#but all of her actions were; at their core; driven by her want for community? yes??

[lem-argentum]

i once saw someone contrast miko.fuu by claiming that f.uuta’s individualistic while mi.koto is not, but i would argue that miko is the one who puts himself first in his mind in most situations…….??? ?

[pathogenic]

Original post for these questions can be found here

Under the cut is answers for Harriet Berkley (Ventrue for a Camarilla Victorian England campaign), Anabell Blaines (Brujah for a multi-city campaign followed by a Sabbat game set in Tucson), Nero "Cali" Ramsay (Toreador for an Anarch Glasgow campaign), and Jules Guillory (Caitiff for a Camarilla New Orleans campaign)

What is your character's biggest fear, and how does it affect their actions and relationships?

Harriet - Her biggest fear is basically for all of her work to fall apart. She got into a less than favorable marriage to secure her and her mother's future, and she knows Frederick, her husband, is not a good man. But it's worth it in the end right? She couldn't afford to lose status, and look! She even found a supernatural society! Surely that means something for her life.

Anabell - Her greatest fear is that there is no redemption for her. Anabell is a priest that did not find her path easily. She was kicked out of her home, she was directionless for a good part of her life, but she found her salvation again and was developing True Faith when it all fell apart and she was Embraced. What did her struggle mean if she cannot be accepted by her God? Was it all a mockery in the end?

Cali - His greatest fear is powerlessness. He wants to be the top dog, the man calling the shots, he wants to be able to decide what he's doing, when he's doing it, all that jazz. He felt boxed in by the Camarilla, now he is finding freedom with the Anarchs. No one will make him feel small ever again.

Jules - They fear isolation, and being Caitiff is only feeding this since they are not fully accepted by the Camarilla in New Orleans. If it wasn't for their coterie, and especially Lloyd, they would be significantly worse off. They fear complete rejection and the fact that no one will back them up should things go bad. Life ain't worth living if you have no one to share it with.

What is something your character is deeply passionate about, and how does it drive their goals and motivations

Harriet - She is an occultist, so she is very interested in the mysteries of the universe and what secrets mundane life is hiding. She is almost incapable of letting a good mystery go and will dig deeper, even if she knows it's a poor idea. She is motivated by knowledge. Were she in a cosmic horror setting, she'd be a raving lunatic type character because she dug too deep and cannot go back now.

Anabell - Anabell, at her core, is a more altruistic character. She wants to help others and to make sure they don't fall down the same path she did. She remained as a priest despite losing her faith to try and assist those around her, to provide council, to help others see the light. Just because she fell doesn't mean she has to drag others with her.

In the Sabbat setting, this is being warped as she is beginning to see vampirism as a new gift from God and that perhaps she was wrong, I'm sure this will end well for her.

Cali - Cali is driven by the need to be secure. He's passionate about his artwork and his creativity, but more than that, he's trying to be a businessman about it and he's trying to make sure that he's financially secure.

He is also driven by the need to feel like he has power in his life. He likes to call the shots on different tasks and he'll suck up to those who make him feel like he's doing something that will serve him in the end. He's more of a selfish bastard than my other characters.

Jules - Jules is more simple than the others - they like music, they like community and a sense of belonging. While they don't always look like it (They're a tall, gloomy, very quiet kind of figure), they prioritize their coterie because that IS their community right now. They check in when they notice something is off, they try to support their coterie's interests, even if they don't understand what the fuck they're on about, they try to be a kind of glue to everyone.

As for the music part, they run a record store and they try to support the local music scene with their partner Lloyd.

Describe a memorable childhood experience that shaped your character's personality or outlook on life

These will be short and sweet because I typically don't dwell much on mortal life for my Kindred beyond like their final year or so as Kine.

Harriet - Probably would be the death of her father as that caused a tailspin for her family and her way of life. This is ultimately what causes her to take a rather shady man on as a husband and lead to her Embrace.

Anabell - Mostly she remembers church. There were good parts and very rotten parts that chased her away for a good long while. She remembers some very kind pastors though that allowed her to hide in the church when her mom got particularly cruel.

Cali - Cali is from a family where they have a poor side and a wealthy side. He's never going to forget his cousin relentlessly mocking his home and the way he looked. For awhile this cousin was a touchstone because of how badly he hated her for this and how much he wanted to shove his victories into her face.

Jules - Jules' first concert was life-changing for them. They remember standing on their dad's feet and watching the musicians perform. At that point, they knew that they wanted to go back again and again and again to see the cool people on stage and hang with the even cooler people that hung around these shows. When Grunge emerged, they really found their home.

What are your character's quirks or eccentricities that make them stand out from others?

Harriet - She tries not to stand out and to be a proper lady, but due to a mix of me not fully knowing how to play a Victorian lady and a little bit of just rolling with that flaw, she has a side of her that is more mischievous than she should be. She introduced herself with her first name only to someone in front of her husband, the scandal! She also prefers to handle her own affairs, which is not well liked by her husband.

Anabell - Anabell had an old hippie phase and you can't miss it once you know what to look for. She also knows more about psychedelic drugs than any priest should, but she won't talk too much about it. Mostly she'll advise how to take them safely and offer to look after someone on them if need be.

Cali - Cali straight up has the flaw "Disliked". He is a rude, stuck-up hipster punk. This reputation seems to proceed him now. Everyone also comments on the sheer amount of tweed he owns for someone who is a rather young man all things considered.

Jules - Jules has a lot of flaws that make them rather... unsettling to most Kine. It's not their fault. They just look rather scary and they don't talk much, which just plain unsettles a lot of folks. They were originally intended to be a Caitiff embraced by a Nosferatu who is on the cusp of being Clanned, but the ST and I had a more fun idea so we'll see what Clan they eventually become.

Does your character have any hidden talents or abilities that only a few people know about?

Harriet - Well, depends on how we define this. She is a rather good performer though as she does lead seances and will spice them up for her own entertainment if they aren't really picking anything up. She thinks it's good fun.

Anabell - She is actually damn good with a needle. She used to mend her clothes a lot to keep them going when money was short. Now she just sews and embroiders for fun when she has the time and isn't freaking out over vampire politics.

Cali - He is a rather handy carpenter when he needs to be! He's modified multiple havens now to help sun-proof them. He thinks of it as an extension of sculpting and will constantly sell himself short on how good at math he has to be to make all of these things work. Man who says he's shit at math and then busts out the calculus to make sure his sculpture isn't going to collapse and hurt himself or a viewer.

Jules - Despite their unsettling aura and their more silent nature, Jules is actually damn good at running a store and keeping their books balanced.

They are also becoming some kind of gearhead because they have fixed up the shitmobile (their disgusting burnt out hippie Jeep that they stole) more times than I can count.

What is your character's preferred way of coping with stress or difficult situations?

Harriet - If you deny and look away hard enough, there is no stressful or difficult situations. Just convince yourself that this is all very easy and that you're being over dramatic. Just tell yourself that you can willpower your way through everything. I'm sure it'll be fine.

Anabell - She digs in more and overworks herself to the bone. This is rather dangerous as she fails to feed herself during these times, so the Beast is likely to take charge for a bit so she HAS to get some blood. Intervention will be necessary

Cali - His old coping mechanism (drinking) is gone forever due to being dead and not being able to enjoy it, so now we get angry and overwork ourselves. Let's build a nice sculpture and then smash it to bits until we feel better about ourselves.

Jules - They're the type that when things get too difficult, they start to disassociate and then nothing gets done. Otherwise, they handle tough situations surprisingly well. The often talk to their partner if they feel themselves slipping into an inert state to try and prevent that kind of burn out.

How does your character handle failure or setbacks? Are they resilient or easily discouraged?

Harriet - She's rather tough! Failure is simply a method that didn't work, so she'll tackle it again after she's had a moment to try and process what just happened and why it didn't work. It takes quite a bit to discourage her.

Anabell - She initially gets very discouraged and often needs to step back for a moment to get herself back in order. Afterwards, she will try again and again and again until she gets the job done. She is also rather good at picking situations apart to find novel solutions.

Cali - Not only surprisingly resilient, but also very crafty. Cali is rather known now for tactics and trying new approaches to get what he wants. Once he's latched onto something, he normally doesn't let go.

Jules - Definitely the quitter of this group. If something falls through, they might try a few more times, but after that, maybe it just wasn't meant to be. Will probably get upset about this for a little bit before getting over it and moving on.

Describe a significant relationship in your character's life and how it has influenced them.

Harriet - There is a strong relationship between her and her butler Ellis. He was there when she was very young and was one of the only members of her original serving staff to follow over to her new home. He is very much a father figure to her and is her biggest tie to her humanity.

In an ideal setting, she would leave her husband and her mother and go find her own place in the world. She would not ghoul Ellis, but instead she him to a peaceful end and then learn how to live on her own. Maybe she'd even start a business.

Anabell - That would be her friendship with Father Ryan. They both worked at the same church and he was he first to find out about Anabell being a lesbian. Simply put, he didn't care as he said that it had no impact on her ability as a priest. They became fast friends after that.

Though once she was Embraced, she pulled back as she was afraid that he would hate her now. Of course, Father Ryan is more concerned because now his friend has stopped calling and only works at night. Perhaps he should do a wellness check soon...

Cali - Cali's first honest to god friend would be Frankie. They met before they were both turned into vampires and Frankie was someone that Cali could just be around and not have to worry about much. They lived together, they were embraced by the same person, they went through so much shit together. At this point Frankie might as well be a sibling to Cali. They're one of the few folks that he would defend with his life.

Jules - It's Lloyd. Lloyd never judged them for being trans, always looked out for them at shows, they opened a shop and started a radio show together. Quite literally Jules cannot envision a life without Lloyd. It just doesn't exist to them. Even now that they're vampires, Jules would probably be so lost if anything ever happened to their partner.

What is your character's moral compass? What principles or values do they hold dear?

Harriet - Primarily she focuses on putting knowledge and survival above all else. Do not leave any stone unturned, explore and know the supernatural world better than anyone else, but also keep a smile on your face and have an escape plan if things go wrong.

Anabell - She values forgiveness above all else. While this was initially making sure others feel safe and forgiven, the longer she is Kindred, the more she becomes focused on her own salvation and forgiveness and begins to justify hurting and betraying others if it means she is saved. It's a nice descent to track.

Cali - Cali's convictions on his character sheet are "Never be Poor Again" and "In Order to Succeed, You Must Be Willing to Step On Others". Do with that what you will. But that said, once Cali is close enough to you, he would move heaven and earth to keep you safe, so there is a good side to him.

Jules - So long as everything is to help someone close to them, it's justified. Jules likes to look out for the little guys around them because that what Lloyd likes to do, they like to investigate weird supernatural mysteries because that is what Natalie and Felix like to do. Their convictions revolve around people pleasing and having fun.

Imagine your character in a challenging moral dilemma. How would they approach it, and what choice would they make?

Harriet - Who is involved? What are the consequences? What could she live with? These are the questions that she would want to answer before making a decision. There are some people she would help or try to save without any questions, and there are others she would burn with no hesitation. If that is not a factor, then what happens when she acts? Should she even act?

Basically, if she has the time to consider her options, she will. If it is something that requires a snap decision, she will probably choke and go with whatever option she thinks folks would agree with later.

Anabell - I mean she is a priest, so she is going to go with whatever the most Christian option is. She does have an image to maintain, especially since she needs her congregation to trust her so she can feed off of hem.

If she is able to make a decision outside of the public eye, though, she still remains pretty altruistic, but she tries to be rational about it. Yes, she would help someone on the cliffside if they were about to fall, but if that results in her having to put herself in mortal danger and not be there for her coterie, then sorry, dude! Goodbye! She'll say a prayer for your soul if that is any consolation.

Cali - What's in it for him? That's the all important question for Cali - what can he gain from this. If he helps someone, will they be in his debt or will this cause more trouble for him than it is worth? If he takes on this task, will he be protecting those closest to him and gain some status along the way? Can he spin this so he looks better? Again, his motivations are rather selfish.

Jules - Jules would want to know the impact of their actions, and if they cannot know that, then they trust their gut instinct. They would help someone in danger without much question, but if about matters of money? What about choosing sides? It really depends on how Jules feels about those involved and what he thinks they have in mind. If he feels like they're rotten folks and that they mean to harm others, then fuck them. If he feels like they mean well, but the methods suck, he'd try to change their minds, and so on and so on.

Is there a specific physical feature or item that holds special significance to your character? Why is it important to them?

Harriet - Her hair is probably what she treasures most of her own physical features. She takes very good care of it and she feels it is a status symbol for herself.

Anabell - Not so much a physical feature or item, but a place. This would be her old apartment. It was her first safe haven after a long, uncertain period. She has it filled with things that she likes, it is decorated the way she wanted it. It's a sign to her that she made it out of a rough part of her life.

Cali - It's his hat. He's had that damn thing for years and he feels naked without it. It was a gift from his mom when he left for college. Plus it's nice to hide in when he gets embarrassed.

Jules - That would be their jean jacket. That things is painted and studded and patched to high hell. They use it as a means of expressing themselves. They would die before giving it up.

How does your character react to change or unexpected situations? Are they adaptable or resistant?

Harriet - She adapts rather well, but is very uncertain with big changes. She likes knowing what's going on, she likes predictability, but she understands that change is a part of life and she has to simply adjust and move on.

Anabell - She is more afraid of change. What if this means everything is upended again- what will she do with herself if she has to reinvent her life again?! Once she has had some time to adjust, she'll be okay. She's more resistant to change than most.

Cali - Fairly adaptable and pretty okay with change. He doesn't like massive moves and he doesn't like having to restart his life, sure, but hey, it's a new chance to try and build himself up. Why shoot it down? It's certainly worth a shot.

Jules - So long as there is something familiar after things change, they're fine. They would be resistant to moving or having to change their lifestyle too much, but if they had to, the would cope. Just expect them to be grumpy for a bit before they get over it.

Does your character have any recurring dreams or nightmares? How do these dreams affect them?

Kindred don't dream outside of visions and premonitions, and the only one who gets these (so far) is Jules, who has been having nightmares about tombs and weird temples. They don't know what to make of that, but it flips them out. They didn't used to dream, why are they getting fucking visions now? They hope to make sense of it soon.

What is your character's preferred method of self-expression? Do they have any artistic talents or creative outlets?

Harriet - She writes! She loves to write to friends, to her husband, to anyone who will listen. She likes to go all out with her letters. If she finds the time, I like to think she would also pick up writing fiction. She would be a natural horror author.

Anabell - She's a weirdo that enjoys public speaking. She also loves debate. Really what he needs is another Kindred to have the most insane theological beef with. I think this would fix her. Please apply to be her nemesis.

Cali - Literally a sculpture by trade! He prefers to be more abstract than anything. He also values interactivity. His sculptures are meant to be more than seen - you're meant to touch some of them, others generate sounds if you listen to them. He hasn't touched sculptures you can taste or smell yet, but he's sure he'll get there. Maybe.

Jules - Music is their primary outlet, but they're not bad when it comes to painting! It's nothing that they would show off, but they like painting jackets the most. They have a knack for bold, eye-catching, edgy designs.

Describe a defining moment in your character's life that marked a turning point or significant change in their path

Harriet - Outside of the death of her father mentioned above, I think the first time she saw (or she thought she saw) a ghost. This just affirmed that she was right to believe there was something beyond the mundane. Sorry girl, I think you were meant to be a Hecata, but a Ventrue got you first.

Anabell - Waking up one morning after a party and finding herself empty and wanting to go back to her church back home for help was a wake up call for her. That was when she decided to go to school and try to become a priest.

Cali - The moment he had a breakdown and realized that good god he does NOT want to be an accountant and that he has no say over what he does and what his future was the moment that Cali started to become himself. Fuck everyone else, he's going to art school and he'll show them that he can find financial success here instead.

Jules - When Lloyd suddenly vanished and he couldn't find his partner anymore, that's when Jules started to dig deep and found a world they really shouldn't have. Now they're stuck in this afterlife, but at least Lloyd is here again. At least they have that...

[merlinmagicmania]

I love Morgana, and often I like reading stories where she doesn’t turn evil, but I think if I was writing for the show I would have written her as a more ambiguous villain with a proper character transformation rather than a quick 180 away from her s1 self. I would include scenes after the poisoning where Morgause nurses her back to health and trains her to establish more of a connection between the two characters, interspersed with snippets of debates or conversations between the two as Morgause slowly turns Morgana away from her friends (and maybe a few dramatic flash-backs to the poisoning incident and times where Arthur refused to stand up for magic users). I would show her isolated and in doubt, but recovering under the support and tutelage of Morgause in a way that properly explains why she’d choose the sister she met late in life over camelot, especially because she was once an advocate for the people. Then when she returns, I’d have a few scenes showing her doubt over betraying Arthur and Gwen, and maybe even a few conversations where she tries to feel out their opinion on magic and they react in a way that would discourage Morgana from trusting them (likely Arthur repeating his father’s words and Gwen displaying fear and concern regarding the topic). I’d also throw in some wistful looks at Arthur, Gwen, and Merlin to show that she misses when times were simpler. Then, after the first plot she’s part of that results in civilian casualties, I’d show her in doubt again, maybe even observing the person’s funeral from afar. From there, it would be a slow but steady build-up, as she starts sacrificing more and more to see Uther dead, the same way Merlin sacrifices more and more of himself to keep Arthur alive. In this way, they’d become true mirrors of each other, both equally losing touch with themselves in service of the “greater good”. I think I’d also want her to find out about Merlin’s magic sooner, but instead of taking his magic away, they become true opponents, battling each other in the shadows, with no secrets and no words barred.

It would all come to a head when they’re fighting and someone else gets hurt due to their actions, maybe Arthur, maybe Gwen, maybe Mordred or a child with magic. It becomes a moment where they take in the destruction around them and what they’ve become, the way they got lost in their power and took things too far. This would even be a good time for a magic reveal.

The idea gets a little murkier further out because I think it would spiral into a full re-write of the later seasons, but I think the end goal is to get to a point where Merlin and Morgana both learn to grow out of their toxic patterns. I think ideally Arthur and Gwen would be clued in to how terrible things have gotten and the way the law has driven Merlin and Morgana to both do horrible things in the shadows. Arthur would also have to confront Uther’s legacy while he’s still alive and would need to make a hard decision. I could see them devising a plan to send Uther into a sleep and wake him somewhere in secret, where maybe his memory has been tampered with to keep him peaceful. Arthur would of course finally confront the real truth behind the magic ban.

As for Gwen and Morgana, I think there was a lot of potential there. Thematically I think it would have been interesting to explore how their friendship deteriorated and the lack of communication and trust that caused said deterioration. While ultimately I would love to see Morgana on good terms with everyone again, I think it would take a lot of work to get there.

I do think eventually they could all get to a point where Morgana acts as a balance against Merlin when he starts to prioritize Arthur too highly over the magical community; Likewise, Merlin would serve as the balance against Morgana acting too rashly and damaging the future of the prophecy.

I kind of love the idea of keeping the core 4 together after all the strife, of a future where they work together and bring about the age of prophecy, but where everything still goes wrong, Camlan still happens, and Arthur still dies. Especially if indirectly Morgana and Mordred still have a role to play in his demise. It would keep the original tragedy of the show and really drive home the idea that the prophecy was always an inevitability. I think it would also work to show how maybe the end isn’t the part that really matters; if the story was always going to end in tragedy, then isn’t it better to have had a happy middle? To have tried and loved and learned?

Okay if you guys were writers of Merlin what storyline you would have written other than what the fandom wishes it would have happened in the show?

[borkthemork]

Amphibia - The Breaking of the Cycle

There are so many topics that I want to discuss about Leif’s letter scene, but if I had a moment to pick it would be the way Andrias was handled throughout the whole thing.

Because for a story about change, growth, and unconditional love, this moment pulls the full stops and combines everything we know about Andrias’s narrative to an amazing peak, and it all comes down to a few things this story had established before the finale.

That Andrias, out of everyone, has always been integrated into the past whether he liked it or not.

[Word Count: 1,000~]

Ever since his birth, Andrias had always been reminded of the legacy of his people.

He is a prince, a long descendant of the many rulers before him that instigated his empire. He lives in a castle where he was taught by his father and teachers that his life had always been the norm, that his responsibilities are responsible for the lifeblood of their massive empire.

And despite the amount of power he has before him, he is very much unable to remove himself from the “destiny” his family line placed under him.

Even if the chance of running away or starting anew was there, there would always be the disappointment and scrutiny of a thousand souls waiting behind him, and if one adds the talk of birthright, betrayal, and Andrias’s father’s many words being proven to be “correct” rather than “wrong”, it makes sense that Andrias never was able to leave a very dark and noticeable downward spiral.

One that grew him bitter to the world around him, isolated from intimacy, and cruel to the ones who stood in his way.

He never stopped thinking about his history as his modern world became ancient.

He never stopped pondering over the prophecy and the music box’s return as his technology became myths and the olms closed themselves from the public knowledge.

He never stopped hurting and hurting others over past actions, and as he dove more into his past, everything that was at his disposal became a reminder of his failures, of a past he couldn’t retroactively change. Where everywhere one went — the privileges of the newts, the enforcement of the toads, and the domination over the frogs — became a reminder of everything that happened on that faithful night a thousand years ago. Where his broken heart affected a massive hierarchy, and let his pain become the pain of millions of people.

His body never aged, changed, nor die — driven by a Core that belittled, pressured, and reminded him of everything he couldn’t have been.

In all of this, Andrias was part of a system that instigated a status quo that never left, and this becomes so vital if we consider the fates of his friends.

Where one had grown into a legend for his kindness and bravery.

While one lived a quiet life of community among her people.

Where despite the pains and residue of the aftermath, there came some change to their lives that meant something — that they affected others in a way that mattered to the people they loved and cared for.

Leif, in particular, is an interesting case. For one thing, the Plantars had been known as a positive and carefree environment the first time we were introduced to them, where even when the threat of death looms over them, there is always this sense of camaraderie that comes through.

But we then see that at the very beginning, Leif had to start all on her own, and took years to build connections from the ground up as Wartwood started to populate.

She also took a toll of the trio’s separation like anyone else in the group, and the thing that always hurts is knowing that the circumstances of Leif’s letter doesn’t come from her knowing in certainty that Andrias would find it, but the fact she is reaching the end of her life.

The letter is her reminiscing over the world she’s lost, the people she would never see again, and judging by the focus of Andrias in that letter, it is possible that the potential of finding Barrel is now out of probability. The only one she has ever heard about alive was Andrias, because he is a king, and a king’s whereabouts will always remain the same.

Always monitored and alive as she grows frail and weak.

This letter was a woman looking back on her life at the end of her days, and hoping that in writing this letter she’d somehow gain some peace in explaining why she never returned, and saying farewell to the people she hurt the most.

This letter was a changed woman’s last dying wish. The probability of it finding its way to royalty in a medieval world stuck in castes would’ve been next to zero.

And yet this letter remained as the time passed.

As the world went on without her.

Until her latest descendant, Sprig Plantar, brought her dying wish right to his doorstep.

A dying wish that asked Andrias to not close himself off to change. To the idea that he could move forward despite the hurt and pain they went through, that ultimately he is capable of bringing love and enjoyment into his life if he followed his heart on what truly matters by the end of it.

And it’s in this letter where it all comes together.

Andrias has never been given a support system or a conclusion to why Leif did the thing that she did.

He has always been hounded over the questions to what went wrong, to the idea that his friends used him just like his father had always told him before, but in this one scene, this last moment of unconditional love was enough to make the King fall into tears.

For out of everything that came out of the loss, what remained inside of Andrias was bitterness in connection. And to be given closure over his pain by someone who still loves him after everything that happened was enough to get through his built exterior.

Because after a millennium of being isolated and emotionally tormented by the Core, believing that his friends were nothing but artificial in their love just like his father said, it is cathartic to see this man realize that The Core wasn’t right. That Leif still loved him even after everything they went through. That even if this man has committed so many atrocities — ones that he could never return from — it isn’t too late for Andrias to follow his heart, and even regain his agency from the Core’s orders.

For even when the Core begins to force and hurt Andrias back to the status quo that Andrias always dug into again and again ever since his youth.

We see that rather than submitting to the pain and cruelty of his father and his whole bloodline, Andrias has decided then and there to follow the words of a person who truly loved him.

That he could still choose to do good even at the very end.

And in doing so, chose the present instead.

[greysfall]

My 4444-word review of NEO TWEWY (with personal illustration + heavy spoilers)

My overall critical score for the game is 7.5/10, while my personal enjoyment score is 8.5/10. This review is posted as I have 80% completed the game, got the secret ending and achieved the Angel psychic rank. I’ll first start with the main pros and cons as follows.

PROS:

-        Enjoyable as a whole, still upholding the first game’s spirit in world building and sharing the same backbone - which was mostly revealed in the Secret Reports, it’s impossible to grasp the story without reading them.

-        The new cast and new game is charming in their own way

-        The old cast’s return is one of the biggest highlights for sure, it was fun and impactful. Everyone stays true to themselves and also had their own stories wrapped up nicely.

-        Boss designs are cool, new pins are fun to use and collect

-        The connection between the old and new cast is well written and executed, including but are not limited to the tension between the old and new protagonist, the weird but fun interaction between the 2 Composers, the new friendships revealed and formed

-        Sho being in the main cast is something so uniquely TWEWY and uniquely Sho

-        Still good music

-        Still many fun side quests, some of them really uphold the same quirky spirit of the old game and some are surprisingly touching

-        Many new nice stores and yummy looking foods to explore

-        The map is really easy to memorize for me, it’s fun to travel around the “current” Shibuya to see all the differences compared to the past

-        The social network is crazy and interesting to read through

-        Has an anti-frustration system to help 100% complete the game more easily and earn money faster, so post-game is relatively managable.

-        Overall, I really feel the efforts the team poured into making this as their passion project, not just during the development process but for all the last 14 years. They showed the vision of what they wanted to make, at the same time giving something to both the old as well as new fans.

CONS:

-        The biggest problem with the game is scenario writing. The story is so heavily back-loaded. The director himself thought it would be better to balance out the tension flow by adding more at the beginning but gave in to the scenario writer in the end, probably due to time pressure. This results in an underwhelming execution of characterization and lots of wasted potentials for the first half of the game.  

-        I struggle to view it as a stand-alone game, since the backstory and the old cast both play such an important role in the core of the game. If someone plays this game without having played the OG, they can only enjoy it on surface value at best.

-        The new cast is nice but most of them aren’t quite as intriguing as the old cast, maybe it’s cuz they’re all too nice deep down that they lack a little bit of an edge, of that batshit craziness that everyone in the OG used to have? I think some characters (Fret, Nagi) ended up weaker in terms of characterization because the writer is too afraid of making them unlikeable – which kind of backlashed cuz they only became likable in the most expectable way to cater for a specific group of fans. I would have wished for the other team leaders to be more crazy too, had they not suffered 30+ loops of the Game…

-        The CAMERAWORK IS HELL.

-        Gameplay does get tedious at certain points with all the time travels.

-        Shiba is so badly written as a villain, some Shinjuku characters should be given more screentime cutting into Shiba’s– like Hishima or Kaie or even, Hazuki (though his limited presence also solidified his importance).

-        Some of the main character designs, for example Beat’s hairstyle and his food reactions are hilariously bad. What’s the point of covering up most of his unique facial features?

-        Some of the minor/side characters’ design are too cool for them to have such a small role (eg: Ayano, Eiru). Ryoji did get much screentime but is nowhere as fun as Makoto was.

-        Overall the scope of this game is made a little too big for the team to handle as perfectly as the last game that was very compact, it felt somewhat rushed in development too so the missing pieces are clearly there in the final picture

The entry fee versus paying for it all in the end

An important difference between the Neo game and the original Shibuya game was that the Shibuya rule asked for an entry fee that is the Player’s most important asset, stated as a chance the Composer gives them to reexamine themselves. Meanwhile, the Shinjuku rule neither encourages nor allows personal growth and ultimately aims to erase as many Players as possible. It’s a pity we were never introduced to the full Shinjuku rulebook, as it seems like the system there focuses more on building up power and a grand government to compare with the individuality-driven system of Shibuya.

When you have to compare the new game and the original game (OG), this is an important factor to consider. Also, the OG has a serious storyline running through and through, locked with a different partner/GM creating unique atmosphere for each week and you don’t get to see your old partners again until the end. NEO’s team system does not allow such deep insight and communication between the Players. All of your teammates are always there throughout, the dynamic does change with each new addition but it is not as prominent as a partner change.

Another important factor is how the OG was built from scratch for a new platform as “something no one has ever seen before”, while Neo recycled a lot of old unused ideas from the previous development (check out this interview for more details). The development team for NEO lacks 2 key members and had a change of writer so the final product is not as strongly bound together as the last game.

The new cast is definitely inspired by today’s teenagers (from the view of creators), compared to the old cast they’re more sociable and always seem to take whatever works for them despite feeling unstable inside. They are all innocent and genuinely nice kids, avoiding to hurt each other to a degree that they end up keeping some sort of distance. They’re also unable to communicate at deeper levels, always stagnant at this half-baked stage of equilibrium without any motivation to get to the core of things. That is the cost of entering the game without an entry fee, without even dying or having a reason to be there/to fight seriously. These kids were stolen from the RG into a Game that was decidedly the worst environment for them to change or develop, just wandering around cluelessly to find a way “out” until tragedies started to unfold one by one and they ended up being charged the total sum of the price for their actions – ultimately losing everything in the end.

That is, I believe, a story arc which can resonate more to the youth of today rather than of my generation. If the message of the old game was to “listen”, enjoy life to the fullest and accept to trust others, the message of the new game is to “speak up” from the inside, trying to understand yourself and take actions instead of just going with the flow and finally, to take responsibility for such actions.

If Neku was handpicked by the Composer for being the special one with an all-dense soul to ensure victory of the game then Rindo was just a normal kid chosen out of random by Kubo to be his back-up plan, who just happened to have a high enough imagination to awaken the incredible power from his pin. Rindo was then officially chosen by the Composer as Josh picked up and handed the pin to him again, this time not as Josh’s personal Proxy – but as the Proxy to represent the normal people of Shibuya and via whom he could gamble if humans can fight for their own fate.

The underworld heroine and the hero with little of his own

Shoka is for me a refreshing and layered heroine. She’s the kind of character that took at least 3 trials of creators to form as a complete individual – that included Nomura who gave her the base design and Reaper background, Gen who gave a more cunning touch and the writers who made her English dialogues more punchy. Dishonesty equals “tsundere” is such a cliché, so the English writers tried really hard to avoid that trope in my opinion, while still letting her good intention come through.

She serves as the character who is informed of everything the players should have known, and there was almost nothing she could do about it. Almost. Until she met Rindo.

They were drawn to each other by sharing a state of “not having anything of their own”. They both started out with not being able to truly know themselves, Shoka even hated her RG life but also managed to mature from that stage before Rindo. She must have vibed with Shiki’s love and passion in the Gatto Nero threads, initiating her connection with Shibuya and understanding herself more. With Shoka as Swallow, they were able to open up to each other and offer mental support… but was still not getting to the centre of their problems because for all this time, Shoka could not tell Rindo the most important things about herself.

How did Shoka feel when she met Rindo at the UG? She probably didn’t want to hope that he would live the day until she witnessed the Twisters’ potentials. From the very beginning, they were both incredibly conscious of each other and also constantly frustrated that the person they happened to “notice” was such a condescending bitch/a clueless loser. The Shinjuku Reapers are overall quite drunk in power and uncompassionate to Players, Shoka included. She is also a master of dissociation, which results in her constant boredom, tone swings, haughtiness and subconsciously distancing herself from the friend – the boy she cares about – from false hope, as she judged from facts that it was a hopeless situation where nothing could ever be. Maybe she is naturally a bit of a chameleon just like her name suggests (Shoka 紫陽花 = hydrangea, the color-changing flower), so putting on an act and always dissociating herself from what’s important was easy, while hiding her contradiction was impossible. It was the ex-Reaper Beat who broke it out to her, that she should decide whether she really cared and wanted to do something for a change. He knew how it felt like to cross that line, and knew she wanted to too.  

Shoka is endeared by many of the Shinjuku Reapers and has shown independent acts of kindness (the Shinjuku ghost), proving that her kind and truthful side is as real as her harsh and dishonest side – which makes her a nice mirror to the previous heroine Shiki, who also embraced a dichotomy of self-complex and self-love within her character. In the end, she was the first of the new cast to ultimately accept all that is important to her and independently made the decision to help save Shibuya despite all costs.

She was jealous at Rindo’s interaction with Tsugumi and Kanon but remained silent cuz she wasn’t at a place to have any say about it. She also didn’t reveal about Swallow because that would only add an awkward irrelevance to their current situation, as she was too ready to face erasure at the end of the Game. She only wished to “play a game” with him, be it FanGo or the Reapers’ Game. The tension that the team could only feel at the end, she’s felt it the entire time. The song “DIVIDE” is applicable to not just one bond in the game, but it always makes me think of theirs. There is always a “divide” between her and Rindo throughout the course of their journey, as the living and the dead, as a Player and Reaper, as someone who has a place to return to and someone who doesn’t, someone who knows little but wields too much power and someone who knows a lot despite not being able to do much.

“If only I had the chance to connect with you on the other side

But time goes on, and without us realizing it

The battle is getting heated

Time goes on, and without us realiazing it

Divided again”

To be honest, maybe I didn’t grow any affection for the new main cast from Rindo’s perspective but from Shoka’s. Since I started to sympathize with Shoka, I started to see the boy in a more “real” way. The real Rindo, behind his peaceful façade with others, would lash out on Shoka for her unfairly harsh attitude while none of the others cared. He could also subtly feel that mantle of unspoken secrets from her, her own contradictions, the unresolved chemistry between themselves – and not knowing what to do with it rather than to feel angry with all the unfairness he could not process. (As a Libra too, he’s triggered the most by unfairness!)

It is actually a positive development as he’s at least “reacting” to something strongly now rather than to keep evading his problems. During my replay, I clearly saw the difficult situation Shoka was in, her remaining harshness after the Motoi incident was due to her internal struggle with a mission to save her own life, versus a chance to really be with the team. Her decision was to do both at the risk of losing favour from both sides. Rindo started to accept her layer by layer, as the person who resonated the most to her contradicting nature from the start and knew that via learning her resolve, he has learnt his too.

Later into the game, she even got too much of his attention. Maybe even without knowing she’s Swallow, he’s familiar with her thinking direction and Swallow had always been closer to him than any other friend. It was only after she had to betray her important ones twice that she could start being truly honest. The scene when she died a 2nd time left a strong impression in me, the little reveal let Rindo know that he is also losing Swallow as he’s losing Shoka – and that only death could drive the last secret out of her. Her final “Later, loser” echoed through Rindo as it was the final truth, with only him remaining to hear it: they had actually, already lost everything.

Rindo was the boy who never dared to face all that matters to him until he lost it all, fighting an unfair battle in the faith that they would somehow still win. Shoka was the girl who always knew what was dear to her, but never dared to think she could be together with them ever after and still threw her all into a battle she knew was losing. I think they stir each other on naturally to fill out their gaps, similar to what the Shibuya game partner systerm would have aimed for. The end reward was a little divine intervention to help close up the divide between them once and for all.  

During the game there was not enough space to process anything personal so at the ending when they officially became “friends”, it was an important affirmation of their bond. Some people complained it was friendzoning but it’s not, they just have arrived at the perfect place to start something more. “From now on, we will truly be together” – I read it as that kind of message.  

The heroine from a lost battle, with her story taken away

After reading the secret reports and playing the game to be surprised of how small a role Tsugumi had in the main game despite being the “Hype-chan” thought to be a major character of the next TWEWY installment, many fans would feel sad at a missed opportunity to see the Shinjuku arc in full depiction.

It was shown clearly that, a Shinjuku arc was very carefully planned out and is a vital part of the whole story, yet it could not be made due to various circumstances behind the development scene. I would assume, that the team were not able to make a TWEWY game that ended on a despairing note, but it already happened in their mind, thus becoming a mental burden that forced them to break away from it and started the game anew with NEO. A significant part of NEO became the healing arc for the Shinjuku characters, especially for Tsugumi though I really wished more emphasis should have been placed on her rather than Shiba. We didn’t even get to see her brother – Shinjuku’s Conductor who had a vital role and instead was given the clueless Shiba, who had absolutely no idea what’s going on all the way until the last day in NEO. It’s as if Tsugumi has had her story stolen away from her, because her own battle ended with a saddening loss.

I think every time the game creators look at Tsugumi, they would feel that sadness too. Maybe to them, she is a bigger character than what is seen by the fans, as despite their failed effort to depict her story, she’s lived in their mind for all these years through periods of destruction, healing and rebuild.  Though it is a pity we could not get to experience the full scope of the Shinjuku story, the creators was clear about the place they wished for it to arrive at.    

Individuality, connection and the social network

The team system adapted from Shinjuku rulebook does not allow much room for personal development, as the team dynamic is closer to a work relationship forced to bear results, than a spiritual bond to max out all corners of understanding as found in the partnership system. The old Shibuya system allowed only 1 winner and 1 week limit per game, while the new rule declares for a 1 winning team and only the team at last place will be erased – the other teams will enter another loop. Furthermore, whichever team to challenge the unwinnable Ruinbringers will face the risk of ending up dead last followed by erasure. As a result, the longest-standing teams are most likely not the strongest ever recorded, but the ones who have figured out a strategy to simply survive until something changes, enjoying their newly found social constructs while they are at it. Basically, it is a system to hypnotise players into the illusion that they are still “living”.

Therefore, we as players would not get to the core of each Player individually as fast and directly as we did in the last game. The Twisters were able to stand out not because they’re powerful, they only started to have a real chance after growing enough to each form a meaningful and personal connection to another teammate. It did not come as a team, nor did it intiate from the existing friendship between Rindo and Fret. In fact, I did not find much solidity or anything truly note-worthy about the main team and new characters within themselves until they started clashing with other team members, Reapers and new recruits from week 2 onwards. Rindo found his personal development with Shoka (via a clash with Motoi and pretty much a mini dating sim between them), then via the confrontation of his role with Neku; Fret found his with Kanon then Nagi, the team learned about the real Neku via Beat, Neku entered the UG via Coco’s wish to save Tsugumi… it was not the team but their personal links that empowered them to fight and solve each of their problems.

The other team leaders may have failed because they did not form such personal links, after 30+ hopeless loops Fuya’s team all fell apart to pursue their own interest even at the cost of erasure, Motoi quit his KOL façade to work like a dog for the Reapers (probably to save just his own ass not his team), while Kanon dropped her tricks to find changes via honest cooperation in acceptance of a fair loss. The despairing note in that is huge without making much of a scene because their failure didn’t happen at their best effort to “win”, but in their last attempt to find a way “out”. Even Shiba got his way “out” in the end thanked to his personal friendship with Hishima and Tsugumi.

Something has shifted in the mindset of the game creators in the last 14 years, as both games are about “connection vs individuality” but the last game focuses more on connection between just individuals and this one on the overall network that is formed out of those individual connections.

The introduction of Beat into the main cast was truly the bridge between old and new, they helped each other out in several turns before officially recruiting him. Beat is a character whom a lot of fans including myself have felt somewhat concerned about after Neku disappeared from the RG, so when the new kids welcomed Beat with warm and organic interaction and Beat seemed happy, I started to feel like I wanted to help them out too! I think the overall team chemistry is enjoyable enough for new players, but I could warm up to the new kids more from the pov of a returning character – whom I’m glad to be Beat, as the older brother figure who is genuinely kind, fun, serious and upbeat at the same time; who is needed and needs the kids in return.

The social network is a fun and refreshing feature. You can read all of the crazy tidbits about Shibuya and the links each character have formed with the town people, it’s also fun to visualize how the characters act off screen. Characters’ profiles provide extra insight into their background too, like how it reveals Tsugumi has been friend with Coco during her time in the RG. During the game when not all characters have showed up, you can sometimes guess which empty spot will belong to whom. For example there is a 1 character linking to Neky that is not linked to anyone else, so I could guess that was Joshua, and that another character linking only to Joshua was probably Hazuki, hinting that the 2 Composers are related before either of them even showed up.

Hazuki only showed up for 5 minutes, but his presence is so vital and true to the game that I think he is the most memorable out of the new cast. The two Composers have such an intriguing bond, with their yin/yang or phoenix/dragon themes, opposite color design, the sempai/kouhai tone and the way they keep some sort of distance/work relationship as if it’s mandatory between Higher beings, yet at the same time they can talk so casually because they are truly equal – and different from one another. I have written a separate meta on them here.

Some people pointed out, that all Shinjuku characters’ names and themes are based off Hanafuda cards and the Phoenix in Hanafuda belongs to the Paulownia suit – which is Joshua’s name flower. This is so interesting because it feels like the creators somehow saw it as a sign to interweave the Shibuya and Shinjuku storylines together. Though it doesn’t come out much on the surface, it’s fascinating nonetheless considering both Josh and Haz had at some point interfered with the other town’s affairs.

“Shibuya tour with Haz” was such a special scene, as it happened between 2 characters who do not/no longer have a reason to care about Shibuya, on the subject of what is worth saving about Shibuya. Hazuki carried out the purification of Shinjuku and stepped in to restore Shibuya just as part of his job and unlike Hanekoma or Joshua who both possess profound understanding of humanity, he really didn’t know humans at all. Rindo’s irrational wish invoked in him a sense of curiosity, to try gambling on something irrationally and learning a bit of what his senior have experienced. With all the pieces put together, it provides an overview on Higher beings as a whole, and that Joshua and Hanekoma are really the odd ones out with Hazuki being somewhere in between them and the rest.        

The old friends

It’s easy to have returning characters overshadow the new cast as they have already matured out of their personal story arc and stayed in our hearts for all this time. In the end, I have managed to enjoy both the old and new cast separately and altogether, and they will both find their own place in our memory of this game for the long term.

Sho is truly as crazy as ever, the game wouldn’t be the same if Sho is any less of what he is. Sometimes it doesn’t feel like Neky or Beat is younger than Nagi at all, with moments when it seems like Neky has aged 14 years instead of 3 years. His friendship with Coco surprised me pleasantly, and their interaction together with Beat was fun to watch. Rhyme’s found a new dream and her friendship with Kaie is precious too, especially considering that she can still talk to him online after the game ended. Josh and Neku’s interaction suggested that they have resolved the past and are on equal terms now, they even parted ways in good spirit and I don’t feel any worry about them like I did before.

Neku and Shiki’s reunion scene was beautiful, theirs is such a special bond that it has grown and supported them even without being able to see each other. I am so happy to see them all again and that they stay true to who they are, albeit looking more grown up, cooler and happier than ever before.  

Overall, NEO can’t become a classic on par with the OG, but is definitely a good sequel and a good game in its own rights. I’m happy with whether or not there will be a 3rd game to complete the 3 monkeys theme, but if there will be – I hope the creators can really find the time to learn from the last 2 games and start over with a fresh mindset and strong core.  

[all-hail-stevinel]

Okay so i’ve been seein some ppl say that Spinel and the Diamonds were ignoring Steven’s problems and not giving helpful advice and ngl….i dont agree?? I mean, i kinda get it but tbh i think they did the best they could at addressing Steven’s core issues w/o havin the needed context since it's clear that he hasn't spoken to them since Spinel left so how were they to know how he’s been?

Tbh i think what they had to say wasn't what Steven wanted to hear because it wasn't an easy answer but needed to. I mean for one:

Yellow, without as many words, showed Steven that despite her past cruel actions she is trying to fix it by dedicating time towards those she's wronged. Showing that even the most unforgivable actions can be amended for with effort and dedication, so much so that now, her powers once destructive and anger-driven now have reversed into the ability to heal forms and alter them on command. 

Yellow not only is working to be better, but she has control over her form and that of others. Lol sounds like something Steven could use, huh? 

After all the damage I’ve done, it’s only right to use my powers for a little reconstructive work on the gems I’ve hurt.

Then BLUE, my floaty weed cloud queen had her own hard-hitting advice for Steven. While I can admit the drug clouds are definitely not a solution for Steven’s problems, how Blue arrived there was

Her powers once used to isolate herself and emotionally hurt those around her, were reversed by spending time thinking about her actions and how to hold herself accountable-“i realized i had to make up for my awful behavior!” 

she was able to evaporate her tears into happy clouds and instead focus her energy on the love and positivity in her life like dudes wtf

My little reason why, you make me want to try, loving you~

Then finally! Queen bee White!!!! The wildest Tyrant to ever grace the galaxy has traded in her T-pose for meditation and a $20 Wal-mart yoga mat and it's great!!

If anything, I thought White was one of the most helpful (not only almost dying trying to help Steven, lol) but for how she showed him her power had reversed. She had learned to stop being so controlling and to trust others to the point where she regularly lets those she once enslaved puppet her around for kicks/activism.

In a deeper sense, White who once thought of everyone as “lesser life forms” is now every day allowing those same lifeforms to guide her around to have new experiences and see new perspectives. To show and teach White different ways of being and give a fair voice to all those she interacts with

And she tries to help Steven with that new power, they all do. But in the end, despite being pretty good advice and a blatant show that even unchecked diamond powers can be controlled and used for good with a support system and open communication, Steven rejects it-

He rejects it all because he was recently traumatized. Killed a gem in the last episode, remember? On Top of his already festering trauma from before! That they were all complicit in! Yikes!

none of it, the advice, the song, the perspective was the easy “Oh Why Yes Steven! We as diamonds always go through this rough patch. Here’s ‘X’ to fix it immediately!” that he was clearly hoping for, but instead were all the things he just ran away from.

A support system, blatant concern for his well being, requests for open honesty, and most importantly-

Attempts to get at the root of the problem. Something Steven himself is just not ready for.  

Which really comes to head when he grabs Spinel, desperate for someone who was once so angry and vengeful and violent to show him the way. And what does she do?

She parrots back his own advice.

Which why? Because it stuck with her. It helped her. It made her see a different perspective and gave her what she needed to move forward. It made Steven furious to hear and he ran from her, thinking she also couldn't help, but Spinel really did confront him with what Steven needs to realize.

He can make a change.

But he has to choose too. He has to ask for help and accept it. He has to be honest, he has to confront his problems if he wants to move forward. He can make it right but to do so, ...he needs to be willing to change.

[vaalthus]

Remthalas Theory/Sort of Analysis: The All-Seeing Idiot God, The Dreaming Chaos, The Path of Omniscience. Oh and like potential Lore Spoilers maybe.

With the conclusion of the Reckoning War, and having bared witnessed to Remthalas’ actions, I believe we have a better idea of what our aquatic Dreamfarer desires and intends not only for themselves but for the inhabitants of Lore as well.

We already know that Remthalas believes that the only way to achieve freedom, to dream, is to not be shackled. To not live out the dreams or whims of others. Unfortunately, this boils down to the lesson Remthalas got out of the idea is that people should not tie themselves down by basic laws or morals people tend to follow. Otherwise, the endless possibilities provided by true freedom are not possible.

This a concept that he has clearly taken to his very core given how angrily or impulsively he’ll react should he feel someone is ordering him around or someone else shirking their freedom in his point of view as demonstrated when he rebuked Notha twice for commanding him and when he killed Mr. Nameless/Twinkles.

So that’s it then, right? Remthalas is just an anarchist drunk on freedom? Wanting all of Lore to break their shackles and live out their own dreams never minding once of those around them, right? Well yes, but there is I think a bit more going on here.

I found a few things concerning about Remthalas in our fight with either Notha or Uaanta. One, is that he found the Avatars more interesting in their reduced orb state. Secondly, he didn’t appear to want to destroy them. Thirdly, is that regardless of who we chose to side with, Rem finds us interesting either way. Fourth, and most concerning is that he only found Uaanta truly fascinating if she merged with the Avatars. Lastly, and most revealing was his desire to see all the events unfold regardless of what the outcome was and then simply bounce when a conclusion was reached.

The reason why I find him being able to see Uaanta as a truly fascinating player in this conflict is to be some cause for concern is that being ‘interesting’ to Remthalas seems to, at first, amount to being someone that can bring about his idea of freedom, freedom from the balance the Avatars imposed. Characters like the Hero and I imagine Notha when he first met her and was introduced to her ideology. However, if this is the case, why find Uaanta interesting? She after all plans to shepherd away the very entities responsible for the very concept that resulted in his abandonment and have shackled so many others and their dreams. Why find someone who still intends to be devoted to the Avatars to be a person of interest then? Are they not still choosing to wear their shackles? To ignore their own dreams in the favor of the dreams of others.

 The answer I think is simple. In the end, it was just less about Remthalas serving his ultimate plan and Remthalas wanting a show. Remthalas has always long been aware of our capacity to come out on top over our opponents, including his own fellow members. Why would he suspect there was any possibility we would lose to our dear friend or even Notha? He didn’t because he knew we would win, but how can he enjoy the play if all the actors aren’t putting in effort for their roles. After all, are you satisfied by the just the ending of a movie or the passionate performances that it took to get there?

You see I believe Remthalas revealed what he plans for us and Lore all the way back when we first met in the Ex Somniis Fabula or The Story of Dreams quest. In his introduction, Remthalas posits the question of whether he’d be able to alter reality if the entities only referred to as “They” dreamed instead of just slumbering. With quite the determined, if not a bit demented, expression on his face I might add. There’s also one other feature to this and it’s the fact that Remthalas points out that we’re in his dream, or perhaps more accurately his dream space, and that it’s basically just a blank white box. (There are also the blue glowing circles on his robes that could symbolize having multiple eyes to see which are only visible when he’s in his dream form, but it could also just represent Kathool’s eyes so who knows) This is ultimately his domain and by the looks of it he can bring anyone into it and determine what is experienced within this tiny space. What the viewer sees could amount to anything but what they ultimately stand is just the box, the blank canvas. Here, Remthalas controls reality, what goes on in the ‘bigger picture’ so to speak. Here, Remthalas is as close to a god as anyone else that can control their own dreams.

 What I’m getting at here is that Remthalas doesn’t just want freedom he wants to see possibilities and the process it takes to getting to an outcome. What he wants is to dream and for everyone else to be the actors in his never-ending play of entertainment. To see the big picture change from one point to the other. These are details that I think were touched on when he mentioned that he enjoyed the dreams of children because of their ability to imagine possibilities to fill in gaps left behind by a world they are still very new to. Or when he appeared genuinely disheartened at the idea that he was not at rest. Or when he finds dreams to be not interesting enough when pointing out that Voyna can only ever dream of dragons due to her trauma with them. Or even when we fought him in the dream to save Sally and he noted that our dream was “Fierce, but one dimensional” Or the rather basic nature, in comparison to whatever else he wanted to show us, of Notha’s backstory and memories.

 What he wants is for Lore to be his dream. To fit all of existence in that little box of his and to watch things go wild. Which is why I called him ‘Idiot God’ because if true then Remthalas is basically trying to become Azathoth, the Blind-Idiot God from the Lovecraftian Mythos who created the entire universe in that series by simply dreaming, and who will kill it if he ever wakes up. A character/concept I still believe was being referenced when Remthalas asked what would happen if “they” woke up and questioned if the world would stop existing if “they” did. However, unlike Azathoth, Remthalas intends to be aware of all that happens when he finally dreams.

Azathoth is not the only eldritch god that Rem appears to share similarities with and to be honest it the one that makes him perhaps the most untrustworthy. The god I’m referring to of course is Nyarlathotep: The Crawling Chaos, The Dweller in Darkness, The Haunter of the Dark. These are just a few titles of Nyarlathotep, but I believe they would fit Remthalas for the similarities they share with the Outer God. For one thing is how both Remthalas and Nyarlathotep communicate through dreams to any of their unaware victims and pass on information that might shatter their world view. Furthermore, much like Nyarlathotep, Remthalas seems take more enjoyment in the dreams of others being messed with in a way that is typically nightmarish in nature. The most important similarity here of course is that both entities are more driven by spreading chaos and madness through people as opposed to their utter annihilation like other eldritch gods such as Cthulu. The reason for this is because in the case of both characters, I believe in Rem’s case anyway, their enemies isn’t so much other people but rather boredom, in addition to their own stagnation.

An interesting contrast I just thought about between them however is how Nyarlathotep and Remthalas spread chaos. As mentioned, Nyarlathotep does so through dreams by revealing, in typical Lovecraftian cosmic horror fashion, how utterly pointless the lives of his victims are in the face of the sheer overwhelming forces at play in the infinite and unknown universe and how they should just succumb to madness and/or become one of his followers, to amuse himself. Remthalas kind of does something similar when he suggests that morals and the lives people are currently living don’t hold much weight in the face of the grander schemes and roles of the Avatars. 

However, unlike Nyarla, Remthalas would do this so that others cast off their rules, still to amuse himself with the chaos that would thrive from that but in his view, they’d be getting something out of it. A sort of “You and everything you’ve known don’t matter so succumb to despair and madness and entertain me” vs “You and everything you’ve known don’t really matter so do what you want and entertain me” Chaos vs Chaos but different philosophies on how to get it.

The connections that can be drawn to other well known eldritch entities does make me wonder if when we see Remthalas next he might be trying to elevate his power on the material plane to that of the Primordials (Kathool, Uthuluc (probably not Uthuluc out of all of them to be honest), The Witness, Sciuridaehotep, the latter of which is just a Nyarlathotep reference) or is somehow going to get them involved in some way when his plans really start to get under way. If he does somehow involve Kathool in what he intends to pull off I imagine we might see Aquella again given that she’s supposed to overwatch his bedtime and I think it would fit to have a water take on another that was devoted to Kathool. I’d suspect she, or potentially another water elf, could reveal more of in-depth info on Remthalas’ servitude to the Avatars and later Kathool.

This brings us to the question of course of how exactly Rem plans to pull this all off. Obviously, we fit into those plans. However, with what just happened with the Avatars now being out of the picture and Myalos also being out of commission, what’s the next step? Where does he take us from there? The answer goes back to those “They” entities being referenced. Remthalas has brought them up, but he wasn’t the only one I believe. Celeritas mentioned them once when Sinnoncence made his move. I believe, I’m certain, that our dear Big Daddy named dropped them for us a long time ago. 

The one and only Aequilibria, the true gods of existence who are said to be slumbering even now. How Remthalas intends on exerting power over these beings is unknowable, but it would appear the best time to do so before they awake once more.

Which brings us to the Hero and the interest Rem has taken in them. It is clear the main reason that Remthalas has taken an interest in us is because of how capable we were in comparison to Uaanta at the time he was scouting us both out. We are an invested tool…and yet. I cannot help but wonder if Remthalas continued engrossment of us isn’t just because he knows we’ll be useful to his plans but also because Remthalas is straight up looking for a plus one when his plan would be theoretically completed. He did offer us to see where the currents of existence could take us.

  After all, why look at and enjoy multiple paintings in a vacuum or go to the movies by yourself when you can have someone watch it all with you. Then again, as I mentioned earlier, he could simply be viewing us as just another tool to pull off his plans and that is join the others later once everything falls in place

All of what I stated is more speculation than anything but if any of it’s true then we are in for a ride.

[recallingrealities]

Aligned - Chapter 8 (Zelda x Reader - NSFW)

For Chapter 1, click (here) 

Chapter 8:  Singe

When you and Zelda had enjoyed that moonlit night together - the memory felt full and quiet, spilling with magnetic attraction - it resonated between your bodies. Vibrant and vibrating; what magic had originally felt like to you, in the way you had sensed limitless as a child.

 It felt so much thicker, more vast. Beyond possible comprehension without entering it completely. This awareness arose, that you yourself: searching, identifying the electricity building between young minds as their thoughts connected across your classroom, in minutes during introductory lecture. Their identification of concepts known yet unknown, in that indescribable sensation of the everchanging present that you so adored finding recognition in.

You had not expected most of your nights to follow in this way. After the rendezvous in your office, you would have expected nearly the opposite from Zelda. Perhaps you were assuming she'd be one to hold her distance in winsome glances towards you. That the two of you would stare, amongst the witnessing presence of your Coven. Aloof, as so many things were, entranced in their community of magic. Yet, she and you, had grown in intimacy. Across the halls, past shoulders and nods, beckoned in silence for more from her. Things were shifting. You had adjusted to read her, with the way she held her stoic composure, experiencing her words, and her thoughts unspoken. 

You were sculpting in new habits of your nights proceeding dinner - in spending your evenings together. Consumed by the time that would pass, you would make your way back towards your study, and she towards her own. Moving like your life depended on the coolness of your collected composure, the stillness you felt it setting, cooling and settling between your muscles and with each and every aching step. You had to allow the excitement to shiver in bliss within your muscles fibers, awakening you rush of happiness. Otherwise you were sure you’d tremble in anticipation, unable to get much of anywhere with an aching center and a driven, heating need. It felt like the inevitable was drawing closed like the heavy velvet curtains drawn at every window when the sun held betwixt the air and  Earth. This anticipated, simple action, came swift and known in its proper unspoken timing.

 The woman would wait exactly thirty three minutes before teleporting to your door. Rather than appearing inside. She found profound pleasure in the formality of knocking - as if it was merely an excuse to cease your breath with her entrance - as it never failed to do so.

You never spoke directly about your night of passion, but the two of you would play with it, in quiet fleeting references. In toying words or the craning shapes of her body language, she would play upon it. Even in the way she would eye over your face, then hands; when sending hot embers scoring the brim of the ashtray - your skin, with her heated and wildfiring, passionate bond. It was as if she knew it erupted you in goosebumps, the ashes reflecting visions of her hot kisses charring your flesh. She would send you a smirk or a knowing look, as her hand brushed against your leg - your trembles, as if she knew it would blur you between a vision and the presently jarring reality. It made you feel… drunk. It was as if the hunt was what pleased her especially. Knowing full well you were practically hers, wading in silent bated breaths - to be caught in grip of her jaws once more. 

Tonight, that specific thought felt prolific, like foresight, but you never took stock in assuming. Assumption would be the bane of anyone's true knowing.

 You had taken up in advising the Directrix in her personal journey towards the Goddess. It felt humbling. What an honor, and to some, a bafflement that a young woman and such new member such as Y/N being illicitly chosen to advising the High Priestess, at her personal request, for guided practice.

There were ways in sculpting her that you knew would be more useful. To help her build the relationship on her own. It felt like you had done this a thousand times with yourself. In the beginning, constantly feeling yourself waver in and out of connection with the Goddess. It had only been when you realized you were the one that had lost touch, disconnected from such an eternal internally expanded force, that you felt you could reach her in an instant, as if nothing had ever happened. Nothing has been disconnected or out of reach or place at all. This was when you had felt, what you could now detect as, unconditional love, for the very first time. A love that had never left you, or stung with resentment. In a force far greater than the collection of everything, and everything in between it.

When Zelda had asked you, she had no idea where to start. She had confided in you the vulnerable expectancy of her role, but that it was not that which had urged her to ask you. It was her own sense of yearning for Lilith, for Hecate - Astarte, Inanna, Ceridwen, and the rest of the Goddess in wholeness. She was raised to expect Lucifer to present himself to her. To wait and become whatever he wanted for task or pleasure. To know her and be known in return felt ineffable. She would have never thought in her lifetime that she would move humbly towards an entity, in hopes to understand an ancient force such as the Goddess, or source of life, and existence, a boundless Source. In magic. Let alone the option; to know her personally, as a friend and confidant and living love. Zelda was beginning to see in your lessons that the Goddess, Source, was a hidden face in every tiding. A piece in everything no matter her form. The pieces in shatters always fit, the web weaved in perfect collection of all of it. 

The coven was in fact, indebted to Hecate - but Zelda's yearning to thank her entirety, beckoned, and called to her very core. 

There had been none other that came to mind, to be better in guiding her than you. You felt blessed, remembering the Goddess's words that all was as in alignment. All was as it should be - in your choosing to embrace it.

A silent shiver courses through your shifting body. You had instructed Zelda to begin writing, whatever so moved her or felt intuitively natural. You urged her to write whether it made sense in the moment, or not - wherever the inclination came from. That her intuition was a tie, and if she came to trust it, she would come to realize that her ability to commune to the Goddess was just that, listening. In choosing to embrace it.

 The redhead was already capable of prayer. It was the learning to listen that was the ticket for anyone's mastery. Of course, it can feel strange praying or writing to someone, something you do not feel you know. You suggested she write anything, even words in random that arose in her intuition - and that by writing them, she could dedicate whatever the product, to Hecate, despite satisfaction, for this was doubt. That an offering in genuineness, there could be none greater. You had explained that this was the intended act of honoring your experience: that in releasing control to the Goddess, whatever would come of it would be Aligned. Not only that, it was another form of offering - something much less conventional than the blood of a virgin or soul of the unborn. If there was anything Zelda had known about Lilith, it was her keenness for the unconventional. Something personal to this version of her, that she connected, she could resonate as personal. An attribute Zelda had become pleasantly familiar with, in her time knowing her.

She confessed, sacrifice hadn't been like that in Satanic witchcraft. This didn't require blood, or pain, or sacred items. It felt unsettling. It only required the intention that it was for her.

 "A Goddess who believes that all we desire on our own, is truly what she desires for us". 

This was a level of worthiness Y/N had mentioned recurrently, without the confession of your breathtaking awakening in the forest a few steps away - before sharing with the woman. You explained that you felt no human or witch knew how to handle such a concept, until now.

"How do you even begin to talk to someone like that..?" 

Zelda confessed one evening, bewildered that such a Deity or concept, in selflessness could exist.

 "I’ve learned that it's as much about talking - as it is about listening.

It is perfectly valid to begin with ‘I’m not sure what to say…’ and to let your thoughts flow in honesty from there. If you are ever unsure, take the time to listen. Take the point in pen hitting paper to release even the blotting smear of ink from the pen. It is the concept that you are consciously there in her presence”.

The silence seemed to stir those embers like before, except rather than in you, in herself. 

"It is within all of us" 

You comforted her, before returning her to the task of writing, the warm glow of your heat embering with the soft confident brush of your index against her forearm.

It was now, like many nights, that you read through the entries of her journal alongside her. You had insisted the first time, that you need not read it in order for it to be a valid sacrifice to the Goddess - but she had insisted in sharing the strangeness of the exploration with you. You found her words to be beautiful. Her handwriting, as smooth and sweeping, and divine as the way she entered each room and stole each gaze. Her words were unexpected, beautifully honest, and vulnerable. Shaken like the trembles responding to her voice and will. It was in reading her dedications, that you felt for the first time, your heart pang in adoring admiration, for anyone aside from Source herself.

Tonight as you were reading, as you had forsought - her lips met your heartbeats in the nape of your craning neck. You had grown so lost in her words that the impact of her warm flesh had startled you - like a snapping twig in the silent wood outside the Academy's grounds. Your body trembles like layered leaves, interrupted by her gust of wind, lifting up and guiding your movement towards her figure. You feel yourself sway and mark the page with your index as her fingers now clasped your cheek, leaning into it as the tides lean towards the moon. Natural. Surrender. You feel it deep within you and remember that by embracing your experience, as the Goddess had prompted you before, was a way you could honor both her and yourself, in utter pleasure… and desire.

"Z- elda…" you swallow breathlessly, not wanting her to stop as your heart flutters helplessly in your throat. You witness your tangled muscles relaxing at her touch, as your voice returns faltering at the preface of your lips "these entries are stunning"

The redhead lifts her mouth towards your ear, and the tenderness of your flesh shivers beneath it with careful urgency.

"As are you, little seer"

You feel your hands lift the book towards your desk, before releasing it on its surface to turn yourself quickly towards her. Your heart patters in racing tandem to the sudden burst of rain tapping rhythmically at your windows pane.

You turn yourself to face her before meeting your hands to hers, resting on your cheeks before pulling her into a swelling kiss. The way her hips press against you, brings you to sudden awareness of the natural rhythm in the way you moved together. The braiding together of instances in harmony, the progression of the prior lessons collecting towards this very  moment, in apex - like the building of each rain cloud, erupting in release over Greendale.

 You turn, she moves. You press, she shifts. It was as if every movement was as synchronized as the pendulum on the grandfather clock, well tuned and cadenced in its natural precession. The goosebumps you had felt before were now spread across your entire form as your body shivered against her touch. The collecting swells of the raindrops met as the touch of her palm. One of her hands immediately shifts to support the small of your back, which trembles and softens against it. The base of her palm meets your flesh, gentle, yet firm, warm and reassuring as she slips effortlessly beneath your blouse. Taking you in another breathless kiss. Her lips part, to allow her tongue to request meeting your craven taste on her pallet. It was clear to you more than ever, that she had wanted you. This every moment she spent with you beneath her gaze had been that of undeniable desire, and building pressure. 'Of…. course', you think to yourself, but in just the manners of her movement, you now know for certain.

"I think that's enough lessons for tonight" 

Zelda's voice mulls softly, as her words feed into the vibration building at your teeth. You can't help but moan as your lips meet her shoulder in nipping, mewing desperation. Your hands pull needingly to have her closer to you, your whimpers in guiding gasps before your palms meet her breasts, clasping with a secured certainty that the trembling had seemed to release. Beckoning, your lips whisper a few words against her skin before she suddenly falls deep into your bed. The mix of desire between you both teleports you without notice to the safety of your quarters. The weight of your push and the sudden shift in location knocking her off her feet into the pillowing plush of crushed velvet. You climb it's preface, drifting to straddle on top of her, far more forward than encounters before. You press your lips to the seam of her blouse, aching her to remove it in the swiftness of her own enthralled passion. Seeing her sprawled across your bed, shifts a knowing in you. Your heartbeats together panged in your ears, your jaw guided in hungry kisses to meet her accented collar bones. Their beauty is like porcelain sweeping to meet her sculpted breasts. Her breaths rising and falling erratically, draw you closer into the nest of her arms. Pulling your weight towards her, you feel your legs tangle, aligned with the meeting and sharp pressure of your clits connecting. 

The shock.

 The connection is prevalent, like lighting's fire - tangible in the release of her harmonious moans linking with your own. Your desire so tangible, Zelda can hardly feel embarrassed with the rouge rising in her face. Her hands pull you close towards her hips, urging you to grind against her and provide little relief towards your building passion. Your kisses begin to grow as they travel across, and down each breast. Your hungering wetness, dampening her skin. With your breathless moans tracing her - Zelda is caught completely off guard and vulnerable the moment your soft lips draw, to bite her. Her pale breast purpling beneath your sucking lips, she gasped, in delicious ecstasy. The gorgeous yearning that devours her, tearing at the peak of her need for you. Zelda's skin rippled in goosebumps as her exposed abdomen tightens, a smirk attending to your hunger's liking. You find yourself growing far more exposed and domineering with her than ever before - and you can tell how completely off guard she has become, finding herself whimpering against your confident smirk. 

What a shift.

You had never imagined you'd hear her whimper. The woman who seduced you with growing need, using just her eyes to send electricity through you, was beginning to tremble. Her fingers gripping your back, your teeth assist in removing and unclasping her lace bralette. Nothing with her was as you'd expected, you find yourself even more satisfied with the result unfurling before your eyes, her breasts spilling over, gaze hungering and desperate for your thighs movements up to grind against her precious heat.

Abridged and supported by her crying, frustrated moans, you remove her bra with a keenness, causing it to flutter against the dresser's surface, across the room from the two of you. The mirror reflecting your candlit bodies, she unzips the back of your dress, your swift, defiant movements pulling her delicate fingers away from the zipper as your lips take her breast in peaking proposal. Your tongue flits her nipple, the warm dampness of your tongue beckoning her to arch against it, as you take her sweet flesh into the hold of your mouth. Suckling in pleasurable hunger, your thigh draws down her covered core with gruesome, fracturing friction. You find the lace of her panties fits in perfect contrast to the soft ageless touch of your skin against her. The firm pressure in contrast to the delicate flesh that scathed her form, drawing her breaths inward - her energy enveloping you in gorgeous enthrall to pull you as close to her as your bodies can bare. You shift your mouth in time with her breaths, drawing inward towards the honest wetness of her fabric, closing in on her. 

It is only then, that you pause for a brief moment to touch her thigh, your breath warm and tangible against her, your l fingertips, tweaking her nipple, sucking deeper to pull her breasts fullness towards your mouth. Her gasping moans echo your chambers as if they had longed to reverberate her sound.

The pleasure you feel in unbelievable, your own heat gasping in needing waves as you grind just as needily against the mattress in return to the response of her bucking mound.

It is then, that she flips you, your lips a moment away from capturing her craving heat. You are shocked, by the power burning within her. Her eyes are sharp and daggering, your dress splitting open as she lifts your hips to plunge her fingers into your dripping cunt. Dazed, your mouth trembles - unable to utter the "FUCK"  sitting gutteral in your throat, her firm graising thumb streaking from your entrance to your clitoris. Her fingers spread then curl inside you, before her free hand grounds firmly next to your ear. You can feel your waves of panting met only by the slapping wetness of her palm at your core, her curling fingers pushing you quickly towards a blistering climax. 'So… soon…' you think, contracting her cunt against the pressure of her relentless fingers. It is now that your eyes meet hers, her needing eyes connecting to a depth within you never searched. The moans spilling from your lips in tongues unfamiliar. Your desperate hands grip the sheets and wrist at your crown, grinding back in restless tides. Your jaw tightens with baited breath, using everything in you not to come immediately. It is then that gloss covers your sweet dark eyes, erupting you in waves of pleasure as you spill out uncontrollably across her fingers. 

Zelda licks her lips, pleased, and surprised at your body's response, slowing her thrusts to meet her upper lip to your bud, sliding her tongue between her digits inside, to taste you.

Her moan is earth shattering. The way it echoes up inside you enough to make you burn with intensity, in sensuous waves as your hips meet her to ride out your orgasm.

[otp-armada]

If Jason wanted to convince me that Lxa was the love of Clarke's life, he wouldn't have killed her off, effectively cutting their love story permanently, with 4.5 seasons left of the show. Their arc, starting with their introduction in 2x07 and concluding with L's death in 3x07, is 17 episodes long, accounting for 17% of the entire narrative. If I generously add 3x16 to the count, an episode in which L is already dead in the corporeal world Clarke is trying to return to, it's a whopping, grand total of 18%. An 18% congruous with Clarke's intense connection to Bellamy and vice versa, which even A.lycia confirmed as romantic. Feelings romantic enough to spur the formation of a love triangle. An 18% ignoring Clarke's ultimate choice to go back to her people when L wanted her to stay.

CL is a chapter in the story begun and wrapped up in the first half of the narrative. And that's omitting further illumination on the finer details making CL so problematic for Clarke. Do you expect me to believe it was coincidental for CL to occur at a time when Clarke was spiraling down a dark path, commencing with Finn's death? Who played a hand in forcing Clarke's own hand, with Finn, and TonDC, and Mount Weather? Whose example inspired her to ensnare herself in armor and warpaint to be strong enough to save her people? Whose behavior did she emulate in the pushing away of support from her people? Who gave her a place to continue hiding from Bellamy, her mom, and her friends? A place to be someone other than Clarke Griffin? In lieu of facing her fears like the heroine she is? The purpose of CL wasn't to provide Clarke with a magnificent, fairy tale romance gone tragically wrong. I believe Jason's intent with the relationship aimed to further damage Clarke's psyche after L's death, to solidify the belief that her love is not only deadly to its recipients but renders her too weak to do what must be done for survival.

After 3x16, CL is an often superfluous namedrop or two per season for Clarke to briefly react to before carrying on with the plot. Season 5 aside, most of these references are needless enough to be able to interpret them as attempts at reparations for the L/CL fandom's benefit -and their views- without altering the course of the story. Crazy me for thinking it's not enough to constitute an ongoing love story. Crazy me for not thinking this was on par with interactions between living characters. Crazy me for thinking it doesn't befit a love story for the protagonist.

This sliver of the story is what Jason and the CLs would have us unquestionably believe is the pervasive love story of The 100's seven seasons?

Despite his lie and the constant gaslighting from the pineapple CLs, some of us know how to decipher what a temporary love interest is. Lxa? I think you know where I'm heading with this.

I'll acknowledge my admittedly negative appraisal of CL as someone who recognizes its value to the LGBT+ community and treats it as valid while not caring for L/CL on a narrative level. I felt, when swayed by L's influence, Clarke became the antithesis of what I found admirable about her. I resented Clarke's acquiescence of her power to the commander. I wanted nothing more than to remove the wedge L had driven between Clarke and Bellamy.

Let me try to give L/CL the benefit of the doubt for a minute. I don't hold L as responsible for Clarke's choices, but I recognize the prominent role she played in their upbringing. The push and pull was an intriguing aspect of their dynamic, as was the chance to meet a manifestation of who Clarke might have been if she was all head, no heart. Her fall from grace was arguably necessary for her to be a fully-rounded character, not a Mary Sue. It wouldn't be realistic for the protagonist of a tragic story about a brutal world to be a pure cinnamon roll. When forgiveness is an innate theme with Clarke, it would be my bias at work if I was content with her applying it to everyone but Lxa. Clarke saw enough commonalities between her and L to identify with the latter. When she extended forgiveness to L, I believe it was her way of taking the first step on the path to making peace with herself by proxy. None of this means I wanted them paired up. At best, I made my peace with seeing the relationship through to its eventual end. In time for L's death, ironically. My passivity about them notwithstanding, my conclusions are, however, supported by canon.

If I may submit a Doylist reason for romantic CL? Jason knew he had a massive subfandom itching to see them coupled, thereby boosting ratings and generating media buzz. A Watsonian reason? Without relevance, I think L would have been another Anya to Clarke. Grapple shortly with the unfair taking of a life right as they choose to steer towards unity, melancholy giving way to the inconvenience of the loss of a potential, powerful political ally. Romance ensured her arc with L would have the designated impact on Clarke's character moving forward in the next act.

For a show not about relationships, Jason has routinely used romantic love as a shorthand for character and dynamic development. It's happened with so many hastily strung together pairings. And when it does, everyone and their mother bends over backward to defend the relationship. It's romantic because it just is. Didn't you see the kissing? Romantic.

No, The 100 at its core is not about relationships, romantic and otherwise. But stack the number of fans invested exclusively by the action against those of us appreciating a strong plot but are emotionally attached to the characters and dynamics. Who do we think wins? Jason can cry all he wants over an audience refusing to be dazzled solely by his flashy sci-fi.

Funnily enough, "not about relationships'' is only ever applied to Bellarke. Bellarke, a relationship so consistently significant, it's the central dynamic of the show. The backbone on which the story is predicated. Only with Bellarke does it become super imperative to represent male-female platonic relationships. As if Bellarke is the end all, be all of platonic friendship representation on this show. In every single television show in the history of television shows.

Where was this advocacy when B/echo was foisted upon on us after one scene between them where he didn't outright hate Echo? When one interaction before that, he nearly choked the life out of her. If male-female friendship on TV is so sparse, why didn't B/ravens celebrate the familial relationship between Bellamy and Raven? Isn't the fact that they interpret Clarke as abusive to Bellamy all the more reason to praise his oh-so-healthy friendship with Raven as friendship? They might be the one group of shippers at the least liberty to use this argument against Bellarke, lest they want to hear the cacophony of our fandom's laughter at the sheer hypocrisy of the joke. Instead, they've held on with an iron grip to the one sex scene from practically three lifetimes ago when the characters were distracting themselves from their feelings on OTHER people? They've recalled this as "proof" of romance while silent on (or misconstruing) the 99% of narrative wherein they were platonic and the 100% of the time they were canonically non-romantic.

Bellarke is only non-romantic if you believe love stories are told in the space of time it takes for Characters A & B to make out and screw each other onscreen, a timespan amounting to less than the intermission of a quick bathroom break. If it sounds ridiculous, it's because it is. And yet, some can't wrap their heads around the idea that maybe, just maybe, a well-written love story in its entirety is denoted by more than two insubstantial markers and unreliable qualifiers. B/raven had sex, and the deed didn't fashion them into a romance. Jasper and Maya kissed but didn't have sex. Were they half a romantic relationship? Bellarke is paralleled to romantic couples all the time, but it counts for nothing in the eyes of their rival-ship fandom adversaries. Take ship wars out of it by considering Mackson. Like B/echo, the show informed us that Mackson became a couple post-Praimfaya, offscreen, via a kiss. Does anyone fancy them an epic love story with their whisper of a buildup? Since a kiss is all it takes, as dictated by fandom parameters, we should.

If Characters A & B are ensconced in a romantic storyline, then by definition, their relationship is neither non-romantic nor fanon. "Platonic" rings hollow as a descriptor for feelings canonically not so.

If the rest of the fandom doesn't want to take our word for granted, Bob confirmed Bellarke as romantic. Is he as delusional as we are? Bob is not a shipper, but he knows what he was told to perform and how. Why do the pineapples twist themselves in knots to discredit his word? If they are so assured by Jason's word-of-god affirmation, then what credibility does it bear to have Bellarke validated by someone other than the one in charge? They're so quick to aggressively repudiate any statement less than "CL is everything. Nothing else exists. CL is the only fictional love story in The 100, nay, the WORLD. CL is the single greatest man-made invention since the advent of the wheel."

We've all seen a show with a romantic relationship between the leads at the core of the story. We all know the definition of slowburn. We can pinpoint the tropes used to convey romantic feelings. We know conflict is how stories are told. We know when interferences are meant to separate them. We know when obstacles are overcome, they're stronger for it. We know that's why the hurdles exist. We know those impediments often take the shape of interim, third-party love interests. We know what love triangles are. We know pining and longing.

Jason wasn't revolutionary in his structure of Bellarke. He wasn't sly. Jason modeled them no differently than most other shows do with their main romances. Subtler and slower, sure. Sometimes not subtle at all. There's no subtlety in having Clarke viscerally react to multiple shots of Bellamy with his girlfriend. No subtlety in him prioritizing her life over the others in Sanctum's clutches. In her prioritizing his life above all the other lives she was sure would perish if he opened the bunker door. There is no subtlety in Bellamy poisoning his sister to stave off Clarke's impending execution. In her relinquishing 50 Arkadian lives for him after it killed her to choose only 100 to preserve. In her sending the daughter Clarke was hellbent to protect, into the trenches to save him. In him marching across enemy lines to rescue her. In her surrender to her kidnapper to march to potential death, to prevent Bellamy's immediate one. No subtlety in Josie's callouts. No subtlety in Lxa's successful use of his name to convince Clarke to let a bomb drop on an unsuspecting village. Bet every dollar you have that the list goes on and on.

There are a lot of layers to what this show was. It was a tragedy, with hope for light at the end of the tunnel. It was, first and foremost, a post-apocalyptic sci-fi survival drama. Within this overarch is the story of how the union of Clarke Griffin and Bellamy Blake saves humanity, ushering in an age of peace. In this regard, their relationship transcended romance. But with the two of them growing exponentially more intimate each season, pulled apart by obstacles only to draw closer once again, theirs was a love story. A romantic opus, the crescendo timed in such a way that the resolution of this storyline -the moment they get together- would align with the resolution of the main plot. Tying Bellarke to the completion of this tale made them more meaningful than any other relationship on this show, not less.

Whereas the trend with every other pair was to chronicle whether they survived this hostile world intact or succumbed to it, Bellarke was a slowburn. A unique appellation for the couples on this show, but not disqualifying them from romantic acknowledgment.

Framing Bellarke in this manner was 100% Jason's choice. If he wanted the audience to treat them as platonic, he should have made it clear within the narrative itself, not through vague, word-of-god dispatches. A mishandled 180-degree swerve at the clutch as a consequence of extra-textual factors doesn't negate the 84% of the story prior. It's just bad writing to not follow through. And Jason's poor, nearsighted decisions ruined a hell of a lot more than a Bellarke endgame.

The problem is, when Bellarke is legitimized, the pineapples are yanked out of their fantasies where they get to pretend the quoted exaggerations above are real. Here I'm embellishing, but some of them have deeply ingrained their identities in CL to the degree where hyperbole is rechristened to incontestable facts. An endorsement for Bellarke is an obtrusive reminder of the not all-encompassing reception of their ship. A lack of positive sentiment is an attack on their OTP, elevated to an attack on their identity. Before long, it ascends to an alleged offense to their right to exist. The perpetrators of this evil against humanity are the enemy, and they must attack in kind, in defense of themselves.

Truthfully, I think it's sad, the connotation of human happiness wholly dependent on the outcome of a fictional liaison already terminated years ago. I'm not unaware of the marginalization of minorities, of the LGBT+ community, in media. I haven't buried my head in the sand to pretend there aren't horrible crimes committed against them. I don't pretend prejudice isn't rampant. When defense and education devolve into hatred and libel for asinine reasons, though, the line has been crossed. You don't get a free pass to hurt someone with your words over a damn ship war. No matter how hard you try to dress it up as righteous social justice, I assure you, you're woefully transparent.

[warrioreowynofrohan]

This is similar to one of my previous posts, but it has some new elements so I’m copying it over. This is the second of my posts on the core themes of each book in The Stormlight Archive. The first, on Rhythm of War, is here.

This post contains Rhythm of War spoilers.

Stormlight Archive Themes - Redemption in Oathbringer

If I pretend I didn’t do those things, it means I can’t have grown to become someone else. It cannot be a journey if it doesn’t have a beginning.

Redemption is a theme running through the entirety of the Stormlight Archive, but it is strongest and most central in Oathbringer- not only in Dalinar’s character arc but also in Szeth’s, in the start of Venli’s redemption arc, and - in a negative manner - in the arcs of Moash and Amaram. Oathbringer also, to my mind, encapsulates the philosophy of the entire series regarding redemption in one scene of striking symbolism.

The idea of redemption is Oathbringer is often paired, in analyses, with that of accepting responsibility for your actions - indeed, I almost titled this essay “redemption and responsibility.” And that is absolutely a necessary element that distinguishes the successful redemption arcs from the failed ones. But in thinking about it I realized that I had things in the wrong order - for both Dalinar and Venli, mercy is is what enables them to take responsibility, not the result of them doing so. They are both able to grapple with their actions and take responsibility for them, and this is what enables their redemption arcs, but in both cases it is a consequence of them already having been shown grace before they exhibited any change in behaviour.

When Dalinar visits the Nightwatcher, he has been a brutal conqueror for 23 years and then a drunk for the last five and a half. His sole redeeming characteristic is that he knows in his soul what he needs and it isn’t power or strength or to return to the man he was before Evi’s death, or the ability to blame someone else for his deed. He knows he’s guilty, and he begs for forgiveness. And what Cultivation gives him is not precisely that, but the chance to become someone better. It is crucial to remember that, while he forgets his actions and forgets Evi, that is not what asked for; his goal was not to be free of the knowledge of what he did, but the chance for it not to be the end of his story; the chance to be something other than the monster he knew he was.

When he rejects Odium’s offer to take his pain, on the battlefield outside Thaylen City, it is without any expectation of forgiveness or of freedom from his crushing guilt. Evi’s forgiveness is not something he has remotely earned or deserved, by that action or any of his actions; it is pure grace. When we talk about redemption arcs, “deserving” has nothing to do with it. Dalinar didn’t remotely deserve his. He knows this, and it’s why he’s ready to hold out the possibility of redemption to Amaram and, in ROW, to Taravangian - because if Dalinar can be redeemed, then the door is not closed to anyone. The difference is not in worthiness of redemption, but willingness to accept it.

And this is also seen in the beginning of Venli’s redemption arc. Timbre finds her and stays with her long before she’s demonstrated any positive qualities that would subgest fitness for being a Radiant. In the context of ROW, knowing that Eshonai bonded Timbre just before her death, I believe it’s because Eshonai asked her spren to look out for her sister. As with Cultivation’s gift to Dalinar, it is Venli’s bond with Timbre that enables her to become a better person, to make herself accountable to her people for her actions, to begin taking personal risks to do what is right.

Something similar is also present in Elhokar’s arc. Kaladin saves him before he’s done anything substantive to change, when Elhokar has only shown the first beginnings of recognition that he is not the person or the king that he should be or wants to be. He is capable of the change he exhibits in Oathbringer, the genuine humility and desire to serve his people, because Kaladin’s rescue gave him the chance to become that person. It’s not truly a failed or prevented redemption arc. He died, but he died trying to be better, and that matters.

The difference with Amaram, that prevents his redemption arc, isn’t that he’s uniquely evil. (Dalinar has also killed his own men, in battle-lust rather than in cold blood.) What prevents it is the rejection of the truth he knows in his soul: that he has done something horrifically evil, that he is in the wrong.

“No, he’ll never forgive me.”

“The bridgeman?”

“Not him.” Amaram tapped his chest. “Him.”

Amaram’s rationalizations during his fight with Kaladin are the consequence of him refusing the knowledge of who he is, or trying to escape from it. Ironically, Amaram previously put up quite a good pretence of willingness to accept responsibility for his own actions - he told Dalinar that after the war was over he’d be willing to stand trial for what he did to Kaladin and his men. I believe he meant it - but what he wanted, like Taravangian, was to be seen as, or see himself as, some kind of martyr, sacrificing his morality for the greater good. Which is a very different thing from the recognition that you’re wrong.

Moash’s arc is also one away from accepting responsibility - in his first chapter in Oathbringer, he feels terribly guilty for betraying Kaladin and recognizes thst he was wrong, and then he moves further and further away from this in every subsequent chapter, until Odium’s whispered lies - What happened at the Shattered Plains wasn’t my fault. I was pushed into it. I can’t be blamed. - begin to take hold. When he gives up his pain to Odium, he remains driven by the desperate need to hide from his guilt, and his campaign in ROW to drive Kaladin to suicide is driven in large part by the need to prove to himself that giving up hus pain was the only possible decision by driving Kaladin to make the same one. As long as Kaladin lives, he is proof of an alternative path. (Yes, a twisted death wish that regards this as mercy is also part of it.)

Moash, like Amaram, and Dalinar, and Venli, does receive an offer of redemption undeserved, not in Oathbringer but in the first part of ROW, in Renarin’s vision of him as someone who protects rather than destroys. He responds with terror - it can’t be possible, it needs to not be possible, because if another course is possible then his actions are not inevitable and he is responsible for them. (I know this vision has been compared to part of the magic system the Mistborn books, but to me it’s far more intuitive for it to be the Surge of Illumination, which we’ve already seen used by Shallan in a similar way in her drawings of Bluth, Gaz, and Elhokar, among others.) He spends the rest of the book trying desperately, and unsuccessfully, to extinguish that possibility.

And finally we have Szeth’s redemption arc. Szeth has never been in doubt that he is morally responsible for his actions, even when he did not concieve of himself as having a choice about them. I see his arc in the prior books as something much more nuanced than “just following orders” - that’s an excuse used by people who want to get out of making hard decisions, who prefer comfort and complacency. Szeth very much did not want to be in his position as assassin - he loathed it, and himself, and was willing to do anything within his power to avoid it; after killing Gavilar, he actively seeks out a life in obscurity as menial slave, concealing his abilities as far as he can, because that means he won’t be used to kill. It’s a life Kaladin spent years trying to escape from, and it’s Szeth’s idea of a best-case scenario. Szeth is in the position of desperately wanting choice, but conceiving of it as a privilege that he no longer possesses. I thimk this is connected to the meaning of Truthless - the underlying concept/rationale for the oathstone seems to be that literally anyone - any random person in the world - is capable of malimg better choices than you, so they, and not you, get to decide what you should do with your life. It’s near the end of his arc in Oathbringer - But it had always been nothing more than a rock - that he at last recognizes that he did have a choice about his actions.

Szeth, in his arc in Oathbringer, is very much motivated by the desire to do what is right and make right decisions, thpugh he is very out of practice at making any decisions at all. In the first test of the Skybreakers, he perceives that there’s something more important going pn that just chasing after wretched criminals, and that the warden’s immiseration of them is the worst crime of all. But it’s the second Skybreaker training session, with the practice fight using the balls of coloured dye, that gives us what I think is the heart of the theme of redemption both in Oathbringer and in the Stormlight Archive as a whole.

The contest feels a little out of place and low-drama - the recruits’ first test is killing criminals, and their second one is a game? But I believe it is absolutely crucial via the metaphor it communicates. Szeth starts out diing very well in the game - no one has hit him yet - and is actually enjoying himself for the first time in many, many years. And then he thinks this: He could not be happy. He was only a tool of retribution. Not redemption, for he dared not believe in such. If he was to be forced to keep living, it should not be a live that anyone should ever envy.

Other characters either accept both responsibility and redemption, or reject both. Szeth accepts responsibility, accepts guilt, tries to do right, even without the belief that redemption is possible.

And immediately after thinking that, he gets hit with the dye for the first time. He was doing well in the game when he was enjoying himself; now, when he rejects the possibility of redemption, he stops doing so well, and ultimately loses. Almost as if the universe were trying to tell him something.

And then, when he is bombarded with dye, runs out of Stormlight, and falls into the Purelake at the end of the exercise, he realizes something. It’s not actually about how many stains you have. He washes them off in the Purelake. And he wins the game.

To me, especially knowing Brandon’s religious background (and being a Christian myself), this is extraordinarily powerful symbolism of baptism, of the washing away of sin and entry into new life. It is stating the theme of redemption for the whole series. How many stains you have, what you’ve done in the past, doesn’t matter for redemption; what matters is whether you’re willing to accept redemption, accept the mercy that is offered, choose to be a new person. There is no such thing as being beyond redemption. The heroes of the story are not some perfect ideal, not the ones who manage to pick up very few stains. They are the ones who are willing to recognize that they have them and to wash them off; to recognize the wrong they have done and to change.

[royalstorm]

✨ character study #21 — keqing & culture clash .

TL;DR: Despite being portrayed as a character motivated by self-interest and pride (which she is, don’t get me wrong), Keqing’s character is very ironic in that it also contains key characteristics present in a typical eldest Asian / only Asian daughter (self-sacrifice, overstaying commitments).

Keqing is most prominently defined by “active” personality traits: her defiance, her resilience, and her initiative. She is ambitious and a go-getter through and through — the epitome of a gxrlboss, the patron saint of going after what you want and refusing to settle for less than that. 

I feel that it can be a lot more than just this, though, especially if we extrapolate this information and use to go above and beyond. Once again, Keqing is, in her heart of hearts, an independent individual who pursues her interests of her own accord ... but what exactly are these “interests”? What are her core “wants”? To dismantle what she perceives are antiquated beliefs? Partly, but dig deeper. To cultivate a strength and tenacity that humanity has lost due to complacency / an over-reliance on religious factors? Also partly, but dig even deeper. To ensure that Liyue is able to prosper in the present, the short-term future, and the long-term future as an autonomous entity? Yes. Basically, the “interests” / “wants” that exist as “layers” above this conclusive statement are just that: layers. They only reveal the details supporting what is ultimately the main point.

If we further unpack this core “want” — ensuring Liyue’s success and longevity — we are able to discern a few things:

The fine details, or “layers”, involved in this “want” are very self-driven. They were birthed from ego. They are inspired by Keqing’s ideals and, in essence, best represent the “active” personality traits she is reputed for.

The core “want” itself is less internalized. It’s more concerned with a collective “schema”, as opposed to the point above, which caters toward the ego. In other words, the very essence of what it is that Keqing wants comes from a “big picture” sort of concept ... one that goes far beyond her, one that embodies a compassion not for the self, but for Liyue as a whole, and alongside that ... sacrifice.

Keqing’s workaholic tendencies are also majorly inspired by her “core” want. Based on her canon voicelines and story tidbits (which I’ll post examples of when I’m less lazy, lmfaooooo), her reason for working constantly isn’t something hasty or something done for the sake of doing. She devotes so much of her time and energy into her work because she believes that is what will allow Liyue to become successful for generations to come ... and so, maybe you’re thinking: so what? She’s dutiful and committed and works too much ... what about it? But do you know what, or rather who, else easily embodies those traits, as well?

If you’re like me, you’re already nodding your head in understanding ... only daughter/eldest daughter syndrome.

Think about it ... the core “want” that Keqing has been striving for for all of these years isn’t even one that will immediately or directly benefit her. It takes into account too wide of a scope and too immeasurable an amount of time to factor in self-interests. The interests being reflected in this core “want” have to do with Liyue as a collective whole, even when she’s no longer alive to be a part of it. And once again, she’s committed to this ideal — made it her duty to see this through to the point where she overworks herself, doing other people’s jobs and working extra hours and going the extra mile to make ends meet. This is not something that benefits her directly, either ... nor is it healthy for her. Keqing isn’t overworking herself for herself; she is overworking for the sake of Liyue and its people and ultimately putting their priorities and needs over hers. This can be supported tremendously by her lifestyle (once again, I will post examples from canon when I’m not lazy). Keqing lives with the “barest of luxuries” at her disposal, not wishing to flaunt her wealth or her status. She went undercover as a laborer for a few months to have a better understanding of the working class. She willingly throws herself into dangerous ventures that other people do not want to undertake in a way that is humble (dressing up in very ordinary clothing, only bringing her hairpin and a sword). There’s no cry for attention or brownie points in any of these actions. It is, instead, another example of how the concept of sacrifice manifests in her character.

So ... this is basically my long-winded way of saying that Keqing is ironically a lot more subservient / “typical Asian daughter” than what can be seen on the surface. It IS very significant that she relishes in this mindset of “choosing your own path”, “defying what does not suit you”, and “being able to rely on yourself and your immediate community as opposed to being complacent” ... but ultimately, the “core” of her want and how she goes about in achieving it best mirror the self-sacrifice, stubborn dutifulness, and over-commitment found within many eldest / only Asian daughters. Even if she herself is attempting to combat conservatism, there are still key parts of Keqing tied to these long-standing, “collectivist” ideas of gender, such as prioritizing quite literally everything and everyone else before herself and engaging in activities that don’t serve her well for the sake of sacrifice.

Tfw you want to be an independent. stubborn as catgxrlboss, but a lot more of your motives reek of “Daughter Who Is Expected To Be Everyone’s Tool” syndrome than you think.

[autistic-girl-academic]

Hypmic OC Crew: Freestyle Angels

so I’ve seen a lot of people posting their Hypmic OCs lately, and that made me want to buckle down and finalize the details for mine!

An all-female team based out of Tokyo’s Minato Ward, the Freestyle Angels are technically an independent crew - they got together to drive out crews who were abusing their claims to the territory, but aren’t interested in winning more territory themselves. (Not that they’d qualify for the DRBs anyway, of course.) Rather, they serve as a foil/rival team to the Chuohku trio.

Sumire Kuino, AKA Queen of Street

“Alone we can do so little; together we can do so much” - Helen Keller

Occupation: Humanitarian aid organizer

Birthday: October 7th

Age: 30

Zodiac: Libra

Height: 6′0″

Weight: 165 lbs

Blood type: AB

Likes: Bargains, fixing things, dogs, birdwatching

Dislikes: Wastefulness, unpaid debts, technology, selfish people

Favorite food: Chazuke

Least favorite food: Fugu

The daughter of a corrupt businessman and his mistress. Her father was an associate of Sairo Tohoten, who helped him flee the country when he got in trouble with the authorities, leaving a young Sumire and her mother behind. Sumire’s mother, only viewing her as another mouth to feed, likewise abandoned her daughter once she’d found a new lover. Frightened at the possibility of ending up in an orphanage, Sumire struggled to fend for herself on the streets until she was taken under the wing of an older homeless man named Takayoshi. He would go on to raise Sumire as his own, with her quickly coming to call him ‘Grandpa’ and taking on his family name. Over the years, Sumire became increasingly protective of him in turn, and he and his circle of friends would jokingly call her ‘queen’ for her assertive, take-charge nature; Sumire was always exasperated by the nickname, but grudgingly grew to accept it.

Takayoshi was the sort of person who was always willing to lend a hand and always kept an eye out for those who needed it, and Sumire followed his example. After he passed away, she became a guardian for anyone with nowhere to go, spending her days building shelters, distributing food, and standing up to whoever threatened the people that depended on her. She had fleeting hopes that the Party of Words would remedy some of the ills plaguing society, but found that little changed once the H Age began. Before the formation of the Dirty Dawg, Minato Ward went through a tumultuous period where it rapidly changed hands between many crews who abused their power. Sumire stole a set of Hypnosis Mics off of one such group and began using it to defend the defenseless, forming a duo with Ageha Hinokuchi called the Rough Diamonds, then a trio once they met Kaori Sakuragi.

Her microphone takes the shape of a street sign, while her speakers are a graffiti-covered castle made from debris. Her ability, Bulwark, decreases the damage done to her allies, albeit at the cost of taking it herself. Her personal rapping style is based off of Hime.

Personality-wise, Sumire’s an incredibly caring person under an intimidating exterior; her default stone-faced expression rarely changes and she speaks very bluntly. She won’t really judge or try to control the choices of those she helps, but if she needs to put her foot down for someone’s own good, her naturally commanding presence makes it hard to not do what she says. She’s a quick learner who can fix up just about anything she puts her hands on (with the exception of hi-tech gadgets) and a highly efficient penny-pincher; show her something with a high price tag and get ready to hear a thorough breakdown of just how many groceries it could buy. Her biggest flaw is that she doesn’t always take care of herself as well as she does others, requiring her teammates to step in and force her to take the occasional break.

She deeply respects Jakurai’s work, but finds Hifumi too flashy for her tastes. She’s also helped Dice a few times in the past, but he finds her kind of terrifying and tries to avoid her. The one person who can immediately make her lose her composure is Rei; plenty of his victims have ended up on the streets, and one of them even committed suicide despite Sumire’s attempts to save them. Unless her teammates stop her, she’ll attack him on sight.

Ageha Hinokuchi, AKA HI-FLYA

“Once freedom lights its beacon in man’s heart, the gods are powerless against him” - Jean-Paul Sartre

Occupation: Fitness & self-defense instructor

Birthday: May 6th

Age: 28

Zodiac: Taurus

Height: 5′6″

Weight: 138 lbs

Blood type: B

Likes: Pro wrestling, action movies, dancing, the beach

Dislikes: Muscle cramps, energy drinks, smoking, conformity

Favorite food: Barbecue

Least favorite food: Sea cucumber

A former member of the Party of Words. As a child, she lost her parents to an armed robbery, leading her to support Otome’s goals of eliminating conventional weapons from Japan. However, she increasingly found herself unable to turn a blind eye to the ways in which the Party manipulated innocent people. Once she learned about the True Hypnosis Microphone, she attempted to sabotage the facility where they were produced, but was discovered. In the fight that followed, a fire broke out; she fell from a great height into the flames and was presumed dead by the Party members who had been trying to apprehend her. However, a friend of hers in the group discovered that she’d survived and smuggled her to safety. After recovering from her wounds, she took on a new name and face, leaving her old identity behind to become Ageha Hinokuchi.

Her goal of stopping the Party of Words remained unchanged, and for a while she was constantly on the move, collecting evidence of their crimes and trying to come up with a way to stand against them. In Minato Ward, she happened to cross paths with Sumire Kuino, who had stolen a set of Hypnosis Microphones and was using them to defend people in need. Though initially reluctant to use one herself, she was forced to when Sumire was outnumbered and lured into a trap. Sumire, who was a firm believer in always repaying what she owed, asked what she could do in exchange for Ageha saving her life. This sparked a deep bond that eventually led to Ageha divulging her past to Sumire, and they formed a duo known as the Rough Diamonds. They later met Kaori Sakuragi and rechristened themselves the Freestyle Angels (incidentally, Ageha came up with both names, the latter because she was a fan of Charlie’s Angels).

Her microphone takes the shape of a portable music player held on an armband and a pair of headphones with butterfly wings on them, while her speaker is a four-sided boxing scoreboard. Her ability, Reverb, allows her to hit her opponent twice in one go, although the second hit isn’t as strong. Her personal style is inspired by Akkogorilla.

In contrast to Sumire, Ageha is fun-loving, always wears a smile, and is overflowing with energy; this is largely due to regretting how she previously lived, as someone blindly obedient who didn’t fully appreciate the joys of life. She can quickly befriend just about anyone and is a bit of a flirt, but only to tease. All of this belies a keen observational eye, though, and she’ll play up being an airhead to make others underestimate her. She knows a wide variety of martial arts, with kickboxing and aikido being her specialties. Because she currently lives and works in Roppongi, she’s also good with foreign languages.

Ageha is a big fan of Sasara’s comedy routines. She's suspicious of Ramuda because she knows he was involved with Chuokhu, but isn’t fully aware of his nature as a clone. Likewise, she detests Rei for having worked on the True Hypnosis Mic, but is much better at hiding it than Sumire.

Kaori Sakuragi, AKA wallflower

“Be not another, if you can be yourself” - Paracelsus

Occupation: Self-employed craftsperson

Birthday: December 5th

Age: 20

Zodiac: Sagittarius

Height: 5′3″

Weight: 116 lbs

Blood type: A

Likes: Homemade things, aromatherapy, reading, gardening

Dislikes: Cameras, busy places, the dentist, controlling people

Favorite food: Croquettes

Least favorite food: Beef tongue

Child-star-turned-idol, lead singer of the wildly popular group ‘Cutie Blooms’, Kaori seemingly vanished off the face of the earth one day. In truth, years of constant media presence, overwork, and pressure to please her demanding stage mother had driven Kaori to have a mental breakdown. Unable to be in the presence of other people without suffering severe panic attacks, she shut herself up in her apartment just before the start of the H Age for two years. When a paparazzi tracked her down and began harassing her for interviews, she fled and became lost on the streets of Minato-ku, but was rescued by Sumire Kuino and Ageha Hinokuchi. Seeing them wield their Hypnosis Mics in her defense reminded her of her original love for singing, and she begged them to make her the third member of their crew.

While her teammates have been helping her work through her trauma, Kaori is still afraid of having her face or voice recognized. She keeps her features obscured by glasses and masks as much as possible, prefers to stay out of sight, and primarily communicates through a tablet that reads out what she writes; she’s very quiet and stammers a lot when she does speak. During her years as a shut-in, she learned to provide for herself in a number of ways, such as growing her own vegetables and making clothes and other handicrafts, the latter of which she sells online.

Her microphone takes the shape of her tablet and stylus, while her speaker is a greenhouse that overflows with more and more flowers as she gains confidence during battle. Her ability, Tongue-Tied, scrambles her opponent’s speech. Her personal style is based off of Haru Nemuri.

Kaori is sensitive, timid, and somewhat pessimistic, but still possesses a very strong determination deep down at her core. She despises the fake persona that was forced upon her by the idol industry and wants to “win back her true self”. The more comfortable she gets around someone, the more she shows her passionate and cheerful side. She’s also very creative and good at memorizing small details, but at the cost of sometimes getting lost in her own thoughts and not noticing what’s going on around her.

She’s an avid reader of Gentaro’s novels, having sent him lots of anonymous fanmail in the past. She’s also recently started listening to Jyushi’s music.

[ryanccoleman]

“All goodness is in jeopardy”: Dead Girls at the End of the Decade

“As another year comes to pass, bringing another decade to pass, we find ourselves awash in the bodies of dead girls and women, fictional and very much real.”

This essay was originally set to be published in December 2019 on Much Ado About Cinema, to coincide with the premiere of Jennifer Reeder’s Knives and Skin.

There is a film that premieres today, the last month of the decade, called Knives and Skin. Directed by Jennifer Reeder, the film depicts the surreal transformation a community undergoes when one of its own, a teenage girl named Carolyn Harper, goes missing and later shows up dead. Knives and Skin may in fact be this decade’s last work of art to employ a narrative device come lately to be known as the “dead girl trope.” This term refers to the use in story of this conceit—a beautiful, young, presumably innocent, usually white girl has gone missing or wound up dead (almost always murdered), plunging the incredulous family/community/town surrounding her into chaos and calling a charismatic detective to chase after answers.

Much lately has been made of the dead girl trope—researching its origins, examining its variations, interrogating its largely uncontested whiteness and cisness. Of course stories of dead and missing women have been around as long as women have died and gone missing, but since the early ‘90s the trope has clogged up the culture, and even moreso in the past decade. Every day we are inundated with stories of women battered, disappeared, manipulated, and killed. We cannot afford to be flip or numb, to treat these stories as just that—fiction, as anything separate from the culture they have a mutually parasitic relationship with. The most important question people have begun to ask of the dead girl trope is whether it has any capacity to attack the misogyny it depicts and uproot the racism and transphobia which support it. Or does recycling the trope again and again, even by creators with the most altruistic intentions, do anything other than entrench the idea that violence is the logical conclusion to the question of a woman?

As the final installment in a decade long saga of women on the verge, how does Knives and Skin measure up? To answer this question we have to do two things. We have to understand the real world stakes, and we have to go back to where this bad dream began.

“When this kind of fire starts, it is very hard to put out. The tender boughs of innocence burn first, and the wind rises, and then all goodness is in jeopardy.” -Twin Peaks: Fire Walk With Me

As another year comes to pass, bringing another decade to pass, we find ourselves awash in the bodies of dead girls and women, fictional and very much real.

In the world, women are abducted, disappeared, if returned at all returned in bruised condition, mass graves are discovered, long buried reports of abuse are painfully unearthed, and women are killed. In Nigeria, in 2014, 276 schoolgirls abducted from the town of Chibok by Boko Haram and driven hundreds of miles into ungoverned territory. Five years on, 112 are still missing. Bereft parents have died waiting for their daughters to be returned. “Even in a hundred years,” one mother told a reporter from Al Jazeera this year, “we will keep believing that our daughters will return home.”

In Canada, after years of fierce organizing from within indigenous communities, the government finally launched an inquiry into the murder and disappearance of thousands of indigenous women stretching back decades. The National Inquiry into Missing and Murdered Indigenous Women and Girls, as it’s called, attribute it to "state actions and inactions rooted in colonialism and colonial ideologies.” Indigenous leaders name it: genocide.

In our own country, thousands of immigrant women are detained, many having fled their homes due to domestic violence, state-sponsored sexual violence and femicide only to wind up in dehumanizing internment, their children confiscated from them like personal effects. A rising number of mass shooters explicitly name the hatred of women as a call to action, their patterns of domestic abuse (86% of the 22 mass shooters analyzed in a recent Mother Jones report had demonstrable records) shored up too late. Trans women and gender non-conforming afab (assigned female at birth) people face an epidemic of transphobic, misogynistic, often racist violence from intimate partners and total strangers alike. Violence in the street is entrenched by the indifference of the state—of the 22 trans women murdered this year to date, 18 cases remain unsolved.

In the culture, the flood of women’s bodies rises from our ankles to our thighs. Scanning best of the decade lists—it’s easy to see if you’re looking, and even if you’re not, it’s hard to ignore—dead and missing girls are everywhere. Though the carnage is not distributed evenly across formats—there is for example a remarkable lack of dead girl stories in film when compared with the superabundance in television and podcasts—the sheer volume is staggering.

Podcasting emerged as the most exciting new storytelling medium this decade, transforming from local radio curio to culture-spanning phenomenon attracting big tech money and A-list celebrity buy-in. The medium, built on the backs of stories of dead and missing women, has proven unable to go on without them. The show that kickstarted the podcast revolution was Serial, a solemn journalistic inquiry into the unsolved murder of a teenage girl. Serial set off a true crime boom as much as it set a template for much of the medium. Though few shows have applied the same rigor to their dead, damaged, or missing subjects, none have needed to in order to become wildly popular. Simply put, there is no dead woman that eludes the reach of the podcaster, and without dead women, there would be no podcasts as we know them.

Finally, my god, television. It’s not that a number of the best shows of the decade centered on the story of a dead or missing girl; there were in fact so many they constituted a thematic center for the entire medium this decade—The Killing, The Fall, Broadchurch, Pretty Little Liars, How to Get Away With Murder, Making A Murderer, Top of the Lake, True Detective, The Night Of, and The Jinx, to name some of the heavy hitters.

One more show waded into the morass this decade, and most notably—it was the reason for all this mess in the first place.

David Lynch came back to television after 25 years with Twin Peaks: The Return, a third season to his legendary 1990 television series. By all accounts, those original eight episodes launched the beautiful dead girl craze we’re still in the vicious throes of. The entire Twin Peaks universe—Lynch and Mark Frost’s surprise smash first season, the meandering second season in which ABC rescinded creative control from Lynch because he refused to identify the dead girl in question’s killer, Twin Peaks: Fire Walk With Me, Lynch’s controversial 1992 feature prequel which features Laura Palmer, dead girl, as an alive protagonist rather than a silent mystery, the new season, and all the apocryphal literary spinoffs—centers on the beautiful, murdered, porcelain-white body of homecoming queen Laura Palmer, washed up on a riverbank in the pilot episode.

Every piece of writing on the dead girl trope addresses Lynch, if not exclusively, then in a fulsome manner. Alice Bolin, who published a comprehensive book of essays on the trope last year called Dead Girls: Surviving an American Obsession, first engaged with the subject in a 2014 essay on Twin Peaks for the Los Angeles Review of Books. And indeed, nearly every review of Knives and Skin I encountered while researching for this essay references Twin Peaks as an obvious ancestor to Reeder’s film.

Why? The aesthetic comparisons are evident—moody score, weird acting, woodsy small town setting, beautiful missing, and then dead, girl. But the comparison is broader than that. It’s almost compulsory, unavoidable. The impact Twin Peaks had on culture is impossible to understate. But the depth to which the twin images of Laura Palmer’s ghostly, smiling, peroxide and permed homecoming photo and her dead, drowned, blue-faced and plastic-wrapped crime scene photo, which the show flashes to in alternation, have seeped into our core imagining of what women fundamentally are in life and in death has absolutely not been reckoned with.

This Knives and Skin grasps. The film’s Laura Palmer, called Carolyn Harper (Raven Whitley), behaves much in the same way. In her first and only alive scene, she and a boy drive up to the shore of a lake at night. Without knowing anything about the film the first time I watched it, I tensed, anticipating exactly what ended up happening. Carolyn and the boy, Andy (Ty Olwin), walk from the car to the lakeside, silhouetted in the glare of the headlights. Before kissing, the two bicker about Carolyn’s glasses, whether they should stay on or be taken off. Andy says “keep ‘em on, I don’t care.” Carolyn responds: “I do care. I actually don’t want to see what’s about to happen.” The next time anyone in the film sees Carolyn, she’s dead.

If Knives and Skin does anything perfectly it’s this. The Laura Palmers of fiction and the Laura Palmers in fact, all around the world, have fused, like the twin images in Twin Peaks—alive: radiant, dead: serene, and in both cases speechless, compliant. It recalls Maggie Nelson’s question after seeing Hitchcock’s Vertigo: “whether women were somehow always already dead, or, conversely, had somehow not yet begun to exist.”

An avatar of young womanhood as always arcing toward extermination has emerged with a juggernaut’s relentlessness out of the scrum of the past three decades of dead girl TV. The characters in Knives and Skin live in this world. Carolyn Harper knows what happens to Carolyn Harpers. She doesn’t want to see “what’s about to happen” because she’s powerless to prevent it. The tagline of the film, “Have you seen Carolyn Harper?” lands as a joke by the end of the film. Carolyn Harpers are all we ever see.

Knives and Skin doesn’t so much rage with righteous injustice over the unfair and unthinkable death of one young girl as it does turn the palpable, ten-ton heavy despair of unfair and unthinkable death as the condition of young girls back on the viewer. “You guys doing okay,” Carolyn’s mother asks three of her daughters classmates who’ve brought her condolence casseroles. Carolyn’s body has just been discovered. An ice cream cake made for her birthday melts into a pale pool of sludge on the table before her. “Yes,” they say, emotionless. “You lying?” They nod again, “yes.”

Reeder has taken us back to the world of Twin Peaks in a time where dead girls are taken for granted, taken as givens. They still, however, even in this most melancholy meditation, destroy communities and upend lives. I’ve said that Knives and Skin doesn’t rage with injustice over the death of Carolyn Harper. But should it?

The reference point that floated into my head while watching Knives and Skin the first time, that I couldn’t shake the second time was not Twin Peaks, but its much maligned and misunderstood prequel, Fire Walk With Me. Lynch made Fire Walk With Me after Bob Iger and ABC tried to stage manage the surprise success of season 1 by forcing him to reveal Laura’s killer. “‘Who killed Laura Palmer?’ was a question that we did not ever really want to answer,” Lynch later told TV Guide. Season 2, largely without Lynch, was as a result baffling, anticlimactic and sensational in all the wrong places. The show was cancelled less than two years after debuting. Fire Walk With Me was a vengeance quest, Lynch’s intent to bring closure and justice to the story of a Pandora he had never intended to let out of the box.

Fire Walk With Me is brutal. Its examination of trauma is surgical, uncompromising, and to the bone. For the majority of the film the camera is glued to Laura, who walks, talks, dances, laughs, gobbles like a turkey, screams, cries, and eventually dies. As a spectator you are shoved in close proximity to Laura. Unlike the silent, pliant Laura Palmer of Twin Peaks, Sheryl Lee’s Laura in Fire Walk With Me is fully alive, every fantasy concocted about her by the characters in season 1 as well as the fans in the audience is in sharp, contested relief. She feels everything done to her immediately, unbearably, and so do you.

Many critics hated Fire Walk With Me, and it was a commercial flop. The film was booed at Cannes. In the New York Times, Vincent Canby wrote: “Everything about David Lynch’s Twin Peaks: Fire Walk With Me is a deception. It’s not the worst movie ever made; it just seems to be.” In a discussion on the dead girl trope for The New Republic, Sarah Marshall offered a remark that speaks directly to the film’s icy reception: “a dead woman is utterly incapable of offering up even the most cursory contradiction to the narratives that entomb her as readily as any casket.” Fire Walk With Me was one huge, bleeding contradiction.

The original bad dream, the dead girl’s nightmare we still haven’t woken up from was actually unpacked all those years ago, just months after it all began. Laura’s killer was her father, Leland. Her father had been sexually abusing her since she was a child, her mother knew, and within hours of Laura finally perceiving this fact in its full reality, he killed her. All of the weirdness, the quirkiness, and horror of Twin Peaks, along with the enduring, eroticized, and profitable trope it popularized emanates from this very personal, achingly common story of childhood sexual abuse. Is it any wonder people hated it? Or why the Laura Palmer of the original series is the figure we’ve chosen to preserve, pressed flat into the pages of culture forever?

“All goodness is in jeopardy,” the Log Lady warns Laura before entering the roadhouse where her life will begin to tailspin before its eventual crash. This is the essence and the power of the dead girl story. Though we have erected a world that is impossible for women to navigate unscathed, we continue to vest them with the symbolic responsibility of innocence. As if Laura’s singular life was the first domino in a chain that led to the unraveling of the entire world. But wasn’t it? 

Many have pointed out the racial and gender-specific freighting of the dead girl trope. Could Laura Palmer have been Latinx? How would the movie change if Carolyn Harper had been African-American, or trans? The answer on every level, symbolic and real, is drastically. What these depictions unconsciously reflect is the priceless value of white life. Imagine an entire town shutting down operations to mourn and search for a missing black trans woman? We can’t, because when trans women are murdered the only efforts to organize and demonstrations of rage come from within queer communities, often queer communities of color, who have historically adverse relationships with law enforcement. Black women face an escalated threat of violence due to the interlocking forces of white supremacy and misogyny. Yet the disappearance and death of black women and other women of color have historically never been met with the same uproar as with white women who meet the same ends.

It’s not that Knives and Skin is a failure because it seems more interested in the aesthetic allure of a dead girl than in drumming up indignation for the circumstances that configured her death. And it’s not that Twin Peaks was a failure because it prioritized white and cis tragedy over all others. Both Reeder and Lynch have done something profound when it comes to thinking and feeling through trauma, sexual violence, and grief. What remains important is to ask is whether each successive appearance of the dead girl trope is amounting to something, not on the individual but on the collective level. As Bolin has written, “It becomes harder and harder to subvert something that’s been used so many times.”

Have we seemed to make much progress from Fire Walk With Me to Knives and Skin? Honestly, no. But have the horrors real world misogynistic, racist, transphobic violence ceased? Even if rates of violent crime are in fact down in the United States, one disappearance or death like the kinds depicted in Lynch and Reeder’s work would be too many. The most successful iterations of the dead girl trope have grappled with these tough, interceding concerns, like race—consider Top of the Lake and The Night Of. The least successful amount merely to prodding a dead woman’s body with a stick just to see how it feels—consider every episode of My Favorite Murder. The most that I can hope is that future creators considering employing the dead girl trope take the long view of all that came before and ask, is it worth it? Does the dead girl in my story deserve this? What kind of justice, in fact, does she deserve?

copyright © 2019 Ryan Christopher Coleman

[leakgaming457]

How much ram do i need for gaming

Of Wolf's Gaming Weblog

It really is time to recognize the greatest gaming blogs of the year. EDIT:I used to watch the Feedback video more than at G4 every week, but it really is gone down hill the final few times I watched it and https://www.eviloid.online/ now that Adam Sessler is not on it and they have that girl from IGN that absolutely everyone hates in just about every episode I just cannot be bothered to watch it any more. Still worth going back and watching some of the older ones though. Klepic employed to be on that show and back then in the early days was when it was the very best. Back when they in fact talked about gaming news with some semblance of intellect alternatively of just gushing about whatever game they are told is cool this week.

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Nowadays is the day! I will be progressively releasing the names of the leading ten gaming blogs of 2014. Looking more than this list, I am positively blown away. So quite a few awesome posts this year! If you have been disappointed by the Ennies… if you feel that the real deep thinkers in gaming commentary don't get the interest they deserve… effectively, people, we are going to fix that.

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[feelingbluepolitics]

"Erin Fangmann grew up in a military family, has been married to a captain in the Air Force for 18 years and has voted Republican all her life, including for [t]rump. But as with a number of other veterans, troops and military family members who have watched [trump] with alarm, her support has evaporated.

"'He has hurt the military,' said Ms. Fangmann, who lives in Arizona, one of several states in play this November with a high percentage of veterans and active-duty service members. 'Bringing in active-duty members to the streets was a test to desensitize people to his future use of the military for his personal benefit. I think the silent majority among us is going to swing away.'

"Since 2016, [t]rump has viewed veterans as a core slice of his base; in that year’s presidential election, about 60 percent voted for him, according to exit polls, and swing-state counties with especially high numbers of veterans helped him win. Many veterans and members of the military stuck with him even as he attacked the Vietnam War record of Senator John McCain, disparaged families of those killed in combat and denigrated generals whom he fired or drove from government service. Some conservative rank-and-file enlisted members silently agreed with [t]rump.

"But [trump’s] threat last week to use active-duty troops on American streets against largely peaceful protesters, and his flirtation with invoking the 1807 Insurrection Act, have rattled the military world, from its top leaders to its youngest veterans. If they break in significant numbers, they could carry political weight in key battleground states like Arizona, North Carolina and Ohio.

..."[T]he recent condemnations of [t]rump from high-level military veterans like Jim Mattis, the former defense secretary and a retired four-star Marine Corps general, have in some cases fortified the shifting views among military members. 'The Mattis statement has changed people in some amazing ways,' said Chelsea Mark, a Marine veteran in Florida who works for a veteran service organization. 'I went on a veteran hike recently, and I saw someone wearing a [t]rump T-shirt, and that same person this week was posting anti-police-brutality things on her Instagram.'

..."[t]rump’s moves to use the military against American protesters and looters came after several months of other highly unorthodox moves by his administration involving the military, including the clearing of three members of the armed services accused of war crimes; the firing of Capt. Brett E. Crozier after he raised alarms about the coronavirus on the aircraft carrier he commanded; the calling back of West Point students during a pandemic so [trump] could address them for a graduation, which he is set to do on Saturday; and the diversion of funds from military projects to pay for a border wall, a move that followed the deployment of troops to the border just before the 2018 midterm elections.

..."[t]rump’s ordering of the killing of a top Iranian general, which briefly appeared to bring the United States to the edge of war with Iran early this year, was a disappointment to the many veterans and service members who had supported him in part for his promise to end American involvement in overseas conflicts.

"'The news of wanting to deploy the military domestically has caused a huge sense of outrage among most families I know,' said Sarah Streyder, the director of the Secure Families Initiative, which advocates diplomacy-first foreign policy and works on behalf of military families. 'A lot of military families live on Facebook. Social media is very important for this transient community.'

"Numerous military spouses concurred. 'From what I see from my friends communicating online, spouses have grown much more vocal in opposition to policies,' said Kate Marsh Lord, a Democrat who is married to a member of the Air Force and lives in Virginia but votes in Ohio. 'I have seen more spouses speak out on issues of race and lack of leadership than in my entire 15 years as a military spouse.'

..."Roughly 40 percent of active-duty service people and reserves are people of color, underlining how the current moment has affected military families.

"'People took offense that they were using the military to calm peaceful protests by people of color who were out on the streets,' said Jerry Green, who served in the Army until 1998 and now lives in Tampa. 'When I saw that whole thing unfold, for me, personally, it was awful. I was really distraught.' Mr. Green, who is black, will not be supporting [t]rump, whom he once found interesting, he said.

..."'We believe that [t]rump’s support within the military, with military families and with veterans, is soft and receding,' said Jon Soltz, a founder of VoteVets, which has been increasingly successful in electing Democratic veterans. 'Our plan for the fall is simple: We’re putting together the most comprehensive data-driven veteran and military family get-out-the-vote operation the Democratic Party has ever seen, and we will deploy it to ensure [t]rump is a one-term *resident.'"

[darrenhen98]

The Descendants

The Descendants

Book 1:

Genesis

Chapter One:

November 4th, 2024. Edison New Jersey, Earth.

We had done it. The efforts of hundreds, if not thousands of people had come to fruition: a landslide victory for the brand new Equalist Party of America. Diya Anand scanned around the party office, taking in the momentous joy that had suddenly erupted amongst the volunteers and workers.

Just moments ago, the last state still counting their votes finally finished, putting the Equalists well ahead of both the Republicans and Democrats. It was assured, Dominick Moore would be the nation's second African American President, and her the first female Indian American Vice President.

As Diya walked amongst her colleagues, they began congratulating her on a job well done, wishing her the best of luck in the years ahead and most commonly, saying how happy they were to see a new face in the White House. Diya smiled, nodded and thanked all those who came up to her fervently shaking their hands and even shed a tear for one.

What she was really trying to do was transverse the crowd to get to the podium where Dominick was standing, since it is customary and necessary to address the people as their new leaders. As she reached the top, Diya smiled wide,

“Congratulations on your victory, Mr. President” , being sure to emphasize his new won title.

“Congratulations to you too, Madam Vice President” he said, returning the respect with a hint of playfulness which was hard to catch through his thick Nigerian accent. “Are you ready to change the nation for the better?

“I wouldn’t be standing here if I wasn’t Dom you know that” she replied. He began to say something else but just then news reporters pushed through the doors and poured in to stand in front of the podium. Like normal, they started barraging them with a multitude of questions, about how they felt, what would be their first actions and others that were lost in the torrent of sound.

After a few moments, Dominick finally got them to settle down as they needed to soon broadcast their victory speech. The camera’s soon flickered on, streaming their image to every news station in America and world-wide. Both Dominick and Diya were dressed in their cultures traditional attire: a well tailored Dashiki and Sari respectfully. The usual suit and tie and gown and pants had been thrown to the wayside at least for this instance. The American people needed to see the ethnic leaders they had voted for, and the new reality that was about to set in.

Dominick took the mic in hand, pushed his mask to the side and began, “I’d like to begin with stating how overjoyed I am. Not about winning the election but at the resolve of the American people. For the past eight years, we have had to fight countless battle after battle: wildfires in the west, massive storms and earthquakes in the Midwest, hurricanes and flooding in the east and two pandemics that changed the very core of our society. The past administrations had failed us, and we sought out new leaders, a new vision for the country. One that would let us tackle the challenges of climate change and other life changing issues…”

While Dominick kept speaking, Diya stood behind him smiling and nodding to the cameras whenever he said something that fell within the party’s platform. He was a great speaker, unlike her who most of the time did exactly this, stand behind him as he ran the show. But then it was her time to come up next to him and share her thoughts. As she did, as she spoke to millions of people across the world she couldn’t help but remember one thing in the back of her mind. She never even wanted the job in the first place.

As Diya was driven home by her security detail, she began to ponder how she had gotten to where she was now. She had been a judge, the closest she had ever wanted to come to politics. Many questioned her, how being in government meant you weren’t political but to her it was the best place to be apolitical. 

You didn’t have to conscribe to any agreed upon base of actions, when a case reached her desk she went at it with the ethics she cultivated through her life and an understanding of the law she so fervently loved. But it all changed in 2020.

Everyone knew the presidential election was going to be a decisive one, but no one knew just how much. No one could tell who truly won, over a dozen states were flagged as “improper” because of their voting systems. The problems worsened as the incumbent president refused to leave office in a gambit to maintain power and the resulting riots tore through the nation. Every major city was hit, hundreds killed, thousands inquired and billions of dollars in property damage. 

Through it all, Diya had stayed home wanting to weather out the crazy climate with her parents and siblings. She could still remember the fear in her families eyes, how they were utterly convinced this was the end of the life they knew. And as the riots raged, more tragedy struck.

Since so many young and capable people had been out protesting in such large numbers, another massive pandemic swept through the country. And then a super-hurricane hit Florida, an massive earthquake in the four corner states and… A lot of tragedies at once.

The next four years had proven to be one of extreme change and humanity for us. People started to band together like never before. Every place that was hit with something was helped by the very people in it. It was the citizens who helped themselves out of flooded homes and crushed buildings. It was parents and children who constantly made meals and clothes for the hundreds of homeless and sick. We didn’t ask our governments if we could, we just did. 

And so Diya did just that, help all those she could. She quit as a judge and began organizing everything under the sun. Foodbanks, marches, fundraisers, if it was an event she was behind it. It was this type of cross-cultural, apolitical connectivity that the Equalist Party liked. They had formed under the noses of everyone, suddenly popping up around the nation with aid for all those ailed by the tragedies. No one really knows how they formed, but everyone knew how much they helped. In the end, the support they garnered was immense.

By 2022, the amount of support from the polls put them around 20% of the population. The following year, over 50% of the population. The online rallies broke the communication industry, almost every new politician that switches parties immediately gained thousands of followers. Which is where Diya's’ interactions with the Equalists started.

Having to coordinate resources and capabilities from her volunteer organization with the Equalists own outreach efforts, Diya virtually became a superstar overnight. Not that she wanted to in any way shape or form, helping from the shadows was her go to plan for the future. Work hard, help everyone, retire old, die older; that had been the plan.

Diya stepped out of the car waving a farewell to her driver only to be escorted into her home by the home security detail in front of her house. She smiled to the bodyguard as he held the door open and she walked in as the automated lights flickered on. She was about to put down her bag and wind down when her cell phone began to vibrate within.

“Hello?” she answered inquisitively, as she hadn’t known the number.

“Hey Diya, it’s me Leo,” the caller said.

An unexpected but gratuitous call. Diya immediately smiled and perked up a bit at the sound of his voice. Diya had met Leonidas, or Leo, over four years ago during one of the outreaches she had organized. They had immediately taken a liking to each other, having an unexplainable connection from day one. They had stayed in contact over the years, but with so much going on in his and her life, calls became less and less frequent.

“Oh it's great to hear from you, using someone else's sat phone this time? Diya asked, making the conclusion on her own.

“You got it. I hope this is okay, I just wanted to congratulate you on your amazing victory!” Leo exclaimed.

“Haha yea, amaaazing.” Diya groaned, emphasizing the sarcasm. “But you know what’s new with me and I have been talking about it for hours. How’s things on your end, last we spoke you just finished training”

“Yes Ma’am” Leo replied, realizing now that Diya was technically his superior. “I shipped out about about a week ago with the fleet. We’re somewhere in the Bay of Bengal, waiting to meet up with the Indian and Chinese before we make landfall. I called because I’m part of the second wave.”

“I see… well you know I’m not much for words, but I can make the exception for tonight” she mused.

“Haha thanks Diya, there are definitely a few things I want to get off my chest.” Leo continued. Leo and Diya talked things over for the rest of that night, never truly talking about anything important but that didn’t matter. Anything that could distract them from the different realities they now faced, was a blessing they couldn’t interrupt.