unfinished (and one of them is quite far from being finished), and that might frustrate Tomonori. He's a perfectionist who tends to apply his own rigorous standards to the majority of people. I also tend to wax verbose in my writing, and considering he writes tanka as a hobby, he might not approve of my style. Content-wise, he'd like the ones centered on him and Shiki, although he'd be annoyed by my lack of knowledge of Go and my anachronistic, not-very-funny, possibly not-translated-well pun. I don't know if he'd like the tanka I wrote from his perspective. I want to say he'd agree with the message, but he might think my execution was sloppy or a bit too blatant. He would react to "Taming of the Ox" with shock, embarrassment, amusement, possibly arousal (though that could be my bias speaking), hurt, and disappointment, in that approximate order. (Embarrassment might make a comeback throughout.) He'd like that I made him the Dominant and had him emotionally torment Akifusa throughout the scene, but after the first couple chapters he might be slightly wounded or self-conscious that he comes off as a jerk because that fic doesn't do a great job showcasing the kinder side of his character. He'd probably criticize my lack of clarity involving a certain revelation later in the fic (I'll leave it unspoiled), and he'd be disappointed that it doesn't really go anywhere, plot-wise. (I think he would read the whole thing and convince himself he just wanted to see how bad it could get, but he'd be secretly intrigued by the premise, even though he'd probably think it was poorly written.) Now, I'm very intrigued to know how he'd react to Aki After Tentacles, even though that's not AO3-ready yet. I hope he'd at least approve of my portrayal of his character, but it's hard to say. ...God, this is hard when I'm the only person who has any fics posted on AO3 about him, so of course I'm biased.

This request was sent to us and we made a poll in response to it. Send any Blorbo-related question you want to our inbox and we’ll make a poll on which people can vote with their own Blorbos in minds

[sorry-not-feeling-it-right-now]

Since you've done Smitten, I'd love to see Damsel for the character meme!

(Ahhhh Damsel… my sweet girl…)

(Can’t believe I went from seeing her as a flat character to relating to her… she’s my pookie…)

(Ask game below!!! As always, excuse my formatting)

(And as usual, it’s getting longer than I’ve expected, soooo I’m just gonna put a cut somewhere)

FAVORITE THING ABOUT THEM

Honestly I think she’s so funny for no reason and I lowkey love that for her. Her preppy personality is honestly kind of endearing once you get through and understood her character. To think I once thought it was creepy…

The fact that she remains preppy is honestly kind of amazing considering what she had went through. She must have been so scared and yet she continues on with a smile anyway.

Her way of coping through pleasing people is also really relatable for me. I’m kind of a people pleaser myself, so I really saw bits of myself in her. I really want to see her grow into something more, and maybe she will get her growth of change through HEA(or at least take advice from her experiences).

Speaking of, I really like the transition from her to HEA. Like her shock when Smitten rips out our heart and shows it to her when she says that she wants to leave is probably such a shocking moment for her. She probably never expected that from you. Also. Parallel with Nightmare showing her heart to you. Oughhhh so good.

LEAST FAVORITE THING ABOUT THEM

In the words of Smitten:

“She is gorgeous! Absolutely Devine!”

(There is none /j)

Ok but seriously it’s probably her inability to say “no”. (Again, this is out of love for her!!!!)

I see a lot of myself in her, so her inability to say no just resonates with me since I used to have that difficulty as well. Damsel simply doesn’t know how to say no, as it wasn’t in her own nature to do so. But with that inability also hurts her and her inner self, which makes her kind of a doormat. I really don’t want her to be stepped all over, so this is for your own good Damsel!!! Protect yourself!!!! DON’T FEEL BAD ABOUT SAYING NO!!!

FAVORITE LINE

“I’m gonna die now ^^ I think that’s what you want :3”

GIRL YOU’RE DYINGGGGG

(The game is funnier then I remember what the hell)

BROtp

Oooooo there are a lot of good options for this actually, I don’t think I could just choose a couple of them

Damsel and Prisoner is a classic. I could imagine Damsel being really naive about the darker and grittier stuff and Prisoner had to teach her to protect herself from the horrors because Pris knows that the world is not as innocent as Damsel believes it to be. I can see Pris being a bit protective over her.

Damsel and Witch is another fun one. Damsel’s naive and trusting nature versus the creature who lies and does a little trickery.

OK WAIT I JUST THOUGHT OF SOMETHING

Damsel and the Cat princesses. Disney Princess and creatur. Holy sh!t.

OTP

I’m starting to fw her with Stranger or Witch as a pairing. I can see the vision.

Stranger cause she is many perspectives at once, while Damsel is, at least on the surface, a flat character fully embracing her role as the damsel in distress. Stranger would be such a comforting presence for Damsel, as she would gently guide her to be more than who she already is. While Damsel, due to her nature, would try and make Stranger happy and please her. She then realises that she doesn’t need to please her since she already loves her unconditionally. It’s just. So fluffy ok.

Damsel and Witch is an interesting one, cause Damsel is basically Witch but if she hadn’t been betrayed. Witch would see her old self in her, and in turn she would teach Damsel to protect herself. Damsel teaches Witch to trust and love herself again. Just. Oughhhh…

NOtp

She and Smitten. I forgot to say this in the Smitten post but. I love y’all individually but get them far away from each other 😭😭

As hilariously sweet these two are together they are literally two people pleasers being put in a room together. Their happiness and emotional stability is fully based on the other’s happiness. They can’t exactly grow from their experiences during their time together and they’re just gonna make each other worse. At least to me.

“But at least they’re happy right???” Oh just you wait when they get themself into a long term relationship. It’s really fricking tiring.

Ik they’re not people so it really doesn’t matter too much on whether it’s an endless loop of trying to make the other happy, but, y’know.

RANDOM HEADCANON

It’s not really a headcanon as it’s heavily implied, but I feel like Damsel would probably be the only one who can’t fight (or at least unwilling to). Like, at all. She has strength yes but she is also really hesitant to use that strength considering that the last time she used her strength it had cost the life of a person she cared for. I feel like if a person she really care for told her to do something like hurting someone else, she would definitely be unwilling to, but would do it anyway because she just doesn’t want the other person to hate her. It would definitely traumatise her further though.

And yes. She does talk to animals like a Disney princess. I just thought it would be funny.

UNPOPULAR OPINION

People often see her as an airhead but I feel she is smarter than we think she is. Or well, not a complete idiot I mean. She seems to be nudging the player to continue believing that as long as they think is possible, then it’s possible. She does have a bit of a grip on how the construct seems to be forcing you to do something that you don’t want to do, and so she acts the way that she is by nudging you to believe that you can best the construct. Kind of like how Prisoner tries to nudge you into getting her memo. Burned Grey kinda reveals that she does know(or had assumed) that the construct is forcing them to hurt each other, so I supposed that is basically confirmed? I dunno

(Feel free to correct me though)

SONG I ASSOCIATE WITH THEM

I don’t have a song that I associate with her unfortunately 😭

At least not at the top of my head…

FAVOURITE PICTURE OF THEM

Determined Damsel!!!

Drew her while reading a fluffy fic teehee

[thewadapan]

School Days review

Yeah, School Days is actually pretty good after all.

When you google "School Days", on the first page of results there's a reddit thread asking "hey, why do people hate this show?" OP gives a succinct summary of the show's themes and praises it for its tight focus and psychological depth.

The comments in that thread are fucking crazy. The top-voted comment includes this absolute gem: "Sekai is an emotionally manipulative bitch". Some users gesture towards a faint understanding that School Days is a deconstruction of harem anime, but almost to a one they claim the character writing is unrealistic. Nobody seems able to look past the show's metatextual meaning to just look at it on a straightup subtextual level—that is to say, it's not just being different to other anime for the sake of contrarianism, it's making a serious point about misogyny and toxic masculinity. Describing Makoto as a "character" at all is almost missing the point; he's practically a force of nature, and the vast majority of the show is concerned with the psychological manoeuvring of the girls in his class trying to manage and shape his behaviour.

I only know about School Days because @weaselandfriends is constantly banging a drum about it being a secret masterpiece. Gee, I wonder who the OP of that thread was! Cannot imagine being on a "School Days slaps" grindset for eight fucking years now.

(CW: discussion of underage sex, full spoilers follow)

I'm going to take a cowardly centrist route and say that School Days does in fact slap on a conceptual level, but that the execution in many places leaves a bit to be desired. It often feels repetitive. I watched the thing on 1.5x speed because, as someone who reads fast, watching subbed anime is like watching paint dry. The dialogue often feels awkward (unintentionally so, as in), which I'm willing to partially chalk up to the translation; maybe some of the clunkier lines feel more natural in the original Japanese. The imagery is often kind of laughably blunt: in some cases it works, like Kotonoha's red yarn like she's pulling her own fucking arteries out of her body, and in other cases it feels derivative and hackneyed, like the whistling kettle in the final episode. Maybe that was more original in 2007, I don't know—I would've seen the same thing in Harry Potter and the Goblet of Fire two years prior.

School Days does set out to pull the wool over the eyes of its presumably-mostly-young-men audience, by putting them in Makoto's POV. The show is adapted from an eroge, where the player literally would have inhabited Makoto and made his choices for him, and the "objective" of the game would have been to unlock sex scenes with all the schoolgirls. The trick with the anime is that it removes the possibility of choice, creating an impactful dissonance as Makoto's actions become increasingly alien and harmful. Inversely, as Makoto's sexual exploits escalate, we see less and less of them; by the end, the whole thing is routine, not eroticised in the slightest, we see people putting clothes on afterwards, sneaking around darkened rooms.

At the start, though, it's all panty shots and boobs. And like, how do you depict the objectification of women, from an internal perspective, without just... objectifying women? This has basically always been the classic problem with satire. If there is a way of doing it, School Days hasn't figured it out, so it just rolls up its sleeves and gets on with it. Where School Days stumbles, in my opinion, is that the fanservice shots leak out of Makoto's POV and into the scenes where it's just the girls on their own. Nevertheless, I think that even pretty early on School Days is unmistakably saying, "this is a bad thing". There's a discordant note to everything, a threat of another shoe waiting to drop. At the start, it takes the form of these innocuous remarks as the characters try to interact in good faith: Sekai is constantly like, "There's nothing wrong with feeling attracted to a girl! But maybe she doesn't feel comfortable with it! Have you thought about how she might feel?"

That's the great tension of Sekai, and indeed of much of the show's conflict: there is a world where Makoto and Sekai are just friends, and where Makoto is faithful to Kotonoha, and everyone lives happily ever after. Maybe Sekai really is earnestly trying to cross this gulf between genders, and wants to just make Makoto understand, so everyone can be happy. But from the start, there's a question of Sekai's motives; embodied by Sekai's friend Setsuna, who trails after her constantly asking, "But do you like him really?"

Setsuna is an interesting character with her own motives. There's a reading where she has a crush on Sekai, but can't pursue it because of her family's impending emigration; she ends up hanging around Makoto and desperately attempting to protect him from the consequences of his actions to preserve his relationship with Sekai, expressly stating that she wants Makoto to be a proxy for her after she's gone (though leaving any romantic feelings unspoken, that's just my interpretation). This escalates to the point of her having sex with Makoto on the condition that he breaks off another engagement with Otome, which is such a self-defeatingly doomed gambit that it becomes tragically clear Setsuna has lost all control over the situation. I got the impression that Setsuna somewhat envied the other girls' entanglements with Makoto: the bit where she kisses him while he's asleep, in an attempt to create a personal memory before she leaves forever, is haunting. Like Sekai, Setsuna ends up manufacturing a romance between herself and Makoto as a way to be with him "by proxy", without earnestly confronting her own feelings.

Anyway, my point is that early on, everyone is treating Makoto like a person, which is sort of their mistake. They're like, oh, a boy with a crush, how cute! What's the worst that could come of this? He's a bit clumsy, but I'm sure he means well! And progressively, mercilessly, the show is like: no, he does not mean well. This dude has absolutely nothing in his life except sex. Girls only exist to him as people to have sex with. Guys practically don't exist, as he can't have sex with them. And for these teenagers who are discovering their sexuality, the very fact that Makoto soon starts having these rumours circulating around him is what gives him some allure: he's a sexual entity, he can be thought of in that way, there must be some reason all these girls are acting so crazy over him. Even a character like Hikari, who early on was crushing heavily on the anime's one (1) other male character, Taisuke, ends up taking her turn with Makoto; whatever feelings she had for Taisuke are forgotten, the anime doesn't even bother establishing how that romance works, because it doesn't need to, we've already seen Makoto use his exact same wiles on like three girls already.

School Days has aged well not just because the years since have yielded a better cultural understanding of its subject matter, but for its "production design": what would have been a timely present-day setting at the point of its release ends up turning the whole thing into an early-2000s period-piece. The fashion and environments are distinctly noughties. Perhaps the most consistent bit of visual symbolism in the whole thing is the flip-phone: whenever a character is holding their phone, you can think of them holding their heart in their hands. They're like the fucking soul gems from Madoka Magica. Sometimes, people leave their hearts in the other room, or block each others' hearts, or search their hearts for good memories. The "cell phone charm" from the first episode is brought up towards the very end, seeming bitterly quaint in retrospect. Right before she kills him, Sekai sends Makoto a text which just reads "sorry" copied and pasted hundreds of times. And of course, the ED shows a propped-open cellphone with a slideshow of photos of the girls.

I think in terms of its place in history, School Days speaks to this information age where young girls are being bombarded with cultural messaging that the best way to get ahead is to sexualise oneself while simultaneously slamming everyone else for their sexuality. Girls aren't just competing with one another for the attention of boys; now, they're competing with online pornography. Sekai works as a waitress at a maid cafe (?), and sometimes wears the outfit for Makoto when they have sex. During the School Festival, the girls theme their class as a maid cafe (drawing on Sekai's experience, I think?), and are shown using "absolute territory" as a last-ditch resort to steal people from the other classes. As part of the festival, they have a secluded area curtained off with a bed, encouraging couples to go there for sex acts—but later, it turns out some of the girls have set up a camcorder, and they use the footage to reveal how everyone is cheating on everyone else. While the exact events are obviously taken to an extreme, subtextually everything in School Days tracks 100% with my own experience growing up in a Bri'ish high school, and it feels like things have only gotten worse since social media really tightened its grip on our society.

The most common talking point I see regarding this show is that the characters are "stupid". And it's like, no, they're not stupid, what planet are you on, they're fucking children! (They're children, fucking!) Most of them have probably never been in a relationship before! Everyone in the show is pursuing their own interests; it's just that often, they're in denial about the reality of the situation, because to acknowledge the reality would run against those interests. It's funny, Makoto hardly changes his behaviour throughout the whole show—it just becomes more extreme—but the only thing that affects whether or not his behaviour with Sekai is good or not is whether or not Kotonoha is his girlfriend. The use of "girlfriend" as a role is weaponised by both Kotonoha and Sekai against the other constantly; like declaring "you're It!" At once point while cooking for the school festival, Makoto starts groping Sekai's ass, and she goes, "Geez, stop it! Stop it I said! What'll you do if someone sees us?", only for Makoto to reply, "Then it's okay if no-one sees us?"; this motif of a private sin recurs with Setsuna's character, particularly in the masked play that crops up a couple of times. In what context is an act of desire okay, or not okay?

Halfway through the show, I remembered Emily is Away, a short Western indie visual novel. Released in 2015, Emily is Away is very consciously an early-2000s period piece, wearing the whole time period as an affectation. The whole game is a series of text conversations on an IM client with a girl; after key choices, you are told "emily will remember that".

I fucking hated Emily is Away when I played it. It made me so, so cross. Because after I finished my first playthrough, and got a miserable, unsatisfying end, I naturally started the whole thing over and tried again. I picked different favourite bands. I acted completely differently. And yet, no matter what I picked, during the timeskips between sections, my viewpoint character would do the exact same shit and the relationship fell apart in exactly the same way. The second playthrough was a complete waste of time. It seemed like I, the player, was being railroaded, that the writer simply hadn't the imagination to conceive of a truly interactive narrative with a wildly diverging chain of events.

But of course, that's the whole point, obviously. Emily is Away plays a mean trick on the player, where it outright lies that "you" are making meaningful choices, when in fact "you" are merely spectating the actions of the viewpoint character, a specific guy who is, by nature, a certain way. It posits that all this shit on the computer just doesn't fucking matter, it has nothing to do with how we feel about each other, that it's only our actions in the real world that matter. The thesis of Emily is Away is that sometimes, for some immutable reason, shit just doesn't work out between two people, and there's nothing you could have done differently that would have changed that.

In the timeline where you go the party, you regret going to the party. In the timeline where you don't go, you regret not going. So, the game says, what's the point in regretting at all?

I totally understood this, after finishing the game. But, fuck, I was still pissed about it. The game lied to my face. It put me in the position of being a shitty person, and I didn't like that. It left a bad taste in my mouth. I'm still not sure if Emily is Away is actually any good; I think I like it conceptually, but maybe the writing sucks, I played it eight years ago. My point is that I think School Days is trying to pull the same trick as this one game, but in a much more mean-spirited way, to much more devastating effect, and I suppose I can't be too surprised that it pissed off a lot of people. If I hadn't known upfront what to expect- well, I wouldn't be watching ecchi anime in the first place, but you get the point, maybe I would've been pissed too.

If you break out of the "anime" mindset for even a second, and allow yourself to think that what you're watching is a frank portrayal of events, rather than some hyperreal cartoon, then Makoto is obviously just a little sexual predator. He's constantly pushing the girls past their limits, groping tits, going in for kisses, often against their express wishes. He initiates all the sex we see, and while in a certain sense it's all consensual, everyone involved is under the age of consent, and the show is making a very strong case for why underaged sex is a problem. When Sekai gets pregnant, Makoto wants nothing to do with her—"It's not my fault!"—but it's made clear he wasn't using any contraception, so, c'mon.

School Days is very deliberate in omitting adult characters entirely. Teachers mostly exist in the form of textbooks being read offscreen. I think we get a line of dialogue from Sekai's mom, if I remember right? It presents this world where Makoto basically has free reign to do whatever he wants to the girls, and everybody knows about it, but nobody is doing anything about it. When Sekai murders Makoto, there isn't a scene where anyone notices his absence, finds out. Kotonoha carries his severed head across town without anyone noticing, kills Sekai, and makes it onto the boat without getting caught. The show ends on a montage of idyllic school scenes, as if to say, "nobody noticed, everything just carried on". And again, to a certain kind of guy, I think this would stretch plausibility to the point of causing offence. For me, I think it's speaking to something very real.

Makoto's bedroom is barren except for his computer and magazines: porn, and porn. In the back half of the show, the void left by the absence of adults is filled by Makoto, Sekai, and Kotonoha, who are thrust into this horrible domestic drama, as everyone else in their class blocks Makoto. Makoto relays Kotonoha's recommendation for an abortion clinic to Sekai. He and Sekai sit diagonally across a table in a living room, and suddenly Makoto's school uniform looks like a salaryman's suit, a size too big for him, like he's walking around in his dad's clothes. Sekai tries to prepare a big meal for him, in a fucked-up parody of domesticity, but ends up destroying the whole thing after Makoto spits in her face yet again; later, she sees the remnants in the trash, an uneaten chicken leg poking out, and sees a little of herself in there, and that's basically when she decides to take the knife and kill Makoto. She stabs him in the belly, which is what Kotonoha will later do to her; both are imitating the original sin of the pregnancy.

Kotonoha explicitly chooses to kill Sekai this way because she believes Sekai is lying about the pregnancy—which we can pretty safely say isn't true, based on the scenes where Sekai is on her own. There's this horrible, horrible shot where the camera is looking out at Kotonoha from inside the gut wound, and she observes, "Just as I thought. There's no-one in there." And it's like, is she talking about this baby, still so early in the gestation that it's scarcely even an idea? Is she talking about Sekai, or Makoto, these two people who turned out not to care about her at all? Or is she peering straight through the screen at the viewer, complicit in this atrocity? The shot mirrors the bag containing Makoto's head earlier in the same scene; when Sekai unzips it, the inside is just a black void, and we aren't shown the contents. It's honestly more unsettling to infer it—that bag's not big enough for all of Makoto—and have it "made real" by that final shot of Kotonoha pressing the severed head into her chest on the boat. The memes were more right than they knew: "Nice boat."

Overall, I think School Days extends a lot of empathy towards its female characters. Or, if nothing else, it takes care to give them complex and distinctive internality, which is more than I can say for a lot of anime. Kotonoha initially represses her feelings for Makoto, and then when she feels pressured into reciprocating his intimacy, she soon gets turned into a social pariah for it. Early on, there's this eye-roll-inducing scene where Kotonoha is like "the other girls used to make fun of me because of my huge boobs", and from Makoto's perspective it's like "great, you've got huge boobs!", but then from Kotonoha's perspective, she spends the whole show getting slut-shamed, doesn't she? As a coping mechanism, she builds up elaborate delusions around Makoto—Makoto wouldn't let this happen to her, would he!?—which make it impossible for her to see how he's harming Sekai at the same time, culminating in the "I think you've made up your pregnancy for attention" beat. Their own internalised misogyny prevents the girls from identifying their common enemy.

If I'm being totally blunt, I feel like I can pretty safely put most of the comments regarding School Days I've seen online into a big bucket labelled "HAS NEVER HAD MORE THAN ONE GIRL INTERESTED IN HIM AT ONCE". Like, "I can't believe this Makoto guy! Why doesn't he just dump Kotonoha and date Sekai, who he's obviously more compatible with?" Bucket. "Makoto is so spineless and needs to stop letting these girls manipulate him!" Bucket. "There's no way the teachers would let him get away with this!" Bucket. "What do these girls see in Makoto anyway?" Bucket. "Sekai is such a bitch!" A new, bigger bucket labelled "NO BITCHES".

What I'm interested in is takes from School Days haters who aren't brainpoisoned anime fans, who might even nod along to all my analysis of the show's themes here, but who nevertheless think it's a bad show that deserves to be reviled. What part didn't you like? Is it the part in the OP where you see every female character naked one after the other? Yeah that part's pretty bad. Is it that windowpane-shattering digital transition that gets used once or twice? Is it the utter self-seriousness with which it tackles its ludicrous melodrama? I can see how, if you don't let yourself start to think "oh, those poor girls!", if you don't have that emotional buy-in, the whole thing might just feel comically edgy, sophomoric. I don't think there's any level on which School Days is fun to watch, and I'm not saying it's a secret masterpiece either, but I guess it more-or-less landed for me.

[velvetvexations]

one of the wild things for me, just from my perspective, about the whole "male/female socialization" discussion is the extent to which it applies outside of "bio sex" too, and the fact that it is applied outside of that might be where some TRFs have gotten it in their heads that all trans women are secretly seen as women

speaking from my own experience as someone who was afab but spent my early childhood as a "genderweird girl" (tomboy to the nines, became a trans man in adulthood, etc) is the extent to which i was simultaneously punished for not doing Girl right, but also because i was a tomboy i was expected to still adhere to masculinity in a "correct" away among those who DID accept me as a tomboy. if i, as a tomboy, had "girly interests" my more tomboy or boy peers would react with a "Ugh that's so gay" and i have actually been called a faggot for it, disparaged for it, made to feel shame over it, etc, despite having been afab and identified as a girl at the time. like, generally people absolutely didn't like that i was a masculine girl, but those who "accepted" that i was got mad when i didn't do masculine right either and would disparage me for being faggoty. and when i did show interest in other boys, that was unacceptable and invasive only in a way where if i'd been a gay boy. though at the same time i certainly wasn't encouraged to be a dyke either. and throughout it all i experienced constant misogyny and have had horrible misogynistic violence inflicted on me. but also androphobic violence?

to add onto that, i know of those who grew up as masculine girls who were raised with expectations of toxic masculinity rather than femininity, because they were tall, strong, broad, "boyish", "naturally masculine", etc., and they're disparaged if they seek out femininity

and then on the flip side you have boys who grow up feminine or at the very least genderweird and especially as they socialize more with girls, they are to uphold expectations of femininity in those spaces while still being disparaged for not doing boy right. but as a Feminine Boy if they do masculine things, they are outcast by those who "accepted" them as feminine. sure the "mean girl catty gay twink" is a stereotype that is applied harmfully but not one without basis in reality, and when as men they are cruel they are cruel in ways often attributed to the feminine or to women, and these men also often experience misogyny from their peers in some way or another

this is why we really need to take seriously the idea that anyone can be subjected to transmisogyny and transandrophobia (and exorsexism!), because we see it all over the place in the earliest stages of child socialization and applied in ways that defy biological sex even

i think what happens is that people are classed along gendered lines for both biological sex reasons and for secondary characteristic reasons.

"if you are a big broad girl you have failed at being a girl for being big and broad and we will never let you live that down but you best never try to access femininity because what you are defies what i think is feminine and what feminine should be. so you better be big and broad and strong and not cry and not wear dresses"

and "if you are a small weak boy you have failed at being a boy for being small and weak and we will never let you live that down and whenever you try to access masculinity we will disparage you and hurt you and treat you as lesser for it and someone as small and weak and non threatening as you cannot be a real man because it defies what i think are real men"

as far as trans people are concerned there are trans people who were gender conforming before transition and those were not gender conforming, and so we have such wildly different experiences coming into the trans discussion, which is heavily treated like we need a one size fits all definition of The Trans Experience

idk it feels clunky to say there is "masculine socialization" and "feminine socialization" (without just creating a Second Binary) and these can be applied regardless of agab while people are still punished for not adhering to the expectations of their agab, but i have no other way to describe it. just that i think we need to discuss it more because it is so much more complex than we're currently allowing into the discussion

Yeah, exactly, either AGAB can be socialized either way, or neither. TRFs just assume that anyone who says "male socialization" must be trying to say all trans women were male socialized because they know TERFs say that and they haven't bothered to read anything beyond that.

[breathinginsulfur]

(Opinion) stolas hate is based on fandom misinterpretations and not the actual show because when the fuck does he act like a “baby”??

Stolas is probably the most over-hated character in all of helluva boss. And some of the downright incorrect statements i’ve seen about stolitz drive me insane

Despite his childhood abuse, neglect and forced marriage, stolas has always been privileged. He’s set for life with wealth, has butlers and staff who feed him and care for him, and can freely travel through the human realm with no legal issues. Obviously, he’s going to have a skewed perspective on life.

Because of his forced marriage and parental neglect, stolas has never really known what love is meant to be. His father didn’t know his name because he’s a king who has a shit ton of children. Stella never loved him, and he never loved stella. They were only married to have an heir. Stolas has an over-dramatized and romanticized interpretation of love, which i think is where the ‘baby’ misinterpretation roots from. Blitzo didn’t want to fuck him, all he wanted was the grimoire. But stolas didn’t realize this and genuinely believed that his first ever friend was the one who wanted him the most. Can you see how this would fuel his romantic dreams further?

Stolas, to me, was always in love with blitzo. And (hot take incoming) did not look down on him. “But charlie, what about when he said ___?” We can go through all the quotes that supposedly look down on blitzo and i can give my reasoning as to why i dont think he sees him as lesser. Stolas has grown up with imps his whole life (butlers), and it can be argued that these staff had a closer connection to him than his own family. He’s taught to view imps as lesser, as in the hierarchy they literally are, but stolas has no issue with interacting with imps and, of course, letting an imp have intercourse with him. If stolas truly looked down on imps the way people act like he does, he’d interact with blitzo in a COMPLETELY different way. As in, he wouldn’t even treat blitzo like a human. Stolas loves blitzo so much he want to be his partner.

I will say, Hierarchy is a major theme in helluva boss with several callouts to how the ones who are higher up mistreat the lower class. Just look at mastermind. Satan doesn’t let blitzo speak. But andrealphus is allowed to talk as long as he wants. Blitzo would’ve been killed for using the grimoire, but stolas just gets a punishment. Because verbatim “your life has actual value!” It’s such an interesting theme that does not nearly get as much praise as it deserves

Another huge misinterpretation with helluva boss i see is that people think the show is trying to normalize cheating. And i’ll be honest, i can kind of see how this misinterpretation happens. As much as i adore this show, there are some writing flaws.

In my opinion, helluva boss is not trying to encourage cheating on your partners. It’s trying to show you that it’s okay to leave your abusive relationships to better your life. I may talk about this a different time because this post is mainly about stolas but god i love analyzing this show so much i just go on so many tangents.

Of course, stolas’ love for blitzo pisses of Stella. Not because stella actually loves stolas, but because she is proud to be a goetia and wants to uphold her royal, priviliged status and sees stolas as an insult to the goetic line. Her and Andrealphus’s motivation is to uphold goetia standards no matter how corrupt they truly are. They’re rich people. THEY are the ones who see imps as lesser.

THERE IS SO MUCH MORE I CAN GO INTO. How this affects Octavia and why she is justifiably upset at stolas, blitzo’s perspective, themes of the show, etc. if you wanna see my takes on these things LMK!!! I love this show dearly

If you want to counter my interpretation you’re welcome to do so, however please only do it if you’re wanting to do an actual discussion and not just trying to be rude. Some of y’all are so fucking rude to the people who like the show it’s crazy. Just be respectful and i’ll talk to you.

[leonawriter]

I have another (bigger) post in the works, but the concept and argument of "Would things have gone better if Angela had been allowed to be kind to the Sephirah?" keeps sticking in my head, because I have my own arguments against it based on the setting and the concept of the Seed of Light Scenario.

(Post has spoilers for the end LobCorp/LoR.)

Thing is, going through Angela's memories in LoR makes what she went through seem unreasonable. Which I think it's supposed to, since you're seeing things from her biased perspective. It's also fair to show her perspective; she's the main character of her game, and as she herself points out, she's the only one who didn't get her own catharsis and conclusion from Lobotomy Corporation (an argument can also be made for Ayin himself not having a perfect conclusion, but that's for another time, and other people have talked on it).

The problem with Angela being able to simply be kind the way she wanted to at the start lies purely and solely in the very nature of the Seed of Light, and also in the tagline of the Corporation/game itself:

Face the Fear, Build the Future.

In order for each of the Sephirah to "Face their Fear," each one has to break the veneer of their shell, have their meltdown, and air their ugliest thoughts.

In other words.... the selves that they have as Sephirah - Gabriel vs. Yesod, Daniel vs. Chesed, for example - are masks for their insecurities and traumas. "In the past, [x trait] caused me to fail, therefore I will have nothing to do with that trait and be better that way."

In that sense, Angela encouraging them to be the best that they can be as Sephirah is encouraging them to remain happily in their own masks, not requiring them to take said masks off, and in theory things could remain the way they are like that in perpetuity (ironically, much like Hokma wanted in his meltdown).

Sure, they'd get what they want... but would they be getting what they need?

Answer says No, Not Really. With a loud buzzer. And flashing lights.

Because what was that tagline again?

Face the Fear, Build the Future.

In order to face the fear, you have to accept that it exists in the first place. The first step to solving your problems is to recognise them.

You have to, quite literally, face your fears. The Sephirah had to each face the fact that they were running away from their problems.

Only by remembering who they were (in the correct way) and allowing them to process the grief, despair, rage, and turmoil of their past selves could they hope to accept that fully, and to build themselves into better versions of who they are, starting from that moment on.

It's pretty much a certainty that Ayin, who studied the brain, who almost certainly knew a lot about psychology, and who would have listened to the specialities of the others, would have had all of this in mind while writing the Script.

So like... yeah. Yeah, it IS cruel to Angela. Unconscionably cruel!

Personally I abide by this being part of the reason (much like how he couldn't face the others while they were dying) why he could never look at Angela the way she wanted him to; much like with them, he could see the suffering she was going [to] go through, and couldn't face her.

All of which is the reason why Library of Ruina was necessary for her own character development. She is justifiably upset over never having been given the same catharsis in Lobotomy Corporation - but with how much anger she has at Ayin, would she have accepted him trying to help her? No matter how different she could tell that he had become? I highly doubt it.

I think that it's only because she herself had, by the end, gone through an arc similar to Ayin's, where she (knowingly or not) follows the footsteps of both of her "parents" that she's able to hear Ayin saying "I'm sorry, and good job" at all. She's reached a point where she's able to see more of who Carmen truly is (a bad influence) and who Ayin was outside of some of her own biases (even if she hasn't forgiven him).

[sombra-conlangs]

Conlang year 2025 · Day 1 - 4

I decided to try out @quothalinguist's conlang year, it is basically a series of daily prompts that guide you through the process of creating a new language, by the end of the year you will end up with a conlang that is developed enough to participate in relays and lexember, you can find it on quothalinguist.com

It looks like conlang year is mostly geared towards creating languages that are naturalistic and evolved from a proto-language, and the concept I have for this is not going to really fit into that, you'll see why once I start describing it, but I don't imagine that'll be too much of an issue, it's still useful to have a guide for the different aspects of the language I should focus on. I'll try to adapt the prompts to work with my idea and I guess I'll skip the ones that I can't figure out how to adapt.

I'll be combining many prompts together into single posts for convenience, I'll tag these posts as both #Conlang year and #Conlang year 2025 so you can search those in my blog to see them all if you want (once I name the language I will also add it to the tags, but the language doesn't have a name yet).

If you want to see all of the information from these posts compiled into one place I will be adding all of the information about the conlang I create on my website: tekseni.bearblog.dev

Day 1: Set an intention for your language

(warning: this gets a bit heavy, but I try not to make it too dour)

I haven't been feeling great lately, I won't go into details, I'll just say that it can be difficult to manage your emotions when the world seems to be in such a terrible state, living through historical events is not easy.

“I wish it need not have happened in my time,” said Frodo. “So do I,” said Gandalf, “and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.”

I know there's some people who say you have to be constantly staying informed on every bit of news because if you don't you're a bad person, but that's not a sustainable way to live. It's important for us to keep ourselves sane, if you're going to help others through turbulent times you have to make sure you have your own feet on firm ground. I won't be of much help if I'm having a crisis, so taking care of my own mental health is important, and for many of us that can include a bit of escapism and using art as an outlet, using art as motivation to keep going and enjoy life despite the circumstances. This conlang is my escapism.

With all of that being said, here's my 2 main goals for this conlang:

1: I want this language to make me smile

I want to create something that helps me to find some beauty and hope in the world, I want the choices I make with the language to make me smile, and I want to be able to have fun while working on it, without having to worry too much about how naturalistic it is or anything like that, so ideally I'd also avoid comparing this to other conlangs.

If we compare this to visual art, I'd say this is less like trying to create an awesome painting with perfect perspective, colors and composition, and it's more like me doodling in a sketchbook that is meant primarily for me, but I also want to share it with others in case they find it to be at least mildly interesting or it helps inspire them in some way.

It's not like my other conlangs don't bring me joy, I guess what I'm trying to say is that this time I will try to design the language without worrying about things like naturalism or trying too hard to make my worldbuilding interesting or deep, it's just a canvas where I can throw paint and let myself go wild, trying out things I normally wouldn't, and making choices based on my personal preferences instead of what I think I "should" do, so I guess that makes this is a personal language.

2: This is going to be a surrealistic conlang

I have already decided who the speakers of my language will be, I'll elaborate more in the following prompts but I currently call them "dream angels" because they're basically benevolent beings that exist in the world of dreams, and because of this I want to try my hand at making a surrealistic conlang, @dedalvs wrote an essay on fiat lingua about what such a language might look like, and I keep coming back to it every now and then because I love the concept.

Even before that essay was posted I remember thinking of what conlangs might look like if they were inspired by different art movements, and a surrealistic one fits particularly well into the dream world idea, it will also allow me to fulfill my first goal fairly easily; making something that makes me smile without having to worry about naturalism and letting myself experiment. I've always been drawn to surrealism for one reason or another, not entirely sure why but I know this is something I'm excited to work on.

I'm not expecting this to be the best surrealistic conlang out there, but it doesn't have to be, it just has to be fun for me, and it will work as a learning experience regardless, so if I want to try again at some point I will have a better idea of how to approach it. I'm sure someone out there will make an amazing surrealistic conlang one day and I'll be excited to see it when it happens.

Day 2: Set an intention for sharing your language

Basically the main audience is me, I hope that future me will be able to look at all the different translations, grammar choices and vocabulary I made and feel like it's a fun language that still brings me some joy in some way or another, even if I don't keep working on it for much longer after the conlang year has ended at least I hope it was a positive experience.

I also want to share the language online (on this blog and on my conlang website) mostly because I'm hoping that at least one person is going to look at my conlang and feel inspired, or maybe it will make them smile too, so I'm going to try to describe all the features in a way that is understandable for other conlangers.

Day 3: Determine your speakers and conworld

The basic idea is that there is another plane of existence, one we can't see when we're awake, and the world where dreams exist is connected to this other realm, so when we dream we sometimes come into contact with the ethereal beings that speak this language, and they are kind and loving.

The dream angels usually don't interfere with human affairs too much, but they sometimes help us by making nightmares go away and soothing the people they see, at least while the people are asleep (since they can't interact with us outside of dreams).

They also shift the way they speak to be a bit more familiar to the person they're encountering, so I imagine the phonology of their language might shift a bit from its default form depending on what your native language is, the language would still be unintelligible to you but it would sound a bit like someone speaking your L1 in a weird way (which also means that it will be easier for you to pronounce the language if you are able to speak back at them because you will at least get to use sounds you already know how to pronounce, though you're welcome to pronounce it in its original form).

These beings are very surreal in their appearance, there's probably different types of dream angels but the ones I'll be working with are kind of like a mix of various sea creatures, drifting through space peacefully, building all sorts of things and admiring the nature that exists in their world.

I imagine their settlements are built on floating islands full of all sorts of critters and nature, and their world as a whole is probably a bit weird and doesn't always seem to follow logical rules, in keeping with the kind of things you see in dreams, so they might look a bit like something you'd see in an M.C. Escher artwork, where you're not exactly sure what you're looking at, but it has a certain beauty to it.

Day 4: Describe (or design) your speakers

And finally here's a picture I drew of a prototypical dream angel:

They might look a bit intimidating or scary to you, but I chose to take inspiration mostly from various sea creatures because they help to convey this kind of ethereal and weirdly beautiful aesthetic, when I look at jellyfish I often wonder how those are living beings that exist in our world, they look more like they're inanimate objects drifting in the water and yet they're alive, and they're so mesmerizing and fascinating, like a living nebula.

I imagine different dream angels would have different characteristics, but in general they're basically like some sort of jellyfish with 3 main tentacle-like appendages, many thin tendrils, 6 insect-like arms, 6 little wings (because it makes them look a bit more angelic lol) and they have one eye, but no human has ever seen their eyes because it is always covered by something, in this case it's a butterfly, but whatever is covering their eye it does not prevent them from seeing, this is the dream world after all.

I think there might be other types of dream angels, and they're all able to speak a human-like language because they don't need a mouth to speak, they just telepathically send sounds to other beings, so the speakers of my language will be characterized by being similar to sea creatures, perhaps there's other dream angels that are more similar to other types of animals, or inanimate objects, maybe some are just completely out there and don't even look like anything we're familiar with as humans. By the way if you feel inspired to design your own dream angels go ahead! I think it'd be nice if I was able to inspire creativity in others with my work.

I'm also choosing to use a human-pronounceable phonology because I enjoy pronouncing the words and sentences of my conlangs, but perhaps at some other point I will make a different register of the language that uses different noises as phonemes, maybe sounds of water and nature, or maybe something like one of those really peaceful synths, after all their phonology is not limited by their physiology or even things like logic.

But anyway that's it for now, I feel a bit vulnerable putting myself out there so much, this feels a bit more personal than my other conlangs I've shared, it's not like a regular fantasy worldbuilding project or a fanlang or an a posteriori language, this one is very out there and weird, but again I want to share it in case other people find it interesting, and hey, we need more examples of surrealistic conlangs, so I'm more than happy to contribute to that.

[your-turn-to-role]

if it helps at all (reblogging directly from you starry bc can't tag you) - as someone who gave up on it pretty early on bc it wasn't really my thing, i have been wanting to look up more positive opinions on the campaign recently, i've just been really busy so haven't had time to respond to anything but what's on my dash, which yeah is a lot of critique, and with what i do know there's definitely stuff i'm not a fan of, sure

but also like. the critical role cast aren't some corporation just trying to squeeze money out of this show, like a lot of the things c3 has been compared to are

while they could have, in retrospect, probably made better decisions to really pull off whatever they were going for, they're also playing the game that makes them happiest (and they're putting it all online for free it's not like they're obligated to follow the fans' ideas of what should happen)

if you enjoyed it all start to finish, you're honestly a perspective i'd like to see round tumblr more! you're seeing what the cast see in this narrative and that definitely doesn't make you wrong or stupid. if there was no value in this story whatsoever they would have stopped a long time ago

as megs said, being able to articulate an opinion well doesn't make it objective truth. god knows i can pull out a million references for any of my essays but when i write them it's always gonna be me shining light on a specific angle of the narrative that appeals to me. other people can choose to pick a different angle and still be just as right, regardless of whether or not it's something i personally would enjoy looking at. and that's even more true in a fandom like this, where every narrative is in fact 7+ narratives that we hope will weave together well, and there's a million things to focus on that haven't all been handpicked by the creators for the sake of telling a singular story

if you're seeing an angle a lot of people aren't focusing on, hell, celebrate that! i love hearing about the moments that genuinely appealed to people, it just feels like there's been fewer and fewer of them focused on bells hells the longer the story went on. but i've also been in fandoms where i truly genuinely enjoyed the ending of a particular story and thought it was well told the whole way through, and then it turned out 99% of the fandom thought the ending was rushed and it ruined the whole thing, so i definitely get how that can feel a bit crushing and like you're fighting a tidal wave

(and hell to your tags about being worried c3 will become an automatic skip in the fandom - i also really love a lot of the c1 episodes before ep24 and think there's some great character stuff there that a lot of people skip bc orion or because the briarwood arc is where it gets 'good', so im with you on that one. it sucks but it doesn't mean i can't talk about, say, trial of the take, there still are and always will be people in the fandom who've watched it, and there will be even more people who didn't watch it but are glad to find out what's in it because they couldn't find out themselves)

so yeah all to say if you ever wanted to write about c3 stuff you loved, im on your side here

if you're just sad that the fandom reaction to stuff you liked has been overwhelmingly negative, that's also fine, and doesn't make you any less a valued member of this fandom

idk I kind of feel like I'm an idiot bc I actually enjoyed cr 3 from the jump to the end but like the blogs who follow bc I feel they are definitely more articulate and insightful than me are like "the whole thing was meaningless and pointless! matt fumbled everything!" so maybe I'm wrong to have liked it all? I'm not really sure where I'm going with this sorry

I think one thing to keep in mind is that many (and in fact, I would argue, most!) people who are critiquing the story and construction have also generally enjoyed the campaign as a whole! Certainly I don't know anyone who stuck it out through the end who did not overall enjoy watching it, for various reasons; I know there are people who hate watch, which I think is an absurd and honestly really stupid waste of time, but from my experience they are normally making snide and vicious tweet-length posts rather than long considerations of what isn't working for them.

There are also a lot of levels of critique—I've greatly enjoyed a lot of moments in isolation that I simultaneously felt weakened, contradicted, or even actively undermined the structure of the story as a whole, but those moments were still really fun and interesting beats. The Arch Heart's cameo comes to mind, as does, in hindsight, some of the construction of the post-Solstice split, but there are plenty of others of higher or lower impact on the story. In the finale the Raise Dead falls into this place very strongly, so I'm going to talk about it at length for a moment, since it was an absolutely stellar moment for me personally and as such I do think it serves as very illustrative of an example where I simultaneously fucking love a moment while finding it worth significant critique. I think it also touches on the critiques you're referring to, which I would summarize overall as the idea that many of the outcomes feel influenced negatively by pulled punches on the part of the DM rather than a flaw of one player or another. (Also, I want to talk about it cuz I love it. :3) This got very long but I think that to your point, it is worth examining in this amount of depth.

First, the good: it is an absolutely phenomenal culminating point of an arc that was only really concluded in summary; I have, as noted earlier this week, written at length about how Essek is never situated as a protagonist, which is functionally fine and even good. He ends up tied very strongly to Caleb's arc, and moves in the narrative in such a way after 2x97 that allows Caleb to reach a concluding note, and strengthens that narrative. So we only really hear about the outcome of Essek's choices, his inevitable leave from the Dynasty, in the summarization of the campaign 2 epilogue. This is not inherently a problem, because he is not a protagonist. But this moment does functionally create a material representation of that denouement, which does strengthen his arc in its own right.

This moment also, hilariously, bears out my argument from this post. That the resurrection should only work with this intervention, particularly while the Nein are involved, does follow through on the Nein's general positioning within Exandria. Essek's leave happening without a fight (and, frankly, with only one attempted Counterspell) both makes for a very well-paced moment and also maintains the overall sense of story that the Nein impart when they are on screen; I'm thinking again of how their Ruidus episodes feel, much like their campaign and their post-campaign one-shots, like an intrigue action thriller series, and this fits well in that framing.

So overall, it is a fantastic moment... for the Nein. The Nein are not the protagonists of this story. They exist in the world, and are such active agents that they do continue to develop and exert motion on the narrative into this campaign, and frankly, I think this would have been fine if the party given ownership of this story and campaign did not abdicate their responsibility for it with unfortunate frequency. They do not exert a strong control over their story, which is at odds with the fact that the Nein do, and are present and also involved by the nature of their ending. It completely overshadows Ashton's heroic moment, in that the culminating action beat of this sequence is Essek getting away, which kind of takes the wind out of the sails of the Hells' involvement in the gods' outcome. It doesn't negate it, certainly, but it does refocus the story from them to, for some reason, Essek. So in this sense, it occurs at the expense of the Hells.

I find that while the handwaving of using dunamantic intervention to push Raise Dead beyond its limits (if indeed the reason it didn't originally work was because Ashton's brain was essentially gone) fits fine and even well within the framework of the Nein's story, and an NPC being able to do so without a roll is fine, since NPCs are vehicles the DM uses to guide the story, this is a significant divergence from the overall mechanics of the world at large; even the Nein had to do a full ritual for the resurrection of their tiefling. Matt put those mechanics in place specifically to create narrative meaning behind resurrections, which can feel very unmotivated and like a get out of jail free card in D&D, and while it's been noted that this would've really strained the runtime beyond its existing length, prioritizing it at the cost of, for instance, more truncated end notes for the Nein and Vox would've bolstered the Hells' presence in an ending to their own story that even many of their fans felt was ultimately lacking.

Giving the resurrection full weight would've also given Ashton's sacrifice and the Hells' involvement more narrative weight; the reason the other parties are involved at all is because the Hells were truly running on fumes by that point, but any lack of involvement this created could've been alleviated by having them directly involved through pre-established ritual elements that are not contingent on them having any mechanical offerings. So this moment sits within the context of critique that I agree with: that it felt like a pulled punch that ultimately also served to decenter the Hells within their own narrative, when it could've been used with more deliberate narrative force.

At the same time, I fucking love it, and watched it four times in a row yesterday, because it is so good—and it is, as I described, narratively and thematically coherent in one sense! And I think that is one issue of the campaign: many, many great moments are excellent and coherent in a certain framework but are weaker to varying degrees when considered as one piece of a larger whole. There are so many frameworks at play in this narrative, and not enough direct intervention to manage those as frameworks rather than as a single story, but at the same time, I think those frameworks are far more apparent if you're really looking for them, and that's much more difficult, if not impossible, when you're in the midst of them and telling the story.

I also don't think this means one cannot critique this; in fact, I would say this is more an issue of being a serialized narrative than an improvised one, which is often how critique of it has been pushed back against within the fandom. I was thinking about this as I'm currently in a course on, quite literally, how to critique comics, and we discussed this week how Marjane Satrapi said in an interview after making the film adaptation of Persepolis, which was first a serialized comic, that she ended up preferring the film, and I speculated that was because with a film, one has the ability to make a more cohesive narrative purely by virtue of the fact that with a serialized form, you cannot go back and make retroactive edits when no developments come to light. This is something that long-running comics must constantly navigate (as do many long TV shows), and in extreme circumstances such as decades-old comic franchises, ends up resulting in infinite timelines and hand-waving, which becomes so ridiculous that at this point it's a meme. In that scenario, though, it is not presented as a non-contradictory story, let alone a cohesive one.

Many of the critiques of campaign 3 are operating within the idea that this is presented as one overarching narrative. (And honestly, comics and other narratives that don't utilize that presentation are also still critiqued on that merit by people who greatly enjoy the texts they're critiquing anyway.) Within that context, I feel that the framing of the Raise Dead, as well as much of what would be my critique of the other pieces I referenced (the Arch Heart's cameo and some of the party-split sections) if I was to do the same kind of rundown of those, actively undermine this presentation by introducing and forefronting too many conflicting frameworks that are not interwoven well enough to create a single, cohesive overarching narrative.

This is a very long-winded way to illustrate my point, which is that I would really encourage reading critique not as a lack of enjoyment of the campaign, let alone a suggestion that no one should've enjoyed it (and if you did, then you're not smart enough to know better), but as a way to engage with the text(s) as presented within one framework or another. I think this is sometimes obscured in online fandom spaces, where we're not engaging in critique in as formal of a sense as one would in, say, an academic setting, where the norms generally dictate the framework one is using is explicitly stated if not fully delineated within the critique, but it is, more often than not, still implicitly present within the critique.

And as a final note, I would also really urge everyone reading others' opinions on something they enjoy to resist the urge to elide their own opinions from the conversation, even if you don't feel as articulate or as well-versed in critique. Critique is a trained skill, so it is certainly something one can pick up if they are inclined, and at the same time, someone doing it does not mean they are inherently right—and in fact, with all argumentative writing, it is up to the reader to consider the argument and decide whether or not they agree with it. (You can decide that you disagree with me about the Raise Dead! Just because I wrote a thousand words on it does not inherently make my interpretation truth; it's just an interpretation. You get to say whether or not you think my interpretation makes sense based on the evidence presented.) Even here I'm using the framework of some critique that others have made, but I don't delineate in full myself. In doing do I'm not presuming that you agree, but I am presuming that you've read it and know what I'm referring to. Strictly speaking it's also not even saying that I take that critique as true; it's saying that I feel the conclusions drawn are applicable as a basis for my argument. If you wanted, you could even say that you feel that my argument is irrelevant to you because you don't feel those critiques are true! But you ultimately do have to be the one to decide any of that, which does involve a balance between a confidence in the formation of your own opinions on the text and an openness to entertaining others'.

[mikaazune]

Hey guys, Ferris here. First things first, I'm back. My break wasn't as long as I thought it would be, but I think I'm doing a lot better. I think it did me some good to unplug for even just a little bit — not just from Tumblr, I pretty much went on a social media detox. Plus, I missed you guys.

There are a few things I'm going to be doing following me coming back. First is a new blog theme, which I think I'll keep for a while (I'll probably revamp the magician one on a later date). Love Hacker, he's a real one.

Second, as you probably noticed, I have new user too. I hope that doesn't confuse too many people. One change I'd like to make regarding that is the name that yall call me. I like Ferris, but I think I still subconsciously associate it with my old blog and then I begin comparing back then to now — something I'd rather not do mostly because of some of the issues I mentioned in my previous post. So I'll be going solely by Mika now, though I'll let yall known if anything changes in that regard.

Third, I mentioned this in my earlier post, but I'm taking a break from writing. For one, I'm not fond of my current writing style and I want to improve it. We'll see how that goes, I just want to experiment a little. I also want to reevaluate the fandoms and the characters I write for, and I'll probably spend some time rewatching/replaying so I can gain a better understanding of each character. But as I said, since I'm pausing writing, that second part will be a bit of a future me "problem" to deal with. My posted fics will still remain, don't worry.

Fourth, in terms of Faridian, that's still on pause as well. I'm slowly losing motivation due to lack of interest in the plot — I know, I wrote the thing, my bad there. I just didn't plan things out properly because I was excited to get it started, which was my mistake since I rushed it. I actually did like the later part of the plot, but it's the beginning and middle that are getting me. But on that note, do the participants like how it's going, or do you guys agree that I should change some stuff up? I acknowledge that everyone's in the beginning stage, though, so you guys don't really have the full perspective I do. Side note: just out of curiosity, would people be interested in me revamping Spirelands? Not any time soon so I can actually do the plot and not be a dumby, just gauging interest.

Anyways, with all that being said, I'm back. If I come up with anything else that needs saying, I'll mention it. If there are any questions, feel free to ask them. Thanks for the well wishes by the way; don't worry, I'll take better care of myself from now on.

@xryptik @lyle-my-beloved @xen-blank @edith-is-a-cat @tenjikyu @unprofessionalsimp @nervocat @nightmare-in-the-woods @floydsteeth @officialdaydreamer00 @cookiesandbiscuits @rainynightmoonlight @koihanwrites @casp1an-sea @vivisboutique @tako-cafe @creatorbiaze @l7k-a

[epickiya722]

I'm gonna be frank, I don't think I'll be understood here on my stance (especially since I'm just not good with my words) and I know some of you isn't going to agree with me. That's fine. I'm okay with different perspectives.

I'll be honest, 431 isn't the most well written epilogue and yes, I don't particularly like it.

But it wasn't the only thing that made me irritated. It was just the tipping point of "You know what, I kind of had it".

The writing definitely didn't do Midoriya justice, neither for Uraraka and Toga. But let's not act like Bakugou had great writing there either because for me, him asking Midoriya to work at his agency didn't feel like Bakugou to me.

Over the story, we see that Bakugou had grown to be more open towards Midoriya. So why did he go about skirting around to ask Midoriya about the agency, let alone ask him at all? And in front of Kirishima who had to act like a translator? So you're telling me Katsuki Bakugou who has freely been straight forward, after learning to be because sometimes Midoriya does need people to be blunt, before couldn't have a conversation with Midoriya about working at the agency?

You're telling me Bakugou couldn't have a discussion with Midoriya like "hey, can I talk to you" and they go from there to having coming to an agreement of sorts?

All that development of their relationship getting better that they could confine in each other that Bakugou and Midoriya couldn't have a scene where they sat down at a restaurant or somewhere, just them and discuss the agency?

No, that had to be sprung up and hinted at Midoriya in a car with Kirishima present? Before they met with their friends?

Maybe it's just me, totally just me, but I don't think Bakugou would have went about it like that. I would have figured that Bakugou would have asked Midoriya to meet with him and together they would have a proper discussion. Like by then, those two would have learned better communication.

Even before Kirishima had to say anything, Midoriya voiced that he enjoyed being a teacher and still thankful that he has a hero suit thanks to everyone.

Actual Bakugou, at least not my Bakugou. wouldn't be framed totally butthurt by Midoriya wanting to still be a teacher. Not when they know can still be heroes and rivals and whatever else together. Bakugou wouldn't let Midoriya being a teacher and not working at his agency keep him awake at night like "can't believe he rejected me, can't believe he rejected me".

Heck, I doubt he would have even brought up an agency in the first place because what mattered to him was that he and Midoriya were heroes together.

If their teachers were able to do it, them why Bakugou would even question Midoriya about still teaching?

So Midoriya isn't the only one at fault here and he's not the only character done dirty. Bakugou didn't have perfect writing here either to me.

But I feel like some people are stuck on "Midoriya betrayed Bakugou" that maybe that's the part not being caught on. That frustration towards Midoriya is blocking from seeing Bakugou was not written well in this chapter.

I wouldn't even say either are at fault here, the chapter just wasn't that good. We had some highlights but it just wasn't the best epilogue and as much as I know a lot of people want to blame Horikoshi since it is his manga, let's not forget who he works for. I don't know the man, but we all have seen what any kind of entertainment industry will do when it comes to any kind of media.

And again, it's not just the writing of the chapter that rubbed me the wrong way. Sure, some bits I could try to make sense of it, even if I don't like it (frankly, something I think should be learned).

But again, as I have said it multiple times before, it was indeed the fandom's reaction to Midoriya and just Midoriya that irked me to the point.

And here's the thing... IT ALWAYS BEEN LIKE THIS EVEN BEFORE THE EPILOGUE.

Like, no, epilogue sucks or whatever, but now I feel like it's just being used as an excuse to further hate on Midoriya more.

Every other character had gotten some kind of "Oh, they got done dirty" by the fandom, but no, not Midoriya. I saw quite a few people framing him as the bad guy when he is also a victim of flawed writing, too!

Even if admitting he too had flawed writing, he still gets hate for it while other characters are felt sorry for.

But even, again, before that the fandom had shown me how much they don't care about him at all. I would say it's always been evident from the start.

Haters, supposed fans... it doesn't matter.

No, I don't expect everyone to like him or see him the same way.

What frustrates me is that some people act like they don't do Midoriya dirty, too, whether you like or not and it's not always the fault of the narrative. The narrative could be flawless and some of you would still hate him for whatever reason or twist him to fit how you want to see him.

[dracoroma]

Now that the campaign is over, I think I should drop my full thoughts.

As a start: I intitally liked the finale for the most part. We'll get back to why I said initially. However, I have one major gripe.

The first is that reviving Ashton really fealt like it cheapened their sacrifice. It was such an interesting choice that they gave up their life purely out of spite. In Ashton's eyes, it wasn't about saving the gods, it was about humbling them. That's fun, and interesting, and as much as I have feelings about Aston that we'll get back to later, it was cool. And I also think it left their budding relationship with Fearne off on an interesting note. All of that is completely undone by reviving them.

Anyway, onto the campaign.

I was really into the game in its initial sandboxy arc. The cast was fun and their interactions were all neat, and Inwas interested where the plot was going.

And then the god plot came in. And I have so many feelings.

As a religious person (hellenist and heathen), I felt constantly letdown this entire story. At the end of the day, there was no real evidence given in a pro or anti god direction. We're told they're tyrants who have too much control over mortals, but most people have problems because of a lack of intervention. The divine gate keeps demons and devils at bay, but there's other sources for that. There's no consequences to any option. And because of that, we're left with endless debate because we have no solid evidence.

All of this leads to the debate just turning into teal world reddit aetheist plot points because there's nothing in world to debate. This also felt incredibly dismissive of actual faith. Do I need to remind everyone how Ashton would not let FCG just be at peace with worshipping Avandra? That was incredibly frustrating. They also don't address at all how getting rid of the gods affects those who gind meaning in religion. The Hells and Keyleth were just like, "eh. Get over it. World's still spinning. " Excuse me, did we forget how much meaning Fjord told the hells he got out of his relationship with Melora!?

From a writer's perspective: well, all of this. But it was also incredibly boring because it means nothing is happening. This wasn't a complex, morally grey debate because there was absolutely no nuance. We don't see how the gods (or, in particular, the primes, because we know the betrayers all suck) are bad, and how things will be fine forever without them. So it's an endless de ate with no point that follows the same formula every time: same 3 points why gods are bad. Someone says "hmmm, i don't know". We end by saying "let's kill Ludanis because he sucks".

And frankly, nothing was happening for so long. So much of the campaign is an indistinguishable blob of time in my memory, with the standout moment being Aeor. And I think Ahton is the perfect case study. Talesin is on record saying Ashton was a critique of the obnoxious parts of the punk mindset, and they had no character growth. Their character development after shardgate reverted soon after, and their position was always completely dismissive of any other perspective.

All that being said, the most fun I had in the campaign was actually the live show. In part because I caught it live. I was on a family trip in the area already, and so my girlfriend and I made it to the show. And frankly, it was a really good session. It was mostly self-contained, which was good for her, who had not seen a single session of C3. It didn't involve the god debate, which was good for me. And it introduced Breius, who I genuinely think is one of the best PCs of the campaign despite coming in late.

Because Breius is sich a good deconstruction of cults and toxic relationships and why they're appealing, why you come back, and he ended up breaking free at the end!

But, now I think about the finale again. And I'm less positive about it than I was. Because I realize that most of why Infelt good was because this mess of a campaign is finally over. I overlooked how Orym and Opal and Imogen did not face lasting effects from their actions because I was so ready to be done with the god debate that goes nowhere.

[theallianceofcelestials]

Hello again, I have another question!: Does SEA!Eclipse have a music box, and can you put a name to or describe whatever or how many physical, psychological, or other conditions/disabilities he and those in his family may or may not have? Oh, and their pronouns please, if it hasn't already been said?

Hi! I'll answer to the best of my ability, but to be honest I'm don't know how well I'll do so with your second question

So first question, Eclipse doesn't have a music box, he mainly put kids to sleep during naptime by exhausting them during playtime and reading them stories. But he does know a couple lullabies, so he can sing

To your second and thus most complicated one, I'll be honest and just say I don't know all of them. So I'll just say the intentional ones and put a bit of a disclaimer up because I'm not a professional on these things, so take what I say with a grain of salt

The entire family is made of entirely co-dependent people, which is a rather unhealhty thing.

Eclipse has depressive disorder, though he'd be fine for the most part if he didn't have all his trauma. He also has PTSD and internalised a bunch of unhealthy things during his time in the daycare

Sun has his typical cleaning OCD and anxiety, and he's fine for the most part. I guess he's the weirdest in the family because he doesn't have the heightened predatory instincts all that much, which I guess counts as a condition in this case

Moon has his anger issues and he's touch averse. He also has troubles sorting through his own emotions and doesn't always pick up on the emotions of others. He also suffers from self-hatred

Killcode is the first one to have a physical condition, and even that's only because of his sheer size. On one end, most buildings aren't made for him so he doubles over a lot, which makes his back hurt. Combine that with gravity, and he's almost constantly suffering from back pains to just minor aches. So I guess he has gigantism. He also has anger issues, though he's a bit more emotionally intelligent than his eldest brother and knows how to work on it

Bloodmoon is an interesting case that I don't know how to properly describe. They're technically conjoined twins, though their nanomachine body allows them to separate. They're also the biggest mess mentally, because they're two people in one. They have many antisocial behaviours, seeing as they eat humans, however different species prey on each other all the time so I'm not even sure that counts. They're quick to anger but they're also two people so a bit of heightened emotions can be excused I think. They're pretty self-depraciating though

Lunar has dwarfism and he's rather forgetful. He has the old Lunar colour blindness thing where he mostly only detects blue and glowing things, though that might just be because old Lunar mixed up colours. Or he has dyschromatopsia, a term which I came across when I tried translating my language's word for mixing up colours

Solar Flare I don't think has anything for the most part, though it is somewhat selectively mute, and it has some minor body dysphoria because it can't properly emote

I don't know if this is good enough, but this is the best I can think of right now. But I do think it's better to go through my stories and try analysing them from an outside perspective because I didn't plan for most of the things in SEA, so some things might be there that I just don't see or don't know

But now onto the easy part, the pronouns:

Eclipse: he/him

Killcode: he/him

Solar Flare: it/they/he, though it's fine with anything so long as it's not feminine

Bloodmoon: they/them because Bloodmoon is a collective entity, but Bloody and Rusty both use he/him

Lunar: he/him mostly, though he also goes by they/them sometimes

Sun: he/him

Moon: while Eclipse mostly uses he/him for him, Moon doesn't care at all. His pronouns are everyone else's problem, not his

[kkatastrophic]

random ramble dump

Does anybody go "i love x danganronpa character" and then realise that they don't actually love them as a character, they love them as a duo or trio with another character. I could say "i love mahiru" but in truth, I love her dynamic with Hajime.

Same with kaito or Kokichi which is why I'm always so uncertain to who I like more. Himiko became one of my favourite characters due to her dynamics with Angie, Tenko and Shuichi and how she grows as a character after angie and tenko are murdered. I love Leon and Sayaka for both their personality and dynamic with eachother, makoto, and other characters.

I could say I love Rantaro, but I adore the possibilities he and Tsumugi had and that's the pure reason I think about him as often as I do.

The strange thing is that Hifumi is one of my favourite characters. You could argue he had a connection with Makoto or Celeste, but these were one sided with him being Celestias butler and Makoto being a way to infodump. I dont particularly like Celeste or Makoto, so why do I like Hifumi so much? His design can't be a factor here. neither can some of his questionsble lines, or his death. So how did I come to love his character so much?

The answer to this question is free time events. Those are crucial to the game, establishing characters morals beliefs and connections with other characters. FTEs really help the player see the Academy through another characters perspective.

Kiyotaka thought of it as a place to study, if he didn't he'd be left behind. Mondo thought of it as a waste of time, his priority being his gang. Those are just off the top of my head but as you play through the FTEs you can see the character priorities, aims and interests. This helps ypu discover new things, like Celeste winning a gambling match against Nagito or Mondo and his old dog Chuck.

I think the FTEs are so interesting, and thinking back to Tsumugi there is a level of truth in them. She speaks of cosplays and part time jobs and passions and we learn that she admires the effort put into a cosplay, this is also shown and referred back to in the sixth trial. She hates when people aren't accurate to the characters they're cosplaying as. Then she turns into the other characters from previous games with perfect design, height, hair. She basically morphs herself for her passion.

Id like to believe she had her part time jobs before being recruited by team Dr. But we may never know.

Random ramble because I'm thinking about this stuff a lot.