#don’t get me wrong… there *is* meta to be written here

[the-obnoxious-sibling]

Why did Oden called Buggy second son? And does that mean he also confirms them as brothers like marines did? First son, second son, sound brotherly to me but I am not fluent in English and know nothing on Japanese names. And is buggy younger? By month me he is, If so why he angry at that?

oden gives a number of characters nicknames of a sort, where he combines their name with a syllable or two of a typical japanese personal name. white-kichi, buggy-jiro, red-taro… the strawhats do something similar to blend in while they’re hiding out in wano, but as far as i can tell the endings they pick are fairly random, while i think oden assigns his with intention.

吉, kichi, means good luck or fortune—and i think that first meeting with whitebeard is something oden looks back on as being very fortunate. it changed his life, in several very big, very meaningful ways!

太郎 and 次郎, tarou and jirou, taken literally mean eldest son and next son. surrounded by grown men, two boys, and his own family, is it any wonder oden gives these kids nicknames that emphasize their youth and position them in roles similar to those of his own children? i don’t think it means anything more than that, though.

we don’t get confirmation of who is older or younger of shanks and buggy in the text… we’re told in extracanonical places like data books and sbs answers that shanks and buggy are the same age, and they were given birthdays by goroawase rules, which puts shanks’ birthday in march and buggy’s in august. so i guess buggy is younger by five months or so?

and i can’t say for sure why buggy is mad about being assigned second son when he is, in fact, the younger of the two of them—though you have to remember, buggy’s temper is rarely a logical beast—but i do have my pet theory.

i may have mentioned it before, idk, but i think buggy was a pretty competitive kid. if you’ve spent much time around that kind of kid, you’ll know they can turn anything and everything into a competition, even stuff they have no control over. who’s fastest? who’s tallest? who’s oldest? who got the biggest piece of meat at dinner? who got the biggest piece of cake for dessert? any way they can make themselves out to be the winner, the best, they’ll take it. and any way they appear to come in last, or even in second, will make them miserable.

now, i’m not here to get into the psychological underpinnings of why such kids are so competitive… but i’m given to understand there’s usually a bit of an inferiority complex involved, which certainly feels appropriate for buggy.

[hopefulleafva]

Papyrus Wrote the UTDR Mystery Valentine

Okay so with a 2025 release for Deltarune chapters 3&4 confirmed I want to get this off my chest and document it for future me to either feel vindicated by or have a good laugh at how wrong it was. This has been eating me alive since the Valentine’s newsletter and I never said anything but I want this out there before anything new comes out.

Disclaimer: I have no idea if this is a theory other people have already made posts on or not because all I ever see is “it’s Gaster!” or “It’s not Gaster, it’s Dess/Egg Man/[Insert mysterious character here!]”. If someone has posted this theory before I missed it entirely. Not looking to steal anyone’s theory thunder here.

I’ve convinced myself this is Papyrus and just want to get my thoughts down here.

So. I see a lot of people talk about how the flippant and humorous way it’s written makes them think this isn’t Gaster. To get the Gaster stuff out of the way, my stance is that everyone has their own preferred idea of how they think Gaster acts and whether or not he could have a sense of humor, but we really have yet to learn a lot about him in canon. I don’t love us trying to make rules about what is and isn’t “in character” for him when we really haven’t met properly and have very little dialogue to go off of. I get a lot of people are basing their ideas of him being serious off Entry 17 and the popular assumption that the intro voice is Gaster. I think that’s fair and very understandable, but even still it’s only an extremely limited peek at what the guy is like. Point is, maybe he does have a silly sense of humor and maybe he doesn’t. I don’t want to entirely dismiss the idea that Gaster wrote this based on “it’s too silly, Gaster is serious!”. But I also think that the idea that because the speaker is a mysterious voice with meta knowledge of Deltarune that it MUST be Gaster is also a bit shaky.

Anyway.

Is it just me or does the bizarre roundabout way of phrasing things in the letter perfectly fall in line with how Papyrus speaks?

One of my favorite notes in the Undertale Legends of Localization book (HIGHLY recommend by the way, a really fascinating read) was this:

While yes, it’s important to bear in mind that this was the quote of a localizer and not Toby directly, I think it still rings very true for Papyrus’s character. Don’t really think I need a laundry list of examples for this point, right? Papyrus’s fun and unique way of speaking is such a memorable part of his character that you encounter in all routes.

Which is why it’s so interesting to me that this mystery writer seems to have a highly similar way of phrasing things in a unique and playful way.

The first one that really sticks out to me is the “I never forget someone I don’t remember.”

Really reminded me of the little bit you get after a post neutral run reset.

While not something I originally weighed in to my theory, it is worth noting that this bit between Papyrus and Sans occurs immediately after Papyrus has recognized Frisk after seeing them for this “first” time. This makes the mystery valentine writer’s preceding comment that they will know the forgotten person they are looking for immediately upon seeing them extra interesting.

This bit also stood out to me:

Because it also felt like very familiar phrasing. It took me a while to realize what it was making me think of.

Down to the quotations around a common phrase like it’s an alleged thing not a very common thing??? Like MAN.

While these were the only two parts I felt directly and strongly paralleled specific phrasing Papyrus has used before in canon, there were a few other things that caught my eye.

A faith in the power of love, and the power of belief.

(Yes, I realize the “even if you don’t think so” appears to negate the idea of Frisk’s beliefs being an important part of their ability to change, but I’d say Papyrus is still emphasizing that his beliefs are significant in this.)

Very strange that the writer doesn’t dismiss the idea that the person they have forgotten they wanted to help could be themself. How could you forget yourself? But then again…

And while not really the same degree of strength in a parallel, I just want to bring up that the letter writer remarks that the reader is odd yet reliable for responding out loud to a piece of written communication.

It is strange that the author seems to have still heard the reader’s out-loud reply to the letter. A weird instance where a mode of communication that has limits on what SHOULD be able to be perceived by the other person somehow has those limits broken and allows that person to comment on something they shouldn’t be able to perceive.

Kind of like if you were having a phone call with someone far away from you but they still seemed to somehow be able to know exactly what you were looking at and where you were. Where have we heard that before…?

Also come on. You can’t tell me “PUT ON YOUR COAT AND WASH YOUR FACE! OR, PUT ON YOUR FACE AND WASH YOUR COAT. NOT NECESSARILY IN THAT ORDER. OR, IN ANY ORDER AT ALL.” doesn’t sound like a Papyrus-ism.

I know some people may point out that Papyrus already has Valentines that are very explicitly from him in the newsletter, so it would be weird to have three that are and one that wasn’t. But I don’t think that necessarily should refute this idea. It could be possible the “signed” valentines are from Undertale’s Papyrus, and this one is from Deltarune’s Papyrus. Even if you subscribe to the idea that UT Papyrus IS DR Papyrus, this could simply be a letter sent from a different point in time.

Anyway, this has been eating me alive since February so I wanted to get it off my chest. Maybe this is completely off base, but interesting to think about.

[a-bottle-of-tyelenol]

I definitely get why people want more screen time with the crew and individual crew members (Perimedes, for example), but I actually kind of like the fact that we don’t know very many of them and we don’t hear any of them by name except Polites and Eurylochus.

(This can be seen as a continuation of this post where I talk about Odysseus seeing himself as above man and, therefore, above his crew.)

I have my own personal headcanon that Odysseus knows each of his men personally and by name, even those not on his specific ship, but I do think that having them as this unknown, unnamed blob of a force reenforces the me vs them conflict that Odysseus has.

Eurylochus is the voice of the crew and it makes sense that the crew wouldn’t bother Odysseus directly with things. He’s busy and it’s Eurylochus’ job to handle the unimportant stuff. But it means that Odysseus is separated from his men in more ways than one. He’s of royal blood (while most, if not all, of his men are not), he’s a war hero that will forever be remembered (while his men will forever be the vague title of ‘Odysseus’ crew’— iirc, this is actually why they open the windbag in the Odyssey, because they don’t think it’s fair that he gets the glory AND riches), and he’s the captain (while the rest of them have to follow his every order even when he refuses to listen to anyone but himself). He is inherently detached and singled out from the rest of the crew that are considered, both by the narrative and by the meta-ness of how EPIC is written, to be one singular entity.

“You relied on wit and then we died on it.”

The crew could’ve said “they died on it”, obviously pointing to Scylla’s victims and maybe even references those who died to Poseidon, but they wouldn’t because they are connected in a way that Odysseus does not relate to. This is, personally, also why I think that Odysseus is wrong when he says that Eurylochus would’ve done the same thing he did. People like to point to Circe’s island to say that Eury would’ve, but I disagree. Circe’s island is something entirely different and context matters here.

Eurylochus would’ve NEVER intentionally sacrificed anyone to get back home. To him, it’s better to have died together— which does add an interesting layer to him hurting Helios’ cattle. If Zeus had posed his ultimatum to Eurylochus instead of Odysseus, Eury would’ve picked himself to die every single time regardless of his own guilt or fault in the situation. And, to be honest, I think a lot of the crew would’ve too. These are selfish men, yes, but they are also men who would rather die of honor as brothers than disgrace themselves, especially because they’d know that getting home alone would be basically impossible anyways.

I bring this up because it’s yet another showing of how Odysseus is set apart from the others. “If you want all the power, you must carry all the blame” isn’t Eurylochus attempting to deflect from what he’s done with the windbag— he already thought Odysseus forgave him/moved on from that. He is specifically commenting on the fact that Odysseus made this decision without consulting any of them— something that Eurylochus didn’t do, with the windbag or on Circe’s island, and would never do because, again, the crew stands as a collective and they, along with the narrative, views each other as extensions of themselves.

The crew is so betrayed by what Odysseus did because they consider themselves to be a family, warriors in arms that will die for each other, and since going to the Underworld, Odysseus just doesn’t understand it. I sincerely believe that, had Odysseus told them and laid out the situation they were in, there would have been six men willing to volunteer themselves if there was truly no other way. Hell, Eurylochus might’ve even been one of them just to get as many of his friends home as possible.

I think that Odysseus is fundamentally different in how he views himself vs the crew and ‘Monster’ put the final nail in the coffin. I doubt it was intentional or anything more than the unfortunate reality that Jorge just didn’t have time or space for more content about the crew, but I think reducing them to a collective that stands behind Eurylochus from Odysseus’ perspective really works. In the early stages of the show, it highlights the foreshadowing within ‘Luck Runs Out’ and, as the show goes on, it really shows how Odysseus refuses to stand with them.

I particularly like that Mutiny’s blocking directions say that Eurylochus looks around at the gore while Odysseus keeps his back to it and the crew. I imagine a lot of scenes where Odysseus’ back can face Eury/the crew and it being symbolic of this dynamic— when the crew is distrustful in ‘Keep Your Friends Close’, when Eury is trying to admit that he opened the windbag in ‘Puppeteer’ and when he actually admits it in ‘Scylla’, when Eury is trying to convince Odysseus not to fight Circe, when he orders them to kill the sirens, when Zeus strikes them all down, ect.

Anyways, I don’t have any real way to end this. I do totally get people wishing there was more an emotional impact on the death of the crew for the audience, but I don’t really think it’s all that necessary and I like the implications that come from demoting the crew into being a singular ensemble entity.

[toastandjamie]

So like, can someone explain Perrin to me? Like, don’t get me wrong I love Perrin! Love him to death but I just do not understand him or his character arc. Here’s the thing, I’m currently writing a meta essay on the Ta’veren boys story archetypes and how they relate and effect the modern fantasy genre. It was going smoothly until I reached Perrin and I just drew a complete blank on what to write. I settled on the gentle giant archetype but when I compared it to what I had written for Mat and Rand it felt decidedly lackluster and shallow. I’ve never really understood Perrin’s character, like with Mat and Rand I feel like I have a good grasp on what RJ was trying to say with them, how they work in the story and how they think and feel. I feel like I understand them in a way that I just never could with Perrin. Anytime I try to write about Perrin it feels like I’m just staring at big blob of nothing and trying to shape it into a coherent analysis. I really want to dig in and understand Perrin better, I’ve tried combing through the myths of Thor and looking into the mythological roots of lycanthropy but none of it has really helped me with his overall character

[river-fisher]

The Real Bobby Fulbright and Morality

Hey hey! I am back with yet another analysis post, this time focusing on Fulbright's morality! I often see fanon interpretations of him - that are super fun! - but I also feel like they focus on the positive aspects of his personality and avoid the darker ones, so I will be rambling about that under the cut! Enjoy B)

Before we get into specific examples, it is worth pointing out that this analysis is based off of:

The theory that Dual Destinies didn't originally have the phantom as the main villain.

That the phantom was included later in the story after several chapters were already finished.

The theory that Dual Destinies was going to deal with darker themes before it got altered.

Now, although I have more detailed arguments on why I believe in these points, this post is not about that (Though if anyone wants to hear my thoughts about it, I'd love to yap about that in another post ^^). In a nutshell, Fulbright's behaviour changes in between cases, in a way that suggests that his character was revamped. I believe that Fulbright was originally written without the phantom in mind.

Thus! While his character might've had his purpose shifted, if my belief is correct, then The Monstrous Turnabout - the first case with Fulbright - is the most accurate glimpse into what the real Bobby Fulbright was like. Yes, we are meta analysing it up in this house!

Via the assumption that The Monstrous Turnabout has the original idea for the real Fulbright, we can make some interpretations of what he's like, despite the canon saying it was the phantom impersonating him! ^^

So, onto actual examples (lovingly chosen from my transcript) and analysis!

Starting off strong, we first meet Fulbright with him wanting to arrest Apollo and Athena. Yes, there is the potential reasoning of "disturbing a crime scene", but the lawyers had only just gotten there. They had done nothing wrong. That is unlawful arrest! Them coming to the crime scene had several explanations, and yet Fulbright won't even hear them out:

[???] “Hey, who are you and what are you doing here? This is a crime scene!”

[AJ] “And who are YOU? Are you with the police?”

[???] “I asked first! Who are YOU and what are you doing here?! On second thought... I’m placing you under arrest for disturbing a crime scene!”

He prioritizes lunch over actual, genuine justice here, not even bothering to hear them out. He only changes his tune after finding out that they're lawyers. Even then, he doesn't allow them to investigate. Though that is what all Ace Attorney detectives do, I think the subtle threat that comes afterwards is important.

[AJ] “Ack! Under arrest?! B-B-But...”

[???] “Save it for the boys back at HQ! Now, come quietly or else! I don’t want to be late for lunch!”

Yes, he never pulls out a gun in the series (besides attempting to do so in Turnabout for Tomorrow as the phantom), but I believe that the inherent threat and power that Fulbright holds in this situation is worth mentioning. Apollo's assumption that Fulbright could pull out a gun is also quite telling in my opinion. Fulbright is a cop at the end of the day.

[BF] “Cease and desist at once, or you’ll have to deal with my little friend here!” { Hand goes to his holster }

[AJ] “Ack!” (Yikes! Is he reaching for his...?!)

[BF] “In justice we trust!” { Shows badge }

[AJ] “...!” (Phew, it’s just his badge.)

[BF] “This door simply will not open! We’ve tried and tried, but it won’t budge! It’s an essential part of the culture found in this manor, so we can’t blow it up either!”

The next concerning aspect I've found, is the seemingly normalized use of excessive force. The only reason they're not blowing up the door is because of its cultural significance. That is insane! It can be argued that it's not Fulbright's decision, however, the lack of reaction from everyone involved signifies to me that this is the norm.

With this moment, I wish to point out Fulbright's black & white thinking. I acknowledge that this is consistent for all detectives in the series, but it is a piece of characterization that is very important - Fulbright is very quick to call Tenma a villain, evil, a fiend. Thinking that someone is guilty and thinking that someone is evil are quite different imo.

[AJ] “So you still think Mayor Tenma is responsible?”

[BF] “That’s right! Damian Tenma is an evil fiend who must be banished from this world! Now, take my hand and together we will defeat this evil!”

[BF] “I won’t fall for that, you shameless rascal! I only help good little boys and girls!”

In general, Fulbright tends to think in an us vs them mentality - the people he likes are good, while the ones he dislikes are bad. He helps good people and puts away bad people. In a sense, yes, that's what a cop is supposed to do.

[BF] “Ha ha! My investigations are as thorough as they are foolproof, or my name isn’t Fulbright! I vow to resign immediately if I ever make a false arrest!”

However, this line paints a grim picture. Fulbright implies that he has never made a false arrest. That is statistically impossible, and implies that he has not only made false arrests before, he has also managed to get them convicted! The fact that the first time we meet him, he tries to arrest us only amplifies this point!

[BF] “What?! Are you questioning my sense of justice?!”

When he is confronted with an argument against his beliefs, he hides behind justice. In a way, he hides behind his badge, the very item that allows him to make the decisions on who is being painted as guilty, and who is not. In fact, he doesn't even question his beliefs.

[BF] “Prosecutor Blackquill! We’ve had enough of your hijinks! The foundation of justice is fair play, and you are in serious violation of that!”

And finally, the so-called 'jolts of justice'. I've seen arguments in the past claiming that the real Bobby Fulbright would never use electrical shocks on Blackquill. I politely disagree. Considering all the previous examples, I think it aligns with his behavioural patterns and is the epitome of his morality.

And thus, I would like to briefly propose my personally crafted theory about Dual Destinies: The game was originally going to delve into darker themes, and Fulbright's corruption was at the center of that.

Yes, Fulbright believes in justice, in good and bad. He has good intentions. But at the end of the day, he is a cop that holds power over others and justifies his wrongdoings with... well, justice. So long as he believes that he is doing the right thing, he is willing to reach for extremes.

I think this is often missed due to Fulbright's comical mess ups and overall cheery and charming demeanour. The characters don't really react to his more... extreme decisions either.

Consider a world where the phantom was not the main twist of the series, but some aspects remained. Such as... The tampering with evidence... Abusing police position to cover up a crime... Framing innocent suspects... It fits into the previously showcased negative traits of his.

Ergo, the real Bobby Fulbright might not be as justice-driven as many may believe. There are many details that tend to get overlooked when it comes to him, especially in fanon. Which is fine and good! It is comforting to think of a policeman that does his job properly. However, I also find this darker side absolutely fascinating and worthy of discussion.

Thank you for reading, and I hope you enjoyed this silly analysis post! Do feel free to argue or ask questions, I love a good debate and I love yapping <3

[wingedshadowfan]

Hi, I just found your blog by seeing a reblog in another blog I follow for another show and I loved it all. So much great meta. I loved Arcane and I LOVED Caitlyn, she’s my fave by far but I’m not in the fandom in any way because after way too long in countless fandoms I know what kind of crap I would find about the show and Cait and seeing everyone’s “defense” of her here I can see I was right. So most of fans hate her? Don’t get any kind of complexity? Think she’s unredeemable for her serious but understandable mistakes? Only care about poor fandom’s fave Jinx who has never done anything wrong in her life? LOL so not surprising.

I think I’ll keep myself away from that but I was wondering if you read fic? I would love to read some but written by authors who actually love Caitlyn, hell if she’s their fave even better so you or any of your followers have any recs? I never read any fic in this fandom but I would love to try but the number of fics are staggering. Thank you, even without any recs it was a pleasure to read so much good meta about Caitlyn. 

ooh, this is gonna be a long reply!

first of all, thank you so much! i'm super glad we can support each other in critically analyzing and discussing media together, especially one as complicated, meticulously and lovingly made as arcane <3

i'm convinced i will never shut up abt caitlyn and though i do call it defense, it's not about excusing or justifying her actions for me, i truly think she has one of the most interesting (if not the most interesting) arcs in the whole show, and having gone through a character regression and made a ton of mistakes doesn't take away from that, it adds onto it for me. she seems to still be quite misunderstood by the fandom in terms of moral compass, motivations and intention, which is why i hope people would look a little deeper into her (very complex) character after reading some posts abt her - mine or otherwise. tiktok user danpyxel has some amazing analysis (they've got a background in narrative, afaik) and they're incredibly pleasing to listen to, i recommend them for arcane discussions not just about caitlyn!!

now, i'm not a jinx hater in the slightest, i think she's also a very complicated and interesting character, one who mirrors caitlyn a lot actually! and yet i keep seeing tweets like the og one here (quote retweet explained really well in just 3 tweets that that wasn't what happened) so i'm reminded the fight isn't over:

and onto your last point, i do read fanfic (and i write too, though mostly kpop ones so far)!

i'm actually cooking up a caitvi post-war fanfic/short story and it's plaguing my mind but it'll probably be finished and posted in mid jan at the earliest bcuz i'm in the middle of exam season right now :')

but yea i also haven't read anything in the arcane fandom yet bcuz it seems quite intimidating as a caitlyn enjoyer lol. if any of my followers/ppl who see this have recommendations, please please please drop them here!!

[sewersewersewercouch]

A macro post for a Micro-phone!

To those of you I’ve been threatening with this post for god knows how long–yes, I’m finally doing it. I’m writing the goddamn Microphone meta, because I have SO MANY THOUGHTS on this silly little sentient microphone. (She’s not even my favorite character, she’s my second favorite. My favorite is Cabby, but Cabby makes me go into such a feral state that I can barely form words about her other than writing copious amounts of fanfiction. I digress.) Before I get into it, though, I have some general “please be normal on my post” housekeeping I want to start with.

Firstly, this post is about Microphone. Specifically, about Microphone and the themes of choice and morality as they appear in her arc. This post is NOT meant to comment on the morality or choices of any other character. Specifically, by the nature of Mic’s story in the majority of the show, Taco will probably come up a lot because she’s there for a lot of it, but in a weird way, a lot of this post is kind of about how Mic’s arc doesn’t revolve around Taco as much as it’s often believed to? I don’t know, hopefully it’ll make more sense when you read it, but whatever, this post is not about my views on Taco.

To add on–THIS POST IS NOT ABOUT SHIPPING. I don’t want to hear about how much you like or dislike XYZ ship in the comments or reblogs of this post. Make your own damn post. If you want to know how I feel about a certain ship, you can always feel free to ask, just…like, not here. 

Also, I will admit, part of the reason I started making this post is because there were certain interpretations of Microphone in this fandom that bothered me, but I don’t want that to be the vibe of this post as a whole. I do the “I’m always right about this character and nobody else gets them” bit as much as the next guy, but when it extends beyond being a bit, that’s when you start to be kind of an asshole who refuses to so much as listen to views different from their own. I don’t want to be that. I know I’m not incapable of being wrong, and I also know there’s a lot of this that’s subjective, because it’s a fictional story written by people whose minds I cannot read. I don’t want to make this post to hate on others’ opinions, I want to make this post to love Mic! We are all love Mic!

Lastly, I started drafting (read: rotating in my brain and vaguely mentioning it to friends) this post pre-II16, and as I’m writing this now I’m just after act 1. So this may have spoilers for act 1, but also some of this I came up with before that even existed and had to kind of adjust in order to account for that. Obviously Mic wasn’t in there much, but there are a few small adjustments so I will say here there be spoilers. I also have so much ADHD (so does Mic, but that’s a different meta that I mayhaps will write if this goes over well) and I am allergic to being concise or staying on topic. The title does not fuck around, it really is quite a macro post. Sorry in advance.

That said, it’s Microphone time!

Ok so there are a couple quotes from a Brian livestream that I really appreciated because they kinda summed up the general thesis statement of this post, if you will? So I’m gonna put those here and then refer back to them as needed:

“What I find most interesting is how you would think when [Taco] comes back in season 2, and she’s like, ‘oh, I’m gonna make a deal with Microphone’, that she is going to manipulate Microphone, she is going to be the one in control, the one in power, the one, you know, leading the more ignorant and innocent Microphone, but Microphone at a point is like, ‘I’m done,’ and cuts Taco off.”

“I think Microphone was completely justified to leave [Taco] in Hatching the Plan. Perhaps would have even been justified to do so sooner than that. But, you know, it’s really up to what she wants and what she’s comfortable with, and she set a boundary, and we stan.”

“I really enjoyed the subversion of expectation with [Microphone], that she was not a victim, played an active role, and when a line was crossed, she was like, ‘I’m done, I’m out.’ And you really gotta respect the integrity of that, I certainly do.”

Okay, remember those? Good. We’re going to get back to them in a while, because we’re going through this shit episode by episode.

So, for the first…quite a while, actually, Mic doesn’t really do a whole lot. Like, we see that she’s generally pretty friendly but with a rather short temper, and her main schtick is that 1) she’s loud, 2) this causes her to screw challenges up, and 3) this in term makes most of her team not like her and behave quite rudely towards her. That’s kinda all we got. 

Oh, and she seems to be being stalked by some kind of mysterious entity, but whatever, that’s a later problem.

One of the earlier on scenes I’d like to draw your attention to is in Theft and Battery, where Cheesy walks up to Mic and, apropos of nothing, says, “Mic! I've just experienced the most horrible thing! It was a monstrosity! Your personality! Get it? Because everyone thinks you're annoying!” Which, like, I know I said I wasn’t commenting on the morality of other characters, but I will take this moment to say, fucking asshole. I don’t usually dislike Cheesy but I would have decked him for this one. Mic went so easy on him.

But I digress (I do that a lot! You’re going to find that out over the course of this post!) We see Mic blow up like she usually does at comments like this, but before that, we see inside her head for a second—she imagines being surrounded by Cheesys, all laughing at her expense.

This is the first time we truly see how much all those remarks from her teammates actually affect her. It’s not just a split-second flash of anger—all those things are really, truly, hurting her.

In the next episode, Rain On Your Charade, we see the first time she has an actually good interaction with another Grand Slam, this being Soap. Mic and Soap seem to bounce off each other pretty well—Mic’s impulsivity is a good counter for Soap’s much more rigid way of thinking. They give each other advice on their respective problems and comfort one another. For once in her life (literally in her life thus far, given you-know-what!) we can see Mic having a healthy interaction where she is clearly valued and supportive. Someone who encourages her to listen to her heart—as we see, this is gonna be a theme.

So, of course, it’s just Mic’s luck that Soap gets immediately eliminated.

And now Mic is stuck alone on a team that hates her—that makes disparaging remarks about her every move, and that is doing an absolute number on her mental health. She refers to herself, in her own diary, as annoying, harmful, random, useless, insignificant, a loser. And now she has absolutely nobody in her corner.

Enter Taco, with a cup of tea and a deal to make. 

Okay, the first thing I want to address is the way that Microphone reacts to seeing Taco. Well, I mean, first, she reacts with, “AAAAAA,” as I’m sure many of us would if a British woman jumped out of a bush at us. But after she’s done doing that, she says, “What are you doing here, Taco?” And it makes me sound really silly to say “how’d she know her name?” because, uh, duh, genius, it’s an object show, she’s a taco, but like…you get what I mean, right? She addresses Taco like she knows who she is. Which makes me wonder, did she see season 1? (Did she even exist when season 1 would have been airing?) But she can’t have done, or she would have heard about all the Pickle stuff. The most likely option in my opinion would be that she heard the season 1 contestants talking about it, I guess? But either way, she seems to know that Taco has done bad things in the past, and instinctively doesn’t trust her. (I mean, also she has been actively stalking her, which maybe doesn’t help. Whatever.)

I don’t have too much to say about the rest of this interaction—Taco offers to guide Microphone through the game in exchange for a fifty percent cut of her winnings, Microphone declines, Taco tells her to think about it.

Next episode—Mazed and Confused! As usual, the Grand Slams immediately ditch Mic, and she winds up getting kinda pulled into the Bright Lights group. And there’s some interesting Mic dialogue—featuring the II-typical move of characters not discussing their issues outright but rather showing them via thinly veiled projection. And I will fully admit that I love this. Every time I see it I go nuts for it. Firstly, Marshmallow is talking about Apple using her, to which Mic says, “Maybe it's not so bad if someone uses you, if- if it benefits you as well, right?” Then she has this interaction with Fan:

Fan: B-but in that song, the vocalist lovingly chronicles how they couldn't deal with themselves until they gain the companion they need! It's pure poetry!

Microphone: So, everything he does is decided by someone else? Nice message…

Fan: Well, Microphone, what gives you the right to have an "interpretation"? When's the last time you gained something of value from true art such as this?

Microphone: Ugh... certain people always tell me I have so much to gain.

So, obviously, “certain people” is Taco, and we can see how conflicted Microphone is about the whole situation. On the one hand, she doesn’t like the idea of blindly following someone else’s directions without making any of her own decisions, but also, even if she’s concerned that she’s being used, she does see how it could benefit her. (Also, this is far from the last time we’re going to see Microphone flimsily attempting to justify something going on with her.)

Well, apparently she comes to a decision, because she runs off to get help from Taco. With Taco’s guidance, Mic makes it through the maze, and Baseball even compliments her. We see a clear example of how she could potentially benefit from this partnership. (Well, until she accidentally gives away the position of the exit to Test Tube, but I digress.)

As we get into “Kick the Bucket,” it seems like Mic’s pretty all-in on working with Taco. However, right off the bat, we see a moment where Mic outright gives Taco a hard no on one of her directions, that being, using her temporary paralyzer. (Side note: it absolutely cracks me up how she goes “you don’t do that!” like she’s telling off a small child for stealing candy or something. Never change, Mic.)

We see a couple of things here—one, that Microphone has no reservations of telling Taco she won’t do something where she crosses a certain line. And secondly, with some other evidence, we can figure out where that line is. She refuses to use the temporary paralyzer, she freaks out about Lightbulb and Test Tube being sent back in time, she stops Taco from letting Knife’s minecart go over a drop, she makes her promise “no violence” before they go on the Shimmers’ ship. 

And yet, look at the scene after this, with Balloon. She purposely tries to get in his head to make him feel anxious and afraid that he’s at risk of being eliminated, and then later makes fun of him to her other teammates in order to cast doubt on him. And she came up with this plan against Taco’s advice—although it does end up impressing Taco, that’s not why she does this, it’s pure Microphone. So it isn’t hurting others that she draws the line—one could clearly argue that her messing with Balloon like that is pretty hurtful. It’s specifically physical violence that bothers her, which is kind of an interesting place to draw the line in a world where dead contestants can be revived, but emotions are forever.

Hell, Mic says it outright in the next episode, Alternate Reality Show–”You say that like we didn’t do our share of permanent damage.” She’s aware what she did was “permanent damage,” and Taco didn’t even tell her to do it, and yet, she did. This is where we first start to see the cognitive dissonance that Mic is dealing with here—she has a strong sense of morals, seeing as she’s giving back the temporary paralyzer explicitly against Taco’s wishes, because “it’s the right thing to do.” And yet, she’s actively making choices that go against that sense, and she doesn’t know how to feel about that.

Next up, we’re looking at Mine Your Own Business, AKA one of Mic’s best episodes. Her and Taco’s plan in this episode is to try to get Knife on their side because he’s seen that they’re working together. This goes…not as planned, starting from the moment they blow their cover by getting into an argument about whether you should say “excuse me” when you sneeze, while invisible behind him. (We didn’t get enough of them as a comedic duo, by the way. They crack me up so bad in this episode.) Anyways, Mic tries valiantly to bring Knife in with a very convincing, “Join us…yeah!” When Taco and Knife inevitably begin arguing, however, Mic says “We just wanna help!” Which…do you? Yeah, okay girl, keep telling yourself that.

There’s also the little scene where Mic is trying to get Taco to open up about why she was reaching for the portal. This is one of the first interactions we see them have that isn’t about the game. Microphone just…genuinely wants to know what was distressing Taco so much. You know, like you might with a friend. And that’s one thing that interests me about this—Microphone thinking of Taco like a friend isn’t something that Taco did on purpose to gain her trust, and in fact, she seems rather resistant to it. It’s entirely Microphone initiating these friendly interactions. (Even though soon after she does imply she doesn’t feel she really knows the real Taco.)

Then we see the bit where Knife is about to go off a cliff, Taco gives a thumbs up, but Mic doesn’t approve and manages to get Knife into their minecart. I touched on this above, but this is another example of Mic’s resistance to physically harming others.

The next time we see this terrific trio, Taco apologizes to Mic for not being open with her, and I kid you not, Mic responds with, “aww, Taco!” (I reiterate: Never change, Mic.) And, even when Knife explains what happened with Pickle, Mic still comes to Taco’s defense. Some of this is because of the fact that Mic is beginning to truly see Taco as a friend, yes, but I think another part of it is that previously mentioned cognitive dissonance. She wants to believe she’s doing the right thing, and not just aiding and abetting someone who hurts others, so of course she’s going to want to defend Taco–because if Taco is a bad person, and she’s purposefully helping her achieve her ends just for the sake of winning a game show, what does that make her?

On to Hatching the Plan! (We’re in the home stretch, I promise!) We see Mic joking about the idea of what happened to Pickle happening to her—”At least, until you inevitably ‘drop me too,’ or whatever.” Clearly, she didn’t take too much stock in Knife’s words, and she’s pretty convinced she’s safe from a similar fate. (Which she is! Because Pickle was being unknowingly strung along, and Mic is willingly helping Taco reach her goal. But that’s a later problem.)

Now we see Knife confronting Microphone and trying to convince her to, “stop, idiot, have some dignity?” To which Mic tells him that she “has a voice” (as Taco, in the background, turns off MePad’s volume), “no one’s shutting [her] down” (as Taco powers MePad off) and she’s “not just being dragged along” (as Taco literally drags MePad along.) And the thing is, obviously there’s the ironic juxtaposition of what Mic is saying and what Taco is doing, but Mic also…isn’t entirely wrong?

Remember those Brian quotes from earlier? Here’s where we start using them!

Because here’s the thing—like he said, you would totally expect Taco to be playing Microphone the entire time, to be the one in power and manipulating her, because that’s what happened to Pickle. But that’s…not what’s happening. Rather, Taco has been pretty upfront about what she expects of Mic and what both of them have to…well, for a lack of a better word, gain. And it’s not like Mic has no choice in this matter! She has repeatedly shown that she is willing to say no to Taco when she crosses a line, and as Brian said, she would be totally justified to have noped out way earlier than she ends up doing. But…she doesn’t. She’s making her choices, and then bending over to justify them, because as I said, Mic has a strong sense of morals and knows there’s something that’s off, but she doesn’t want to admit she knows that and has continued to do what she’s doing.

So anywho. Taco and Mic use MePad’s teleportation to go after Fan and Test Tube on the ship, but not before Mic tries to make Taco promise no violence. Taco does not promise this, and of course, immediately kills Fan and Test Tube upon arriving.

This is where Mic’s cognitive dissonance runneth over, and she makes the executive decision to ditch Taco’s ass and leave the game.

I’m going to put Mic’s whole little speech here, because I really like it and it’s kind of the culmination of all the points I’m making: “I haven't been... listening to my heart. Instead, I've been listening to... this... well... It was a voice in my head! And it would tell me how to... go further. Further than I was willing to go. I heard it so often that I never... I never heard myself. So... what's the point?” And also, “I didn't make the best choices. So now... I'm making my first good one. This is what I want.”

Because that’s kind of the thing, right? Deep down, Microphone always knew cheating and messing with people was wrong. But she was, by choice, not listening to that instinct, because what Taco was promising seemed so attractive. Getting the prize, yes, but she also just fucking wants friends. And when she does well in the game, her teammates want to be friendlier to her. And also, as I said she came to see Taco as a friend, and she didn’t want to lose that either.

But…okay, here’s where I complain about a take I don’t like, and I’m sorry about that. I find it to be an oversimplification that Mic left Taco because “Taco hurt her.” Because, honestly, she didn’t really directly? What drove Mic to leave was seeing Taco hurt other people, and that by proxy, Microphone was…not even a bystander to these things, but kind of an active participant. Morally speaking, she couldn’t sit with that. So she decided that the prize and the recognition weren’t worth it, and boom, she was done.

I don’t really have much to say on the following episodes that are already out, because Mic has  barely in here. But I do have a hot take on what might potentially come next for Mic I’d like to share.

I don’t really��care whether Mic and Taco end up on good terms.

Okay, maybe that’s not the best way to say it—rather, I think there are ways to do either way well, and ways to do either way wrong, and what I care more is about whether Mic’s story is well-written than which direction it actually goes.

Quick disclaimer that I drafted this section pre-II16, and at the point we’re at now, I’m operating under the assumption that the deleted contestants aren’t actually going to be dead forever and we will have Pickle again. (If this turns out not to be the case please don’t make fun of me.)

I’ve seen a lot of discourse around the fandom about whether Microphone and Pickle will forgive Taco, and the first problem comes right there with aggregating them into one MicrophoneandPickle entity. Microphone and Pickle are two different people who had very different relationships with Taco. As I’ve said earlier, the Pickle that Taco knew was entirely a facade, whereas with Mic…well I don’t want to say she was entirely honest about who she was, because I don’t think she’s entirely honest about who she is with herself, so let’s just say as honest as she’s capable of being. Pre-II16, my suspicion was that they were going to split the difference and have one end up on good terms with Taco and the other not. Like, I think in terms of the message that the show is trying to give, this would be a good one—if someone has wronged you and tries to make amends, you can choose to accept that or you can choose to walk away, and neither is a morally wrong choice. Post-The Reality of the Situation, I’m going to say that if this does happen, it’s going to be Mic the former and Pickle the latter, just having seen how Taco’s apology went over with Pickle. And that’s the thing—Pickle had no choice in what happened to him. Mic had agency over her situation, and went along with it in full knowledge of what that entailed. The Taco that Pickle had a relationship doesn’t exist, but in Mic’s case, she does. And most importantly—Pickle’s qualm with Taco is that she hurt him, but Mic’s was her actions towards other people, not Mic herself. If it’s proven that Taco has changed and doesn’t want to hurt others anymore…I think it’s not impossible that Mic could be lenient.

But either way—whether Mic ends on good or bad terms with Taco—what would make it satisfying to me is if it’s not framed about whether Taco “deserves” or “doesn’t deserve” her forgiveness, but rather whether Mic chooses to forgive her. Like Brian said—it’s up to what she wants and what she’s comfortable with. Choice has been such a major theme for Mic, and I think she deserves to have her agency at the forefront.

Anyways, it is literally after two in the morning and I wrote this entire thing in a fit of hyperfocus, god help me. Again, if this does well and anyone wants to see a “why Microphone II has ADHD real and canon” post I will absolutely do that.

[inklessletter]

I don’t know if this makes any sense to you, but I’ve been having thoughts about Steve and Eddie, as characters, (I mean who am I kidding, they live rent free in my mind now) and I’ve noticed a conceptual parallel between both of them that I can’t unsee now.

I’ve read several analyses and opinions about how Eddie was created and inserted in the story as some sort of substitute for Steve because they needed his death for Dustin’s arch, but they didn’t really want to kill Steve because he’s one of the series’ icons now. This has been used in the show several times now, with Barb’s death, and Bob’s, and Billy’s, so I buy it (if I think that it’s a lazy resource to make your characters evolve or if it’s lacking originality when you do it four times now, is something I won’t approach here, ahem). It fucked me up because I rewatched the last season a couple times now and I see it. I can’t not see it anymore. I can see the conceptual similarities (the age, the fact that he’s some sort of outsider to the group, the reputation, Dustin’s undeniable affection and respect…) but there is a particular feature that I noticed recently that has broken me, because it’s so fucking meta.

Speaking in general terms of course, most people I know that have watched the show like Steve, but they didn’t like him in S1, which, understandable; the writing in S1 didn’t make it easy for the audience to stand by him. Steve’s got several characters against him (Barb is the sweet victim, Mike is a clear protagonist, Jonathan is the direct rival as a love interest for Nancy), and if those characters, that are written and shown to be reliable, you instantly believe them, that he’s King Steve, that he’s a jerk. He goes with Carol and Tommy that are straight up bullies, he makes questionable decisions about how to face certain situations (such as breaking Jonathan’s camera [that I know it’s controversial, but personally, I totally, totally get why he did it], the slut thing in the cinema board, the fist fight…) so yeah, it’s easy that you go along with the thinking that he’s sort of not worth it. But here’s the thing, Steve spends the whole season trying to make up for his mistakes, trying to fix what he broke. He buys Jonathan a brand new camera, he confronts and ditches his so-called friends and actually goes to apologize to Jonathan, and then to Nancy. So what we have here is what it is said about Steve vs. what Steve really does. Even at last, when he had the chance to run for his life, he came back to the house to do the right thing. Steve is a great guy, but he’s written for the audience not to think so.

They changed their minds in S2, apparently, when the writers made him more layered, more likable, and the audience lost their minds. He was absolutely loved now, a favorite. A sweetheart. A romantic tragedy. And they kept all those features in S3, but giving him tons of lines and screen time, and an iconic outfit, and making him the biggest ally in the whole show, and now you’re trapped because you love him.

But you see, loving him was a journey. The audience went from finding him kind of annoying, or straight not liking him to fall head over heels for Steve.

And the writers, bless their souls/fuck all of them, mimicked that affection journey in S4 with Eddie Munson, using Steve Harrington as a catalyst.

You see, Eddie has this very same dichotomy of what people think of him vs what he really does, the only difference here, the major one, is that the people who speak ill of him are not protected by the writing. So you, as a member of an audience, embrace the fact that what the whole town says about him is not true, and that he’s a good guy. They fast forward the whole process by setting Mike and Dustin by their side, that the whole Eddie tragedy is a simple wrong time, wrong place. I mean, there’s no way you can go wrong about judging Eddie’s character.

And here’s where it gets interesting.

Steve rejects the blind trust. 

Steve doesn’t like him. 

Steve listens to the rumors. 

Steve calls him the freak. 

But the season goes on and bless his soul he starts paying attention to what Eddie does, to who Eddie is, and ends up pretty easily rejecting what the whole town feels towards him. Because he sees him now. 

Because he’s been there.

It is such a wholesome phenomenon when you realize that Steve, who at first was reluctant to find him, gets protective of him, out of mere empathy. He never gets angry at him, or mistreats him in any way; if so, he brings him beer and cigarettes, he worries about him leaving Skull Rock since all Hawkins is after his ass now. 

He cares.

And god, he even thanks him at the Upside Down woods. He doesn’t thank Nancy, or Robin. He thanks Eddie, because he knew that back in the boat, Eddie didn’t have to jump into the water for him, the same way he didn’t have to go back to the Byers’ house once he saw the Christmas lights violently flickering, because in any way that was his business.

So he thanks Eddie, probably because Steve thinks that it would have been nice that someone actually thanked him to save Nancy and Jonathan’s asses instead of getting a relationship out of pity that ended up with him dumped a year later and a bunch of issues.

The season goes on and they talk it out, they both admit having believed what people said of them, but now that they know each other, they can actually see how wrong they were. They make a fresh start, and the story seems to get to the right point, the way it should have been between them if it weren’t for the absurd jealousy pretext. 

Now they both align with how the audience is feeling.

So, you see the parallelism here. Steve’s behavior towards Eddie was a straight up reflection of the emotional journey the audience had towards Steve. 

And this probably wasn’t intentional, since the writers didn’t know for sure how much love and admiration Eddie was gonna get before s4 was released, but the fun part here is that it is quite difficult to find someone who loves Eddie Munson that hasn’t loved Steve Harrington before. The process of falling for those two is exactly the same, and most fans probably are not aware that they have gone through the same emotional journey twice. And it makes sense, because it is familiar. But whether or not you are aware of this, after they enter the Upside Down, Eddie and Steve are linked together, and that you know, even if you really don’t know why. They are impossible to untangle.

So yeah, absolutely, beyond the screen time together and the undeniably flirty behaviors, their chemistry, their journey and their young history, steddie makes sense.

So, when they make Steve a vulnerable mess, expressing that his only wish as a character is to love and be loved in return, and have a future, they go and kill Eddie. And it’s heartbreaking, because he’s a character with orphan needs and desires, and he didn’t even get the chance to fight for himself, and no, I don’t mean the demobats. 

And in a deep part of our brains we fear for Steve, because they’re in an unfinished war, and Eddie’s fate could easily be Steve’s in s5.

But you see, what is absolutely mindblowing about this fandom is the fact that here is where they picked up and made something incredible. For months we have been rewriting, consuming and creating thousands of universes in which Eddie gets what he deserves, that is, a happy ending, not only that he lives, but that he ends up being happy.

If this is too much of a projection about the fear of Steve getting killed in s5, that I don’t know; what I know is that I’m not at all worried.

I know we can make it better.

[schattenhonig]

Something has been rummaging around in my brain, maybe it'll go away when I put it into words... I have no idea if this all has been pointed out before.

Good Omens S2 felt wrong from the first minute on. Not wrong as in bad, badly written or wrong wrong, just. Off. People who died in S1 are alive again, completely unaware of what happened to them and who they were before Armageddon't, like Maggie and Nina. Yes, it could be a coincidence that they were recast, and it could be because they are brilliant actresses, I completely agree. But I get a feeling that even if this was done without any specific intention, it must have felt right to Mr. Gaiman and the great people working on the show.

Plus, Gabriel-as-Jim says a line that stuck with me:

Gabriel: I’m me. I just don’t know who ‘me’ is. Aziraphale: I see. Gabriel: But you know me. You recognize me. Aziraphale: Well, I know someone who looks like you. Gabriel: That’s probably me then. I think that’s one of the main ways you can tell.

I don't think this is a coincidence. And the fact that neither Crowley nor Aziraphale recognize Nina and Maggie as people they have met before Armageddon't, makes it all the more eerie.

I think this whole memory wipe business is more important than we think; and this is going to be more meta now, but bear with me; because who needs a book of life when all the memories of a person and their own memory are gone? If there's not a trace of a memory left about you, did you ever exist in the first place? The answer is yes! Because you made an impact on life itself around you that is too complicated to be erased. Maggie and Nina brought about Armageddon't the way it happened because of the baby swap gone wrong. They might not remember it, nobody else was there and able to remember it, but it happened. And it changed the course of history.

But (here it is, you knew it was coming) if no one remembers it, you could tell them anything had happened. If you are the only one who remembers, you can tell your own version of the story, and the others will believe you. They have no other choice, they don't even know that there has been a choice, another version of this.

S2 boils down to this for me: erasing somebody with the book of life, as if they had never existed is way too complicated and dangerous because you couldn't possibly foresee what other parts of the story you want to tell would be changed. I don't think that is a risk Heaven or the Metatron would take. It wouldn't fit with Heaven being control freaks.

But erasing memories until only your desired version of the story is left... That's power. That's foreseeable, and it's controllable. And Heaven would totally abuse this power.

[the-somwthing]

Welcome to my little meta analysis essay called

Why do we misremember Flower Husbands as being “nicer” than it was?

Disclaimer: I’m not here to talk about whether or not FH is “toxic” or anything like that. It’s just a fact that many old fans rewatching FH POV and new fans who are watching it for the first time after seeing fan content tend to be surprised at how they actually behaved in the series compared to how everyone remembered them being back in the day. This will NOT go over whether or not I think FH is unhealthy or whatever and instead just discuss why I believe this phenomenon has happened.

So, if I try to make this a fancy well written essay, I’ll be here all day, so I’ll just get to the point. 3rd Life came out during the DSMP era of mcyt. MCRP has been around for ages, but the DSMP style of RP (which I’ll be calling “smp rp”) was pretty much popularized by DSMP, mostly towards the end of 2020. For reference, 3rd Life started early 2021, so there’s about a half a year between these two events, and DSMP kept going for years so 3rd Life was absolutely happening during the golden era of DSMP.

But what does DSMP have to do with this? Well, it sort of created this idea of “lore” and only specific things being “canon”. You can make fun of me for the way I worded that, but you know what I mean, DSMP was weird about that stuff. I don’t really blame them as it was kind of a new style of RP they accidentally spawned, but still, it was a confusing time for SMPs.

3rd Life was actually less like DSMP and more like the modern SMP RPs, where there’s no (known, lol) scripted events and the fandom itself deciphers what is or isn’t “canon” rather than it being told to them, with mostly everything being considered canon. HOWEVER, I do believe that DSMP’s style did still affect the fandom, specifically with the topic of this essay, Flower Husbands.

But why would it only really affect Flower Husbands? Now we get into a rough topic: shipping discourse. Back in those days, shipping in the mcyt fandom was heavily frowned upon. Moreso than it is today (I know it’s still around, but it was a lot worse the earlier we go lol). I’ve even seen old relics of ppl saying flower husbands should only be portrayed as platonic cuz it’s wrong to ship them, despite their team name literally being husbands. But more importantly, for A LOT of people, flower husbands was the One Ship people felt “allowed” to ship, BECAUSE it was canon. So they would allow FH and shun every other ship.

My point isn’t actually that, with it being the only “acceptable” ship everyone tried to make it more wholesome, though I suppose that could be a contributor. But my ACTUAL point is where all the things I laid out finally close in on each other:

Ships were a Dangerous territory in mcyt fandom, and ships being “canon” was something a lot of people weren’t prepared to deal with. People don’t want to get too close to RPF territory, but back in the day their ideas of c! vs cc! wasn’t as great, so they default to the DSMP Rule of “if it’s stated to be roleplay, then it’s canon to the characters, if not, it’s noncanon and just the CCs hanging out”.

You see where I’m going with this? When trying to follow this rule for a character relationship where they don’t explicitly state what is or isn’t RP, they hear “we’re married” and instantly mark that as canon to the characters since it clearly isn’t true to the CCs, and tend to block out anything else, otherwise you’re risking it not actually being true to the characters. Especially when it’s things like Scott saying something mean about Jimmy; that directly contradicts the “these characters are in love” thing, so it must not be canon, right?

But wouldn’t people still remember that these things happened, or did they actually straight up not process any of it? My answer to that is: of course everyone was paying attention, but with the context that it’s the CCs playing a video game, all of the teasing and other behavior seems WAY less serious. It just looks like average friends playing a hunger games smp together. And as I explained earlier, the fandom was ONLY processing this as a CC thing, so Scott’s treatment of Jimmy never stood out because that’s just how it is playing games.

Back to DSMP, I’m not active in that fandom anymore but I’ll see snippets sometimes, and I’ve seen the claim that beeduo was actually boring in canon and the fandom was the one that made it interesting. I feel like this is exactly what happened with FH. Nobody was actually expecting anyone to go hard into romantic roleplay, so the fans just take whichever pair says they’re getting married and fill in the blanks themselves. And that was normal back then, it wasn’t fans making stuff up for no reason, it was kind of expected of us.

So yeah, I personally believe that this whole confusion about FH is a result of its time. Whether you want to finally look at the actual substance of the relationship rather than following weird rules about what is or isn’t “canon”, or you believe that since FH was from a time where romantic RP was confusing and weird it would make the most sense to take into account the time period it came from and ignore the less appealing bits in favor of the fanon, I don’t really care honestly. But man isn’t this an interesting situation.

[homestuckconfession]

one thing that really bugs me about hsbc is that roxy is canonically transfem in hs (you can find posts about it here on tumblr, it’s not terribly overt but it’s there and clearly written in if you look at her introduction + meta posts from hussie about the chumhandles and how they were chosen) and that’s being seemingly rewritten :/ i don’t like detrans roxy and im not sorry about it (the glasses fuck hard though and those should absolutely stay)

Coming out of the tags because I am against misinformation--Care to actually provide a link? Because I literally never find anything when I search, and whenever I have asked someone for proof directly, they just went on and on about symbolism with no hard evidence and then admit that there's actually no evidence at all when pressed. Don't get me wrong, I believe that Hussie did intentionally fuck around with gender stuff with the alpha kids, but all the same things that people say support transfem Roxy just as strongly supports a transmasc Dirk, yet nobody's insisting it's canon and going out harassing the postcanon crew for Dirk struggling with pronoun changes and making casual references to his penis.

Relying on symbolism as proof is literally how you get people saying bullshit like "Grandpa Harley raped baby Jade and that the resultant inbred baby died in her arms" and literally fully believing it's 100% canon no matter how much evidence there is against it because of belief perseverance and confirmation bias. By the way, that's a real theory made by a real homestuck analyst.

[co-mixed]

Mark Waid’s Fantastic Four

It’s rare that a writer perfectly fits the character but when it’s Mark Waid and Fantastic Four, this is exactly the case. This was the first time when I was genuinely excited to read every new issue, and this is the book that’s finally made me like the characters. Well, not too much because Reed is still there (ugh). But you know what I mean. 

Anyway, if you haven’t read it, I very much recommend that, and if you have and want to relive it, go ahead and read the rest! 

The new look

Waid’s run starts with a meta-story that quickly points out what we’d been getting wrong all these years about the Fantastic Four. They were never superheroes, they were adventurers. And suddenly, right there everything falls into place. ‘A group of adventurers’ becomes the leitmotif of the whole run. In a way, this definition is a culmination of everything that came before – journeys through space, time, and the Negative zone, occasionally interspersed with supervillain encounters. But this is also a way to refresh the book by letting us view it in a slightly altered manner. I’d say that’s something the book needed desperately. 

It’s also immediately obvious how the book mixes the classic lighthearted tone with a more mature one. It’s ready to explore serious issues, which isn’t new for the FF, but it wants to keep things bright and colorful. That’s where Wieringo’s art works perfectly in unison with Waid’s stories. And such stories we get! 

FF is for family 

During Claremont’s run, I said that FF started to feel like a family. But everything before still had them as Reed, Ben, and two supporting characters. Even when each of them faced their own stories, and they confronted them together, they never felt like people who had known each other their whole lives. Waid gives them small interactions that remind you how close they all truly are. And it’s not just banter between Johnny and Ben, it’s the way Sue interacts with Reed, admiring his genius and mocking his poor social skills and the way they both interact with their children. The children, by the way, they play a role too. They are very delicately written into the stories, even becoming their center, but never serving as a plot device. I’m gonna go back and talk a little more about Franklin later. 

Waid allows the characters to interact effortlessly, and naturally, so they don’t feel like strangers. 

Call for four

The main four people in this graphic play are of course Sue, Reed, Ben, and Johnny. Here, for the first time ever I can say that I got to know them all. It’s both ironic and sad that it took 41 years for them to finally be portrayed as people, who you kinda want to hang out with (even though you’ll always be an outsider because ‘family’) 

I very much liked Susan here. She is shown as a genuinely happy woman, a strong hero, a great adventurer, a caring mother, and a wife. I’m not saying “good wife” because her not having left Reed years ago makes her either a legend or someone who needs serious saving. A legend if we go off this run. She still gets her jealousy moments that are not entirely justified. Sue gets jealous of Alyssa, obviously because Reed neglected to disclose the nature of their past relationship to Sue. But similarly, she goes as far as purchasing a statue of Namor to make Reed jealous. This isn’t how a healthy marriage works, Susan. And it makes me feel bad for Namor. His arrogant ass doesn’t deserve this. 

But it’s great to see her happy and joking, and spending time with her family while still trying to raise her good-for-nothing brother. 

Speaking of Johnny, Waid probably felt just like we all did - Johnny hadn’t gone through much growth before that. Yes he’d been married, and he’d saved the world, but when it came to living in it, he wasn’t very well-adjusted. Waid changed that by putting him in charge of the FF company (say it with me: nepotism!). Not just that, but we got to see Johnny navigate the business world, and face pretty unfortunate obstacles. I have to say, I felt real bad for him when Sue went off and blamed him for the stolen sample of unstable molecules. But it all worked out in the end. This is how this run started, by reassuring you that the FF has everything under control. 

We’ll get to Reed (ugh!) and everything that went wrong later. 

Back to Johnny though, he has a tough time losing popularity, he even seeks the help of Spidey to learn how to be unpopular with the masses. It leads to a funny arc that honestly, leads me to believe that Johnny’s success with women is just it - his fame as a superhero because he has zero game otherwise. 

Again, not a secret - I never liked the lovable blue-eyed Thing. He’d been quite whiny and manipulative, and from everything I’d seen so far, it was really hard for me to relate to his issues. Waid changes that too, he lets us see why the others like and appreciate Ben, which is not because of him continuously reminding them that he’s lovable, and certainly not for his textbook heroic actions that again, to me often came off as ingenuine. 

He has a sense of humor here, when he bashes good-for-nothing Johnny, his jokes really stick the landing. When he connects to Franklin, he is being 100% transparent and helpful. In fact, I think he’s one of the characters that have the truest understanding of what the kid is going through, and he doesn’t waste a second in telling him that. He is also ready to sacrifice himself and not make it a big theatrical act. And after building up that side of his character, when he dies in Latveria, it… well, it doesn’t stick, this is still comics, but it certainly affects you as much as it does his family. Waid doesn’t let us sit with this emotion but he doesn’t rush through it, showing exactly how deeply it had touched everyone. Especially probably Johnny, who conjured an imaginary version of his friend. And here, Wieringo comes back after a short break and delivers a stunning difference between Johnny’s daydreaming and real life. 

I already mentioned that Franklin stops being a prop and becomes a character. Waid makes him face the good old older child problem - sibling rivalry. When all attention immediately goes to baby Valeria, Franklin misses his quality time with his parents, especially his dad. And that gets you to see him as a little human who is going through his own set of issues. That becomes even more obvious when he is sent to hell by Doom and is traumatized by the event so much, he can’t speak. Waid showed us the toll it took on Franklin’s psyche, and he did it through the adult characters around him, without trying to imagine how it would be, and without making the kid sound wise beyond his years.

Doom politics

I’m gonna get to Reed but first, we need to talk about Doom. Because if I had to pick, I’d say this is where you can truly see the nature and the cause of the Reed-Doom war. First of all, different writers view Doom differently, and while some attempt to justify and redeem him, others go out of their way to remind you how evil he is. Waid is not a Doom apologist. He immediately shows us how ruthless he can be when he kills the real Valeria to gain mystical power and then shows us that the prosperity in Latveria is a smoke screen that’s hiding a small guillotine-equipped human disposal system. So after all the debate, Doom is still a dictator who disappears his critics to silence them and forces people to trade freedom for stability. 

Waid also does to Doom the same thing he does to Lex Luthor in Superman: Birthright. Now they both lose potential friends over a misunderstanding. Only in Doom’s case, he thought Reed had messed with the controls on his machine, which ultimately resulted in him hiding behind a mask. It’s not his arrogance now, but the jealousy he thought Reed felt toward him, that drives Doom. 

This time though, In his evil endeavors, Doom goes further than ever before: he uses baby Valeria to get to the FF, then imprisons Franklin in hell, and tortures the rest of them. He likes Valeria though, that’s kinda sweet. 

Needless to say, when the team finally defeats Doom, and even temporarily sends him to hell (but not before he disfigures Reed’s face). 

Reed (Ugh!)

Here’s the thing, this run didn’t make me like Reed any more than before. Sure, he gets his redeeming qualities, plenty of them in fact, but he keeps messing up big. He even gets mixed up in international politics, which I gotta say was written very well. As soon as Doom disappears, multiple countries (including neighbors like Hungary and Serbia, as well as the US, Russia, and China) are preparing to make a move on Latveria. Meanwhile, in an attempt to deDoomify Latveria, Reed moves his whole family there and takes over the country. That’s a terrible decision on his side, and one that he’s tried to pull off before. My question is, when is Reed Richards going to realize that he’s not a politician or a monarch and stop trying to enforce his vision upon everyone? 

Essentially, there isn’t much difference between what he and Doom are doing. They are both consumed by their own vengeance, and both believe they are making peoples’ lives better out of the goodness of their hearts. Either way, it’s the Latverians who end up suffering. Reed didn’t even make any kind of address to them, before raising his shirt as a flag above Castle Doom and pretending everyone was now free. He needlessly endangered them to prove the FF wasn’t there to hurt them and then invited everyone to loot the castle. Happy 1917, I suppose? 

The visuals in this arc are a little darker. I don’t know the process behind the decision, but this is where we temporarily say goodbye to the larger-than-life bright art of Wieringo and say hello to Howard Porter’s more realistic approach. He especially focuses on Reed’s Two-Face appearance, highlighting the more fitting side for each one of his statements.

Just like the first time around, Reed can’t seem to take over Latveria without a shadow of Doom looming over him. The first time, he was possessed by the armor, the second, however, it was all Reed, only with a physical scar left by Doom. Everyone else (except for Franklin who was in hell, after all) shook it off. But Reed didn’t. He was hell-bent on destroying everything Doom had and built just to make sure he would never return. Ultimately, it led to him imprisoning Doom (and causing his escape because when does it ever work out?)

He also shoots (and kills) Doom-possessed Ben to save Johnny.

Yeah if anyone was hoping this run would make me like Reed, they were wrong. 

Reed reminds me of Buffy. Everything does but hear me out: as the leader of the FF he drags them into wild adventures and some of them inevitably end in disaster. Then it takes writer magic to make everything work out and pretend that all the issues and idiosyncrasies don’t really matter. But they do, everything he’d done up to the end, everything he said be it in service of a bigger goal or not, still matters. He keeps making mistakes that go unnoticed when he comes out on top. 

As a reader, you can like the team and hate the person. And this run has absolutely made me like the team.

Bag of tricks

Waid utilizes so many narrative tricks like the team meeting the Kirby-god to restore the status quo. Once again, ironic meta-stories allow to push the story forward. 

Another trick was kicking the FF out of their comfort zone of being rich and popular. And that is a great callback to the first issue, in which Reed confesses to Valeria that he worked relentlessly to make sure the FF is popular and beloved to compensate for the cosmic rays incident. Because… imagine them having to live like mutants (and blame Reed for that).

Waid forces Reed to come face to face with the one thing he can’t understand - magic.

The dysfunctional Frightful Four’s family dynamics are juxtaposed with those of the original FF, and we see why one works while another keeps failing.

As the herald of Galactus, Johnny encounters a world of sentient ants, making us look back at the first FF-Galactus encounter.

Then the team meets the person behind Galactus, someone who in all honesty, is nothing more than an unimpressed hater. So… nothing shocking about him going around eating worlds after all.

And there is a moment when the team loses powers only to get them back because they can’t imagine being without them now.

All that draws these characters, lets you see them for who they are, good and bad, and leaves you wanting more. 

Final thoughts

Waid’s run is enjoyable in every possible way. It’s very 00s in terms of visuals - cartoonish and bright, with just the right amount of nostalgia especially if that’s your introduction to the comics era. Narratively, it turned out to be deeper than I expected, all the while maintaining that connection to the original Lee/Kirby era. I’ve noticed that this is a trend with Waid’s books, he tries to at least partially return the characters to their starting point, make them recognizable, and rediscover their roots. For the Fantastic Four, it works incredibly well.

If we ever get a Disney Fantastic Four cartoon, I would like it to be based on this run since it’s done a marvelous job of flashing out each person behind the uniform. 

[mediacircuspod]

“The Magic Trick You Didn’t See” is an essay written by an author who is on Tumblr, user ariaste. I think it’s a very well put together argument for “The Book of Life Theory” that has merit. However, I think there might be too much editing going on. I will explain.

I want to start this by being completely honest. I’m not sold on any theories because in the past I was so incredibly wrong about countless theories on Game of Thrones that made complete sense, I swear. But also were me just making up reasons for how the story could go my way. I’m actually really into the concept of “wait and see” because it places me firmly in the seat of “audience” or “consumer” and those are, in my opinion, the best seats in the house. 

So I’m not really a subscriber to the coffee theory or the book of life theory or the body switch theory, NOT because I don’t think they’re true or smart or have merit, but because I would genuinely like to “wait and see”. Even if that wait is until 2027. I waited this long for season 2, I’m not afraid of a few years for a good story.

Anyway, go read the very long, but very intelligent google doc, because even if you’re not sure about the theory, it has some REALLY cool meta, and some interesting easter eggs that you might have missed upon viewing the season the first go around, the very long document is HERE.

Alright here’s some highlights. Basically the essay is about how The Metatron could be pulling strings on Season Two with the help of “The Book of Life” for a number of reasons. Corresponding evidence being the lack of God’s narration, Maggie as a character, Eccles Cakes, and a whole lot of meticulous details. I really, really love the format of the essay too, but that’s just me being a nerd about magic tricks and “The Prestige” as a concept and as a movie. 

Where I diverge on this theory is simply how liberally it is applied, as well as the use of “bad” to describe certain ways of writing. And this is where my hot take kind of lies; I don’t think Good Omens 2 was bad. On purpose or by accident. I’m not saying my opinion is right, I’m just stating that that is where my perspective comes from. Now. Let’s get into why I like this essay. 

It’s so cool. And detailed. And smart. I love reading things that connect dots and describe a persons critical thought process, and wow, this essay is incredible at doing all of that. The sheer amount of information I learned from taking the time to read it gave me a lot of insight about the things I missed on my watch of the season. I found I was a lot more distracted by the Austen-esque pacing than the author of the essay who noticed things like disappearing eccles cakes, how no one else’s power went out during Crowley’s lightning storm and a load of other things. But also, being “along for the ride” made me kind of protective of the story being told. Because Season 2 isn’t the beginning, middle, and end of a story, like season 1 was. It is the “quiet, gentle, and romantic” middle of a plot sandwhich.

In any case, the essay poses quite a few things. The only major issue I have is the idea that The Book of Life can alter will, and not just situation. I don’t think Crowley or Aziraphale are changed by the Book of Life. Their actions seem distinctly them throughout the entire season, which is exactly why the season needed to end on the note it did. Obviously from a story point, we need Aziraphale to go to heaven for what I imagine is the conflict of season 3; The Second Coming. But from an internal perspective, Aziraphale’s character demanded to make that decision. It wasn’t out of character, it was distinctly in character. And yes, he could have been influenced, or manipulated, or hiding something, but he’s been affected by all of those ideas for the entirety of his existence anyway. He’s had 6000 years of The Heavenly Host manipulating him, and he’s had exactly 4 years of being on his own side(openly) with Crowley. He’s going to still be susceptible to their tactics, especially if they say exactly what he’s been wanting to hear for his whole existence. “We were wrong, and you were right.” Metatron really pulled out every stop of the proper apology except for the little dance. We were wrong about you, We were wrong about how to run things, We were wrong about Crowley. You can come back and you can bring him and you can fix everything. Crowley refusing isn’t heaven’s fault, they still offered. It’s Crowley who rejected Aziraphale. (For good reason, but that’s not what this meta is about.) I made a post about Crowley and his relationship to forgiveness HERE, if you were interested.

So maybe things were changed by the book of life, the analysis on the opening credits is amazing, like great job. But I don’t know if they were. But that’s literally just me holding onto the plot of season 2 and shouting from the top of my lungs, “ITS ACTUALLY GOOD THOUGH BECAUSE I LIKE IT AND WHAT IT SETS UP” And who knows, we might be all wrong and what actually happened is that the whole thing was a very detailed dream that Aziraphale wrote down in one of his journals.

[ashesandhackles]

I am in love with your answers for the Non US ask game. Like Tumblr, fandom is also majorly US centric. Have Desi Harry fics and meta stereotypes got something right about your your country? Are there fics you like that get something about your country right?

oh anon, this is a can of worms! So I like desi Harry as an idea (and lot of the art!) - in fact, there are some parts of Prisoner of Azkaban dialogue that almost reads as if Harry is POC. I am referring to this bit:

A few years later, she had turned up at Christmas with a computerized robot for Dudley and a box of dog biscuits for Harry.

You mustn’t blame yourself for the way the boy’s turned out, Vernon,” she said over lunch on the third day. “If there’s something rotten on the inside, there’s nothing anyone can do about it.”

Harry tried to concentrate on his food, but his hands shook and his face was starting to burn with anger. Remember the form, he told himself. Think about Hogsmeade. Don’t say anything. Don’t rise — Aunt Marge reached for her glass of wine.

“It’s one of the basic rules of breeding,” she said. “You see it all the time with dogs. If there’s something wrong with the bitch, there’ll be something wrong with the pup — ”

of course, the untidiness of Harry's hair etc also feels charged in that context.

It was common to see colonial establishments say, "no dogs, no Indians" in colonial India. So I remember feeling this while reading POA and opening chapters of OOTP - otherwise Harry is of course written as default white protagonist.

However, I haven't found a desi Harry fic I liked? I am open to be recced those of course - it is just a matter of finding the right fic for myself. I just find lot of fics in the Never Have I Ever (I don't like that show) vein of Indian identity in a foreign land and I simply want to ask question and push back on that way of interpreting Harry's family:

For example, Christianity is a minority religion in India: but why can't Harry be from a Christian family? As opposed to having to explain away the anglicised names (which you can do great things with as a story). You can still have Harry celebrating Diwali (if that is what you want from a story and that is seemingly what everyone wants from a desi Harry story) even if he is Christian! Because we all celebrate the big festivals!

I have some issues with caste blindness, which is a vibe I do get with hcs that I am not going to expound here. @sleepstxtic has helped me parse through some of the feelings about that. (in that vein, I like her work and would rec this specifically: Will you send me to Hogwarts?)

This is just me, of course. I have very strong feelings that there is only one kind of Indian identity (there isn't, but prevalence of only kind of Indian identity in desi Harry hcs/theories/metas makes it look there is only one way to be Indian). My realy problem is that I find lot of stories don't engage with how I personally engage with my own Indian identity as a lower caste, South Indian woman. Also, I have traveled within India a LOT. I just want more ways to see interpret Harry as desi because there is a lot of ways to be desi?

I have, however, found stories on Parvati and Padma that I have liked - @broomsticks has recced many of them on @harrypocter server. (nirmal was amazing and it really captured mumbai very well)

[bluescreen-menchii]

Some interesting things I found in the code of Secrets of Legendaria (for the 3 fans of the actual game and not the TCG that still exist here)

I got a bit curious and started going through the game’s files, partially to see what went wrong and partially because I can’t stop thinking about how much wasted potential this game was (and a lot of Lionel Snill’s other games, for that matter)

Here’s a list of the most interesting stuff I found:

Moji doesn’t have an actual death animation for some reason, even though his death was kind of a defining moment in the plot as a massive change in tone. Either this was an oversight by the devs (unsurprising) or it was a really weird design choice.

Remember that disturbing, random secret you can find where you can buy the key to the smithy’s house only to find him dead? There’s actually some unused dialogue where he upgrades Lazarus’ sword. I have no idea why this could have been removed, since the sword upgrade as it is makes no sense as there’s no dialogue to explain it. This is also apparently where you were meant to get some of the correct answers for the Sphinx bossfight.

On a related note, that upgraded sword is referred to in the files as “Endervale Blade.” Could this be related to the Entervale bug where entering it as Chandrelle’s name freezes the game on a purple mist screen?

On yet another related note, there’s an unused map also titled Endervale, which also freezes the game on the purple mist when loaded.

The talking slime that refuses to fight you as you approach the dragon’s mountain actually does have code for a battle, but it’s not anything more interesting than the other slime fights earlier on.

Remember that theory that Jay from Vicious Galaxy is also the janitor in the temple in SoL because they look the same and he happens to have some silly meta dialogue about it? The janitor is referred to in the files as Jay, meaning that they might actually be the same character. Now, seeing as Lazarus and Moji Jr. also star in VG, it may very well be the case that SoL and VG take place in the same timeline. In this essay I will-

The Missingno enemy is not a bug, but a completely intentional easter egg. The weird game crash with it and the doppelgänger charm item was not intended, however.

Lazarus has a separate inventory, but we can’t access it normally within the game. The only time we get to interact with it is when Chandrelle gives him the locket half. It’s empty, save for the sword, though, so not much else to say about it.

The locket, on the other hand, is interesting. It has a description written in binary, but when translated it’s just nonsense letters. There is no second half of the locket.

The guard for the Sphinx’s boss room is named Jack, and he has an unused battle sprite for some reason. It’s really silly, actually; they just rip his door out and put it on the battlefield.

This one’s really weird: Chandrelle and Rebecha still have leftover code from when they were in Combat Arena X (I still can’t get over how SoL is technically a CA:X spinoff, it haunts me every day). This makes sense, they were probably just copy pasted over—but for some reason, in the buggy, unfinished, fog-hidden Kraken bossfight, Chandrelle’s fighting game functions get activated. This might be why you stop being able to use her moves in the middle of that fight.

Unfortunately, you can’t remove the fog from the Kraken bossfight, because it’s basically just a cutscene with buttons you can press that have no effect on the gameplay, as far as I can tell.

I would have loved to solve the mystery of the tiny hooded character who steers Chandrelle and Lazarus out of the fog, but they don’t actually appear in the files at all for some reason? If I had to guess, it’s probably Captain Barnay, recovered and wrapped in a cloak. He’s short because he’s hunched over and hurt, I would guess.

Finally, the matter of the ending, and perhaps the most annoying discovery of all: There’s an unused good ending in the game’s files, but no way to ever trigger it because it requires the old man to be in the temple before Vallamir. This can never happen in game, meaning there’s no way to actually seal Vallamir away at the end.

Now, that’s all that I, an amateur when it comes to this sort of thing, could find. If I missed anything or got something wrong, please be sure to let me know!

[korcariiwitch]

for all the fellow durge x astarion brainrotters out here.

Sooooooo I kind of wanted to throw this out there as an experiment/tentative prelude, but I’ve been considering for a good long while that I’d like to start posting some BG3 writing on here.

Specifically a dark urge x Astarion story that has been rolling around and banging against the bars of its enclosure inside my head. I think I could also make it a mixture of Astarion x reader/Tav and Astarion x OC!durge too. (And a sprinkling of durgetash too).

Please be aware if you read ahead and haven’t played the origin yet, there will be spoilers. So I’ll leave the rest under the cut!

Essentially I have begun to write about the dark urge origin and my character’s journey. Also about Astarion’s and various ways in which their stories parallel one another. Not that the game itself doesn’t already do an incredible job at this. I just have a lot of headcanons that I think could be fun to explore and flesh out and honestly the brain rot is so bad that if I do not put it somewhere, I will absolutely turn into a mindflayer.

I don’t really have anything linear in mind, closer to a cluster of a bunch of different ideas/moments that I just really want to get out of my brain and word vomit them somewhere. It would be a mixture of post-game adventures, moments during the game’s acts, and also quite a bit of pre-amnesia dark urge and some durgetash for good measure because I am a degenerate.

All that being said – I do absolutely want to be inclusive as much as I can. There will be moments where the story can be written in a more neutral way regarding gender and also not include appearance at all if people would like to imagine themselves/their Tavs/OCs instead. Not everything will be just my OC!durge specific and for those particular moments I will tag them as such (including things like content warnings, etc. so people are aware what they’re fulling getting into).

Don’t get me wrong, I still very much want to write about my durge and flesh our their story and  really get into the nitty gritty of what I felt their journey was like. Also just their own personal character development in juxtaposition with their relationship with Astarion.

It has been a very very very long time since I’ve posted anything online and I know there’s always a risk with doing so, but I’ve just been honestly so genuinely inspired not only by the writing in the game but the incredible content other people have been creating because of this game and I just want to give a shot. To be a small part of it, even if it truly is just only for me (not to sound presumptuous) and no one notices.

At least, I don’t want to make that the main point but I know there’s a lot of you dark urge enjoyers out here and was essentially just wondering if people would be interested in a story like this?

It’d also most likely be 18+ so I was considering either just making a whole other blog or a side-blog to post there since this account is very very old and I wasn’t sure if it’d be safer and more comfortable for people who might want read this.

Again, I really REALLY don’t want to sound pretentious at all. Just thought it might be cool to share and honestly, I’d love to have people to talk about this game with. Especially about the dark urge, I just have so many feelings about it and I enjoy getting to read all the interesting and insightful meta/thoughts/headcanons people have come up.

To quote our favorite fanged boy, “Honestly, I have no idea what we’re I'm doing. Or what comes next.”