#because they suggest discovery and exploring

[fictionadventurer]

There's a story here. I don't know what it is, but it fascinates me.

[f4rfields]

ngl sometimes the sentiment of "don't ever say anything that might suggest someone may be trans ever" on tumblr being as pervasive as it is feels less like a "i'm trying to be respectful of how you identify/not trying to pry into something you may not be comfortable with" thing and more adjacent to the "trans-as-social-contagion" line that transphobes have.

i didn't feel like i was able to id as anything but cis woman until one of my transfem nb lesbian friends took the time to ask me how i felt about my relationship to gender after watching me post quite a bit in the vent channels on a discord server we were both on. she told me that a lot of the feelings i was having about my relationship to gender and sexuality were things she had also felt before when figuring her own relationship to it out (albeit her journey was different because she also has to navigate transmisogyny), that i shouldn't be afraid to explore the possibility of being nonbinary and even just using "lesbian" as a means to describe my relationship to gender if that felt right, and that i wouldn't be stepping on anyone's toes in doing so.

and that conversation was like a sigh of relief to me after having held my breath for years and being afraid of putting an actual name to how i felt about myself. tbh, if she hadn't reached out, i'd probably still be here telling myself that i'm a cis woman despite how much the concept made me want to crawl out of my skin and made me feel like i was having to smother a part of myself in the process. and i do not think that this is a completely unique experience.

while there's always a line that can be crossed when it comes to just about any personal topic and ultimately that gender identity is journey of self-discovery, the idea that even mildly and compassionately suggesting that someone might benefit from exploring options with their gender identity during a heart-to-heart is somehow inherently disrespectful, or god forbid, predatory (especially when it comes to transfems) is something a lot of people need to unpack.

[sweemmy]

⋆｡ﾟAfter reading this, would you be up for another date with these girls? I know I definitely would. ﾟ｡⋆

— Vi, Caitlyn, Sevika, and Jinx… with a rare appearance by Katarina and Elise.

VI.

With her vibrant and overwhelming energy, she immediately sweeps you off your feet, her confident smile whispering without words: "Today will be a day you’ll never forget." She leads you to a secret corner of Zaun, a place iconic with mystery and charm. It might be an underground bar, hidden in the shadows, or a secret viewpoint only visible to her, a spot that feels like it belongs to her and her memories. She loves the idea of offering you a unique window into her world, showing you every corner from a perspective only she can understand.

Vi is full of energy and vitality, always ready to challenge the routine with new adventures. She loves surprising you with unexpected plans, like inviting you to an impromptu race through the bustling underground market or suggesting a friendly fight in an arena that appears out of nowhere. Everything she does aims to make you smile or leave you in awe with her agility and skill. Excitement and fun are her way of connecting with you, showing you her bold and charming side.

She can’t help but stare at you every time she thinks you're not looking. She wonders how someone like you ended up in her life and if she truly deserves such immense happiness. That mix of innocence and vulnerability makes her even more enchanting.

Though she struggles to express her feelings with romantic words, her way of showing affection is even more sincere and direct. If she senses you're cold, she won’t hesitate to offer you her jacket as a gesture of protection and care. In moments of closeness, she’ll take your hand without warning, silently merging her presence with yours, but in a way that speaks volumes. And sometimes, she’ll remain quiet by your side, relishing in the simple joy of sharing the same space, letting the silence say what words can’t.

As the date comes to an end, she approaches you with a charming smile, her eyes sparkling with that mischievous glint only she knows how to express. With a soft sigh, she leans in, letting the moment take over, and in a warm, conspiratorial whisper, she says, "What do you think? Shall we indulge in this again tomorrow?"

CAITLYN.

The date begins with a meticulously planned invitation, in a refined location in Piltover. Picture an elegant restaurant atop a tower, where the city lights stretch out like a cloak of stars, or perhaps a private garden surrounded by exotic flowers, enveloped in an air of absolute tranquility. Caitlyn wants everything to be perfect, because to her, every small detail carries profound meaning.

The conversation flows naturally, as if each shared word is a mutual discovery. Caitlyn genuinely shows interest in your thoughts and opinions, asking questions that invite reflection, exploring every corner of your mind. Her soft, enchanting laughter escapes with each witty remark you make, a sincere response to the spark she finds in your words.

At several moments, you may feel her gaze fixed on you, attentive and full of tenderness, as if she wants to preserve every gesture of yours in her memory. Though she doesn't say it aloud, every second spent with you is a true luxury for her heart, a moment she treasures more than words could express.

Throughout the evening, she surprises you with small, carefully chosen gifts—presents that reflect how much attention she pays to your tastes and desires. A rare, delicate flower, which she explains symbolizes something deep and unique; or a book she assures you, with a smile, you'll greatly enjoy.

The end of the date arrives with a softness that leaves a warm sensation in the air. Perhaps a gentle, respectful kiss on the hand, or a caress on the cheek that speaks more than words ever could. Caitlyn smiles, and with a promise full of mystery, assures you that the next encounter will be even more special, leaving in your heart the certainty that something truly unique has just begun.

SEVIKA.

She picks you up with a calmness that disarms, as if nothing could disturb her tranquility, and leads you to a corner of Zaun where the noise dulls, even though the chaos still lingers in the air. Perhaps you step into an underground club, where the music, vibrant and enveloping, seems to pull you out of time, or into a hidden spot that serves the best food in the area, like a small refuge amidst the madness.

She isn't one for many words, but her mere presence conveys a deep sense of security, an anchor in a sea of uncertainty. When she looks at you, it’s with an intensity that goes beyond the physical, as if she could read every thought passing through your mind, though it's also clear she enjoys your company, as if you were in her favorite place in the world.

Throughout the date, her protective instinct naturally reveals itself. If someone bothers you or if the crowd becomes overwhelming, you barely have time to react before she's already sorted everything out. There's something in the way she moves that makes you feel invisible to threats and completely taken care of.

Over time, she lets slip fragments of her past, revealing a vulnerability she usually keeps hidden. It's her way of showing you that she trusts you, that you mean something deeper to her than she could ever admit aloud.

The goodbye comes quickly but with meaning. Sevika leans in, her face close to yours, and with an unexpected softness, brushes her forehead against yours before leaving. Words are few, but there’s something in that gesture that tells you everything you need to know: she wants to see you again, and she knows you do too.

JINX.

The scene begins with an explosion... and I’m not talking about a metaphor. Literally, the air fills with smoke and chaos as Jinx pulls you into a dizzying whirlwind of action and adrenaline. Whether she's evading the authorities with wild laughter or exploring the darkest, most disheveled corners of Zaun, Jinx's energy is so electrifying that you can't help but get swept up in her frantic madness.

With a mischievous smile and a look full of spark, she shows you her messy yet genius world. Proud of her eccentric inventions, she invites you to create something together, perhaps a wild mural or shoot one of her most unpredictable explosive toys. “Nothing says love like an explosion, babe!” she says, that unmistakable glint in her voice.

But beneath her uncontrollable energy, there are moments of vulnerability. Occasionally, she catches you off guard, staring at you with eyes full of palpable melancholy, as if she fears that, like others before you, you might vanish from her life. It’s her silent way of fearing abandonment.

And then there are the nicknames—quirky and exaggerated, filled with a unique tenderness only she knows how to express. At first, they might seem like teasing, but you know they’re her unmistakable way of showing affection, a secret language between the two of you, a personal touch that only you understand.

At the end of the night, Jinx takes you to a high spot where you can see the city’s twinkling lights. She sits next to you, the laughter gone, leaving only a soft and sincere smile on her face. In a whisper, with a vulnerability she rarely shows, she says: “Thanks for not running… should we do it again tomorrow?”

KATARINA.

The encounter begins shrouded in an aura of mystery. Katarina leads you down an uncertain path, perhaps to a rooftop bathed in moonlight or to a secret trail through nature. She doesn’t reveal her intentions, but a strange sense of trust settles within you, as if you know there’s no danger in following her.

Her presence is direct and confident, yet her gaze, her attention, envelops you in a way that you cannot ignore. Katarina has a way of making you feel unique without needing many words. Every gesture, every look, is laden with meaning.

She offers you a glimpse into her world. She teaches you to throw daggers with a skill that takes your breath away, or takes you to witness a duel where you are merely an observer. Though she doesn’t allow you to intervene, there’s an electric tension in the air, a delicate balance between danger and care that she handles with unsettling perfection.

Though her guard is never completely down, she offers glimpses of her more human side. A flash of a genuine smile, the echo of a soft laugh, or a sincere comment on how much she values your company. Those moments, fleeting but real, show you a side of her that few are privileged to see.

The farewell is brief, almost as mysterious as the encounter itself. A quick kiss, full of unspoken promises, and an enigmatic phrase that leaves you thinking: “This isn’t over, we’ll meet again soon.”

ELISE.

She invites you to a date that exudes luxury, but also a lurking danger, like a spider's web woven with intrigue. In the darkness of a radiant Noxian castle, candles dance, casting shadows that seem to come to life. A banquet of exquisite and exotic delicacies surrounds the hall, but something in the air tells you that not everything is as it seems. A walk through the moonlit garden, where the twisted trees' shadows blend with her figure, adds an unsettling touch to the encounter. She is the queen of this realm of mystery, where everything revolves around her will.

Elise is captivating, like a snake slithering through the folds of your mind. Every word she speaks wraps you in her web, and though she seems to have total control over every situation, she leaves small openings where you can feel special, as though you’re part of a greater game whose rules you don’t understand. She enjoys playing with your emotions, but without malice… or at least not in the way you understand it.

She seduces you with fascinating tales of her past, dark and powerful stories that might be more than just stories. The line between lies and truth blurs, yet you remain captivated, wanting to know more, eager to discover what’s real and what’s not. It’s impossible to look away; her magnetism is as deep as the abyss of the Shadow Isles.

Elise takes pleasure in seeing you mesmerized by her presence, as if your admiration feeds her growing power. Every reaction you have seems to fuel her desire to keep seducing you, keeping you on the edge of the unknown. Perhaps a touch of her hand, an unexpected brush that leaves your heart racing, knowing that something more awaits.

At the end of the date, her farewell is as elegant as it is terrifying. "I hope this night has left a mark on you as deep as it has on me." Her smile, now almost supernatural, is like a veiled threat, but you can’t help but long for the next time your paths cross. Because, just like all those who’ve fallen into her web before, you know that no suitor leaves unscathed from her embrace.

[illyabata]

diluc x subby f!reader

content: nsfw but not explicit/descriptive writing (lots of talk of dynamics and preferences i think diluc would have for intimacy), vanilla diluc and reader at first, ur married, dom/sub dynamics, soft dom/service top diluc, talk of kids at the end, bratty reader, hint of breeding kink at the end as well if you squint and if you want to interpret it that way. diluc is really just an upstanding gentleman i love him very much and want to marry a man like him someday

diluc is one character i feel strongly to be a taker of zero risks with intimacy—neither would he enjoy such risks if he were to partake. to him, the act of sex is reverent, the purest display of love between him and his partner. never should that act be tainted by fear of discovery, discomfort, or shame.

diluc would want his lover to feel completely safe and secure during such vulnerable moments. i think he’s generally very “vanilla”, and that’s not a bad thing at all. he just enjoys making you feel loved in the most intimate way, and to him, that way is in the setting of a bedroom, lights dimmed, without the company of any other save for his beloved. his favorite position is missionary, of course it is—he can see you, see your face, kiss you silly, all while protecting you from the world. he’s the perfect husband for a pillow princess, truly—just lay down and let him do all the work, sweetheart. he’d be happy to indulge in anything new you suggest, but i feel that a relationship with diluc is steady, conservative, and gently paced, as he is so very much a gentleman. should you desire to explore more, he would never stop you, but his own desires tend to remain consistent. if you are content, he is content.

diluc’s honor and gentlemanly nature will always take precedence over any sexual desire he may harbor for you, however much he may feel. he is simply an honorable man. therefore i feel strongly that he cannot even will himself to think of doing anything promiscuous with you in any sort of public setting, no matter how hidden it may be, and no matter how much he may want you, or how much you want him. it’s not comfortable, and it’s not appropriate—it’s just not his jam. i think that is probably his only hard ‘no’ when it comes to things you may ask for. he will take you home swiftly if he is able, or you will both simply endure the yearning until night falls.

i think the furthest he’d stray into kinky territory is dom/sub dynamics (this is surprising to no one). really anything where he gets to be the protector, the guiding hand, the gentle touch with a firm grip—he’s the definition of a soft dom. his demeanor is too gentle, his heart too bleedy, his soul too pure, to do anything other than love you sweetly unless you should explicitly ask for something else.

for example, if you ask him to be meaner, rougher, or crueler, i honestly think he’d be quite perplexed, and it would take him some time to adjust to the idea. that’s definitely not something to spring on him in the moment. it goes against his nature, to be honest, because he could never imagine bringing harm or even risk of harm to someone he loves so much, whether that harm be physical, mental, or emotional. diluc would have to mull over it for a while before he’s able to approach you and say he’s ready if that’s something you would enjoy, because if it’s for you, he’d try anything. once it happens and he gets into it, oh i think he’d be into it—it’s just not something he ever would have known he’d like unless you bring it up, because he is naturally selfless in love.

the diluc soft dom to hard(er) dom pipeline is crazy cause when he gets the okay from you to be firmer, he naturally takes on that role as if it was made for him, and he remains a service top through everything. his pleasure comes second to yours, and that’s how he has always operated (which also makes for very interesting flip dynamics whenever he gets desperate👁️). if you ask for him to be firm, if you tell him you want him to be in control, that you want to submit to him, that you want him to be strong, to guide you, to take what he wants?

he’s putty.

he’d ask you several times if you’re sure. if that’s really what you want. when you say yes, it is, i’m telling you that it is—he’s still rather nervous at first. at first he wonders if he even knows what he wants, because he’s always so focused on what you want.

but truly, what he wants is just to love you in a way that is safe and comfortable for the both of you. if you are pleasured, he is pleasured. that’s honestly the baseline for anything he ever does.

perhaps, though, just once, he can focus on his own pleasure a bit more. you’ve given him the explicit go-ahead, many times, and even asked for him to be rougher, after all.

so he becomes more truly dominant, giving you more directions, and asking for more from you. he even takes, sometimes, and he has never taken anything before. it makes you feel very giddy.

his new firmness opens up the opportunity for you to explore being bratty. you’ve found yourself becoming increasingly playful, while he remains rather stoic and hard-assed as he learns to deal with you, and you love it—you know he does, too, because he has told you. taming you is a nice fun precursor to the intimate and very romantic missionary sex that you two will have.

and if you’ve talked about kids in your marriage before, this is the point where a hidden desire will finally emerge in him.

he really wants kids. more than he let you realize before. and he really wants to get you pregnant. like whenever you’re ready, he is rearing to go. as soon as you give him consent, he is more needy and wanton than you’ve ever seen before. he takes more, manhandles you, and loves you firmly, and it’s literaly awesome sauce : 3

sorry lost my energy to write more and forgot how to be serious : 3 just got inflicted with the diluc brainrot for a solid 45 minutes and got the urge to write about it bc i for some reason was thinking about people having public-ish/risky sex and how i would never be comfortable with that personally for multiple reasons . and then i thought about diluc and i was like oh my glorious king he’s like a mr darcy dreamboat i swear ugh anyways

[darcytaylor]

Why I Didn’t Mind the Brothel Scenes in Bridgerton Season 3 - Hot Take

Before I dive into this, I want to make it clear that if you didn’t like the brothel scenes in Bridgerton, that’s completely valid. I’m not here to change your mind, just to share why they worked for me and how I see them fitting into Colin’s journey.

I’ve noticed a lot of conversation about the brothel scenes, with some people feeling like they were out of place or didn’t fit Colin’s arc. Personally, I didn’t mind them, and here’s why I think they actually make sense (for me) in the bigger picture of his growth.

Discomfort Is the Point

Right from the start, I think it’s important to recognize that the brothel scenes are supposed to feel disconnected, almost uncomfortable. The whole point is to show how uncomfortable Colin is with himself at that point in his journey. He’s forcing himself into a persona he thinks he should have, and the scenes reflect that struggle. It’s not about Colin being this confident playboy - it’s about him trying (and failing) to figure out who he is and what he wants, which is messy and awkward.

I think they are actually a crucial part of his self-discovery. By showing him trying too hard to fit into a role he doesn’t understand, it's making sure we feel how lost Colin is (because we already know his character isn't actually like this). His growth feels more earned because we get to witness his struggles firsthand.

A Different Take on the "Rake" Archetype

Now, Bridgerton has explored the “rake” archetype before, with characters like Simon, Anthony and Benedict, who exude charm and use that to hide their emotional vulnerabilities. But Colin’s journey flips that trope. He’s not confident in the way they are. He’s actually a man who’s very much unsure of himself, fumbling toward an identity he hasn’t figured out yet.

Colin doesn’t find confidence in seduction the way Simon and Anthony did - it's more of a mask, something that’s not truly him. The brothel scenes highlight that lack of confidence, showing how far he is from figuring out what he truly wants. It can be relatable for anyone who’s ever felt lost or unsure about themselves.

It’s More About Sexuality as Self-Discovery

For Colin, the brothel scenes aren’t just about physical pleasure - they’re more about experimenting with what it means to be desirable, to be masculine, and to meet societal expectations. This exploration is messy and imperfect - exactly how many people experience sexual self-discovery.

Some people have suggested that Colin’s decision to be with two women at once might hint at demisexuality, and I think that’s an interesting perspective. It almost seems like Colin is trying to remove emotional intimacy from the equation, reflecting how disconnected he feels from his own vulnerability. But I also think that part of it is Colin’s “go big or go home” mentality. If he can be with two women at once, maybe he feels like he’s proving something to himself - or maybe trying to convince himself that he’s doing what he’s supposed to be doing.

Either way, his actions may not make him particularly likeable, but they make sense given where he’s at emotionally. He’s trying to figure out who he is, and that’s a messy process.

Bridgerton as Fantasy, Not History

It’s also really important to remember that Bridgerton isn’t a historical drama - it’s a fantasy with a romanticized take on the Regency era. It mixes period aesthetics with modern storytelling, and the brothel scenes should be viewed through that lens. The show doesn’t aim for historical accuracy - it’s about creating an idealized world where love, desire, and self-discovery take center stage.

So while some might have strong feelings about the way the brothel scenes are portrayed, it’s important to understand that they’re serving the narrative rather than trying to make a statement on real-world issues like sex work. In the context of Bridgerton, they’re more about Colin’s personal journey within this heightened, fantastical world.

The Brothel Scenes and Colin’s Need for Validation

Colin is deeply insecure. Even though he’s charming and outwardly confident, he’s searching for external validation - especially from those around him (Penelope, his brothers, and society at large). The brothel scenes are a way for him to seek that validation, to prove to himself that he’s the man he thinks he’s supposed to be (he said that himself).

But the problem is that this kind of validation doesn’t lead to fulfillment. It shows how far Colin is from truly understanding what makes someone desirable - not just in the eyes of society, but to himself. These moments reflect the gap between the performance of masculinity he’s trying to live up to and the deeper, emotional connection he’s actually longing for.

Visual Storytelling and Emotional Growth

One of the things Bridgerton does so well is visual storytelling, and I think the brothel scenes are a prime example of this. They’re meant to feel dissonant - just like Colin’s own inner turmoil. By showing these awkward, forced moments, we’re able to see the contrast between where Colin is emotionally and where he will eventually get to.

The disconnection he feels in those scenes makes the eventual emotional intimacy he shares with Penelope feel that much more rewarding. It’s all about showing how far Colin has come from the man he thought he should be to the man he’s finally becoming.

The Bigger Picture: Colin and Penelope

In the end, the brothel scenes aren’t about the act of being in the brothel - they’re about Colin learning from the experience. These moments set him on a path toward understanding that real connection comes from vulnerability and emotional intimacy. That's why I think we needed both brothel scenes - one where he thinks he is achieving what he should be, then the next is him realizing it's not what he wants.

His eventual relationship with Penelope, which is built on trust, honesty, and emotional connection, will contrast with the emptiness of his earlier encounters. These scenes aren’t just filler - they’re a part of Colin’s journey to self-acceptance, and ultimately, to love.

Final Thoughts

I totally get why the brothel scenes might not work for everyone. But for me, they added a necessary layer to Colin’s story. They showed his struggles, his insecurities, and his fumbling toward a better understanding of himself. In a show that often romanticizes love and desire, those messy moments felt real and grounded. They’re an important part of Colin’s growth, and without them, his eventual connection with Penelope wouldn’t feel as earned for me.

These scenes remind us that love, desire, and self-identity are complex and can be messy - and that’s okay.

[blasphemousclaw]

Do you think The Moons in Elden Ring only communicate with certain people?

It could explain how Count Ymir sees the Moon as just a Celestial Body and not a divine figure.

hmm that’s a good question; it does seem like Rennala, Rellana, and Ranni have a special affinity with the moon… I’m not sure that this is because the moon only communicates with them though, because I don’t believe the moon is a god, at least not in the same sense that the goddess of rot or the Formless Mother are gods?

Plenty of people draw power from the moon, including the Carian knights and preceptors (not just the royals), the sorcerers of the Lazuli Conspectus, the Nox, and perhaps Ranni’s mentor the Snow Witch… here the moon is used as a source of magic in the field of glintstone sorcery. There is a reason why glintstone sorceries and incantations are separate disciplines: sorceries are based on intelligence (study, research, self-discovery), and incantations are based on faith (belief in a higher power or force of nature). Lunar sorcery does not draw from faith like Bloodflame incantations or rot incantations do, which in my mind classifies it as a different sort of power than divine communion.

The way the moon is described in relation to Ranni, Rennala, and Rellana is that they “met” or “encountered” it:

“The young astrologer gazed at the night sky as she walked. She had always chased the stars every step of her journey. Then she met the full moon — and, in time, the astrologer became a queen.”

“This moon was encountered by a young Ranni, led by the hand of her mother, Rennala. What she beheld was cold, dark and veiled in occult mystery.”

“Queen Rennala encountered this enchanting moon when she was young, and later, it would bewitch the academy.”

“In her childhood, she and her elder sister Rennala met these moons. Overlapping, as though nestled against one another.”

But I’ve never interpreted this as a god selecting champions to enact its will, but more like a fateful discovery of a source of great power? Rennala and Rellana were astrologers, who read fate within the stars, when they encountered their moons… it seems to me that there’s an element of fate or destiny involved in connecting with the moon, but not necessarily personified divinity? I bet the Carian royals are like uniquely fated individuals… like how Sellen says “The stars alter the fate of the Carian royal family.” Also, Rennala’s description of chasing the stars and one day meeting the moon, and Ranni’s description of encountering the dark moon led by her mother’s hand also suggests to me a proactive arc of personal discovery and study rather than a god who chooses a person and communicates their divine will to them (such as the Formless Mother).

I think the reason why Count Ymir “abandoned his allegiance to the moon” because "It was merely the closest of the celestial bodies” is a combination of the fact that he doesn’t have this seemingly fated connection to the moon, and the fact that his interests go much further than the moon… he’s interested in the origins of life itself:

“I, too, am a glintstone sorcerer. We study the stars, and examine the life therein. Are you familiar with our findings? Long ago, we began as stardust, born of a great rupture far across the skies. We, too, are children of the Greater Will. Is that not divine? Is that not sublime? ...and yet, none can fathom its implications, its utter brilliance!”

and so is Sellen, who studies the primeval current:

“Our powers draw upon the powers embedded in glintstone, but what is the nature of such power? Glintstone is the amber of the cosmos, golden amber contains the remnants of ancient life and houses its vitality, while Glintstone contains residual life. And thus, the vitality of the stars. It should not be forgotten that glintstone sorcery is the study of the stars and the life therein.”

So I can understand why these characters would spurn the study of the moon as a trivial topic, instead exploring topics that get to the very heart of the nature of life and where we come from.

idk if I actually answered your question… I guess in a way, I believe the moon only communicates with certain people… but I think it’s more like, Rennala and Rellana, after tirelessly pursuing the knowledge of the stars, met the moon in a fated encounter and gained the ability to understand and tap into its power (and passed this on to Ranni), not that the moon is a sentient being that chooses champions to enact its will. Whether this still counts as being a god or being divine is up to personal interpretation I think, but the moon is at the very least a totally different sort of power than the confirmed outer gods we know of, and Ranni has a totally different sort of relationship to the moon than Mohg has to the Formless Mother.

[jesslovesboats]

BECAUSE YOU DEMANDED IT, I'm back with more Sad Boat Books for Sad Boat People! But first, some words.

I never dreamed that a silly little graphic I made for some friends would generate this much response on twitter and here, but I'm overjoyed that it resonated with so many of you! I read every single comment and tag, and by far my favorites are all of the people who say some variation of "I thought I was the only one who loved these books." We are NOT alone, there are literally thousands of people who reblogged or retweeted this list-- people of all ages and backgrounds and gender identities. Sad Boat isn't just for old white men! I was also delighted to hear from other librarians who are using this in displays and for reader's advisory. PLEASE go forth and do so with my blessing, nothing would make me happier! I was recently laid off from my librarian job as part of a restructuring under new management (don't worry about me, it sucks right now but I'm gonna be fine), so I would love to think that I'm still contributing to the library ecosystem while I'm out of commission. I would also love to keep making these lists (including one that deals with Sad Boat fiction and one with recommendations for other types of media), and I've never had more time to do it, so if you have suggestions, please drop them in my inbox!

Anyway, enough of that-- here are more books! I've either read all of these, or the recommendation came from someone I trust, so read with confidence!

First Hand Accounts

The Quiet Land: The Antarctic Diaries of Frank Debenham edited by June Debenham Back

The Voyage of the Discovery by Robert Falcon Scott

Farthest North by Fridtjof Nansen

Endurance by F.A. Worsley

Boats boats boats!

Franklin's Lost Ship: The Historic Discovery of HMS Erebus by Alanna Mitchell and John Geiger

The Voyages of the Discovery: The Illustrated History of Scott's Ship by Ann Savours

HMS Terror: The Design, Fitting, and Voyages of a Polar Discovery Ship by Matthew Betts

The SS Terra Nova (1884-1943): Whaler, Sealer, and Polar Exploration Ship by Michael C. Tarver

You'll learn about the Ross Sea Party and you'll like it

Shackleton's Heroes by Wilson McOrist

Shackleton’s Forgotten Men: The Untold Tragedy of the Endurance Epic by Lennard Bickel

The Ross Sea Shore Party 1914-1917 by R.W. Richards

The Lost Men by Kelly Tyler-Lewis*

Polar Castaways by Richard McElrea and David Harrowfield*

*These were on my other list, but this is my graphic and I'll do what I want

Sad Airships and Planes

From Pole to Pole: Roald Amundsen's Journey in Flight by Garth James Cameron

N-4 Down: The Hunt for the Arctic Airship Italia by Mark Piesing

Antarctica's Lost Aviator by Jeff Maynard

Disaster at the Pole: The Tragedy of the Airship Italia and the 1928 Nobile Expedition to the North Pole by Wilbur Cross

More Shackleton Content

Shackleton: A Life in Poetry by Jim Mayer

Shackleton's Last Voyage by Frank Wild

The Quest Chronicle: The Story of the Shackleton-Rowett Expedition by Jan Chojecki

Shackleton's Forgotten Expedition: The Voyage of the Nimrod by Beau Riffenburgh

Polar Partners

Snow Widows by Katherine MacInnes

Polar Wives: The Remarkable Women Behind the World's Most Daring Explorers by Kari Herbert

Widows of the Ice by Anne Fletcher

Sad Boat Graphic Novels

Shackleton: Antarctic Odyssey by Nick Bertozzi

The Worst Journey in the World- The Graphic Novel Volume 1: Making Our Easting Down adapted by Sarah Airriess from the book by Apsley Cherry-Garrard*

How To Survive in the North by Luke Healy

*This was also on my other list, but this is my graphic and I'll do what I want

Biographies

Scott of the Antarctic by David Crane

Ice Captain: The Life of J.R. Stenhouse by Stephen Haddelsey

Cherry: A Life of Apsley Cherry-Garrard by Sara Wheeler

Birdie Bowers: Captain Scott's Marvel by Anne Strathie

Roald Amundsen by Tor Bomann-Larsen

Miscellaneous sad boat books that are well worth your time

I May Be Some Time: Ice and the English Imagination by Francis Spufford

Fatal North: Adventure and Survival Aboard USS Polaris, The First US Expedition to the North Pole by Bruce Henderson

Barrow's Boys: A Stirring Story of Daring, Fortitude, and Outright Lunacy by Fergus Fleming

Pilgrims on the Ice by T.H. Baughman

The Coldest Crucible: Arctic Exploration and American Culture by Michael F. Robinson

Ghosts of Cape Sabine by Leonard F. Guttridge

Icebound: Shipwrecked at the Edge of the World by Andrea Pitzer

If you read and enjoy any of these, please let me know!

EDITED TO ADD: OG Sad Boat Books post here!

[reachartwork]

asked my robot son (@statsbot) to brainstorm a minecraft movie that doesnt suck

text under read more

Let me tell you about a different kind of Minecraft movie:

INITIAL QUESTIONS How do we handle the complete isolation of the Minecraft world without resorting to isekai tropes? What's the core philosophical theme that could drive a mature narrative? How do we address the building/crafting mechanics without making them feel gamey? What role should the hostile mobs play in a serious narrative? How can we incorporate the inherent emptiness and loneliness of the world?

DETAILED RESPONSES The film opens in medias res - we never learn how humanity came to this cubic world, because it doesn't matter. Our protagonist is part of a small community of builders and survivors who have always been here. No portal, no transportation, no explanation needed. This is simply their reality, like how we don't question the physics of our own universe. The core theme revolves around humanity's relationship with creation and destruction. The protagonist is a master builder in their community who discovers ancient ruins suggesting that their civilization isn't the first to exist in this world. The film explores cycles of creation, destruction, and rebirth, drawing parallels to real-world lost civilizations.

The crafting system is presented as an inherent natural law of their universe - materials combine in specific ways, like chemistry in our world. The film treats this as mundane reality rather than game mechanics. Buildings aren't instantly placed but constructed through time lapses showing genuine effort and community cooperation.

The hostile mobs are treated as natural phenomena - the Creepers are portrayed as silent, tragic creatures drawn to human creation with an inherent need to destroy it. Zombies and Skeletons emerge from ancient ruins, suggesting they're remnants of the previous civilization. The Endermen are portrayed as incomprehensible beings studying human behavior from a distance.

The vast emptiness between settlements is treated as both beautiful and terrifying. Long shots of endless cubic horizons emphasize the scale of the world and humanity's tiny place within it. The emptiness serves as a canvas for human creativity but also a reminder of cosmic loneliness.

FOLLOW-UP QUESTIONS How does the discovery of another surviving settlement change the protagonist's worldview? What happens when they find evidence that the previous civilization fell due to their own hubris in attempting to access The End? Why do some members of the community oppose expanding their knowledge of redstone technology? What drives some community members to venture into the Nether despite the obvious dangers? How does the community handle the philosophical implications of villager trading and their level of sentience?

ADDITIONAL DETAILS The film's structure follows a three-act format but breaks conventional storytelling rules by maintaining a meditative pace. The score emphasizes ambient sounds and C418's original music, treating silence as another character. The visual style embraces the cubic nature of the world while using modern lighting techniques to create genuine beauty.

The climax doesn't involve a typical boss fight but rather a moral choice about whether to repeat the cycles of the past. When the protagonist discovers the truth about The End portal beneath their village, they must decide whether knowledge is worth the risk of destruction.

The film ends ambiguously, with the community choosing to build something new while accepting they may not be the last civilization to inhabit this world. The final shot pulls back to reveal their entire settlement is built upon layers of ancient ruins, suggesting countless cycles of civilization before them.

Key scenes include: A silent sequence showing the meticulous construction of a grand structure The first discovery of redstone, treated with the gravity of discovering atomic energy A haunting scene where Endermen gather to observe a funeral ceremony The protagonist realizing their village's architectural style matches patterns in the ancient ruins

The film refuses to explain many of its mysteries, treating the Minecraft world like our own - full of questions we may never answer. This respects both the source material and the audience's intelligence, creating a genuinely thoughtful science fiction film that happens to be set in a cubic world.

[ceaselesswatchersspecialboy]

spent a good hour reading up on your Not What He Seems AU, it’s such a perfect mix of angst and whimsy! Ford waking up to find 30 years have passed in the blink of an eye is is the kind of body horror terrifying i eat up, as an avid enjoyer of time travel and its inherent tragedy.

i got a few questions, if you’ll indulge me:

- what kinds of tattoos you think Bill has gotten over the years? i think i saw some arm bands in one of your pieces, but i’d love to hear if you have any specific ideas for placements or images. if he’s doing it for the safe pain experience, i’d think there are some pretty big/detailed pieces involved? and do you think the pain helps ground him somewhat, to find and fit better in the boundaries of the body?

- in the show, Stan feels a lot of guilt for stealing his brother’s identity and he kinda thinks of himself as a fraud, an actor. do you think Bill ever feels guilty for the same? or would he just miss Ford a lot, without the Stan-specific aspect of pretending to be “the better one”?

also any fun tidbits you’ve been rotating in your head lately! it’s impressive how specifically it seems like you’ve thought out how Bill’s presence would affect the canon show events, while trying to keep them as unchanged as possible. also StanFraud is the funniest, most perfect thing I’ve ever heard!

Thank you!! I’ve always enjoyed writing horror based on human response, so Ford’s perspective is probably one of the most fascinating to me in this AU, although, all of it is fascinating and enjoyable to explore, really!

— I haven’t worked them all out yet, but I know for a fact he has a tattoo of the Cipher Wheel on his back, the arm bands as you mentioned, a hyper-realistic tattoo of his ribs where his ribs would be (if that makes sense), and eyes on the back of his hands. Honestly, I’d be open to suggestions for him! I imagine him having some more grotesque, detailed tattoos that reflect the nightmare realm as well. And yes, the pain definitely helps ground him. It also gives him a sense of control as well, in a situation where he has none.

— If he does feel guilty, it’s a complicated kind of guilt. I don’t even think he’d fully process that he’s feeling guilty. It’s this sort of gnawing feeling he can’t get rid of, and it starts the longer he gets to know Dipper and Mabel — he never really felt it before that. He absolutely misses Ford though. He can’t define that feeling either. I’ve said before that he looks at Dipper strangely, and that’s because Dipper reminds him of Ford in certain moments, eager for discovery!

He and Stan never really talk about it, but the have both acknowledged missing Ford before.

Bill’s response was vague though, not an ‘I miss him too’, but an ‘I think I do too.’ He isn’t sure what to make of that.

Bill Cipher doesn’t feel remorse, or miss people, he does everything with intention and he’s never made mistakes. Or, that’s what he’s meant to be. Maybe he has gone soft.

And Tidbits! I have a few! Not as many as usual, only because Arcane’s been taking up a bit of my brain space lately, but I hope these shall suffice anyhow:

(And quickly, thank you again, I think way too hard on all the small details and how Bill’s presence would have a knock on effect. It makes me happy to see it get noticed!)

— In the early days of Bill being trapped, Stan obviously doesn’t open the Mystery Shack, and ends up having to take a few odd jobs around town instead. He’s earned a bit of a reputation for being a decent handyman because of that, and even now, old timers of the town will still come to Stan if they need something fixing, especially cars. He complains about getting too old for it, but he never says no. Money is money! It’s also interesting to think about how the little things would impact his relationship with the townsfolk and how they view him. He’s always been Stanley to them. He’s never had to pretend otherwise.

— I’ve toyed around with making the Blind Eye a bigger threat than they are in canon, being as the kids would have no reason to look into Old Man McGucket. I’ve also toyed around with McGucket ending up slightly different to canon, his mind still broken, but his motivation different, with him being aware early on that the man he sees isn’t Ford, and is in fact the beast he fears and tried to erase from his mind. A more antagonistic Fiddleford who’s been trying to get rid of Bill for years now would actually be really fun? If I can make it work, and make the Blind Eye work in this way, I’ll lean into it! For now though, it’s just an idea I’m throwing around.

— Vague ‘episode’ idea that exists within my brain is Bill accidentally starting a mini cult again after telling some sort of lie that catches on, and it ends up being a Mabel-Bill bonding plot-line as she tries to convince him to just be honest before this whole cult thing gets taken too far. I also love the idea of Bill making a comment about this being like 1952 all over again. He makes comments like that all the time. Surely he’s just joking!

— Another vague ‘episode’ idea I have is Bill taking Dipper and Mabel to the supernatural underground market of Gravity Falls under Stan’s nose, trying to prove he’s the cooler Uncle, and that he can handle the two kids by himself. This goes about as well as you’d expect. Stan isn’t too happy to find out Bill got Dipper and Mabel in trouble, as he tried to get them to do more and more risky things.

— Bill will sometimes start speaking in Euclydian without realising, especially when it comes to cursing, and no one knows how he’s making those sounds with his mouth. Stan’s actually started picking up some of the meanings in context and can roughly gauge what Bill might be saying.

[eshalstuf]

Given the context of the second season, this is my favorite scene between Esra and Halit. Amid all the (unnecessary) plots that the writers created for them, this scene stands out as the cutest, most honest and loving of their relationship.

The writers decided to explore the lack of communication between Esra and Halit, which I didn't like very much. However, I love this scene, because Esra takes the initiative to call Halit for a heart-to-heart talk. Halit, in turn, shares his perspective on confidence, while Esra opens up about her insecurities and the difficulty of dealing with the situation, as she had never experienced anything like this before.

She seems so scared, especially since she has never been intimate with anyone before. If there wasn't this connection, perhaps the breach of trust wouldn't be so painful. But now, she has someone she loves and needs to trust, and that's exactly why the pain is intense. The absence of trust weighs more, because the vulnerability that comes with love is profound. It's an emotional dilemma: she wants to open up, but the fear of getting hurt stops her.

Halit's look throughout the scene conveys a mixture of understanding and frustration. He truly understands what Esra is going through, but he feels helpless because he doesn't know how to help her overcome this confidence block. This duality in his expression reveals the depth of his feelings: he wants to support Esra and show that he can be someone she trusts, but her difficulty in opening up leaves him distressed.

At the end of the conversation, Halit clearly expresses what he needs to say, showing that he is fully willing to commit to this relationship. But the big question remains: what about Esra? What does she really feel? Halit is right to leave this question hanging, as the answer can only come from her. Overcoming this fear is a challenge that requires courage, and this action must come exclusively from her.

It's a time of reflection for Esra, where she needs to confront her insecurities and decide if she's ready to open her heart. This journey of self-discovery is crucial, and even though Halit is there to support her, the decision to trust and surrender is a choice she must make for herself.

Then, in subsequent scenes, we see Esra buying a beautiful dress and going to Halit's door, a moment in which she gives herself to him and accepts the intimacy they have built. This represents a big step in your relationship.

However, the writers end up undermining this progress by showing Esra going through Halit's things, which suggests that, despite progress in their relationship, she is still suspicious. I choose to ignore this sequence of meaningless scenes.

I hope that in the third season we can see Esra giving more and more to this love. The development of overcoming her fears regarding intimacy and abandonment would be a very beautiful and powerful arc. It would be amazing to explore this journey more intensely, showing how she learns to trust and open up to Halit. The emotional depth of this process could enrich the story and bring truly touching moments. I hope this can be a possibility next season.

[stagefoureddiediaz]

This quote is so heartbreaking

Newly estranged relationship😭😭😭 is bad enough but then to follow that with there’s no one in Eddie’s life really is soul destroying.

Buck supporting Eddie through this is a given - the very literal visual metaphor of Buck being at Eddie’s back - of having his back as well as being the supporting hand on his shoulder we saw at the end of the season as Chris left. This is the next phase of that and how it looks remains to be seen. The way this is worded suggests that Chris is going to refuse contact with Eddie - at least initially and that is going to really hurt Eddie.

To me it feels like we might see Buck being in contact with Chris and therefore being able to feed back to Eddie to be the one connection to Chris he has. But also then become some sort of mediator for them as things settle and time and distance allows perspective to be gained and anger to settle. This channel of communication between buck and Chris and Eddie is something we’ve seen develop through the seasons - Buck being a safe space for Chris - someone not his father he can talk to and open up to or go to for help, and also someone Eddie can do the same things with.

It feels like it’s very much going to be a continuation of that established dynamic and a way of tightening the bonds between the three of them further in the long run. It truly is very coparent loaded and really a compelling narrative to explore.

The no one in Eddie’s life really quote also is loaded. It gives rise to the concept that his reltionship with his parents is going to deteriorate as well - that they may refuse to give him information on Chris or not take his calls, not involve him in decisions about Chris that really should have his input.

I found Ryan saying Eddie’s going to lean on buck very interesting as well - especially as he also said

Bucks going to lean on Eddie as well. (Also second mentions of the relationship flourishing and being stronger than ever!)

The fact this is in direct opposition to what Tim said - that Eddie is going to end up feeling a bit out in the cold because Buck will be spending more time with Tommy is interesting. Because which one is it?

Obviously Tim likes to spin his words so they never mean what he actually says. So I take all his interviews with a pinch of salt but I do think we will see that distance he spoke about because it’s good for Eddie to have that space for himself.

Well it can actually be that both are true and that is really interesting from a story telling perspective - and not exactly as a point of conflict, but as a way of juxtaposing Eddie and Tommy - it’s the pulling of the triangle that Buck Eddie and Tommy form.

This idea that Buck is going to be dealing with Gerrard and pushing back against a very different authority figure to bobby has a lot of potential for Buck and his journey of self discovery and self love and acceptance that his arc seems to be set up for this season. I don’t want to talk about Buck and BT in a meta about Eddie though!

I’m really interested to see how Eddie let’s buck lean on him and what that support looks like. Because it will be exactly what Buck needs - Eddie understands Buck and how to nudge him in the right direction - it’s a key part of their dynamic and, I’m of the opinion that we’re going to see s8 as a sort of s3 redux so I think this next iteration of buck and Eddie’s relationship - with Eddie also leaning on Buck is going to be the fight club/ lawsuit arc but in juxtaposition. Whereas in s3 they didn’t lean on each other and support one another, this time they will - it will show how much they’ve changed and grown and trust one another since s3 and how much depth there is to them as a unit. (Which will also be a perfect juxtaposition of how little buck and Tommy know and trust one another!)

[literaryvein-reblogs]

Writing Notes: The Moon (pt. 2)

Earth’s Moon is thought to have formed in a tremendous collision. A massive object ― named Theia after the mythological Greek Titan who was the mother of Selene, goddess of the Moon ― smashed into Earth, flinging material into space that became the Moon.

The brightest and largest object in our night sky, the Moon makes Earth a more livable planet by moderating our home planet's wobble on its axis, leading to a relatively stable climate. It also causes tides, creating a rhythm that has guided humans for thousands of years.

The Moon was likely formed after a Mars-sized body collided with Earth several billion years ago.

Earth's only natural satellite is simply called "the Moon" because people didn't know other moons existed until Galileo Galilei discovered four moons orbiting Jupiter in 1610. In Latin, the Moon was called Luna, which is the main adjective for all things Moon-related: lunar.

The many missions that have explored the Moon have found no evidence to suggest it has its own living things. However, the Moon could be the site of future colonization by humans. The discovery that the Moon harbors water ice, and that the highest concentrations occur within darkened craters at the poles, makes the Moon a little more hospitable for future human colonists.

With a radius of about 1,080 miles (1,740 kilometers), the Moon is less than a third of the width of Earth. If Earth were the size of a nickel, the Moon would be about as big as a coffee bean.

The Moon is an average of 238,855 miles (384,400 kilometers) away. That means 30 Earth-sized planets could fit in between Earth and the Moon.

The Moon is slowly moving away from Earth, getting about an inch farther away each year.

The Moon is rotating at the same rate that it revolves around Earth (called synchronous rotation), so the same hemisphere faces Earth all the time. Some people call the far side – the hemisphere we never see from Earth – the "dark side" but that's misleading. As the Moon orbits Earth, different parts are in sunlight or darkness at different times. The changing illumination is why, from our perspective, the Moon goes through phases. During a "full moon," the hemisphere of the Moon we can see from Earth is fully illuminated by the Sun. And a "new moon" occurs when the far side of the Moon has full sunlight, and the side facing us is having its night.

The moon's near and far side.

The Moon makes a complete orbit around Earth in 27 Earth days and rotates or spins at that same rate, or in that same amount of time. Because Earth is moving as well – rotating on its axis as it orbits the Sun – from our perspective, the Moon appears to orbit us every 29 days.

The leading theory of the Moon's origin is that a Mars-sized body collided with Earth about 4.5 billion years ago. The resulting debris from both Earth and the impactor accumulated to form our natural satellite 239,000 miles (384,000 kilometers) away. The newly formed Moon was in a molten state, but within about 100 million years, most of the global "magma ocean" had crystallized, with less-dense rocks floating upward and eventually forming the lunar crust.

Earth's Moon has a core, mantle, and crust:

The Moon’s core is proportionally smaller than other terrestrial bodies' cores. The solid, iron-rich inner core is 149 miles (240 kilometers) in radius. It is surrounded by a liquid iron shell 56 miles (90 kilometers) thick. A partially molten layer with a thickness of 93 miles (150 kilometers) surrounds the iron core.

The mantle extends from the top of the partially molten layer to the bottom of the Moon's crust. It is most likely made of minerals like olivine and pyroxene, which are made up of magnesium, iron, silicon, and oxygen atoms.

The crust has a thickness of about 43 miles (70 kilometers) on the Moon’s near-side hemisphere and 93 miles (150 kilometers) on the far-side. It is made of oxygen, silicon, magnesium, iron, calcium, and aluminum, with small amounts of titanium, uranium, thorium, potassium, and hydrogen.

Long ago the Moon had active volcanoes, but today they are all dormant and have not erupted for millions of years.

With too sparse an atmosphere to impede impacts, a steady rain of asteroids, meteoroids, and comets strikes the surface of the Moon, leaving numerous craters behind. Tycho Crater is more than 52 miles (85 kilometers) wide.

Over billions of years, these impacts have ground up the surface of the Moon into fragments ranging from huge boulders to powder. Nearly the entire Moon is covered by a rubble pile of charcoal-gray, powdery dust, and rocky debris called the lunar regolith. Beneath is a region of fractured bedrock referred to as the megaregolith.

The light areas of the Moon are known as the highlands. The dark features, called maria (Latin for seas), are impact basins that were filled with lava between 4.2 and 1.2 billion years ago. These light and dark areas represent rocks of different compositions and ages, which provide evidence for how the early crust may have crystallized from a lunar magma ocean. The craters themselves, which have been preserved for billions of years, provide an impact history for the Moon and other bodies in the inner solar system.

If you looked in the right places on the Moon, you would find pieces of equipment, American flags, and even a camera left behind by astronauts. While you were there, you'd notice that the gravity on the surface of the Moon is one-sixth of Earth's, which is why in footage of moonwalks, astronauts appear to almost bounce across the surface.

The temperature on the Moon reaches about 260 degrees Fahrenheit (127 degrees Celsius) when in full Sun, but in darkness, the temperatures plummet to about -280 degrees Fahrenheit (-173 degrees Celsius).

During the initial exploration of the Moon, and the analysis of all the returned samples from the Apollo and the Luna missions, we thought that the surface of the Moon was dry.

The first definitive discovery of water was made in 2008 by the Indian mission Chandrayaan-1, which detected hydroxyl molecules spread across the lunar surface and concentrated at the poles. Missions such as Lunar Prospector, LCROSS, and Lunar Reconnaissance Orbiter, have not only shown that the surface of the Moon has global hydration but there are actually high concentrations of ice water in the permanently shadowed regions of the lunar poles.

Scientists also found the lunar surface releases its water when the Moon is bombarded by micrometeoroids. The surface is protected by a layer, a few centimeters of dry soil that can only be breached by large micrometeoroids. When micrometeoroids impact the surface of the Moon, most of the material in the crater is vaporized. The shock wave carries enough energy to release the water that’s coating the grains of the soil. Most of that water is released into space.

In October 2020, NASA’s Stratospheric Observatory for Infrared Astronomy (SOFIA) confirmed, for the first time, water on the sunlit surface of the Moon. This discovery indicates that water may be distributed across the lunar surface, and not limited to cold, shadowed places. SOFIA detected water molecules (H2O) in Clavius Crater, one of the largest craters visible from Earth, located in the Moon’s southern hemisphere.

The Moon has a very thin and weak atmosphere, called an exosphere. It does not provide any protection from the Sun's radiation or impacts from meteoroids.

The early Moon may have developed an internal dynamo, the mechanism for generating global magnetic fields for terrestrial planets, but today, the Moon has a very weak magnetic field. The magnetic field here on Earth is many thousands of times stronger than the Moon's magnetic field.

Earth’s Moon was born out of destruction.

Several theories about our Moon’s formation vie for dominance, but almost all share that point in common: near the time of the solar system’s formation, about 4.5 billion years ago, something ― perhaps a single object the size of Mars, perhaps a series of objects ― crashed into the young Earth and flung enough molten and vaporized debris into space to create the Moon.

Five Things We Learned from Apollo Moon Rocks

The chemical composition of Moon and Earth rocks are very similar.

The Moon was once covered in an ocean of magma.

Meteorites have shattered and melted rocks on the Moon’s surface through impacts.

Lava flowed up through cracks in the Moon’s crust and filled its impact basins.

Lunar “soil” is made of pulverized rock created by meteorite impacts.

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

Writing Notes: The Moon (pt. 1) ⚜ Writing Notes & References

[writer-logbook]

My story doesn't have a villain, so what ?

Does a story really need a villain ? What is a stake where there's none ? How can the protagonist evolve when they've got no one to face ?

In which I explain how the conflict can lie elsewhere - and it's a bit more challenging yet sometimes more interesting.

The world, and society in general. They are often a good starting point to create tension in your novel (because everything is most certainly wrong everywhere lol). For example : what happens if you don't share the beliefs of your city ? What choices can make you defy the current order and break the status quo ? It's a convenient way to plot distopian books, but it's not yet a cliché because of to the complexity of the trope and the different aspects you can explore as it is broad.

The complexity of your characters : the personal quest. The famous "You are your own worst ennemy" is a actually very effective in this case - but any other significant event, trauma, fear etc. can be consistent enough to be the core of a novel. I believe the journey is more important than the "plot" or the ending itself. The path of finding answers, healing and overcoming a traumatic event is easy to suggest, harder to write about, yet somehow always powerfull. I think it's hard to be cliché with 'personal quest' trope because everyone deals with their suffering in such different ways that you can't be exploring it twice. (Or it can be something lighter, like the pursuit of an artistic dream).

Various characters, same event. Multiple POVs are a great way of exploring all the aspects of the issue, based on the different beliefs and perceptions that drive your character. For this to be really effective, you need to have characters who do not share the same opinion on the subject. It doesn't have to be a difficult idea to come up with. For instance: in a futuristic world, you can choose what to do with your memories: keep them or erase them. Some people will argue in favour of the process (because you can erase a traumatic event), others will argue against it, saying that memory is what makes a person. In that kind of scenario, morality plays a huge role.

A destabilising event, much bigger than ourselves or a discovery that could shape the future. A destabilizing event, much bigger than ourselves or a discovery that can shape the futur. Think of that sci-fi novel where the end of the world is brought about by an incoming asteroid. It's the same thing. Either you try to avoid it, or you try to accept it, or you try to fight it. Each way is valuable to a story, if you create some consistent characters.

To conclude : we have to think a bit more about what is at stake when no one actually treathen the peace of the community. There's no manichaeism, we have to go beyond good and evil ; the solution isn't clear - sometimes there's none at all. And that's okay.

Thanks for all the kudos and reblogs, I feel relieved to see that my posts are of some help ! ❤

If it's a bit fuzzy for you, let me quickly explain what my story is about, because that's what motivates me to write this essay.

My MC is a priest in a religious town that is suddenly plagued by an unknown and incurable disease. She tries to get used to it, until her family contracts it. She manages to acquire the power of the goddess and, doing so, shakes the foundations of her entire city and society, believing that she is now able to act. There's no villain whatsoever, just a poor girl trying not to see her family dies and who has to face the consequences of her own actions.

[brucewaynehater101]

hii i just wanted to ask about the accuracy of the statement of "Talia abducted Jason during when he was arguably at his most vulnerable cuz catatonic and took advantage of his state (+no Bats knowing Jason came back to life) to indebt him to her and a cult + groom him to be a tool for whatever goal she had in mind" or if it's fanon and your opinions on this idea (+ actual canon if this statement is in fact fanon)

but just like how we play with the scale of good parent, bad parent Bruce we could also fuck around and do so much with this concept (fanon or not)

Hi! I'm not as familiar with this, so let's do the research together ^^ It's gonna be a long post!

I've heard many many many people curse out a few writers (I'm shitty at remembering names) for being a racist pieces of shit. I've also heard of Talia being thrown under the bus by a lot of writers. Here's a link to a wonderful Tumblr post that goes into Talia and how writers fucked over her character.

There's other posts, but this one quickly summaries what they did to Talia and briefly mentions the assassination of Ra's character as well.

Here's a post that goes further into Ra's character.

On that note, I have seen a few fics play around with two ideas that were (as far as I'm aware) retconned: Damian's conception being unconsensual and Talia having sexual relations with Jason.

As long as you keep in mind that these were retconned and come from racist, sexist, or both connotations, it's okay to explore the impact these actions would have on all characters involved (especially if we're utilizing the reasoning that Talia wasn't in her right mind during those actions).

That's a basic summary of why there's heavy debate around Talia and the al Ghuls as a whole.

Now! Let's get into Talia and Jason specifically!!!!

The comic run we want to look into is Red Hood - The Lost Days. I am unsure if there are any other comics that cover post-death Jason but pre-Red Hood. If anyone has any other canon material that covers or mentions this time period, feel free to comment, reblog, etc.

This is Talia's initial reaction to hearing about Jason:

She expresses concern, worry, and grief for Bruce

She then has spies give her updates on Bruce's situation. Everyone else states Bruce is "stepping up his game." She calls them fools (since Bruce is obviously just hurting)

Very quickly, we get into her discovery of Jason Todd:

So. Jason's catatonic and Talia was ordered not to inform Bruce. Regardless of if she wanted to, she would be betraying her father if she told Bruce

Then I'm just going to drop all of these panels:

This shows she somewhat cares about him. Whether that's for Jason or because of Bruce, that's irrelevant. She still cares and wants him to get better. She wants him to go home.

Talia only pushes Jason into the Lazarus Pits because she's run out of time

Now... she may be an unreliable narrator. She states she's doing this for Jason's sake, but it does seem like it's more for her own. Regardless, she doesn't have ill intentions.

Talia dips Jason in the Pits and then tosses him out

That line of hers seems suspicious, but I see it more as her trying to hide the fact she had Jason for so long. It's less "go be mad at Bruce" and more "gods, what is Bruce gonna think of me if Jason shows up on his doorstep?"" Selfish, but not in the way fanon characterizes it.

She had trackers on the bag, though. She just needed him away from Ra's

Ra's tells Talia she fucked up, Jason tries to blow up the batmobile, and then tries to tell Talia he didn't lose his nerve for revenge against Bruce

Talia realizes that reviving Jason with the Pit might have fucked Jason up

Jason asks Talia for her help with revenge against Bruce. Talia did not set that up. Jason was the one to suggest it without influence

Talia obviously does not want to be helping Jason right now. She still agrees, though

Let me just toss this here too:

So... She's not doing this completely because she cares about Jason or that it's the right thing, but she also sure as hell does not want Jason to be going down this revenge path

Despite all of this, there's this:

They then proceed to fuck.

Which is gross as hell, and how some people can say that she took advantage of him

I think them fucking got retconned, though....

So, it's slightly complicated?

In my personal opinion, the final answer is: "It is fanon!"

There may be some truth or canon behind it, but that most likely comes from more racist characterizations of her character. However, the canon material that explicitly covers this topic makes it clear:

"Talia was selfish with her help to Jason. She wants Bruce to love her. She thus ends up hiding Jason's existence out of fear of Bruce's reaction. She does not want Jason to be mad at Bruce or fight his dad."

This also matches the other characterization I've seen of this: "Talia uses the distraction technique to try to hold Jason back from murdering his own father. 'You can't murder Bruce without training, Jason.'"

To continue, whether Talia should've told Bruce or not is an entirely different matter. Sometimes, I've avoided telling people shit out of fear, which made the situations worse. It wasn't great of her to do that, but in no way should this villainze her. I also 100% love that this gives her a flaw. People make mistakes. She's trying. She may have gone about it poorly, but she did what she thought she could. It was selfish, but I don't blame her.

She could've also convinced Jason to give up his mission entirely right before they fucked. That's where it gets murky.

You are absolutely correct that we can use the fanon idea of the al Ghuls manipulating Jason. On the other hand, I haven't seen enough fics where Talia treats Jason like an unruly toddler instead.

"No, Jason. We can't murder Bruce. Obviously, you need training first." Her visible reaction is a motherly rolling eyes. Internally, she's just panicking ("fuck fuck fuck fuck. How do I curb bloodlust? How do I stop patricide? Procrastination!!!")

Anyways, thanks for bringing the question up! It allowed me to look into it and put my thoughts in order ^^

Feel free to read the rest of the run!

[thebadjoe]

BAD JOE'S DRDT CH.2 CRIME SOLVING THEORY PART 6

Wow! It's been a long while, but it's finally here! DRDT Chapter 2 is back with part 2 starting since more than a week ago!

...Oh? What's that? There's some reveals that is damaging my theory and I should get to fixing? Awwww, man.... what a drag.... I am so doomed... nanchatte!

Anyways, hi! It's me, the dude who makes-overly-complex-and-ridiculously-long-theories-in-the-hopes-of-trying-to-solve-the-murder-case-that-not-many-people-agree-with-for-more-reasons-than-my-theory's-word-count. (Okay, the last part about the reasons is probably not true... yet!)

I am back yet again with some more updates regarding my theory.

NOOOOO!!! NOT AGAIN!!! PLEASE, I DON'T WANNA READ ANOTHER GODDAMN DICTIONARY LENGTH OF A THEORY POST!!!!

Woah! Calm down, imaginary self that is under the impression that some people were way too overwhelmed by my latest part of the theory post! You have nothing to worry about!

It would be silly of me to rewrite all of it again with some small changes. I will of course link up my part 5 later as source of reference, but really, all I'm gonna be doing here today is point out the newest problems with my theory ever since episode 12 and 13 and give my personal thoughts on those.

Also, to make sure that people hasn't forgotten what I've been all about since the beginning, I will do a short recap of my theory, displaying only what's most relevant to the murder case.

Besides, ain't no way I'm writing something this long ever again (except for maybe trying to solve the future chapters, but that's a matter for the far future).

With that said, I feel obliged to point out that this is spoilers for the fangan Danganronpa Despair Time Chapter 2, up until episode 13.

With that out of the way, let's get to it!

Hey look! I still remember how to use that show more button again, hurray! (I'm really sorry again to @1moreff-creator and everyone else who's been reading my very first posts last year that didn't have a show more button)

So, first things first, I'd like to apologize in advance because as amazing the episode 12 and 13 were, I will not be doing a reaction post of said episodes. I think I'm just too lazy to actually display my whole stream of consciousness through two whole videos and I think it is safe to say that practically all of us had a very similar reaction to those episodes.

What was the common reaction, you may ask? Well, it's simple, really... it went something like... OMG, THIS IS SO FUCKING HYPE! OMG!!! THAT WAS SO INSANE!!! THE DRAMA!!! DAVID BEING DAVID!!! THE LEVI REVEAL!!! THE FLASHBACK PART 2 SCENE!!! OMG, WHAT IS EDEN DOING?!! AREI IS HOLDING DAVID'S HANDS?! WE'RE FINALLY TALKING ABOUT THE MURDER METHODS?!?! OMG, SO GOOD!!!

...right? Yeah! I thought so! :D

Although I may not be showing proper and precise reactions to these episodes, if you're interested, I'd definitly recommend reading @venus-is-thinking 's, reactions on episode 12 and episode 13, @1moreff-creator 's reactions on episode 12 and episode 13 and @accirax 's reactions on episode 12 and episode 13. They're pretty good reads (and no, I'm not just saying this because they all believe that Eden is the culprit, I swear!).

And for those who are totally blind or new to my shenanigans, yes, I do believe that Eden is the culprit behind this murder case.

There is indeed a few problems that arose ever since the latest episodes, so to make sure that everyone is up to speed with what I'm gonna be talking about, I'm now going to be doing a short recap of the events, according to me.

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THE RECAP

DAY 1 : The day where everyone receives their mixed up secrets and explore the second floor. DAY 2 : The day where the attempted murder on Ace happened. DAY 3 : The day where Whit suggests David to chill for the evening in the relaxation room. DAY 4 : The day (morning) of the body discovery announcement.

Ever since Arei bullied Eden who then cried and exited the playground on DAY 2, that was what triggered Eden to decide to commit murder for the sake of escaping this hellish killing game. Knowing that her secret is that she kissed a girl, I deduced that she's probably trying to escape because she misses her beloved dearly.

So while she was off screen during most of that day, she spent time making plans for the murder set up and narrative, which is why she decided to share Arturo's secret (as seen in the flashback).

During the evening of DAY 2, Ace was working out in the gym, then he hears a conversation happening between David and Arei in the relax room. The conversation that Ace was quietly listening to did not happen in the evening of DAY 3, but rather the evening of DAY 2. Ace lied about when he was listening to that conversation.

At some point during the conversation or perhaps even after the conversation, Eden sneaks up on Ace and knocks him out with the turpentine that anyone could've gotten access to that day. Ace is Eden's chosen murder victim.

Sometime later, Eden eitheir used a letter or called out Arei's name to lure her into the playground or somewhere close to knock her unconscious with that very same turpentine. She then moves Arei's body into the relaxation room to lock her up inside because of the specific nighttime rules regarding that room.

Eden also brought old spares of clothing to cover Arei's body to make sure she doesn't get stained with starch from the water misting formula from the relaxation room.

During the night of DAY 2, she prepares the murder mechanism in the gym with some needed tools from the storage room and some wire that she took out from possibly a grandfather clock that she may have in her dorm. I deduced it as such because of Whit's description of everyone's dorms being suited to their needs.

I also deduced that there is actually a switch to turn on and off the fans, which is important since the attempted murder involved the fans. As Eden finished setting it up, as she was about to clear up with evidence, she heard someone using the elevator.

She hid in the dress up room, then Nico enters the second floor, looking for Ace to kill him. As Nico explores the gym, Teruko shortly enters the elevator to get to the second floor as well.

Teruko, looking for her spares, runs into Eden, who was hidden in the dress up room. After some talk, they heard a loud noise coming from the gym, which they both take a look inside.

Upon seeing this mess of a crime, Eden realised that her murder plan failed and that she needs to come up with a plan B really quick. So while she is taking time to "process this emotionally", Teruko was investigating.

Eden finally comes up with a plan B and figured that she needed to get her hands on the roll of tape ASAP. She managed to do so with a sleight of hand when Ace "suddenly wakes up", knocking Eden out of the way, distracting Teruko in the process.

Later that night, Eden proceeds with her plan B by making a murder mechanism in the playground. She also took the rope from the storage room. Once it's all properly set up, all's left was waiting for the relaxation to unlock at 8:00 AM on DAY 3.

In the morning of DAY 3, she retrieves Arei's unconscious body and proceeds with murdering Arei. Then, she proceeds to conceal the body somewhat behind the curtains in the relaxation room. She also grabs her glove, her monopad and the necessary materials in the dress up room for the next step of her plan.

She spends the rest of the morning to prepare her disguise trick. Then during lunchtime, Eden spends a short amount of time disguised as Arei to hide the actual time of death.

Once lunchtime is over, she returns to eitheir her or Arei's dorm to remove the disguise, spend time cleaning up, relax, power nap, etc. Then, during the evening of DAY 3, she spends time with Hu to fabricate her perfect alibi.

Later that evening, David explores the relaxation room. That's when he notices something wrong with the room and becomes the first person to discover Arei's dead body.

For some personal reasons, David brings the body back into the playground and hangs it by the swingset. Eitheir he or Eden (earlier in the morning) balls up the clothes and hides it in the closet of the dress-up room. Then, in the morning of DAY 4, David grabs everyone's attention to the fact that Arei is missing right before the secrets reveal. Then fast forward a bit, then we get the BDA of Arei

--------------------------------------------------------------------

And there ya go, that's my recap regarding how I believe the murder case happened. Pretty short, eh?

HELL NO!!! THAT WAS STILL PRETTY LONG!!! AHHHHH!!!!

Eh... I guess I couldn't really make it that shorter, my bad! If I tried to make it any shorter than that, it would've been extremely confusing.

Ah! Speaking of which, if you're confused in the sense that it feels like none of this should work at all, and there's a lot of contradictions and whatnot, then I would heavily recommend reading my actual theory post. I am not going to spend time refuting with people in the comments about points I've already pointed out in my previous post.

However, if there are things that are unclear to you, things that you do not understand and want to know what I'm talking about, please, feel free to ask away! I will help in any way I can.

With that out the way, I guess I can now start with pointing out the pr-

HAH! THERE IS A MAJOR ISSUE WITH YOUR THEORY!!! BASED ON EPISODE 12, THE MURDER COULD'VE ONLY HAPPENED IN THE MORNING OF DAY 4 BECAUSE OF THE BODY SWING! YOU'RE DONE FOR!

Ah... yeah... that! Of course! That's not a problem!

!!!

Let's talk about it first, shall we? :D

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AREI'S BODY SWING : CONFIRMED TIME OF DEATH???

I'd like to come clean with something, everyone. Ever since I came up with the theory that murder happened at a totally unexpected time, there was something that was constantly bothering me.

That's right, I was very well aware of the body swing happening during the BDA ever since the beginning.

HUH?! Then all this time, you wrote all of this despite knowing that?!

Correct! I'm really sorry about that, but please, understand that I had a very good reason for it. For you see... everytime I saw it, I was often under the impression that this was simply an eerie effect / animation, to give a more dramatic intensity towards the BDA, without meaning anything. I legit thought it could be a thing, I swear!

But despite all that... I couldn't help but feel uneasy about it. Deep down, I felt like that maybe there was an actual meaning to it, maybe it was an actual clue that I shouldn't disregard. But I figured that because of my theory beliefs, then it would be rather unlikely that it would be used as evidence.

But alas, I was wrong about that. The body swing plays a very important rule in determining what happened in this murder case. I cannot deny that fact, especially since Teruko brought it up, plain as day. Despite it seeming like it damages my theory, I'm thankful that the dev finally cleared that little doubt I had since then.

Then you admit it, the murder actually happened in the mor-

Oh, not so fast! Let's not jump to conclusions just yet, alright? Arei's body swinging by the swing set doesn't quite exactly prove that the murder occured during the morning of DAY 4. The body swing only proves that someone messed with the body by the swingset.

W-What?! That doesn't make sense! The murder clearly happened in the morning of DAY 4!

Nuh-uh, not quite. You believe it clearly happened in the morning because that's what the cast concluded on top of Charles pointing out that the culprit could've clearly fake the time of death by saving the fishes for later.

But unless we have decisive evidence that the murder happened in the morning, we can't be 100% sure that the murder happened in the morning of DAY 4.

From the looks of it, you just seem very desperate, if you ask me.

At first, when episode 12 released, I kind of was... up until I figured out a fairly logical solution to it. That's right! I have a way to explain who made the body swing and why.

You're not going to suggest that David did all of what he supposedly did in the evening of DAY 3, but instead in the morning of DAY 4, right?!

Nope! Not at all. Disregarding the facts that it wouldn't really make sense and that he'd have to move the body out of the relax room anyways before nighttime (because of the water misting rules), David actually has an alibi in the morning of DAY 4.

(As does Veronika too as she was with them in the cafeteria)

With all of these reasons mentioned above, as much as I initially wanted to make it somehow possible that David came back to the crime scene to mess with the body somehow, it just isn't possible.

So instead, someone else did it.

Then out with it already, you staller! Who is it?!

There is only one possible candidate that would make the most sense in that scenario : Eden. Eden is the person who messed with Arei's body in the morning of DAY 4.

WHHAAAAT?!?! WHY WOULD SHE DO THAT?! THAT'S SO RISKY!

That's what I initially thought at first, not gonna lie. But then... something hit me : Eden doesn't have an alibi for the morning of DAY 4 eitheir.

I thought that there would be absolutely no need for Eden to come back to the crime scene a certain short amount of time before the BDA, so instead, I needed to reverse my way of thinking.

What could she possibly aim to do that would prompt her to come back to the crime scene last minute?

Considering the facts (based on my theory, mind you) that she killed Arei in the morning of DAY 3, hid the body somewhere in the relaxation room, built up an evening to night alibi with Hu and that David was the first person to discover it during the evening, there is a simple explanation behind it.

Arei's BDA was meant to be triggered much earlier than the morning of DAY 4. The original intent behind this whole scheme was to have the BDA trigger during the evening of DAY 3.

That doesn't make sense!

No, that's wrong! It does make a whole lot of sense. Think about it. Let's say you were a participant in this killing game and were in David's shoes during the evening of DAY 3... you come across a dead body in the relaxation, what would you do?

!!!

That's right, you wouldn't just mess with the body and move it somewhere else, now would you? Aside from freaking out, the most natural and human thing to do would be to gather help.

If it were anyone else than David who discovered the body in that exact scenario, they would cry out for help, tell everyone that they found Arei dead inside the relaxation room, which would then result in a body discovery announcement.

But what if the person who found the body were to personally ask for Hu's and Eden's help, wouldn't that ruin her plan since it wouldn't trigger the BDA?

There's an easy solution to that. Eden could've simply decided to find more people to share the news to meet up with the corpse. This wouldn't ruin her plan in the slightest.

Quite the opposite, actually. If the body were to be discovered and trigger the BDA during the evening, it would solidify her air tight alibi even further as she wouldn't have any possible timeframe to commit murder in the evening as she was spending time with her friend Hu.

Ugh, so what? It didn't really happen anyways because of David being David! That doesn't change anything!

Actually, it does change things considerably. If you put yourself in the culprit's perspective where the whole intent was to have the body discovery happen in the evening of DAY 3 and that during the whole night, nothing happened, you would certainly find that very strange.

The culprit would be clearly confused, yet really curious to find out what even happened.

Couldn't she have taken a look much later during the night?

Perhaps, but she figured it would've been pointless. The reason why is that if she thought that nobody found the body, then the body would've still remained hidden in the relaxation room which would then be currently locked away because of the water misting.

So instead of checking it out during the late night of DAY 3, Eden decided to investigate during the very early morning of DAY 4, sometime past 7:30 AM.

But the relaxation room is still locked up until 8:00 AM! Why not wait until then?

It's simple! She just wanted to be there a little bit in advance to make sure she can enter the room as early as possible. And so... while she is waiting for the relaxation room to unlock, she probably figured that she should take a look around the other rooms, why not?

And thus, that leads to Eden finding the body being hung by the swingset, alongside fishes scattered around the floor for some reason.

To reconfirm, I still believe that David is the first person who discovered Arei's dead body in the relaxation room and that he's responsible for hanging her body alongside placing those fishes by the playground.

Okay, Eden discovers that the body has been moved to the playground? What now? Everything's already in place, so what could she possibly do with the dead body?

Well, since the BDA was not triggered on the evening of DAY 3, she figured that she may as well put Arei's monopad back into the corpse's pockets.

But what about her missing glove? Why didn't she return that as well if she wanted to return her monopad?

That's a good point, that's for sure. But there are two easy fixes to this counter argument. First one being that she simply forgot about the gloves. No one's really perfect, after all. She was so concerned about the body not being discovered yet that this completly slipped her mind.

The second fix would be that it would've been way too risky to try to retrieve the glove. Maybe initially, Eden, after she removed her disguise, she placed the clothes and the glove back into Arei's dorm. So if she wanted to retrieve the glove, she'd have to return to Arei's room, unlocking it with a monopad that isn't her own.

Would she really risk that again after making this much progress without getting caught so far? Like imagine if she tried to take that risk one last time only to get caught, that would be quite the devastating result, wouldn't it?

Ok, fine. Nevermind the gloves. Is that all she did?

Pretty much, yeah. She returned the monopad back into her pockets, which moved the body somewhat.

...

Well, it's also possible that she tripped and moved the body even more by accident. Or perhaps she felt like she was in such a hurry to avoid getting found out that she accidently bumped into Arei's dead body.

...Are you kidding me? There's no way that's gonna be enough to move the body for this long!

Well... maybe her being there at exactly 7:30 AM is not the exact time. She could've been there a couple minutes before 8:00 AM, which could make this possible.

But that's ridiculous! There's no way Eden is strong enough to make the body swing that way. To make the body swing for a good amount of time, she'd need more than just accidently bumping into the body! It needs considerable force.

And I'll stop you there. If you've read my last theory post, you should know by now that I'm a firm believer that because it's a work of fiction, anything that seems unlikely can become possible.

The main thing we should take from Arei's body swinging during the BDA is that at some point in time during the morning, someone messed with the body, proving that someone was there during the morning of DAY 4.

And there you go, that's my whole explanation as to how Arei's body was swinging during the BDA that doesn't necessarily mean that the murder occured during that exact morning.

If you're not quite convinced yet, there is a certain part of my theory that begins to make a lot more logical sense with this solution in mind. Take a look at this!

Thanks to the solution I suggested, these two lines become a lot more fitting to my updated theory. Here's why!

If Eden were to explore and find the body hanging by the swing set during the morning of DAY 4, she would know that at least 1 person found the body, but not who exactly.

Because of Whit's silly comment, Eden immediatly thought of the body in the playground and jumped to the worst conclusion : Whit is the person who found the body first.

So if they were to open the door to the playground, the BDA would not trigger since Eden is the culprit. So in a moment of panic, Eden uttered : "Teruko, wait--".

It is still pretty much the same as what I had in mind according to the previous part of my theory post, except that it works a whole lot better now that Eden personally saw the actual state of the dead body in the morning of DAY 4.

So there you have it. This seemingly major problem for my theory actually turned out to be very beneficial for my theory after all! Ah, the joys of making logical sounding deductions! My theory should be saf-

HAH! YOU THINK YOUR THEORY IS SAFE FROM HARM YET?! WRONG!!!! IN EPISODE 13, THEY ACTUALLY SHOWED HOW THE MURDER MECHANISM WORKED! NOT ONLY IS EDEN TOO WEAK TO OPERATE IT, BUT THEY PUT FISH WATER INSIDE THOSE JUGS! SINCE THEY REVEALED THAT MURDER METHOD, IT HAS TO BE THE SOLUTION. YOUR THEORY IS RUINED! GOOD DAY SIR!

Oh, you mean this?

Oh no, this murder mechanism is different from mine and this one requires a certain amount of strength that Eden possibly doesn't have! And the fishes! Since they brought it up, then there's no way my theory can work! Whatever shall I do??? It's joever.... just kidding!

I don't mean to alarm you guys, but the current proposed murder mechanism idea actually has flaws. Let's talk some more about the murder mechanism in the playground, shall we? :)

--------------------------------------------------------------------

TERUKO'S CURRENT MURDER MECHANISM IDEA : RIGHT OR WRONG???

Before I get into it, I'd like to remind everyone that just because we've been shown how the murder may have been done for the first time means that's how it actually happened. Let's not forget that they spent so much time arguing and discussing about the secrets that they barely ever talked about the murder case in itself.

So if anything, episode 13 is practically just them beginning their actual work! Mistakes are bound to happen. We shouldn't jump to conclusions just yet. Besides, there is actually a problem with this murder mechanism.

I'll present it to you in pictures to show you what I'm talking about.

The taped up wrists. This was practically the decisive proof that this wasn't a suicide nor could it have been an assisted suicide. So now that they've introduced a murder mechanism in an actual episode... what's actually the point of the taped wrists in that scenario?

If the culprit used exactly this kind of murder mechanism, then there would be absolutely no need to tape up her wrists together.

Maybe it was to stop Arei from trying to struggle?

Nope. If that was the case, we would've seen much more signs of struggle coming from Arei. There may be scuffs on the ground, but there's absolutely no other form of injury on Arei aside from her broken neck.

Well, I saw a theory where the accomplice was Levi and he could've easily overpower her!

(I believe that was something that @1moreff-creator theorized, if I recall? At least, that was the theory pre part 2)

It used to be borderline possible, but not this time anymore! Thanks to the first two episodes of part 2 of chapter 2, it seems extremely unlikely that Levi wanted to work with the culprit as an accomplice.

Not only because of what we find out regarding his secret, what kind of character he is, but also because of something he said in episode 12.

I don't know about you, but this doesn't look like something an accomplice would say at all, right? If the culprit was someone who didn't have an alibi in the evening, it would be a different story, but the most fitting theory for having Levi work as an accomplice is to work for Eden, who happens to have an alibi in the evening as you already know.

So since we gotta take Levi out of the equation, then we don't really have much other possible candidates who could've easily overpower Arei to the point where taping up her wrists would've helped better on that regard.

Therefore, the most logical solution would be that Arei was knocked unconscious with the turpentine. But since that's the most likely scenario, then what's up with the taped wrists?

If the taped wrists weren't used to prevent any remote chance for Arei to try to get out of this situation, then it must've been used as part of the murder mechanism.

But since the murder mechanism as shown by Teruko doesn't explain the taped up wrists whatsoever, then this becomes a discrepancy. Therefore, that can't be quite the correct answer to solving the how this murder mechanism works.

And since this murder mechanism idea is flawed, it also means that there's no guarantee that the jugs contained fish water inside, they could've simply gathered water somewhere else or perhaps there jugs were already filled with clean water to begin with.

Because this murder mechanism idea is flawed, there's no guarantee that the culprit used this method which required some unknown amount of strength, but an amount of strength regardless (unless the author wants to pass it off as anyone could've done it since it's easier to do it by spinning it, I'm not sure).

Because of that flaw, my theory isn't affected by the murder mechanism idea that Teruko suggested since there is no guarantee that this is the correct answer.

So yeah, there's no problem whatsoever! Also, as far as I'm aware, since the release of the latest episodes, I have a very logically sound reason to explain the taped up wrists as shown in part 5 of my theory.

To give you a small reminder, it was for something like this!

(Whole murder mechanism not properly shown in the drawing because I'm lazy as heck, but just take a close attention to the arms)

By having Arei's arms go between the pillars of the seasaw, you can make it so that she can't get out of it by taping her wrists together, which plays an important role in the murder mechanism. Not going to elaborate further, if you want to know more, you gotta read the big post right there!

And there you have it! Those were the two main concerns that could've negatively affect my theory, but fortunately for me, it doesn't. In fact, it supports it even more than before.

Especially regarding the David / Arei conversation flashback (shown from David's memory's perspective). This conversation told us a lot more between these two, do you know what that means?

That's right! It means that Ace is full of shit! There's no way he didn't hear anything else. The only way he could've not hear anything else is if he gets snuck up from behind and gets knocked out with the turpentine, but it could've easily simply been Ace witholding that information to make David look more suspicious.

Therefore, if he lied about this, he could've also easily lied about when he actually overheard that conversation for his own selfish gains!

There's also a few couple other points that could further support my theory, but I don't feel like going over every single little detail as of now. I mainly wanted to solve these two issues and nothing else.

So, DRDTers, I need to ask you the following : Do you still believe that I am delusional with this overly complex theory of mine? :)

Thanks for reading another one of my big posts, as usual!

Edit : Go read the finale of my theory next, it's worth it!

[riftwirecrystal]

Why I believe Natlan's technologies aren't "out-of-place."

Just because Natlan isn't considered "technologically advanced" doesn't mean they would not be able to create or possess technologies that just seem "too modern" for the previously seen nations.

Natlan's technologies may not be considered "advanced" because most of their creations are solely for recreational purposes. Xilonen's DJ board, rollerskates, and Mualani's surfboard are all mainly for ease of use to to influence of their environments. (Kinich is an exception as he isn't really powered by technology nor is Ajaw.)

Even when most of the technologies seem too advanced, like Kachina's drill, and Chasca's gun, they were both originally created to imitate the Saurian counterparts. If all a piece of technology does is just provide ease of access and combine simple regional solutions, its likely not worth too much note to outside nations. which would likely happen with inventors like Xilonen experimenting with phlogiston and forging.

Xilonen is an extremely important factor to note. She has proven herself to be one of the most intelligent inventors in Natlan. Her skill with harnessing Phlogiston energy is crucial to how all these technologies' existence. It makes sense that learning how to create traditional works with Phlogiston would overlap into accidental new discoveries that Xilonen uses to her advantage.

This is further explored in the new Flower-Feather Clan Tribal Chronicles quest chain. Phlogiston Wings are specifically created to supplant and replace their saurians. However, it's not too far off to think that it would be a rather common idea, especially since Elemental Manipulation exists in the world.

Phlogiston and Ochkanatlan relics are the main power sources used in Natlan tech. With an abundance of phlogiston and the (suggested) immense power of the relics, creating their technology isn't that far-fetched. They put their resources and time into the arts, music, and changing traditions more than orderly improvements to the nation, and it shows.

Other nations definitely will beat out Natlan in their technological advancements; the ones that don't beat Natlan have reasons. Mondstadt is a poor anarchist state with no emphasis on any actual governing organization. The nation isn't very wealthy so it makes sense they wouldn't have much innovation and trade occurring within the nation. Liyue harnesses a special material called Plaustrite in the Jade Chamber, which enables it to fly. Inazuma doesn't have an abundance of technology due to the Shogun's rule effectively trying to stop evolution and innovation within the nation, as a pursuit of eternity. However, a number of innovations still happened before the Shogun's rule, like the Tatarasuna accident and the creation of a puppet for Ei. Sumeru and Fontaine is where differences really start to show. All of the desert's tech as well as the Akademiya's research shows what happens if a nation pours their innovation into education, not the arts. The existence of Akasha terminals, dreamscapes, mind control, and digital storage all exist in the game, yet no one seems to call it out. Fontaine isn't much better. Literal androids roam the streets, motorized boats sail around the harbor, and guns are a popular weapon.

Guns are already known throughout Teyvat, just Xilonen imitated their function while adding a custom one from Chasca.

Then there comes the big issue. Mavuika's motorcycle. However this argument is instantly able to be countered. It's said that Xianyun/Cloud Retainer has created a similar vehicle, a powered two wheel vehicle. Mavuika's simply takes the idea (which is probably also not a very hard concept to think up,) and gives it a Natlan remodel. The aesthetics are just a Natlan revamp, with the power source just being Phlogiston. (I can't speak for her bike fighting animations. They just look kinda goofy, but I like them anyways lol.)

All in all, I think people complain too much and you shouldn't nitpick something you don't like simply because you don't like it. (Especially if your argument can be countered.) Even if it is a little off-putting, with a little thinking, mostly everything can be explained or proven possible to exist.

If anyone has any objections to reasonings or information I've missed please tell me!!