#but none of the new worlds characters stories etc invests me

[piecesofchess]

Well. That's enough of my use out of the free W101 membership. Time to never play this game again for another few years!!

[dysconymph]

The Boy and the Heron - Review

There’s a kind of joyous expectation many of us feel towards watching any new Hayao Miyazaki film. A nostalgia for those fairy-tale narratives abound with child-like wonder. This is what I was gearing up for when I went to see The Boy and the Heron - a box of tissues ready to hand. The beginning of the film sets you up perfectly for this. Some of the most beautiful animation pulls at the heartstrings as we see a young boy, our Protagonist Mahito, facing the death of his mother: the rough, drawn out style of the artwork heightens Mahito’s desperation as he runs through crowded Tokyo streets, emphasising the chaos and confusion around him. Moving to the countryside during the second world war, meeting his father’s new wife, the pace of the film drops dramatically. We get a languid, sensual, slow cinema marking the boy’s grief. Moreover, the introduction of the titular heron is done with such mythic grace that one is immediately spell bound by the power and horror of it.

Miyazaki films famously lean into the dual nature of traditional childhood fairy tales. Being at once moving and gentle whilst also leaning into darker topics: death, loneliness, fear, environmental collapse. Despite this common feature, this new Miyazaki film seems to be more mature in pace and style, darker even. The voice of the Heron aping Mahito’s mother, taunting him, is so horrifying I was shaken out of my initial ‘ghibli giddiness’ - falling deeper and deeper into the promise of this new twisted fantasy. However, the rest of the film fails to live up to this promise. 

In a typical hero’s journey, Mahito falls into a fantastical world (the afterlife? The spirit-world? The psyche? Who knows), saturated with a large cast of mind-bending characters. However, none of them are particularly well developed, if at all, and as a result it’s hard to find any emotional claim or hook to the narrative. In other ghibli films, the twisting, oneiric storylines offer us a close examination of the main characters’ fears and anxieties (Spirited Away); their sense of duties (Princess Mononoke); their pleasures (Ponyo) etc. However, in The Boy and the Heron, characters come and go with a light hand, scraping the surface just enough to keep the bizarre story going. Half way through the movie I couldn’t even keep up with what was meant to be going on, what was necessary to the plot and most importantly what was at stake. 

To some degree, in hindsight, this kind of light-handed, floating quality to the film makes sense to the themes of grief and loss. It feels almost as if Miyazaki himself was in some kind of lethargic slumber whilst making the film - unable to connect and ultimately commit to the verisimilitude of the fantasy world he has built. The Boy and the Heron becomes a series of beautifully crafted shots that never fully hit. Events pass the characters by with such little emotional investment that even the climax feels rushed and uncared for. As mentioned, maybe this is the point. The film doesn’t give us any revelation or catharsis, perhaps the most accurate depiction of how we move on from grief, but it also comes off as under-developped and inchoate. You’re constantly waiting for the penny to drop: for the world to fully invite you in and leave you wondering in that ghibli-esque state of awe. 

At the end of the day, a Miyazaki film will always be a masterpiece - even at its worst it rises above the rest. However, I wonder if I’m being dense, if maybe my inability to connect says more about me than the film, if maybe I set myself up to fail by expecting something more. But there was something in the beginning of the film: a dark, horrific splendour, one that I wish had been more consistent in the rest of the film.  

[legionofpotatoes]

Yeah, games are largely digital now and, yeah, reducing the paper footprint is mass-production is always a good thing (could argue plastic too with the shift to digital), but I will say there was always something really exciting about going out to get a new game as a kid, popping open the case/box in the car, and reading through the manual on the way home

Back then, commercials were usually what introduced me to a game, but the boxes and manuals did a lot in terms of really getting me invested. It helped build anticipation for what I was about to play for the next month (or longer) and it gave me a glimpse of the characters and game worlds that I was about to meet and discover. It gave my imagination a chance to run loose and good games always delivered on that expectation and then some

I think it is fair to say we're probably well-beyond that era with so many things being digital and on-demand now, but I honestly remember being a bit sad the first time I opened a new physical game case and there was nothing inside except the game and a flimsy pamphlet for like a free month of Xbox Live and a DLC code (or whatever it was). Even Nintendo games, which were always stylized and colorful and filled with artwork of official designs, are nothing more than a tiny little cartridge in an oversized case nowadays (Switch cases still even have the little plastic prongs to hold a manual, but none of the games I own came with one)

Sure, there are literally countless ways to go online and learn about a new game nowadays (videos, streams, digital store pages, reviews, etc.) and I very much appreciate that accessibility, but I guess if you lived through that era, it kinda just feels like a small piece of the experience is missing now. A little booklet with fun pictures and story snippets wasn't much, but it added to the sense of wonder in a time before the availability of mobile devices and on-demand services reduced waiting times to effectively nothing. It'd be a novelty now, but if the environmental impact weren't a factor, I think it'd still add to the charm for those who appreciate the little things

Yeah. Yeah to all of this nonnie, thanks for taking the time to articulate it. It was exciting and it was all part of the anticipation magic, and it does feel sad to see it go. But the industry has grown too large and too complicated to accommodate that anymore, and there's simply too much money involved, too much human labor that is seldom offset. It is the most profitable and profit-driven entertainment sphere in the entire world, drowned in unethical practices and inhumane work conditions and downright predatory gambling schemes. Loving games today is very different from loving games back then. Changes how I view ownership, too. Cause given everything above, it just seems like a waste.

I'm thirty (incredibly weird to say this), I lived through the late nineties/early 2000s boom of boxed disc media, and I even have a very concrete memory of my best friend gifting me booklets from his game discs, cause I could never afford the games themselves but he wanted me to take a piece of that experience home in some way. It was always a special part of being a little guy who liked games. But now? I play a Videoed Game and 9 times out of 10 it's built on the broken backs of burnt out employees, costs half my month's pay, and maybe has a good enough sense of magic in its story that remains visible after it fights through fifteen different layers of over-engineered gameplay systems and UI. It's just a different relationship, for me personally, with the whole thing. And booklets are just not going to do anything for me anymore, except to maybe add a teeny-tiny frosting on the massive, depressing cake that is the human cost of making games.

[icewindandboringhorror]

Daily Log

Trying out (probably just temporarily) making short daily-ish notes about things, in an attempt to see if it helps me be more reflective or productive lol.

Activities: Badly carved an eye into an avocado pit with a nail cuticle tool thing. trying to think of better designs to carve into avocado pits. I don't really have the right tools, maybe should order some carving tools. I hate buying things online eeeeee..

Worked on translating a poem into Avirrekava (my constructed language for one of my fantasy species) so I can paint it onto a tapestry sort of thing I'm making, kind of in the style of medieval illuminated manuscripts? I do not have paintbrushes small enough.

Spent a lot of time thinking more about the story with an investigator tracking a doctor who's doing strange experiments and they eventually become friends(ish) after trying to kill each other a few times, lol (set in my fantasy world though, so magic is involved, etc. It's just interesting to think about testing the limitations of magic and what type of experimentation people would do, especially if you own a hospital or morgue or other scenario where you have access to bodies, or good cover for hiding them, etc. Plus worldbuilding religions in the world, what their ideas of morality would be, what an "investigator" or police force would even look like in that setting, etc. Two jhevona main characters in a city full of elves and the in-world politics of that, class war and royals, pretentious scholar communities and how they'd operate, actual magic combat between two advanced magic users and what that would look like (mixing illusions or higher level spells with minor brute force tactics, evasion, enchantments, shapeshifting, etc.) etc. etc. ).

Organized some of my plants, but still need to replant some fully. Succulents grow SO fast, I think I'll run out of room. Also one has burnt to a crisp during the heat wave last week.. my son.. ToT.

Edited a few costume photos then gave up because my camera is evil and I always have that thing where it looks really cool in the mirror but then the final photos suck, which demotivates me to even do anything with them/feels like a waste.

Still chronic health issue sick stinky as usual, plus it's still warm inside from the heat a few days ago so being hot makes joint pain worse... evil.. no energy. fell asleep on the floor for like 30 minutes.

Tried a new oreo flavor and ranked it on my comprehensive oreo ranking list. Mediocre as usual, but I'm too far in to give up now gghj.. I have to just try them all. A fool's labor.

Notable sights: found one 6 leaf clover, two 5 leaf clovers, and eleven 4 leaf clovers. Saw a rabbit, 3 cats in windows, and 4 ducks. Also at some point I was squishing gum in my hand and pulling it apart and when stretched out it would make these really cool spindly spider web patterns. The sky later in the day was hazy pink, purple, and blue pastel sunset.

Goals moving forward: Wake up on time even if I feel sick when I wake up!!! Focus on more immediate projects, don't get distracted. Actually make room for investing in social time and replying to people even with minimal energy reserves. Stay consistent with physical therapy exercises. Plant nasturtiums. Finish and upload videos, email doctors, edit pictures, post the poll adventure thing that has been sitting in a draft for weeks.

Notable foods: None today, but I have asparagus for later which is exciting... my new favorite vegetable whilst on the stinky Nutritionist Prescribed Special Limited Diet

[lostnlucky]

ok here are my two cents on the archive 81 netflix show. this is just for catharsis at this point.

i’ll start with this: i tried to enjoy the tv show as a stand alone story. i knew going in that a lot of the source material wasn’t going to be preserved for the visual adaptation because? it can’t be, the original show was so tied to the audio medium that they were going to have to gut the story in general to make it work for netflix (which is a point for a whole, separate post about why podcasts don’t need tv adaptations, but i’ll let it rest for now).

what i wasn’t prepared for was how thoroughly the plot was gutted. netflix’s archive 81 is a shell of a narrative, even when not compared to the source material. it’s a story without a theme. there’s no purpose. there’s no meaning. it’s a cult narrative about a world-destroying demon that doesn’t examine anything about our world.

the plot doesn’t take risks. it doesn’t present me with anything new. it doesn’t introduce anything fresh or compelling. i’ve heard this story a thousand times in a thousand horror movies, except this time its just rewrapped in old cassette tapes. 

beyond that, the cult narrative that they concocted for the story doesn’t fit cleanly into the world. the “other world” that the demon resides in isn’t meant for this story, it’s just a remnant of the previous narrative that got left over. i almost wish they had removed it entirely in favor of trying to make a better, more compelling, and more complete story.

this isn’t to say that the show didn’t have its moments. the visuals were fun. the short introductions to each of the episodes were interesting and well-done. the casting for the most part was pretty nice. as a podcast listener, i really enjoyed the subtle nods to dead signals and golden age in mark’s job, the deep vault posters, the auction tapes, etc.

but beyond that? you have a story that’s painfully mediocre at best. it’s basic, predictable, an ok watch. if i wasn’t someone invested in the podcast, i’d never think about it again. maybe i wouldn’t have picked it back up after the first episode.

now that i’ve done the basic “here’s what the show is without comparing it to the podcast,” let’s just get into this.

this show sucks as an adaptation. queer erasure (and also? making more characters lesbians to try and make up for it and then that character being evil? was a Choice (derogatory)), melody’s characterization, and the thousands of other valid criticisms that people more knowledgable than me are discussing aside, this show is gutted of its original purpose.

archive 81 was, at its heart, about corporate greed. this is a podcast about a man being driven to paranoia by the constant surveillance of a corporation that doesn’t care about him or his well being, which is driven home in season 2 (which, spoilers, is entirely about a new world being seen as a frontier for corporate greed and profits, and employees being dehumanized in order to further those goals).

the crux of the show is how far a corporation (LMG) is willing to go for profits, to the point of essentially sacrificing dan in order to unlock the tapes and creating people like Suit (who is a person who has literally been turned into a meat suit for executives of LMG to wear so they can interact with employees in the other dimension without risking the dangers of going there themselves). 

and as a reaction, archive 81 becomes a story about people fighting for survival in a corporate hellscape. how far people have to push themselves to get some modem of power (see marc and the golden age). how powerless these people are in the face of greater, unthinking things that don’t care about them or view them as people (see payphone and visser, as well as everyone employed by LMG). 

netflix’s adaptation preserves none of that. and how can they? its a story that critiques the company that they are, and netflix falls into the same hole that many large film/tv show companies do by missing the point of their narratives because they can’t bear to be introspective for a moment.

by gutting that meaning out of the narrative, they create something flimsy, weak, and forgettable.

[chibigaia-art]

Idk how to find it again but the other day I saw a tweet saying that if you don't read the genshin lore, you miss a good part of the fun, and it kicked off a domino effect in my brain so. Long rant under the cut???

On one hand, yeah, it's true: the exploration part of genshin is something you can enjoy without necessarily having knowledge of the lore around each place, but it would definitely be more interesting if you knew what happened in specific spots etc etc. Reading notes, talking to npcs, I love that stuff! Knowing more about the world you're playing in, especially if it's a fantasy one, is super fun, and it's something I personally love doing (I'm one of the idiots that reads most of the items' descriptions in soulsborne games and I'm also the idiot that spent hours talking to every possible npc in FNV)

But.

The exposition in genshin is boring as hell and I honest to God can't get invested in it at all, despite trying multiple times. Genshin's story has some REALLY cool bits, but almost none of it gets shown and is instead told to the player via convoluted and lengthy conversations with npcs, which ykno would be fine if. The dialogue was bearable. You don't always have to "show, don't tell" but it feels like genshin goes for the "don't show, tell in excruciatingly long dialogues with paimon repeating lines other characters said/making the xth comment about food" (I am still convinced that the game would be way more bearable without paimon around, or if they had made her less... Like that,, the traveler feels very passive because paimon does most of the talking)

And the problem is, with the way genshin is, with the type of game genshin is, I can't really expect anything different - it has to feel like a full single player game while also being a gacha and requiring all the gacha-like features which inevitably influences the way the story is written (constant updates > a lot of events to write, pad them with a lot of additional lines so it's added 'gameplay', add some useless npc quest lines + constant new banners > a lot of characters that get thrown in the story and get a spotlight once every ten months if you're lucky, and sometimes don't even contribute to the main plot)

Anyway, thinking about all of this made me wonder if genshin would have been better as a full, single player game, since removing the gacha/new story updates every X months would have helped idk, reduce the cast, flesh out the main characters (traveler included) and you know, maybe!! Maybe it would have! Maybe the dialogues would have been shorter, and the writing easier to digest, but the combat system is also very subpar, which yeah, it's not surprising because it's a gacha game first, an action rpg second, so that would have to be improved as well

If you reached this point, ty for listening to my 2am brain soup!!! I just needed to write my thoughts down somewhere and I didn't want to annoy my friends

So yeah maybe you lose some fun not knowing what the genshin lore is going on about, but the writers definitely don't make the job easy

Tldr genshin needs a skip dialogue button

[wordsnstuff]

Guide to Writing Dark Fantasy

Patreon || Ko-Fi || Masterlist || Work In Progress

–

What Is “Dark” Fantasy?

Dark Fantasy subscribes to the tropes and conventions of fantasy, while mixing in elements of the horror, thriller, and sometimes dystopia. Loosely, the magical elements of fantasy take a gloomier, more frightening turn. Dark fantasy is not simply “fantasy, but make it sexy or gory”. (I’m talking to those who cite Game of Thrones as an example of the genre.)

Yes, a lot of authors choose to incorporate heavier subject matter into dark fantasy stories, but things like rape and copious amounts of gore and death are not genre-defining. Darkness exists in every adult story, even if it’s only in symbolism, but the darkness in this sub-genre specifically persists throughout each scene and coats every element. This includes character development, plot development, world building, etc. 

Death Still Has to Mean Something

Something you have to understand about dark fantasy is that death can be a tool, but the nature of the genre shouldn’t make it any less impactful. When a side character or an extra gets killed, it should affect the reader emotionally, even if death is very common. If the death isn’t going to surprise them, it should unease or upset the reader. Death should never serve the purpose of filling space. 

Incorporate The Horrific

A lot of dark fantasy authors and writers have trouble or fail to incorporate the dark elements in a rounded, even manner. A lot of authors go for the “show the reader something undoubtedly tragic or traumatizing and the tone will endure” or the “if I sporadically kill characters for no apparent reason throughout the plot, the reader will stay disturbed and none will be the wiser”. 

The Villain Is The Key

The antagonist must be complex and compelling, and you have to use them well. Dark fantasy is a genre which depends on a fantastic villain or antagonist. It’s wise to create an antagonist whom the reader can understand, but who is severely misguided or obviously facing their own demons. Stories with a standard “I’m evil because my mommy didn’t love me” or “The world has been unkind to me so let there be fire” villain is outdated and, at this point, you have all the opportunity in the world to do better. 

If there’s one place where you should invest your creativity, make it the antagonist. 

The Darkness Is In Everything

Incorporating horrific things into fantasy is what makes this genre, true, but it has to be a consistent effort and an author must play the long-game. The darkness has to penetrate your word choice, the way you deliver new information in the text, the way you build up to important events, etc. The horror shouldn’t just spurt out every couple of chapters. You want to create a dark atmosphere, and an atmosphere must stretch beyond one or two scenes here and there.

Flawed vs. Unlikeable

This is a major downfall of a lot of dark fantasy works. It’s difficult to create a character whose flaws are so integral to the storytelling without making them unlikeable, but if you don’t toe this line carefully, your readers will put the story down. Yes, the character must be flawed and complex, and there are no heroes in the situation, but if there’s nobody to have hope for, then the reader will abandon the story. Nobody wants to sit and watch something that is sad and frustrating for the sake of depressing themselves. Well, some do, but not enough to convince someone there’s a market for your story.

Common Struggles

~ How do you craft a dark fantasy ending?... Not all pessimistic stories have to have a pessimistic ending. You can give your characters a positive outcome (or even just somewhat positive) without sacrificing the work you’ve done to maintain the genre’s tone and message. Most dark fantasy is about topics that are larger than the story itself, such as equality (in many aspects), existence, freedom vs. security, society vs. individuality, etc. Dark fantasy tends to branch off from the typical fantasy in terms of messaging because incorporating darker aspects of reality forces the reader to face harsher truths. Make your ending about what you want the reader to walk away with, and you should have no problem figuring out how to do it. 

~ How do you warn readers of possible triggers in non-fanfiction works?... Simply put, market your story honestly. Disclose any especially dark elements, and when advertising on platforms such as social media, perhaps provide an official disclaimer. The manner in which you warn readers of possible triggers is up to your own and whatever marketing team you have’s discretion.

~ How do you research dark topics while writing?... With purpose, caution, and practicality. I see a lot of posts that cover very tiny details that may go into fantasy, and while I encourage research of all kinds for every genre, I think fantasy is one where writers can get so caught up in getting every minute detail researched and recorded that they get burned out with their own ideas before they even put pen to paper. Research what you missed, then find holes as you write, and then do the rest of the research for the second draft once you’re finished with the first. Avoid burnout that comes with extensive research beforehand.

~ How do common fantasy tropes interact with darker aspects of the sub-genre?... There’s a lot of ways you can mix typical fantasy with typical horror/thriller and come out with dark fantasy. The main fantasy characteristics that persist in dark fantasy are setting and the way magic systems are executed in the story. Secondly, I see a lot of similarities in general world building. Where it deviates, I think, is in character development, plot structure, plot development, and messaging. The smaller events tend to be more mature, the character arcs turn more raw, the characters themselves are more flawed, and the plot develops in a much less linear fashion. The messages are heavier because the content is heavier. 

Other Resources

Resources For Fantasy/Mythology Writers

20 Mistakes To Avoid in Fantasy

Guide to Writing Fantasy

Guide to Story Researching

Commentary on Social Issues In Writing

On Writing About Sensitive Topics

Resources For Writing Royalty

Dark Quotes & Prompts

Angst Prompts

31 Days of Character Development : May 2018 Writing Challenge

Suspenseful Prompts

Sad Prompts

31 Days of World Building : August 2018 Writing Challenge

31 Days of Plot Development : January 2019 Writing Challenge

31 Days of Horror : October 2019 Writing Challenge

Resources For Creating Characters

Giving Your Protagonists Negative Traits

Writing Good Villains

Showing Vulnerability Without Death

Giving Characters Flaws

Creating Villains

Flipping Character Traits On Their Head

“Male characters are more relatable”

Tips on Character Motivations

Tips on Character Consistency

Resources For Plot Development

Guide To Plot Development

How To Write A Good Plot Twist

How To Foreshadow

Plot Structures

Describing Setting

Resources For Worldbuilding

Guide To Political World Building

Creating Diverse Otherworld Characters

Tips on Creating Magic Systems

Tips on Introducing Political Backstory

Resources For Writing (Global) Period Pieces : High Middle Ages & Renaissance

Resources For Writing (Global) Period Pieces : 1600s

Resources For Writing (Global) Period Pieces : 1700s

Resources For Writing (Global) Period Pieces : 1800s

Tips on Writing Fight Scenes

Tips on Writing Chase Scenes

How To Make The Journey Interesting

Tips For Horror Writers

Tips on Writing Pyschological Thrillers

10 Mistakes to Avoid in Horror

–

Masterlist | WIP Blog

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[iamanartichoke]

I wasn't sure if I was going to post this, but I may as well.

I keep starting to reply to things and then stopping bc the words just aren't there, and I suppose I figured out the core of what bothers me so much (and is making me have such a rollercoaster of a fan experience) about the show.

(cut for length)

It's not well-written. My opinion is my opinion, so I'm saying this subjectively, take it or leave it, but ... I feel that it's not well-written. The overall story is fine, and the plot is fine, but I don't know if it's because of the limited number of episodes not being enough to house the story, or because of the relative inexperience of the writer/showrunner+director, or both, or something else, but -

In an earlier reaction post to episode 4, I mentioned really wanting to sink my teeth into all of the subtext I picked up on. That was what made me initially enjoy the episode so much - there were a lot of little moments that I initially felt revealed so much about the characters and about Loki, and I wanted to analyze them. But at some point, as I gathered more information, my perspective changed and now I no longer want to analyze the subtext bc ... subtext = good. Subtext w/out payoff = not as good.

I'll go into more detail in a moment, but I think the tl;dr of it is that I feel like the narrative requires the audience to work way too hard to put together all of the moving pieces here and, like, I kinda just don't want to do that work? Not so much of it, and not in vain. A lot of the enjoyment of Loki's characterization is coming from fans who are rationalizing why he's behaving as he is, but the narrative never actually confirms those rationalizations. It's asking us to figure it out and maybe our conclusions will be correct but maybe they won't, though. At some point, subtext isn't enough without explicit follow-through.

I thought my issue was with the lack of character development - that is, not having enough narrative space to really earn the big things that are happening now, like Loki/Sylvie or Mobius turning against the TVA. And that's still true, to an extent; I still feel like the pacing is all very off and it seems like most of these things kinda came out of nowhere (but are not unbelievable - just undeveloped).

But, yknow, it is what it is, it's a limited series, and I can excuse some things. Ultimately, my issue isn't a problem with what the narrative isn't doing, it's a problem with what the narrative already failed to do and probably cannot recover from at this point.

The narrative has left out significant details that should at least help us do some of the work here. If a person turned on Loki and started episode 1 and had no background knowledge of the character besides that he tried to take over New York - how would that person interpret Loki? Would that person say, oh, well, he's been through X, Y, and Z, and plus A happened, not to mention B, C, and D, so really, it makes sense that he seems off-the-rails, or that he'd want to get ridiculously drunk at the worst time ever.

Maybe we'd like to believe they would, but how would they be getting to that conclusion? The narrative hasn't led them in that direction so, no, they would not say well we have to consider this, this, and that. It would be impossible to really understand Loki as a character from just what we've gotten in the series. The general audience would probably interpret Loki as being out of his element and so it becomes, I wonder how this character is going to get the upper hand here. And, while that's not wrong, it's just so limited.

The narrative at face value does not address Loki's identity crisis from Thor 2011. It does not address his hurt and devastation at being lied to, nor does it address how complicated his self-image is (bc it sucked to begin with and that was before he found out he was part of a race of "monsters," as he'd been taught his entire life). It does not reference Loki being so broken at the end of Thor 2011 that he deliberately let himself fall into the void of space (aka tried to kill himself). It does not reference that he was tortured by Thanos or even that he went through a seriously dark time in between Thor and Avengers, and it absolutely does not reference or address any influence or control of the mind stone.

These are all things that we, the fan audience, know because we've already invested our time into this character's story. But tons of people, the general audience, wouldn't know these things. Or if they did, bc they saw Thor and Avengers, they wouldn't be thinking about them as deeply as we would, nor contextualizing them with how Loki is behaving now, or why it would make sense that he needed to get drunk, or why it's understandable that he needs to keep going-going-going in order to not have a spare second to think or feel.

They'd probably look at Loki, again, as a character who was a villain and is now getting his comeuppance in a place where he has no power or control, and no literal powers, and even when he manages to escape and catch up to the variant, he proceeds to fuck up their plan for seemingly no real reason except that he wanted to get drunk bc he's hedonistic. Which Sylvie even berates him for! I mean. This is not exactly a complex character breakdown, nor a very flattering one, but that's what the narrative has given us.

(If the narrative has addressed Loki's mind control, his torture, his mental breakdown, his suicide attempt, and his general shitty self-esteem as a result of his upbringing, please point it out to me. If the narrative has explicitly acknowledged and referenced these things anywhere and I am missing it, please show me where. Please explain to me how the casual viewer would know any of these things that they need to know in order to actually understand what's happening in this story.)

So I mean, okay, we have a narrative that doesn't paint a full, accurate picture of Loki. Fine, sure. But because the general audience starts out on the wrong footing, they're not going to get out of the overall story what the writers probably intended them to. For example, in episode 3, a lot of us theorized that Loki had some kind of plan - that he broke the timepad on purpose, for some reason, bc otherwise it wasn't believable that he'd be such a failure. But episode 4 revealed that no, there was no bigger plan, Loki just plain old messed up. Which is fine if, again, one is only considering the surface-level portrayal here, but it's not true to Loki's actual characterization.

I mean. Loki is not perfect and Loki actually fails a lot, this is true. He fails for a lot of reasons, but incompetence has never been one of them. Usually it's that either things grew beyond his control, or there ended up being too many moving parts, or he had to change his plan at the last minute due to some roadblock or another being thrown his way, or even that he got in his own way - whatever the case may be for his plans' failures, he was always at least shown to know what he was doing.

That wasn't the case here. The "plan" to fix the Timepad failed as a direct result of Loki's actions, which were careless and made him seem incompetent, like he couldn't even handle this mission. "You had one job," etc. And there were pretty big consequences for this; they were not able to get off-world in time and would have been killed had the TVA not shown up at the last second.

And maybe none of these things matter bc the writers never intended any of this to be a reflection on Loki's character, positive or negative. The situation exists solely because the writers needed to put Loki and Sylvie together in some kind of hopeless scenario so that they could get closer, and thus the narrative could set up their romance. I get that - but, there were other ways to do it that didn't require Loki to look foolish.

Furthermore, the whole reason they needed to set up the romance is to show Loki eventually learning to love himself (like, figuratively but also literally). The audience is supposed to gather that Loki and Sylvie fell for one another, possibly due to the high emotional aspect of, yknow, being about to die (in addition to the variant-bond). The intent is clear: Loki and Sylvie almost die but get rescued at the last minute, having now created an emotional bond --> Loki and Sylvie team up and the narrative further establishes that Loki, at least, has caught feelings --> Loki might confess them but is pruned before he gets the chance --> he somehow survives, he and Sylvie are reunited and don't want to lose one another again, and the combined power of their love is enough to break the sacred timeline and spawn the multiverse, and the reason that the power of their love is so, well, powerful is because it's about self-love and self-acceptance as much as it is about having the capacity to love someone else. The end.

I get all that. The writers more or less said all that. And, I mean, it's certainly not the way I would have chosen to go about it, but it's a fair enough arc to explore. I don't really have an issue with the intent - but my question, however, is this: if the narrative has so far not addressed Loki's background issues (as outlined above), and has furthermore kinda gone out of its way to portray Loki as hedonistic and narcissistic, among other things (like kinda incompetent), and the context the audience starts with is that Loki's this villain who deserves what he gets -

- my question is 1, why should the audience care whether or not Loki gets to a point of loving and accepting himself (thus to make the theme of self-love, via the romance, hold weight) if they don't know that he hates himself to begin with and 2, why should the audience root for Loki to reach that point when so far the perception of him is that he's "kind of an asshole"? if he's a hedonistic narcissist, he probably already has a pretty inflated sense of himself, right? A misplaced inflated sense of himself, at that, because, again, the narrative has made him out to be not that capable of much of anything. (And it didn't start out that way! It seemed to start out with Loki being capable and intelligent but it's like episode 3, in trying to set up the romance, just jumbled it all up somewhere. I think this is why I'm harping on the Loki/Sylvie aspect so much - it's frustrating bc it kinda messes up the whole story and can't even accomplish what it's supposed to anyway.)

Anyway, that's beside the point. What I'm ultimately getting at is, at what point is the audience supposed to get invested in Loki's personal growth journey?

They can't, not really. Without understanding and having the context of everything Loki has been through up until now, and why he hates himself, and why it's so important that he learn to love himself, then the "payoff" becomes kinda pointless bc the significance of it is lost in translation. So suddenly we're left with this romance that comes off as either "Loki loves Sylvie bc of Reasons" (best-case scenario) or "Loki loves Sylvie bc he's vain, narcissistic, and kinda twisted" (worst-case scenario). Neither of these conclusions are what the writers intended or were going for, I'm positive, but there we are, regardless.

In order for the writers' intent in these storylines to land, they need to address the context of what makes these particular stakes high for Loki. So far, they haven't done that. They're asking the audience to pick up on all of these things, and they're showing things that subtextually make sense and are relatively in-character - but only if you realize there's subtext in the first place.

But you can't expect the audience to do all of the work for you. If you don't want the audience to think that Loki is a narcissistic asshole and instead you are trying to convey that, worst-case scenario, he thinks he's a narcissist but is an unreliable narrator, then you have to address that. If you need the audience to understand why you're going the selfcest route and why it's important to explore Loki's capacity to love himself and others, you have to address where that exploration is starting from and why it matters. Etc etc etc.

The narrative isn't doing any of that. And it isn't like it'd be that hard to do it. They don't need to reinvent the wheel here; a lot of the pieces are already there. A few lines of dialogue for context, a brief scene here or there addressing the issues, a little more care and consistency in how Loki handles things - these are all little things that could go a long fucking way in making the narrative stronger.

I'm rambling. My basic point is that my rollercoaster of emotions with this show is because

- as a part of the fan audience, not the general one, I can contextualize and analyze the subtext and come to the conclusions the show wants me to, and thus find the story and the characters more or less enjoyable,

- but I am also going to be using the subtext to come to conclusions that aren't there but probably should be (I think it would be a better story, for example, for Loki to confuse platonic love with romantic love bc it would pave the way to explore just how fucked up Loki's understanding of love - whether of other people or of himself, and the different forms it can take - actually is)

- and when they're ultimately not there, then I think, okay why am I bothering doing all this work just to ultimately feel very unfulfilled? They don't even have to write it the way I would, I'm not saying that, but they do have to do something to make the story feel rewarding.

If we don't get some confirmation of what Loki's been through, and where his headspace is, and why it matters for him to love himself, then the story remains pretty shallow and, for me, it's not fulfilling enough. It's not engaging enough. There isn't actually anything to sink my teeth into, so it becomes kind of boring. Maybe it's rewarding to other people, and that's great for them, but like - I need more than whatever this is.

So I'm just like - well, I had a lot of worries about this show, but my being bored wasn't one of them and now there's only two episodes left and am I really not going to get anything out of this, in the long run? No new canons, no new depths or layers, no new information on Loki's experiences? This is it?

I don't dislike it. I didn't start out disliking it, and I probably wont end up disliking it. I mean, there are a lot of good moments, and good things, and fan service-y things that I appreciate. As far as inspiration for fic goes, it's a goldmine, both plot-wise as well as aesthetic-wise. All of that is great. I don't dislike this show.

But I am disappointed in it, and I feel like I'll be watching the next two episodes lacking the sense of anticipation that would make it exciting. I'll still enjoy them, probably, if for nothing else just the sheer Loki content, but whatever it was I felt watching episodes 1 and 2 is gone and I'm sad about that, too. Because I really wanted to feel fulfilled by this series; I wanted it to fill up the void that Loki's death in IW created three years ago. And I just ... don't feel it. Maybe, maybe that'll change over the course of episodes 5 and 6. I don't know.

Everything that I end up enjoying long-term, I think, will come about as a result of my own interpretations and analysis and while theoretically there's nothing wrong with that, if I had known all I'd get out of this series was more headcanons or support for my current headcanons then, well - that's fine, I suppose, but I'll definitely a little bit robbed.

[scarletwitching]

Hello! Do you have any "real world" timeline of Wanda's backstories (particularly her origins). I know she was created in the 60s, and her first origin seems to have her as the biological daughter of two golden age American heroes. However most wiki pages only describe her latest "in-universe" history. Im curious to know how many actual real-world years she spent as a White American, German Jew, Serbian Romani, Mutant, Witch, Avenger, etc. Thanks!

I’m choosing to do this as a chronicling of backstory retcons (plus a couple of important firsts) because it would be too much to do the whole thing, and I’m going to include the various changes to Magneto’s backstory because they’re kind of necessary. The dates listed are release date, not cover date.

March 1964 (X-Men vol. 1 #4) -- It’s Wanda, no last name. She’s a mutant, part of the Brotherhood of Evil Mutants. She’s from Central Europe. She has an older brother named Pietro, and he promised their parents that he would take care of her.

March 1965 (Avengers vol. 1 #16) -- Wanda’s an Avenger now.

November 1966 (Thor vol. 1 #134) -- We learn that Wanda and Pietro, who are now twins, are connected to Wundagore Mountain and that there was a massive “blinding light” on the night they were born. This was maybe an aborted attempt to retcon them into not being mutants (their powers are referred to as “mutant-type” for some reason), but it goes nowhere.

May 1974 (Giant Size Avengers #1) -- Wanda and Pietro finally have a backstory. They are the children of US-American superheroes Madeline and Robert Frank (aka Miss America and The Whizzer). They were born on Wundagore Mountain, but their mother died and their father abandoned them. They were subsequently raised in the High Evolutionary’s citadel, but they ran away because it was weird being around all those talking animals.

June 1974 - February 1975 (Avengers vol. 1 #127-134; Giant Size Avengers #2 & 4) -- Agatha’s here, and she’s teaching Wanda magic. Wanda is now a mutant AND a witch.

December 1977 - September 1979 (Avengers vol. 1 #166 & 181-187; X-Men vol. 1 #125) -- Origin Story: The Good One. Wanda and Pietro are not the Franks’ kids and were not raised in the High Evolutionary’s citadel. They were raised by Django and Marya Maximoff, a Roma couple from Bulgaria (Transia, the town they’re from, will later become a country of its own), and it is implied that they don’t remember this because they suppressed their own memories. However, Django and Marya are not their birth parents. Their birth mother came to Wundagore Mountain, heavily pregnant, fleeing their father. She gave birth in the citadel, then left because she did not want to be alive anymore.

Meanwhile, Chris Claremont comes up with the idea for Magda, Magneto’s mysterious dead wife, but before the issue introducing her can even come out, John Byrne and some other guys go behind Claremont’s back and make Magda Wanda and Pietro’s mother. Which makes Magneto the husband their mother was running from and thus... None of the living characters know they are related, and it is editorial’s intention that they will never find out, though the connection is acknowledged openly in the letters column.

August 1981 (Uncanny X-Men vol. 1 #150) -- Claremont begins the long process of turning Magneto into a hero, and with that, we learn Magneto’s backstory as a Holocaust survivor. Claremont continues to add to this for the rest of his initial X-Men tenure (through 1991), but crucially, he never has him say that he’s Jewish. You’re supposed to understand that he is, and most of the audience does understand. It is very, very obvious (we even get a trip to Israel), BUT he does not say the exact words, “I am Jewish.”

November 1982 (Vision & the Scarlet Witch vol. 1 #4) -- The characters aren’t supposed to find out they’re related? Forget that. They all know now. I would argue that this issue also makes it obvious that Magneto is Jewish, but whatever, he doesn’t say, “I am Jewish.”

October 1985 (Vision & the Scarlet Witch vol. 2 #5) -- This is the earliest reference I can find to Magda being Romani. It feels like that can’t be the first time that was confirmed, but this post needs to get done some time.

October 1987 (New Mutants vol. 1 #61) -- Another “earliest reference I can find” scenario. I think this is the first time Magneto mentions being from Poland. At any rate, it is a time he mentions being from Poland, and it gets retconned anyway.

July 1993 (X-Men Unlimited vol. 1 #2) -- Due to editorial meddling, Magneto became a villain again in 1991, and according to comic book legend, editor-in-chief Bob Harras thought that Magneto being Jewish and a supervillain was proooooooblemaaaaaaatic. And if he can’t be both at the same time, one’s gotta go. Enter Gabrielle Haller, who is here to give a Ted Talk explaining Magneto’s new backstory. He’s Sinti Romani. That’s the change.

December 1997 (X-Men vol. 2 #72) -- It is revealed that the Erik Lensherr identity was an alias created by document forger Georg Odekirk in order to help Magneto hide from the authorities and find Magda... by pretending to be Sinti. Which, to me, implies that Magda herself was Sinti specifically, not Roma. Either way, Magneto says he’s not Romani, but once again does not say he’s Jewish.

September 2008 - January 2009 (X-Men: Magneto Testament #1-5) -- Magneto is officially, definitely Jewish. For real this time. No more ambiguity. He’s also German now, instead of Polish, and his name is Max Eisenhardt.

December 2014 (Avengers & X-Men: AXIS #7) -- Rick Remender, who is clearly invested in Wanda and Magneto’s relationship, is forced, possibly at gunpoint, to make them not related. This is revealed via a spell going wrong and not affecting Magneto when it’s supposed to affect Wanda’s family, which is the dictionary definition of “plausible deniability.”

January 2015 - June 2015 (Uncanny Avengers vol. 2 #1-5) -- Wanda and Pietro go to the High Evolutionary to figure out what their brand new backstory is. Turns out that, according to the High Evolutionary, they are not mutants and got their powers from being experimented on by him as babies. Their birth parents were their adoptive parents Django and Marya all along, which would make them Roma (not Sinti)... but something is weird about this reveal because Vision finds out there is more to the story and refuses to tell Wanda what it is or that he discovered any information at all.

March 2016 - January 2017 (Scarlet Witch vol. 2 #4-14) -- Nevermind, Django and Marya weren’t Wanda’s biological parents. Django is her uncle. His sister Natalya is her birth mother and a witch, and “the Scarlet Witch” is now a legacy title. Wanda was born in Serbia, but how that intersects with the Chthon thing is not explained. And Wanda’s dad is... the guy who murdered her mother. Who? Doesn’t say.

December 2017 - July 2019 -- A bonus! Marvel gives up on pretending Wanda and Magneto are not related... but mostly outside of comics. The official Marvel website runs articles just... saying they’re related. Official merchandise says they’re related. The mainline comics don’t touch it, but things are very suspicious.

[itsclydebitches]

so ironwood was confirmed to be dead by Miles in a $42 cameo session, where the person who bought it had asked for "comforting words to soothe our anguished souls" bc she was an ironwood fan and wanted a pick-me-up after that devastating finale. miles' response was to essentially mock his fans (it really sounded like that, especially since he ended with "thank you jimmy, may you rest in pieces, crushed beneath the weight of the kingdom you tried so hard to hold up above your head."

apparently the VA, jason rose, confirmed it in DMs w the same fan who sent in the cameo ask. so like, quite apart from how rude and disrespectful it was of miles to make a mockery of james in a cameo where he'd been specifically asked for comforting words regarding the character, ngl but i think that if you have to confirm a MAJOR CHARACTER is dead outside of canon bc you failed to actually show it on screen.....you've failed as a writer. and also that kind of thing shouldn't be confirmed in an expensive and exclusive interview lmao like how hard would it have been to just talk about good aspects to james' character instead of calling him a dickbag and saying 'don't do a genocide, guys!!'

it reeks of unprofessionalism and also it just makes everything surrounding ironwood's character arc even worse since apparently 'his fate was sealed' from the moment he was introduced to the show.

Me, who received the first Moderna shot yesterday (🎉 🎉 🎉 ): Ugh I feel too crappy to answer asks today

Me, upon hearing this news: You know, I have suddenly found an untapped source of energy

Okay, all joking aside, I watched the vid and it’s definitely a lot. I don’t have any information about the request itself except for what Miles mentions in the recording, so I can’t speak to what the fan may have been looking for outside of that, but some highlights include: 

“This is for the filth in my degenerate discord server” - Yeah, that’s how a lot of us (fans) talk about ourselves. It sounds like someone who really enjoys Ironwood and makes joking, self-deprecating comments about their love of a character. That’s familiar to me and speaks to the expectation that they hoped for something other than what they got. At least, if I’d sent in a request like that I wouldn’t be happy with the vid, but that’s obviously my own perspective and not this fan’s. I’d be very curious to know their own thoughts though... 

“Sometimes a character we like doesn’t make it, does something we don’t agree with... or both!” - That is indeed how characters work! The real question is whether their death/actions make sense within the story, which is not addressed here. Many fans who enjoyed Ironwood don’t have a problem with him dying or turning into a villain  — I’ve been honest about my acceptance of either/both, regardless of personal preference, provided it was written well  — and that was always the issue. Not what happened to Ironwood, but how it happened. 

“James Ironwood’s fate was sealed the moment his character was conceived many years ago.” - Personally, I don’t believe this. RT makes a lot of grand, sweeping statements about what’s been planned “for years” or “since the beginning” and too often we’re faced with writing that directly contradicts that. Though it’s unlikely we’ll ever know the truth, neither option paints the writing team in a good light. Either they’re straight up lying about what’s been planned (or twisting tossed out possibilities into assurances after the fact. For example, someone once suggested Ironwood might become a villain somehow at some point and now that’s presented as, ‘We’ve deliberately been working towards this specific ending for years’), or they’re being truthful and just... can’t write what they want to write. It doesn’t sound good when a writer says, ‘I’ve planned this the whole time’ and a good chunk of the fandom responds, ‘Then why couldn’t we see that planning this whole time?’ 

“When James was introduced we intentionally made him look like kind of a big dickbag, but then we realized that dickbag had a heart and was also half metal, and that was pretty cool!” - I don’t even know what to make of this. I’ve deconstructed his introduction before, but to summarize here, he’s presented as no more of a “dickbag” than Ozpin who may not be doing enough to protect the people, Winter who allowed herself to get taunted into a fight on campus, or Qrow who deliberately started that fight while drunk. Glynda is the only one who is arguably innocent here. The implication seems to be that obviously Ironwood became a villain because “we intentionally made him look like kind of a big dickbag” but then... does that mean Qrow will become a villain too someday?? 

The comments about them realizing he had a heart and was half metal just speak to that lack of planning. No, you obviously didn’t plan this downfall from the start if you “realized” something as basic as him caring for others partway through writing him and then allowed that care to drive his character for so long that the decent into villainy read as OOC, rather than inevitable. You obviously weren’t writing him with a backstory that influenced his character  — of which his semblance is a major part  — if you “realized” he was half-metal... whenever that happened. The fact that we never saw that backstory, or the semblance on screen, or returned to his half-metal nature outside of a ‘That’s coding for evilness’ theme again speaks to the fact that either a) none of this was actually planned or b) the execution is seriously lacking here. 

“Let us all take a moment to thank General James Ironwood for his service to the Kingdom of Atlas, but... at the end of the day, don’t do a genocide [laughs]” - I’m having trouble articulating why I dislike this. I’m really too tired to be unpacking this right now (lol), but it has something to do with  — as you say, anon  — that mocking tone. Something else to do with the surge of purity culture in recent years. The tone feels like it’s tied up in an unsaid, ‘You like the character who tried to commit genocide?’ accusation when, you know, he’s a fictional character. People can like characters who do bad things. More significantly, he’s a fictional character Miles wrote. There’s something particularly distasteful about writers who feel like they’re laughing at fans for liking something when they created the thing with the intent that we would like it. And many did. So they gave attention, time, money, passion, etc. to the work and then when that part of the work finished, the creator appears to make light of that investment? Idk, I’m speaking about more than just this one line  — the tone of the vid as a whole, really — but it feels much less like “You enjoy Ironwood! 😄” and more “You enjoy Ironwood...  😬” Like yeah, fans enjoyed the character that you wanted them to enjoy who you wrote to have a heart and then suddenly commit genocide instead. There’s definitely nothing complicated in all that. 

“Thank you, Jimmy. May you rest in pieces crushed beneath the weight of the kingdom you tried so hard to hold above your head. Amen.” - All of the above x2 with the added issue that this was never shown on screen. Miles presents Ironwood’s arc like this seven year long plan when in fact they couldn’t even manage the basic move of telling the audience what happened to the character in his final hour. The fact that a fan had to pay to find out whether Ironwood is dead is not a gold star for the writing. 

Every time the RWBY crew speaks about the story in supplementary material the canon itself gets worse. Hyping Clover/Qrow on social media pushes the canon closer to queerbaiting. We’re way closer to that with them hyping Blake/Yang. Long ago comments about Ozpin’s cane suddenly make Volume 8 a retcon. A Q&A about Ironwood’s semblance makes his arc a thousand times more confusing about how we’re supposed to read his character  — to name just a few. Now this. When a friend first told me this info had dropped I thought, “Thank god. He’s not coming back then. I don’t want them writing Ironwood’s character anymore,” but really... can we believe anything the crew says? “Crushed beneath the weight of his kingdom” doesn’t mean Ironwood won’t show up in Volume 9 if it’s a spirit world type adventure. It doesn’t mean he won’t show up three years from now with even more metal in his body and a, “We said he was crushed, not that he was dead ;)” explanation. Hell, it doesn’t even mean he won’t show up with no explanation at all because, as established, what’s said in supplementary works and what happens on screen are two entirely separate things. Iffy as the vid may come across to those who did like Ironwood, I was initially happy that it at least gave us some closure... but now I’m not even sure about that. 

[aliceinteyvat]

Genshin Impact Idol AU ideas

So we all know the groups Veechu made with 4nemo, DCKZ, L/yue and, TVT DREAM however, I thought it was a crime the actual idol Barbara wasn’t in a group so, I made my own! I do not have the skills to draw this so, I will be including concept photos by actual groups(older and newer as well as the time in those examples i think suits them just for an example bts run era - dope era for a boy group) for the general vibe. Click on their names for a link to the kpop wiki about them. I also won’t include Lumine because many fans have made their own headcanons for that I like.

Feel free to use the ideas I added to this in fanworks just please credit me for the idea of the groups I made myself if you do. All will be under the read more so mobile users don’t break their fingers trying to scroll past. Wiki links are included for each real world inspiration. If looking for a specific character use ctrl+f on PC to search for them to make your life easier.

Note: their stories can be changed if you would like to make it different for your art/writing/whatever. I just think a bit of drama makes them feel more real. None of the stories are 100% based on any real group even their inspirations aren’t direct copies. As new characters are released/shown in stories I will be adding onto existing groups I made up or, making new ones so if you like my ideas save this and come back to it.

                             7evelUp! [pronounced Level Up!]

A rookie girl group created from the top seven trainees(voted by judges & public vote) in a survival show that quickly gained international fame from their debut single and, performance. No one doubts their talents however, some question how legitimate the voting/ranking was in the show.  No one blames the girls themselves for this and, there is no real evidence to prove this. All of the members believe the show to be real due to their own experiences too although, a few of them due to their low self-esteem believe other trainees would’ve been better suited in the group even if they are thankful for the support. It will take a while for all of them to adjust and, have it all feel real. Will they rise to super stardom or, crack under the immense pressure?

- Members

Amber (leader, main dancer) 3rd place(got the leader position because she is the one who brought every team she was in together to usually win the challenges showing her leadership skills not from ranking)

Barbara (main vocalist,maknae,center) 1st place

Noelle (lead dancer,visual) 6th place

Sucrose (lead vocalist) 7th place

Xiangling (lead dancer, lead rapper)  5th place

Yanfei (main rapper,oldest) 2nd place

Yoimiya (lead rapper, vocalist) 4th place

- Real World Inspirations

Weeekly(Tag Me era - 7Days Tension era)

Girls’ Generation(Into the New World era-Gee era)

TWICE(Like Ooh Aah era - Heart Shaker era)

                                                                                                         SYZYGY

An unconventional girl group with a unique sound. Despite their enormous amount of talent/skill , they haven’t been as successful as their small company had hoped. However, they continue to invest everything they can into this group much to the displeasure of the other idols under the company. Will their burning hot passion find success with the masses or, will they disband early leaving their company in complete ruin?

- Members

Hu Tao (leader, main rapper, vocalist)

Fischl (lead vocalist, lead rapper, maknae)

Mona (lead dancer, vocalist, visual)

Rosaria (main dancer, vocalist, rapper, oldest)

Xinyan (main vocalist, dancer,center)

- Real World Inspirations

Dreamcatcher (Chase Me era - Odd Eye era)

1NB (Stalker era - Once again, Winter era)

                                    1MP@CT [prounced Impact]

A previously underrated boy group that seemingly appeared out of thin air on the #1 spots of all major top music charts. Most attribute their overnight success to their newest song going viral on social media but, some who work within their company secretly wonder if it has anything to do with the CEO’s private life and, the new anonymous investors. Regardless, they have made a name for themselves. They have a work ethic like no other and, will do whatever necessary to rise to the top. Even though fans are starting to worry their agency is pushing them too far. Will they become legendary performers the kind that future generations remember by name or, will their boss’ dirty little secrets make them guilty by association to the press when/if the time comes?

- Members     

Baizhu (leader, lead vocalist, lead dancer)

Dainsleif (main rapper, lead dancer, maknae)

Scaramouche (main dancer, lead rapper, oldest, center)

Albedo (main vocalist,visual)

- Real World Inspirations

Big Bang (Fantastic Baby era - Bang Bang Bang era)

ATEEZ (Wonderland era - Fireworks era)

B.A.P (Badman era - Hands Up era)

                                                    DoDoCo

A junior girl group for kids/tweens made(and managed) by Alice to promote her daughter Klee and, have her gain experience for her dream of being a real idol. Although they perform, act, model and, release music similar older groups they still are children so, their concepts are always wholesome feel-good things to appeal to kid’s even younger their age or, younger. They also don’t have the same restrictions or, work hours due to their age. This group is very popular with Elementary schoolers and, sometimes even their families but, can be annoying to anyone older due to how cheesy it all is.

(Note: I don’t personally agree with kids being idols irl especially some I’ve seen that look like older teen/adult idols it’s scary. However, since it is a thing that exists and, this is a fictional head canon let’s pretend this is a world where none of them get hurt and can live pretty normal lives during & after their time as idols if they choose to do so. I just didn’t want to leave a playable character/important story character out of the AU entirely. Also, Sayu would be here but since she’s not officially released yet and, we don’t know any story about her I think it’s best for her to join later.)

- Members

Klee (leader, main dancer, vocalist, maknae,center)

Diona (main rapper, dancer)

Qiqi (vocalist, oldest)

Yaoyao (main vocalist, rapper)

- Real World Inspirations

RE:KIDS ANGEL (Ocean era) note: also their only era so far it seems but, apparently RE:KIDS is a larger thing with many other kids kpop groups so I assume others would have a similar concept.

CutieL (Debut era - Jungle Journey era)

                                                Dandelion

A girl group that has stayed at the top for the past 7 years known for their elegant concepts although, they have had other concepts in the past(sexy, cute, etc.). Not only is Dandelion super famous but, each member has their own solo careers just as successful. Outside of the group Jean is known for her solo albums and, charity work. Lisa is known for her modelling career and, secretly is a successful author under a pen name. Eula is known for her many wins on dancing contest shows and, the many important roles she plays in dramas. Since this year marks the dreaded 7 year curse fans worry they might disband or, go on a permanent hiatus. Before this year they seemed inseparable to fans but, something happened during their last tour. Jean and, Lisa who were known to be best friends suddenly won’t even sit next to each other. Eula who was usually more reserved during interviews is having to do most of the work since they’re just awkwardly sitting on the opposite sides of her. Eula has never been the best at public speaking and, her blunt responses are causing antis to go on huge smear campaigns on social media. Jean who previously wanted to renew her contract is thinking about starting her own company. Lisa who previously wanted to renew her contract now wants to leave and, join a modelling agency. Eula still wants to renew her contract but, she doesn’t want to be solo yet. She is trying her hardest to get the group back together but, her harsh personality is only making the problem worse she feels. Will they stay together or, will they split? And if they stay together, will it be the same Dandelion fans fell in love with or, are some bridges burned forever?

- Members

Jean (leader, main vocalist, center, dancer)

Lisa (main rapper, visual, sub vocalist, oldest)

Eula (main dancer, vocalist, maknae)

- Real World Inspirations

IZ*ONE (Violeta era - Panorama era)

GFRIEND (Sunrise era - Mago era)

TWICE (Fancy era - Alcohol Free era)

Solo Idols

- Ayaka

From a wealthy Inazuman family Kamisato Ayaka (known as Ayaka) shocked the entire nation when she decided to stop pursuing traditional dance(which she had earned many honors and, was famous for since she was a small child) and, instead go overseas to become an idol. Due to her connections it wasn’t long after becoming a trainee that she was put on the same survival show that formed 7evelUp!. However, her good luck ran out when after filming she got into an accident in her company’s car on the way to her company’s trainee dorms. Thankfully, no one was seriously injured but, she sustained an injury to her ankle that made her unable to perform for the rest of the show and, therefore was disqualified. She was a fan favorite and, everyone was heartbroken that she couldn’t compete. Due to her popularity, her company decided that if she could prove she was able to work after being healed they would let her have a solo debut. She far surpassed their expectations being even better than she was before, resulting in her debuting the same time 7evelUp! did. She doesn’t have any negative feelings towards those girls but, she views them as her rivals. She is quickly gaining popularity for her insane talent in singing, dancing, acting, modelling and, song-writing. She is known to the media as “The Idol Princess” for her family’s wealth, her talent and, her graceful demeanor. Don’t put her into a box though, she can pull off any concept with ease. The question is though, will her company allow her the freedom to express herself to the fullest?

- Real World Inspirations

Note: I am not saying she would be super similar to these artist’s work but, I am saying she has the range and, the potential to reach this level of fame. Since I can’t pinpoint a single solo artist that has what I think she would do I’ll put the ones I think have the insane talent and fame I think she would have as well as a similar feeling although it will take a while for her to get to their level

- IU

- Taeyeon

That was all of the Genshin Impact characters that I know enough about currently to feel comfortable making headcanons for them! Let me know what you think and if you make fanfic of or fanart of these ideas please credit me for these specifically and veechu for the idea of the idol au in general! Feel free to spread this post around if you want to or repost it too with credit. I also would love it if you tagged me if it’s on here or would be kind enough to send me a link to your work/work you find of it.

[musclesandhammering]

Loki (2021) Positivity from an Anti

Ok so all of my mutuals know I’m extremely anti-Loki (2021), anti-sylki, and anti-sylvie. But at a certain point, even we antis get tired of all the negativity. So! Here’s some Loki series commentary in the opposite direction! This is a list of all the things about the show that I loved :)

Also adding a disclaimer that all of this is just my opinion and some of my fellow antis (or even people who liked the show) might disagree, and that’s fine! I’ve been planning this post for awhile. I always say in my other posts that I don’t entirely hate the show and I wanted to be a little more specific about what I think are its good aspects. Feel free to leave your thoughts!

• Mobius is a gem (Owen Wilson owns my whole heart) and his relationship with Loki is so so great. He’s not one-dimensional at all, he has conflicted loyalty and is morally complex, and he has the tragic backstory- which makes him a perfect choice for eventually becoming Loki’s first genuine friend.

• The casting was really really great. Lots of women and people of color. Most of the female actresses (as well as the males) are over 30, which isn’t very common and is fantastic!

• Superb acting all around. I can’t think of a single scene where the actors under or oversold it.

• Beautiful set design, incredible cgi, and gorgeous cinematography overall. It looked more like a movie than a tv show, which is really good.

• Kang being the big bad was a huge plus for me. Johnathan Majors was perfect in the role, his vibes were immaculate, and I was honestly pretty worried that the man behind the curtain would end up being another Loki variant, which imo would’ve been boring and predictable and counter-productive, so it was a big relief when that didn’t happen.

• I like that it sets up a bunch of future marvel movies, rather than being contained to its own little world. It gives it more importance and (hopefully) will encourage writers to not just toss Loki’s character aside in future projects.

• All the Loki variants were delightful. All of them except Sylvie. Kid Loki has my heart. Boastful Loki is a fashion icon. Alligator Loki is a savage. President Loki is the superior variant. Classic Loki became my fav character in less than half an episode.

• It showed some more variety in Loki’s magic. A lot of his powers we’ve seen before, but it feels like they were portrayed a bit more blatantly in the show. The energy blasts, the telekinesis, the teleportation… Outstanding.

• It also implied that Loki has the potential to be waaaay more powerful than he knows he is right now, which? Yes.

• Some of the quotes- and the themes behind them- are just profound as hell. Such as:

“I think we’re stronger than we realise.”

“It’s never too late to change.”

“You can be whoever you wanna be, even someone good.”

“We’re Lokis. We survive. It’s what we do.”

“Loki, God of Outcasts.”

“The universe wants to break free, that’s why it manifests chaos.”

• Technically Loki was Marvel’s first canon lgbt (bi) character, which is a win. His genderfluidity is also technically canon, even if it wasn’t really acknowledged on-screen.

• There were a lot of throwback references to Thor 1, Avengers, and Thor The Dark World. Which I loved.

• Sylvie’s so pretty. Her hair and makeup and costume were all perfect.

• Big fan of Loki finally getting Laevateinn.

• Sufficiently slutty imagery, courtesy of a female director (Loki in a collar, kneeling to Sif, President Loki looking down into the bunker, the hair flips)

• The music was Excellent Wonderful and Superb.

• I love that Loki being a good singer is now canon.

• I love that Asgardians having their own language is now canon (even if it’s basically just Icelandic).

• I also love that they disproved all of those “Loki was a shy nerdy wallflower pre-canon” theories in Episode 3. The drinking/eating/singing scene was fun, if a bit wacky.

• There’s a million different reasons why Loki does what he does, especially in regards to the New York attack (I’m literally writing a huge meta on them), but somehow I never considered that Loki being desperate for control was one of them. It makes a lot of sense, and I always love getting new insights into his motivations.

• I love that Loki finally outright acknowledged that he doesn’t enjoy hurting people. We Been Knew™️ but it’s still nice to hear it out loud from his own mouth.

• The TVA outfit wasn’t as hideous as some people make it out to be. It could’ve been A Look, even. You know, if he’d just accessorised a little better. And kept the jacket on. And not gotten sweaty. And not gotten dirty. And maybe had at least one other costume change… But it had potential, though!!

• Even though I despise the Obvious One, I did actually like some of the other romance crumbs they tossed us (sifki, Loki x the flight attendant).

• The whole DB Cooper thing was iconic idc idc.

• Loki’s hyper sort of overly excited puppy attitude in episode 2 was actually pretty refreshing and funny (for awhile). And now I can headcanon him as adhd, yeehaw.

• “We’re all villains here.” That quote was iconic, my favourite one in the show. And the entire theme that it summarised was really great as well. When you think about it, every single main character in this series has been the villain at one point or another. I mean, I know all marvel characters do bad things etc, but none of the Heroes are ever narratively categorised as Bad. This show did just that with all of them, though. . Loki was framed as the psychopath that attacked New York. Sylvie was framed as the murderous fugitive. The TVA/Ravonna/Mobius were framed as the murderous fascists. Kang was framed as the crazy totalitarian. It’s made clear that all the Loki variants were the villains of their stories.

However, every single main character in the series is also framed as the Hero at a certain point. Loki is framed as the main protagonist who throws a wrench in the TVA’s dastardly plans. Sylvie is framed as the persevering freedom fighter who wants to take down the fascists. The TVA/Mobius/Ravonna are framed as the ones who maintain order for the greater good. Kang is framed as the weird but ultimately benevolent wise man who’s just trying to prevent something worse from happening. The Loki variants are framed as generous allies who befriend the main character and help him on his journey.

Everyone in this equation is openly acknowledged by the narrative to be morally corrupt, but not entirely morally bankrupt. There are no Straightforward Hero Figures (like the Avengers) in this entire scenario at all, and that makes for a super interesting dynamic that marvel has never done before. So yes: “We’re all villains here.” But also: “No one bad is ever truly bad, and no one good is ever truly good.” I loved that.

• Even if it wasn’t really enough imo, I still treasure the crumbs we got of Loki being competent and capable (him putting the collar on B-15, him figuring out Sylvie’s hiding place, him teaching himself to enchant on the fly while fighting a giant cloud beast of eldritch proportions).

• I love that B-15 was the one who stepped in and saved the day in Episode 4, when we all thought it was gonna be Mobius. What a queen.

• Marvel usually has a bit of a problem with creating compelling and memorable side characters. But aside from Sylvie, I genuinely got attached to every single character in this show. Like Casey, C-20? I was seriously emotionally invested in them and they were only in like 2 episodes. Wtf.

• Introducing the TVA storyline in the Loki series specifically was a really good move. I’m not saying they executed it well, just that it had a ton of potential. A lot of people have wondered why marvel even thought to put those two (the TVA and Loki) together, when they had literally nothing to do with each other, nothing in common, and essentially no connection at all. But when you think about it, it’s a really interesting twist on both of those stories. Forcing the embodiment of destructive chaos and the pillar of rigid order to interact could make for some seriously entertaining and compelling television. And as far as meshing these two completely unrelated entities together goes, I thought they did it pretty well- at least just the bare bones of the story (loki being arrested by the TVA and being one of their most common variants).

So that’s it! If you guys (fellow antis) wanna add stuff you liked, feel free. If anyone wants to discuss (or debate) my list, feel free to do that too!

[asleepinawell]

Been having a lot of Thoughts about the nier series recently and the larger themes of both games and wanted to jot them down and toss them into the void of the internet.

Massive spoilers for nier automata follow, including for ending e. Do not read this if you ever intend to play nier automata. There are spoilers for nier replicant as well, though not for ending e.

One of the biggest themes both nier games tackle is the tragedy of an uncaring universe. Bad things happen to good people, people who think they're good and doing the right thing find out they were actually committing atrocities, the very idea that there's 'good' and 'bad' people is dissected and rejected. At the end of the day, the universe doesn't give a shit about any of us and none of it matters. Enjoy your existential despair!

In nier replicant, the main character starts off as an optimistic young boy who wants to save, not only his sister, but the entire world. After the time skip, nier is a young man whose optimism has (partially) been tarnished and whose goal has narrowed down to just saving his sister. As you move through each route you understand more and more how tragic the world is and how, despite your best intentions, you are only adding to the tragedy of the world. The original 4 endings of nier replicant are all tragic in some way. Ending D has a glimmer of hope in it in the form of nier being able to save kainé at the cost of his own existence, but it's a bittersweet ending and the world is ultimately doomed anyway.

Which brings us to nier automata. Even more so than replicant, automata hammers home the meaningless of everything, the uncaring universe, tragedy both avoidable and unavoidable. The main characters are locked in an endless loop of violence and despair. The worst that could happen, does, again and again. It thrives off the type of tragedy porn I usually hate.

Except....

Except it doesn't. If endings a and b are the opening statement, endings c and d are the facts and body of the essay, but then there's ending e, the concluding paragraph which takes everything we've been told and gives you the chance to draw your own conclusion from it.

Route e starts after you've gotten both ending c and d and is no longer about the characters in the game at all. Route e is about you, the player, and what you believe. It says "we've given you a story of complete despair, we've shown you the universe is unfair and doesn't give a fuck about you, we've shown you things that end in tragedy. despite all of this, do you still believe it's worth fighting for the hope of something better?"

And then it asks you to prove it.

Route e is the ending every fan has asked for when they've said "I'll fight the creators to give my favs a happy ending." Today is your lucky day!

Route e is the ending credits of the game, except that the ending credits have turned into a bullet hell mini game. In fighting the actual credits themselves, you are fighting the game devs. You are saying fuck you I don't believe that everything is pointless. Fighting for better is always worth it. The meaning that we imbue in life is important to us and that matters.

The bullet hell of the end credits starts out fairly simple and gets harder and harder as you go, lasting something like 15 minutes total, which is a brutally long time to be playing something that requires split second timing and 100% of your focus. It's meant to feel insurmountable, just like the challenges the characters in the game faced (the larger plot challenges, not the combat). You will likely die a lot and check points are few and far between.

But there's more to it than that. The first time you die, a prompt comes up:

And then when you die again:

Except now, there’s a message on the screen. A message that appears to be from another player, somewhere in the world.

And again:

(this one really fucked me up, but that’s for a different post).

And then finally:

(thank you user MR-YE-1996)

When you accept the rescue offer, you go back to the bullet hell again, but now you have a wall of other players around your weak little avatar, shielding you from harm. The music, which has been a single vocal track up until now, gains an entire chorus of voices to represent the army of actual players who’ve shown up to save you (and there’s a lot I could say about the use of the (exquisitely good) music in the nier games, and especially about the difference in lyrical themes between ashes of dreams and weight of the world). Every time a bullet hits one of the players surrounding you, there’s a message saying that user’s data has been lost. Users from all over the world are sacrificing themselves to help you. It’s a very nice, heart-warming moment that you still don’t understand the full impact of quite yet.

After you beat the credits, you’re rewarded by a final cutscene. The android protagonists have been reconstructed and will receive a second chance at life. The narration at this point talks about how life exists within the spiral of life and death we are all trapped in. One of the two pods talking points out that even though the androids are being given a second chance at life, there’s a possibility that things will go just as poorly once again. And the other pod agrees, but adds: “However, the possibility of a different future also exists.”

And then the scene ends with this quote: “A future is not given to you. It is something you must take for yourself.”

And this is really the final conclusion of the game. There is no inherent meaning in the universe, so the meaning we give our lives is the most meaningful thing. (And the ‘you’ here isn’t necessarily an individual either. It can be, or it can be humanity as a whole, or even one group). And you, the player, thought that it was worth fighting to give these characters a second chance, and other players out there in the world thought it was worth helping you to do so.

It’s such a wonderfully beautiful piece of meta interpretation posing as a game ending, and also a departure from the final conclusion of previous Yoko Taro games. It feels like a much more mature and nuanced interpretation of the world than the ending of replicant was (I won’t comment on the new ending e of replicant just yet since it didn’t come out that long ago). (Also, for the record, I love nier replicant and the characters in it with my entire heart. This post is not bashing it).

But the game has one more surprise in store for you. After the cutscene ends, you’re given one last choice. The game asks if you have any interest in helping other players the way you were helped. And if you say yes, you’re told that the only way you can do this is to sacrifice all your save data.

I think that sacrifice hits differently for different people. Some people genuinely won’t mind that at all. As someone who probably still has save data from games I played 20 years ago, it felt like a gut punch. To me, save data represents all the time and emotion and energy I’ve put into a game. Games are so deeply important to me in so many ways and have been since my childhood when they were one of the few ways I could escape from a lot of terrible shit going on in my life. (There’s a reason my blog title is what it is). I could talk a lot more about that point, but I’ll leave it by saying that when I saw what the game was asking of me it felt like someone had knocked my legs out from under me.

For more practical players, it also is locking you out of chapter select, the best way to go back and get all the things you missed and grab the achievements/trophies you still need.

The game will point out that you’ll get nothing in return for this (not a lie, there’s no secret reward), that you will likely never know if or who you helped, that you won’t be thanked, that the person you help could be someone you intensely dislike, etc. And with all of this comes the realization that all those people who came to help you in the credits had already done this. Those people whose data was sacrificed to help you get to the final cutscene had already sacrificed their save data to help you.

We’ve now gone from a world where everything is meaningless, to a world where other real actual human beings out there have sacrificed something that represented hours of their time and a varying amount of emotional investment without any hope of reward to help a stranger see a message of hope.

When I was younger, I was more drawn to dark, hopeless stories. Stories about how dark and meaningless the world was. The world was a terrible place then too. 9/11 happened when I was in highschool (an incident that influenced yoko taro’s creation of nier replicant and had a huge impact on me at the time), the pointless wars that happened after and the recession and a million other things seemed to infuse everything with hopelessness. In that world, stories about everything being meaningless and hopeless felt correct. They felt validating. Yes, everything really does suck that much!

That sort of story lost its appeal for me later on. Pointless and horrible things continued to happen, and still continue to happen. The world events of the last few years have been an unnerving reliving of those earlier years, except even worse. The cycles of tragedy are still there with no end in sight. I’m exhausted from all of it. It really does feel hopeless a lot.

But stories that stop at that point no longer appeal to me. Stories like nier automata--stories that say yes, things are terrible, but there’s always hope, you can create your own meaning, it is always worth it to fight for better even if you fail, your life is worthwhile simply for existing--those stories are the ones I think we all need more than anything.

[bmblboop]

To me that take on the atlas arc comes across,like “the air nation in avatar destroyed itself because they weren’t prepared for fire nation invasion”

Because in the context of the story that is why atlas’ problems are framed as bad, because it left them vulnerable to Salem,

I think what might have helped is seeing the heroes take some active role in trying to fix atlas before Salem got involved? Show Blake and Weiss helping with robyns campaign, show them protecting an SDC worker strike from strike breakers, etc etc,

Show that the main characters actually give a damn even without Salem getting involved, because otherwise all these conflicts are only ever framed through how they effect Salem, when they SHOULD be problems regardless of Salem,

I think you are straw-manning me

In the previous ask you said :

The fact that Salem is responsible for setting off this chain of events ruins the ”atlas destroyed itself” themes,

and I said :

I don’t think Salem being in the picture “ruins” the narrative of several people who could help in that fight, but ended up making it worse because they are so indoctrinated in Atlesian ideals.

And somehow you got "The Air Nomads were genocided because their ideals left them defenseless against the Fire Nation"

In what universe are we comparing the Air Nomads to ATLAS? Atlas' problems were easily exploitable by a master manipulator and her crew of other master manipulators, not because they were PACIFISTS. Atlas doesn't even know the meaning of the word 'pacifist'!

Atlas ideals are framed as bad because they ARE BAD. And their stubbornness about their militarism and hero complex made the situation worse. That's the point I'm trying to get at.

--

RWBY WAS TRYING TO HELP ATLAS FIX THEIR SHIT. THAT WAS WHAT THE ELECTION ARC WAS ABOUT.

None of the protagonists stepped in to directly help Robyn's election campaign because they are LITERAL STRANGERS who know NOTHING about her political platform. Also they are 19- not exactly political experts. Robyn already has a crew to help her - the Happy Huntresses. RWBY + Co had Huntsmen JOBS now, and were helping Ironwood. He was working them to the bone - JNR couldn't even make lunch plans without Ironwood throwing another mission their way. Blake was thrilled about the idea of getting the night off for a change.

It's tough to get invested in local politics when your new job takes up most of your day. Sometimes the most support you can give is positive word of mouth and hey, would you look at that!

In addition to these moments, Nora was adamantly pro-Mantle since arriving. Blake and Yang went behind Ironwood's back to tell Robyn that he's being secretive about a new Comms tower. They couldn't throw their weight behind Robyn post-election because she made Ironwood mad, and we all know how about his 'with us or against us' mentality. They DO CARE ABOUT ATLAS ISSUES, but for most of Volume 7, they were tied to Ironwood - whom they didn't want to cross because they didn't want to turn a powerful ally into a powerful enemy (and he ended up turning on them anyway, hooray).

The reason RWBY "only gets involved because of Salem" is because SALEM IS THEIR MISSION. SALEM IS THE PRIMARY ANTAGONIST. Until Volume 8 Episode 5 - only RWBY, Qrow, JNR, Maria, and Ironwood's trusted followers knew about Salem's existence and wanted to stop her. No one knew Salem was gonna pay them a visit, RWBY+ were just trying to right the wrongs that she had already done - by restoring communication to the world.

RWBY's inaction doesn't mean that they don't care. It's because they are saddled with the responsibility of saving the world and every life that inhabits it.

[setsuntamew]

So, Persona 5 Royal, huh?

Full disclosure: I had gotten about halfway through November on Wednesday and finished it out Saturday night, which took uhhh about 65-70 hours? Some of that was sitting there waiting for the PS4 controller to recharge or listening to music in the Thieves Den while eating, but I still feel like I need to own up to how extremely bad I am at making good decisions with my life XD

MOVING ON, THOUGH, HOLY SHIT. P5 was a very good game, but Royal’s additions & changes made it incredible. I like the ending way more; I think it’s more emotionally fulfilling and meaningful, especially with everyone’s more defined future plans. Definitely felt like everyone had more growth in the end!! Which is something I’d always thought P5 was lacking.

Snip snip for spoilers and the fact that this post ended up being too damn long, oops! the last third is basically Akechi feels and analyzing his ending, so......yeah XD

Part of why I plowed through SO much of Royal in so little time is....Akechi XD Like okay, this is my stupid fandom blog, I can be excited about him all I want!!! I got to Sae’s Palace and just....I couldn’t put it down. @dragonofeternal​ and I ordered an embarrassing amount of takeout instead of cooking because we just had to see how everything with Maruki and the third semester was gonna go down. I’d already been dying along the way because Akechi’s confidant dates are so good, I just. Fuck!!!

Also, look, for the entirity of Shido’s boss fight and the depths of Mementos/Yaldabaoth/etc, we’d look at each other every few minutes and just be like AKECHI SHOULD BE HERE WITH US, HE DESERVES TO GET HIS VENGEANCE ON HIS SHITTY DAD AND FORCED DESTINY!!!!!

December 24th had to be the longest god damn day in Akira’s life because like. Final exam grades are posted in the morning! He goes to school and then dives into hell, crawls his way back out, briefly dies by fading from human cognition, fights an actual fucking god, and then....ends up dissociating in Shibuya until Sae shows up and is like “oh hey thanks for everything you did, please sign up for being arrested now.” And while he’s still reeling from that, Akechi walks up to take his place, like some kind of bullshit knight in shining armor schtick, and leaves no room for conversation.

AND THEN WE HAVE TO GO ON A DATE

I romanced Hifumi this time around, because I wanted Akria to bang a girl who is just so incredibly out of his league, but....it’s not necessarily that I forgot I was dating someone, more that it had been *so many hours of plot* that I was emotionally exhausted. Like, Hifumi texted me and I was just like. Right. RIGHT. It’s still Christmas Eve, somehow. I was at *school* this morning. The whole world merged with Mementos briefly in the middle of this, Akechi is somehow alive, and I guess I’m going on a date now????

I do appreciate how many “god I’m just dissociating my way through this” conversation options there were for the date, tbh. I feel bad though, I really like Hifumi, but I feel like Akira is not giving a date his full emotional attention at that specific time. It feels a bit like emotional whiplash, more so than I remember it being in P5? Maybe it’s because I played it 4 years ago and there wasn’t the added emotional weight of Akechi’s reappearance, but it was just like....a lot, in Royal.

AND THEN THE NEW YEAR HAPPENED. I’d been spoiled on large parts of the third semester, mostly because Royal’s been out for a year already and I’m too curious for my own good. I’d also somehow lied to myself, saying I didn’t have time to play another Persona game right now, and yet here I am, 171 hours of game play within exactly a month, kicking myself for not knowing how deep in Persona hell I would get XD

Which is to say, as soon as the new year started, it felt I was drowning in anxiety. I knew something was wrong, I knew they were in a false reality, but knowing that sure as fuck didn’t make it easier to go through. If anything, it was somehow worse, knowing that it was all gonna come crumbling down, but I didn’t yet know the exact details, only the broad strokes of it. Just. Every time someone talked about something that was wrong, my heart would clench.

God, I’m so fucking tired, I pulled an all-nighter on Friday so I could get through Royal before having to work on Sunday, and I am feeling it right now. Life tips: don’t do what I do XD

Every moment with Akechi felt like borrowed time, at least for me, because I knew what was coming. I spent so much time in Mementos with him; I ended up putting just him and Akira in my party and plowing through everything, including trouncing the Reaper over and over just for the hell of it. I got his ultimate weapons, I spent so many nights in the jazz club with him that he ran out of dialogue options, and I still took him back for more. I accidentally failed to EVER trigger Sumire’s Showtime because every fight was just Akira and Akechi against the world, because fuck it, I’m playing this for fun!! If I want to play with them in stupid costumes and no one else in the party, I’m gonna. Royal did such an incredible job giving Akechi more depth and development: it was all I could hope for, and it made it that much fucking worse to know what was in store for him.

Somehow, I thought it would be harder for me to make the decision to refuse Maruki’s deal, since fuck, fuck what I wouldn’t give for Akechi to be alive???? But I barely hesitated, only really stopping because I had to emotionally brace myself for it, because a reality where he can’t carve out his own fate would be a disrespect to everything their relationship is built on.

I have a whole shit ton of feelings about post-beating Maruki but they’re basically all Akechi related meta so somehow they ended up at the end of this post, I’m sorry XD

I understand that they had to keep the going to jail bit because 1) Akechi didn’t turn himself in, Akira did and 2) it leads to the final events of the game, but let me just say....the emotional roller coaster of fighting Maruki, almost failing multiple times, waking up in jail, the Phantom Thieves & friends getting Akira out of jail, celebrating that, and then getting thrown into Valentines Day was a LOT for my heart to take. Once again, didn’t forget I had a girlfriend, just got too invested in the plot to really be thinking about her. It’s less than two weeks after the fight with Maruki and somehow, everything is supposed to be okay????

The scene with everyone talking about their future plans is such good character growth, though. Everyone feels like they’ve truly grown and are making decisions that, even though they might be painful or hard at times, are ultimately very important to them. It’s a really good contrast to the “almost everyone goes to Shujin and they all stay in Tokyo forever without doing anything for themselves” Maruki’s perfect reality bad end.

Standing in the Underground Mall on White Day, being told I had to get flowers but finally being able to have control of Akira again was....so bittersweet. The fact that the location of the date is the aquarium is a low fucking blow, and I almost threw the controller across the room I was so upset. Like. THE AQUARIUM IS UNLOCKED BECAUSE AKECHI HAS TICKETS HOW FUCKING DARE SOJIRO SUGGEST IT LIKE MY HEART ISN’T STILL ACHING????? God, speaking of that: The fucking god damn Featherman video game tore my heart out because I ended up playing it WHILE WORKING ON SHIDO’S PALACE and I cried a ton about Gray Pigeon because of course they had to dig the emotional knife in even deeper!! Just fuck me up, it’s fine, I’m just dying!!!!!!!!!!!!

I ended up scrolling through his texts to find the group chats that still had Akechi in them, and fuck, it was a LOT. Like. Maybe it’s because I’m too invested in the two of them, but it was probably the worst emotional whiplash of the whole game. Like, how am I supposed to go play happy with anyone while staring at texts from a reality built of lies? It wasn’t real but the proof lives on in his phone and his heart, and I’m still fucked up over it.

HOWEVER. FUCKING. I SPENT LIKE HALF AN HOUR BEING EMOTIONALLY COMPROMISED ABOUT ALL THIS AND THEN DISCOVERED THE BASTARD STILL HAD ALL HIS EQUIPMENT, INCLUDING THE ULTIMATE MALE ARMOR!!! He returned his shit after Sae’s Palace even though he thought Akira was dead, but this time it didn’t get fucking returned to my inventory, so he must have fucking run off with all his shit!!!!!!! Why the hell did none of it get returned if he was never alive in the true reality? Like I know it'll be returned for a new game+ but I like to nitpick game mechanics for story reasons, because one of the things I love most about video games is the experience of them as another layer to the story. The texts from the third semester shouldn’t exist anymore, since they never really existed, but there they are. Akechi insisted that he has a gap in his memory after Shido’s Palace up until seeing Akira on Christmas Eve, but who can say that wasn’t related to Maruki tampering with reality or some other Persona-related reason?

I mean. I got the full and complete True Ending; I saw him in the train station. If that’s not Akechi, then who the fuck is it? Atlus made sure to put the work in to make him a part of not just the main story but also, especially, the third semester, and for what....to have his final time on screen be as the butt of the joke, squished underneath everyone in the Mona-copter? As much as it hurts, his end in Shido’s Palace matters; it fits his character and he gets to go out fighting- carving his own path, really. In Royal, barring the tiny glimpse of someone who’s probably him in the train station, the last we see of him is when he watches Joker let go of the rope to finish off Maruki. I know we got the heart to heart where Akira agrees to reject Maruki’s deal and Akechi insists that he’d rather be dead than live in a false reality, but.....no one even says goodbye to him. It’s tragic, it’s painfully lonely, but it doesn’t feel right for such a major character.

Also, as undignified as it is, for the first time ever, Akechi looks like he actually belongs in the Phantom Thieves in that final moment. He’s never been the butt of their jokes before; they always kept him at arms’ reach and he took himself too seriously to be included, but for that brief moment, it really felt like he was part of their group. He stopped lying about himself for their last month together, and so even if they don’t all like him, they can make that decision based on the truth, instead of layers of lies. His death is all the more tragic for this; a life cut short just when he’s finally finding a place he belongs. But his death was already painful; why make it so, so much worse?

Final thing: I’m gonna be spending a ton of time in the Thieves Den trying to find Akechi’s opinions on everything, but also....hey. HEY. What do those six stars that Jose (probably?) painted on the wall mean? Is it just a reference to Persona 6???? LIKE????? I HAVE QUESTIONS. SO, SO MANY QUESTIONS!!!!

Anyway, I’ve gotta go cry into my Starbucks and desperately try to focus on actually doing my job at work, but I loved Royal deeply and cannot wait to drown in it ;w;

[puppy-phum]

get to know me

am going to mix these two different tag games into one post so thank you a lot for tagging me @jazthespazz and @i-am-just-a-kiddo ♥

it’s somehow funny to do these same games again after a while so let’s see what I come up with:

Part I

name: real name petra but i prefer vish/vishie over here ^^ 

pronouns: she/her

star sign: aries ♈

height: 178cm (which am coming more and more proud of while i realize how damn tall every cdrama actor is lol)

time: 10:37pm as am answering this one

birthday: 10th april!

nationality: finnish 

fave bands/groups: ah well this is always a hard question but let’s go with these: BTS, DAY6, OneRepublic, Hurts, Oneus, Hoppipolla, TXT, Red, Mamamoo

fave solo artists: (forgive me if i’ve assumed any of these wrong) Novo Amor, Talos, Crywolf, Liu Yuning, SYML, EDEN, PVRIS, Joker Xue, NF, Halsey, Sleeping At Last, Nuz, HyunA, Sam Smith, Taemin

song stuck in your head: it’s OneRepublic’s Rescue Me bc of the song tag game i did earlier today :’D that one always gets stuck in my head whenever i as much as see the title lol 

last movie you watched: i think it’s The Yin-Yang Master (2021)? I haven’t watched any movies after that bc am so busy with all of my dramas haha

last show you binged: i think binged would be The Journey Across the Night! I watched that as a whole in 4 days

when you created your blog: in 2013 

the last thing you googled: ummm i think it was “what is a ball of wool called” bc of fic purposes haha as a non native speaker i always get a bit lost with words like this 

other blogs: none, i just dump everything here like the idiot i am 

why i chose my url: dates back to my intense summer of binge reading J.R. Ward’s Black Dagger Brotherhood series. Vishous was my favorite of the brothers haha. i first used this username in some random game on my nintendo ds lol 

how many people are you following: 358 which somehow feels like a lot but also like way too few?? i should probably search for some new blogs with other topics than cql, bts and/or dmbj bc i do love a lot of things at once 

how many followers do you have: over 800 

average hours of sleep: i’d say around 7h

lucky numbers: i remember answering 5 previously? i don’t really have a lucky number but 5 pops into my head

instruments: nope, no. not touching those tyvm. i admire everyone who can play any instrument tho

what i’m currently wearing: black jeans, socks with foxes on them (plus my woolly socks), a gray cardigan (my fave thing ever!) and an orange/brown top

dream job: writer would be ideal but that is very faaaaar into the dream zone 

dream trip: around different parts of asia to taste all the amazing food ;; maybe a road trip of sorts through europe? or inter railing? another trip to london bc i miss that ;; a trip to the very northern part of lapland to see all the auroras etc! i’ve never been that far north :’D 

fave food: if i need to quickly name something then sushi. otherwise am pretty fine with anything spicy 

top three fictional universes you’d like to live in: i remember thinking about this a lot the last time i answered this but hmm. currently i’d say dmbj still bc that world is fascinating AND i would love to talk to the characters. mass effect would be the second one currently bc i miss those games and the space stuff is super cool! and the third one would be assassin’s creed rogue bc that is my fave ac game and i like the northern sea and the places in it AND i could probably be one of abstergo’s employees instead and just test/play those simulation games haha 

Part II

Last Song: am currently listening to my playlist with just everything so i have Andrew Belle’s The Enemy playing right now (also I only just now realized that Andrew Belle also sings Pieces which is one of my fave songs? my bff linked that to me after it played in some tv series she was watching)

Last Movie Last Stream: i didn’t want to mention the same movie again or skip this question and i’ve wanted to talk about this anyway so! i watched Liu Chang’s bday live last night :’D it was so much fun even if i couldn’t understand anything. it was just nice to watch him being himself and have fun and chill with his fans. also the songs were amazing ;; i cried with Liu Sang’s character song as well as the ending. and all the while i couldn’t turn my gaze away from his eyes! he has such pretty eyes and they were absolutely Sparkling throughout the whole stream, it was so nice :’)

Currently Reading: Devotions by Mary Oliver (i adore her poems! they’re a very nice change after Siken haha) and then some uni stuff for a course about culture and mental health plus my thesis

Currently Watching: Douluo Continent, Word of Honor, The Long Ballad 

all of these are amazing and make me feel different things! i started Douluo Continent just a while ago and am now on ep 16 i think? it’s been very pretty and very chill and i watch it during the weekend while i wait for new episodes to the other two :’D it’s nice to see Xiao Zhan again and i’ve enjoyed the rpg game type of feeling in it? the group of seven is doing amazing and it’s interesting to watch them craft their team work! Word of Honor again has reached the ending and i just hold my breath with it. am not too far gone with it so i am not getting as heavy feelings about it as i probably could but i enjoy it  alot still and i do cry at times ^^ and then The Long Ballad has just blown me away! i didn’t expect to love it this much and be this invested in it but everything about it has been such a positive surprise and it keeps making me super emotional! i love the characters and the story and the romances even! it’s a great accomplishment for me. also yes i cry on the daily bc of hao du and bc of ashile sun’s hair haha

(i am also rewatching Ultimate Note kind of and been thinking about getting into rewatching Reboot bc it has been on my list ever since i finished it)

What is antipoetry to you: okay hmm i had to google this too and have to agree with Kiddo here. i don’t have strong feelings about poetry tbh, i wasn’t into poetry that much before maybe a bit over year ago? Siken has really blown me away haha. but i have always loved song lyrics which i never thought as poetry but then Kiddo said to me that they consider them poetry and yeah ok. i agree? so idk poetry can be whatever i suppose. i’ve never seen any rules in it anyway. i know there are many rules for different types of poetry but then again. i feel like poetry has always been just words put together to feel things and i guess that is the core purpose of every written type of art in the end right? 

Currently craving: a drama as good and as personal as The Journey Across the Night. that show really just stole my heart and i want that feeling back. i think about that show every day. i miss Li Jia and his two partners. i miss the vibes. i miss sitting on my floor watching it and just sobbing my heart out haha. also! craving a properly subbed, whole version of Anti-Fraud League. only the first 12 eps are badly subbed out there. wetv has... blocked? deleted? the whole show??? i need it to my life, i wanna see Xiao Yuliang being cute as Mi Ruo and i wanna know where the story goes smh 

thank you so much for these both! i had fun ^^ also am sorry this is so long but haha if you’re asking me to talk about myself and my interests then this is what you get :) 

tagging (to do which ever part you want or both!): @cross-d-a @jockvillagersonly @humanlighthouse @kholran @xcziel @minmoyu and @leonzhng ♥