#but getting it this long after makes it all feel a bit more jarring narratively and more disjointed

[trashcatsnark]

*Makes tea* Omg, can we please get your thoughts on the dlc and THAT ending?

ABSOLUTELY

Suffice to say, spoilers and a very long post, I am a verbose whore Ngl this is coming fresh off finishing it all last night, so my opinions may still be settling in a little bit and I also had to play it in more spread out sessions than I usually do with games.

Firstly, on a just a technical level, for me personally as someone who started playing at launch, finished all the endings, and had like 700+ hours in the game before Phantom Liberty was even announced- to me it felt a little out of place, granted might be because I jumped into on the tail end of an almost finished save. So, maybe for folks who started new runs it flows a bit better.

Like getting a dedicated credits listing as if the game is over after the decision at the orbital station just to cut back to Johnny going Wait, V, you're still dying!

It's a little strange, I understand you wanna give full credit to the Phantom Liberty specific team but also, was that really the only way to transition V out of the space station?

Songbird, I'm mixed on, I don't hate her but I don't love her like I think the game wanted me too. She feels a little... pushed on V for my liking. Like early on, it really felt like CDPR rattling a barbie doll at me and screaming at me to think she's the coolest thing in the universe and she's alright. I get why she does the things she does, I get that she is a narrative reflection of V, that her and Solomon honestly are meant to mirror the V and Johnny relationship.

The ideas of betrayal, the idea that the person who's trying to save you, and wants to save you the most is the very one who's gonna be your end.

I like that component for sure, like honestly, to the surprise of no one- the biggest things I got out of it was related to SilverV I also really do love Songbird's connection to the Blackwall and the way it's eating at her, I love those touches and when at the Orbital station you link with her to like- release Blackwall pulses. Very cool, still feel like there's more there to sink our teeth into, but very much liked the Blackwall in particular coming back.

My first impulse and choice was to side with Songbird, because even if I didn't love her like CDPR wanted me to, I did feel some connection to her through her being in similar situation to V and just being desperate to survive and live.

That said, it is disappointing that Songbird is... another person who was just lying to V in hopes of getting what she wanted. I get the desperation for survival, but it did feel like Hey, what if we did it again?

Like- that's what the game is, just over and over. I love it, but the game is V gets a lead, goes full steam ahead in trying to save themselves, and oop- someone was lying and V gets kicked right in the fucking teeth. Again. Again. Again. Again.

And I understood we weren't gonna get a magical fix it ending, but it is frustrating to be like- hey, wasn't it fun when the VDB betrayed V? Or when you found out Evelyn lied? Or when you finally found Hellman and all he gave was a hospice recommendation? Or when Hanako finally hears you out but only if you kill her brother and even then lol not really you're still gonna die? Or when Alt says oh btw you're still gonna die?

What if- we did it again?!

And in a similar vein, I really loved a lot of aspects of the Tower Ending (I believe it is?) where you side with the FIA.

The conversation with Johnny in the AV is fucking beautiful. That alone was worth all my money. Him saying that he feels more at peace than he ever has before, I still fuck- I love the way they play up that even in endings where Johnny doesn't necessarily agree with V's actions, he's just happy they're gonna survive. He's at peace with dying again, he's at peace knowing this time it means something to him. He died before his ideals, so convinced when he stormed Arasaka Tower that when he died in the flames it'd mean something, it'd fix something. Only to come back and find that despite everything having changed, nothing really did. He died and the world just moved on. But this time, him going means V gets to live, he gets to go out knowing (at least believing, hoping) that by doing so they'll get to live on, they'll get to fight another day, and can go away content knowing that he'll be leaving the world just little bit better of a place- because V will still be in it.

Got emotional there, my bad.

That said, beyond that component.... more of the same?

Like, it's the Devil Ending. Reskinned, revamped- but it's Devil Ending. V sided with the shadowy secretive shady corporation/agency, underwent extensive medical treatment, and oop- turns out none of your friends were worth a fuck, now deal with the consequences!

And like, I don't know, I do find the idea interesting of V no longer being able to have like combat implants and physically just not being the same, the idea of them being forced into trying to carve out a normal life after everything is actually pretty neat.

But it still feels like a reskin to me.

I also really just don't like the way CDPR tries to illustrate bad ends by making V's friends/love interests worse people? Like don't get me wrong, I can completely vibe with the idea that A) they'd have some grievances with V siding with FIA or Arasaka and B) that after two years of not knowing what happened to V, they would've moved on in some capacity.

But do they have to be like, mean?

Like Panam going full scale, don't answer the call, have Mitch tell you to fuck off. I was in a coma???? Like, I know she doesn't know that, but also maybe listen??? Like that feels like yeah, her character hasn't developed at all, she's still incredibly stubborn and won't even hear you out.

And River selling police secrets for Randy's rehab, so he's in a guilt spiral, so he just... can't meet up??? Like legit, CDPR, honey- what the fuck is your fascination with ruining this man's life? Literally, one of if not the only LI who can canonically die??? Or go to jail???? Like, what did River do to you????

Judy moving across the country and being married, I don't have inherent beef with, I think that does make sense for her character- that said, convo still feels weird, like the whole "please don't ruin this for me" like I'm sorry??? V literally nearly died for you several times and murdered for you several times and has been so nice to you- but you just assume they're gonna show up at your door and try to ruin your life? Wow, great to know what you think of me....

And of course Kerry is just busy with his career, that said I did find it kind of funny/in character that V calls and the first thing Kerry wants to do is talk about himself. Like, yeah, that's Kerry. But also, like again, the dialogue heavily implies that when he makes the bare minimum offer of hey... maybe we can hang out in four months, that no- you probably won't, it's bullshit.

Like, it just sucks because I really love all of these characters and feel like they do genuinely have love and affection for V, but this constant- oh nope they're all abandoning you, oof, pull on any ending that isn't Star or Sun is just.... frustrating and really undermines it and honestly reinforces that V's best friend and the one person who cares for them most is fucking Johnny.

Vik selling out to Zetatech also sucked ass, don't do that to my ripper- but hey, at least he made five fucking minutes for V. Even if he spent trying to convince them he's happy and eventually they will be too.

Misty I loved seeing again in the ending- though I don't know why, maybe it's just me- is her VA suddenly doing a harley quinn impression??? Like that kind of Boston(?) accent she suddenly has in the DLC for .... no fucking reason? That said, even if I'm sad to see her go, I am happy she's finding her peace, though kind of wish there was a "can I go with you?" option, because- V literally doesn't have a home anymore??? Maybe someone should help them.... not be homeless, that'd be cool. Maybe my V wants to go to the old forest in Poland too???

Also, also- Delamain, more of a true friend than any of the love interests in that ending. Picked V up, got them booze for them and Vik, helped them catch up on news, said they missed them, and were happy to see them again. Fuck yeah, Delamain.

But uhhh, overall, I think my opinions are there are some interesting and fun things within the DLC, some fun concepts that I definitely wanna play with in my fanfic. Some solid fucking SIlverV content. But like narratively and story wise- it's just alright. It's nothing ground breaking, I don't feel like the game needed it, I don't feel like it "fixed" the game. I think people who got into Cyberpunk 2077 through Phantom Liberty and praise it as what "saved" the game- just like Cyberpunk 2077. Like, cause the DLC is more of the same, like it's fun, it's a good time but it's the same narrative structure we've had times 3 within the main game. It's like if I eat a sandwich, and CDPR said "Hey, I know what will go well with that-" and handed me a third of the same exact kind of sandwich. I don't dislike it, I liked the sandwich, a lot- but also it doesn't complement or add to it like a side dish or a dessert might to a meal. It's a just a bit of the same- maybe it has a slightly new condiment on it, but its overall the same.

Like I said, this might change if/when I do a full replay of the game and can handle doing it as like a full run rather than kind of tacking it onto the end of another save. I think that might help with making it feel a bit more a part of the story.

But I think I'd still land in the same overall space of, it's was alright- some parts I loved more than others, and if this had been in the base game, I'd probably feel very different because Reed and Songbird probably wouldn't feel as sprung on V to me.

All that said, I also do feel a bit more confident and secure in how I'm gonna implement it into my fic- which is gonna mean heavy rewrites which should be fun. So, I definitely got a little something to sink my teeth into.

[absolutebl]

Industry question for you, please: Why is it that it seems that Thai BL in particular has some really systemic issues with writing endings? Screwed-up pacing/editing, out-of-character/illogical actions, not being very satisfying... it seems like a show avoiding that fate is more of an exception than the rule, unfortunately. Do a lot of them just... not write the ending ahead of time? 😅 That would make having these sort of wacked-up endings at least make some sense, but... really, it makes *no* sense to me that that would be the actual standard writing strategy-- I mean, for example, one of the best living novel authors I know of *always* has very satisfying endings, literally without fail (I have read everything he's written and been perfectly content with the ending of every one), and the reason for that is he purposefully always writes the endings of his books *first*, then works everything back up to that point. Similarly, some of the best TV shows I've seen (from any country-- and this does actually include some Thai ones, to be fair) were written either all in one go or at the *very* least with their endings obviously already very firmly in mind, regardless of if they were completely original or were adaptations of some other source material. So... why does this often seem to be such a difficulty for the writers of Thai BL? 😅 (Sorry if I sound a little salty here, but endings either make or break all fiction for me {novels, manga/manhwa, TV, movies, games, whatever}, and I've been getting burned what seems to be more and more often lately with shows being great for the vast majority of their runtime but then inexplicably totally botching the landing, seemingly out of nowhere-- so I'm a bit frustrated with that when it seems to be a really simply-solved problem {that, indeed, has already been solved by many others before}: JUST WRITE THE DAMN ENDING *FIRST* and then work up to it? 🙃😅)

Endings huh? You a romance reader by nature? (Wait, no, you said... HE. So... Sparks? Green?) Anygay, where was I?

But yeah, I get it. I've always fancied the dessert course the most, myself.

To answer your question, not sure. I'm assuming its a narrative expectation based in culture. Like Japan and their lanes, China and 6 act structure, or Korea's adoration of love triangles. And producing culture comes to film and storytelling with its own set narrative conceits, archetypes, and tropes and aren't proscriptive but are leaned on a lot. Much as they come to film with a certain style as well.

Think about the "look" of Korean BL compared to the "look" of Taiwanese BL, for example. They have an entirely different flavor to them. Korean stuff is usually all bright and airy, lots of distance shots, super clean and uncluttered, filtered and filmy and atmospheric. Taiwanese stuff is much closer, more grainy, more bold with it's color choices and contrasts, kind-up n your face and gritty, a bit messy sometimes.

It's jarring to go from one to the other.

After watching nothing but Asian dramas for so long, I always find it jarring to go back to American shit. It feels over-acted and unsubtle and kind of brash. Over all "loud" and in my face. Jarring.

So when first encountering 4 or 6 act structure most westerners feel a little unmoored, it doesn't feel comfortable until you sink into it and leave 3 & 5 behind.

I'm mean I'm so used to K-dramas with that arbitrary year or more separation in the final episode I;m now shocked when it's not there.

I guess what I'm saying is maybe it's just a thing with Thailand, not to put that much truck in endings. The way (especially) romances do in the western world. There's a very fixed idea of what an HEA should look like in the west. Thailand may not share that idea.

I've not read the source books of any of these BLs, so I don't know if this is just their narrative style or not.

I mean there are some Thai BLs with good (if not great) endings, and plenty of Korean BLs with terrible middles, and far too many Taiwanese BLs with bad beginnings.

Ya just kinda get used to it, I guess.

15 Thai BLs with Good Endings

A Tale of Thousand Stars

Bad Buddy

Lovely Writer

2gether

Be My Favorite

Dark Blue Kiss (possibly my favorite on this list)

Destiny Seeker

Make a Wish

Naughty Babe

SOTUS

[universitysunflowers]

So how are we feeling right now? (TBB Spoilers)

Episodes 10 & 11 may be some of the darkest we've seen this season. We all knew the storm was coming but wow that was such a dramatic shift. I definitely had some thoughts and realizations after watching the latest release.

Okay first off lets talk about the elephant in the room: Tech. A lot of people thought that Identity Crisis would be about Tech and his struggle with having been made into the shadow clone CX-2, but it was actually about Emerie (I'll get back to her in a bit). Even though we don't know exactly who that shadow clone is yet, I do think it could still be Tech. In episode 11 (plus 6 and 7) we saw a lot of hints towards Tech as we knew him in seasons 1 and 2; things like the way he spoke, his leg getting crushed, his flying, and his use of Cid and Phee to get to the others on Pabu. One thing that really stood out to me when he was on Phee's ship is the way he put his hands on the flight controls while downloading her data, almost like it was second nature to him, something familiar he did without thinking (I know this is a stretch but it really jumped out at me as a parallel to the countless scenes of Tech flying the Marauder, it just felt like him again). However there is a dark side to all of this. If CX-2 is Tech that means that:

Tech destroyed the Marauder; the ship that was a home and refuge for CF 99, both during the war and after the Empire took over. It was the one real constant they had in their lives and he would be the reason it's gone.

Tech destroyed peace on Pabu; a place where he and the others felt safe and grounded for the first time since Kamino. It also means he would be at least partly responsible for destroying the lives of everyone who helped and supported them in season 2 (CX-2 was ruthless in ep 11, they made that very clear).

Tech used Phee to accomplish all of this; a friend who trusted and cared about him and rest of the batch.

Tech would be the one who hunted down and eventually captured Omega, whatever that may mean in the future.

There are a lot of people who think that bringing Tech back would make his death meaningless, which I completely understand. Some characters should die and stay dead as a way of furthering the story and development of other characters. However, in this case I do think that revealing CX-2 to be a brainwashed Tech would have huge implications for the narrative. It would mean that one of their own was responsible for so much of the destruction we have seen this season, and that just because Crosshair resisted imperial experiments, does not mean that the others have similar abilities/plot protection. It would also bring immense emotional conflict into the rest of the season (however they might do it) and could be a deciding factor in the rest of the batch's fate; would they realize what he's done and treat him as the enemy, or would they see him and hesitate, possibly losing even more than they already have. Revealing Tech as the shadow clone would be incredibly dark, especially after all of the cruel and deliberate things he has done this season that contrast to the mild tempered and caring persona we previously knew (even if he didn't always show his feelings outright). While I do think there is a possibility that he is dead and not coming back, I definitely would not put it past the writers to do something so drastic as a way of adding to the season's narrative value with a conflicting and completely jarring revelation that would have so many significant implications for so many main characters. I did not mean for this post to be so long but let's keep going anyway.

Some other more general realizations I had:

As of right now, Hunter and Wrecker don't know that Omega was taken again. That said, we might not see them finding out and the next episode could definitely jump ahead like they have done with other significant moments like Crosshair's return.

Crosshair could be blamed for letting Omega give herself up and missing the shot to put a tracker on the ship, especially if they never see her again (but I'm choosing to believe that won't happen). There is no way Hunter wouldn't have something to say about that, even after they have mostly patched things up over the last few episodes. This also contributed to the tone of the episode 11 ending; he missed the shot, meaning they have no way of tracking her and are no closer to finding Tantiss. It was a very bleak note to end on in general, not at all like some hopeful purpose driven endings we have seen previously.

Just because Omega gave herself up does not mean that the Empire is going to leave Pabu intact. She distracted CX-2 by letting him take her back to Tantiss but the other troopers were still there, and I doubt they will just pack up and leave without a fight now that Omega is back in their control.

There are only 4 episodes left; what if they don't reveal CX-2's identity at all, and just leave us guessing (I still think there could be merit to the possibility of it being Cody or a Crosshair clone but that gets less likely every time we see him). Or worse, what if they keep hinting at it to make sure we know who he is, but never give us proof; instead just leaving us with the knowledge of what happened to Tech, and what he has done, without any other closure.

Ok let's talk about Emerie. I was definitely not expecting her to be the focus of Identity Crisis, but I thought that was a really interesting twist. We haven't seen her in a while so it was nice to get her perspective, and to get a better idea of what project Necromancer is all about (though I am still not totally sure where they are going with that so I'm reserving my judgments until later). As the title implies, she is definitely starting to question her place with Hemlock and the Empire, and I am also wondering how she is going to react to Omega being captured again, especially knowing what she knows now. I definitely think Emerie will be more sympathetic towards Omega's independence and desire to help the other clones. We might even see the two of them working together on a future escape attempt? Overall I enjoyed episode 10 and I am glad Emerie is finally getting her moment to contribute to the plot, especially after her importance was so obiously revealed in Crosshair's escape attempt during season 2.

I'm sorry this got so depressing but unfortunately I think that is what we can expect for the rest of the season unless something really unexpected happens. Also if you read that entire novel then thank you I swear I didn't think this post would be so long when I was writing down my thoughts earlier but here we are.

[dashielldeveron]

okay i just gotta talk about bnha's ending

and what i thought was gonna happen based on the way the narrative had been setting things up.

some light bnha meta. spoilers obviously.

i will preface with i am not concerned with ships. i would be fine with whatever, really, because ultimately, i am my favourite characters' girlfriend (and you are your fave's significant other, etc.). moving on.

1) the first major red flag for me, as a writer, was when we barely spent any time at all at shigaraki's childhood home with dark!deku. it signalled that midoriya wasn't going to fully understand what was going on with shigaraki and therefore lose some nuance/meaning to [what i thought was going to be] shigaraki's redemption. by only having the audience understand shig's tragedy but not midoriya, midoriya is not making a fully informed decision and therefore his choices weigh a bit less.

1a) additionally, with dark!deku, it sets us up to have a thorough examination of shig/deku mirroring each other. doesn't really happen. and midoriya's getting his arms back within one chapter takes away from the overarching motif of taking someone's hand to finally accept help. like captain kirk once said, the three most beautiful words in the universe are "please help me." this could've been a chance for deku to ask for help from shig or the vestiges and further blur the line between villains and heroes.

2) when nana shimura holds shigaraki--this is probably the most confusing narrative decision from my perspective, because i figured we were about to go into OFA with both shig and deku, have some sort of glorious discussion over a fight about what a hero is and saving yourself and accepting help and friendship and stuff, but we just...don't. we don't go see all the vestiges with shigaraki. i thought that was what we were building up to, this ultimate scene with all the OFA users and shig all in the same place, accepting shig as someone who was used/abused and could still move on. i fully thought this would happen and that some unfamilar, bodily form of tenko would be spat out after the discussion, a tenko who's shoved off all shreds of AFO and can begin as solely himself.

instead we get that weird-as-fuck evaporation scene where shigaraki still wanted to fight. which is weird to me, because i haven't read shigaraki as wanting to fight for a long, long time. i've been reading him as wanting to rest.

3) i didn't want toga to die, but i could feel it coming bc "bury your gays" pervades pop media. but holy shit. not even on screen? the last scene seems to set uraraka and toga up to sacrifice each other for the other, and i figured they'd survive, though both severely injured. toga's death (and other villain deaths/putting away in a box) feels contradictory to the story's themes of saving people, that anyone can change to be anything they want. killing/punishing the villains seems to be saying that villains will always be villains, and even if they showed some remorse, they have to die, because they did bad stuff once.

4) touya is more of that "punishing bc he's a villain" stuff. uh. okay. narratively, he seems to be alive to show endeavor's regret. okay. a better way of showing this would be to have touya medically healing and have endeavor supporting him every step of the recuperation. (not that i would personally want this, bc i don't think endeavor's shown enough growth to do this.) and like. how it is now, with endeavor saying that no one has to talk to him, but he's gonna come visit touya and how the others are going to visit touya as well--it feels like they're arguing over who gets touya in the divorce lol (well, it would be lol, except they're dehumanising/objectifying touya again).

4a) why set up the soba eating with touya/shouto if we're not going to see it. why do that, hori. why would you

5) the timeskip to the hospital was jarring. we spend over a year in this one battle, and then we don't see it wrap up. we're left with questions about characters that could've been answered here, in this moment, in the transitional period of getting everyone medical help.

6) okay this is me being very selfish, but as someone with a focus in disability studies, i'd like to know more about everyone's recuperation. mostly, you'd FUCKING THINK that once they're at the hospital, they'd be able to get a whole-ass edgeshot out of bakugou. that's unfair to both of them. edgeshot was taking the place of medical equipment on the battlefield, so why not replace him with actual medical equipment now that bakugou is safe? we also spend a bit talking about bakugou's damaged arm, so why don't we see him working with it?

7) weird amount of focus on new students. i understand some focus, because setting up the new generation, and all, but since hero society appears to be exactly the same, it means significantly less to set them up to be better than the mistakes this generation made. since society/worldbuilding isn't changing in a major way, the audience desire is primarily to see what's happening with the characters we care about. so this feels unsatisfying.

8) also. attached to point 2 about shigaraki being redeemed. hero society should be changed. there should be a new status quo about what being a hero means and how the whole system works in light of this knowledge. shigaraki, touya, spinner, and toga should be alive and out there doing other stuff, showing that you can grow past what you've gone through. deku should still be out there doing "hero stuff" regardless of quirk/power, because of his character and fortitude.

why the hell is the ending message that anyone with power can be a hero instead of the obvious (and more moral) moral of anyone with courage/determination/"my body moved on its own" to help others, as deku did, can be a hero, regardless of birth or status. it was right there!!!! how was this sidestepped!!!

9) no bookend to spinner? no spinner? babe. i'm not even the greatest fan of spinner, and it feels like we left him unfinished.

10) scratch that. it all feels unfinished. rushed. did something happen to end it this way?

anyway. thanks for reading. i'm confused about the writing choices.

TL;DR: recent narrative decisions make no sense based on what the manga has set up for us, particularly the evaporation/death of shigaraki bc it contradicts the message that anyone can be a hero, regardless of your past, and that it's okay to ask for help.

[toaarcan]

I think Fiona's betrayal makes way more sense and fits into the narrative better if you simply bump it to after the destruction of Knothole.

Like, in the actual comic it kinda comes out of nowhere, and it's heavily tied into the romance plot tumours and Issue 150. Fiona's actual character is barely important, she just disappears for five issues and comes back with a new personality, her old trauma in high gear again (but girl, if you're mad at Sonic for abandoning you, why the feck are you running off with Second Sonic Who Is Worse?), and an ideology that makes zero sense with her history ("You can't count on anybody" says character who has literally never been independent and will never become independent).

And the fallout is incredibly understated and after literally two issues nobody cares any more except Tails. And he's done caring after 179 closes.

Betrayal is supposed to be impactful.

But if you shuffle the order of the stories around, don't even change the actual content, then the whole thing becomes a buttery-smooth consistent arc and Fiona's character development, while not a good thing in the long run (Scourge literally would've killed her in 196 if his plan had succeeded, she traded the stunningly mediocre partner that was Sonic for a literal monster), actually makes sense and is front and centre in her story, instead of what we got, which is "Fiona ascends from background character to weird love interest to an accessory for Scourge who is defined entirely by Scourge."

Fiona being driven by her trauma to hate Sonic for leaving her behind is a reasonable angle, it's where she started in the Knuckles comic, but it's been so long since that was relevant to her character that dredging it up years after the fact in a different book would only ever be jarring. Unless, say, history repeated itself and all those wounds got opened up again.

Eggman drops out of the sky, razes her home to the ground, and shoves her in a prison to be used as fodder for one of his sick creations, just like Robotnik did all those years ago. Only this time, the prison is so small that she can barely even move, and the machine she's going to be fed into is much worse. It'll kill her, twice over, draining her life-force to power Eggman's machinery and wiping her mind for no reason other than "Eggman's a sadistic asshole."

She gets to see the effects up-close too, via Charmy's brain damage.

And while it's unnecessary, as I think the actual plot of the issues needs no alterations to make sense, you could nonetheless add a small scene during the rescue where Sonic saves Fiona from the Egg Grapes and says he won't make that mistake again. A small hope spot before it all comes crashing down.

Because it does! The arc ends with the Freedom Fighters standing triumphant over a wrecked Egg Beater. They could easily grab Eggman and drag him into the brand-new prison that Nicole put Mogul, Naugus, and the Hooligans in. They have turned their darkest hour into an opportunity to win the war... and they don't take it.

Eggman flies off, clinging to an Egg Flapper and doing the "I'll get you next time, Gadget! Next tiiiiiime!" bit, and the heroes just... stand there.

And that's where the (hypothetical) hope spot gets dashed. Fiona, already uncertain of her place in the team after 160-1, loses faith in them completely. She just lived through the worst experience of her life again and the heroes of this world are doing nothing to prevent another repeat.

It even makes her "You can't count on anybody" line actually have some weight. She genuinely feels like she's been failed by them, that she put her trust in these people and they still turned on her at a moment's notice, and they're not doing enough to actually save the world. It's like Scourge says in 172- she "wishes [Sonic] had a backbone."

And then, after all that, there's the big Fiona Betrayal Issue except now it's actually about Fiona and not just about giving Scourge a girlfriend, and that's followed immediately by the Sonic vs. Tails issues. There's no time to process what just happened, everyone's emotions are still extremely raw, and it boils over into a fight between brothers that's more about venting all those nasty emotions they've been holding in for a while now. Sonic has been through a lot lately, he just lost his home and repeated one of his few failures, and he's not long lost Tommy too. Tails is dealing with emotions that he's not mature enough to process properly and healthily, he grew up too fast, but not evenly. And at the end of the day, they're both still just kids.

I still think 179's ending is an overall horrible way to to resolve that plot thread, and further reduces Fiona to an object to be fought over, but I'm not heavily changing the content of the issues, only the context.

I've never been a fan of villain!Fiona, I've made that clear in the past. I like it as a step on a journey that results in her healing, but I found its start confusing and messy and the rest of the arc lacklustre and far too focused on Scourge, rather than Fiona herself. But I think putting it in this order makes it flow a lot better for me.

If I write Sonic stuff again, I'll probably do it with this as a headcanon of what went down in the 170s.

[goblins-riddles-or-frocks]

your takes are interesting bc i always read it as his desire being fake and pure manipulation.

That’s totally fair! I think manipulation plays in strongly, of course, but I think that’s not mutually exclusive from the Darkling being genuinely into her.

I feel like the narrative draws a distinct line between when he’s completely playing a part and when the desire is more genuine and I think the latter is characterized by some bitterness, definitely cruelty, and sometimes an undercurrent of violence (he sucks!)

Like when they kiss by the lake in the first book and he’s like “I don’t know why I care what you think, but I do 🥺🥺” that is 100% play acting lol

Oh you didn’t mean? This was completely unplanned? Sure Jan.

Comparatively I think the Winter Fete makeout scene is a little more dubious. I think him ignoring her for a bit after kissing her that first time, then suddenly paying a lot of attention to her is of course a deliberate ploy. And he’s obviously trying to seduce her and overwhelm her to a purpose.

But taking into account how he’s tried to present himself through the first half of SaB, or even in the Tailor, the impression he seems to want is like nice and reasonable and personable. So the angry vibe in that scene feels very counter to his typical playbook!

This is also where we get what I would argue is his character thesis.

This is definitely a value and perspective he actually holds, he’s not lying to her about that, in that moment. Manipulation or not. And I feel like this isn’t really a statement that gels with his persona? Like he doesn’t want to come across as the thousand year old evil wizard whose starved himself of all emotion and feeling until he’s a withered husk of a person, who in his own single mindedness keeps shooting himself in the foot wrt fairly attainable goals just because he doesn’t understand things like compassion, moderation, or common sense anymore. He’s pretending to be a spry and youthful centenarian who’s totally in touch with his feelings and soooo with the times, guys, he’s sooooo normal and down to earth. I digress.

But my point is that I don’t think he’s entirely behaving in a way that’s conducive to the front he’s been putting up! My interpretation is that the stag news has jarred him enough that he’s acting somewhat genuinely.

When Alina somehow (I don’t understand how this fucking works because it implies that it’s magical, not her just getting a vibe???) senses that he’s angry I think that’s also genuine. Like he basically says that he’s annoyed that he’s not planning the hunt for the stag like a goddamn adult and is instead making out with her in a random back room. And I think that’s… basically true, though he def seems to try to spin it as like making her feel special because he wants to make out with her that bad. When in reality (imo!) it really has nothing to do with her as a person at all, he’s just that hot and bothered at the thought of this thing he’s been pursuing for so long finally being within reach.

I think it’s telling that in the descriptions of them kissing he seems shdgdd pretty focused on her neck. He’s 100% having weird ass fantasies about the collar— which isn’t something she’s really in on, or quite grasps the significance of? So it’s not really a performance for her?

Idk! I just think that scene’s a good example of manipulation and genuine interest going hand in hand.

Post villain reveal, another case of “this doesn’t seem particularly aimed at Alina as an audience” imo is this bit, also from the first book:

First of all this scene is so fucking insane. (Not pictured: him making her beg for Mal’s life directly above this and being creepy about the collar.)

But this is a situation where Alina has told him that she’s willing to do everything he wants, if he spares Mal. That’s her one stipulation for submitting completely. He does not do that! In fact he goes out of his way to be as cruel as possible.

So considering that he is NOT softening his behavior for her at all, I feel like the narrative/Alina noticing longing is meant to be accurate. (My reading of it is that he’s tempted by her offer but wanting is weakness so lol he’s going to tank it immediately because being affected at all like that is scary to him) And again when he kisses her like, she is not happy about it! She does not want him to be kissing her! He knows that! So it’s presumably because he wants to, and whether that’s about power or desire… yes.

I fully agree that most of the saccharine stuff he says later on in the series (“I’ve seen who you truly are and I’ve never looked away” “You could make me a better man 🥺”) are just blatant lies sjdhfd I do not think he remotely believes them!

This instance in S&S is interesting though because it’s another juncture (imo!) where he is trying to manipulate her but is also kind of being genuine:

(LOL dismissive wave “I do not careee about your puppy love”)

He’s like “You are lonely because you’re seventeen and without much of any support system and miserable bc this power has separated you from all of your peers. Eye am lonely because I am one thousand years old and haven’t allowed myself to feel a single emotion since I was twelve. We totally relate ☺️”

Those two things are very much not the same! And I cannot imagine him not knowing that lol. But yeah, he’s simultaneously not in any other way trying to soften himself for her or try to convince her of his side of things. He seems completely willing to just forcibly drag her through whatever plan he has for completing the Amplifier set and using that for his random world domination plan? So just *generally* when he’s trying to manipulate her, post villain reveal, about how they’re Meant To Be and how only he understands her, I think that’s just with the aim of seducing her as opposed to seducing her itself being a means to an end?

[docholligay]

She Who Became The Sun

I want to thank @amhrancas for commissioning me to read a book I have been so so curious about, and I hope y'all will thank her too! She's also letting me, next month, talk about a movie I FUCKING LOVE.

nonspoilery: A plot-driven book that takes place over a long period of time in China during the time oof the Khans. There’s a lot to like in it, and i think a lot of people would really connect with this storyline, but there’s something slightly off about it that didn’t quite make it with me, that I pin down to a certain lack of character depth. It’s a pretty decent book overall, with some great description though, and the character thing is in no way jarring--it took me a bit to figure out what made the book not quite hit for me. 

SPOILERS BELOW:

I really wanted to like this book, and I still want to like this book, and I don’t NOT like this book, but I was prepared to love it. I don’t. I wish I did. 

And this isn’t me trying to satisfy the people I know love this book, or hedge about my feelings: I know how many of y’all loved GtN, and my response was essentially, “Hey, quick question, what the fuck is wrong with you?” (affectionate) so it’s not that I’m afraid to come out as not liking something well received by my peers. It’s just, I felt so close to really liking the book, and just could not get myself there. 

We’ll come back to that, but it’s one of the less-relevant bits of the review, so we’ll move on from it for now. So this is a historical fiction novel: KINDA. I admit that I know nothing about larger Chinese history, I never studied it, so I actually was not even aware that this was about a real person except for my commissioner telling me so when asking me questions to consider for the book. Some of the back of the book comments are calling it a historical fantasy, and aside from, I guess, the ghosts, the only reason I can see for this is that this is not at all representing the historical person Zhu Yuanzhang (I didn’t let myself look him up until after I had finished the book) so I would, personally, actually call this an alt-history, but I understand tht has some baggage with it the author may not have wanted to engage in. 

I was asked about the idea of narratively reworking a historic figure to be totally different from who they were. I have no problem with it! I feel like as long as we’re all HONEST about it--and I feel like this book is pretty honest about it, though, what choice does it have--it’s fun to sometimes have a historical blorbo and make them do what you want. I think that real people do not have symbolism and foreshadowing and motifs, and so, as a Lit major, I think it can somehow make people more REAL, by making them fictional. 

Also, as a History major, I kind of do not like it, for reasons that have nothing to do with the ACT of it, and more with the idea that so many people do not ever venture beyond the fictional work and so have completely incorrect notions of historical figures, and they feel ways about these human beings based on the very much fictional avatars presented. This tends to lead to a thing I LOATHE, where we do bad history because we need these people we admire to have been ‘like us’ or to hold values we hold or feel like we could have been friends with them, ignoring the reality of their personality, their social and temporal position, the fullness of who they were as a person, etc. I see a lot of bad fucking history based on this idea, and that is not new, this has been going on for a million years, but I have never liked it. Fictional accounts can convince people of things that aren’t necessarily the factual kind of true. 

That complicated feeling of mine goes on beyond this book, and, frankly, this takes it to such an extreme that I doubt very sincerely I’m going to see scholarship done about a great emperor of China being a woman secretly. So, I feel complex ways about it, but with a smart audience that realizes it’s fiction, I don’t have a problem with it, though in the same way I tend to prefer Not!Europes or Not!New Yorks, I tend to prefer, for example Not!Billy the Kids or what have you. But it didn’t affect my feelings about the book at all, this is a common thing in literature and the multitudes I contain today I will still contain tomorrow. 

Let’s talk about our main characters. 

Zhu. I think this is where the book didn’t lose me, but failed to engage me. I want to like Zhu so bad, but I just don’t, and I don’t mean I dislike her, I just mean I don’t…care much. I feel like I have no idea of the interiority of who she is other than trying to hide being a woman. I don’t get a grasp of her personality otherwise. I know she does what it takes to survive, I know she sees ghosts, and I know she becomes ruthless in a way that I found a bit shocking not in a “oh my god! Twist! Way but in a way where I felt like there wasn’t a clear enough path for people named Doc, who are me, from “I can kill a bad man” to “I can murder a child” or maybe there was, i don’t know, I just felt like there was a wall kept up between me and Zhu*. She murders a child, and Ma is all, “You said you wanted me for my kindness but you don’t care about it” and then Ma is at her side anyhow, so I guess it didn’t actually matter to Ma that much either, close of business, and I am just sitting there going, ‘Okay the book is over now, right?”

Ouyang. Probably my favorite character in the whole book, and yet, I mean I don’t like him in an “Ouyang is an innocent meow meow.” Ouyang is a bitter, hateful person who has intentionally forced himself not to feel joy or comfort or love because he made himself into a weapon and a weapon alone. Like Zhu, he took the steel he was given, but he bent it to his will. I love him as a character, I think his approach to everything is fascinating, and, inevitable, and I frankly find him much better written than Zhu. I was not at all surprised when he killed Esen. I saw it coming very early on, not in a ‘predictable trope’ way but in a ‘I hear the howl from far off and don’t get shocked when the wolves come in” way. He did it, and the way that was written was so great, and I was sitting there going, “You are going to blow up every good thing, the only good thing, that you have, out of a love for people you don’t even remember and a culture that is only yours in the way a shadow is you.” He looks straight at me and goes, “And what of it?” Extremely taken with him. 

Revenge is a huge thing in this book, and the necessity of it, almost. Is there redemption in revenge, what does it mean to find redemption, and is there value in holding onto an old pain for so long? Ouyang waits til near the end of the book for his revenge, but does he feel satisfaction from it? He carries his need to kill Esen like a bag of bricks, but he never for one moment imagines that he can set it down. I think there’s something to be said for a lack of flexibility in that. What does revenge bring him? What did his revenge against Zhu bring him? He suffers so much at the end, when he kills Esen, in what is very likely my favorite scene from the whole book, the absolute perfect ending to their story, and even then he cannot imagine a different way. He takes this idea of revenge as his way of being man, his fucking fixation on manhood and being a son, and what he is and what he is not, and he lets it eat him alive, and it brings him NOTHING. At the end of the day, it brings him only suffering and pain, and instead of having one dead family, he has two. 

 Though I suppose it could be said that Esen suffers for his near-inability to be capable of revenge. Not that he’s a weak man, he isn’t, and not a cruel one either, though often a thoughtless one. (And maybe this is, after it all, why Ouyang can kill him. He was always kind to Ouyang in every way Esen could think of, but he never thought about Ouyang, from Ouyang’s view.) But he doesn’t have the sense of revenge that other people in his life do, he doesn’t have the instinct. Not even what i would call full on revenge, he can hardly make the people he cares about pay for the things they do. 

Maybe the way to live is between them, I don’t know. 

So, obviously, at the end I absolutely salivating over everything that is happening with Esen and Ouyang, but find myself very much left cold by whatever the hell Zhu is doing. This is a problem as a reader! This isn’t even me saying, “Oh nooooo Zhu turns ruthless and naughty” I actually think that’s a great middle point for a story, but for the end to be like, “So then Zhu murders a child, and is now king. The end.” I was sitting there going, “so what…am I supposed to take from this, exactly?” A good story has a moral, not always a good moral, and maybe moral isn’t even the right word, but stories teach us things, and with the B-track story of Esen and Ouyang I feel like I got that, but with Zhu’s story I came away utterly plussed about the whole thing. Diversity win! The warrior-king who ruthlessly grasps for power is a gender noncomforming woman! Ahaha I mean I’m oversimplifying obviously, but it feels in many ways unfinished to me. 

I really did like the descriptions and vocabulary in the book, though, and I think this is part of what broke my heart about not loving it. PLEASE use words like palimpsest and internecine and facile. PLEASE describe things as being “like froth on a dead man’s mouth” and “ held on as if it were a slipping deck at sea” and  “the particular combination of awe and pity one gets from seeing fragile pear blossoms in the rain” my god. WHAT. I was fucking SPOILED by the language of the piece.  To a degree that was almost frustrating. 

The experience of this book was the experience of an ex where it should have worked, where it should have been everything and more, and it wasn’t even BAD, it just did not reach what it should have. I feel an echoing ache that I could not really ever LOVE this book despite wanting to so badly. It feels frustrating, ina way that hating a book doesn’t. I do think people who are interested in this book should read it for themselves and make a judgment call, as I’m sure and know that there are plenty of people who enjoy this book exactly as it is. I’m not chomping at the bit to read the sequel but not opposed to it, either, and maybe in that shrug is the harshest condemnation I can realistically offer. It’s not a bad book. It’s even a pretty good book. But it does not give me passion for its main character. 

*It might be that this book is so so fast-paced. It is slamming from year to year with military movements and the Mongol court and the Red Turbans and betrayals and successes and there are few breaths taken in between. Some people will love that, but I felt it robbed me of a bit of knowing the people I’m reading about. 

[chelzone]

just played thru Goodbye Volcano High finally, to completion

here's me thoughts, under a spoiler block just like i did for after i beat Snoot Game

story flows nicely from start to finish, though i feel like a tiiiiny bit could have been trimmed cus it did feel a bit too long for playing through

affinity system is cool, feel like i hadn't seen people dig into that one as much as they should've. i was unable to get the Rosa gender reveal sequence cus i didnt max out her stuffs BUT they still throw in moments prior that telegraph it very much so so that's still something!

gorgeous backgrounds, absolutely zero complaints about any of them. while the characters animations can be a tad bit stiff at times, i feel like i can still most of the time realistically imagine them within the scenes properly

i understand you had to have 3 L&L segments for it to make sense as a DnD sessions sort of thing but,, i didnt like the segments in general. i feel like you could have still explored Reed's character without dedicating far too much time to these

music for the rhythm game segments is definitely NOT my personal taste, so i cant rlly say much about the content that wouldn't be heavily biased. i feel like also the controls were a bit too complicated, especially on keyboard. perhaps it couldve been easier to play on a controller but like,, visually there's still way way way too much to keep track of so it gets overwhelming at times. also very very hard to focus on the scenes going on while trying to play the rhythm segments, and i feel like that hurts the final one with the montage

Naomi and Fang is a match made in Heaven, what else is to say? jumps the gun a wee bit but idk i kind of like that shit and i do that for me own characters at time. wishing those two the best in dino heaven

was not expecting Fang to be so selfish throughout the entire game, it's genuinely a bit jarring at times. the way it's patched up in the end feels a bit too rushed, but then again i said the game felt a bit too long so no idea what the solution would be

Swamp Babies i wish u got more screentime, but i digress. Curtis having no voice let alone dialogue was a bummer

i hope they keep patching it cus i did get softlocked multiple times and there were many times where backgrounds failed to load in for a bit during many scenes ;w;

fave characters from this iteration gotta be Stella, Sage and Reed. funnily enough, two of their iterations in Snoot Game are also a delight! sad to see Sage didnt make the latter cut aside from positive text messagez

the logo and poster design stuff paired with the picture day sequence were pretty cool!

not a fan of the twitter stuff in-game just cus i loathe the real life equivalent, sorry ;w;

all in all now that i've done a full single run for both games (i am not replaying either, this is too much of a time commitment for a narrative-heavy experience), i think i can say i give Snoot Game a 9/10 rating and Goodbye Volcano High a 6/10

pleasantly happy with both, despite any complaints or criticisms! looking forward to drawing more fanart of both series too, as well as having a blast hanging out in discords with folks from either communities. met some good people in a cruel world

[miixz]

Been thinking about the beginning of MDZS because I was talking about it with a friend who just finished vol. 1, and I really love the placing of the CR flashback right after LWJ and JC's introduction and all the questions and context it brings. 

First we get introduced to both LWJ (properly at least) and JC in Dafan, and that segment as well as wangxian’s arrival to CR sets the tone for their current relationships with WWX. 

One is slightly confusing, because WWX has already ran from LWJ once, which implies that he expects a certain hostility from him that isn't there, made even more puzzling when he allows himself to be taken to CR with little resistance, and proceeds to annoy him the best he can to see what will come of it.

While the other is outright hostile, surprising WWX who had actually thought that JC would have forgotten his grievances by now, but leaving little to the reader to question.

"Unfortunately, the person who came happened to be from the Lan Clan, but even more unfortunately, he happened to be Lan WangJi! This was one of the people who had fought with him before, so he should retreat quickly. " (chapter 5)

"He thought that, after so many years, no matter how much hatred Jiang Cheng had held for him, it would have disappeared long ago. He didn’t expect that not only did it not disappear, it became richer, as if it was a jar of aged alcohol. To the point where at the present time, his hatred had grown to affect even people who cultivated like him!" (chapter 7)

Then our first flashback shows us that there is a lot more happening here. 

We learn that Lan Wangji used to be far less composed than he is now, getting flustered by WWX’s antics quite easily. But their relationship wasn’t really bad, just a little messy as they stumbled through navigating their teenage crushes. We’re left to wonder what went on in the future that WWX first called him an enemy, but it also shows us that what's happening between them now isn’t so strange. 

WWX’s shenanigans in Cloud Recesses are in line with the things he did as a teen, the only difference is that LWJ is responding in kind now and WWX is not really up to speed with this quite yet. 

There’s also the tangible impact WWX has had in LWJ's current life (the bunnies, the emperors smile) that speaks for itself about what kinds of feelings he’s held for WWX during these years.

(It’s not that much of a surprise since LWJ is the romantic lead after all, but it is very well crafted and I love the attention to detail there and how every little thing is connected and helps build up the narrative while WWX is busy trying to mislead us about his feelings)

Meanwhile Wei Wuxian’s thoughts on Jiang Cheng gain a new context when we learn that he hasn’t always hated WWX. 

That’s not a surprise exactly, considering how much WWX thinks about them and the past in Dafan, but it does invite us to question how it got there, and shows how the worst we’ve seen of JC can already be found in his younger else, while tragically also making you empathize with him after seeing through these glimpses that he had the potential to be much better had he not chosen to hold onto his bitterness.

JC and WWX’s friendship wasn’t perfect, but it had potential. Except we already know it went nowhere, just not how exactly that happened.

It’s just!! So good! Love that as early as this and in the most light hearted flashback we can already determine how LWJ was always on WWX’s side despite WWX’s previous lack of knowledge of this, get hints of what role JC could have played on WWX’s downfall given that even as a teen he was quick to jealousy and to put him down, then there’s wangxian and how both their feelings have been present since back then too. 

I haven’t had to think about all the initial mystery surrounding WWX in a bit since I already know the entire story, but I had fun seeing it through someone else’s eyes and it reminded me of how good the build up on that is and how much fun it is to pick apart the beginning. It’s a beginning that does a really good job of leaving us curious about what happened during WWX’s first life for his relationships to have gotten like this and it establishes a lot of things that’ll be solidified later when we get to the relevant flashbacks. 

[skitskatdacat63]

misc lore drop day 56/?

Preface, I feel like these are getting to be too self indulgent LMAO. Practically getting to be time-period OCs, sorry!  I might stop doing these soon cause they are truly losing the plot I guess. I don’t think they’re overly ooc or anything, but maybe just a bit too much for anyone other than me, and maybe I shall put my focus onto writing ficlets.. We’ll see. I like writing them, but on some level am getting a bit too self aware about how self serving they are(fic can be indulgent but this is just my personal historical brainrot atp.) For daily things like this, I get anxious about stopping, but I’m kinda running out of ideas, or at least, on a more positive note, wanting to write narratives instead. Sorry, I talk about this in the tags all the time, I just wanna make sure I warn in advance.

At one point I wanted to draw, and maybe I will in the future, Seb and Fernando reading books together. As I said before, they’re often attached at the hip, especially in the evening, so it’s pretty normal for them to settle down like this. Sitting on the same couch, making absent commentary. Fernando’s the type to only read political, philosophical and history books. He does enjoy reading but also somewhat considers it to be a frivolity, and will only engage with it to “better himself.” Seb LOVES reading and will devour anything, I mean that’s why his statue is in the imperial library after all. They both know a lot of languages which definitely comes in handy. I digress, I thought in the drawing, it’d be funny to have thought bubbles above their head as they’re reading. Also, sorry this is soooo self indulgent. It’s very funny to imagine Fernando reading The Prince cover to cover a hundred times, because he wants to be a Machiavellian ruler. It’d be too weird for Seb to read that book because it literally discusses his ancestors, it’s a bit jarring. The reason it’s funny though is because Fernando aspires to follow the teachings in the treatise, meanwhile Seb genuinely IS pretty Machiavellian. Fernando’s sitting there reading like, oh my god this is so me. Seb will glance over at it every once in a while and be like, I don’t know, it kinda feels like satire. I think they’re both very blind to who they themselves and each other actually are. Fernando thinks he’s some cruel, magnificent leader, which he really isn’t; this doesn’t mean he’s not magnificent, rather just not in the way he thinks he is. Seb disregards the book and what it says about how being an efficient ruler, and yet he is pretty shrewd and cold-blooded when need be.

So what’s Seb reading? Don Quixote. Who does it remind him of? Fernando, of course. Though Fernando doesn’t get what Seb finds so funny. He’s an admirable man! He’s on a quest, like all of us are in life! He doesn’t give up!! Seb dies of laughter making Fernando read out the long speeches, because it suits him sooo well. I also like to imagine Seb making everyone read out Shakespeare plays with him. He definitely acts them out and everyone is just staring at him blankly as he writhes on the floor in pretend agony. He’s suspicious about how into the whole poison part in Romeo and Juliet Fernando is, considering he tends to hate romance novels(despite being a romantic.)

[thefallenangelsgang]

This is the incomplete scene the line from the tag game is pulled from. I'm not tagging it with anything in the hopes it gets hopelessly buried but I am too excited to not share. I am not kidding when I say narrative has not felt this easy in a long time.

Spoilers for Act 3 of Baldur's Gate, TW for Blood and Body Fluids (spinal fluid to be precise), I wanted the stakes to feel a little higher so I peppered in some bodily trauma hence the blood 'n stuff, brief uncouth language (there's a few fucks sprinkled in there)

Some context for it: this picks up after the failed Elder Brain Domination sequence immediately as the portal closes with the Party in the Astral Plane. The Tav and Narrator is a High Elf named Wynleth, she romanced Gale. All of the Companions (minus Minthara cause she didn't make it into the cool kids club) plus two OCs (repped by hirelings in my gameplay) are present.

Also, Emperor hate if you are sensitive to that. I'm not the Tentacle's biggest fan frankly, hence why this exists.

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

At times the squirming feeling had been uncomfortable. It even had been painful, distracting from whatever I was attempting to focus on. This is a whole other plane of being. The fire in my cranium consumes me, making coherent thought impossible. My mouth is filled with the distinct taste of copper and something I cannot place. Pressure builds and it makes it feel like my eardrums might rupture or perhaps my head might just explode altogether. That almost would be a welcome release from this torture

Then all at once it stops. The sudden shift from everything being too much to feeling nothing at all is damn near deafening in a different way than the pressure and pain was. I loll in disorientation and hands steady me, bracing my shoulders. 

My vision swims at first. Blues and purples and greys swirl like strange liquid in a glass jar. It only adds to the dizziness brought on by the pervasive numbness. The hands are still gripping my shoulders. I can almost feel my hands, almost. The gritty texture against my palms speaks to handfuls of dirt clenched in my fists. I will myself to release them.

It’s muffled but I think someone speaks my name. So close I can feel the vibrations in my chest yet we might as well be separated by an eternity. It’s an effort to bring my hand up to grip their forearm. It’s an even greater effort to bring my head up to look them in the eyes. 

I can’t discern exactly who it is through the intricate dance the colors are doing in my eyes. The figure is dark against the shimmering ethereal background so it is not one of my fairer companions whose complexions would only muddle my identification more. I try to ask for a name but a strained sound is the only thing to push past my lips. Well that and a bit more blood.

A new wave of numbness washes over me starting from the crown of my head and spreading to the very edges of my person. A little clarity comes with it this time and the vertigo subsides.

“Take it easy, you gave us quite a scare.”

Shadowheart. Still muffled but sounding closer by the second. Something I’m hoping resembles a smile graces my face. 

Then The Emperor speaks and a crashing wave of pain drowns the words out, ripping a cry from my mouth. No fresh blood this time though. 

A pulse of Shadowheart’s healing magic surges through me, a touch too harsh considering she is dealing with my brain pan, but I think that can be forgiven given that it sounds like she is reaming the Illithid for all it’s worth. 

“-stupid? Her brain has been scrambled enough. Until she’s stable, kindly shut the fuck up.” 

The silence after is telling. That round of healing must have knocked something back into place though, the dirt comes into sharp focus. I never thought I’d be so happy to see pebbles. I’m less pleased to see the amount of blood and clear liquid that mars the ground and both pairs of knees in my field of view. “Sorry about your pants.”

My speech is still lethargic and ungraceful and I certainly missed the mark on the coy tone I was going for, but the way Gale’s face floods with relief at my coherence feels almost as good as the magic coursing through my veins. 

“My pants? Don’t ever scare me like that again!” The incredulity of his initial statement melts into something of a mix of concern and joy as he cups my face. His eyes betray the fright I put him through though. I wish I had the strength to feel sorry about that but I really can only make room for relief at the moment. “I really thought that was going to be it,” I say thickly before gathering some saliva to spit the fluid in my mouth off to the side. 

“So did we. It was… a lot.” Shadowheart is somewhere behind me. The fear peeks through her usually even cadence. I must have put on quite a show. “Is this clear stuff what I think it is?” I venture and really hope she doesn’t affirm my suspicions. Spinal fluid means something was desperately wrong. I grit my teeth as I wait for a response.

“Y-Yes. I think so at least.” Now she touches me. A gentle hand between my shoulder blades. “You’d think they turned on a hose the way it sprayed out of you, darling.”

The urge to laugh at Astarion’s colorful retelling of the events is a difficult fight, one I lose. I bury it into my shoulder and try to cover it with a cough but the way Gale clucks his tongue at the comment of very poor taste breaks the dam. My reaction cracks a smile on the wizard’s face, however miniscule, though. 

“I’m sorry my love, it’s all just a little absurd,” I say, still gallantly attempting to retain some composure.

“You’re cracking.” 

“Spectacularly.”

Teasing each other in this moment seems entirely irreverent to the fact that I almost just died and that the situation we are in just got a whole lot more grim but the Gods can strike us down for attempting to find some levity. 

Gently I lean forward and rest my head against Gale’s shoulder. I’m fucking tired and I feel lightheaded despite everything Shadowheart has done but there’s very little she can do about that without actual supplies. I’m short a not insubstantial bit of liquid between the blood and the spinal fluid. It certainly looks worse than it is though. We could try a cocktail of potions and elixirs to get me back up to speed but I think I’d rather rest a bit before we try drugging me into fighting shape. Gale’s arms around me feel nice.

“Am I all clear Shadowheart?” I turn to rest my temple on Gale’s clavicle. From this vantage I can see my party gathered around in a tight bunch wearing grim faces of worry. Shadowheart looks exhausted, I likely took quite a bit out of her, but she nods. 

The Emperor floats back over and makes a motion like it’s asking permission to speak, shocking me more than it probably should. But if the psionic link is going to turn my brain to soup then maybe it is best to ask the cleric first before she has to revive me again. Her stern gaze is comforting and promises hell if I end up with more liquid leaking out my nose. 

The psionics aren’t painful per se, they certainly are more uncomfortable than usual. I try not to grimace too much and make Shadowheart call the communication off. Charades are not indicative of good battle plans and I have a feeling reading is only going to make the lingering headache worse. Besides, we really don’t have time.

“The situation is worse than I thought.” I watch Astarion roll his eyes theatrically. He chooses to keep his mouth shut. Smart man. “What you went up against is an Elder Brain no longer. The magic of the crown has caused it to evolve. It has become something more - a Netherbrain.”

“Is that why I took up the role of a garden water feature when I tried to dominate it?” The withering looks I get from my companions are severe. I roll my eyes gently and burrow into Gale’s neck a little more. Try coping with this clusterfuck in a reasonable manner. 

“I wouldn’t have used that turn of phrase but- yes. It unleashed the psionic power back on you. You are lucky I pulled you out of there. We nearly lost everything.”

And reality comes crashing down.

[rebelsofshield]

Star Wars Andor: “Daughter of Ferrix” - Review

The penultimate episode of Andor’s first season sets the pieces for a big finale while also delivering some classic Star Wars spectacle.

Maarva Andor has died. After weeks fighting encroaching illness, a daughter of Ferrix has passed. While her community mourns, Cassian tries to get off Narkina 5 and Luthen Rael fights off the Empire’s increasingly tighter grip.

We are quickly approaching Andor’s seasonal endgame. After a truly phenomenal first season, we only have one episode left before the long wait for season two. Not only do these last two episodes have to stick the landing as a pseudo-conclusion to this story we’ve been following for months now, but they also have to somehow tide us over for the long wait to follow. In that context, “Daughter of Ferrix” spends much of its time laying the groundwork for what looks to be a suitably explosive finale. It’s a tad scattered and unfocused, but it thrills in individual moments and feels like an essential stepping stone in the larger tapestry of Tony Gilroy’s narrative.

The off screen death of Maarva Andor is a subversive plot twist that at first seems jarring. Fiona Shaw is a phenomenal actress and her appearances as Maarva, particularly in the stellar “Announcement,” have been standouts in a show that’s bursting with great performances. To see her pass away off screen with little fanfare almost feels unjust, but in a way that seems to be the point. We haven’t seen Maarva since her and Cassian’s teary goodbye to one another. Like our lead, the audience will never get the chance to see her alive again. It not only feels sadly realistic that this stubborn and intelligent woman would pass away quietly, but it feels thematically important and helps better send the titanic hurt that Cassian feels by missing her last moments.

Maarva’s death hits hard throughout our ensemble, but few embody that grief more than B2EMO. B2, the closest thing Maarva had left to present family, is wracked by a shattering sadness from the very start of “Daughter of Ferrix.” I have always loved that B2 is consistently characterized as a droid whose emotions and personal loyalties are so clearly vocalized. While we can understand that characters like R2-D2 or BB8 have affection for their organic friends and allies, there is something disarming about having a droid express it so plainly and vulnerably. And similarly, it further endears us to the people of Ferrix that they almost all recognize that B2′s grief is legitimate. B2′s status as a feeling being deserving of empathy is never in question and the tenderness that they treat a droid’s emotional health is a surprisingly welcome move.

It also makes sense that Maarva’s death would function as the catalyst that brings so many of our major players back to Ferrix. Cassian may recognize that returning home to attend his mother’s funeral might be a trap, but it’s not like he could miss this ceremony especially after not being present for her passing. Similarly, our various Imperial and antagonistic forces, Deder Meero all the way down to our messy little fascist wannabe Syril Karn know that Cassian has to return to Ferrix. And this isn’t even counting Cinta and Luthen’s other allies. It’s the perfect bit of table setting that puts our different narrative pieces into motion without sacrificing the necessary emotion at their center.

I also appreciate that we finally get some alien characters, even if their role is relatively minor, during Cassian’s final escape from Narkina 5. The large, hairy froglike inhabitants may come across as stereotypical dimwitted monsters at first, but they quickly reveal themselves to be empathetic creatures that have been just as wronged by the Empire. Their planets waters have been poisoned by the Imperial prisons and their plight ignored just like so many other galactic others. It’s a small and strange little scene, but its a fun detail to the universe and finally starts to address some fan concerns regarding this series’ over focus on human characters.

Back on Coruscant, Mon Mothma’s plot is moving a tad slower, but she arguably has the most wrenching scene of the episode. Even as Mon faces the nearly impossible decision of whether to set up an arranged marriage for her daughter Leida with the son of an infamous Chandrilan crime family, Leida drifts further and further into the planet’s historical customs. It’s such a smart and relevant storytelling technique to show how sometimes separation from an ancestral culture can cause people to lionize tradition as an attempt to claim some sort of personal identity. Leida wants to feel like she belongs to something, but as someone who has been raised on Coruscant for most of her life, she doesn’t have the full context of what Chandrilan customs can do, especially to women. It’s both a personal attempt at belonging and a final form of rebellion against a mother she sees as distant and shallow, one who has rejected her traditional lifestyle in exchange for glitzy parties and back alley politics. Genevieve O’Reilly’s quiet heartbreak as she watches Leida braid her hair into the style of an eligible Chandrilan child bride is devastating. It’s a short moment but the emotional wake it leaves is massive and it shows just how much Mon Mothma has at stake and has already given up in her fight for freedom.

But, the sequence that most viewers will likely remember “Daughter of Ferrix” for features Luthen Rael. While Luthen’s tense attempt to convince Saw Gerrera to not join Kryger’s doomed mission is undeniably strong, it is eclipsed by the wonderful moment of spectacle that follows. Cornered by a passing Imperial patrol, Luthen’s Fondor ship unleashes an arsenal of hidden tricks, traps, and weapons on his would be attackers. It feels like the Star Wars equivalent of James Bond’s Aston Martin and there’s a giddy sense of glee at seeing the many ways this unassuming ship is able to turn the tables on the Empire. There’s also a sense of tension and dread in this moment that makes the whole sequence feel earned. It’s not just a cool scene of space combat that feels special in a series that has been light on that form of spectacle so far, but it’s a moment in which Luthen really has to take action into his own hands. It forces the spymaster to step out of the shadows and put his operation in the Empire’s crosshairs in a more direct way than ever. The further the Fondor demonstrates that it’s very much not your standard cargo craft, the more reason the Empire has to take note.

And with that. We have one episode left. We have a lot of storythreads up in the air and it’s hard to tell what exactly Tony Gilroy and his team have planned to finish out this season and what might be left to simmer for a few more years. Regardless, Andor has shown so far that it absolutely knows how to do planting and payoff. I hope and think we are in for something special.

Score: B+

[incompetentmedic]

So I finished watching the last episode of Demon Slayer last night, so here are my thoughts on the entire anime as a whole

[OBVIOUSLY MAJOR SPOILERS AHEAD]

God that ending. Fuck. I don’t think I’ve ever seen a show successfully get me to fucking beg for a dumb bullshit plot armor deus ex machina before. I don’t care if it made no sense I don’t care if it’s bad writing I’m just happy Nezuko survived. And the sheer amount of skill it takes to make me care about a character that much is impressive.

I’m kind of sad that we didn’t get any filler in the latter seasons. I would’ve loved to see how the relationship between the main 4 changed during and after each major arc. Also I want more yaoi moments.

Jar guy’s final form is honestly kinda hot

I could write a whole essay on how effectively the writers utilized unreliable worldbuilding to show us that demons are all evil and Nezuko is the only exception, then slowly lead us to the conclusion that nonviolent demons have always existed and purposely make themselves as invisible as possible. I cannot stress enough how good the worldbuilding in this show is

I appreciate the lengths that the series goes through to humanize it’s villains and show us how the demons are pushed into lives of violence as symptoms of larger systemic issues

That being said, the “sudden backstory montage right before the monster of the week dies” starts to feel a bit lazy after the 10th time they do it. I understand that all these character backstories couldn’t succinctly fit in the first season, but it leaves us with a lot of deaths that could’ve been a lot more impactful if we had been introduced to these characters earlier. I’ll have to read the manga and see if it’s handled better

On the topic of lazy writing, I’m really not a fan of Zenitsu’s whole “sleep transformation” thing. It feels like a gimmicky way to get out of writing character growth

Back to the good stuff now. 52 episodes and the main character does not fall in love with a single person. Aros everywhere are celebrating

When I first heard the premise of the entertainment district arc, that the 3 male main characters disguise themselves as women to infiltrate a brothel, I was completely ready to drop the series. But if I’m being honest, they handled that arc just about perfectly. I obviously can’t speak for the transgender community and maybe I’m just ignorant, but the whole arc seemed pretty supportive of the concept of changing your gender. I’d argue that Zenitsu seemed a lot more happy and fulfilled as a girl than they did as a boy. The series also has one of the best depictions of sex workers I’ve seen on television

Everything in mugen train was literally perfect. I wouldn’t change a single thing about it. I hope whoever wrote that arc gets $750,000,000 in the mail and free gourmet meals forever.

I love Inosuke’s gay ass crush on Tanjiro. King shit

I complained about Zenitsu’s character arc earlier but I must admit his writing in the spider forest mini-arc was fucking phenomenal. We love it when comic relief characters experience personal growth and start to carry serious narrative weight

The way that Nezuko speaks at the very end. She speaks slowly and abruptly. She can only manage a word or two at a time, and even then only simple ones. It takes her 3 whole attempts to say her first word. Its so god damn impactful watching her stumble through speech after spending so long being physically incapable of speaking. I love that scene so much

I really hope we get a season 5. I want to know where tanjiro and Nezuko go from here. Do they stay in the corps? Do they settle down to a peaceful life, now that Nezuko is, in most respects, functionally human? Or is Nezuko not content with her current state, leading them to continue searching for a total cure? How will the more skeptical and conservative hashira react to knowing that Nezuko, who they already consider a liability, is now powerful enough to withstand direct sunlight? How will her relationships with Inosuke and Zenitsu change? All of these questions would be answered if I read the manga but I’m too lazy to do that so I’m gonna have to wait for the next season, if they make one.

Overall this was one of, if not The Best, shonen anime ever made

[mousegard]

As one fic writer to another: what's your approach to revising/editing previous chapters?

Once I'm finished with my current fic, I'm planning on absolutely churning through the first half of it to better match how my style evolved over previous portions (paragraph blocking, dialogue clarity, characterization, character thoughts vs. third-person limited narrative, splitting up longer chapters, etc. etc.). When you edit, do you go for a hammer when revising to "published" chapters, or for a scalpel? Do you ever feel like an "original" version of the work should be left as it is as if it's a physically published bit of fiction, or could/should/can it be modified with impunity by an author given that it's a digital work?

when it comes to revising things, i prefer not to change things up too much. but that's because the fics i write are so goddamn long that even if i wanted to go back and totally rewrite the beginning parts my stamina would give out. the biggest after-the-fact edit i made to an eagle among lions was in changing edelgard's nickname for dimitri from the fandom-created "dima" to the canonical "dee" after the latter was revealed in a datamine leak of three hopes prior to its release. other edits included updating the names of minor characters who weren't named until three hopes came out, such as count bergliez and count varley. i also completely rewrote all of monica's dialogue to better match her characterization in three hopes, but given that she had like less than half a dozen lines across two scenes in the entire fic that was very easy (sorry monica). a few chapters also got renamed here and there, and a handful of continuity errors got fixed and minor plot holes got plugged

i don't think it's useful to get hung up on comparing digital media to physical media when it comes to whether a work "should" be edited because physically published media gets modified after the fact too. anime tv series get touch-ups for the blu-ray release, as will serially published manga chapters when they're collected into tankobon volumes. novels get touched up between editions as well; jrr tolkein went back and revised the part of the hobbit where bilbo meets gollum well after its initial publication to make it fit into the continuity of the lord of the rings. so physical works can be and are modified by their authors with impunity after publication, it's just not as easy as updating a webpage XP

if you have the stomach for it, i think it's a great idea to go back to earlier chapters and edit them to be more consistent with how your writing style has evolved since then. however personally i don't mind seeing somebody's style evolve throughout the story they're telling. for example in jojo's bizarre adventure araki's artstyle shifts midway through part four; in the middle of a chapter even iirc, and it's a little jarring when it happens but being able to see araki's development as an artist as he refines his style adds to the overall charm. and there are plenty of webcomics where you can see the artist's style evolve over time in a similar manner, such as, um, pretty much all of them

[aotopmha]

FFXIV 6.4 spoilers:

MSQ: Some fantastic humour this time around.

Zero and the spice, Estinien and his training and the Loporrits and Zero all made for fantastic light-hearted scenes. (The 6.x patches in general have done really good humour, I think.)

The long talk with Azdaja was a solid pay-off and so were the twists surrounding Golbez – both Zero being a red herring and Zeromus instead being tied to Azdaja.

But I think for any aspect of a story to retain depth, you need to keep introducing new facets to it and while the humour and further exploration of the conflict with Garlemald were solid (in particular I really like how tough the process of "rebuilding" Garlemald is in every sense of the word, as it should be with a nation steeped in such a strong history of imperialism), I think you can really sense how much simpler the writing is in this current section of the story by the end of this patch.

The entirety of the 6.x patch narrative content has been equal parts jarring and welcome after the complexity of the expansion itself, but I think you really feel how much simpler everything is here, especially since I think 6.0 already did a more complex version of these themes.

I really like how the complicated aspects of Garlemald didn't just disappear after 6.0 and how there is still a sense it has a long way to go, but I also feel like it needs more than just asides in patch content to truly have a satisfying conclusion. I think it perhaps at least needs another story section tucked in somewhere in the content? (Perhaps Garlemald restoration?)

It's not uncommon to have simpler versions of the themes in the expansion explored in the patch content, but it always makes you to some extent hope/doubt what comes next would have more depth.

Despite feeling simpler, as a complete whole, I do think this MSQ chunk was very solid, though.

It had just enough spice for the simpler elements to not completely overtake it.

The finale of Pandemonium equally leaned on what I'd argue is the other defining element of Endwalker next to its themes: already existing material.

I'd even argue Endwalker's biggest defining trait for me is probably that its story doesn't really have nearly the same impact on its own as it does in context with what came before it, with the story leaning more into being like A Realm Reborn and Stormblood than Heavensward or Shadowbringers.

(I kind of hope 7.0 will once again be a more self-contained story while setting stuff up in the background like the latter two because I think at this point basically everything that came before has been resolved and continuing to lean on old stuff would simply feel stagnant/tiring/old and also not as compelling anymore. Once again, they are basically back to zero and have to put in the work for it all to pay off 10 years from now.)

I think it's pretty obvious Lahabrea was intended to be the star of Pandemonium and while his character certainly gained some good depth from it, Elidibus is the one I truly ended up invested in spanning the final part of the story because of the history already behind him.

I hated Athena for how she treated her son, but I hated her even more for how she used Themis.

Somehow even little bits of the character of Elidibus are automatically more compelling than Lahabrea.

And truth is, Erichtonios and Lahabrea do end up having complete arcs, which complete the timeloop, they're fine, it's just that I think Themis is better.

Same goes for Athena being an effective villain for the comparatively little time she gets to be on screen.

Lahabrea's positive growth of wanting to take responsibility for his actions and accepting the bad in him in this case made him the Ascian he became, adding this cyclic element to his story. Just like Eric's journey to gaining strength and confidence lead him to sending out the warning about Pandemonium and in turn Athena ended up mattering because of her wishes being tied to them and basically her "inventing" tempering as a result.

But how Elidibus was handled still ended up being the most powerful aspect of the Pandemonium story to me because I think everything we knew about him from the MSQ and the Pandemonium story itself ended up being relevant.

Him as the objective judge, as a character with a very strong sense of justice and duty, a good friend to your character and someone who already had everything taken from him by the Final Days were all aspects that ended up mattering in the conclusion.

In the end, none of the suffering of the ancients was for nothing because all of their actions paved the way to the present. Their struggles mattered because they lead to the current future and I think this is the strongest element of this final bit of story.

So much of this final bit of story was also sort of just listing plot elements. We finally learned what was up with the Heart of Sabik. And as said, we now pretty much have a (I think almost?) full picture of how tempering works and the entire timeloop is as complete as it possibly can be.

But a lot of it was stuck in expositional walls of text. Comparatively, everything surrounding Themis in this final leg of the story felt to me almost entirely about him as a character and his history with the WoL.

It was so surprisingly good to have something like this in something you'd consider a side story, only continuing the trend set by Omega and Eden and the huge amount of other side content.

I'd consider the raid stories in general to be weaker than a lot of the MSQ, but they always at least come together fairly well.

Finally, all of this leads me to the little story bits hinting to what comes next.

First, Erenville is most likely going to be at least a guide character for 7.0, giving us a connection to the new location (which I with 90% certainty think is Meracydia in the south).

Second, the Scions seem to be recieving "letters", we saw one for Krile and Thancred mentioning a client, meaning we might get connections to new locations via them, as well.

Third, related to Y'Shtola's thought process, we might get travel to the First earlier than we think, so Ryne and Gaia will probably play a bigger role in the last two patches, but also might join the adventure in 7.0.

(The entire plot thread leading from the Warring Triad to the ShB role quests to Eden to back to the 13th is an absolute masterstroke of writing to me at this point because it connects disparate-seeming stories so elegantly and naturally.)

And finally, the Heart of Sabik is still there. It wasn't destroyed with Athena.

It was confirmed to be cleansed of her influence, but out of all of these I can't help but feel this one is the start of another long-running plotline and the biggest potential Chekov's Gun.

The big picture stuff is absolutely fantastic here.

And putting everything together, I think this is all super solid narratively, like all of the 6.x patches have been. Not amazing like any of the .3 patches or slow like any of the .1 patches, but simply consistent throughout.

If anything, I'd just continue saying the same thing I've said about the entirety of the 6.x patch story series, that it's super appropriately told story for where we are in the narrative currently: a transition period from an old story arc to a new one that should let you chill a bit while quitely setting up for the future and tying up the final loose ends.

In that sense it has been absolutely fantastic.

[hehosts-moved]

so idk if you have ever talked about this before but do yori and ren's lives ever intersect with each other , like do they feel each other's actions or memories ever ? do people ever mix them up , do they have similar haunts or other such things ? and if so how do they deal with it and how much do they actually know of each other?

this is an amazing question, you're getting me back into the thick of things! so i'll refer to the overall person / character of "ren" as hatanaka to make it a little easier while "ren" and "yori" are basically like characters that hatanaka is playing, but it's hard to say that "ren" or "yori" individually are more "close to" who hatanaka is — they are intentionally kept very separate, but both are very much part of who "hatanaka" is as a person.

ren is the person that hatanaka wishes he could be — not without kyosuke, but having the confidence, being sexy and desirable, flirty, the appeal to others, being "free" with "no strings attached", expressive, even a bit immature at times, yet still "has it all together" ... but being "ren" allows hatanaka to also be the worst parts of himself or indulge in the more flawed characteristics he has such as overindulgence, pride, lust, greed, envy (this trait he shares with "yori" for different reasons, they are insatiably envious), etc.

yori is who hatanaka is in that he is the "father" that hatanaka naturally is. he is very good with children, calm, patient, he's very family oriented, very almost "plain" i would say. but being yori allows hatanaka to not only be the person he was "born as", but also it embodies all of his fears, anxieties, stresses, his complexes and hangups. "yori" will always be attached to "ren" for several main reasons, primarily kyosuke.

while ren doesn't advertise that he is a "hosting father" (he doesn't want to use kyosuke to his advantage, it feels wrong), he still sees "ren" or "himself" as kyosuke's father. it's just that he doesn't want kyosuke to come across this life at all, as a child or adult, and he tells his family that he is a bartender (not the most far-off lie, there is a bar in shining! but ... well, we know better as the audience than that).

their lives begin to intersect generally when a third party member is involved such as hina, for example. she is one of the "first" to start seeing ren as "ren" before their relationship progressed into "yori" territory. she often calls him by either name depending on how she feels. after all, her last name was very briefly hatanaka. other characters do this, too, such as sho (genkigang, the canonical second host to ren and his love interest). sho is what i call a "plot pusher", but that's not all he is. he just has the personality to carry a story forward, whereas yori / ren are keener to "stay the same" in stagnancy. sho is the one that reveals that ren is a father in the MDIAH comic, for example. ren has been hiding his identity as a father for a long time, but it is sho that continues to push the narrative. sho is nosy, but it's very good for a character like ren, thus they do very well together.

sometimes hatanaka has been caught out-and-about by a client from either his time hosting, his escorting, or later (in rp) his time as a rental bf, which is usually a bit jarring as he dresses and looks pretty different in comparison. ren is a suited man, gloves, a tie, slicked-back hair that's styled to the side, nice shoes, a watch, etc. yori is more plain, casual, and fatherly. he often has to "get back in" to his character as "ren", basically saving face, or he'll outright pretend it isn't him if able.

they share all the same memories as ren is not supernaturally endowed in any shape or form, there are a few "things" about him but nothing so substantial it's noticeable if that makes sense? between goro, ji-hun, deng, and ren? ren is the weakest, normal human figure in this unholy square. he is an "investment", he is not necessarily a "player", but he has "player actions" or a "main character" kind of syndrome going on. he is the "main character", after all, but even that? it's more tongue-in-cheek. this is ren / yori's story that is being highlighted, but it's not all about him.

for similar haunts, hatanaka tends to keep his "ren" business to certain locations — snack bars, love hotels, their place, etc. yori does not go to those places, at least not often, and he tries to not cross the same streets so to speak.

hatanaka is basically living almost a "triple" life, but it's primarily a dual-identity thing. day as dad, night as host. but at the end of the day, "ren" and even "yori" as just extensions of a singular man, and that man doesn't really know himself.

if we're going way off into like my twin au for rp, there's a whole lot of its own drama in that regard ddfasgdg but i hope this clears things up !!