#deeper story

[that-one-gothic-murder-of-crows]

Late night thoughts 😴.

((EXTREMELY Long character analysis ahead. Vary Possible tw)) [I'm sorry in advance] {approximated timestamps imcluded}

OK the title is a lie. I actually think about this once every 2 weeks. [If that]

It's about in time. Specifically Raymond Leon. He's the main antagonist of the movie But no one focuses on how tragic he really is.

Let me explain

1. Timekeeper Raymond Leon. Like everyone he stops aging at 25, And his clock starts leaving him a year to live. Cannon to the film he mentions that hes been doing his job for 50 years. He's pushing 80 years old if we track it properly. 80 years!! Of age... (01:27:15)

2. Most if not every time we see Leon, He's always chewing on a piece of gum. And it said that gum is a way to pass time.

3. During an exchange with Mr. Weis Towards the end of the movie. The man worth eons, sitting behind a desk in front of Leon, asks how many years he wants wants for his services. And ray, with a dead straight face, looks at the man and says.

"there aren't enough years, not even in your lifetime. Mr. Weis." (01:09:10)

4a. And that brings me to Layla. His little Dayton Mistress If you will.

All that Being said... Putting the pieces of his deeper puzzle together, Raymond Leon is much more tragic than he seems on the surface. Because from the outside the viewer is made to detest him as an antagonist of the film. And they follow.

But Leon as a deeper character. if you dig into what he says, and his actions, his little ticks and motions. you can see how done he is with his own existence. But he can't time himself out, That's just asinine for a man of his standing.

4b. She offers him 10 minutes for an hour of his time, The time that he has left and let's dwindle to the last second, habitually. He advises her to

"get out of the game" (00:22:26)

Because she's

"pushing 60."

Ray comes from Dayton, He managed to cross time zones and escape the habits of the lower class. That's how he knows all of wills tricks.

Meaning she's wasting her years on a job that will get her nowhere.

"He's conscious of the security he doesn't have a body guard and he runs" (00:29:18)

Leon has been there and done that. He escaped for a better life. But only ended up in a job that gets him nowhere. Working it for 50 years and finding no fulfillment.

He doesn't concern himself with the Justice that his role demands. He only concerns himself with the time that he usually measures.

"Seconds minutes hours." (00:41:35)

He has lost confidence in what he does because of what hes been through and what he's had to do and sacrifice.

In pursuit of what he does for a living, He will let his time dwindle to the last Seconds if it means getting the job completed, keeping up that front and not letting any one see what he actually thinks.

Chewing gum to pass the time, Remarking that a man worth eons (!) doesn't have the years that Leon would need for his services. Draining his clock to his last hours just to see how far he can push it.

The lowest in the movie we see his clock get is 2 hours. And even with the other time keepers concerns, His only remark is-

"I'm still walking around." (00:50:47)

Dismissing that he's putting himself in danger.

And his dismissal of his needs is what brings him to his ultimate demise. 5 seconds left on his clock he watches it fade, Standing in front of the 2 people he had his heart set on stopping, Confessing that he can't turn back the clock, And to a certain point he wishes that he could. And he keeps the time because that's what he knows, He knows his job, he knows the rules. But it's not what he wants, It was never what he wanted.

"I keep time" (1:37:53)

he says.

Time keepers are only given A day. Every day as a top up of their time. Imagine taking A day every day for 50 years in a job that gets you nowhere and gives you nothing. (00:50:47)

He is practically invisible, A man in a coat. Defined by what he works for and not seen for who he is. Not seen for the story that he could tell. The lives he could save and the lives he could change.

Leon is a story in and of himself, He is a story of an old soul in a young body, he is a story of the day to day monotney, And he's a story of what people would do to stay alive in this world.

Being a timekeeper is the equivalent of being a cop, The Dayton people don't respect him, And No one in new Greenwich seems to acknowledge his existence.

Because of who he is and what he "stands for" no one would give him a chance. 50 years of only being seen as a one sided story. He's grown tired of it all. Stuck in a dead and job with no way to pass his own time. Except simple pleasures, intense euphoria, and a soul breaking livelihood.

He doesn't want to stand for what that coat stands for anymore. He wants his own life but he can't have it, It is stuck in the confines unable to reach higher.

He left the low and climbed the ladder. But got stuck in the pursuit of his own future, Tying himself up in a spot that he thought would make him happy.

He lived by-

"Follow the time" (0:22:26)

But he followed the time so far the bread crumbs turned to pebbles, and he lost his way.

Time is money, Time is life, But time can also be the enemy.

[elexuscal]

Danny Phantom, The Show:

geeky kid gets super powers from his parents' weird inventions! now he has to fight a rogue gallery of ghosts... but uh-oh! he still has to keep his grades up, deal with his embarrassing parents, and navigate girl troubles! rap theme song!

Danny Phantom, the Fandom, After 19 Years of Fermentation:

a child dies. but not quite. the inherent tension between life and death. the obsession of the dead for faded remnants of the living. warped green shadows on the walls of a dark laboratory. having to hide your true nature from those who should be your greatest allies. the fear of the monster you could become if you let yourself. being a ghost as a metaphor for the trans experience. a cold breath on the back of your neck in the dead of the night. rap theme song!

[grimreapersamael]

Review of “Skinamarink”

+ + + Warning: “Skinamarink” includes themes such as child abuse, family problems and self-harm, that I will talk about in the review. There are spoilers contained in 'my reflections' part, where I'll briefly talk about my view on the second meaning of this film. You can skip this part for a neutral conclusion. + + + “I can do anything. Kaylee didn't do as she was told. She said she wanted her mom and dad, so I took her mouth away.” ~The Entity to Kevin + + +

Introduction

The most cursed film. A nightmare fuel. Disgusted people exiting the cinemas in the middle of production. At the same time, praises over the form. One experimental horror that moved the Internet, because of subtle hints at a deeper meaning. Let's talk about the unnerving story, that took its name from an innocent, children song – “Skinamarink”. “Skinamarink” is a Canadian experimental horror film, that was directed by Edward Kyle Ball. This production, released in few cinemas around the globe at the beginning of 2022, got a lot of mixed reactions. A fair amount of people criticized the action for being slow-paced. Others couldn't watch the horrific fate of young protagonists. At the same time, some enjoyed the story, liking it for its distinctive style, as well as trying to find a metaphoric meaning for the cruelty. “Skinamarink” is about two children – 4 years old Kevin and 6 years old Kaylee – who are trapped inside their own house. As doors, windows, and their parents disappear, the siblings are left on their own against something. Personally, I liked this film, however I completely understand negative reactions.

The story and the presentation

Bringing up feelings familiar to everyone, in a way that only a portion of people will find enjoyable to watch. That's how I'd put “Skinamarink” into a one sentence. The main scare, that doesn't require any deeper delve into the story, is a constant atmosphere of the film. The action is slow-paced, because of almost static frames and overall silence. What's more, characters are often whispering, or their words are hardly understandable (To the point that you have to read subtitles). Frames are primarily constructed around the viewpoint of a child. Thereby, they're enhancing the appearance of a house by presenting either an unending darkness, or conversely, displaying only a limited portion of a room, making us unable to see what is happening. The darkness itself is an important part of presentation, as it triggers a natural fear of the unknown. There, we have our main basis for visuals of “Skinamarink” which is c h i l d h o o d f e a r. The reason for sleeping with a little light on. Hugging into your teddy bear tightly, as a way to feel more safe. The crying caused by a feeling of loneliness, once we don't see our parents nearby. This is what film visually represents. Something that all of us experienced at one point of their life, which is now brought up once we're older, almost forgetting this basic fear. What's more, the quality of whole production isn't a one expected in 2022. It was based on the popular genre of analogue horror. The choice is another way to enhance the unnerving feeling of “Skinamarink”, with a taste of nostalgia. This matches our memories much more, as production isn't as clear, as it could be. A similar effect was made by the choice of not showing us so much action, that I find to be a great way of playing with human tendency to fill up holes. It's hard to terrify with what's said, as much as you can with just leaving a few questions unanswered. “Skinamarink” makes sure that we feel bad for the main characters. They're children, unable to do a lot of things, as we found out as the story progresses. Siblings also can't understand a lot. We see their innocence, in little parts of their words or acts. The only people – beside themselves – that they could trust, disappeared into thin air.

My reflections (Story Spoilers ahead)

An experimental way to scare people and hard to swallow themes, would probably be enough to make me watch “Skinamarink”. However, this wouldn't be enough to catch my attention – especially for a time longer than around a week. As I mentioned before, I'm not fond of this production because of the literal story that “Skinamarink” gives us. I believe that the intriguing and thrilling part about this story lays in details. My mind wasn't filled with reflections about a physical torture or a childhood fear, but with theories. After a re-watch and the way that people on the Internet tried to break down the story, I got a forming picture of what the “Skinamarink” could tell us. For me, it is not a story about a paranormal entity, that got power over two kids. It's about an abusive household, broken family and a crippled young mind.

Pointing at only few clues, we know that children are having problems in their family. They don't want to talk about their mom. We aren't given any direct reason, but we know that she's somehow connected to the monster that torments them. However, later, there's a moment almost opposite to their earlier words. I don't find it to be brought up by people in their theories, but Kaylee wanted her parents. She wanted to see them. Both dad and mom. These same people, that we know children, are reluctant to speak about. I find it to be such a great way on how desperate they're in their situation. Maybe, they don't want to speak about mom, but when monster is trapping them, both of them just don't know any better. If we go by the metaphorical meaning for paranormal activities, it's safe to assume that it could be a sign, that mother wasn't always abusive. Perhaps Kaylee wishes for her mom to be like she was before? The interpretation itself – of course – is optional and subjective. Personally, I like to believe in this, as it nicely connects to the theme, that was also present in other movie from Bale titled “Heck”. The difference mostly comes from the directness in “Heck”, where in “Skinamarink” it's a speculation.

Conclusion

“Skinamarink” was an interesting movie to watch. I admire the visuals and specific aura, that builds up into a worthy experience. Fear, wonder and compassion come together, for us to decipher its story. It isn't for everyone, but I highly recommend giving this piece of artwork a try. If You're about to watch this movie, I wish You an enjoyable evening with this production. For those who already watched it, I'll gladly read Your thoughts on this movie and Your theories. No matter, if you read it in the darkness of the night, or in the light of the day, I wish You a lovely time. To the next evening, whether it may be another review, photograph, or a drawing. ~ A.K. Samael

+ + +

[pixlokita]

I saw the Epic Mickey beta trailer and felt so robbed so I decided to make my own concepts of the game 😤 and then @pekoeboo was also losing it so we came up with a bunch of concepts, the heart being a stabilizer was her idea ;-; and she helped with that fourth pose :’>

Disney how could u take the edge away from us … Disney when I catch you Disney, Disney when I catch you…

[fishareglorious]

kakania numero uno reverse 1999 character on the fact she makes a dig on the sex life of the guy she was dueling with at the moment. while also somewhat kinda maybe implying she fucked his wife

[bacchuschucklefuck]

pygmalion and galatea for aroace people

you should tell your friends what I look like, riz gukgak.

[shanksxbuggy]

The fact that Shanks is drinking heavily in reaction to Vegapunk’s message, just like Rayleigh, it’s likely he’s drinking because he already knew the truth of the world sinking and some other dark truths. While it’s unlikely Shanks knows the whole true history like the other Roger Pirates, he has to know enough about something to make him drown himself in alcohol. He’s not acting surprised or worried about people.

Buggy having this kind of reaction, I think Oda is continuing to highlight Buggy’s cluelessness. This further confirms that Buggy really didn’t know anything. Ever since his flashback of him eating the devil fruit he’s been painted as kind of an outsider in the Roger Pirates compared to Shanks.

Buggy’s cluelessness might be the very thing that saved him from becoming a despondent drinker like Shanks and Rayleigh. Oden once said he didn’t know if Buggy was lucky to get sick or not which prevented him from going to Laughtale…maybe because he didn’t discover the truth, Buggy was still able to keep his fiery passion and dreams. This might be the very thing that will help save Shanks from his depression…

[marclef]

how the heck have i not drawn this little bastard yet. oh well. i fixed that.

cotton candy lookin' MF

kinda surprises me i haven't drawn him legit yet, especially since.... i might have changed how he dies in my own AU.

would you like to know how?

it isn't pretty.

[1doesnotsimplyhavejust1fandam]

Half questioning my memory of the post s4 era, half side eying a certain character, so correct me if I’m wrong, but I don’t think there was ever a time when the Buddie fandom fully took the single “Evan” from the season 4 finale as Eddie receiving “Evan” privileges from then on. From my recollection, fics stayed mostly consistent with their uses of “Evan” by Eddie, perhaps just with an emphasis on important moments (love confessions, Christopher’s adoption papers, wedding vows, NDEs, etc.) after the finale. And I had to stop myself from wondering why that is because I know why. We all know. Because nobody wanted to use “Evan” in fics when Buck had just told his parents that people who know him call him Buck. So Buddie fandom heard that, accepted it, and uses it only sparingly. In canon and fanon, even Maddie only rarely uses “Evan” anymore, and it feels even less common for her to use post-Buck Begins (if at all, actually). So the fact that Tommy and BT fans tend to use “Evan” (at least, this has been my experience) is so utterly jarring. Buck told everyone his preference, and I believe LFJ has spoken about being told to use only “Evan” when referring to Buck, so I simply do not understand anyone who believes that BT is in love already or endgame. Yes, it could go the “Buck gave Tommy ‘Evan’ privileges off-screen” route, but then why push it off-screen? It would be a major allowance made for a new love interest, and a significant step in Buck’s character arc. Yet we see nothing of the sort. So why would anyone believe that’s what happened? The last we heard, Buck had told his parents and everyone else to call him Buck exclusively, with the minimal exception of Maddie (who was, for most of his childhood, his one and only lifeline and confidant). That sort of history and characterization is not ignored if there is not something very wrong with the writers’ room. It was not even ignored by a significant portion of the fandom post-season 4, although Eddie gaining permanent “Evan” privileges would’ve been a strong indicator of a Buddie endgame (had an on-screen explanation of Eddie gaining this privilege been released). It was not ignored, and it did not change the nature of Buck in fic nor fanon. So why in hell is the same not holding true for a brand new relationship like BT?

[thunderandsage]

i love you stories where the narrative device becomes a theme of its own, i love you magnus archives “who is listening?” tape recorders, i love you interview with the vampire “how does memory warp?” interviews, i love you house of leaves “this film never existed and yet the minotaur hunts me” academic dissertations, i love you i love you i love you—

[withthewindinherfootsteps]

Wei Wuxian and Narrative Agency – Part One

For Xiantober Day One: Genius… albeit stretching the prompt so it refers to MXTX and MDZS itself, but at the end of the day it’s still about WWX – so no harm done!

(Part Two | Part Three | Full version on AO3)

The narrative is a very active player in MDZS’ story. How it presents information, what it chooses to show and omit, often reflects important facets of its themes and characters – Nie Huaisang, for instance, is so good at hiding behind his mask that not even the narrative can hold him accountable; the present day’s storyline as a murder mystery and the slow reveal of information about the past both prompt the reader to think critically about the truth of events, when the importance of thinking critically is an important theme; and the dangers not thinking critically (and instead basing conclusions on rumours without much evidence) are shown by tricking unquestioning readers into the very same trap the cultivation world falls into, as the information given by the title, summary and in-universe rumours – which contradicts how we see actually Wei Wuxian act – turns out to be false.

But nowhere do I love this trait more than in its treatment of Wei Wuxian – and, more specifically, in its way of emphasising his agency. We’re not just told how much his active choices define his character, and we’re not just shown this in-universe through his personality, worldview and the events he causes. I’d argue that this aspect goes a step further, and shapes the structure of the out-of-universe narrative as well.

There are two main ways this happens: one, in how the aspects of Wei Wuxian’s life that are shown and hidden directly tell us what’s important about his character (which is good writing but isn’t necessarily tied to this shaping of the narrative), which is what we’ll explore today; and two, how what’s shown and hidden reflects what Wei Wuxian himself prefers to dwell on, resulting in the narrative respecting his own thoughts and feelings on matters (which very much is tied to it). We’ll explore this at a later date.

But as for now – let’s explore my favourite aspect of MDZS.

(Here, narrative agency will be considered the ability of a character to meaningfully influence their events and the story they’re in.)

Tragedy, Circumstance, Choice

If we simply look at Wei Wuxian’s backstory in a vacuum, it seems almost typically tragic. His  parents died in circumstances beyond his control, he was left alone as a child with nobody to care for him, he was forced to grow up fending for himself on the streets, he was faced with abuse when he finally was taken in… as with all typical woobies, everything simply happened to him, and none of it was good. It’s just another example of the lack of agency being used for sympathy points, right?

…Except there’s one problem with that idea. We don’t actually see any of this.

It would’ve been easy to start the flashbacks during these times. We’re telling the story of Wei Wuxian in (largely) chronological order, and these are likely important experiences for him! But instead of starting in his street days, or evenat the moment Jiang Fengmian took him in*, we start at the lectures in the Cloud Recesses. That’s not even something mentioned in, and therefore something that’s able to disprove, the rumours at the start of the novel. So why is this the case? 

Well, there are multiple reasons – the main one being that MDZS is also Lan Wangji’s (and Wangxian’s) story, and having the flashbacks open with their first meeting is very satisfying. But I want to focus on something else.

This period doesn’t have to be shown, because what happens to Wei Wuxian, especially out of his control, isn’t what’s important about his character.

We’re not even at Lotus Pier here, where Wei Wuxian certainly has more agency than he would’ve had as a young child, but where the harm caused by Madame Yu is still completely out of his control. Here, he has agency! Though there are consequences, he is free to act, and what happens to him is a result of those actions and not of circumstance. Yes, he gets punished more than others who also take those same actions (due to classism); yes, it’s not his choice to be picked on by Lan Qiren in class (yet look how he responds, twisting the situation to his advantage and ending up tricking Lan Qiren into letting him leave, which is what he wanted to do. He is not at all helpless here!); yes, these choices have been influenced by his learned mindset from Madame Yu that punishment is arbitrary and will happen anyway, so you may as well do what you want regardless. But there is cause-and-effect here. It’s not circumstantial tragedy.

Therefore, instead of our first impression of past!Wei Wuxian being that of an unfortunate woobie, it’s of someone who has the freedom, ability and will to choose and act (and that’s after these initial tragic events have taken place). This is compounded by the fact that before we see any of his backstory, we get a similar impression of him in the present day.

If the purpose of his tragic past was to earn him sympathy points, to make us pity him due to how much he was influenced by events out of his control, this would’ve been a terrible way of going about it… and it’s this that betrays the true reason for its existence. Because now, the flashbacks instead show us how little these tragedies define who he is! From the very start, Wei Wuxian isn’t someone defined by circumstances out of his control, but rather by who he is as a person and by what choices he makes in the present day (which is both a mindset in-universe, and a nice little out-of-universe detail that lines up! Because out-of-universe, this means he’s not defined by sympathy points from a backstory, but rather by his great character writing… aka, by who he is as a person and what choices he makes). And this refusal to be defined by tragedy is a conscious choice on his part, too – but we’ll explore that more later. 

The important thing is that this idea of Wei Wuxian isn’t because of what exists in his past, it’s because of what parts of his past are shown to us (as well as what he chooses to do, with agency, in the present). 

Now, if this relationship between what’s displayed and what’s omitted was just a one-time thing, I might’ve considered it a cool detail or a nice way to establish a character, but not something the narrative is actively focusing on. But it’s a pattern that continues throughout the flashbacks. What, arguably, are the two other most important times in Wei Wuxian’s life where he doesn’t have enough agency to meaningfully influence his circumstances? His three months in the Burial Mounds (before escaping – he managed to assume some control of the circumstances but not enough to substantially reduce his suffering in his time there), and his loss and death during the First Siege. And we’re not shown either of them! We skip to when Wei Wuxian has emerged from the Burial Mounds and is torturing the Wens, or we skip to the present day – both times he has agency once more, because, again, what he’s like without it doesn’t matter enough to be shown. 

Furthermore, I’d argue this does actually contrast the other tragic events we see in Wei Wuxian’s later life. Things do go horribly wrong, but it’s either due to choices he knows the consequences of (see: rescuing the Wen Remnants in the first place), or instances where he still has some ability to act in the situation and influence it within the limitations. If he’d had no ability to influence circumstances at Qiongqi path, he would have died in the ambush; if he’d been unable to do that at Nightless City, he would’ve died then, too (of course Lan Wangji helped him escape as well). The attention drawn to him losing control of his actions in both instances is very interesting, but intentional or not, it’s still his actions influencing the plot. And that influence happens to be detrimental. The very ability to act and influence, at a base level,  is not taken away (though, of course, that doesn’t make these events any less tragic).

So, so far, the narrative seems to be telling us that the ability to act and choose is key to Wei Wuxian’s character. And it’s doing it through omitting his moments without agency in favour of instead showing us his moments with it. 

Let’s see if this is echoed in the text itself before we go further – because even with this pattern, nothing would end up mattering if Wei Wuxian’s agency wasn’t actually that important to the story itself. But thankfully it is, and that first impression we get of Wei Wuxian in the Cloud Recesses turns out to very much be accurate! Though there are defining circumstances out of his control that occur, such as the massacre of Lotus Pier, the majority of the important events of his life are due to his own choices. He didn’t happen to be forced to cease traditional cultivation and solely use guidao, didn’t happen to lose his Golden Core in a fight with Wen Zhuliu or due to some force in the Burial Mounds, it was his own choice to give it and his spiritual powers away. He didn’t tragically happen to get targeted by the cultivation world, it was a result of him acting on his morals and protecting the Wen remnants (a choice which he was fully aware of the implications of). He isn’t a protagonist to whom things simply occur, and that activeness and agency is my favourite thing about him. 

That’s not to say that the times Wei Wuxian doesn’t have agency, or feels like he doesn’t have any, don’t exist at all, either – but they are rare enough to have attention directly drawn to them in his internal narration:

Or else what could he do? He could do nothing. He was powerless. Lotus Pier had been destroyed, both Jiang FengMian and Madam Yu were gone, and Jiang Cheng had disappeared as well. He was the only one left, alone, with not even a sword in his hands. He didn’t know anything, he couldn’t do anything! For the first time, he discovered how little his power was. In front of something as large as the QishanWen Sect, it was the same as a mantis trying to stop a chariot. - Chapter 59, EXR translation

(And even in this circumstance, note that he still does force himself to act – to carry on searching for Jiang Cheng, to place his faith in Wen Ning – and does accomplish his goal (albeit with the help of others)! So even in dire situations, he isn’t simply passive. This is actually also the case with his time in the Burial Mounds, almost certainly the First Siege, and even his days on the streets as well (Chapter 20: he did actively fight with dogs to get food despite their danger and his growing fear of them, rather than just waiting and hoping to somehow receive some more). He can’t influence or immediately influence his circumstances, but that doesn’t stop him from trying.)

Overall, although they do influence him, Wei Wuxian is very much who he is in spite of his circumstances, not because of them. We’re shown the importance of his agency both in-universe by the major impacts his choices have on himself and the plot, as well as by narrative presentation – important periods where he lacks the ability to meaningfully influence anything are often mentioned but not directly shown, which suggests that such moments and circumstances aren’t as important to understanding Wei Wuxian’s character as moments where he does have this agency are. And I’d argue this works very well. Depending on the version of the story you consume, you may end up having different interpretations as to how much circumstances were at play nearer the end of his life – but nobody comes out of MDZS thinking about Wei Wuxian, the poor bearer of yet another generically tragic backstory.

(Part Two | Part Three | Full version on AO3)

—

*We are shown this moment in more detail in Chapter 23… but even then, it’s through the framing of Wei Wuxian remembering Jiang Yanli’s narration, not through a flashback proper or even him remembering the experience itself!

[kaiminluu]

“It’s only dangerous if you lose your balance” (will says as mike loses his balance (jk (unless,,?)))

HELLO releasing the famed and historically significant dirty dancing log scene (will byers and mike wheeler version) (READ CHAPTER 5 OF CLOSE TO ME THE DIRTY DANCING FIC BY ME AND @wayward-sherlock OUT NOW!! I'M NOT OK!!!)

[pjsk-story-summaries]

Where Does This Path of Thorns Lead To? Event Story Summary

TL;DR: After watching Mafuyu begin to move forward, Mizuki resolves to finally tell the others their secret. Still, they're incredibly nervous to do so, and struggle to actually send a message to Ena.

The Kamikou Cultural Festival is soon approaching. After realizing Ena will be attending this year, Mizuki decides to tell her then. MEIKO and KAITO both notice hesitation and anxiety within them, though. KAITO wants to force them to do something, but MEIKO begins to argue with him. The two end up visiting Mizuki together- KAITO to say that Mizuki needs to make a choice, and MEIKO that she'll always be watching over them no matter what happens.

Mizuki runs into Rui after they finish setting up for the festival the next day. Rui can tell something is bothering them, so the two chat. Mizuki reveals that they want to tell the others, but they're scared things will change if they do. They don't want to lose what they currently have. Rui sympathizes with them, and though he can't do much to help, wishes for Mizuki's happiness. With the courage from MEIKO, KAITO, and Rui, Mizuki tells Ena she wants to talk about their secret after the festival.

Mafuyu and Kanade join Ena and Mizuki for the daytime festival. They visit many of the stalls, including the escape room Mizuki and Toya created. During the escape room, they try solving the final puzzle by thinking about where Mizuki would have hidden the key. Though they ultimately failed, Mizuki was impressed and touched. The spot they chose was where they had initially hidden the key- Toya made the last minute change.

Mafuyu and Kanade go home after the festival, so Ena and Mizuki go up to the rooftop. On the way, though, a classmate asks for Mizuki's help with something, so Ena decides to meet them up there. Two of Mizuki's bullies end up going up to the roof, too, recognizing Ena as Mizuki's friend. They ask her if she's "actually a boy", too. Their comments lead Ena to realize Mizuki's secret is that they are transgender. They turn to find a terrified Mizuki staring in horror. Mizuki runs away.

Ena chases after Mizuki. When she catches them, though, she's at a loss for words. Mizuki apologizes for not being able to say anything. They know Ena and the others would accept them, and that they'd try and make it so nothing would change, but they can't bring themself to accept that kindness. Mizuki apologizes again for not being able to say it and runs away. Ena cries out in self-frustration for not being able to say anything back.

Fan translation (Puroeng) / Song (Ghost Flower) 2DMV

Chapter 1: After Mafuyu was finally able to tell her father her true feelings, Mizuki resolves to move forward themself and finally tell their secret. With shaking hands, they go to message Ena, but flashbacks of others calling them "weird" and "doing it for attention" make them freeze. Mizuki knows the others won't reject them, but still can't send the message.

A few days later, Nightcord all meet in the SEKAI to discuss the current demo. They end up talking about the upcoming Kamikou Cultural Festival. Ena's class is going to do a squid grill (though she's unsure if she'll actually go or not), and Mizuki's class an escape room. KAITO and MEIKO notice something change in Mizuki when they realize Ena could be coming to the festival. Mizuki's scared Ena will hear rumors about them, but decides, no matter what, they'll tell Ena during the cultural festival.

Chapter 2: MEIKO realizes Mizuki might be about to share their secret and move forward. KAITO approaches and demands information on Mizuki. He wants Mizuki to be okay because Mizuku can help Mafuyu. MEIKO tells him about Mizuki wanting to stop running away, but refuses to tell what the secret may be. The two fight about whether or not to interfere, and KAITO storms off.

KAITO goes to talk to Mizuki, but is interrupted by MEIKO. KAITO ends up telling Mizuki to stop hesitating and make a choice for survival. MEIKO promises to keep watching over Mizuki, no matter what happens.

Chapter 3: It's the day before the cultural festival, and Mizuki still hasn't been able to send the message. They had been helping Toya create the puzzle challenge, so the two finished setting it all up. Mizuki is clearly nervous about telling Ena, but tries to hide it.

Rui ends up running into Mizuki in the hall. He sees through their facade and asks to talk. Mizuki reveals their decision to tell the others the truth, but they're scared. They know the others will accept them for who they are, but their relationship will still most likely change. They don't want the others to think any differently of them, even if it's well-intentioned. Rui sympathizes with their fear of change; though he can't help alleviate it, he wishes for their happiness.

Mizuki thinks of KAITO, MEIKO, and Rui's support. They get a message from Ena saying she'd decided to attend the festival tomorrow. Mizuki finally asks if they can talk, tomorrow after the festival.

Chapter 4: Mizuki greets Kanade and Mafuyu at the school gate. Ena runs over from her class's stall, having just finished up her shift. Ena hates the T-shirt she has to wear. Kanade tries to cheer her up, which flusters her. The group decides to wander around and see the stalls. Ena notices that Mizuki seems off, but resolves to wait.

An, Akito, and Nene's class put on a photo booth, and Rui and Tsukasa's put on a play about reaching the moon. They decide to visit Mizuki's class next.

Chapter 5: Mizuki is nervous about what might happen with whatever classmate is on reception, but it ends up just being Toya. Mizuki acts as the guide for the escape room, since they helped create the puzzle. Kanade, Mafuyu, and Ena breeze through most of the puzzle.

They only have a few minutes to find the key with the last clue, so rather than actually solve the riddle, they try and think of where Mizuki would hide the key. Rather than something simple like under a desk, they check something surprising, like the pile of stuffed animals. One has a zipper on its back. They use the remaining time to open the zipper, but it ends up being a decoy. Mizuki reveals the true key was hidden in a stuffed animal hanging on the ceiling. (Still, they're shocked. That was the original place they were going to hide it- Toya was the one to make the last minute change.) They're happy, to be known so well.

Chapter 6: After the festival, Kanade and Mafuyu head home. Before they leave, Mizuki asks to tell them something later. Mizuki then asks Ena if they can go up to the rooftop to talk (even though they're so anxious it makes them nauseous). Ena chats about music video ideas to help calm down Mizuki, something they greatly appreciate.

Suddenly, a classmate runs up to Mizuki, asking for help. Apparently, another student had gotten hurt, but they need help finding the school nurse. Ena offers to meet Mizuki on the roof when they're done.

Chapter 7: Two students end up walking up to the rooftop while Ena waits. They recognize her as Mizuki's friend and ask if she's "also a guy". Ena doesn't know what they mean. The guy apologizes, knowing Ena's "a normal girl". Ena presses, and the two realize Ena doesn't know "his" secret. Ena realizes that Mizuki is transgender. She turns to find Mizuki staring at her, terrified.

Chapter 8: Flashbacks of Mizuki's memories with Nightcord flash by the screen. They can't say anything and sprint away. Ena chases after them.

When Ena finally catches up, she's at a loss for words. Through shaking breaths, Mizuki apologizes for not being able to say anything sooner. They know Ena was just surprised, not hurt, but can't find it in themself to accept it. They know they'll try and make it so nothing will change, and they'll all accept them for who they are and keep making videos. They know it's from all their kindness, and they want to accept it so badly, but they can't help but hate it.

Ena tries to reassure Mizuki, but she still can't find the words. Mizuki turns their back to her, apologizes for not being able to face her, and runs away. Ena starts crying.

The chapter ends with a monologue from Mizuki. "You reap what you sow, huh? Running, and running, always running away. I had hoped that someone would just say it for me. Guess it turned out just as I hoped. Ah... I want to disappear."

After reading the final chapter of this event, Mizuki's menu lines and live2D model are changed to a hollow, lightless version of themself, similar to Mafuyu when not masking. They also will only appear in the Empty SEKAI for area conversations, if at all.

[serene-ly]

Aur bhi dukh hein zamane mein Mohabbat ke siwa..

There are various heartaches in life,apart from love.

[changewingwentz]

My First fanart offering 👋👋🙏

looking at manga covers with plots centered around fashion and their official arts on here due to severe art block and thought man I want iii to be put in there cuz I love his fit in the new era wooooo and it’s perfect to me but with a horror twist yknow

So I imagine him being in a cover of a visual novel or manga adaptation for funsies

Other additions below (without filter + texts!)

[assmaster-8000]

no because what if gojo satoru had found another special grade child. a child whom the jujutsu higher-ups wanted satoru to mentor because they'd be a useful trump card to the jujutsu society so naturally they'd want this child's talent to be honed till they potentially surpass satoru and be used. but satoru had seen too much of what this world had done to the person he'd love the most and he wouldn't ever be the one to subject another person to it like a tool. like a weapon. like a machine. so of course he takes them under his wing and gives them the guidance he never had, suguru never had. a 20 year old prodigy fresh with wounds of loss and grief taking in a child with greatness sitting on their head like a heavy crown cutting into their skin underneath his cape of power and blood stains. satoru is an enigma and even he himself doesn't know if it's because he wants to mold more strong jujutsu sorcerers who will change this world (because what greater irony than the child you wanted to utilize like a cold knife being the one to bring reform right to your door?), or if he wants to give them everything everyone else didn't have (please, he can't have someone follow in suguru's footsteps.), or if being number 1 was too tiring for him (but he doesn't know if it's selfish bringing them up to this blinding spotlight.)

years pass and he vehemently denies the higher ups control over his protégé, his student, his brat. he'll give them control and the means to break out of the shackles of this damned hierarchy. and even if satoru cannot outwardly say it, they're his child. as though he was there at their birth and has been ever since. his child and his best friend and he's their father and their best friend. it's either he sees too much of himself in them or too much of suguru because they're rising to the top fast and he's proud of them and so full of dangerous hope their wings aren't made of wax. (but he'll be there to catch them if they'll ever fall, of course!) they're so strong now. if he was blessed by the heavens and the earth then perhaps they were born of it because look at them go! giving the great gojo satoru a run for his money! not everyone can do that, you know? they're such a great student and person! isn't he such a great mentor?!

so he decides to have faith in them. bring them along with him to shibuya to deal with those reports of special grade curses he was being told about. this is how your teacher deals with these curses! better watch closely because you'll probably have to do it too! he has them positioned on the sidelines to ensure the civilians aren't hurt and if anything, to aid him because they're gonna be the strongest some day too so they can't be lazing a round on their ass all the time.

and they're doing so well until kenjaku comes along. satoru's breath stops and his heart rattles against the prison bars of his ribcage but it isn't the stupor of seeing his lost love that doomed him to the box. his special grade student lurches to -- what, attack kenjaku? pull satoru away? run? it didn't matter what. it was all a blur -- wards him and his body moves on an instinct that's even stronger that the compass needle pointing to suguru's body.

no, no.. that isn't suguru. it's his body and that's not him. somethings not right. but his student is right infront of him and that's them and he can't let anything bad happen to them now. flexing infront of his student can be saved for another day. but it's this mistake that ends up setting him right into kenjaku's trap and the box. the moment his gaze snaps to them and his body is torn between suguru infront of him and them kenjaku sees an opportunity and snaps it up like it's golden.

satoru doesn't even get the mere moment of chained freedom before he's fully trapped in the box. with the special grade student there, kenjaku needs to make it quick. make it count. he does. satoru is pulled into the box and satoru can't even say anything to his student. and he worries in his infinitesimal prison. satoru never usually worries unless if it's his leftovers have gone bad in the fridge.

they'll be alright.

they'll be alright.

they'll be alright, won't they?

they're strong.

they're capable.

they're smart.

he's raised them well they'll be okay they've got friends.

they'll do the right thing.

...

and when satoru finally exits the box he's sees faces changed. they tell him a lot about what they've been through, about what has changed since he's been gone, what changed about them.

he sees yuuji has been weathered with pain and a unique sense of hope.

he sees megumi has been puppeted with the strings of despair by sukuna.

he sees maki has faced the fiery trials and tribulations of this cruel world and bears it like her trophy.

he sees...

he sees nothing of his student. his special student. where are they? injured? somewhere off in the game? will they be back soon? time's a-running out, you know.

he sees the looks his students exchange and his heart drops. he knows. he knows. he knows what must've happened.

they're dead, aren't they?

and he's brought back to the time he carried riko's dead body in his arms and he was met with the disappearing suguru in the crowd and suguru slumped against the wall.

it's happened again.

they tell him they were a hero. that in satoru's absence, they did the heavy lifting and protected shibuya from the full-on destruction it would've suffered if not for them. that if not for them, the jujutsu world would've been left in even deeper disrepair. they saved some of their fellow sorcerers from certain death and suffering! they were the one to grapple with sukuna when he let all havoc ravage the city.

they paid with their life.

all because they were too worried about getting these normal civilians back home safe. about keeping their friends and mentors safe. and satoru wonders if there was someone else worrying about keeping them safe.

... atleast he didn't have to worry about them following in suguru's footsteps and the hatred of regular civilians. they were good of heart and soul. they were strong.

they did the right thing.

and satoru has a hard time wrapping his head around the fact that the person he's raised for, what, 10 years? is dead. gone. deceased. that's just preposterous! he was there when they were a snobby little kid and he was there when they were going through that awkward phase and he was there when they were learning more and more as a teenager and where are they now?

sukuna asks him that. "where's that miniature personification of yours? hah, don't tell me they died the last i saw them. have the special grades of this era started to slack off?"

satoru has all the more reason to kill sukuna now. he has to show his students who are watching that he can do it.

even if they will no longer watch him do anything.