#but i do think its good to be aware of where the narratives living in our subconscious come from and who they benefit

[lynnedwardswrites]

Finally started watching the Vox Machina animated series because I was once a Critter, but gave up about 7 episodes in because I just can't handle how simplifying the story into a TV series this way makes it obvious the kind of problematic themes and tropes the story relies on.

I could go on and on about misogyny and supremacy in general but I'll spare you, because I think most people are literate enough about those kinds of issues they can figure that stuff out themselves with a close inspection.

What I *do* want to talk about is how Vox Machina handles religion, because the Pike's-broken-amulet arc was so not-self-aware about real religious issues that it felt like Christian/fundamentalist propaganda (the kind that's often used to support homophobia, for example) and that is super weird for the Critical Role people.

(Fair warning: I only made it to episode 7, so I did not see Pike's return, only how her narrative was set up. I confirmed my suspicions by reading a summary, though, and I did see the original D&D.)

Ok so summary details in brackets, thoughts below:

Pike's magic god-speaking amulet breaks, so she goes to the temple of The Everlight to try to fix it and the already christianity-flavored religious figures are like "Don't worry child, we accept everyone as they are."

Good, great, everything is correct so far, and I mean everything. I don't know a church out there (except perhaps the most violent of homophobic ones) that won't say "we/Jesus accepts everyone as they are." The Mormons (my childhood group) say this, offering a hand of fellowship to absolutely everyone. The thing is that you can *say* you accept people "as they are" as much as you want, but that doesn't mean you actually do. Let's continue, to see what "accepting people as they are" looks like for the Everlight:

Pike says "ok, I think I'm cursed cuz I can't actually perform miracles or talk to god" and then they're like "oh no, honey, it's not a curse. It's because There's Something Wrong With You. You're Broken, that's why god doesn't talk to you."

The rest is implied, but it is confirmed by the story: "But don't worry, because we have the answers. We know what's broken about you or we have the right way for you to figure it out. Follow us and we'll teach you everything you need to know."

So I get that this is D&D and Pike has the literal ability to channel a "divine" being's power, and sure, maybe that literal being has rules about how you have to behave because he's a very controlling MFer. For D&D that's fine, that's whatever. In the real world, the existence of this divine being is under some pretty intense scrutiny right now. And yet, the conversation bracketed above is something that literally happens in the real world.

You go to church and tell your pastor "I just don't know if I believe this stuff is true, I didn't have the powerful experiences you promised I would" and the answer is "well, there must be something wrong with you, then, you must not be pure enough."

You say "I was promised good things if I followed this god's commandments, but nothing has changed in my life. In fact, things are getting worse" and the answer is "well there must be something wrong with you then, you didn't have enough faith."

You say, "I tried to pray the gay away and it didn't work. I'm having a hard time feeling like God and this community love me the way I am" and the answer is "that's just the devil talking. Of course we love you. Keep trying to pray the gay away ("keep trying to become straight," for the normies) because that's the only way you'll be able to feel the love God already has for you."

Hopefully you've picked up the pattern already, but that's the thing about religion and its assumption of being fully, divinely correct all the time. They can make any claims they want ("you'll be happier here!"), even about their own nature and morality ("we accept everyone as they are!") but if something is wrong, something doesn't line up, the answer is *always* "well there must be something wrong with YOU then, because we know we're right."

You can use religion in this way to support any oppressive system or ideology. "We love you, but you're broken and that's why life is hard for you. No, don't question the system. Don't question the gender binary. Don't question capitalism. Don't question us. It's you. You're the broken one."

That's one problem with real-world religions. They often can't keep their promises (or they just push the promises into an afterlife so you have no evidence they're false). Vox Machina plays into and legitimizes the same story. Pike couldn't get the promised reward of her religion because she hadn't molded herself to fit her church's ideals well enough, but once she did, I mean, yeah, superpowers, wow. You could have superpowers too, if you just gave 10% of your income to this megachurch and crushed your naturally fun loving, questioning, joke-making self into a demure puritan loyalist. That's how it works!

"But this is D&D! We're going to assume the promises are all true!" Alright fine. Say you are in the camp of believing the Christian god is just as real to us as the Everlight is to Pike (or if you're in the camp of allowing that some people feel that way and you want to be respectful). Say you believe or allow that maybe religion's promises are true, and asking people to suppress their nature to meet a higher ideal is Good and Reasonable. The problem with Vox Machina's portrayal, the part where all of this becomes problem-atic, is that Pike's narrative stops with "she shoehorned herself into a religious mold and then she was happy" when there are millions and millions of people with lived experiences telling us that that's not how it works.

Because even if the promise of religion happens to pan out for you (you start acting more "straight," say, hiding your gayness, and as a result get more love acceptance being treated with basic dignity from the church members around you), that doesn't mean you wind up so happy to be straight-er. Rather, you end up with deeeeep deep shame about the normal-ass human parts of yourself that religion taught you were wrong. Maybe it's not being gay, maybe it's getting angry sometimes. Maybe it's relationships with friends or family that were "getting in the way" of your spiritual journey (like it was for Pike). You cut all that stuff out to be "worthy" and you end up depressed, anxious, shame-riddled (and heading back to religion to solve a new round of issues; a vicious cycle).

But VM doesn't show that for Pike. They stop at "religious dedication will solve all your problems" and it's fuckin weird to see Critical Role of all people telling that story, and ignoring the stories of people they claim to care about who are going "Um! No actually?" It's weird that they hold up a controlling, god-like authority figure who will let children die rather than heal them because his instrument "doesn't have a friend-religion balance that favors god-worshipping highly enough" as the Good and Great Everlight. It's weird to see Critical Role taking the stance that tolerance means telling the stories that abusers pick for themselves, instead of tolerance making sure that everyone is actually being treated with dignity. It's weird how many otherwise open-minded people are just completely uneducated about the harmful effects of religion when religion is tied so closely to homophobia, racism, misogyny and supremacy of all kinds in this country. It's weird!

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[uriekukistan]

JJK 261 ANALYSIS: What happened, how, why Yuuta made the choice he did, and a discussion of tragedy & major themes of JJK

MAJOR spoilers below the cut so please read at your risk.

i wanted to dissect what happened a bit, and address a few points i saw floating around since the leaks dropped. of course, these are all my interpretations, so feel free to disagree, i just had a lot of thoughts floating around that i wanted to put out for discussion.

I. Gojo was never coming back

first of all, i don't know how you guys expected him to survive bisection. i said this earlier in the day as my justification for why i didn't think gojo was coming back, prior to leaks, and i don't think i can say it any better now.

and this is just my interpretation of reverse curse technique, but if anything, yuuta in this chapter supports my theory. in the scene where he's on shoko's table and arata nitta says that he's used rct to keep the wounds from getting worse, but it might be too late for yuuta to recover. in that case, gojo wasn't coming back from being sliced in half. it's just not possible.

additionally, and this is another thing that i've said for a long time. he says right in episode 6 (i forgot the chapter) that his dream is to reset the jujutsu world raise up a generation of strong students that work together. that is why he became a teacher. this very clearly comes from his relationship with suguru, and it's one of gojo's clearest motivations from the beginning.

the problem is, in order to achieve this, he has to die. so long as satoru gojo is alive, he will have to carry the burden of being the strongest alone. his students won't have to work together, because gojo will just take care of everything. this is already in the works, with how many people have come together to stand against sukuna. if gojo lived and defeated sukuna on his own, this wouldn't have happened, and bringing him back would, again, reduce the need for his students work together.

unfortunately, gojo has been doomed by the narrative from the start, and his primary goal as a character basically requires his death to be realized in its entirety.

II. They're not heroes, they're jujutsu sorcerers.

yeah, i'm stealing megumi's line because it's true. he literally said it twice for a reason, and then yuuta said a repackaged version of it in this chapter ("we're about to fight history's strongest jujutsu sorcerer. if we can win by throwing away our humanity, we shouldn't even be arguing about this").

trust, all the characters are well aware of the ethical issues with taking gojo's body after he's dead, both with what it means for gojo, and with what it means for yuuta. but this isn't a story about heroism, this isn't a story about the power of friendship. if it was, yuuji would have saved junpei all the way back at the beginning of the series. it was pretty clear from the start that this wasn't going to be the typical shounen manga like that.

in fact, expecting it to be is unrealistic. it's unrealistic in real life too, if i'm being so honest. everyone wants to think they'd take the moral high road in this type of situation, but the reality is, when you're fighting tooth and nail against an opponent that is fighting dirty, you have to fight dirty too if you want to win, and i think that's what yuuta is trying to point out in this chapter.

this happens in real life wars which im not gonna get into examples because i dont want to start that kind of discourse, but like...it's so great to be idealistic and hope that virtue will triumph simply because it is virtuous, but i think if you take a look around, you'll realize it's true that good people do not get what they deserve simply because they're good (that's so megumi of me to say...). or if you think of it like a board game, if a player is cheating, it is infinitely harder to win without cheating yourself.

maybe this is a bit pessimistic of me to say, but you will not win a dirty fight without getting dirty yourself, and i think it's pretty clear that sukuna fights dirty.

additionally, it's shitty to see gojo be weaponized, and i understand that, but it plays into the themes about strength in jjk, which i will get into.

III. This was not an "ass pull."

i don't really have much to say to this. did you think yuuta wouldn't take kenjaku's technique? plus, kenjaku being eaten by rika is probably the only surefire way to ensure that they're dead and won't just hop to another body. i've already said why gojo wouldn't come back, but it makes sense that if yuuta were to copy kenjaku's technique, who else would he body hop into, if not gojo? there's already narrative evidence to support this action, from the guidelines of yuuta's technique, kenjaku's technique, and gojo's technique, to the character of yuuta okkotsu, which i want to do an analysis in a separate post for him, so i won't get into that right now.

idk...to me, all the threads connect, plus i felt like yuuta's return was foreshadowed pretty heavily in 259 & 260, with the mention of yuuta's plan that yuuji couldn't know, and then on the last page of 260, the comparison of sukuna and yuuta, so for me, i always thought that it was not actually gojo, but yuuta at the end of 260.

IV. Themes of JJK: The burden of being "the strongest," or even just strong

even many jjk fans see gojo as "the strongest," and nothing more, doing exactly what the narrative sets up as one of the chief problems of jjk. a lot of gojo's actions are spurred on by the burden he feels from being the strongest modern sorcerer. his entire character is built around this problem of the responsibility and burden that falls on someone who's considered to be "the best" at anything.

in fact, this is also a driving point for geto too, and the conflicts geto and gojo come into with each other, as well as geto's inevitable fall from grace. it all comes from this issue that's at the core of jujutsu society. gojo recognizes that, and, as i mentioned, that is why he became a teacher. so that no young sorcerers will feel the burden of being the strongest alone.

the problem is this is easier said than done. after gojo dies, this burden gets passed down to yuuta, and he feels that immense pressure, which is why he decides to do what he does. he says "haven’t we been pushing the burden of being a monster onto gojo-sensei alone? if gojo-sensei is gone, then who else will be the monster? If no one intends to become one, then I will!" and i think this really powerful evidence of the pressure and burden of being the strongest, and i think the word monster is really important here. the burden pushes people to be something they're not, a shadow of their true self.

it distorts morality, like with geto. it isolates people, like with gojo. it forces people to go to unspeakable lengths to uphold their burden, like with yuuta. it leads people with immense power to doubt themselves, like with megumi. it leads people to feel like a cog in the machine, not a human, like with yuuji.

this is sooo so important and a key theme of jjk, and this chapter in particular, and the driving force behind yuuta's actions.

V. Themes in JJK: Loneliness and Isolation

this one has, in my opinion, a bigger role in the story overall than just in this chapter.

as i mentioned before, gojo is lonely. the only person who could understand him was geto, and he turned away from him, and then died. he seems like a silly guy or whatever, but it's just a mask.

but geto also felt alone and isolated, and that's why he turned away. between gojo and geto, neither of them were able to put share the burden of carrying their strength alone, and it's what kept them apart and made their relationship so tragic.

arguably, and though he would never admit it, sukuna is also lonely, though it's buried deep within him and something he will likely never acknowledge, despite it, and his lack of understanding of love (arguably a symptom of his loneliness), are major reasons for the way he acts.

yuuta, though supported by maki, inumaki, and panda in a way that the previously mentioned characters are not, is still isolated. he alone carries the burden of his strength. he was also alone his whole life after rika died, and then again when he was shipped off to africa, away from his friends (yeah he had miguel, maybe i'm missing something, but i dont see them having that type of relationship.

not only that, but yuuta recognizes gojo's loneliness, and reaches out to tell him not to try to stand by himself once again, and gojo admits that's something he can't do, the reason being his relationship with geto.

even further, yuuji and megumi, the parallel to satosugu, are both deeply lonely, except for when they have each other. i mentioned in this analysis that the reason megumi can't just get up and keep going is because he's alone and has been for over a month. i want to get into this more in my next point.

VI. Where I think (hope) this leads for JJK

a satisfying ending for jjk, in my opinion, would be the resolution to this loneliness and burden of strength issue that has been present throughout the narrative. something like yuuji being able to save megumi and them being able to correct what went wrong with satosugu in their own relationship.

personally would like to see satosugu reach the ending they should have had through the itafushi parallels - let them save each other! but i do know gege said only one of them (the trio + gojo) will die, or only one will live....that was years ago maybe he changed his mind :D

we all want to see yuuji take down sukuna himself, but i think it would be a great resolution to see everyone take down sukuna as a team. no one person is alone, no one person has the burden of the strongest. i know i said this wasn't a "power of friendship" manga, and i stand by that, but i think this would be the perfect ending. yuuta throws his humanity away to do what he did in 261 because he felt like it was the only choice and it was something he alone could do, but yuuji represents unwavering humanity (literally his name), and i think to preserve that, they all need to share that burden. let them realize they need each other.

this is what gojo died for, and this is what he lived for. this is why he became a teacher in the first place- to raise a generation that can be strong together, that can support one another.

VII. "It's poorly written torture porn!" "There's no point if there's no happy ending!" etc

i said this in a separate post but tragedies have existed in literature since the 6th century BCE, 2600 years ago. many of the most popular stories throughout history have been tragedies, for example, orpheus & eurydice, romeo & juliet, even things like the fault in our stars and the titanic movie. here's a quick explanation of what it means for a story to be a tragedy (yeah it's from wikipedia but they want me to pay to access the original source and im not doing that for a jjk analysis)

one of things i like most about this definition is the use of the word "catharsis," which is to say that the expression of strong emotions is a way of bringing about renewal and relief. in literature, it's used to say that with the arousal and following release of negative emotions relieves suppressed emotions for the viewer. im not gonna get too personal with it, but i know i've experienced this with jjk.

additionally all of the aforementioned tragedies, they have a message, no matter how sad they are. orpheus & eurydice inspires perseverance and faith in the gods. even something like titanic has messages about everlasting love that overcomes all boundaries. jjk has its message too, and it's long underway. we just have to wait for it to reach its conclusion.

it's easy to lose sight of the bigger picture when we only get one chapter a week, and the fact that the pain is so dragged out is a bit tiring, i'll admit. but that doesn't mean it's bad. having negative emotions stirred by a story doesn't mean bad writing. i mean, i would hope you feel sad. i would hope you feel angry. i would be concerned if you didn't. but given that jjk is a tragedy, that just indicates good writing. especially these last two chapters, i've felt moved in a way nothing else has done for me in a long time.

as always, these are just my thoughts!!! im happy to hear from anyone what they think :D

[cherrytea556]

Lore Rekindled; The Lore Olympus that should have been

To be honest, I checked out the rekindled version before the original one and now having reading the original as well, it's extremely odd. Y'know goodbye volcanic high where the original was a mess but a group of 4chaners made a parody game which turned out to be of better quality than the original? This is like that but replace 4chan with tumblr users, mainly @genericpuff whose series is pinned in their tumblr blog where you can check all of the episodes, especially updated ones. In this post, I will be praising this series of how it fixes the problems of the original

The Pacing

One thing I notice about lore olympus and lore rekindled is the pacing. Not just the flow of the story but where it chooses to focus on. Now in lore olympus, the pacing is kinda a mess and its mainly to do with what it focuses on. An example is the magazine plotpoint; in the original, its basically kinda there in between doses to focus on other stuff like persephone and hades together, persephone's sa (i'll get to that later), eros story, zeus and hera etc...The flow generally isnt that bad per say (except for persephone's sa cuz that was way too quick) but for a story meant to be a romance between hades and persephone, you'd think it idk, it would focus on persephone and hades specifically, not eros which is another example of; its flashbacks. Eros specifically has such a dragged out flashback in episode 12 which we didnt need or at least with that much exposition when it should've naturally expand in the story and that's what rekindled does. The magazine plotline has turned into the first conflict of persephone and hades as we see how it affects their lives and relationships. This works for its pacing better because it doesn't give you too much stuff to jumble with, making the narrative more concise and easier to understand where the story is going. And with the flashbacks, rekindled cuts out the fat in the flashbacks from the original to a perfect balance where it gives exposition of the characters while also leaving mystery for the audience to be intrigued, my favourite one would have to be this (though it more of a nightmare than a flashback specifically speaking);

It's of persephone in a greenhouse her mother placed her in with this red eye thing following her from outside the greenhouse. I have no idea of this lurker if its her metaphorical rage or a danger in her life but either way, i am intrigued by its presentation.

The Characters

When reading lore rekindled and lore olympus, the characters are definetly an odd experience. For lore olympus, the characters arent exactly uh....great per say. I think the main reason for this is how their ultilised, with characters like eros, hera, hectate etc being there to mostly be a matchmaker for hades and persephone even if it was initially seen as wrong like with hera and hectate, be antagonistic as a way to have conflict between hades and persephone like minthe, demeter and recently leuce even if ones had reasons too like minthe with hades emotionally cheating on her and demeter because lets be honest, she had a point. Then there's hades and persephone, whoo boy where to start with them.

Hades starts off as a creep eyeing at persephone during a party, specifically at her body and still lusts persephone even being aware that shes 19 and he's 2000 years old. Also is a shitty boss, father AND contributes to slavery with it while being adressed in some way, doesnt change him which isnt good for a character that's meant to be the main protagonists love interest.

Persephone though, I can get the self insert vibes. From favouritism towards the story, being who most of the men in the story are attracted too, portrayed as a 'cinnamon roll' (they actually said that early on in the story, im not kidding) who cant do no wrong. She acts like a teenager rather than a young adult which makes the scenes where shes sexualised just more uncomfortable (and they already unnecessarily were) along with adding that uncomfortability to the romance

But with rekindled, they expanded on the characters much more than they originally were. Persephone for instance has turned from a 'sexy baby' legal teenager to an actual young relatable adult with agency and allows her to screw up (e.g, getting drunk on her own rather than eros drunking her). Her adult attitude makes the romance between her and hades not only more palpable, but also strays away from the infantilisation/uncomfortable sexualisation of her character which is nice to see. Hades also is written well in the series from how it acknowledges his faults while still making him likable. And thats the same for every character really, their personalities are much more fleshed out and nuanced which makes their characters feel real to life, gaining effectiveness for more emotional scenes with them. An interesting thing too is that they even expanded the magazine guy's character from making fake news for profit into feeling guilt over what they done, standing up for persephone which is a pretty nice change.

No Sa Plotline

Not like you cant have sa in your story ever but if you never planned it from the beginning and only did when people tell you that the scene you drew from your comic was sa then....maybe just not do it. Lore olympus does exactly that where while an attempt was made, it goes on to retcon it into making apollo (the guy who sa'd persephone) into a lesser evil like that would made a difference instead of just cutting it out from the very beginning. Lore rekindled thankfully just made apollo into his pilot version, a shitty bf but more likeable and expanded upon (which should have been his portrayal from day 1). His shittiness doesnt come up in the story, more like self absorbness/egotisticalness although with its recent chapter of the magazine guy offering persephone lunch, it might reveal some cracks or at least further down the story it will be revealed to us which futhers how effective rekindled character writing is in how its expansion of characters would give us the feels. That or portray him as not a good match for persephone, either way much better than the original.

Artstyle

Lore olympus has a pretty good artstyle (at least in s1/the early episodes, s3 is just kinda goofy) but lore rekindled has got a good artstyle which is on top, more consistent too. Here's some examples;

Comedy

It's objectively funnier than lore olympus, no question asked

All in all, if you want to read lore olympus, i recommend you to read the lore rekindled one instead as it's better in every way. Give it a read.

[time-is-restored]

do you guys every think abt death vs immortality as a thoroughline in like. literally all of the mechs albums.

old king cole is explicitly warped by immortality (never to forgive he would eternal live, his hands dyed red by gore - can be read a few ways depending on where u place the emphasis, but at the very least communicates that his wrath is facilitated By his immortality), and the olympians commit attrocities in order to hold onto their wealth and the immortality that it grants them (murdering arachne, yanking heracles' chain the second he tries to go freelance, having a monopoly on the acheron etc). the value they put on immortality and living forever, and the fear they have of ever possibly losing it, has completely warped their morals and priorities.

and while it comes up less in tbi, there's still significant emphasis placed on how odin has been in power for a century (both thor + the narrator bring it up, and there's also an emphasis on how long ago the bifrost project was started, and how 'no one left living' can explain its science). her villain monologue in rangarok iv places the extinction of asgard as an honour - a ruin that no one can possibly rebuild from is called 'apotheosis'. and as she says at the end, the idea that no one can possibly outlive her is a key draw for odin. asgard dies with her.

in hnoc, the only really immortal character is brian (and we only really know that bc of knowledge we get from outside the album), but the axis of life and death as a privilege vs a curse is still very present. 'mordred's gift to Arthur could be love in his own eyes / fating him alone to keep the life to which he clings', not only posits that the gift of survival isn't inherently good + kind (which the audience would immediately recognise as love, not possibly love), but places emphasis on the fact that arthur is now utterly alone. the station's death at the hands of mordred is hardly a happy one ('Its people damned, doomed by a man who's lost all his regrets'), but arthur's fate is arguably worse. severed from the finality and closure of death, what does he become? [insert that one cool theory abt hnoc arthur becoming old king cole here]

it's like. on a meta level, the reason we as fans don't put much emphasis on the depravity + cruelty of the mechs is bc the people portraying the mechs are all charismatic + skilled performers. in live gigs they're all portraying the fun side of their characters - roasting each other, bantering with the audience, making fun of the characters they're singing about, referencing off-screen violence - bc if they portrayed their lore too literally they'd be comitting felonies LMAOOO

but narratively, its like. literally every album is a meditation on the ways that the glorification of immortality can ruin civilisations - can ruin galaxies. whether its rooted in the fear of you specifically dying, or of being outlived, or overpowered or forgotten, or if its done for the sake of someone else's survival... it's all corrosive. if u refuse to accept the indisputable impermanence of life, you lose the ability to value it, and u numb urself to the reality of just how fucked up it is to cut another person's life short for any reason.

like. i do think some of the mechs started as good people, and some of them even might still have ethical standards, but i REALLY cannot stop thinking about how fucking. fascinating it is that this group of immortals who are KNOWN for basically considering nothing but how fun and/or violent any given activity will be, have basically filled their entire discography with songs about how their continued existence is corrosive and brings tragedy + ruin wherever they go.

so how self-aware are they? do you think those old morals + ethics still linger in their mind, when they're writing down these tragedies? they willingly self identify as liars + thieves + bastards, etc etc, and they seem to have no trouble identifying the 'bad guys' in the various albums (ie: humanising snow + cinders + rose, but not king cole), but do those concepts actually mean anything emotionally, or even theoretically, for them all beyond their dramatic potential? do they remember their lives before they were mechanised as it actually happened, or do they remember it as lyrics to a song? is it possible to be entirely self aware abt ur own capacity for violence (as jonny in paticular claims to be), if you no longer relate to violence as anything other than a narrative device - a means to an end, whether comedic or dramatic?

[gatheringbones]

[“The problem is that we have exiled sex in our minds. We have isolated it from the larger inclusive narrative and we have limited its definition to that which serves the most privileged class of protagonists.

I think that this is a symptom of that other habit of treating whole classes of human beings as though their stories do not have the stakes, narrative depth, and complexity typically assigned to dominant protagonists. It is a craft quandary indeed to write yet another sex scene in which a white male protagonist exercises his archetypal masculinity on a secondary, two-dimensional character functioning as a prop in his hero’s journey without any narrative awareness of this exhausted trope.

But to write a sex scene in which that marginalized character is treated with some reverence and depth? To write it from their perspective? Or to write a scene in which a white male character experiences, even in an inchoate way, the deep discomfort that occurs when we act out our erotic story on another body without recognizing its humanity? I’ll repeat the unrule: you can use any words you want.

Here is Eileen Myles, from Inferno, in case you thought comparing a pussy to soup, or using the word crotch, was out of bounds or unsexy:

But after kissing her mouth a little chapped which seemed familiar then feeling her breasts not so large, but nice round and beautiful, familiar breasts, ones I already knew in some way I tugged down her pants. She said Oh. Like a soft amount of light, a small gust of wind. And luckily she had some sweatpants on or something, a stretchy waist. Easy getting them down and there were her lemony legs. Not big not strong, but smooth soft hair like peaches everything that way. Pink rose warm. I just dived down. It couldn’t have been too fast. Time was being so slow and warm. And there it was. A pussy, the singular place on a girl, it’s where I’m going. Wiggly thing, like soup, like a bowl. Another mouth. Like lips between her legs and the taste of it. Piss and fruit. I pressed my face against its bone and it moved. She was letting me. All this was happening. I smelled the future right there, a present and a past. All that went through her, known through the soft sweet flesh of her lips and clit. It was like my face felt loved temporarily […] I felt plunged into a tropical movie in which light was bathing my head and her pussy, her cunt, her crotch was a warm smile and for a moment I lived in her sun.

The revelation here is not that these words can be used in a sex scene, but that a pussy, a cunt, a crotch can be transformed by a sex scene. “Language is never innocent,” Roland Barthes once wrote, and I agree. Here, in the sense that the words pussy, cunt, and crotch all carry the connotative luggage of all their previous contexts—the violence, disgust, and pornographic theater of all the scenes and mouths I’ve heard them in and from. Experience, however, is innocent. This narrator’s sexual reality is so powerful a phenomenon that it washes these words of their previous connotations. Now they mean not a wimp or a bitch or the place on a woman that belongs to a man, but something magnificent and weird, pure and exotic, deeply familiar and erotic—a warm smile, a cosmic body. Just as sweatpants become perfect attire for such a scene, smooth soft hair like peaches, and the actual smell of sex a good one. When they enter this revelatory scene, these degraded words are suddenly imbued with the same reverence as their speaker. To use them is an incontrovertible act of (re)creation.”]

melissa febos, from body work: the radical power of personal narrative, 2022

[no-where-new-hero]

Throwing in my hat into the LMM Rankings ring with...

Favorite LMM Abodes

Top Tier: Homiest Homes I Want to Live In

The Disappointed House (Emily of New Moon). A home you've loved since you were a child but isn't your childhood home but a fantasy of being grown-up and independent. A home you do eventually share with the love of your life. But also a home you got to decorate exactly according to your taste because your wealthy older paramour bank-rolled the operation and understood about the necessity of cupboards. A home haunted by ghosts but they're friendly and familiar ghosts. No, it may not be homey to most, but it is because it so aptly feels like an extension of you.

Patty's Place (Anne of the Island). On the other hand, sometimes you just want to live out a kind of intellectual sapphic eden with some friends and your gal pal and your gal pal's cool aunt and a couple of cats. A home that welcomes men and romance *sometimes* and then the rest of the time it's books and fireplaces and chats and hijinks.

Green Gables (AOGG). This is in the top tier simply because I couldn't bear to put it anywhere else. It's the place where Anne finds herself, finds love and companionship, endures some of her most important experiences.

2nd Tier: Homes I wouldn't mind living in as long as I acclimated to rural life

New Moon (EONM). Emily may love skimming pans for cream and helping Jimmy boil pigs potatoes but such arts are beyond me. At the same time, I'm not afraid of cows. And the garden and graveyard and orchard are manor-house-level accessories these days, so I would feel quite grand living here.

Lantern Hill (Jane of Lantern Hill). At least Jane doesn't farm, and I think I could handle her kitchen providing I had her supply of kitchen gadgets. I have also toasted my face while broiling fish, so I'm aware of the housekeeping hazards.

Cloud of Spruce (Magic for Marigold). This is this high up simply because it's well known for its cats and has a cozy, contented air despite its denizens. It feels less real than LMM's other houses, but everyone dreams of living in a fairy house once in a while.

3rd Tier: Homes that are Characters (so does that mean being in them implicates me in the narrative?)

The Mistawis cottage (The Blue Castle). TBC is a Gothic romance to me simply because of how important the cottage is (though it's also a Bluebeard retelling apparently so!) to Valancy as a person. A little wild, a little reclusive, but open and giving to those it loves. I would love a Blue Castle but I personally could not stand the mosquitoes that would invade off the water.

Silver Bush (Pat of Silver Bush). It's been very well argued that Silver Bush is the love of Pat's life and that Pat exists more as the numen of her house than as a real person. The house gets its own "introducing" chapter, laid out without a character's intermediary. It's huge, overwhelming, a more parasitic version of New Moon.

Tansy Patch (Emily of New Moon). The fact that Teddy comes from a House (unlike Ilse, who just has a house, and Perry, whose Stovepipe Town above is vague and ambiguous) automatically makes him important. He comes from this shadowy place, but do its shadows follow him? And how far?

4th Tier: Picturesque

Ingleside (AOGG). I've seen the real house that Ingleside is based off of, and it's not aesthetically my cup of tea, but I've always thought it would be glorious to grow up in a big rambling, bustling, bursting-with-people house. But it lacks a bit of oomph in the narrative.

Wyther Grange (Emily of New Moon). On the other hand, the Grange packs a punch in its small inclusion. I would like to spend a night in the pigeon-haunted pink room, please and thank you.

Echo Lodge (Anne of Avonlea). The echoes and Miss Lavender seem good company, but I would not be able to hide away there for years and years (I'm always posting on this damn blog).

I know there are more I'm forgetting, but here's what I've got so far. Would love to know other people's rankings too!

[physalian]

On Punishing your Characters with SA

***Trigger warning for discussion of SA in fiction***

Because I am still recovering from the bizarre alternate reality I fell into where “SA is hot and if you were a survivor you’d think so too” is at all an acceptable and defensible stance to take, I want to talk about punishing your characters, and the means through which we go about it.

This post is NOT condemning stories that go “we know this is awful, you’re here because it’s awful, we’re all gonna have a good time with it anyway”. Or, your usual Dead Dove.

This is instead critiquing stories (and their authors) who either think:

SA is kinky

SA is just a run of the mill thing that happens in adult fiction, especially fantasy, it’s par for the course

If you’re a fan of either or both and plan to attempt to justify them, you have been warned, turn back now. My tolerance for harassment about this is at an all-time low.

Disclaimer:

I am not hating on BDSM or a character whose kink is feeling helpless and controlled. BDSM is, after all, consensual, and there’s mutual respect involved. Nor am I hating on a character who is attempting to self-medicate in a harmful way and they and the narrative know it.

Keywords being: Consent, mutual respect, and self-awareness

Which is completely lost in stories that either romanticize SA or toss it in there for shits and giggles and cheap drama.

—

In fantasy in particular, rampant SA is kind of ridiculous and getting worse. It may be for “mature audiences” but often the stuff written for kids and families has more “mature storytelling” in that it can show you horrible things without being gratuitously r*pey. Characters suffer other hardships and get the same point across.

And SA is one on the list of many things in fiction that usually isn’t written with the grim reality of a realistic aftermath. Things like broken bones that heal with supernatural speed, head injuries with cherry-picked symptoms, and grief and mourning.

We don’t want to derail the whole narrative to focus on the nitty gritty recovery period of a one-time event that moves characters from A to B. That’s just how fiction works. They absolutely deserve to be written better with proper awareness and understanding, they’re just not what this post is about.

But SA is different, because it’s often treated like this horrible threat, this scandalous thing…while then not being written with the respect and tact it deserves, written like a character merely got tortured, interchangeable with any other kind of suffering but with ~titillating undertones~.

Because, odds are, the average person won’t ever know what it’s like to be tortured, or suffer debilitating injuries from an accident, or have to live with the long-term disabilities of a major head trauma or coma. But far too many of us do know SA intimately, and the flippant way it’s tossed around in fiction will never sit right with me, especially when it’s romanticized and glorified.

So in short, I’d like authors who toss it on like a garnish to pause and think: Are you prepared to write the consequences of the situations you throw your characters into? If not, then write something else.

There is of course many levels to including SA in fiction, and its importance in the story should be proportional to the effect it has on a character’s arc and how much time is spent discussing with it and dealing with it, as with any element of backstory.

Having it be a distant memory in a side character’s backstory as just A Thing that happened to them years ago should demand, bare minimum, a cracking of that character’s worldview. Otherwise, why is it here? What purpose does it serve other than to be tragic, and why is it SA over straight-up torture or any other tragedy?

If it’s just another incident and this character grew up with or is surrounded by those who take advantage of them (first of all, writer beware, that is a daunting story to tackle) the trauma of this individual event might be insignificant to them in the grand scheme of things, but it should still matter to them and how they see themselves and how they interact with those around them. Otherwise, why is it here? What purpose does it serve other than to be tragic, and why is it SA over straight-up torture or any other tragedy?

And if you’re setting up a character’s first encounter with SA, however horrific it is, or it’s this encounter with this character that makes it unique, and it’s going to be a big moment for them and the story, it had better fucking matter to them once it’s over. Otherwise, why is it here? What purpose does it serve other than to be tragic, and why is it SA over straight-up torture or any other tragedy?

It's a whole different world if this is a Stockholm syndrome story, where it is very, very clear that this relationship is fucked-up, but the character has no idea and they themselves romanticize and glorify their abuser—in those stories, it is understood that they’re an unreliable narrator and that their thoughts on what’s happening do not align with the author’s. (Most of the time. People unironically and uncritically love and want to have relationships like Harley Quinn and the Joker, without having any experience on what it’s actually like, but most of the time the comic writer tries to make it clear that she’s a victim. Most of the time).

—

I have two characters in two different WIPs who suffer this, more than once. A handles it a lot better than B. More time has passed and the perpetrator for A was a clear cut villain, while B's was someone they trusted. Neither spends every waking moment defining themselves by their abuser, but the impact of what happened to them shows up in multifaceted ways.

A is self-conscious about their body, as it still bears marks from that encounter. Some intimate things they used to enjoy or would have enjoyed are now off-limits. Certain conversation topics are triggering. And because everybody knows, they have a permanent reputation they can never escape, hanging over them even when nobody mentions it. They have mostly healed emotionally and have healthy romantic relationships, but it’s not something they’re ever going to forget.

B blames themselves and any chance at physical intimacy is now lost to them, though they were already asexual to begin with. They’ve told no one and anyone who would guess or might know, they’ve lied to, to protect their abuser. The SA happened among other hellish circumstances, when they have nightmares, it’s all tangled up together. But they’re also quiet and kind and thoughtful and you’d never know unless you knew.

Did I have to give SA as a backstory to both characters? No. I didn’t have to, I chose to, understanding the responsibility involved, and for these two characters and how it impacts them, SA can’t be exchanged for any other violence. It’s SA, specifically, that hurt them so badly.

People react to and adapt from and heal from SA in different ways and not everyone all the time suffers daily reminders of it—those two characters don’t—but even something as simple as having that survivor always keeping their door locked, or always having their back to the wall of a room so no one can sneak up behind them, or wearing more layers than necessary, or if they are a little bit shy or skittish or skeptical, at least shows that you, as the author, tried?

You didn’t just write it in a vacuum? You acknowledged that SA is its own kind of horror?

And lastly: If you’re using SA as a way to punish your characters’ choices, whether it’s the narrative punishing them for being painfully naïve and stubborn, the villain who “deserves it”, or a symbolic death of innocence, just please be prepared for pushback from your audience if your message is: There are situations where SA is the victim’s fault and deserved.

You don’t have to spend pages and pages distracting from the plot, but if you’re going to have your character assaulted, you owe it to them to let them hurt and heal.

Otherwise, why is it here?

[itsgirlcraft]

Heyoooo back at it again with my old "dragon!Sabre saves knight!Rainbow from Princess Nightmare" au

Sooo this is from 1/31/2021, apparently. I'll put the first bit from the og fic idea down, bc the second half is just rambling about Sabre's backstory and I wanna talk abt Nightmare tbh.

@woahrarepairsagemare potential sagemare fic incoming? And also @its-indigos you n your man ((Genesis)) wanna join the fic? :)

...

The eldest princess of the Yellow Kingdom was said to live within a hidden castle in the Nightmare Mountains' forest, supposedly performing dark spells and horrifying experiments on not only herself but the people of the Kingdom of Yellow. They will fear the name Nightmare Stevens. And. They. Will. BOW.

Princess Night used to be sane. Some say she was infected with a strange ailment known simply as "The Darkness," which caused her to go mad with power. Others say she was locked away in that void-like ruin of a castle, but why? Was "The Darkness" worse than we thought? Did she get locked away for her safety? Or for ours? Did she do something so horrible I dare not utter another word, that she deserved to be locked up? Or was she never sane in the first place. Perhaps her heart was always dark.

The Kingdoms may never know why, only that Night was no longer an innocent girl who had to be protected. She was scarred. Broken. A force of nature which no man could stand up to. Something that no one will be able Magic and against unless they wished to be dead. Some thought she was a lost cause. Others wanted her dead.

"After all, we all have a dark side, I simply chose to show mine to this useless excuse of a world." The Nightmare whispered as she breathed life into her first Dark Creation. "You shall be known as Dark Steve, and together we shall rule all the Kingdoms," Nightmare cackled as her Corruption Magic gave Dark startling deep blood red eyes against glassy white, hungry. "You shall be my general, and you will command The Soldiers of Darkness as the second-in-command of the Night Terror Army!" the insanity of the isolated princess causing her yellow eyes to finally crack, the light searing her eyes, leaving the once-loved Yellow princess as a mere reflection of her former self. Twisted and broken, she kidnapped a young knight said to have been a Color Kingdoms' Creation destined to end "The Darkness's" reign of chaos with finally stopping Nightmare and her plans for complete and utter rule of the Color Kingdoms, and later the entire MC Realm.

But the Rainbow Knight was far too young to be fighting such a dangerous enemy. He lacked control and understanding of the powerful and dangerous abilities a member of the Color Kingdoms could have, and being a collective Creation between all Colors, he held far more potential than he could imagine. But with great power comes much, much, MUCH longer training sessions, and Rainbow was getting nowhere.

Meanwhile, Nightmare could already destroy chunks of land with her new Darkness fireballs the size of the average Yellow apartment, big enough to house up to 8 people. Not only had the dark princess improved her new Red Kingdom skills quickly, but she could already run from the far end of the Nightmare Mountain range to the other end where the Night Terror Castle stood within 5 minutes! Dark was greatly pleased with the progress his young creator had made on her original abilities, her Yellow-Born powers. The Rainbow Knight and the Nightmare Princess may be similar in mental age, but there was no likeness of one in the other. Neither were aware of each other's saddeningly young age, until the kidnapping came.

...

Ngl, it feels kinda cringe n edgy, but I think I like it that way. It's a good starting point for a revamp. Sooo obviously reworking Night's dialogue and the narrative around her would be good, but I think it could be REALLY good with some Sagemare.

This og version feels kinda mehhh at best in terms of how alive the characters feel, they're one-dimensional at best. I kinda wanna mess around with including Sage as the knight or dragon, but ehh it might work out easier if I just keep Sage separate from that dynamic.

So one key thing here, is that the Steve Realm is both RQ and TSS at the same time, it's very vague. And if I'm including technically SSO for Sagemare, I might as well add in the rest, yknow? I mean that I wanna add dragon!Genesis and dragon!Indigo, too. Because I've got those mcrp designs and like. Why not.

I could get a real bingo with all these series 💀 like Sabre starts off in Assassin's Creed, then we've got RQ/TSS as the MC Realm, then add in SSO and SL for flavor. AND the dimension/kingdom that Sabre comes from feels like a knockoff Cozen kingdom, so we've got AR too.

I feel like drawing some callbacks to AR would do a lot of good in fleshing out all of this, especially the og part after this lil analysis. The Guardian of the Spirit World is the one to send Sabre on his way, but it seems kinda out of place, tho if I wrote it more as a multi-chapter, the pacing would probably fix itself. Maybe mixing some AR in with that would make this 2nd part a little less awkward.

I also think the vagueness doesn't really work well here, especially with the color kingdoms. Exploring how Rainbow/Nightmare's dynamic effects the kingdoms would definitely fix some of the awkwardness as well, and including other dragons besides Sabre.

And here's the second half:

The strange dark gray/green dragon which came to save the Rainbow Knight was not the strongest or the most powerful dragon. In fact, he was not always a dragon. He is a...peculiar case, random curses and hybrid origins and assassin friends litter his past, like one insane plot twist after another. E.S. thought he was human, back in the so-called "True Reality" Realm which he called home. After he and his father were chased by men claiming to simply be guards wanting to collect tax, the young boy's parents were both killed.

Some time after being taken in by assassins, he learned that the men who killed his parents were, in fact, not guards at all. You see, E.S. lived in a world where magic and inhuman beings were real, but were all in the MC Realm or taken away/killed. "True Reality" was called such thanks to mass anti-magic propaganda that said those who were hybrids, cursed, magic etc. were simply monsters or did not exist, and that the MC Realm did not exist. The ones who killed E.S.'s parents were supporters of such, and were like magic police that tried to censor and remove anyone against them and/or were magic.

E.S.'s mother had a family curse, while his father was a hybrid trying to live a normal life. But both caught up to E.S. when his hybrid side began to show and the curse had finally appeared physically. E.S.'s curse caused his eyes to change constantly, cycling through almost human eyes, to animals like cats, snakes, etc., demonic/bloody eyes which could get particularly scary, and code-like patterns which sometimes made him "glitch" with a spike of pain throughout his body.

E.S. discovered this on his 16th birthday, to his horror. Almost a month later, E.S. found white wings growing on his back. Later the feathers continued appearing along his torso, shoulders, neck, and upper arms. That was when he realized his parents were far more interesting than they wanted him to think. They tried so hard to let him live a normal life without their own past ruining it. E.S. began wearing a reddish-brownish dark gray bandanna around his eyes, and his adoptive father made him a special little hoodie which would make an illusion that would hide E.S.'s feathers as a chicken suit.

E.S. continued to wear both as his journey as an assassin continued. That is, until he got a job to kill a particularly nasty man who was deeply obsessed with finding a way to enter the MC Realm. The man had done so many horrid things to other people and their loved ones while exploring the magic of the MC Realm. E.S. got many jobs from different people asking to kill the obsessive man. He was the first target that saw through the magic hoodie and magic bandanna, and the man seemed to recognize E.S. rather than be fearful. He violently took down E.S., plucking out a few feathers as E.S.'s scream of pain was muffled.

Ripping off his bandanna, the crazed man ignored E.S.'s struggles and collected some blood from his crying eyes, murmuring "you are the one, yes yes yes you must be the chosen, I am sorry my winged child but you must fulfill the prophecy, the boy with rainbows for eyes needs your help, you are the only one who can save us from the dark beasts now, the terror queen must die to the dragon within the child of a cursed and the winged one, you must rescue hope from the nightmare my boy."

'How can this thin old man keep me pinned to the ground?!' E.S. was sure there was no way that the man was somehow stronger than him, he is a hybrid after all. Soon something happened while the man was mixing strange things with the blood and feathers. A portal. And not just any portal. The only one to the MC Realm.

"You truly are the chosen one!" the man wheezed, as a strange concoction finished brewing. E.S. could not move, what was this man planning to do to him? Was the job really all a hoax?? How, how was the man keeping E.S. down without touching him?! Why did the portal just appear?!? E.S. barely managed to grab his bandanna before the man slouched over to him, holding the strange bottle. The liquid seemed to shine in the dim light, like a green fire against metallic scales.

"You must take this, my boy. You may be a hybrid, but. You. Will. NOT SURVIVE. Unless you take on the identity of the dragon within you," the man began pouring the liquid on E.S.'s wings as he spoke. It burned. It burned through his veins as some was forced down his throat. His vision went blurry, barely catching a glimpse of his wings. He had no feathers. There was a green shine on them now. The man wheezed in joy as he dragged the panicking young man towards the glittering glitched purple portal.

For a moment, there was kindness in his voice. "I am sorry for all I have done," the man spoke with a softness E.S. had never heard, "I have grown too old to return to the broken MC Realm, please, help them. The Color Kingdoms used to be my home, but now I cannot reunite with my family until the Darkness Age is over. You should be able to get help with returning home once you end the Darkness, mention that The Guardian brought you." And with that, he pushed an oversized iron sword into E.S.'s hands, which were growing sharp black claws. E.S. looked up at the older man, tears in his eyes. "Save them. I wish we had more time but we don't," the man whispered with a sad smile before pushing the rapidly transforming boy through the portal, still clutching the sword.

And thus, E.S. became the dragon sent to save the Colors from the Darkness. He took on the name Sabre, his middle name, as his dragon form. The oversized sword fit perfectly in his new clawed hands, now a glittering purple and blue, almost like a galaxy. The previously empty socket in the handle had what looked to be a star, having fallen long ago. E.S. went on to find the Rainbow Knight, knowing that the two of them were the only ones who could save the Kingdoms. With some help from each Color, of course. He could not do it alone, even if he were the so-called "saviour." The once-human dragon must rescue the young knight from the Nightmare princess, or else all will be lost.

[kurishiri]

18.5 . . . “ a meaningless emotion ”

꒰ ִ ֺ ⊹ @ notice ⊹ ֺ ִ ꒱ this translation may not be 100% accurate or contain creative liberties due to characterization or narrative flow purposes. if you enjoy, please consider reblogging, but don’t repost these or claim these as your own!

— 🤍 his side story, chapter 18. this is one you can purchase on your second play through of his route.

— cw: the very end may be considered suicidal ideation.

Alfons: ...I think I’ve had just about enough of this blasted sob story.

I slipped out of the bed and changed——if I loitered around the castle, running into her would be a pain.

(Today there’ll be some merrymaking happening amongst the eccentric nobility.)

It wasn’t as though I wanted to go out of my way to go there, but it was a perfect way to kill time.

—— Time skip ——

Alfons: Alright then, what shall we bet on next?

Drunken man: I got it! How about this oil painting that my old man said was his most valued one, not that I know anything about it!

Crossdressing woman: Did you steal that? Vincent… huh, who is this? Never heard of him. Isn’t it just a cheap thing?

Alfons: Hehe, I must say it’s quite unlike nobility to worry over the value of the good.

Crossdressing woman: But it’s not so exciting, you know, it’s better to have something that shows its value.

Alfons: Well then… how about I give a dream where “this painting is worth 500 pounds?”

Man smoking a cigar: Oh, that’s a good idea.

Whether it was nobility, drunken people at some street corner of the bar, the orphans at the East End, and what have you, they weren’t so different.

They would find any pleasure they could through gambling, liquor, or sex, so they could live while avoiding their pains and worries.

Drunken nobleman: Hey, Al, is that rumor about you having a recent favorite true?

Noble lady with gloves: Al, you mustn’t become someone’s partner! We need you to stay a star of all single nobles.

Alfons: Yes, yes, such was my intention.

Drunken nobleman: So you say, but your heart’s already taken by that person, isn’t it?

Alfons: Hehe, I digress.

Man smoking a cigar: …Let’s just leave it at that. If we question him any more, he may never come again, and that would sure put us in a bind.

Man smoking a cigar: Even if his heart’s got its sights set on someone, it’s fine as long as he shares some of that pleasure… isn’t that right?

Noble lady with gloves: Well, I suppose. Ahh, I hope my father gives up on matters of my marriage soon…

(‘My heart’s already taken by that person’… huh.)

When I heard those words that seemed to embody the soul of romanticism,

Kate was the one and sole person who came to mind, and for a moment, I felt called out.

——You hurt me so much and leave me in the dust, but now you decide to commit? That’s just cruel…!

At some point, the little robin had made its home within my mind, making an angered face and suddenly turning away.

(Hehe… it’s not as though I’m committing.)

Alfons: Perhaps I do have some guilt left in me… ah, it’s a straight flush.

Drunken man: Al’s win again?!

As I was staring in a daze at the trump cards raining and fluttering down,

just as I had intended, time melted away into idleness.

I ended up drinking through the night until dawn and having a meat pie from a street seller for breakfast, I returned to the castle, and——

Alfons: Oh?

In a stroke of bad luck, I happened upon Roger and Miss Kate walking together.

Kate: Ah... w-welcome back.

Roger: Hey there, Al.

Leaving aside the mentally strong former doctor who, regardless whether he was aware he was being hated on, would initiate a conversation with a light tone and carefree smile,

Miss Kate very obviously looked awkward.

(I can’t even flatter your acting skills.)

She was the complete opposite of me, who had a lot of practice when it came to plastering on a smile.

Alfons: Well I’ll be, are you on your way to a most friendly outing, the two of you?

Kate: Ah, no, we’re...

Roger: What, curiosity got you piqued?

As if to make a point, Roger wrapped his arm around Kate’s shoulder snugly.

Kate: Roger!? What are you doing—

Roger: Alright then, let me fill you in. We’re gonna be spending the whole entire day holed up in a locked room, just the two of us. Let’s get along now, yeah?

(This man needs to get a hobby.)

(I hardly have any intention of hopping on that cheap provocation.)

Alfons: Oh my, is that so? It would appear you’ve found yourself a lovely playmate while I was not around. I’m happy for you, Miss Kate.

Kate: …

I gave a smile to convey I didn’t think anything of it, and Miss Kate, as though hurt, furrowed her brows.

(Aha, you poor soul, you.)

I figured she probably wasn’t clinging to Roger in hopes that he would heal her broken heart.

I knew very well that she was hardly the type to be able to do such things.

Her single-mindedness in facing me no matter how much I refused or hurt her was staunch to be sure.

(And that’s exactly what makes her different from me… I suppose.)

(Well, whether she’ll make it out safely from the basement after being alone with this man is a different story…)

(But it doesn’t have anything to do with me, so.)

The moment I tried to leave, Miss Kate opened her mouth, as though trying to pull me back.

Kate: Alfons..!

Alfons: ? Yes, what is it?

Kate: ...I still very much like you.

Alfons: ...Come again?

Roger: ... (O_O)

It was such a sudden confession of love, I stiffened out of instinct.

(………Has she gone bonkers?)

(You do know I’m the man who played your feelings of love, and to top it all off, told you it was all a ‘nuisance’ and left the bed, right?)

And yet she still insisted on pouring these dazzling words on me; what else could I think her as, if not crazy?

Kate: Even if this all amounts to a nuisance to you... this is the ‘truth’ for me, so.

Alfons: .........

(Ah, now I’ve done it. This should be the part where I laugh it all off.)

I needed to make her think that, no matter how earnestly she threw her feelings at me, they would never get through, so she could give up on me.

(So that these feelings of love she holds for me amounts to nothing but garbage…)

(I need to laugh at her, to deny her——)

My mind knew that, and yet for some reason, my lips couldn’t form a smile.

Kate: Okay, we’re going, Roger.

Miss Kate, seeming as though she wanted to run from my silence, ran down the staircase leading to the basement.

Roger: Pfft, haha... I feel like I haven’t seen you so dumbfounded in forever.

As Kate’s footsteps grew more distant, I heard an unpleasant laughter.

I hated how this man would not seem to pay any mind to the feelings of others like that.

Alfons: ...Oh, believe me, she is far from the first who’s rendered me so positively dumbfounded like this.

Roger: Hmm? So is it safe to say she’s no different than anyone else to you then?

R: Because if so, I may or may not end up stealing her away for real.

While slowly turning for the staircase, those egoistic lips showed a provoking smile.

Roger: After all, it’s not like you’d really care what happens to a toy you don’t need anymore, right?

Alfons: ………

Perhaps the reason I felt displeasure rise up from within me was because the one before me was a man filled with haughty arrogance.

Or was it because she was the one getting stolen?

(Whichever it is, I shouldn’t care for the answer.)

(Because, in any case, I didn’t have such a choice to step even further into her life to find the reason for this temporary displeasure.)

If that was the case, thinking on it was foolish. And yet——

Her lips, which were trembling as she declared how she ‘still liked me,’

the palms of her hands, which were gripped tightly together as though grasping onto courage,

and those eyes that looked so directly at me, as if to say to not misunderstand,

were all engraved into the back of my mind, refusing to let go.

The heavy footsteps going down the staircase grated on my ears, severely so.

For the feeling of a favorite toy being stolen away, it felt extremely bitter.

(Is this… jealousy? Me, of all people? But, how?)

The notion of getting something I said I didn’t need taken away, and then still feeling displeased over it and whatnot, was much like a child’s selfishness.

And besides——

(…The most I was able to do was imitate love, feeling nothing but emotional disconnect.)

Alfons: …I suppose the biggest mystery to one is themself.

Labeling the jealousy I felt that bubbled up from somewhere in me as ‘meaningless,’ I threw it behind me.

Thinking on it more would only make my helplessness more clear than it already was.

Hoping to idle the time away, I walked to my room, when all of a sudden, a certain question came to mind.

(Come to think of it, if they’re not doing anything shady, then what in the world are those two doing in the basement…?)

For a moment, I felt a sense of unease.

Miss Kate, who had said she ‘still liked me,’

was with Roger, the one who spouted off some nonsense about ‘changing fates’ and whatnot,

and they were in the basement, where a lot of documents concerning ‘Cursed ones’ were abundant, which would mean…

Alfons: …Now that just can’t be. She wouldn’t be so much a fool as to not know when to not give up, would she.

I denied it with my voice, but my chest got more and more filled with that uneasy feeling.

(What if, even after I pushed her away this far, it was already too late?)

(What if she poured even more of her feelings into me, continuing to spend more time with me——?)

Alfons: …Should that time ever come,

A: Perhaps I should simply up and disappear, just like that.

← back next →

masterlist🪞 ╱ ko-fi ☕️ ╱ comms 🤍

NOTE: this is the last his side story i will translate, and the last chapter i will translate concerning alfons main story. thank you for accompanying me so long in this translation, to those who have read it all! it really means a lot to me! i enjoy translating for al lots, and i hope that came through as you were reading overall 🥹🙏

to those who will be reading his route in en, i hope you enjoy what this roller coaster of a route has to offer! theres a lot of complexities woven into his route thats sure give you something to think about. i translated this last chapter to close off the project, putting in my best wishes for you 🫶

i have heard from those who have read what i did for elbies main story that reading my tl has helped enhance their reading experience in en, and i hope this can do the same for you! or if you cant afford the premium stories or dont want to grind for these his side stories, i hope i could provide a way for you to access them more freely. again, thank you to everyone who has supported me, read my tls, interacted with these posts, etc.

its largely thanks to you that i can close this project and look back on it with positive memories! 🪞🤍✨

꒰ ִ ֺ ⊹ @ tags🏷️ ⊹ ֺ ִ ꒱ @drachonia

[rayroseu]

This line is making me sad akjdkakdks its making me imagine that once Malleus sees that his overblot causes pain rather than making the people of his life happy... he'll realize that "he is no good as a king at all since he harmed his people"😭😭

"Seeing you all worry helped me calm down..." ARGHH IT MAKES ME THINK OF THE SCENE WHERE HE SAW HOW ANGUISHED SILVER WAS ABOUT LILIA'S DEPARTURE... Like... I CANT??😭😭 HE'S SO CARING ABOUT THE HAPPINESS OF OTHERS BECAUSE THATS AN EMOTION HE RARELY FELT SO HE VIEWS IT AS THE MOST PRECIOUS FEELING ??

but sadness and partings and goodbyes..."harms happiness", thats why he just created a world where it never exists... He's not just doing it for his own desires KSJAKDJWKD plus if "all dreams come true" none of the previous overblots wouldve occured and they'll live a peaceful life... but living that way would stagnate their growth... they'll be living the same life repeatedly without any improvements towards themselves

that's why even if Malleus' overblot stems from a good intention, his vision is not applicable to a human life as we all require growing up, overcoming hardships, admitting our mistakes and developing out from that... Those painful feelings are what makes a human life more meaningful and allows a person to give themselves a genuine good life. 🥲🥲🥲

But Malleus who's still in the state of "learning to be human", he cannot naturally perceive that kind of moral.

I just hope that after Book 7 there's no narrative implication that Malleus' coping was flat out purely wrong lol Bcs as Yuu said, everyone wishes they won't lose anyone important to them either...

Going back to the fact that he feels responsible for the happiness of others... I think Malleus lives his life very literally...

I think it was Lilia who said this...(?) That Malleus' power (or the Draconia's power in general) gives happiness to the people of Briar Valley (as their power can protect the dark faes) 🥲✨

Maybe this is the reason why he's "so desperate" in keeping the happiness of others and also giving them blessings that'll surely make them happy...

Okay separate theory... Maybe I'm just overthinking lol But the occurence of "falling" in TWST is so fascinating to me since thats a heavy reference to "Alice Falling In Wonderland" yk

Book 6 we already had Idia falling to the Underworld because he wants to follow Ortho, There's this implication that Overblots "falling to a deep sleep/darkness" thats why all overblotees "wakes up after their own overblot... I wonder if Overblot Malleus will take a fall as well??? His overblot title is "The King of Abyss" but I doubt that the "timeless Sage Island" is the abyss yk? What if we actually learn about the origin of Overblots through Malleus Overblot?

Because in the trailer we can see him snapping out in awareness(waking up) before he's trapped in thorns in what seems to be an Abyss--- So maybe, we won't defeat Malleus Overblot bcs he'll wake up from it (presumeably once he realizes that his overblot caused Lilia and the others pain???) but him breaking his overblot wont be possible bcs the "darkness" will engulf him of smth

I'm thinking of this because the existence of Overblot is so weird. General Lilia should've recognized the blot when it was taking Silver because of his despair since before Leona's overblot, he knew the vibes of whats occuring yk and same thing with Malleus with how he knew that he's planning to overblot, plus he knows the existence of STYX whos focused on overblot too

But strangely, the mages of the past (Meleanor and Knight of Dawn even Lilia and Baul) dont seem to possess any magic limitations concerning blot accumulation, additionally they dont even have magestones (that they use to gauge their blot consumption like NRC pens). Which makes me think that "blot or overblot" was not a "trait" that existed naturally in mages???

Since TWST world's history is implied to be changed... I wonder if blot existence was something that "a being" made up/cursed upon all mages lol

Idk where Im going with this tbhhhh ajsjaj but I just think its suspicious that only human magicians is heavily concerned with blot accumulation... whereas Malleus and Lilia never worries about using magic too much...

So wild guess, maybe Maleficia (since shes the only powerful person here lol) cursed "magic in general" so humans will never be on par with fae's magical abilities no matter how hard they develop it

Ig its to never repeat the "occurence of another Knight of Dawn" who's magic is even stronger than faes since he has no limitation so she created blot to curse humans to limit their magic else they'll fall into "darkness" idk

[on-leatheredwings]

i've found your account only a few days ago but ever since then I've been STUCK here rereading your fanfics, especially ones with damian. i wasn't even a dc fan (heard about some stuf, watched some films and cartoons, but that's it) but now im reading comics since im Obsessed and need more batboys in my life (rip my productivity😔)

Anyway, after Sleepover i'm curious what will Bruce (and maybe even Thalia) think of batboys strange behaviour towards reader. He's smart, so he definitely notices it early on, but how he'll react....

I can see him being weirded out (like he was by Jason's anger issues, before his death), but he also can be an enabler, since Robin (literaly any of them) had a hard life, so if those relationships can help him why not pretend that everything is normal? you'll be safer in a Wayne's Manor anyway

All in all, thanks for a new hyperfixation 💞💞

P.s. About games:

1. Boyfriend to death 1&2 - since you're into yanderes you might want to check this game out. I prefer the second game, but the first is also fun. But beware the trigger warnings!!

2. Long live the Queen - more of a raising sim than dating sim but you still can romance some guys and girls.

,3. Hatoful Boyfriend - mostly a comedy, but there is a yandere.

4. The Royal Trap - it's been a long time since i played it, but it used to be one of my favorites so i'll just mention it.

5. Higurashi - once again not really a romance sim, but its an interesting horror mixed with a slice of life

;A; AWWWW THANK YOU IM SO HAPPY YOU LIKE MY STUFF.... THAT MAKES ONE OF US GIJSDOFAFGHFOJDSD

and yes yes get into DC!!! (girl who hasnt even read a full run since like. injustice)

damn now you got me thinking and excited. incoming spiel

i agree entirely about bruce just knowing how Bad things can get, so to make things simpler, he's like "yes, your darling(s) can stay in the manor, boys. 🙄"

mmm yes..... when it comes to bruce noticing the batboys are yandere, i think it's always sinfully delightful to just have him be reluctantly okay with it. 😈 it's also easier narratively ngl but i also like the idea that the batfam is all just corrupted.

bruce's thoughts are that they (his sons) fight for vengeance and justice but this is where they could use some leeway.... we all need our vice... they fight so hard for gotham, they deserve a little treat (getting rid of your human rights)... it's very "Dad who wants his sons to have happiness even if its not healthy" of him. in fics where bruce is a yandere, well, he's the exact same way so he can't judge. although if that's the case, i like the idea of bruce just being like "yes what we do isn't right. let's not talk about it. just don't kill <3"

still wondering what i like more. a yan!bruce who's self aware what he's doing is wrong but he just refuses to think about it. or a yan!bruce that justifies it all because of his paranoia, Tower of Babel style (if you don't know, that's when it's revealed batman has plans to subdue/kill the justice league just in case they go rogue.)

for the batboys depends on their personality... for damian, he's so resolute in things that i prefer when he just believes 100% what he's doing is okay, if not actually righteous. ^_^

hmmm talia.... I'M STILL UNSURE HOW I PREFER THAT AS WELL... i think talia being a you-arent-good-enough-for-my-son mom is a little cliche but also. she kinda would say that. you'd have to prove your worth somehow but idk how tf darling would do that LOL. in the end, i think talia is just relieved/comforted that her son indeed feels desire and wants love and will continue the family legacy (regardless if youre afab/can biologically have children.)

no THANK YOU FOR THE ASK!!! AND THANKS FOR RECS!!!! heheh yeah ive checked out btd and im not averse to the warnings its more like im not that most of into the designs ngl. fox guy seems cute? AND LMAO FUNNY BC IM ON A HIGURASHI REWATCH (never played it tho)

[linkspooky]

Bohman is a good character you guys are just mean

Yu-Gi-Oh Vrains is one of the better received spinoff series. Though, like any of the Yu-Gi-Oh spinoffs it's not without its faults. Usually I'm the first to admit the flaws in my favorite silly card game shows, even while I myself take them way too seriously. However, there's one common criticism I can't bring myself to agree with.

That is calling the main antagonist of the second season Bohman "boring" or "badly written." I've noticed fans unfairly blame Bohman for season 2's writing flaws.

Forget for a moment about whether or not you find Bohman's stoic attitude interesting or likable. If you look at characters not as people, but as narrative tools the author uses to say something about the story's themes then Bohman has a lot to say about VRAINS cyberpunk themes.

Cyberpunk is a subgenre of science fiction that tends to focus on "low-life and high-tech." As I like to put it, in Cyberpunk settings technology has greatly advanced while society itself lags behind unable to keep pace with the rate at which technology changes. Yu Gi Oh 5Ds is an example of a cyberpunk dystopia because despite having what is essentially access to free energy, and living in a society with highly advanced technology resources are hoarded by the wealthy and an unnecessary social class divide still exists.

In other words technology changes quickly while humans tend to remain the same.

The central conflict for all three seasons of Vrains are actually based on this very cyberpunk notion. That technology changes, updates, and becomes obsolete at a rate too fast for humans to ever adapt to. For Vrains, the conflict is whether humans can ever coexist with an artificial intelligence they created that can grow and change faster than they can keep up with.

This is well-tread ground in science fiction. The idea itself most likely emerged from I,robot. A science fiction book that is a collection of dirty stories that details a fictional history showing robots growing slowly advanced over time. The framing device is that a journalist is interviewing a "robopsychologist" an expert in the field of analyzing how robots think in their positronic brains.

One of the major themes of the book is despite the fact that robots are 1 - intelligent and 2 - designed by humans, they don't think the same way humans do. Hence why a robopsychologist is needed in the first place. One of the short stories is the first appearance of Asimov's three laws of robotics.

The First Law: A robot may not injure a human being or, through inaction, allow a human being to come to harm.

The Second Law: A robot must obey the orders given it by human beings except where such orders would conflict with the First Law.

The Third Law: A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

This is just one example. A robot no matter how intelligent it is will be required to think in terms of these three laws, because robots aren't biological, they're programmed to think in pre-determined patterns.

Of course clever enough artificial intelligences are capable of finding loopholes that get around the three laws, but even then they're still forced to think of every action in terms of the three laws.

Robots and humans are both intelligent, but if AI ever becomes self aware it will 1) be able to process information better than any other human can and 2) think differently from humans on a fundamental.

Vrains is themed more than anything else around "robo psychology" or trying to understand the ways in how the Ignis think and how that's different from it's human characters.

Robo-Psychology is actually a common reocurring theme. "DO ANDROIDS DREAM OF ELECTRIC SHEEP?" fearless artificial humans known as Replicants who need an empathy test known as the voight kampff test to distinguish them from human beings.

There are other Cyberpunk elements in Vrains. There's a big virtual world where everyone can appear as custom designed avatars, that's taken from Snow Crash or of the most famous and genre defining cyberpunk novels. There's a big rich mega conglomerate that's being opposed by a group of hackers.

However, the central question is whether humans and AI can coexist in spite of the fact that AI are much smarter and evolve faster than us.

Revolver's father believes the Ignis must be destroyed in order to avoid a possible technological singularity in the future.

The technological singularity—or simply the singularity[1]—is a future point in time at which technological growth becomes uncontrollable.  According to the most popular version of the singularity hypothesis an upgradable artificial intelligence will eventually enter a positive feedback loop of self-improvement cycles, each new and more intelligent generation appearing more and more rapidly, causing a rapid increase ("explosion") in intelligence that surpasses anything humans can make.

Basically your computer is smarter than you, but your computer isn't self aware. It needs you to tell it what to do. Artificial intelligence already exists but it's programmed by humans, it doesn't program itself. The technological singularity proposes that eventually a self aware ai, will be able to program itself and improve upon it's own programming- therefore ridding itself of the need of it's human programmers.

This is what leads us to Bohman, an AI designed by another AI.

THE THIRD LAW

Before digging into Bohman let's take a minute to discuss his creator. Lightning was one of the six Ignis, created by Dr. Kogami through the Hanoi Project.

The Hanoi project involved forcing six children to duel in a virtual arena repeatedly, and using the data collected from that experiment to improve the AI they were working on, creating what became known as the Ignis. However, after Dr. Kogami ran several simulations and found that the Ignis would one day be a threat to the humans that created them Hakase decided instead to try destroying the Ignis before that future ever came to pass.

We later learn that this isn't the complete story.

Kogami and Lightning both ran simulations of the future when the Ignis were in their infancy. Kogami's simulations showed him the Ignis would inevitably go to war with humans. Lighting however, ran more in-depth simulations and found that he was the one that was corrupting the data set. If you ran simulations of the five ignis without him, then the projected futures were all in the green, but any simulation with Lightning counted as a part of the group projected a negative future for both humans and AI.

Which means that if Kogami knew that the bug in the program was Lightning, he'd likely respond by just getting rid of Lighting and letting the rest of the Ignis live on as originally intended.

This is where the third law comes into play - a robot must protect its own existence as long as it does not interfere with the first and second law.

Now, I don't think Kogami used the three laws exactly, but artificial intelligences are programmed in certain ways, and Lightning was likely programmed to preserve itself.

Even a human in Lighting's situation would be driven to act as they did. Imagine you're in a group of six people, and you fid out that YOU'RE THE PROBLEM. That if they removed you, everything else would be fine. Wouldn't you be afraid of your creator turning against you? Of your friends turning against you and nobody taking your side?

Lightning is a bit of a self-fulfilling prophecy. Ai asks him at one point why he went so far as to destroy their safe-haven, lie and said the humans did it and pick a fight with the humans himself, something that might have been avoided if they'd just stayed in hiding. It seems that Lightning is just defective as his creator declared him, but you have to remember he's an AI programmed to think in absolutes. AI, the most humanlike and spontaneous of the AIs ends up making nearly the exact same choices as Lightning when looking at his simulations later on - because they're character foils. As different as they may seem they still think differently from humans.

When Ai explains why he made his decisions based around lighting's simulation, he tells Playmaker that he can't dismiss or ignore the simulation or hope for the best the way Playmaker can because he is data, he thinks in simulations and processes.

AI even admits to feeling the same feelings of self-preservation that Lightning did.

While Lightning may seem selfish, he's selfish in the fact that he's thinking of his own survival above all else. He's afraid of 1) his creators turning against him, and 2) his fellow Ignis turning against him.

To solve the first he decides to make a plan to wipe out his creators. To solve the second, he needs every ignis on his side when he goes to war. The first thing he does is destroy their safe haven and frame the humans for it so the Ignis are more inclined to take his side. He's so afraid of his fellow ignis turning against him he even completely reprograms one of them - a step he doesn't take with the others, he just imprisons Aqua. He probably thought having one more ally would make it more likely for the others to pick his side.

Every step he takes is a roundabout way of ensuring his survival and the other ignis- eve when he actually goes to war with the other ignis he intended on letting them survive. Though his definition of survival (fusing with Bohman) was different than theirs.

So Lightning seems to be working out of an inferiority complex, but what he's really afraid of is that his inferiority makes him expendable.

At that point you have to wonder, what does death mean exactly to a being who is otherwise immortal? Ignis won't die of age, they'll only die if they're captured and have their data stripped apart or corrupted. Kogami made an immortal being afraid to die.

Some part of me thinks though that even after taking all these steps to preserve themselves, the simulations were so convincing that Lighting accepted their death as inevitable. Which is why they made Bohman, to find some way for them to keep on living afterwards.

After all AI are data, ad having their data saved in Bohman is still a form of living by Lightning's definition.

Ghost in The Shell

Bohman is the singularity. He's an AI designed by another AI to improve upon itself. Unlike the rest of the Ignis who were copied off of traumatized chidlren, Lightning basically made him from scratch.

Ghost in the Sell is a famous anime cyberpunk movie directed by Mamoru Oshii. The title comes from "Ghost in the Machine" a term originally used to describe and critique the mind existing alongside and separate from the body. Whereas in the movie the "Ghost" is the huma consciousness, while the "shell" is a cybernetic body.

The protagonist of Ghost in the Shell is Major Motoko Kusanagi, a human that is 99% cyborg at this point, a human brain residing in a completely mechanical body. The movie opens up with a hacker namd PUppet Master who is capable of "ghost-hacking" which is a form of hacking that completely modifies the victim's memories utterly convincing them of their false memories.

There's a famous scene in the movie where a man tells the police about his wife and daughter, only to be told that he's a bachelor who lives alone and he's never had a wife and daughter. Even after the truth is revealed to him, the fake memories are still there in his brain along with the correct ones. Technology is so advanced at this point that digital memories (hacked memories) are able to be manipulated, and seem more real than an analog reality.

Anyway, guess what happens to Bohman twice?

Bohman gets his memories completely rewritten twice. The first time he believes he's a person looking for his lost memories, the second time he thinks he's the real playmaker ripped out of his body, and playmaker is the copy. He's utterly convinced of these realities both time, because Bohman is entirely digital - and simulations are reality, and so simulated memories are just the same as real memories.

I think part of the reason that people find Bohman boring is because he's a little strange conceptually to wrap your head around, as an AI produced AI he's the farthest from behind human. If you use the ghost in the shell example I just gave you though - imagine being utterly convinced that you had a loving wife and daughter only to find out in a police interrogation room you're a single man living in a shitty apartment. imagine after the fact you still remember that they are real, even though you know they're not.

That's the weird space Bohman exists in for most of Season 2 when he's searching for himself. He's an AI designed by an AI so he can be rewritten at any time according to Lightning's whim until Lighting decides he's done cooking.

The Ignis at least interacted with the real world because they were copy pasted from traumatized children, but all Bohman is is data. So, why would he see absorbing human memories into himself and converting them into data as killing them? He is data after all, and he is alive. He has gone through the process of having his own memories rewritten multiple times, and he's fine with it b/c he's data.

Nothing for Bohman is real, everything is programmed so of course he thinks saving other people as data is just fine. He even offers to do the same thing to Playmaker that was done to him.

If Lightning is following the path of self-preservation however, Bohman is following his program to preserve everything in the world by merging with it.

His ideas also follow the idea of transhumanism: the theory that science and technology can help human beings develop beyod what is physically and mentally possible. That technology exists to blur the boundaries of humanity, and what humans are capable of.

Ghost in the Shell isn't just a work of cyberpunk, it's a transhumanist piece. Motoko Kusanagi is a character who has had so many of her human parts replaced with mechanical ones she even posits at one point it's possible for her to simply have been an android that was tricked into thinking it was human with false memories just like Bohman, and she has no real way of knowing for sure. The only biological part of her his her brain after all in a cold mechanical shell.

Bato, who represents the humanist perspective in this movie basically tells Motoko in that scenario it wouldn't matter if she was a machine. If everyone still treats her as human then what's the difference? His views are probably the closest to the humanist views that Playmaker represents in VRAINS.

Motoko Kusanagi meets her complete and total opposite, a ghost in the machine so to speak. The Puppet Master turns out to be an artificial intelligence that has become completely self-aware and is currently living in the network.

The Puppet Master much like Lightning, and later Bohman is gripping with the philosophical conundrum of mortality. In the final scene of the movie, The Puppet Master who wants to be more like all other biological matter on earth asks Motoko to fuse with him, so the two of them can reproduce and create something entirely new. The Puppet Master likens this to the way that biological beings reproduce.

Bohman like The Puppetmaster thinks that merging will fix something that's incomplete inside of him because he's so disconnected from all the biological processes of life. Bohman doesn't have anything except for which Lightning already prepared for him or programmed into him. I mean imagine being a being that can have his memories reprogrammed on the net, that in itself is existentially horrifying. It's only natural he wouldn't feel connected to anything.

Motoko accepts the Puppetmaster's proposal. Playmaker rejects Bohman's proposal. I don't think there's a right answer here, because it's speculative fiction, it's a "What if?" for two different paths people can take in the future.

However, in Bohman's case I don't think he was truly doing what he wanted. Puppet Master became self aware and sought his own answers by breaking free from his programming. Bohman thought he was superior to the Ignis, but in the end he was just following what Lightning programmed him to do. He'd had his identity programmed and reprogrammed so many times, he didn't think of what he wanted until he was on the brink of defeat by playmaker and then it was too late.

When Playmaker defeats him all he thinks about is time spent together with Haru, with the two of them as individuals. Something he can no longer do anymore now that he's absorbed Haru as data, and something that he misses.

He's not even all that sad or horrified at the prospect of death as Lightning was, and he even finds solace in the thought of going to oblivion with Haru, because if he were to keep living it'd be without Haru. In other words the one genuine bond he made with someone else by spending time with them as an individual was more important than his objective of fusing with all of humanity - which he believed was also bonding with them.

This is really important too, because it sets up the Yusaku's rejection of fusing with Ai. Yusaku's reasoning has already been demonstrated to be the case with Bohman and Haru. Bohman was perfectly happy being two individuals, as long as he had a bond with his brother. When he ascended into a higher being he lost that. Ai and Yusaku might solve loneliness in a way by merging together into a higher being, they might even last forever that way, but they'd lose something too.

Once again the problem with AIs is that they think in absolutes. That's important to understanding Lightning, Bohman and even Ai's later actions. Lightning can't stand any percentage chance that he might die, so he kills the professor, destroys the ignis homeworld, pulls the trigger to start humanity himself, he even reprograms his own allies all to give himself some sense of control.

Bohman's entire existence is outside of his control. He's rewritten twice onscreen, probably more than that, and he thinks merging with humanity is the thing that will give him that control - by ascending into a higher being than humanity. However, the temporary bond Bohman had with his brother Haru, was actually what he valued the most all along. Moreso than the idea of fusing with humanity forever.

Even Motoko making the choice to go with the transhumanist option is something that's not portrayed as 100% the right choice. Ghost in the Shell has a sequel that portrays the depression and isolation of Bato, the Major's closest friend and attachment to her humanity after she made the decision to fuse together with Puppet Master. In that case, just like Playmaker said to Ai, even if she ascended to a higher form, and even if she might last forever now on the network, something precious was lost. Motoko may exist somewhere on the netowrk but for Batoto his friend is gone.

Ai exhibits the same flaw as the previous two, he ca only think in absolutes, he can't stand even a 1% chance that Playmaker might choose to sacrifice himself for Ai and die, so he decides to take the choice entirely out of Playmaker's hands. However, no matter what Ai would have lost Playmaker one day, because all bonds are temporary. It's just Ai wanted to have that sense of control, so he chose to self-destruct and take that agency and free choice away from Playmaker.

It's a tragedy that repeats three times. Ai too just like Bohman, spends his last moments thinking about what was most precious to him was the bond he formed with playmaker, as temporary as it was. A tragedy that arises from the inability of the Ais to break away from the way they're programmed to think in simulations and data, even when they're shown to be capable of forming bonds based on empathy with others.

All three of them add something to the themes of artificial intelligence, and transhumanism that are in play at Vrains and none of them are boring because they all contribute to the whole.

Which is why everyone needs to stop being mean to Bohman right now, or else I'm going to make an even longer essay post defending him.

[gynandromorph]

It's okay not to answer, I know it's broad territory, but I really respect you as an artist and writer. How do you handle people misinterpreting or missing elements of your work, especially when they may still enjoy it and get something out of it? As an artist I'm struggling lately with knowing my work will always inherently be read differently from what I intended as a matter of the human experience, as well as me being autistic complicating my ability to communicate.

An addition to that last ask. I don't know if it's clear what I'm asking so I'll give some examples. A 50 year old man and a 21 year old woman will get different things from a movie due to their lived experiences. As a gentile reader I might miss jewish narrative themes in a piece of work. That doesn't mean it's bad for us to have experienced it, but as an author I find it frustrating when something is missed or misinterpreted, and I don't know how not to be a control freak about it.

i feel you, i have ocpd and being misinterpreted when i agonized and stressed about how to present my wording makes me want to light myself on fire and it's something i'm working on. writers are supposed to expect and account for different perspectives ahead of time, so it always sort of shocks me when i hear interpretations i wouldn't have thought about at all. i know logically i can't predict all outcomes, but it's still surprising anyway!!! but i generally feel a lot of distress about being misinterpreted because i'm afraid it'll label me as A Bad Person, so i think that's where the experience diverges. maybe investigating why you need to or want to control the way your work is interpreted would help as a starting point? i think having a larger audience helps, too... it means more people will misinterpret your work, but it also means you're more likely to have at least One Guy who interprets it just right and makes fireworks go off in your brain, but there's no way to control how big your audience is!

anyway, the ways to control how your work is interpreted, to the degree that you can:

you can make it simpler. the more parts a story has added to its complexity, the more it's going to be misinterpreted.

you can make the intended message more blatant. you can have a character say exactly what you want the audience to think or hear, or something very close to it. don't want a detail missed? make it bigger.

you can reprioritize parts of the story. basically think of a group of interpretations you want the audience to have if you can, and then put them in order of importance. then the story has a hierarchy to lean on wrt artistic decisions.

you can give the story multiple meanings. more targets to hit. if they're mutually exclusive, i find this works better... i like making my stories ambiguous with conflicting interpretations a lot. yeah, people are going to interpret the story wrong, because it was made in a way that will guarantee it is interpreted wrong in some way.

you can layer the meaning so that less literate audience members will at least get SOME of what you intended. basically, close to the previous strategy, but like a hybrid of that and "make it simpler" imo because you're constructing multiple interpretations that are all supposed to lead to one conclusion (like a persuasive essay or something), but can act as an adequate conclusion on their own.

all of these options have obvious qualitative losses. if you have anything in particular that is repeatedly misinterpreted or missed, it's a good idea to think about Why you're making those choices. consciously committing to a higher-risk artistic choice will help you feel more in control of what happens to it once it's done. the way your art is interpreted isn't totally out of your control, you are making decisions that add to or mitigate the risk of misinterpretations, and you can bring those choices to a more conscious awareness to see them and appreciate them. sometimes it'll feel like a begrudging compromise, but it'll still be Your choice ultimately.

on an emotional level... hopefully this makes sense. there's always going to be the piss-on-the-poor scenario and sometimes i just remind myself that some people are not as literate as me, but it's great we were still able to connect through a work that was probably difficult for them!!! it was a privilege to get to grow up with a good education, access to art and technology, strangers who want to look at what i made, and there are times where i take this for granted, and my expectations of readers are actually kind of unreasonable!!! some people are younger than me and say stupid things like i did, but they aren't able to understand things like me yet, and it's important for them to learn by figuring it out on their own!!! i was and will always be That Guy to other artists and other writers, and i want to give other people the same grace as i get. some people have wildly different life experiences compared to mine, and these experiences can be much more nuanced than i could ever imagine, but it's a little gift that they made my world larger by sharing theirs through my art!!! it's terrifying and embarrassing knowing that i don't know much of anything, even about something i have total control over, but the consequences of that aren't always negative. and possibly the saddest but most common way i deal with this is nothing more than accepting that no one is ever going to understand me on the level that i want to be understood. sometimes my frustration has come from a place of miserable alienation, where the need to feel Seen can be quite desperate. i've made art explicitly about Me, and i've made art deliberately hostile towards its audience, art that's said they don't get it and they never will, but they still bothered to try. i made a game that said no one will win here and they still played it with me, and i can appreciate that. in many cases, they actually know more about me than i know about them. but more importantly, it isn't my audience's job to take care of that emotional need -- in fact, as much as art is made out to be a mode of pure self-expression, i don't think they can. it's a reality that i don't like, but i accept it. art made to benefit others is a one-way mirror: you make them feel seen, but they should never see you, because if they see you, the mirror isn't working.

[literary-illuminati]

2024 Book Review #5 – The Tusks of Extinction by Ray Nayler

I read Nayler’s The Mountain in the Sea last year and, despite thinking it was ultimately kind of a noble failure, liked it more than enough to give his new novella a try. It didn’t hurt that the premise as described in the marketing copy sounded incredible. I can’t quite say it was worth it, but that’s really only because this novella barely cost less than the 500-page doorstopper I picked up at the same time and I need to consider economies here – it absolutely lived up to the promise of its premise.

The book is set a century and change into the future, when a de-extinction initiative has gotten funding from the Russian government to resurrect the Siberian mammoth – or, at least, splice together a chimera that’s close-enough and birth it from african elephant surrogate mothers – to begin the process of restoring the prehistoric taiga as a carbon sink. The problem: there’s no one on earth left who knows how wild mammoth are supposed to, like, live- the only surviving elephants have been living in captivity for generations. Plop the ressurectees in the wilderness and they’ll just be very confused and anxious until they starve. The solution: the technology to capture a perfect image of a human mind is quite old, and due to winning some prestigious international award our protagonist – an obsessive partisan of elephant conservation – was basically forced to have her mind copied and put in storage a few months before she was killed by poachers.

So the solution of who will raise and socialize these newly created mammoths is ‘the 100-year-old ghost of an elephant expert, after having her consciousness reincarnated in a mammoth’s body to lead the first herd as the most mature matriarch’. It works better than you’d expect, really, but as it turns out she has some rather strong opinions about poachers, and isn’t necessarily very understanding when the solution found to keep the project funded involves letting some oligarch spend a small country’s GDP on the chance to shoot a bull and take some trophies.

So this is a novella, and a fairly short one – it’s densely packed with ideas but the length and the constraints of narrative mean that they’re more evoked or presented than carefully considered. This mostly jumps out at me with how the book approaches wildlife conservation – a theme that was also one of the overriding concerns of Mountain where it was considered at much greater length. I actually think the shorter length might have done Nayler a service here, if only because it let him focus things on one specific episode and finish things with a more equivocal and ambiguous ending than the saccharine deux ex machina he felt compelled to resort to in Mountain.

The protection of wildlife is pretty clearly something he’s deeply invested in – even if he didn’t outright say so in the acknowledgements, it just about sings out from the pages of both books. Specifically, he’s pretty despairing about it – both books to a great extent turn around how you convince the world at large to allow these animals to live undisturbed when all the economic incentives point the other way, a question he seems quite acutely aware he lacks a good answer to.

Like everyone else whose parents had Jurassic Park on VHS growing up, I’ve always found the science of de-extinction intensely fascinating – especially as it becomes more and more plausible every day. This book wouldn’t have drawn my eye to nearly the degree it did if I don’t remember the exact feature article I’d bet real money inspired it about a group of scientists trying to do, well, exactly the same thing as the de-extinctionists do in the book (digital resurrection aside). The book actually examines the project with an eye to practicalities and logistics – and moreover, portrays it as at base a fundamentally heroic, noble undertaking as opposed to yet another morality tale about scientific hubris. So even disregarding everything else it had pretty much already won me over just with that.

The book’s portrayal of the future and technology more generally is broader and less carefully considered, but it still rang truer than the vast majority of sci fi does – which is, I suppose, another way of saying that it’s a weathered and weather-beaten world with new and better toys, but one still very fundamentally recognizable as our own, without any great revolutions or apocalyptic ruptures in the interim. Mosquito's got CRISPR’d into nonexistence and elephants were poached into extinction outside of captivity, children play with cybernetically controlled drones and the president of the Russian Federation may or may not be a digital ghost incarnated into a series of purpose-grown clones, but for all that it’s still the same shitty old earth. It’s rather charming, really.

[sonicasura]

Let's be honest with ourselves that Transformers Earthspark has its issues. It isn't uncommon for the series to have a few messy iterations throughout the years. However those at least have something going for them.

Bayverse is a junk pile yet there's a lot of material you can build off on and some pretty interesting concepts. RiD15 is an awful sequel to Prime but does decently well as a standalone although there are much needed changes to be had. Earthspark... Well, it's just there.

I can be lenient with the plot holes and poor pacing as Nickelodeon is notorious for interfering with any show that isn't SpongeBob to the point of cancellation. The issues truly land on the characters themselves. I'm gonna try to simplify it without devolving into a rant like the previous draft.

Edit: Gonna add some further edits as I wrote this in the middle of the night. Plus my simplified version skipped some key details.

Robby. Somehow they made a human character I actually dislike instead of be neutral about. In the official Transformers wiki, he's labeled as a big brother who cares for his siblings but his actions so far say otherwise. Robby literally ran away in the first episode because they moved then decided to try and hide the Terrans from his parents.

Yet he rarely gets enough consequences for his actions. I think we don't just need less Emberstone saves not just because of plot armor but force actual character growth on him. Like a life changing to one of his siblings as consequences for his actions and strained relationship until he gets his head outta his ass.

Edit: Yes, I know Robby is a teenager but that isn't a decent enough excuse for his behavior. Seen the trope about big brothers who do act closed off or at some points rude but they haven't done shit that put their family in serious danger. No, I didn't try to purposely forget the times he was injured badly.

There honestly needs to be less of those and his consequences be adjusted to it affects someone else badly. *

Next issue is lacking confrontation with Optimus choices alongside the obvious misplaced trust in the 13 Primes. Quintus Prime literally emotionally manipulated and scarred Mo through a fake bad ending reality because she doubted herself. No good person would do that, much less an actual ally. Even moreso on a child.

I seen this shit in Trollhunters but at least Jim, the main character, was a teenager. (It still was wrong though.) We also got remember that Liege Maximo and Megatronus/The Fallen are Primes. Yet somehow it is best to trust them.

Don't get me started with some of Optimus' choices when it comes to GHOST. He probably did it to protect his Autobots but what about the Decepticons who are locked away? Why are there so little of his companions with him especially since Bumblebee had fucking went into hiding before the show began.

There needs to be tension between Optimus with his Autobots. Someone is bound to snap and Bumblebee would have the biggest impact. The man clearly isn't okay as he's doing things that even Megatron admits ain't like him.

Mandroid needs to be written differently. He has the making of a sympathetic villain but oh boy. First off it is clear that his depiction is ableist aligned since the reason he doesn't like Cybertronians is because he lost his arm. Major thing to change right there.

Give him a narrative where his interest been genuine but slowly declines as the Autobot/Decepticon war increases the number of destroyed lives. Let him become a victim to this than just 'I lost my arm so death alongside experimentation to all Cybertronians'. Also don't make Mandroid ignore the obvious fact that the Transformers parts he puts into his body is slowly poisoning and instead come up with ways to fight the infection. Kinda like in Ironman 2 where Tony's arc reactor began to do the same thing.

Edit: Mandroid's negative views on Cybertronians are about the war and he's aware of the Energon poisoning. It is just that it is poorly portrayed to the point you rarely see it over his Arachnamechs/his ruined life.

Have the man present various evidence of destruction the war caused by both sides at the Malto children or anonymously spread such info around town to sew discontent with the townsfolk. 'These are the people who you consider heroes. Who you see as family and friends. Or should these tragedies be forgotten?'

Do a Baxter Stockman where you frequently see him try to fix the Energon poisoning than just simple dialogue. Even have testing on organic subjects to see how they react and find ways to counter it. Don't keep these key points as simple dialogue. *

I don't think Karen needs much changes either. 'But her taking over Cybertron doesn't make sense!' It actually does for one reason: hubris. Have you ever seen what happens when you give a control freak power? Their behavior becomes more erratic as they begin to think they deserve more. She is xenophobic in nature so imprisoning Decepticons and ordering around the Autobots is a drug to her.

Karen wants to treat them like slaves so the next step in her mind is Cybertron. Her death is well deserved and well played. Just like Icarus, the bitch flew too close to the sun.

I think the last major issue, other than out of character racist Shockwave, is the Terrans. No offense but they need a bit less screentime so the rest of the cast can shine. We barely see Alex and there's unclarified issues involving Bumblebee with Arcee if he's uncomfortable around her.

I also want their flaws to be at the forefront. Thrash is the only one who gotten such character development from his encounter with Swindle. We need more of that! Like Hashtag's overreliance on the Internet biting her back as she is forced to use real world skills.

Edit: I accidentally put in Terrans when I really meant Twitch. The screentime for everyone needs to be balanced mainly for the Malto family. Alex alongside the three younger Terrans rarely get involved or their characters further build upon. Twitch needs to get benched more.

Also the Dad Number 2 should really be addressed. Wheeljack was clearly uncomfortable when it been brought up. Plus it is way too fast to even consider such ideas unless you plan to have it addressed properly. Like 'Kid. We barely know each other yet somehow I became a father figure in an instant? It's best not to do that until you truly certain "Dad Number 2" doesn't mean harm or feels comfortable with it.' *

Earthspark clearly has potential but these problems need to be handled better. Addong the deleted scenes help add some clarification but canon needs to present it. We are supposed to get a second season so hopefully some of these are addressed.