#but at the same time she is genuine when it comes to iris and hau

[cheemken]

Ey bro, I’ve been brainstorming all day on how Iris could get away from Drayden and the others and make her way to Kalos, but I’ve got nothing coming up in my head

You got any ideas? I’d love to hear them and expand on em

Also just something else I want to say. I picked Abra because Hau does have a key stone, just not a mega stone for any Pokémon. And Diantha did say she’d give Hau and Geeta a mega stone once they train a Pokémon that can mega evolve. Plus you actually CAN catch an Abra in the spot I described, if you didn’t already know. So imagine his surprise when Diantha finally gifts him a mega stone once he gets to Kalos

Ghm,, one thing I had in mind is her lying to Drayden saying that she just wants to visit Hau too, to see how he's doing bc ofc, they're like siblings at this point and she really is worried abt him, and hey, Alola is pretty close to Unova, so at least w that Drayden knows she's just close. But Iris ended up going to Kalos instead, her Hydreigon flying her there, just leaving a message to Hau that she's gonna go and find Diantha (like maybe this is set before that concept of Hau finding Abra, and it's enough of a prompt for him to do the same). But maybe Drayden found out and got so pissed and so worried that he ended up having every gym leader and elite four to always trail behind Iris so she won't head to Kalos

Another thing I had in mind that maybe she really just left with no letters or anything left behind for Drayden, she just wants to see Diantha again.

Or maybe she just gave up, thinking that Diantha really is dead and Lance is just lying to her and Hau that she's still alive. Cause if Diantha's still alive then.. shouldn't she show herself by now?? Iris just misses her ig, but everyday she's starting to doubt if Diantha really is still out there or not

Take ur pick hahaha

And ohh yeah I actually didn't know abt that considering that I haven't played anything past gen five, I only recently started playing Pkmn X hahaha but that's cool tho!

And yeah Diantha would be proud Hau found a Mon that he can mega evolve, god imagine how impressed she'd be tho, cause he trained that Mon only for a week and already it's strong af, it could teleport to another region, and for Diantha maybe her lessons w the kids are paying off seeing as Hau got to Kalos just by himself and no one even caught him

But like imagine this lil training thing tho and it's Dia just being really soft and encouraging and she's really guiding Hau how to handle Alakazam's strong psychic surges too, how to handle the strain mega evolution does to both trainer and pokemon, how she's there for him every step of the way. And more and more the thought of Diantha being remotely evil leaves Hau's mind, bc hey,, how could this sweet angel that gave him a home in Kalos, that really feels like home, could ever do anything wrong? What she did to the others.. well.. she's just showing them that they're not right, what they're doing isn't right, and Hau finally saw that. Leon was wrong. Steven and Wallace should see that. Cynthia should see that. They should believe Diantha too. After all.. Diantha just wanted the world to be a better place, and that world in Hau's mind is a world where he gets to be w Diantha and Iris and the rest of the champions and their pkmn all together.

In that world, he'd finally have the family that he always wanted. A family that will always there for him no matter what.

[stillellensibley]

Looking at the history of emptiness in modern art I am often reminded of Zeno’s paradox of Achilles and the tortoise. Zeno imagined a race, in which Achilles would generously grant the tortoise a head start of say 100 metres, and each would move at a steady, unchanging speed. His conclusion was that Achilles would never be able to catch up with the tortoise, because every time he came close, the tortoise would have had time to move a little further, so that the distance between them would endlessly decrease to a few yards, a few metres, one metre, 0.1 metre, 0.01 metre, etc. In the same way, every time the audience of modern and contemporary art is led to believe that the avant-garde reduction of the artwork to a minimal, barely perceptible form can go no further, along comes another artist who creates another even more minimal, even less perceptible, artwork.

Thus, it seemed that the history of modern art had reached its zero point when Marcel Duchamp presented a glass pharmacy phial filled with Paris air to an American collector in 1919, or when Kazimir Malevich painted his White on White composition in 1918, and two years later filled a room with, as one person noted, empty canvases ‘devoid of colour, form and texture’ on the occasion of his first solo exhibition in Moscow. Yet in a 1968 article, critics Lucy Lippard and John Chandler could only observe that ‘the artist… has continued to make something of “nought” 50 years after Malevich’s White on White seemed to have defined nought for once and for all. We still do not know how much less ‘nothing’ can be.’ Thirty-five years later, Gabriel Orozco’s sole contribution to the Aperto exhibition at the 1993 Venice Biennale consisted of an empty shoe box, eight years before Martin Creed notoriously won the Turner Prize partly for his installation Work No. 227: The lights going on and off at regular intervals. Nearly ten noughty years down the line, and shortly after a museum survey entitled Voids: a Retrospective presented visitors with nine perfectly empty rooms, we are still none the wiser about ‘how much less “nothing” can be’.

Year after year, decade after decade, however, one thing doesn’t seem to change: if we haven’t walked through, on, or past the artwork without noticing it, our reactions to this kind of barely perceptible, almost nothing, practice will predictably range from puzzlement and laughter to anger and indignation. Even before Malevich’s 1920 exhibition, a French cartoonist had imagined in 1912 that the empty canvas would be the next avant-garde prank visited on its baffled public. In the caption, the artist presenting his blank canvas explains in a pun on the then-current Futurist movement: ‘It’s the most futurist picture of all – so far it is only signed, and I’ll never paint it.’ As the emptiness and reduction of blank canvases, of white or black monochromes and of Duchampian readymades were extended to silent concerts and empty galleries in the second half of the twentieth century, the question remained: are all these forms of emptiness so many variations on the same provocative joke?

The first documented entirely empty exhibition, Yves Klein’s The Specialization of Sensibility in the Raw Material State Into Stabilized Pictorial Sensibility – better known as The Void – at the Galerie Iris Clert in Paris in 1958, certainly had all the trappings of an elaborate PR stunt. Not only did Klein empty the exhibition space and paint the remaining walls and cases white, he also posted two Republican Guards in full uniform at the entrance of the gallery, served blue cocktails especially ordered from the famous brasserie La Coupole and had even planned to light up the obelisk on the Place de la Concorde with his brand of International Klein Blue. While the last event was cancelled at the last minute, an estimated 3,000 visitors did show up on the night of the opening, filling the streets around the gallery as they waited to enter the exhibition space through blue curtains, one small group at a time. The crowd was finally dispersed by the police called in by disgruntled visitors who had felt swindled after paying their entrance fee to be shown an empty gallery. In some ways, the succès à scandale of The Void has obscured Klein’s very idiosyncratic brand of showmanship and mysticism. His interest in the immaterial was genuine, inspired by his exploration of monochrome painting and his belief, influenced by Rosicrucianism, that humans must strive to liberate themselves from flesh and matter.

If some artists since Klein have embraced such spiritual readings of the void, a more general preoccupation with the invisible seems to account for many empty exhibitions in the past 50 years or so. Maria Eichhorn, a German artist whose early work includes white texts written on white walls, speaks for many artists when she explains: “There is such a fixation in our Western culture on the visible, which explains why we think that… a room is empty… because there is nothing visible. But I’ve never thought that an empty room is empty.” In the late 1960s Robert Barry had already pointed to the imperceptible forces that literally surround us by introducing radio waves as well as magnetic currents into the gallery space. American artist Maria Nordman has tried to focus viewers’ attention on the light falling through an empty gallery’s windows at different moments of the day and of the year. More prosaically, other artists have invited visitors simply to contemplate the architecture of the gallery. Arriving in 1993 at the Museum Haus Esters in Krefeld, originally a house designed by Mies van der Rohe, British artist Bethan Huws felt she could not add anything to the beauty of the modernist building. Instead, she distributed a poem to visitors and let them admire the gallery for itself.

In the 1970s American artist Michael Asher pioneered strategies through which to reveal the architectural structure of the gallery. At the Clare Copley Gallery in 1975, for example, he simply removed the wall separating the empty exhibition space from the art dealer’s office. By opening up this space, the artist was not only inviting visitors to consider its architectural features: he also reminded them of the Business transactions taking place behind the walls of commercial galleries. After Asher, other artists have explored the invisible networks of art business and institutional presentations that frame the art we view. Maria Eichhorn used the budget allocated to her show at the Kunsthalle Bern to tackle the institution’s debts and fund much-needed refurbishments of the building (Money at the Kunsthalle Bern 2001), while in their 2005 Supershow – More than a Show, the collective Superflex used theirs to give each visitor two Swiss Francs instead of asking them to pay an entrance fee to see empty spaces adorned only by texts stating the physical properties of each room (surface, wall colour, maximum number of visitors, etc). Museum surveillance is alluded to in Roman Ondák’s 2006 More Silent than Ever, which warns visitors that hidden listening devices are installed in the room.

Presented with invisible elements such as Ondák’s listening devices or Barry’s magnetic fields, we are left wondering whether to believe the artists’ claims since, after all, there is no adequate way to confirm them. We come to realise that our relation to the work is predicated on knowledge, presuppositions and some form of trust in the authority of artists and art institutions. British artist Ceal Floyer traces her interest in minimal displays back to her experience as a gallery invigilator while she was an art student. ‘I watched a lot of art being seen. And a lot of art being not seen,’ she remembers. ‘That was a training in itself. I discovered that presumption is a medium in its own right.’ As with Creed’s The lights going on and off , Floyer’s plastic buckets and black rubbish bags casually sitting in the gallery certainly reveal to us our prejudices and expectations as to what art is or should be. Gabriel Orozco says he actively seeks to disappoint his viewers. Is my irritation at being presented with an empty shoe box or lights going and off ultimately good for me?

The veiled hostility directed by the artist at the viewer situates such attitudes in the context of more radical declarations against art and its institutions. When presenting her empty exhibition at the Lorence-Monk Gallery in New York in 1990, American artist Laurie Parsons went so far as to refuse to include her name on the invitation to the opening and to remove all reference to the show from her CV. Four years later, she ceased to produce works altogether, thus following a line of artists before her who deliberately decided, as part of their practice, to give up, or take a break from, the profession. From this perspective, the empty gallery is less an artwork than a gesture – of provocation, dissent and critique. As Brian O’Doherty has shown in his well-known study of the modern “white cube” gallery, such a gesture ‘depends for its effect on the context of ideas it changes and joins’. For the gesture to succeed, its timing, place and audience have to be just right. Sometimes it can be understood only retrospectively, as it becomes historicised.

It would be unfair, however, to reduce all explorations of emptiness, nothingness and the invisible to the rhetoric of the gesture. To return to Orozco’s Empty Shoe Box: when it was first shown in 1993, it certainly poked fun at the Venice Biennale’s frenzy of publicity and consumption, but it also served as a memorable image of the container or vessel that is a leitmotif in the artist’s work. ‘I am interested in the idea of making myself – as an artist and an individual – above all a receptacle,’ stated Orozco. Playing with contrasts between empty and full, his work as a whole exemplifies a sensitivity to reciprocal spatial relations. In a notebook, he compares discarded pieces of chewing gum on a pavement with the stones placed on a board in the Asian strategy game of Go. Like Empty Shoe Box, the Go stones and the spat-out blobs of gum occupy and cut out space, demarcating a territory according to very specific patterns of chance and intention.

Many artists have similarly been interested in the space between objects. Both the Belgian Joëlle Tuerlinckx and the Brazilian Fernanda Gomes often present arrangements of small, discrete everyday objects scattered around otherwise vacant gallery spaces. Tuerlinckx describes the exhibition space as ‘a kind of parcel, a packet of air’ that she is invited to open and explore through her work; Gomes says she never comes to the gallery with a pre-defined plan. In these installations, the empty gallery becomes a blank page to be inscribed (as in Tuerlinckx’s spatial drawings), or the pregnant void that surrounds objects in paintings such as Giorgio Morandi’s (in Gomes’s three-dimensional still-lifes).

Painting is also a surprising reference for the performances staged by Marie Cool/Fabio Balducci, during which Cool stands in an empty room as she enacts a series of repetitive, extremely precise gestures using flimsy everyday materials such as paper, tape, or thread. The French- Italian duo has claimed that the image of a figure hovering in an undefined yet meaningful space was inspired by early Renaissance religious painting such as Simone Martini’s Annunciations. The empty gallery as a stage for action has also been effectively used by Martin Creed, when he asked runners to sprint down the Duveen Galleries at Tate Britain, one by one at regular intervals, in 2008, or by British-German artist Tino Sehgal, who in 2010 choreographed two continuous scenarios, involving three actors, in the spiral rotunda at the New York Guggenheim Museum.

Placed in vast expanses of void, both bodies and objects appear more vulnerable. On the one hand, such installations provide an alternative to the spectacular displays encouraged by increasingly large-scale museum and gallery spaces. By celebrating the commonplace, the barely noticed, as well as frailty and precariousness, artists thus seem to be actively resisting the pressure to create ever-bigger, glossier, more awe-inspiring works. On the other hand, however, such minimal mises en scène can create new forms of spectacle – as when Maurizio Cattelan places his miniature self-portrait, a resin figurine hanging from a clothing rack, in a corner of the empty gallery in order to emphasise his apparent failure to take on the revolutionary role of 1970s artists such as Joseph Beuys (to make the point, the Cattelan mini-me is clad in Beuys’s signature felt suit).

While such formal devices are often little more than simple gimmicks, works that effectively stage their own weakness and vulnerability can raise questions about the institutional and social conditions that guarantee their existence as art. In Hans Christian Andersen’s tale of The Emperor’s New Clothes, a naked emperor is persuaded by his tailors that his fine clothes are visible only to intelligent people; his subjects, afraid like him to admit that they cannot see them, applaud his outfit until a small child in the crowd finally blurts out the truth – ‘But he’s got nothing on!’ Though above all a cautionary tale against the deceptive powers of flattery, vanity and sycophantism, the story also provides an image of the willing suspension of disbelief required by most forms of art. After all, the artist’s deception, like the cheating tailors’, could never work without our participation. In his 2002 work Lament of the Images, Chilean artist Alfredo Jaar mobilises this kind of community of believers by presenting us with two dark, apparently empty rooms. In the first, we come across three small backlit text panels relating real stories about invisible or impossible images, such as the fact that the United States Defence Department purchased the rights to all available satellite images of Afghanistan during the 2001 air strikes so that the global media could not publish them. The second room houses a single, brightly lit, empty screen. Blinded by its light, we are reminded of our own blind spots – our complicity in the invisibility of certain images and in the existence of many an emperor’s new clothes.

[thisselflovecamebacktome]

Pokemon Sword and Shield first thoughts

The Negative:

- The reduced pokedex. Hear me out before you go screaming about how we knew this was going to be a thing. While I would always be disappointed with the reduced pokedex like I was with generation 7, Sword and Shield’s pokedex somehow felt less full than generation 7 which is strange because they had about the same (small) amount of new pokemon. My guess is that it’s because a lot of the pokemon we saw in Sword and Shield feel like the ones fans use more often than not. Like sure there were combees and whatever, but I noticed most the pseudos and beloved pokemon like charizard and gengar made it in. And like there’s nothing wrong per se about that, but it honestly felt like less diversity, especially in a game that had 6 new dragon lines.

- The lack of “evil plot” until the end. Look I know there was a buildup in Sonia’s plot about the darkest day and so on, and I know pokemon has done games where the major evil plot event happens at/after the elite four before, but the lack of evil team in these games made it feel empty and lowkey like a ripoff of Lysander’s reveal in X and Y without the team flare stuff. Like I don’t know, the chairman was an interesting villain and the whole “Is he or Olenna really the mastermind?” red herrings thrown through Bede’s story (as a sidenote, justice for Bede tbh, like yeah he’s a prick but he deserved better than he got) and Olenna’s personality was good, but none of it felt developed enough. Like story wise it literally felt like I was playing X and Y but instead of the protagonist, I was Tierno until the last part. It also made the gym challenge/travelling seem a lot longer which isn’t necessarily a bad thing, but again, made it feel a little empty compared to past games.

- The version exclusives. No, I don’t care if this is a product of capitalism, I’m still gonna complain about it each game lmao. And I am especially going to criticise it with these games given you had to have a Nintendo switch online account to trade. Like I am someone who despises the idea of in game purchases, so the idea you need one to fill the pokedex is scummy to me.

- Hop. Whoever decided that he needed to make a comment every time you battled and did a supereffective or critical hit move on him needs to be fired because my god was that annoying. Just in general, I felt he was under developed in a way that made him uninteresting and pretty much a Hau rip off. And the sad thing is that like there was the makings there for him to be interesting. Him feeling like he had to live up to Leon + the shame/disappointment he felt from the loss to Bede and then you at the end along with him finding his own way in life and deciding to train to be a professor all sound interesting in theory, but it just didn’t come to life in the game in the same way I found Bede and Marnie’s backstories to be. I also kinda wish they built up the him wanting to be a professor thing more rather than just feeling like they added it on at the end.

- The graphics just popping in. Look, I wasn’t expecting Breath of the Wild graphics given this is the first new pokemon game on the switch and it wasn’t in development for as long. But I am someone who hopes that this gets fixed for future games.

- It was handholdy/linear. So I will gladly admit this was much better than it was in generation 7 and again, I wasn’t expecting Breath of the Wild but when you consider that technically in generation one, once you get cut you can do gyms 3 - 6 (7 if we’re talking let’s go) in whatever order you want and explore like 80% of Kanto, it feels restrictive that they flat out block you out of any town you haven’t been to/aren’t supposed to be in.

The Mixed:

- Sonia’s arc. I love that they showed through Hop and Sonia that becoming a professor is a genuine path because I feel like if I was in the pokemon universe, I would be a professor. But I felt the execution of Sonia’s story felt off. Like she spent a lot of it reminiscing/telling us about how she used to be a battler and supposedly Leon’s best rival and having Magnolia ask her what she’s doing with her life (which in itself was weird, I mean a professor making fun of someone for working towards being a professor???) just for Magnolia to hand Sonia the coat with no on screen resolution of any of that. Like I don’t know, I guess I just would have liked a big moment where she helped with the chairman or something whether that be through battling or her expertise and have that be an “aha!” moment where she decides to be a professor and Magnolia hand her the coat then or something of that calibre.

- The beginning. Basically I thought it was perfect except it still felt too long. Like having the champion give you pokemon, those pokemon showing their personalities in the choosing scene and being able to skip the catching and pokecenter tutorials were amazing. But even with those skippable features, the introduction felt long.

- The gym leaders. I like that Piers played a notable role in the story and his inability to use dynamax pokemon intrigues me. But quite frankly, the rest of the gym leaders are among the most forgettable we’ve ever had in my honest opinion.

- TRs. I feel like this was added for more competitive players who want a challenge which is not me if I’m honest, so I get it but would prefer TMs to stay multiuse lmao. I’m also kinda surprised at which particular TMs they chose to be TRs.

- The experience share. I’ll admit, even as someone who uses the new age experience share, I thought making it compulsory would be a horrific idea. But I genuinely feel like they balanced it out really well given I versed every single trainer with the same team without facing many wild pokemon and was still under leveled for most the gyms. My only gripe with it is that I tend to switch out my strongest pokemon throughout the main story to add a pokemon I don’t plan to use just to evolve it to fill the pokedex, so it being set up to mostly make you under leveled was a bit of a pain because as someone who isn’t big on versing wild pokemon and was just aiming to catch the new ones until post game, I couldn’t afford for my main pokemon to not be getting that experience. But I do recognise that that’s a personal thing and like not an inherit flaw of the experience share and it will definitely work well for nuzlockers and so on. 

- Dynamaxing. Basically I liked them for the raids but they still feel like a worse version of mega evolutions mixed with z moves to me.

- It felt longer than most games. For the most part this is good. Like overall it felt like a fuller game, in part due to the Wild Area being somewhere you can spend literal hours in without getting sick of it. As I mentioned though, I just wish the beginning wasn’t as long and their was more to the “evil plot” part of the story throughout the games.

The Positive:

- The wild area. This was by far the best thing they added to this game. A large amount of the time I’ve spent playing this game has just been messing about in there and none of it felt like I was doing it just to pass time. The weather changes throughout also added some nice variety and change of scenery.

- The raid battles. I thought these were going to be the worst part of the game if I’m honest, but I’ve actually really enjoyed them. I do wish they had a bit more variety, but in general I feel they’re fun and well balanced.

- Bede, Marnie and Oleana. Bede was a pratt at first, but again, his backstory along with game story intrigued me and I wish we dove further into that. Marnie was just a sweetheart and I love her and wish they did more with her connection with team yell and Piers. I also wish we got more about Oleana because I loved what I saw and feel like her team was perfect for her, but wanted more.

- The music. Whoever created the Slumbering Weald music needs a pay rise because that is literally the best music track pokemon has ever had in my honest opinion.

- LionHeartShipping. Leon/Sonia is the Rivals to Friends to Lovers ship we deserve even if it’s not cannon.

- The new pokemon we got in general. Yes I wish there was more and yes there were a few that I think were among the worst we’ve ever gotten (Looking at you Thwacky, Meowth and Cramorant), but in general I liked a majority of the designs even if I didn’t pre game.

- Old pokemon getting Galarian forms and evolving.

- The attention to detail in the speaking text. While a little stereotypical, using British slang was a nice type.

- Not having an elite four. Having a more anime style championship competition to make your way up to versing Leon felt like something new and a nice change of pace. I just kinda wish that it wasn’t the gym leaders you versed in the finals. Like if they wanted to go with the major/minor idea for the gyms, it would have been cool for the gym types not included to be the ones you versed in the finals.

- Exclusive gym leaders/types. So I know they’ve done this before with Iris/Drayden, but it is something that makes playing each version feel unique. Like I don’t think just the two was enough for me to want to play sword straight after finishing shield and I wish that just say sword had grass, electric, ground, fairy, ice, normal, poison and flying types while shield had fire, water, fighting, steel, dragon, ghost, rock and bug types with Marnie and Bede keeping their dark and psychic types, especially with them emphasising the minor/major league aspect, but it was something I hope pokemon continues to do in the future.

- The fossils being created from mixing and matching parts. Feels far more creative than past games.

Final Thoughts:

- Overall this was an okay game and a decent step into the console world. While there are some spectacular aspects of the game, the story leaving something to be desired made me feel like there was something missing on this journey. Given this and the probability of pokemon improving those well done features as time goes on, I imagine this game will be one that in time will be easily forgotten. Still, despite its flaws, I definitely see it as a necessary step to whatever comes next and am excited to see where it leads us.

[cheemken]

Man, how WOULD Iris react to her friends asking her about the champions dragging her to hell and back??

She’d definitely freak out because they KNOW. They know what happens behind closed doors and the last person who found out got murdered for it. She already lost her grandfather, she doesn’t want to lose the last people she truly cares about

Maybe she’s try comfort Hilbert, telling him that he had no idea what was happening and it wasn’t his fault. He couldn’t have known, she really, really didn’t want to tell any of them what happened because she feared for their lives

Also so true King “This is Home” is definitely the Unova Kids in the Villain AU. They (slightly) don’t care about what Iris was done, or how she acts now, they just want their friend back. Now that they know that her new personality is the result of the champions abusing her mentally and physically, they have a reason to help her come back to them. To come back home where she belongs, not with the champions

But ough just Hilbert pulling her close and hugging her, trying not to cry right then and there because they’re comforting Iris not him. And just the other four joining the hug and telling Iris that it’s okay, they’ll help her, she doesn’t have to do this alone anymore, and that they’re sorry they never truly helped her in the past

Man Iris is just sobbing. She finally got genuine comfort and love from someone for the first time in years. Not like the champions who’d do it to mess with her head. And she’s clinging so tightly to them, scared that they’ll disappear if she lets go, but she’s knows that her friends can’t do anything, she won’t let them.

Because the last person who interfered died, and she doesn’t want the same to happen to the only people keeping her sanity intact. She’s BREAK if it were to happen

And Diantha knows just that

Bro I'm

YOU CANT DO THIS TO ME😭😭😭😭

No but

OUGH‼️‼️‼️‼️‼️

No cause I've been thinking abt that last night too😭😭😭

Like,,,, OUGH VHDMFBMDBD shit how can I be normal after this the bw brainrot is so fucking real today

Imagine tho, Iris almost doesn't wanna leave the others bc if she does, then the Champions might attack them the same way they did w Drayden, and God she can't lose them, not them, please not them I love them please don't take them away from me too, and god she's there clinging tight on to Hilbert, crying on his chest going on how she's fucking terrified to let go, she's terrified to leave them, cause the last time someone knew abt this, the last time she left that person too, she came back to him on the floor dead with all the champions around him, and just jcmcbcnd

And the others tell her that she doesn't have to deal w the Champions anymore, that they're taking her away from them, and if they have to fight them then so be it, they don't care, they'll save Iris from them

And suddenly... Suddenly Diantha's there, the other champions too

"my, my, have I not told you that a champion doesn't cry, Iris?" She says, eyes glowing, the other champions w her, a Master Ball in hand.

And god Iris could just feel the dread and terror sinking in too, her hands were trembling as she slowly looked at Diantha, that lazy smirk on the Kalos Champion's face.

"you know, when Gengar had told me about your meeting with your friends, I paid no heed. Of course, you and Hau have your own friends, don't you?" Then she sighed, almost disappointed, "and now you want to battle us champions?"

Hilbert pulls Iris close to him, growling at Diantha, "she's not the only one, we'll battle you too. You're not taking Iris away from us."

Diantha laughs at that, then she snapped her fingers, and a strong psychic surge went through them, and then the others except Iris and Hilbert were held within Gardevoir's psychic hold. "You two.. well, I heard Iris always wanted to share that Champion title with you. Very well. If you two beat me in a battle, we'll leave them be, Iris." She then walked to the other side of the field, the same poise and elegance she always had. "But if you lose... Well, they can just say hi to your grandfather for us, then."

God imagine if that's how the others found out abt what really happened to Drayden tho cjmxnxm that he really didn't die of health issues, he was killed, by the champions no less

and Diantha's there waiting for them, calling out both Gengar and Gardevoir on the field, her hand over her Key Stone, the other outstretched towards them, "you two go first."

Hilbert finally lets go of Iris, but took her hand instead, telling her that they can win this, they have to, they will, and Iris, finally feeling some of the weight off her shoulders, nodded at him, and both of them called out Hydreigon and Emboar. Kyurem and Reshiram at the helm, waiting for the right time to attack, knowing full well Yveltal is on the other side of the field, waiting to be called out as well.