#but mostly because 2) i find the whole ‘first impact vs reality’ thing SO interesting

[sejanusarchive]

“Your own father used to say those people only drank water because it didn’t rain blood” vs two district boys who are assumed to be murder machines, yet prove that statement wrong multiple times: Reaper and Marcus.

PART ONE: REAPER

When Reaper is first introduced to us, we learn he’s rangy but muscular; we read about him wrapping his hands around Coriolanus’s throat on the truck headed to the zoo and about Dill, his District partner, saying he has killed a Peacekeeper before in District 11, without ever getting caught. 

Our first impression of him is that of a dangerous person, one who’s even clever in his lethality, and because of that we know he’s a presumed possible victor.

Lucy Gray mentions him more than once as one of the biggest threats, when talking about how she’s going to try as hard as she can to win the Games.

She also tells Coriolanus how Reaper apologized to the other tributes for having to kill them and told them he is going to make it up to them after, by taking revenge on the Capitol. Everyone takes this as him meaning it maliciously and with arrogance, ‘cause how else could he possibly mean it, right? Coriolanus thinks that he’s not only powerful, but good at mind games too. 

But the truth is that Reaper meant that genuinely, even with a certain innocence, and naivety to how it could have been misinterpreted. There was no malice or arrogance in his statement, but there was guilt and regret and grief, because of being forced into taking lives. He went into the arena fully prepared and resigned to kill the others to save himself, but not without obvious dissent.

When the Games start, he arms himself and heads to the stands. Coriolanus thinks he does so to begin his hunt, even if everyone else had fled in other directions and he had made no move to go after them.

Right after this we read about how Tanner, someone who’s also a presumed possible victor, is able to climb up to the first row of the stands and sit in the sun for a while, completely unbothered and unharmed. Reaper doesn’t try to fight him, even if it would have only been to his advantage, since he could have easily taken out his strongest opponent now that the Games had just begun and he wasn’t exhausted and starving.

His first interaction with another tribute in the arena is with a dying Dill, carrying her out of the tunnels, placing her in the sun and talking to her in the last moments of her life. 

His first act with another tribute, is comforting a dying child. 

This is when the “murder machine” image starts to crumble. Coriolanus’s classmates talk about how he doesn’t look so tough, doesn't look like the person who “promised to kill all the others”, which he never actually did.

But still, after all this, Coriolanus sees his distressed pacing around Dill, as him possibly being “eager to get back to the hunt”, a hunt he never even began, and not just him feeling pained and powerless at Dill’s condition. 

When Coriolanus is sent into the arena to get Sejanus out, Bobbin, Mizzen, Tanner and Coral are the tributes who go after them to try to kill them. No sign of Reaper at any point.

When Lucy Gray gets out of the tunnels with a rabid Jessup after her, he makes no move to kill them either. Coriolanus points out how he lets Lucy Gray go and only walks up to the bottles of water on the ground.

Again and again and again, he has a chance to easily take a life to save his own or take a small revenge against the Capitol, but he doesn’t. 

His second interaction with a tribute is with Lamina. He walks up to her, they negotiate an exchange of something both of them desperately need and that forms a bond between the two of them.

Then Coral, Mizzen and Tanner appear and he leaves, he goes behind the barricade and he falls asleep.

When he comes back out, he’s shocked to see Lamina and Tanner dead on the ground. And this is when he starts to make true his promise of avenging the tributes after their death. 

He lifts Lamina up in his arms and places her next to Marcus’s and Bobbin’s corpses and then collects Tanner, Dill and Sol, as well, and covers them all with the flag of Panem. And he keeps doing this with all the tributes for the rest of the Games, right until his death. 

This is the best form of revenge he could take. Not only because he disrespects the flag, causing great disdain among Capitol citizens; but also because, most importantly, he humanizes the tributes and gives them dignity, two things the Capitol has tried in every way to take away from them. He gives them as proper a burial as he can manage in those circumstances, makes it so now they can finally rest, tucked in a corner and covered, their corpses no longer on display for a bunch of sick people’s amusement. He honors them. He could have left them all scattered out on the dusty arena ground, but he didn’t. He took care of them.

Even when it’s just him and Lucy Gray left and he’s one step away from winning, he shows no signs of wanting to attack her. Doesn’t matter that he could easily take her out, save himself and finally go home. No, even then his main concern is that the tributes can properly rest with their corpses concealed. 

Everyone expected him to kill the most people, but he died in that arena killing no one and without ever even attempting to. He died holding strong to his humanity and making sure the fallen tributes could hold strong to theirs as well even in death.

Contrary to what we and the Capitol are made to believe initially, Reaper turns out to be pretty innocuous. He’s not a naturally violent or aggressive person, not a natural born killer and he refuses to be as well. This was a life or death situation and yet he didn’t even harm anyone. He has killed before, he is capable of it, but if he didn’t even do it in this case, even when all it would have taken for him to save himself was killing a girl smaller and younger than him, then imagine how dire and desperate the situation must have been when he had to resort to it.

He defied the Capitol by not participating in the Games, by not letting them turn him into the murder machine they wanted and expected him to be, and by honoring the corpses of the children whose lives have been so cruelly and unjustly cut short.

(Before moving on to Marcus, I wanna clarify some things in case anyone who’s reading this has only seen the movie. Reaper snapping at Clemensia during the one-on-one mentor-tribute interviews never happens in the book, neither does him looking angrily into the camera in the arena and challenging the Capitol to punish him arrogantly. Like we’ve just seen, this perceived arrogance and aggression in Reaper is a very surface level misconception of the people around him, that’s easily debunkable, that who made the movie took and ran with wrongfully. 

And actually there’s a few heartbreaking scenes in the book that contrast heavily with the image the movie created of him, like him tying a piece of the flag around his shoulders like a cape and spinning around, watching it fly behind him, and then running in the sun with his arms spread wide; and him rocking gently back and forth on himself for comfort, after the snake attacks, which is not when he dies in the book. He’s not the threatening, angry guy who tests the Capitol that they made him in the movie, he’s just a severely traumatized kid. Nothing more than a kid.

The movie made tons of stupid changes like this, that completely miss and disregard the whole point of both characters and story. Trust me when I say 99% of the characters are portrayed very wrongfully in it. So please keep that in mind.)

PART TWO: MARCUS

Marcus, like Reaper, was initially seen as a probable winner in the Games, before being murdered. Coriolanous makes note of his size multiple times, describing him as “towering”, as having a “colossal frame”, as “dwarfing the other tributes”, and comparing him to a grizzly bear. 

It’s exactly because of his size that people think of him as a sure winner, as capable of taking down everyone else, as threatening and deadly.

But then we hear Sejanus, the only person who actually got to know him at some point, talk about him, and the first and one thing he mentions about Marcus is his kindness. 

He tells Coriolanus how when they were still classmates in Two, he hurt his finger really badly and Marcus helped him by bringing him a cup of snow he scooped from the windowsill. He says he did it without being prompted by anyone, without consulting anyone, not even the teacher, and without even being friends with Sejanus. 

That’s actually the very first thing Sejanus tells us about him. They weren’t enemies, but they weren’t friends either. Marcus had no real reason to do it, especially considering how the Plinths were, and still are, deeply despised in Two, for having helped the Capitol win the war. He did it almost as a reflex, because that’s who he is as a person. 

And this pure, unconditional kindness, told by the one person who actually knew him, goes against the image of him everyone formed by just looking at him, against what everyone assumed because he’s district, he’s a tribute, and he’s tall and strong and broad, so he has to be dangerous and lethal, he will brutally kill everyone to save himself; he’s capable of it anyway.

As I already said, the Plinths are deeply despised in Two, Sejanus is a filthy traitor in his eyes, one who’s benefiting from a luxurious, safe life in the Capitol, thanks to blood money; blood of thousands of what were supposed to be his people, blood whose spillage made them lose the war and caused the realization of the Games, bringing Marcus to that very situation.

Sejanus doesn’t have to worry about whether or not he’s going to be able to fill his stomach everyday; whether he’ll be able to finish his studies or will have to drop out of school early, to go work to help sustain his family; whether the dangerous working conditions will be the cause of his early demise, or being sent to an arena to kill or be killed by a bunch of other children for amusement will be, and what will happen to his family once he’ll be gone. All of this thanks to his family’s betrayal.

No doubt he resents Sejanus and is angry at him, a part of him maybe even faults him a bit for everything, but he never takes it out on him. It would be easy to single him out, pick him and make him pay for this situation, since he can’t make the whole Capitol pay; take some sort of revenge on Strabo Plinth in the name of Two and Thirteen and all other Districts, by harming his son. 

Sweet Sejanus, who brings the tributes food when no one else thought about it, who keeps pleading with him to accept it, who tries to help them however he can, would probably let him do it. He would take the hit, metaphorical or not, because it’s clear he has guilt gnawing at him and would feel like he deserves it. And Marcus is definitely aware of it. 

But he never gets violent, physically nor verbally, never tries to attack him or spit insults or hate at him. Instead he just ignores him.

He had many chances to do harm, even to kill Capitol citizens and Peacekeepers as revenge, a small and trivial one, but still a revenge, and he had many chances to let his frustration and anger out on Sejanus and use him as a punching bag, but he never did, because despite what everyone assumed about him, that’s not the type of person he is.

PART THREE: SEJANUS 

Sejanus, whom I’ve already mentioned several times in this post, is another District boy with the ability to take lives, but who’s repulsed and disturbed by the mere idea of it. 

With Marcus and Reaper, it’s a matter of first impressions and then getting to actually know them and learn they’re not like they seemed. With Sejanus it’s the opposite. 

First thing we learn about him in the book, is his background: born in District 2, his father made fortune during the war and was able to buy his family a life in the Capitol. 

But the first thing we learn about him as a person, is that he’s shy and sensitive. 

Throughout the entirety of the book, over and over and over again, we see that he’s good, and kind, and gentle, and sweet and takes things so to heart. It’s constantly pointed out by the people around him. 

And it’s constantly shown to us by him as well, with the passion he puts into standing up against the dehumanization and mistreatment of District people; with how affected he is by these aspects and by the Games; with how he tries in every way he can to help the tributes; with how he made it his life mission to make things better for the Districts; with how he’s never mean or spiteful to people who bully and disrespect him.

Ballad of Songbirds and Snakes is at its very center a discussion on human nature. He (alongside Dr. Gaul) is the main character who explicitly talks about it, and he believes in the inherent goodness of humans and constantly advocates in favor of it. All the injustice and atrocities he witnessed and experienced, never made him change his mind or his actions, never made it so compassion and love weren’t his driving forces.

His heart is big, and kind, and pure. And he wears it on his sleeve all the time. He’s referred to as “emotional” and “compassionate”, his eyes are soulful, his face is incredibly expressive, and there’s so many instances in which he’s described as speaking with a voice so full of sentiment, so many instances of his eyes filling with tears, of him wiping his face cause they spilled out. 

It’s well established how good and uncorrupted he is, how devoted to humanity he is, how much he values life.

And then in the third part of the book, we learn he’s an excellent marksman, a natural one even, who has been training in shooting every week since he was tiny.

He’s so good, that the sergeant in Twelve, as to not lose someone with Sejanus’s level of ability, refuses to give him the recommendation he needs in order to train to become a medic, even when Sejanus purposefully shoots much worse than he’s capable of, to hide his talent. 

The boy who values life more than anything in the world, has the ability to take one even with his eyes closed.

When he arrived in Twelve, wearing on his body the signs of the toll that the Capitol, the Games and what happened to Marcus, had taken on his mental health; with the prospect of building a new life for himself in which he could help the world become a better place; of training to be a medic and save lives; Coriolanus noted he had a much lighter air to himself, as if a heavy weight had been lifted off of him.

But when he is confronted with the reality that he is now a soldier and is expected to kill, Coriolanus says that his expression goes back to being as gloomy as it had been in the Capitol, the heavy weight now back on his shoulders. 

At dinner he doesn’t take a single bite of food, which is a behavior we’ve seen from him before, one he falls into when his mental health gets concerningly bad. And the reason is that he is terrified by the idea of having to kill someone, or someone dying because he can’t bring himself to shoot first. Because to him, every life is precious and none is disposable, and the possibility of being the cause of one being taken away, is an unbearable thought.

Reaper and Marcus had many chances and what could be considered reasons to kill, but they refused to. Sejanus, who is expected to kill because he’s a soldier and the best shooter, who would be punished, possibly even with execution, if he didn’t, refuses to. 

All three of them have the power to take lives with little effort but choose to cherish and honor them instead, choose kindness, choose humanity even over their own self preservation, proving both the Capitol and Crassus Snow’s statement about District people being bloodthirsty, wrong, by simply being their honest, uncorrupted selves until the end; by being truthful to who they are no matter what.

[curiosity-killed]

Lang Qianqiu deserves more love goddammit: a post, unfortunately

This brought to you by the wonderful @veliseraptor & @/yuer on Twitter but also mostly out of spite and the fact that it’s preventing me from writing a very dumb poke-the-bear post abt the entire weird social media culture around The Minors

As always ✨SPOILERS!! SPOILERS EVERYWHERE✨

So first off: when I hit the scene where lqq confronts xl and screams “I will never be like you” I sat up in bed, did a little shimmy of delight, and hissed “fuck yes” at like 2 AM so. Now you have a preview of wtf this train wreck will be

1 ) lqq is a good character

We don’t get a ton of time with lqq because tgcf is 87 side characters running across stage with The Most Interesting Concept constantly one-upping each other before vanishing. But what we do get is, I think, enough to make a pretty compelling story: Lang Qianqiu is a kind and generous prince who is also the sole survivor of the bloody massacre of his entire family, committed by the people dearest to him (both in his belief that Gusohi Fangxin did it and in the reality of An Le’s involvement), who goes on to peacefully lead his fractious nation into a peaceful reign before he ascends as a powerful enough (aka beloved and worshipped enough) god to be ranked among the top heavenly generals. That’s like. Pretty fucking classic protagonist vibes right there.

And, as usual with mxtx’s characters, we get a lot more than this lovely little backstory. In his interactions in canon, lqq is capable of great grief and anger; he is willing to sacrifice himself if it means avenging his murdered family; and he simultaneously holds both great hatred and great respect for his old teacher. And, of course, he winds up raising and taking care of his enemy’s son which shows a remarkable depth of compassion and emotional messiness that I find terribly compelling. He struggles with a simplistic view of justice that is supported by lies told to “protect” him and that is uprooted by the truth and forces him to try to make sense of the world without the guardrails that others installed around him (looking at you mister fangxin sir).

Also I’m stealing my own tweets bc I’m Right but:

*pulls up single barstool to lqq is a good character table* I think it’s interesting & Says Things abt the continued relationship btwn lqq & xl that lqq *didn’t* recognize xl, implying that he left fangxin’s mask in place even when he went to kill him

Like here is the man who killed his family & best friend, who left him abandoned in bloodshed on his 17th bday—& here is also the man who saved his life, who taught him, who lqq looked up to & wanted to be like

Even when lqq *does* recognize xl, he still has so much respect for him paired with that hatred that it’s honestly rlly tragic? Like man. There’s so much grief in lqq’s repeated demands for a duel & insisting it’s fine if xl kills him as long as he doesn’t hold back

*pats lqq pompom* this bb is so sad. And so much more like his teacher than either of them seem to realize or necessarily want

Despite being a pretty minor character, lqq gets a lot of complexity and nuance! Look at this child trying to be grown up while desperately turning to his old master for guidance and “the truth”! Look at him! Be sad!!

2 ) lqq is an excellent parallel to xl

Okay stealing my own tweet again don’t look at me I yell the same shit everywhere

Xl didn’t want lqq to become like him (self-sacrificing, vengeful, alone) but lqq not only became alone, chasing vengeance, & willing to sacrifice himself for revenge—he also became kind, open-minded, & remorseful!! & he still clearly respects xl @ novel end 🙃🙃

We all know hc’s “they’re not very alike at all” and yeah sure baby go support your man but narratively, there’s a lot of importance given to cycles, parallels, and foils in mxtx’s writing and most explicitly (compared to mdzs, haven’t read svss) in tgcf. For example, *gestures at beefleaf, gestures at Xianle Trio vs Wuyogn Crew, gestures at Xie Lian & Jun Wu’s whole uh. Deal.* And while I’d argue xl and lqq are part of a triumvirate rather than a pair, we’re not including mister three-face in this conversation so just looking at xl and lqq:

Both adored and sheltered crown princes

Both taught by a guoshi who was seeking to prevent the repetition of their own tragedies and in their efforts, lied/omitted information and failed to protect their charge from tragedy

Both were betrayed* by their closest friends

Both are the last living members of their respective royal families

Both caught the interest of supernatural beings from a young age

Etc etc I’m getting v bored and distracted writing this so moving on

Most importantly to me, we have their betrayal by a very close and adored mentor and how they react. The confrontation I mention at the start of this shitshow is really imo one of the most important scenes in the novel because it a) illustrates the differences in xl and Jun Wu and b) sort of gives you a preview of how xl ultimately wins

So a) Jun Wu and Xie Lian both take a talented, marked-for ascension young prince under their wing. Jun Wu sees himself in the boy and obsesses over shaping him into Jun Wu’s own image in the belief that this will make him the perfect heir. Jun Wu pushes his chosen heir into situations where Xie Lian is repeatedly harmed in an effort to show that the common people are fickle and cruel and don’t deserve his compassion and care.

Meanwhile, Xie Lian is reluctantly roped into mentoring his prince due to his inability to stand aside when he feels he could do something to prevent hurt or injustice befalling another (simultaneously his great strength and great weakness! God I love him). Xie Lian tries to teach his student to believe in and care for the common people and not to sacrifice himself (see: flashback convo re:taking the force of the sword strike into his own body).

When Xie Lian refuses to bend in the shape Jun Wu demands, Jun Wu bashes his head into the wall. When Lang Qianqiu cries “I will never be like you!”, Xie Lian laughs and says “Good!”.

B) this of course feeds directly into foreshadowing! Like Lang Qianqiu’s bold words, xl ultimately refuses to become like his mentor and remains defiant even when it would stop him from being hurt. Xl beats lqq and says so what if I tricked you, so what if I lied, I still won. Naturally, xl beats Jun Wu not through standard swordplay but by using a trick he learned while forced to busk and wander the earth alone and unlucky for centuries.

…okay so I have fully forgotten what I was actually saying here! Anyway!

Like Xie Lian, Lang Qianqiu spends a time consumed with the need for vengeance, hunting his enemy and rejecting the heavens. And like Xie Lian, he winds up caring for his enemy’s “son” and trying to both comfort him and maintain what’s left of Qi Rong’s life force despite having previously been hellbent on destroying him—bc he sees the impact it has on another person. In the end, he even gives a gift to Xie Lian—his mentor, his role model, and the one who killed his father—that was once given to him as a symbol of unexpected kindness. Sound familiar?

But, importantly, and contradictory to what I have been yelling abt but whatever it’s 12:30 am, Lang Qianqiu is not a direct mirror of Xie Lian but a closing of a vital loop in the story. Lqq is very similar to xl (I will die on this hill!! Only I won’t bc I’m stronger than y’all and will keep swinging these pots and pans) but bc xl tries to do better and keep lqq from suffering the way xl has, lqq is able to have a gentler and more optimistic path forward. He’s proof that even a small act of kindness or even kindness to only one person still matters and has a ripple effect that can’t be seen when you’re in the middle of it—a thread started with xl giving the coral pearl to Lang Ying and closed with Lang Qianqiu returning the pearl to Xie Lian.

So I have no idea if any of this is coherent or compelling but I meant to be asleep two hours ago and the points are:

A) Lang Qianqiu is good actually

B) parallels!!!

C) look ive already started another wip about Lang Qianqiu and Xie Lian and I didn’t want this but no one else wrote it so now I have to so pls just accept this as a warning

*sort of air quotes around this for Xie Lian bc frankly Mu Qing was right & Xie Lian kicked feng xin out BUT on the other hand, it was experienced as a betrayal and we also again have all of Jun Wu’s shit so it evens out

[anhed-nia]

BLOGTOBER 10/4/2020: SOCIETY

Without having a survey to back me up, I feel comfortable asserting that as a horror fan, you go through different phases with SOCIETY. It’s a basic fact of life, and yet it morphs and mutates underneath you, shocking you anew just when you think you’ve got a grip on it. You never forget your first time, because there is simply nothing like it. Then, after you get over the initial shock of its patented brand of body horror, you start to take it for granted; it's so broad and monolithic that it becomes something like the Grand Canyon--when it’s not right there in front of you, you begin to experience it more iconically, as part of the wallpaper of existence, rather than an in-your-face confrontation with the limits of experience. Then, you revisit it every few years (or months, depending on what sort of person you are), and the prophylactic layer that your brain has wrapped around your memories of it--the one that allows you to think of SOCIETY as a fun, wacky cheap thrill--begins to crumble, and you realize all over again how iconoclastically vile it is. Wherever you happen to be at, with this inimitable genre landmark, you'd be hard pressed to deny that it earns its royal status among horror movies, just for being so uniquely fucked up.

Filmmaker Brian Yuzna is best known as the co-creator of the indispensable RE-ANIMATOR (or as the co-writer of HONEY, I SHRUNK THE KIDS...depending on what sort of person you are, again), itself a milestone achievement in the blending of sex and gore that so characterized '80s horror production. That film clearly brought out the best in Yuzna and frequent collaborator Stuart Gordon (also of HONEY, I SHRUNK THE KIDS fame...among other things), but it's interesting to see how they operate apart, to understand the unique ingredients that each filmmaker brought to the more perfect union of their classic Lovecraft adaptation. Gordon skewed darker and more intellectual, as evidenced by the end of his career with the shattering mob thriller KING OF THE ANTS, the disturbing true crime drama STUCK, and the Mamet-penned EDMOND. Yuzna, for his part, is almost anti-intellectual, preferring to cook up blackly comic, semi-pornographic nightmares like his two increasingly horny RE-ANIMATOR sequels, the terminal S&M fantasy RETURN OF THE LIVING DEAD 3, and the shamelessly hokey comic book adaptation FAUST: LOVE OF THE DAMNED. Yuzna's lack of shame is really his defining feature as an artist, and nowhere is this more obvious than in his directorial debut and signature masterpiece, SOCIETY.

Salvador Dali's "The Great Masturbator," a chief visual inspiration for SOCIETY.

Yuzna was able to leverage the success of RE-ANIMATOR to lock in two directorial opportunities, BRIDE OF RE-ANIMATOR, and a bizarre body horror exercise about a Beverly Hills orphan who discovers that not only are his adoptive family from a different bloodline, but they're not even from the same species. That both pictures employed the writing team of Woody Keith and Rick Fry gives you a little taste of what to expect from SOCIETY, but to be frank, the latter threatens to make the former look like a very special episode of ER; "overkill" barely begins to describe SOCIETY’s ambitious assault on the human body. In a recent interview, the philipino-american director giggles perversely, "I think my friends were a little embarrassed for me (when they saw SOCIETY)," and this sound bite reminded me that the last, most important ingredient that Yuzna contributes to any project is unabashed joy. It's a little hard to imagine stomaching SOCIETY without it.

In this unusual scene from the class struggle in Beverly Hills, Billy Warlock (son of HALLOWEEN 2's Michael Myers, Dick Warlock) plays Bill Whitney, a rich, handsome, athletic high school student with a heavy duty anxiety disorder. Although he appears to have it all, he is plagued by nightmares and hallucinations, reflecting suspicions that the family that spoils him is also out to get him. Perhaps this is all understandable, though. Bill is under a lot of pressure these days, with his parents devoting all of their attention to his sister's coming out party, and his narcissistic girlfriend pushing him to ingratiate himself to the assholes higher up the social ladder; it's enough to make any teenager feel alienated and insecure. But, do these garden variety anxieties account for his visions of his sister's body deforming itself unnaturally, or the dubious evidence he finds that her debutante ball involves incestuous orgies and human sacrifice? Is Bill simply crumbling under the strain of societal expectations, or is the friction with his shrink, his parents, and his peers all symptomatic of an elaborate plot against him by elites who are truly less than human?

I can’t believe they use this cheapo blanket trick MORE THAN ONCE in a movie that is famous for its unforgettable special effects, and I guess I kind of love it.

In case I haven't made the answer abundantly obvious, I'll add that while SOCIETY is the purest expression of Yuzna-ness on the market, it has an important co-author in Screaming Mad George. The eccentric japanese FX master, whose name is apparently an amalgamation of Mad Magazine, Screamin' Jay Hawkins, and...George, has produced some of horror's most outrageous makeup and visual effects, mostly for Yuzna, many of them in SOCIETY. If you've seen even a trailer for Alex Winter's 1993 oddity FREAKED--which is itself a grossout criticism of American social standards--then you are already familiar with SMG's trademark style. He specializes in twisted perversions of the human form that would make a cenobite blush, driven by a penchant for puns, and influenced equally by THE THING's Rob Botin, and Big Daddy Roth’s Rat Fink style. Screaming Mad George is instrumental in articulating Yuzna's premise: that behind the shimmering veneer of success and sophistication, the upper class are just a bunch of degenerates, who literally degenerate into something unimaginable behind closed doors. It's impossible to imagine SOCIETY without his sinuous, slithering monstrosities, or his indescribable realization of their most important social event, "the shunt".

One of many great images from a zine I wish I owned, on SMG’s Facebook page.

It's easy to get overwhelmed by SOCIETY's visual impact, but its message is just as potent now as it was at the end of the Reagan era: Rich people are not only different from the rest of us, but in fact, they aren't even human. Writers Keith and Fry make an interesting choice of hero to help put this across. A lazier writer would have selected any archetype from the Freaks and Geeks set to create an easy Us vs Them tension, but SOCIETY is led by a promising young man who, for reasons he himself does not yet understand, is just not "the right kind of people". Bill appears to have every advantage in life, including a level of popularity that wins him presidency of the debate team despite his nerdier rival’s superior prowess--and yet, he suffers from a stigmatizing psychiatric disorder that is the natural result of feeling indefinably different from one's peers, and intuiting that, as a consequence, they don't even really like you. The shallow jock with deep-seated emotional problems is a much more interesting protagonist for this kind of social allegory than the charismatic outcasts that you get in movies like THE FACULTY and DISTURBING BEHAVIOR, for whom the idea that the elites could be aliens is just de rigueur.

It's worth noting that this complexity of character extends to Bill's love interest, sympathetic society girl Clarissa Carlyn (Playboy Playmate Devin DeVasquez). At first, she seems villainously eager to introduce Bill to the many splendors of "the shunting", but as the plot against him mounts to its horrifying conclusion, she defects. There appears to be a reason for this, although honestly, this is the most difficult part of SOCIETY for me to wrap my head around. Clarissa lives as an essentially independent adult, only burdened by her mother (Pamela Matheson), a possibly brain damaged hulk who lurks in and out of various scenes just to be disturbing, always announced by some toots on a tuba, before eventually siding with our heroes. I'm really not sure what's supposed to be going on in this part of the movie, except that this character contributes to a number of distasteful jokes. But, I hold on to the idea that by virtue of whatever disorder Mrs. Carlyn suffers from, she serves the purpose of priming Clarissa to rebel, since her very existence makes her daughter something of a societal outcast herself. That's the best I can do.

In any case, everyone working on SOCIETY commits completely, with Mrs. Carlyn being no exception. The movie's climactic orgy of the damned is an all hands on deck operation, just as reliant on Screaming Mad George's artistic abilities as it is on the actors' responsibility to make you believe that this fucked up shit is really happening. There's a visceral patina of sleaze spread over the entire film, dripping from the way that characters talk to and touch each other, flirting and flaunting their bodies in a distinctly unseemly fashion, even when it stays within the realm of mundane reality. This constant sinister, insinuating attitude on the part of the whole cast lays the foundation for what is to come, and while I appreciate everybody's hard work, my favorite performance is from an actor who only comes in at the very end: David Wiley as society king Judge Carter. Wiley's career consisted almost exclusively of the most ordinary sort of television work, which makes his outrageous turn in this alien porno flick all the more respectable. While other characters transition from suspicious pod people to full-on mutated perverts, Judge Carter has to show up just for the finale, establish his authority, rip off his clothes, and plunge straight into a sea of slime, happily fisting his way through the cast. Wiley meets this challenge with aplomb, making of himself a hybrid of Robert Englund and Gene Hackman, perfectly embodying the movie's joyful absurdity, and never betraying the slightest hint of embarrassment. 

SOCIETY is very much a don't-look-down type of endeavor, a fairy that could expire at the slightest lapse in faith. There's a visual pun in the last act that's so gross, so offensive, so frankly idiotic, that I don't have the courage to describe it; my whole body tenses up when I know this scene is coming, as if it were the meat hook scene in TEXAS CHAIN SAW MASSACRE or the brutal rape in the middle of SHOWGIRLS. I don't like it, but at the same time, I respect Yuzna's unhesitating commitment to show it to me, and I think that actor Charles Lucia should get some kind of award for shouldering the burden so valiantly. SOCIETY is a daring movie in the truest sense, a film with more balls than brains, and in this it exposes the limitation of intelligence and taste, and the real need for pure transgression, in producing art of any real value. You might argue with me about whether Yuzna's masturbatory magnum opus really qualifies as art, but to respond to that, I'll quote the great transgressor Alejandro Jodorowsky: "If you are great, EL TOPO is a great picture. If you are limited, EL TOPO is limited." So stick that in your shunt and smoke it.

PS Here, have this stuck in your head for the rest of your life.

[2ofswords]

for your analysis meme: clara

This is going to be so much fun and so very tough, because Clara is such an amazingly complicated character! God, I love her so much but part of that is because she is very ambivalent and hard to describe. She is one of these characters where you can find an opposite trait for every other one she has (which is kind of the point of her). Also: I still haven’t played the Changeling route in Patho1 and I have a stronger understanding of the Patho2 universe… so bear with me. I will try my best to analyse our favorite saint.

their biggest strength

I needed to think a while about this one and the term that stuck with me was attentive cleverness. Because I really couldn’t decide if I wanted to call her attentive or clever and luckily these two can be combined into something, I find pretty precise for what I want to describe. Clara is very clever and has a lot of knowledge that not really anyone else in the patho-universe can gain (or at least the amount of it, people share bits and pieces). She is the healer most aware of the meta-narrative and at least in routes that aren’t hers is telling you either that she knows more than you do or straight out telling you something, you needed to know (and probably didn’t want to). As is obvious by her focus on hands and talking her main skill is also interaction with other people… but I think a lot of it comes from the fact, that Clara is a good listener. Which seems to be counter-intuitive because listening is assigned as Artemy’s domain in the artbook, but I think the other word used – rhythms – is pretty important here. Artemy’s skill is finding connections, intuit solutions as well as similarities and differences (there is a reason he realizes his similarities to Aglaya’s description of the inquisition) and gaining cultural knowledge that he then transforms into practical and usable abilities. Clara’s “listening” is more about singular people’s well-being and personal struggle. (She is like a good therapist. If your therapist wanted to convert you into a sacrificial religion. ^^) She interacts with her surroundings directly and attentively. I mean, she is very well informed very early on without really having a live before that or at least not in town (again, I did not play the changeling route yet and do not know her origins or how ambiguous they are kept at the end. Either way, she arrives in town at the beginning of the game and navigates her way pretty well.) However only calling her attentive sounds like the trait is a passive one which is not something I mean. Both her personas as a saint and a thief use her knowledge that is gained by being attentive in unconventional ways and/or for unconventional means. As noted in the beginning, Clara is very clever and that in combination with her noticing even small discrepancies and listening to people makes her able to peek behind the curtain of the game in the first place. It also helps to get yourself into places people normally wouldn’t want a teenage girl to be and Clara knows and is fully willing to use this ability. It is both the reason why she knows so much more about the greater scope of the disaster and also why she always seems to be able to get into any place she wants to. By the way, just as an afterthought: Of course that ability doesn’t come and is in fact enhanced by empathy. I do not think, Clara is listening to people only to use them and to gain information. You can genuinely be willing to listen to someone and still use the information you get out of these conversations. Listening carefully and actively engaging with other people is a great part of that strength!

their greatest weakness

Does “not being able to hold a knife when the town wants you dead” count as a weakness? Okay seriously, I have a really hard time to put what I consider her weakness into one expressive term. So I will talk about it first at length and then we will see. What caught my mind first was ironically Clara’s problems with communication. That might be the case because, yes, I still haven’t played her route, so I am working mostly on her ways of communication with the other healers. But Clara really has a lot of strong points that she has trouble getting across or acknowledged. Sometimes that is definitely not her fault and one of her problems is, that she is not taken seriously by other people. But trying to persuade someone to their cause and emphasizing the reason with an elaborate monologue how the other healers are demons. Daniil was genuinely asking, why you wrote your letter about your destiny, it’s fine! Same happens in Pathologic 2. Saying someone to stay put when they are in a pretty bad spot already is not a bad idea and Artemy is pretty open to both warnings and clairvoyance in general but saying. “Nope, do literally nothing even if you know you want to, I am a better doctor anyways” is… yeah hurting him in his professional pride isn’t exactly a smart move. Often it feels like she really has a chance to explain and the other healers would probably listen but then there is just a terrible miscommunication. (Which is a thing for all of the healers but Clara I-am-going-to-call-your-father-a-horrible-person-while-we-are-at-his-funeral Saburova… Look, it might be true but it is also hilarious.) But putting communication skills here would still be weird, since… you know… she is pretty good at communicating in different ways! And also all three healers are pretty prone to miscommunication albeit in different ways and for different reasons… So I think we have to dig a bit deeper still… So why is this happening and hindering her? There are multiple reasons to come to this conclusion. One I would call childlike stubbornness. (Which btw. Is also one of her strengths, but… it is Clara, everything is also its opposite. God I love her so much, she is just so hard to describe, it’s amazing!) Even with all of her wisdom and cleverness… Clara is still a child. As she should be, it makes her so much more interesting! But she also has this childlike quality of just… assuming people will completely understand and accept what she is trying to see and getting frustrated the moment it doesn’t happen. This is one of her contradictions. She is so very attentive, and she can touch other people with her hands as well as her words, but she also is inexperienced and doesn’t really know a lot about the world or about how to socially approach people which can be a big problem, if she desperately needs someone to listen. The other argument would be about her role in the plot and the way she regards her own role as well as the other healers. She is the most aware one and she does indeed know a solution to the dilemma of the story (if we do not conclude that this is a three way battle, but I exclude my thoughts about the factions themselves for this. She definitely though knows how to get rid of the town vs. polyhedron conflict) but this also puts her in direct opposition to both healers. Which… you know is completely fair and not a weakness. But, she is very uncompromising about this and while all of them are – at least when they are not the main protagonists – Clara is the most unmoving and also uncompromising of the three, telling everyone always very directly how she things the others are shit. Which again, is very justified but becomes a big problem when she needs help and makes it harder for her to express her own thoughts, even if they are very justified and might even help all parties. Speaking in riddles and of concepts beyond something we would see as our reality surely doesn’t help there either.

a headcanon about their childhood

Oh dear, tbh I am not even sure how metaphorical she just crawled out of the earth at the beginning of the game and if she even has a proper childhood… I think it is pretty literal but there are allusions in Patho2 that she actually has a past? At least she speaks about it and I guess it can be as made up as real. (A classic Clara move ^^) And having no defined past is kind of a big thing for her so… sorry, no childhood headcanon here.  

a headcanon about their future (if they have one)

Again, I am not really sure if she stays in town or leaves with Block and I have read fanfiction with both, so I am not sure if there is a consensus in fandom either… If she stays in town I imagine her still being with the Saburovs but I do not know, if I really like this headcanon, since abandoning your newly found orphan in the middle of a plague is really something that should revoke parent rights… But on the other thing the position among the mistresses seems to still be pretty defined at least in the endings in Patho 2. I like to see her travelling with Block at least for a while. Maybe not at the front, that would be just… bad. But she also seems like the person who would just poke their head around at random intervals and nobody really knows, when she will get back and somehow Clara still knows exactly what is going on in town… Still she also seems pretty bound to the place and she has business there… it’s a tough call. She will definitely fire up the rivalry of the mistresses by a lot though. Probably even if she is just there for a second, she would definitely sow some mischief between Capella and Maria! Another triad of petty politics for her! Yay?

a small detail/scene that leaves a great impact

Oh dear, every scene she is in is just so impactful! (Also never knowing which Clara is with you right now (if there even is a difference) doesn’t make this easier...) I really like her quest in Artemy’s run, where she is upset about not knowing what exactly she is in the first place… but that is not really a small details or scene. Same goes for the cathedral and her offer to meet the inquisitor together with Dankovsky to stand up for that whole disaster. Which is still a really heroic but also not really a small scene and there is nothing to talk about there aside from “man, is Clara brave and set on doing the right thing!” I also think the letter about her ending is really interesting because it is just so out there and giving all of her bound a demonic nickname is just so over the top, but tbh all of the ending letters are very… passionate. So this might be more the games writing even if they lampshade it and talk to each other like the other one is the only healer in town who wrote a completely insane letter… But I digress. While I love Clara’s Patho1 design, I will say that I love her shaved hair in Patho2 and the commentary the artbook has for it. Seeing it as a sign of sickness or a deliberate mark of sainthood is just so on point for her! It is a really nice visual piece for her characterization and I also think putting the beany on top of it makes it even better. It is contradicting but firstly she deliberately kind of tries to hide her own contradictions (I mean, it is not part of her! It is just the sister, she is wrong!), which is also a nice added detail. Also, she might combine contradicting elements, but god, she is doing it with style!

their philosophy/worldview (or part of it) described in one neat little sentence

I am throwing the towel! How should this even work with Clara??? She has different philosophies and worldviews! Also, I think they differ a bit between the first and second game. The first one aligns a lot with the humble faction from what we hear but in the second game her dialogue alludes more vaguely to touching and changing people and not necessarily to “The right people must die for our world to continue” which is most of what I heard from her. Hm… How about: A saint’s duty is to touch the immoral and diseased, thus one can never rid themselves of all dirt. I am not that happy with this one, but… at least it has the whole touching other people thing in it and it is about good people not being pure, which also is a theme with her. It still sounds a bit judgemental and I don’t really like this emphasis of the “dirtied” but… I mean this is what Clara talks about in her letter, so I still think it fits, even if I would dare to say that she shows a lot more compassion than this sentence shows.

[level247-table-tech]

like, i recognize to a lot of people the formality reads as generalized ‘early episode weirdness’, and i won’t pretend to think it was all intentional, but looking back it reads as progression. even knowing that things they share, or that we learn about them in general as they open up, are directed to the audience- made clear even by the camera angle - they are talking to each other in-universe, and i get the sense that they are learning about each other as characters too.

important note toward that point: they know what everyone else does, due to their functions, as well as knowing enough about each other’s specific inputs on various matters to clash about them. but as characters, i would argue they are unfamiliar to each other; they aren’t on a first-name basis and there’s little evidence of them interacting offscreen aside from said clashes. by getting to know each other by character, rather than just by function, they are more able to work together, come into agreement, and work toward a happier, more completely fulfilled thomas.  as a couple extra notes, them being characters is what nondiegetically allows them to speak at all, therefore indirectly what allows them to come to conclusions together.  there’s a neat symmetry in the concept that knowing each other’s characters is what allows them to work through things together more efficiently in-universe also.  a more fulfilled thomas seems like the natural result of his sides being happier, given that they are his aspects, and that’s what all of them are working toward. them knowing and being decent to one another seems conducive to that. self-love, and all, but more on that later.

everyone seems less likely to show up, in earlier episodes, unless their function is pertinent[or they are called upon]. this is where we find one- or two-character installments. less of a group discussion, more just a necessity. in particular i’d argue that any of their appearances to thomas pre-series were more akin to either the example arguments in mind vs. heart[not mvh itself; thomas called them for that talk] or one-on-one discussions in the mode of way too adult[talking about what these represent from a non-imaginary point of view could be interesting, but not on this post]: they show up when they have a stance on whatever’s at hand. this more minimal dynamic holds up in early episodes, and correlating to this theory, the change from that is due to advancement in-universe. though it is pointed out by anxiety in alone on valentine’s day that he can’t just sit things out if he doesn’t want to participate. most likely it’s just because he has feelings about the topic of discussion and does not care to go unheard, but it’s worth noting.

early appearances of all sides[in dilemmatic episodes, that is; generally only anxiety is antagonistic where there’s no particular argument] are more hostile, but early episodes also focus more on reconciling their various areas. again, we can exclude single-character focus episodes[princey is barely in taking on anxiety and he’s called up by thomas. it’s an anxiety episode], but there are more 2-sided arguments in the early episodes. the heart vs. the mind is a good example, with morality and logic talking through their previous arguments, and working toward compromise. that word’s gonna crop up again a lot. of course, one does get the impression that there’s little animosity related to past arguments! but that, i believe, can be chalked up to civility. that, and potentially regret is someone else’s domain, or thomas prefers not to dwell on it. in any case, they come to an understanding that if they work with each other rather than against each other, thomas can come to conclusions more than conflict, which are satisfactory to both parties, and which removes a stressor. the dark side of disney showcases a discussion between two sides who are less inclined to civility in ordinary clashes: princey takes his duty very personally, and anxiety is conflated with his negativity in a way that frames him as antagonistic to others and to thomas. yet this is a more casual discussion, less about conflicts or life events great or small, and more about interpretation. presumably this is just thomas pondering disney plots, on that level of thinking[listen there are three whole layers of reality in this show; i can’t just say diegetic or in-universe. the viewers are real, the sides are imaginary, and character thomas is having thoughts. i don’t know what to call it], and the results of this discussion won’t impact much other than tarnishing disney’s image. it’s just a disembodied ideal based on an external, unrelated body of work. anxiety proceeds to point out flaws in the ideal. many of which are valid points, and princey anticipates anxiety bringing up stockholm syndrome in the context of beauty and the beast, demonstrating that he already recognizes these flaws, and is just more accustomed to not focussing on the negative. different values of the critical. by the end of the episode, though, anxiety also admits that he appreciates disney movies despite their flaws. princey saw the flaws, but didn’t want to dismiss works outright for them; anxiety in truth shared this position but was unwilling to let the praise stand without a critical eye: a valid condition[pretending disney is flawless is setting a bad, bad precedent]. from then on more discussions ensue wherein more sides have opinions to bring to the table, presumably because it works and they have input, up to my negative thinking, wherein morality and princey are tabled, put offscreen. they provide excuses for their absence. already, there is enough precedent for all sides being present to these talks that absence calls for justification, at least in the opinion of thomas[not sure if anyone else was writing by that point? them too]. this is less one of those compromise episodes, and more an early appearance of how applying logic to problems is really effective, but it acknowledges anxiety’s opinions/feelings as being legitimate[in the sense that feeling that way is valid, not that he’s right], and addresses the cognitive distortions that lead to this kind of downward extrapolation. anxiety was wrong, but them working together brought thomas to a place where he had a more realistic projection of the effects of his actions. less relatedly logic admits to appreciating anxiety’s adherence to the formal debate format[for as much as he did so, at least], and says that while he frequently disagrees with anxiety, he isn’t as opposed to him as anxiety seemed to believe. this is a debate between a side with that civility i mentioned, and one without. but anxiety mostly does not express that civility due to that mentioned conflation of him with his negativity, which logic does not engage in as much here; logic points out failures in reasoning without edging in on personal attacks, dismissing anxiety’s arguments due to fallacies, and not because he attributes them simply to anxiety being a negative person[side? you know what i mean]. the result is fairly peaceable. now, keep in mind this talk about anxiety, we’ll focus more on him in a bit.

another angle of progression is in time they actually spend together[not during the course of an episode; i hesitate to just say ‘not counting times where thomas is present’ but you understand. time not occupied by dilemmas, maybe]. as mentioned, there’s little proof they’ve seen each other pre-series outside the occasional argument[also that dollar morality borrowed, but what even was that? it was also with princey, who he seems to have the most in common with], but as end-cards made appearances, we could see the sides spending time together. in an after-the-scenes sort of sense, to be sure, where it feels like they’re sticking around after filming because they somehow have to. at least, that’s the impression i get from the losing my motivation end-card; princey and anxiety probably would not want to spend time together at that point in time. i’ll chalk the ‘necessity’ of that up to the bizarre non-diegetic framing[like, in that scene he calls his agent. i have no idea what they were trying to imply]. at other times, though, it does read more as the sides generally hanging out, such as in mind vs. heart, where it reads more as them spending time together in an unofficial, personal sense[if only because logic has the presence of mind that during any official capacity in which they would spend time together he probably wouldn’t be so loose-tongued as to let that joke slip] and other goofier, more personal moments. it’s hard to place the dark side of disney’s endcard between these possibilities for that reason; they’re goofing around, and it’s not so implausible to believe that they’re sticking around out of preference. aside from end-cards, which take a bit of a turn at the end of the season and fall almost completely into the ‘personal’, ‘unofficial’ setting, there’s more evidence of them spending time together off-camera in later episodes, after the familial progress. offscreen things like anxiety mentioning morality paid him a dollar to make a pun, a flashback from princey of him seemingly in the midst of a casual conversation with at least one other side[the one where he alludes to not being a huge jelly guy], and a bit further back, princey and morality revealing that they’d worked together on the holiday sweaters. furthermore, as less of an offscreen moment and less of an unofficial setting but still worth bringing up: morality’s appearance in losing my motivation. he shows up in costume to match logic’s, to help solve a problem he has no particular stake in[that we and they know of yet]. this can be attributed to a couple factors: he wants to be helpful, and he wants to spend time with logic. potentially that second factor is linked to him already feeling they have bonded from the then-recent mind vs. heart; their shared love of onesie pajamas[and wordplay, much as logic will deny it] causes morality to feel closer to logic, and wanting to spend more quality time. he’s the most sentimental side; it makes sense that morality would be the first to feel more personally attached to the other sides. and even though the events of lmm are problem-solving in an official capacity[by their standards], it’s also said to be playing[dress-up]. spending time together. morality’s sentimentality and attachment to other sides doesn’t end there. that is only the beginning. but further such declarations are less within the realm of quality time and more business hours, so let’s move on to our next focus.

i don’t care to think up a diegetic reason they all started showing up in the first place[the first episode relates directly to the audience with a fine mist of a 4th wall], but anxiety has been present too, since early on in the series. he barely misses out on any discussions, and that’s if you count the initial introduction as a discussion. and he makes good points at times, too. his initial episode is about how to work him down from a heightened state, but in future episodes, he offers legitimate arguments and good points. things like more realistic goals[he says he knows thomas’ limits, a fair assessment], saner plans, emotional insight, honesty that is brutal but ultimately helpful, and reflections on past events. he has issues at times with identifying the reasons behind some feelings, but anxiety is irrational[the feeling, not the character], and we can only guess how much insight he has into that anyway. what we know is that when he identifies problems, he really wants to be heard, and he’s not the best at telling whether problems he’s identified are as legitimate concerns as he’s guessed due to cognitive distortions. these are thoughts thomas has, and anxiety gives voice to. other sides, in the past, have been less willing to help with working through these concerns, and more willing to just shoot down anything he says on the grounds of he said it. and even if he has trouble with which hesitancies are reasonable, he’s worried about them ignoring actual problems if he doesn’t point them out. anxiety wants to be listened to, until he doesn’t. there are a few contributors to that, logic demonstrating his concern as being excessive, disparaging remarks about how unhelpful/relentlessly negative he is hitting home, how successful all their talks have actually been in solving problems, any number of these;very likely a combination. we shall focus on the third: they’ve all been communicating with one another, which has been helping a lot to work through problems. they are identifying problems, and solving them. anxiety feels that things they’ve said about him causing problems are right, and that he isn’t needed/is holding thomas back. but as mentioned, anxiety has been there since nearly the start, appearing just as often as anyone else. he’s been there throughout the developments the others have been making; as they all communicated, he was communicating too, and in fact contributed to the solutions of multiple problems. he’s been there all along as the family came together; he may feel like an outsider, but he’s as much a part of the group as anyone. morality’s card said family. the specific label was a product of sentiment[not inaccurate by any means though], but it was accurate in depicting them as a unit. they do work primarily as a unit from that point on.

now to address more recent events. deceit and the duke have made an appearance, the others[pros: accurate. cons: this is a word i want to use for other purposes, such as that one there], or ‘dark sides’[pros: distinctive. cons: reductive] have been confirmed to be a group. that said, they are only confirmed as a group, not a cohesive unit. who knows to what extent they communicate or operate as a team. there is still ambiguity, however, about whether they are more of a unit than the ‘light sides’[pros: distinctive. cons: exclusive] or famILY[pros: accurate. cons: unhelpfully inclusive, contains capital letters, sentiment-ridden] were before season one. no dark side we have encountered seems like the type to both have and act on the kind of sentimentality that attached morality to his family, but there is much greater evidence of them interacting offscreen before.  yet that evidence shows no signs of particularly positive interactions. anxiety and deceit evidently know each other, but there's little evidence of what their past was actually like, and their interactions now are frigid, to say the least. deceit and the duke had a conversation about transparency, which was heavily paraphrased[i have to assume so at least] and occurred after deceit revealed himself in the first place. that seemed like less of a group decision and more an idea deceit had. furthermore, that idea seemed to be in response to events and actions on the part of the light sides. so who can say if the dark sides ever worked together. but it’s hard to imagine they’d have done so more than the light sides had been.

to be clear, my emphasizing morality as the one who declared them a family out of sentiment should not be read as disagreement with him saying so; i do not seriously believe anyone included in that family disagrees. he is the one who said it first, acted on it first, and initiated more of the social bonding. and referring to sentimentality as a factor should not be read as negative. that’s just what these are being attributed to. it’s a trait he has in spades, more than any other side, that contributes to his decision-making.

i know i said i was going to talk about self-love later, but that’s gonna be another time. besides, i have raw data to collect on that first.

i feel like i write more about the older episodes because they’re easier to parse, and i don’t know why. maybe it’s that they don’t have as many instances of people keeping their goals close to the chest. or it could be that they’re less of a time investment to rewatch. maybe the characters talking more like characters than people makes them speak less straightforwardly. maybe the fact that new episodes are caused by ‘real’[to character thomas] events and less about unprompted introspection is leaving some things to the imagination. maybe they’re trying to leave more to the imagination now! to be fair, imagining is fun. but insight lets me do things like this.

i did a whole separate section on virgil. to be fair, he could use the validation. he’s 100% a part of this family. plus, i’m not opposed to writing about other characters i love to the same extent. 8)

if you have thoughts about this, let me know! if you have questions, be assured i will be more upset if you don’t ask them than if you do.